Mitridate, re di Ponto Program Book

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Opera Music

World Prem ier

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“[yuniya edi kwon], with her virtuoso violin and equally virtuoso voice, is a revelation” Jazz Magazine Paris “Andrews is known for their soaring, soul-touching vocal abilities” Composer Magazine

Photo: Clifford Prince King

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PHIL ADELPHIA PREMIERE

Mitridate, re di Ponto September 9, 10, 13, 2026 ACADEMY OF MUSIC Music by Wolfgang Amadeus Mozart

Libretto by Vittorio Amedeo Cigna-Santi

Performed in Italian with English supertitles

Mitridate Lawrence Brownlee

Conductor Corrado Rovaris

Farnace Anthony Roth Costanzo

Director Emma Griffin*

Aspasia Lauren Snouffer

Set & Costume Designer Kaye Voyce

Sifare Meredith Wohlgemuth*

Lighting Designer Masha Tsimring*

Ismene Nola Richardson*

Hair & Make-Up Designer Thomas Kurzman*

Marzio Minghao Liu

Stage Manager Jennifer Shaw

Arbate Sarah Coit* *Opera Philadelphia debut

This production is made possible with generous Lead Sponsorship support from Thérèse Esperdy, in memory of Sergio Esperdy (1929-2025).

Anthony Roth Costanzo’s appearance is made possible with generous support from Ellen Steiner.

Corrado Rovaris, Music Director, underwritten by Judy and Peter Leone.

Emma Griffin, Director, underwritten by the Allen R. and Judy Brick Freedman Venture Fund for New Opera.

Opening Night Reception Sponsor: William and Fay Dunbar

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Opera Philadelphia Staff LE ADERSHIP

Anthony Roth Costanzo, General Director & President Corrado Rovaris, Judy and Peter Leone Music Director David Levy, Executive Vice President David Walker, Chief Philanthropy Officer Catherine Reay, Vice President of Administration & Human Resources MUSIC

Michael Eberhard, Director of Casting & Artistic Administration Elizabeth Braden, Director of Music & Chorus Grant Loehnig, Head of Music Staff Nathan Lofton, Orchestra Contractor & Personnel Manager Timothy M. Ressler, Orchestra Librarian & Personnel Coordinator PRODUCTION

Bridget A. Cook, Director of Production Drew Billiau, Director of Design & Technology Stephen Dickerson, Technical Director Millie Hiibel, Costume Director Emily Wanamaker, Associate Director of Production Will Vence Jr., Artistic Operations Coordinator

A D M I N I S T R AT I O N

Brianna Thompson, Office Manager MARKETING & GUEST SERVICES

Claire Frisbie, Director of Marketing Michael Knight, Director of Guest Services Jeffrey Mason, Guest Services Manager Yvette Bedgood, Guest Services Associate C O M M U N I T Y I N I T I AT I V E S

Kyleigh Archer, Manager of Youth and Community Programs Dr. Lily Kass, Scholar in Residence & Program Manager, Dress Rehearsal Valentina Sierra, Program Manager, Residency Chloe Lucente, Lead Teaching Artist Ty Bloomfield, Teaching Artist Kyle Chastulik, Teaching Artist Sage DeAgro-Ruopp, Teaching Artist Dicky Dutton, Teaching Artist Elizabeth Gautsche, Teaching Artist Isabelle Zeledón, Teaching Artist Karim Boyd, Backstage Pass Consultant SCENE

Daniel Jin Applebaum Courtney Beck Gwyneth Muller FINANCE

RADAR Nonprofit Solutions PHIL ANTHROPY

Adele Mustardo, Director of Events & Donor Engagement Kerriann Otaño, Philanthropy Officer Samantha Blatt, Associate Director of Individual Giving Meghan Dunne, Associate Director of Foundation & Government Grants Mary Ellen Cosaboon, Donor Relations & Corporate Partnership Manager Clarissa Cheung, Development Operations Manager Sarah Diggins, Philanthropy Associate

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COUNSEL

Ballard Spahr, LLP, General Counsel P U B L I C R E L AT I O N S

Luzi Media

SE ASON ART AND DESIGN

Ben Wiseman

Hi Friends, I’m convinced that this opera is the fountain of youth. Mozart wrote this music when he was only fourteen years old, and of course it is easy to focus on all the ways this work is prodigious and remarkably accomplished for anyone, let alone an adolescent.

