Click below to view our recent press releases
Opera Memphis 2022-23 season marks new era as organization moves to city's urban core
Opera Memphis presents Pygmalion 2.0 at Playhouse on the Square
Opera Memphis welcomes the 2022 ensemble of Handorf Company Artists
Opera Memphis and Cazateatro present a Christmas Fiesta at the Dixon Gallery & Gardens
Opera Memphis bids farewell to the Clark Opera Memphis Center with intimate performances of PAGLIACCI
Opera Memphis presents "Pretty Little Room"
Opera Memphis hires Development Operations Manager and Director of Education
Opera Memphis partnership with Stax Music Academy
Opera Memphis received $500,000 Assisi grant
2022-23 season marks new era for Opera Memphis as organization moves closer to city’s urban core
MEMPHIS, Tenn., June 27, 2022 — Continuing its mission to bring opera to every ZIP code of the city, Opera Memphis will present its 2022-23 season in venues and public spaces across Memphis and Shelby County. This undertaking includes performances with its long-standing partners, as well as the organization’s inaugural performance at the soon-to-open Scheidt Family Music Center at the University of Memphis, a theater designed with the input and support of Opera Memphis as a venue especially well-suited to operatic performance. The company is further expanding its capacity by selling its offices near the Memphis/Germantown border and moving operations back to the heart of the city it serves.
Discussions around moving the Opera Memphis offices into one of the city's arts and culture neighborhoods began in 2016, in the wake of Ballet Memphis’ move to Overton Square. A committee was formed in 2019 to explore possible locations, and in early 2020, it decided to begin preparing for a move. While the pandemic delayed the process substantially, on June 24, 2022, the organization sold the Clark Opera Memphis Center at 6745 Wolf River Blvd.
“The Clark Opera Memphis Center has been an amazing home for almost two decades,” said Ned Canty, Opera Memphis’ general director. “It helped us to grow from 10 or 12 performance days a year to well over 50, but it was designed to meet the needs of who we were 20 years ago. For opera to continue expanding in Memphis, we need to be a part of the positive change and growth that have defined the past 10 years and are creating the next 10, from Crosstown Concourse and Overton Square to Northside Renaissance and TONE’s Orange Mound Tower.”
In preparation for a fully packed 2022-23 season, its administrative team moved to temporary offices in Overton Square, while rehearsals will take place at partner institutions throughout the city. The team is currently assessing multiple design concepts for a future headquarters, with a planned public unveiling this summer. The location is being chosen specifically to enable Opera Memphis to intersect with Memphians on a daily basis where they live, work, and play.
As it finalizes the details of its new headquarters, Opera Memphis is completing plans for its 2022-23 season. Confirmed so far are a collaboration with the Memphis Symphony Orchestra for a special concert with legendary soprano Renee Fleming on Sept. 8 and Giacomo Puccini’s “Tosca” with Opera Memphis favorite Reginald Smith Jr. in his role debut as Scarpia. The Christmas Fiesta, a collaboration with Cazateatro and the Dixon Gallery and Gardens, will return in December, and 30 Days of Opera will celebrate its 11th year in April. Closing the season will be the return of Zach Redler and Jerre Dye’s masterpiece “The Falling and the Rising” at the Scheidt Family Music Center.
“The opening of the Scheidt Family Music Center is a testament to the community’s demand for more access to live arts, and it’s a win for Memphis to gain another world-class facility,” Canty said. “When I first sat down with Rudi and Honey Scheidt more than a decade ago, they shared a vision for a theater that could be a home for Opera Memphis, as well as their beloved students. While our hearts break that Rudi and Honey won’t be there for that first show, we know that every performance there in years to come will be possible because of their love for this art form and this city.”
Opera Memphis presents
at Playhouse on the Square
MEMPHIS, Tenn., February 1, 2022 — Opera Memphis will make its long-awaited return to Playhouse on the Square this March with a titilating double bill entitled Pygmalion 2.0. Exploring themes of desire, control, frustration, and perfection, this production pairs Donizetti’s Pygmalion with Robert Paterson and David Cote’s provocative rom-com, The Companion. While the former takes its inspiration from the Roman poet Ovid and the ancient tale of a sculptor and king, the latter catapults the audience into the not-so-distant future, where companion robots can be customized to satisfy any clientele. Despite the centuries that separate these stories, both highlight the profound desire for companionship and the unforeseen and often comic results of attempting to design the perfect lover.
