The Whole Truth at INTERSECTIONS


UrbanArias returns to the Atlas INTERSECTIONS Festival


with an hour long show featuring a world premiere opera!



a comic opera in one act, based on a short story by Stephen McCauley

Click here to buy tickets

Written by acclaimed composer Robert Paterson
and celebrated librettist Mark Campbell

Commissioned by UrbanArias

PLUS: All-new OPERA IMPROV based on audience input



February 21, 2015 – CANCELED DUE TO WEATHER!

February 27, 2015 at 9:30 p.m.

February 28, 2015 at 7:00 p.m.


If you purchased tickets to our February 21 performance, we deeply regret having to cancel it. Our artists were simply unable to get into DC. 

Atlas will exchange your ticket for one of our other two performances. Please call their box office at 202.399.7993 ext. 2.  If you are unable to attend one of the other shows, they will refund your purchase.  Again, our apologies!  Please contact Bob Wood at if you have any ticketing problems.

Tickets $27.50 ($24.50 for students/seniors)

Click here to buy tickets

Performances are at Atlas Performing Arts Center (in the heart of DC’s vibrant and eclectic H Street neighborhood)

Starring Amedee Royer, Kate Jackman, Andrew McLaughlin and Jeffrey Gates

Accompanied by R. Timothy McReynolds (piano)

Directed by Courtney Kalbacker

Plan your visit!

Concerned about parking? Don’t be! Atlas offers valet parking through an arrangement with Biergartenhaus restaurant. Find out more:

Click here for easy information on directions/parking

Click here for a list of delicious bars and restaurants near Atlas on H Street


INTERSECTIONS is a whole month of performing arts that celebrates the diversity, energy and excellence of artists and audiences from DC and beyond.

The Whole Truth is a short comic opera with music by Robert Paterson and a libretto by Mark Campbell (Bastianello & Lucrezia), based on a short story by author Stephen McCauley. A married women attempts to delude herself into thinking she can carry on two affairs at the same time.  The first with a fellow dentist and the new affair with a young carpenter who has come to work on her and her husband’s home.


Royer Headshot

Amedee Royer, soprano, hailed by critics for her “silvery tone”, currently lives and works outside the Washington D.C. metro area. Returning to Urban Arias for the premiere The Whole Truth, a chamber opera by Robert Paterson and Mark Campbell. She will also return to Maryland Concert Opera in the spring of 2015 as Micaëla in Carmen.

Last season, Amedee performed the role of Fiordiligi (Così fan tutte) with Maryland Concert Opera and joined UrbanArias for its Intersections Festival at the Atlas.  Ms. Royer also sang multiple recitals and concerts in the DC Metro area and abroad.

In 2013, Ms. Royer returned as a 2nd year Apprentice Artist to Des Moines Metro Opera following her tour with Opera Iowa, an ensemble dedicated to opera outreach.

In April 2012, Ms. Royer premiered the role of the “Bride” in Positions 1956, an opera composed by Conrad Cummings and libretto by Michael Korie, which was showcased by UrbanArias. In the summer of 2011, Ms. Royer sang Clorinda in La Cenerentola and covered Countess Almaviva in Le nozze di Figaro with Opera North. Amedee’s other roles include Adina in L’elisir d’Amore with Opera Iowa, Countess Almaviva in Le nozze di Figaro with Maryland Concert Opera, Anne Trulove (cover) in The Rake’s Progress, Abigail in The Crucible, Clotilde in the Handel’s Faramondo, Susanna in Le nozze di Figaro, Jenny in Three Sisters who are not sisters, Madame Pompous in Too Many Sopranos, and Frou Frou/Praskowia in The Merry Widow.​​

Amedee received her M.M. from The Ohio State University in 2010 and a B.M. in vocal performance from Wheaton College’s Conservatory of Music in 2008. In 2012, Ms. Royer was a Regional Finalist in the Middle Atlantic Region of The Metropolitan Opera National Council Auditions. Along with her performing career, Amedee works as a cantor and music administrator for Saint Elizabeth Ann Seton Catholic Church in Lakeridge, VA.


HeadshotCalled “winningly wily and dauntless, and in good voice” by Boston Classical Review,American Mezzo, Kate Jackman, is a multifaceted musician and actress who excels in a variety of musical expression.

On stage, Kate performed the lead role in Oliver Knussen’s Higglety Pigglety Pop! at the Tanglewood Festival of Contemporary Music and “touchingly incarnated Jennie, Sendak’s beloved terrier.” (Alex Ross, The New Yorker) Other roles she has performed include Hansel in Hansel and Gretel, Prince Orlofsky in Die Fledermaus, La Ciesca in Gianni Schicchi, and Dinah in Trouble in Tahiti.