But it is also, fundamentally, the music of a teenager! Full of vigor, teasing, unbridled feeling, and canny tricks, Mozart’s music is constantly tugging us in different directions, generating a whirlwind of pubescent exhilaration.

In the context of music history, the importance of his sound world in this piece goes beyond its compositional merit because in retrospect, it was a catalyst in shifting the entirety of the opera world from the Baroque period to the Classical period. Mozart’s approach, just like Opera Philadelphia’s, was very much opera, but different. If you listen closely, you can hear him experimenting with how best to combine these notes and rhythms such as to make your heartbeat quicken, or your tears well up.

For me, it is momentous not just to be able to open our season with a bold new dramatic interpretation of Mozart’s juvenile genius, but also to have a unique synergy on our stage. Where else in the world could you see a board member, a general director, a music director, and a union president all performing in an opera together? It is an emotional experience for me to stand next to our board member, international opera titan Lawrence Brownlee, while looking out at our sublime music director of more than two decades, Corrado Rovaris, on the podium, while all of us make music with the vibrating strings of the viola played

by Ellen Trainer, the president of the Philadelphia Musicians’ Union.

Opera takes a village, and sometimes is a village itself, and it is a privilege to have you as part of that village whether this is your first time in this opera house, or whether you’ve been coming for 50 years. If you’re reading this, you’re part of our ensemble and you’re here at a very exciting time. Opera Philadelphia is reaching more people than ever, innovating both the art on stage, and the infrastructure that supports it behind the scenes, and our Opera, But Different campaign is helping to create a new stability that allows us to grow, take risks, and pave a path to the future. So, let’s celebrate the way any tween would — by rocking out to some music of truly epic proportions.

–Anthony Roth Costanzo GENER AL DIRECTOR & PRESIDENT

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Synopsis ACT I

King Mitridate of Pontus has been defeated by the Romans and is widely believed to have died in battle. Before leaving for war, he had placed his fiancée, Aspasia, under the protection of his two sons, Sifare and Farnace.

The brothers, however, have very different loyalties: Sifare remains faithful to his father, while Farnace has secretly allied himself with Rome. The two sons, with Aspasia, have fled to the province of Ninfea to consult with Mitirdate’s trusted advisor Arbate.

Both sons have fallen in love with Aspasia. Farnace openly pursues her and hopes to claim both her and the throne for himself, but Aspasia rejects his advances and seeks protection from Sifare. Although Sifare secretly loves her as well, he refuses to betray his father. As their mutual affection begins to emerge, they struggle to keep their feelings hidden.

The situation changes dramatically when Mitridate unexpectedly returns alive. He reveals that he has survived the war and arrives with Ismene, a princess who intends to marry Farnace. Mitridate orders the marriage to proceed, but Ismene quickly realizes that Farnace no longer loves her. Soon, Mitridate learns that Farnace has been courting Aspasia and conspiring with the Romans. Convinced of his son’s treachery, the king begins plotting punishment.

ACT II

Ismene confronts Farnace about his unfaithfulness, but he coldly rejects her. Although she seeks help from Mitridate, she still hopes Farnace can be redeemed. Mitridate, meanwhile, announces that he will marry Aspasia without delay. When she fails to show enthusiasm, he suspects that she loves one of his sons.

Aspasia and Sifare confess their feelings for one another, but both agree that they must sacrifice their happiness rather than dishonor Mitridate.

Intermission Mitridate unveils his battle plan to defeat Rome. Farnace, arguing for a peace treaty with Rome, is accused of treason by his father. Before being thrown in prison, Farnace reveals Sifare’s love for Aspasia in an effort to bring his brother down with him.

Mitridate tricks Aspasia into revealing her feelings for Sifare. Feeling betrayed by his fiancée and both sons, Mitridate explodes in rage and condemns Sifare and Aspasia to death.