Pygmalion is based on the ancient Roman tale of the king and sculptor, Pygmalion, originally taken from the tenth book of the Metamorphoses by Ovid. The sculptor renounces women while he simultaneously longs for companionship and connection. He carves the ideal woman from clay, perfect and untouched. Pygmalion soon falls in love with the sculpture, naming her Galatea, and prays to the goddess Venus to bring her to life. Acclaimed tenor Anthony Webb, described by the Wall Street Journal as having “a carnival of tenor talent”, debuts with Opera Memphis in the title role of Pygmalion. Mr. Webb has performed an impressive catalogue of operatic and symphonic repertoire throughout his career, including Don Ottavio (Don Giovanni), Beppe (Pagliacci), and the tenor soloist in Carmina Burana, which he performed with the San Antonio Symphony. He recently made his Carnegie Hall debut as Jack Prence in Merry Mount, and in 2019, Mr. Webb sang Third Jew in Salome with the Israeli Opera. In this production, he will be joined by Alyce Tarver Wells at Galatea, who was last seen with Opera Memphis as First Novice in Suor Angelica.
The powerhouse team of composer Robert Paterson and librettist David Cote delivered big laughs and even bigger emotion with their vignette opera, In Real Life, performed at the Clark Opera Memphis Center earlier this season. The Companion represents the first act of their stimulating opera Three Way, which has been described as Puccini’s “Il Trittico for the Tinder Generation” and explores love and sex in the digital age. Filled with comedy and unexpected twists, this piece will resonate with anyone who has ever longed for an algorithm guaranteed to design the perfect lover.
When Maya, a busy, on-the-go, working woman, grows frustrated with her biomorphic android companion, Joe, repairman (and actual human) Dax arrives to install new software. Soprano Keely Futterer and tenor Sergio F. Mandujano will sing Maya and Joe respectively. The pair are two of the three newest Handorf Company Artists joining Opera Memphis for performances from February to May, and The Companion marks their debut and introduction to the city of Memphis. Ms. Futterer, an Arkansas native, has been praised by Opera News as a “high-quality lyric soprano with a keen verbal nuance.” She has been seen in performances across the globe in China, Italy, and the United States in leading roles including Marie in La fille du régiment at Opera Saratoga, where she was reviewed as having “one of the most gorgeous voices you can imagine with charm to match.” Sergio F. Manujano is a Mexican-American tenor originally from Norwalk, Connecticut. He was most recently seen at the Seagle Festival in upstate New York, where he made his role debut as Rodolfo in La bohème. In this production of The Companion, the newest Handorf Company Artists will be joined by long-time Opera Memphis favorite Marcus King as Dax, the charming and decidedly human repairman.
Pygmalion 2.0 will open on Saturday, March 12, 2022, at Playhouse on the Square and run for three additional performances on March 13, 18, and 19. Tickets will be sold in a two-tier system and range in price from $40-$60. Tickets for this production will go on sale on February 1, 2022, and can be purchased by visiting operamemphis.org. As per the company’s policy for the 2021-22 season, all patrons will be required to show proof of full vaccination or a negative Covid test taken within three days of the performance when retrieving tickets from Will Call at Playhouse on the Square. Masks must be worn at all times within the venue to ensure the health and safety of the artists, crew, and audience members.
Pygmalion will be sung in Italian and The Companion will be sung in English. English surtitles will be displayed.
Pygmalion 2.0 will open on March 12 at Playhouse on the Square with performances through March 19.
Opera Memphis welcomes the
2022 ensemble of Handorf Company Artists
MEMPHIS, Tenn., January 24, 2022 — The Opera Memphis Handorf Company Artist program will welcome three exciting new talents to Memphis this February. Since the inaugural 2018 roster of young artists completed their tenure, the HCA program has continued to serve as a training program for rising talent from across the country, welcoming a half dozen artists to this impactful, community-oriented program. Opera Memphis is keenly focused on cultivating the talent, skills, and stewardship required to ensure a thriving career in the arts through robust performance opportunities and community engagement in a vibrant, multi-disciplinary music scene. Beyond the pursuit of artistic excellence, it seeks to provide the entrepreneurial mindset necessary for citizen-artists to champion opera in the 21st century. The incoming ensemble represents an exciting first for the company: welcoming a collaborative pianist alongside two talented rising stars of opera.