An avid performer of new works, Kate has premiered roles in Piecing It Apart by Paul Matthews and Lux et Tenebrae by Douglas Buchanan for The Figaro Project’s production of Contemporary Opera Trio. She also premiered the role of Patricia Hutton in Joshua Bornfield’s Camelot Requiem, in which she “expressed emotional intensity with the weight of her soothing mezzosoprano voice” (Maureen L. Mitchell, Opera Today).

Kate made her recital debut at the Kennedy Center in the 2012 Vocal Arts Society Discovery Recital Series, and attended the Tanglewood Music Festival, where she performed works by Messiaen, Debussy, & Shostakovich in Seiji Ozawa Hall. In 2014, she made her Carnegie Hall debut in Marilyn Horne’s The Song Continues series, and attended the Fall Island Vocal Festival as a voice fellow.

This season, Kate will premiere the role of Megan 2 in Mark Campbell and Rob Paterson’s The Whole Truth with UrbanArias in Washington DC, and sing the title role in Carmen with Maryland Concert Opera.

Ms. Jackman holds a Master of Music Degree from the Peabody Institute and a Bachelor of Music Degree from the University of North Texas (cum laude).


Andrew McLaughlin (Headshot - 2015b) cropped
This season sees baritone Andrew McLaughlin’s debut performance with UrbanArias.  Andrew has appeared locally with Washington National Opera as Brian Young in Huang Ruo’s An American Soldier (2014), Rex in An American Man (2014), the Doganiere in La Bohème, and the Spanish Sailor in Jake Heggie’s Moby Dick (2014). As a champion of new works, Andrew has performed roles in the premieres of Janice Hamer’s Lost Childhood (National Philharmonic Orchestra, 2013), Claude Debussy/Robert Orledge’s La Saulaie (University of Maryland Repertory Orchestra, 2013), and Frank Proto’s Shadowboxer (Maryland Opera Studio, 2011). Mr. McLaughlin also had the honor of joining famed mezzo-soprano and new music advocate Frederica von Stade and maestro Timothy Long in “A Few Words About Chekhov” to close out the University of Maryland’s 2012 Art of Argento Festival. Andrew has held artist apprenticeships at the Aspen Music Festival and School, Pine Mountain Music Festival, and Central City Opera, where he made his professional debut as Le Dancaïre in Carmen (2011).

Upcoming engagements this year include performances as baritone soloist in Fauré’s Requiem and Bach’s St. John Passion with the National Philharmonic Orchestra at Strathmore and as Schaunard in Puccini’s La Bohème with Virginia Opera.  Andrew received his undergraduate degree from West Chester University of Pennsylvania and holds a Masters Degree from the University of Maryland where he was a member of the Maryland Opera Studio.


Gates.Jeffrey.Headshot (4)Baritone Jeffrey Grayson Gates was recently hailed by The Baltimore Sun as having “vocal spark” and a “thundering presence” by DC Metro Theater Arts for his recent performance as Don Giovanni at the Lyric Opera of Baltimore.  Recent career highlights include: Don Giovanni, Count Almaviva in Le Nozze di Figaro, Harlequin in Ariadne auf Naxos, Figaro in Il Barbiere di Siviglia, Mr. Gedge in Albert Herring, Tarquinius in The Rape of Lucretia, Germont and Baron Duphol in La Traviata, Happy in La Fanciulla del West, Pirate King in The Pirates of Penzance, Horace Tabor in The Ballad of Baby Doe, Eisenstein in Die Fledermaus, and Polonio/Primo Becchino in Amleto (Faccio).  Mr. Gates has extensive experience on the concert stage. He has appeared as a soloist with many orchestras across the United States, performing works including Händel’s Messiah, Carmina Burana, and the requiems of Brahms, Mozart, Fauré, and DurufléMr. Gates was a Regional Finalist of the Metropolitan Opera National Council Auditions in both in Mid-West and Mid-Atlantic regions, and a winner of the Vocal Arts DC Young Artists Competition, the Naftzger Young Artist Auditions, and The Stephen Dickson Encouragement Award.  Mr. Gates received a Bachelor of Music degree from Oklahoma City University and a Graduate Performance Diploma in Voice from the Peabody Conservatory. He has previously performed as a young artist with Central City Opera, Des Moines Metro Opera, Opera Saratoga, Kentucky Opera, and Light Opera Oklahoma.