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Countertenor Anthony Roth Costanzo (Farnace) and conductor Corrado Rovaris rehearse with pianist Grant Loehnig. Photo by Ray Bailey

ACT III

As the Romans renew their assault, Mitridate prepares for battle while still consumed by anger. Ismene pleads for mercy, and Aspasia offers to accept any punishment if Sifare can be spared. Mitridate refuses and orders their execution before leaving for the battlefield.

Aspasia receives poison as a final gift from the king and prepares to die.

At the last moment, Sifare rushes in and saves her. He then goes to fight beside his father, hoping to prove his loyalty. Farnace is released by the Roman envoy who offers him the crown, but he finally recognizes the depth of his betrayal. Rejecting both Rome and his ambitions, he turns against his former allies and helps destroy the Roman fleet.

The battle ends with Mitridate mortally wounded after choosing death over capture. As he dies, he acknowledges Sifare’s devotion and blesses the union of Sifare and Aspasia. Learning that Farnace has redeemed himself by fighting for Pontus, he forgives his elder son as well. After Mitridate’s death, the survivors vow to wage everlasting war against the Roman Empire.

The running time of Mitridate, re di Ponto is approximately 3 hours with one intermission 7

Sonic Thrill Ride

by Shannon Eblen

Emma Griffin and Lawrence Brownlee in rehearsal. Photo by Ray Bailey

A forgotten “pop culture figure,” a long-neglected opera by teenage Mozart, a family drama comparable to HBO’s Succession. Dive into the history and themes of Mitridate, re di Ponto in this Q&A with Director Emma Griffin and Opera Philadelphia Board Member and tenor Lawrence Brownlee.

How and why was Mitridate, re di Ponto chosen for this season?

Lawrence Brownlee: Opera Philadelphia has always been a place that’s given me the opportunity to explore and try things. When we were talking about something to bring me back to the theater, I said, “Mitridate.”

I did Mitridate once before, at Boston Lyric Opera, and it’s an opera I think is worthy of revisiting.

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With Anthony and Corrado, who is an expert at this music, I thought it would be a great team.

Emma Griffin: It is about an aging king and the succession of his two sons while Rome is pressing in.

There are themes of political legacy, emotional legacy, one great empire coming from another, and it’s all centered on a family drama. For a modern-day audience, this is essentially Succession.

Mozart wrote this when he was only 14. How is the music different from some of his later, more wellknown operas?

EG: It is more of a Baroque opera.

It is aria-based; there are very few ensembles. He has not yet — although you see it pretty quick after this — figured out how to write those glorious Mozart ensembles.

Although, for the opera nerds in the audience, you see it coming.

It’s like reading the first novel of a great writer. You see all the ideas being explored.

LB: You can see the genius, but he’s not developed. I think you see this particularly in his recitatives; they just don’t really feel like anything else done before. In the later operas, like Così fan tutte, you can see how he developed in his writing style and understanding of that medium.

In the last piece of Mitridate, there is an ensemble, and I think after he wrote that final ensemble theme, he thought, I have something here, I have something to build on.

EG: It’s amazing that it’s a 14-yearold who wrote this. A 14-year-old boy. I have a 14-year-old boy, and Mitridate has the energy and drive and is kinetic in the way that teenagers are. There is something very alive in the music, and I think [Mozart] never lost that.

I’m a Mozart fanatic and I’m thrilled to be able to do this. It’s intensely Mozartian: the structure of the arias, the way he treats the voice, the way he loves the singer, the astonishing musical imagination — that’s all there. And it’s a piece no one knows! It was not done for hundreds of years and rarely done in the past hundred years. So, it is both familiar and unfamiliar, which I think for a modern audience is a sweet spot, because it appeals to a wide range.

LB: There are some people who want to see Traviata every season.

They want to see Bohème, they want to see Carmen. This isn’t a new work, but this is a piece that’s rarely done. So, I think the people who are getting to know opera, along with those who know Mozart, who know the classics, I think they can both look at this as interesting.

Everybody will be learning about Mozart and opera at the same time.

Because even people who know all of Mozart’s works, they don’t really know Mitridate.

With operagoers, there are those who love the classics and those who enjoy new works. How do operas like this, by famous composers but relatively unknown, add to the conversation?

EG: This is a fun one, and you don’t get to do these that often, and that feels especially delicious.