Soprano Keely Futterer has been praised by Opera News as a “high-quality lyric soprano with a keen verbal nuance” and by WAMC Northeast Public Radio as having “one of the most gorgeous voices you can imagine with charm to match.” She has performed extensively in China, Italy, and the United States, with career highlights including Elle in La Voix Humaine, the title role of Suor Angelica, Adina in L'elisir d’amore, and Countess Almaviva in Le nozze di Figaro. A champion of new works, Ms. Futterer has also performed a wide array of contemporary opera, including Isabella Beecher in Victoria Bond’s Mrs. President, the Witch Mother in the American premiere of Philip Glass’s The Witches of Venice, and Sara Turing in The Life and Death(s) of Alan Turing as a part of the New Works Forum in New York City with the American Lyric Theatre. Ms. Futterer received her BA from Arkansas Tech University and her MM in Voice Performance and Opera Stage Direction from the Eastman School of Music. In 2021, Ms. Futterer returned to the Eastman School to complete her doctoral degree in Vocal Performance and Literature. She will make her company debut with Opera Memphis as Maya in The Companion, an operatic rom-com about designing the perfect robot lover, at Playhouse on the Square in March. In addition to 30 Days of Opera, which provides a month of free, live opera performances throughout the city of Memphis, Ms. Futterer will also be seen as Fiordiligi in Cosí fan tutte this spring.
Sergio F. Mandujano is a talented young Mexican-American tenor making his company debut with Opera Memphis as Joe in The Companion. Later this spring, he will perform Ferrando in Cosí fan tutte and participate in 30 Days of Opera. Sergio attended the Seagle Festival in 2021 where he made his company and role debut as Rodolfo in La bohème and performed Broadway excerpts from Hamilton, Follies, and Company. A versatile performer, Mr. Mandujano’s favorite roles include Nemorino in L’elisir d’amore, Tamino in die Zauberflöte, The Witch in Hansel and Gretel, Harry in Company, Burrs in The Wild Party, and Adolpho in The Drowsy Chaperone. He received an Irene Ryan Acting Scholarship nomination for his portrayal of Burrs in The Wild Party and received a Distinguished Performance by an Actor in a Musical award from the Kennedy Center American College Theatre Festival for his interpretation of Adolpho in The Drowsy Chaperone.
A native of Fairhope, Alabama, Arthur Bosarge is a pianist and coach whose experience spans a variety of styles, including opera, recital, ballet, and musical theater. Career highlights include productions with Opera Birmingham (Cendrillon), Mountain Rep Theatre (The Andrews Brothers, The Great American Trailer Park Musical), Florida Grand Opera (La bohème, Le Nozze di Figaro, Frida, Werther), Utah Festival Opera and Musical Theatre (Amazing Grace, A Tribute to Leonard Bernstein), and Opera North (La fille du régiment, Evita, Street Scene, My Fair Lady, La traviata). From 2016-2018 he served as a member of Kentucky Opera’s Barbara and Halsey Sandford Studio Artist Program (Ariadne auf Naxos, Dead Man Walking, The Barber of Seville, Madama Butterfly, Die Entführung aus dem Serail, The Mikado), and is a previous member of Virginia Opera’s Herndon Foundation Emerging Artist Program. Mr. Bosarge holds degrees from Mannes School of Music and the University of Alabama.
"Opera is a collaborative art form,” says Cris Frisco, Director of the Handorf Company Artist Program. “One of the things we can contribute to the industry is developing the next generation of collaborative musicians. While there is a more easily identified career track for singers, young musicians are often left to cobble together freelance careers. I think it's important to offer emerging musicians the opportunity to come and work in a community and develop their skills as part of the organization.”
These distinguished artists will join Opera Memphis for the remainder of the winter and spring season. Keely Futterer and Sergio F. Mandujano can be seen in March in Pygmalion 2.0, a dynamic double bill featuring Donizetti’s Pygmalion and Robert Paterson’s The Companion, and this spring in Mozart’s Cosí fan tutte, a comedic romp filled with hijinks, trickery, and glorious music.