Upcoming engagements include Frédéric in Lakmé with Baltimore Concert Opera and Opera Delaware, La Tragédie de Carmen at Opera Delaware, and the title role in Don Giovanni at Opera AACC.


cropped head shot color (2)Enjoying a career that embraces art song, opera, chamber music, and cabaret, pianist Timothy McReynolds is also active as a teacher and vocal coach. He is a member of the Voice/Opera faculty of the University of Maryland, School of Music, and the former Music Director of Towson University’s Music for the Stage. He has participated as vocal coach/pianist for the Opera Institute at Washington National Opera and the Aspen Music Festival. He was Instructor of Piano at American University in Washington, D.C. and Loyola University of Maryland pianist for the Vocal Masterclass Series. 

He has toured internationally in concerts, cabarets, and masterclasses in Mexico, Germany, Italy, and Austria, as well as across the United States.  He also performed in recital with acclaimed bass-baritone, the late William Warfield.  He has been heard with, among others, Delores Ziegler, Linda Mabbs, Isabel Leonard, Timothy Mix, and Corinne Winters.  The Washington Post hails him as the, “perceptive accompanist”, the Baltimore Sun, an “excellent pianist”, while the website Classical Journal proclaims him as the “brilliant accompanist” in a recital with mezzo-soprano, Delores Ziegler.  He continues his close association with the opera company, UrbanArias in DC and the Washington (D.C.) Vocal Arts Society and their Discovery Recital Series.  Recent concert venues include the Kennedy Center’s Terrace Theater and the German Embassy in Washington, D.C., the Maryland Arts Festival in Baltimore, a state tour of Maryland with the Annapolis (MD) Symphony, the Egyptian Embassy Concert Series in Vienna, Austria, and both the Stern Auditorium with the Baltimore Symphony Orchestra and Weill Recital Hall at Carnegie Hall in New York City.  In the Spring of 2012 he played (and sang) the world premiere of Dominick Argento’s Cabaret Songs with Linda Mabbs at the University of Maryland.  He also recently returned from playing recitals at International ClarinetFest in Assisi, Italy.  In January he will be an Artist-in-Residence at the Conservatory at Lynn University in Boca Raton, FL.

Dr. McReynolds received his B.M. from Indiana University, M.M. from the University of Michigan, and completed his D.M.A. at the University of Maryland.  His teachers have included Edward Auer, Martin Katz, Jeffrey Gilliam, Robert McCoy and Rita Sloan.

He recently recorded a second CD of new music on the Sono Luminus label with Washington, D.C.’s Grammy-nominated Inscape Chamber Orchestra, “American Aggregate”.  Other recent recordings include a CD of Schubert’s Die schöne Müllerin with tenor Bryce Westervelt, and another with the chamber music group, Greenbrook Ensemble.  His concert schedule includes venues in New York, Massachusetts, Tennessee, Florida, Texas, Vermont, Pennsylvania, and Italy.


paterson-robert-pink-shirt-homeRobert Paterson‘s music is praised for its elegance, wit, structural integrity, and a wonderful sense of color. Paterson was named The Composer of The Year at Carnegie Hall from the Classical Recording Foundation. His music has been on the Grammy® nomination ballot for the past three seasons, and his works were named ‘Best Music of 2012′ on National Public Radio. His works have been played by the Louisville Orchestra, Minnesota Orchestra, American Composers Orchestra, Austin Symphony, Vermont Symphony, New York New Music Ensemble, BargeMusic, the Albany Symphony’s Dogs of Desire, among others.  His opera, Safe Word, was part of the Fort Worth Opera’s Frontiers program, and The Companion, was performed at the Roulette in Brooklyn by American Opera Projects and AME. IN 2014, Paterson’s choral works were recorded by Musica Sacra and maestro Kent Tritle, to be released in 2015 at the Cathedral of St. John the Divine in New York City.

Current commissions and world premieres include the American Brass Quintet, being performed at Aspen and Juilliard in 2015 and the Claremont Trio. HIs new chamber opera The Whole Truth was recently commissioned by UrbanArias and will be showcased at Opera America in 2015.  Notable awards include winning the Utah Arts Festival competition, the Copland Award and a Music Alive! grant from the League of American Orchestras and New Music USA. Fellowships include Yaddo, the MacDowell Colony, the Aspen Music Festival, and the Atlantic Center for the Arts.

Paterson holds degrees from the Eastman School of Music (BM), Indiana University (MM), and Cornell University (DMA). Paterson gives master classes at colleges and universities, most recently at the Curtis Institute of Music, New York University, James Madison University, and the Cleveland Institute of Music. He resides in New York City with his wife, Victoria, and son, Dylan.