Wolfgang Amadeus Mozart PORTRAIT by Barbara Krafft 9

As you mentioned, Emma, following its 1770 premiere, Mitridate wasn’t performed again until 1971, and it is still rarely performed. What kind of opportunities and challenges does that offer?

EG: In Mozart’s time, everyone would have known the story of Mitridate. Mitridate was based on a Racine play in the 1600s that was a huge hit — it was Louis the Sun King’s favorite play. Mitridate himself is a real person with an extraordinary history. For both Racine and Mozart, Mitridate was what we would think of as a pop culture historical figure, like Julius Caesar or Cleopatra. He was the last great king of an Eastern empire to fight the Roman Empire. He was famous for developing poisons and immunity to poisons.

Soprano Lauren Snouffer (Aspasia) and director Emma Griffin in rehearsal.

Photo by Ray Bailey

There are assumptions made about history and the character of Mitridate in the piece that Mozart’s audience would have known, because Mitridate was a figure of renown. That’s a challenge [for us today], and I think one of the reasons [the opera] fell away is tied to that fact that the character in history has 10

Nola Richardson rehearses for her company debut as Ismene. Photo by Ray Bailey

fallen away; it’s fascinating that we know nothing about him anymore.

The joy is, we are essentially doing a new opera. I’m assuming in any given audience there’s only going to be a handful of people who know it. You are telling a new story, so every step of the way, you have to be so lucid and clear with your storytelling to bring the audience along. As a director who does a lot of old and new work, this feels like the most beautiful Venn diagram.

LB: I think it’s a great opportunity for us to campaign for a work that we think needs to be done more often. There’s so much worthy music in this. Emma and I have been talking a lot and saying this needs to be special, so it’s not swept under the rug. We hope people will leave the theater saying, “I want to see that again.”

We can’t pull out 15 different recordings because we don’t have that, so for me, I get to tell the story the way I feel the music. When you’re learning a piece and you feel like there are no guardrails, I think

Tenor Lawrence Brownlee stars in the title role of the opera. Photo by Ray Bailey

it allows your artistic compass to be free. You don’t have a GPS to follow; you can take your own road. The last time I played this role, I was left wanting more.

I wanted to develop my character more. From a vocal standpoint, everything was fine, but from a character standpoint, I want to be able to dive in further. I don’t know if I necessarily accomplished that last time; I’ll give myself a grade of a C. This time I’m trying to get an A.

EG: Opera exists on many levels but one of the most essential is the sonic thrill. That sonic thrill of the voice and the music and orchestra working together. This has that, and we have the singers who can do that. And that is exciting.

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Artists

Mitridate, re di Ponto Lawrence Brownlee (he/him) Mitridate Youngstown, Ohio

Otello 2022 Amici e Rivali 2021

Recent: Don Ramiro, La cenerentola, Opéra National de Paris; Lord Arturo Talbot, I Puritani, The Metropolitan Opera; Tonio, La fille du régiment, The Metropolitan Opera Next: Don Ottavio, Don Giovanni, Lyric Opera of Chicago

Sarah Coit (she/her) Arbate

Opera Philadelphia debut

Spring Hill, Florida

Recent: Second Maid, Daphne, Seattle Opera; Rosina, Il barbiere di Siviglia, Knoxville Opera; Cherubino, Le nozze di Figaro, Raylynmor Opera Next: Donna Elvira, Don Giovanni, Opera Delaware & Opera Baltimore

Anthony Roth Costanzo (he/him) Farnace Durham, North Carolina

The Seasons 2025 Glass Handel 2018

Anthony Roth Costanzo’s appearance is made possible with generous support from Ellen Steiner Recent: Oberon, A Midsummer Night’s Dream, Aspen Music Festival; Title Role, Satyagraha, Opéra National de Paris; Title Role, Akhnaten, Het Concertgebouw Next: Miss Elise Traynor, Lincoln in the Bardo, The Metropolitan Opera

Emma Griffin (she/her) Director

Opera Philadelphia debut

Maplewood, New Jersey

Underwritten by the Allen R. and Judy Brick Freedman Venture Fund for New Opera Recent: Director, Eugene Onegin, Wolf Trap Opera; Director, Korngold’s The Silent Serenade, Mannes Opera; Director, Candide, Curtis Opera Theatre Next: Managing Artistic Director, Mannes Opera, 26/27 Season