Incoming Handorf Company Artists Keely Futterer (soprano), Sergio F. Mandujano (tenor), and Arthur Bosarge (pianist)
Opera Memphis and Cazateatro Bilingual Theatre Group present Christmas Fiesta, an inaugural family event at the Dixon Gallery & Gardens celebrating holiday traditions in Latin America
MEMPHIS, Tenn., November 18, 2021 — Opera Memphis and Cazateatro Bilingual Theatre Group will collaborate on a holiday event this December 18 at the Dixon Gallery & Gardens in celebration of the rich and varied holiday traditions celebrated throughout Latin America during the Christmas season. This inaugural Christmas Fiesta will feature caroling in both English and Spanish, delicious food, unique crafts, and fun activities that the whole family can enjoy. Experience traditional dancers and singers from a variety of Latin American countries, learn about piñatas, poinsettias, parradas, and posadas! This free event is sure to inspire and delight, as children and adults experience the cultural traditions that make Christmas a magical time of year throughout Latin America.
Opera Memphis began hosting A Victorian Holiday in 2018, which invited Memphians to immerse themselves in a unique theatrical experience with Victorian-era music, costumes, activities, and games. When the pandemic made those types of events untenable, Opera Memphis pivoted to a free Drive-Thru Caroling event in 2020, and carloads of families got to experience a bit of Christmas magic from the safety and comfort of their vehicle. Drive-Thru Caroling will continue this year on Saturday, December 11 and Sunday, December 12 at the Clark Opera Memphis Center from 2-4 PM with a quartet of costumed carolers spreading Christmas cheer.
As part of their ongoing mission to create cultural bridges through the arts, Cazateatro has presented traditional Christmas plays to share Latin cultures, such as "Tia Pancha a Christmas Story," the Latin version of A Christmas Carol, and the Pastorela. Last year, due to the closure of the theaters, Cazateatro continued to fulfill its mission by presenting 12 days of Christmas, which offered 12 days of Christmas activities including recipe guides and concerts through virtual programs and in-person performances around the city of Memphis. As Cazateatro continues to share the Latin Christmas traditions, the company is pleased to return to the stage with the Bilingual Pastorela The Last Christmas on December 3, 4, and 5.
The opportunity to collaborate with Cazateatro Bilingual Theatre Group and create a wholly new and innovative holiday experience for families has been months in the works. Since her appointment as the Director of Education and Civic Programs, Bethania Baray has spearheaded programming that welcomes new audiences to experience opera in creative and unexpected ways.
"I can’t think of a more perfect organization to partner with than Cazateatro Bilingual Theatre Group,” says Baray. “Creating a Christmas celebration seemed most fitting when thinking about our vibrant Latinx/Hispanic community. We hope that this year’s event brings a feeling of home while allowing audiences to be introduced to a taste of opera.”
This event is made possible through generous support from AutoZone and ArtsMemphis, who continue to champion the performing arts in Memphis and support the work of both Opera Memphis and Cazateatro Bilingual Theatre Group. Without their generosity, free family events like this would not be possible. In the ongoing effort to make art, music, and storytelling more accessible to all Memphians, the collaboration between Opera Memphis and Cazateatro Bilingual Theatre Group is an exciting opportunity for both companies to expand their reach and increase their impact in the community.
"Working with the women of Cazateatro is such a dream,” says Bethania Baray. “They are creative, innovative, and deeply engaging with the Memphis community, and they put their entire hearts into their work. I hope this partnership and event continues and becomes a pillar of both our organizations.”
Opera Memphis and Cazateatro Bilingual Theatre Group will celebrate a Christmas Fiesta at the Dixon Gallery & Gardens on December 18 from 11 AM - 3 PM.
Opera Memphis bids farewell to the Clark Opera Memphis Center with intimate performances of Leoncavallo’s PAGLIACCI
MEMPHIS, Tenn., September 21, 2021 — Earlier this summer, Opera Memphis announced plans to sell the Clark Opera Memphis Center following the receipt of a generous $500,000 grant from the Assisi Foundation and a dollar-for-dollar matching grant from the Handorf family, enabling Opera Memphis to present high quality, innovative operatic performances year-round. Opera Memphis will relocate to new offices likely in the Edge District, and the money from these generous grants will endow the Handorf Company Artist Program, which brings talented emerging artists from across the country to participate in a year-long artist residency. As a final farewell to the building that has served as the company’s home for nearly two decades, Opera Memphis will present four performances of PAGLIACCI, Leoncavallo’s stunning tale of dark obsession, at the Clark Opera Memphis Center over the last two weekends in October.