Campbell-Mark-225pxMark Campbell is one of the most in-demand librettists working in opera today, profiled in Opera News as one of twenty-five people “poised…to become major forces in opera in the coming decade.” Mark’s most known work is the libretto for the opera Silent Night, which garnered the 2012 Pulitzer in Music for composer Kevin Puts. Since its premiere at Minnesota Opera, the opera has been broadcast on PBS’ Great Performances and received productions at Opera Philadelphia, Ft. Worth Opera, Cincinnati Opera, Calgary Opera, and The Wexford Festical in Ireland. Productions are also scheduled for Lyric Opera of Kansas City and Opera de Montreal. Other successful operas include: Later the Same Evening, Volpone, As One, Bastianello/Lucrezia, A Letter to East 11th Street, The Inspector, and Rappahannock County. He has collaborated with many notable contemporay composers, including Mark Adamo, Mason Bates, William Bolcom, Conrad Cummings, Ricky Ian Gordon, Jake Heggie, Martin Hennessy, Laura Kaminsky, Paul Moravec, John Musto, Kevin Puts, Richard Peaslee and Michael Torke. Mark has received many other prestigious prizes for his work, including a Grammy® nomination for best Classical Recording, the first Kleban Foundation Award for Lyricist, two RIchard Rodgers Awards, three Drama Desk nominations, a Jonathan Larson Performing Arts Foundation Award, a New York Foundation for the Arts Playwriting Fellowship and the Dominic J. Pelliciotti Award. As a lyricist, Mark penned all of the lyrics for Songs from an Unmade Bed, a theatrical song cycle with music by 18 composers including Jake Heggie and Duncan Sheik. The show has since been produced in many venues around the world. Other musicals for which he has written lyrics include: And the Curtain Rises, The Audience, Chang & Eng, and Splendora. Recordings of Mark’s works include the Grammy®-nominated Volpone, (Wolf Trap Recordings), Later the Same Evening (Albany Records), Bastianello/Lucrezia (Bridge Classical) and Songs from an Unmade Bed (Sh-k-Boom Records). Songs from an Unmade Bed. Approaching Ali, As One and Silent Night are also published by Bill Holab Music. Upcoming operas include: The Manchurian Candidate (2015, Minnesota Opera, Kevin Puts); The Whole Truth (2015, UrbanArias, Robert Paterson); Memory Boy (2015, Minnesota Opera, Reinaldo Noya); Burke + Hare (2016, Music-Theatre Group, Julian Grant); The Shining (2016, Minnesota Opera, Paul Moravec); Elizabeth Cree (2017, Opera Philadelphia, Kevin Puts); Steve Jobs (2017, Santa Fe Opera, Mason Bates); Dinner at Eight (2017, Minnesota Opera, William Bolcom).


2013KalbackerHeadshotCourtney Kalbacker is a freelance opera director, producer, and performer based in the Washington, D.C. area. Ms. Kalbacker has served as an Assistant Director at Michigan Opera Theatre, a stage manager at Lyric Opera Baltimore, and Dramaturge/Director of Production at Opera Anne Arundel Community College.  She has a special interest in developing young singer-actors, directing improvisational and traditional music theatre productions for several seasons as the director of the Academy of Youth Music Theatre Company at Oklahoma City University. Kalbacker also created and taught the Acting and Stage Movement for Singers curriculum at the Boston University Tanglewood Institute for six summer seasons. As a director, her productions of “arresting new opera” have been called “a perfect balance between storytelling and sonic expression” (DC Metro Theater Arts). She has also been recognized for her “wonderful stage pictures” and her creation of “complex, passionate, poetic prism[s]” (DC Theatre Scene, DCMTA).  Her direction and performance of the one-woman monodrama The Young Wife (by composer/librettist Katarzyna Brochocka) was awarded “Pick of the Fringe – Best Opera or Musical Theatre” at the 2013 Capital Fringe Festival and she was invited to reprise role at the Warsaw Chamber Opera that fall.  As a coloratura soprano, Kalbacker was a Midwest regional finalist of the Metropolitan Opera National Council Auditions and has performed at the Boston University Tanglewood Institute as soprano soloist in both Honegger’s Le Roi David in the Koussevitzky Shed, as well as Carmina Burana in Ozawa Hall.  Recent operatic roles include Zerbinetta, Ariadne auf Naxos (HUB Opera Ensemble); Mrs. Ford, The Merry Wives of Windsor (Oklahoma Opera & Music Theatre Company); and her origination of the title role in The Young Wife (Warsaw Chamber Opera/Kingshead Theatre, London/ Washington, D.C./Baltimore).

She makes her home in Baltimore, MD with her husband baritone Jeffrey Grayson Gates and serves on the boards of the Baltimore Concert Opera and the Victorian Lyric Opera Company.