Thomas Kurzman (he/him) Hair & Makeup Designer

Opera Philadelphia debut

Kenilworth, New Jersey

Recent: Wig Designer, Newsies, The MUNY; Hair & Makeup Designer, Little Shop of Horrors, Westside Theatre; Hair, Wig, & Makeup Designer, The 25th Annual Putnam County Spelling Bee, New World Stages Next: Hair, Wig, & Makeup Designer, King of the Yees, Signature Theatre 12

Artists

Mitridate, re di Ponto Minghao Liu (he/him) Marzio

Il viaggio a Reims 2025

Quingdao, Shandong Province/China Recent: Narciso, Il turco in Italia, Glyndebourne Festival; Belmonte, Die Entführung aus dem Serail, Bard SummerScape; Count Almaviva, Il barbiere di Siviglia, San Diego Opera Next: Don Ramiro, Cinderella, Opera Theatre of Saint Louis

Nola Richardson (she/her) Ismene

Opera Philadelphia debut

Salt Lake City, Utah

Recent: Hildegard von Bingen, Hildegard, LA Opera; Gretel, Hansel and Gretel, Helena Symphony; Dalila, Samson, Oratorio Society of New York Next: Adina, L’elisir d’amore, Opera Orlando

Corrado Rovaris (he/him) Conductor

Sleepers Awake 2026 The Seasons 2025

Bergamo, Italy

Underwritten by Judy and Peter Leone Recent: Conductor, Enrico di Borgogna, Teatro La Fenice; Conductor, Sleepers Awake, Opera Philadelphia; Conductor, A Midsummer Night’s Dream, Teatro de la Maestranza (Seville) Next: Conductor, Ermione, Theater an der Wien

Lauren Snouffer (she/her) Aspasia

Written on Skin 2018

Austin, Texas

Recent: Stella, A Streetcar Named Desire, Opera Theatre of Saint Louis; Sarah Kavalier, The Amazing Adventures of Kavalier and Clay, The Metropolitan Opera; Pamina, Die Zauberflöte, Glyndebourne Festival Next: Euridice, Orfeo ed Euridice, Pittsburgh Opera

Masha Tsimring (she/her) Lighting Designer

Opera Philadelphia debut

New York, New York

Recent: Lighting Designer, Rodelinda, Santa Fe Opera; Lighting Designer, Animal Wisdom, Signature Theatre; Lighting Designer, The Silent Serenade, Mannes Opera Next: Lighting Designer, The Unbelievers, Manhattan Theatre Club

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Artists

Mitridate, re di Ponto Kaye Voyce (she/her) Set & Costume Designer

The Listeners 2024

Milwaukee, Wisconsin

Recent: Costume Design, The Listeners, Den Norske Opera, Opera Philadephia, and Lyric Opera of Chicago; Costume Design, Lucia di Lammermoor, Tiroler Festspiele Erl; Costume Design, Becky Shaw, Broadway Costume Design, Don Giovanni, Opéra National de Paris

Meredith Wohlgemuth (she/her) Sifare

Opera Philadelphia debut

Winter Haven, Florida

Recent: Frasquita, Carmen, Seattle Opera; Marie (cover), La fille du régiment, The Metropolitan Opera; Soprano Soloist, Holiday Concerts, The Cleveland Orchestra Next: Nerea, Deidamia, Hudson Hall

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Orchestra VIOLIN I

FLUTE

Sophia Stoyanovich, concertmaster Meichen Liao-Barnes, assistant concertmaster Natasha Colkett Ran Cheng Maya Shiraishi Maria Im Rachel Segal Isabella Egawa

Brendan Dooley, principal Kimberly Trolier

VIOLIN II

Eliane Menzel, principal Tess Varley, assistant principal Paul Reiser Luigi Mazzocchi Karen Banos Sarah DuBois VIOL A

Jonathan Kim, principal Elizabeth Jaffe Yoshihiko Nakano Stephen Heitlinger CELLO

OBOE

Geoffrey Deemer, principal Evan Ocheret BASSOON

Erik Höltje, principal Emeline Chong HORN

John David Smith, principal Emerson Miller Karen Schubert Jonathan Clark TRUMPET

Frank Ferraro, principal Tessa Ellis T I M PA N I

Martha Hitchins, principal HARPSICHORD

Leon Schelhase, principal

Branson Yeast, principal Vivian Barton Dozor, assistant principal David Moulton Brooke Beazley BASS

Anne Peterson, principal Dimitrios Mattas, assistant principal

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This is your Opera Philadelphia.