Pagliacci was composed by Ruggero Leoncavallo and saw its professional premiere in Milan in 1892. More than a century later, it remains a staple of the masterworks repertoire for its riveting dramatic storytelling, lush orchestration, and scintillating vocal writing. Pagliacci tells the story of a traveling commedia dell’arte acting troupe comprised of four vagabond performers: the troupe leader Canio, his listless and dissatisfied wife Nedda, the fool Tonio, and the young, idealistic Beppe. Each character represents an archetype of the commedia dell’arte style, and the troupe performs a play-within-the-play which culminates in a fiery confrontation between Canio, Nedda, and Nedda’s secret lover, Silvio.
Opera Memphis last performed Pagliacci in 2015 with recent Handorf Company Artist Dane Suarez as Beppe, the troupe’s congenial, youthful Arlecchino. Mr. Suarez returns to this production to take on the lead role of Canio, a role he has previously played to critical acclaim at Opera San Jose. He is joined by rising American star Chanáe Curtis in her company and role debut as Nedda. Ms. Curtis recently made her Metropolitan Opera debut as Annie in the 2019 Grammy Award-winning production of Porgy & Bess. As her lover, Silvio, Opera Memphis welcomes back baritone Alex DeSocio who played Ramiro in L’heure espagnole in 2016. Mr. DeSocio is a two-time Metropolitan Council Audition Semi-Finalist and a graduate of the Merola Opera Program. The role of Tonio will be played by baritone Joshua Conyers, who was hailed by Opera News for his “deliciously honeyed baritone”. Mr. Conyers debuted the role of Tonio with Atlanta Opera and will make his company debut with Opera Memphis this fall. Rounding out the cast in the role of Beppe will be Memphis local, Daniel Massey. Mr. Massey is a music educator in the Shelby County School system and frequently performs with Opera Memphis during 30 Days of Opera. Pagliacci will also feature performances by aerialists from High Expectations and will be conducted by Opera Memphis Director of the Handorf Company Artist Program, Cris Frisco, and directed by Opera Memphis General Director, Ned Canty.
To assure that this production will be safe and socially responsible, Opera Memphis has chosen to mandate vaccinations for the entire cast and crew. This ensures a safe environment for our artists and audiences. Upon arrival at the Clark Opera Memphis Center, patrons will be required to present either proof of vaccination or a negative COVID test taken within three days of the performance. Tickets can be purchased by visiting www.operamemphis.org/tickets and each of the four performances will host an intimate audience. Join Opera Memphis for preshow tailgating and snacks in the parking lot of the Clark Opera Memphis Center beginning at 6:00. Immediately following the performance, there will be a celebratory champagne toast. This production is a remarkable opportunity for audiences to be enveloped in Leoncavallo’s passionate melodrama sung by some of the rising stars of verismo opera.
Opera Memphis presents Pagliacci: Joshua Conyers (Tonio), Dane Suarez (Canio), Chanáe Curtis (Nedda), Alex DeSocio (Silvio), and Daniel Massey (Beppe).
Opera Memphis will present Robert G. Patterson and Jerre Dye’s
“Pretty Little Room” in an intimate workshop for invited audience
MEMPHIS, Tenn., September 1, 2021 — During the 2018 Opera 901 Showcase, Opera Memphis presented a compelling 20-minute excerpt of “Pretty Little Room” by Robert G. Patterson and Jerre Dye at the Midtown Opera Festival. On September 18, Opera Memphis will workshop the completed piece joined by members of the Memphis Symphony Orchestra and a talented roster of artists for an invited audience at the Clark Opera Memphis Center. The workshop will be an opportunity for a select audience to experience the work at this stage in its development, a fascinating look behind-the-scenes at the complex process of creating and evolving new operatic repertoire.
"Pretty Little Room” tells the true crime story of Alice Mitchell, who brutally murdered her lover, Freda Ward, in 1892 in order to prevent Freda from abandoning her. Alice procured her father’s razor and walked across a frozen river to confront her runaway lover before she could flee to rural Golddust, TN on a steamboat called the Ora Lee. After slashing Ward’s face, Alice was committed to the Western State Mental Hospital in Bolivar, TN. It is here that the fitful and unnerving tale “unravels like a fever dream”. Alice hears the lurid terms used to describe her and her relationship with Ms. Ward during the trial, and she remembers the events that led to the murder. The piece is reminiscent of the classic “penny dreadful” tales of the 19th century, and Patterson and Dye interweave the darkly dissonant world with provocative imagery, swelling melodies, and appropriate dread.
Robert G. Patterson is a Memphis-based composer and software developer whose music is infused with “the popular rhythms and melodic fragments around him”. “Pretty Little Room” represents his inaugural voyage into operatic writing after great success in orchestral, chamber, and vocal composition. Jerre Dye, librettist and playwright, is the recipient of the Award for Dramatic Literature from the Fellowship of Southern Writers. He has previously collaborated with Kamala Sankaram on the masterful “Taking Up Serpents” for Washington National Opera and with Zach Redler on the deeply moving “Falling and the Rising” which was co-commissioned and performed by Opera Memphis in 2019.
The workshop of “Pretty Little Room” will be conducted by Steven R. Osgood, who returns to Memphis after conducting “In Real Life” with Opera Memphis this past spring. Stephanie Doche, former Handorf Company Artist seen recently as Justice Ruth Bader Ginsburg in Opera Memphis’s 2021 acclaimed production of “Scalia/Ginsburg”, takes on the compelling and complex role of Alice Mitchell. Soprano Amelia Watkins will play Freda Ward, and Memphis favorites Tanisha Ward, Courtney Jameson, and Marcus King will each play a variety of characters. The performance is scheduled for September 18 for an intimate, in-person, invited audience at the Clark Opera Memphis Center.
Soprano Chelsea Miller and Mezzo-soprano Nikola Printz in the 2018 Opera 901 Showcase of “A Pretty Little Room.”
Opera Memphis hires Development Operations Manager,
Marissa Manthongkham, and promotes former McCleave Fellow,
Bethania Baray, to Director of Education and Civic Programs
MEMPHIS, Tenn., August 22, 2021 — The pandemic has not halted Opera Memphis’s forward momentum as the company continues to expand its reach in the community with the addition and promotion of two impressive women of color. Marissa Manthongkham, D.M.A. joins the staff at Opera Memphis as the Development Operations Manager. Bethania Baray, who was previously the McCleave Fellow in Directing, has been appointed Director of Education and Civic Programs. Supporters of Opera Memphis will recognize Jason Hardy, who held the position of Chief Advancement Officer at Opera Memphis for the last four years. He has recently joined Knoxville Opera as their Executive Director, but he will temporarily remain with Opera Memphis as a Strategic Advisor. After a national search, Opera Memphis selected Dr. Marissa Manthongkham, a Memphis native who returned to her hometown after earning a Doctor in Musical Arts from Michigan State University. She holds a Bachelor of Music Education from the University of Tennessee, Knoxville, and a Master of Music from Baylor University. Dr. Manthongkham also serves as Director of Operations and Educational Programming for PRIZM Ensemble in Memphis and remains active as a performing clarinet artist and educator.
Bethania Baray was a Vocal Instructor and the Director of Opera at Arkansas State University before joining Opera Memphis as the second recipient of the McCleave Directing Fellowship, a first-of-its-kind program designed to identify and nurture emerging directors and conductors of color in the opera field. Ms. Baray has hosted a bilingual children’s opera show called “Mijo Milan” which features her toddler, Milan, as they explore the world of opera through the eyes of children. Comfortable on stage and behind the scenes, Ms. Baray has designed and facilitated new community programs, including new partnerships with HBCUs, local Latinx organizations, and the Stax Music Academy. Her work with Stax garnered well-earned praise when a student from her inaugural class, Caleb Thompson, was contracted by the Metropolitan Opera for the opening show of their 2021-2022 season, “Fire Shut Up in My Bones.”
“I look forward to serving Memphis by cultivating long-lasting relationships with local organizations and communities.” says Ms. Baray, “While maintaining our existing educational programs like our Summer Conservatory and Spring Elementary Tour, I hope to develop new educational and civic programs.” These will include family programming, a children’s chorus for appropriate operas, Spanish language materials, the Opera Teens program, and the expansion of the partnership with Stax Music Academy to increase the presence and class offerings provided by Opera Memphis.
Marissa Manthongkham (Development Operations Manager) and Bethania Baray (Director of Education and Civic Programs)