Help bring audiences closer to the wonder of opera!

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Artistic & Production Staff

Assistant Director ................................................................................... Colter Schoenfish* Associate Lighting Designer ........................................................................ Krista Smith* Associate Wig /Hair & Make-Up Designer .......................................... Heather Hardin* Fight Director ................................................................................................ John Bellomo Assistant Stage Managers ..................................................... Karly Amato, Lillian Welsh Audio Description .......................................................................................Nicole Sardella Principal Pianist .......................................................................................... Grant Loehnig Continuo Player & Musical Assistant ...................................................... Leon Schelhase Properties Supervisor ....................................... Avista Custom Theatrical Services, LLC Supertitle Author/Operator ............................................................................ Tony Solitro Head Electrican/Programmer ............................................................ John Allerheiligen Head Properties .................................................................................. Samantha Higgins Head Flyman ................................................................................................ James Murphy Assistant Electrician ................................................................................... Heather Pynne

Scene Shop

Carpenter/Welder ................................................................... Pete Mohan, Sean Scanlon Welder .......................................................................................................... Michael Tracey

Costume Shop

Wardrobe Supervisor ..................................................................................... Elisa Hurley Associate Costume Director ....................................................................... Becca Austin Drapers ..................................................... Sarah Mitchell, Kara Morasco, Julie Watson Draper/Tailors ................................................................. Morgan Porter, Althea Unrath First Hands ...................................................................... Patrick Mulhall, Joy Rampulla Stitchers ...................................................................................................... Catherine Blinn

Supernumeraries Mol Diane* MyJae Harris* Chelsea Haynes* Grace Hitchens* Toby Ichniowski*

Cecelia Jaskel Cullen Stephen McCormick* Lane Norris* Maryclaire Pantano* Megan Panter

Al Ro Scout Santoro* Samantha Sheppard* Ashlee Terrill*

*Opera Philadelphia debut Opera Philadelphia thanks the following labor organizations whose members, artists, craftsmen, and craftswomen greatly contribute to our performances: Opera Philadelphia Orchestra Musicians are proud members of the American Federation of Musicians, Local 77-274 American Guild of Musical Artists / The American Guild of Musical Artists, the union of professional singers, dancers, and production personnel in opera, ballet, and concert, affiliated with the AFL-CIO, represents the Artists and Staging Staff for all purposes of collective bargaining.

International Alliance of Theatrical Stage Employees / Local 8 Theatrical Wardrobe Union / Local 799, I.A.T.S.E. United Scenic Artists / Local 829, I.A.T.S.E. Box Office and Front of House Employees Union / Local B29, I.A.T.S.E. Highway Truck Drivers and Helpers / Local 107, Teamsters

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MISSY MAZZOLI / LIBRETTO BY ROYCE VAVREK

LINCOLN IN THE BARDO ON STAGE OCT 19–NOV 14 George Saunders’s prize-winning novel arrives at the Met in operatic form, with Yannick Nézet-Séguin conducting the moving, supernatural story of Abraham Lincoln’s grief over his lost son.

Peter Mattei leads the ensemble cast, opposite Christine Goerke and Opera Philadelphia’s own Anthony Roth Costanzo.

Tickets start at $25 metopera.org 212.362.6000 ILLUSTRATION: DAVID MCCONOCHIE

Peter Gelb MARIA MANETTI SHREM GENERAL MANAGER

Yannick Nézet-Séguin JEANETTE LERMAN - NEUBAUER MUSIC DIRECTOR

Daniele Rustioni PRINCIPAL GUEST CONDUCTOR

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Board of Directors OFFICERS

Charles C. Freyer, Chair Anthony Roth Costanzo*, President Barbara Augusta Teichert, Vice Chair Alexander M. Hankin, Secretary David Low, Treasurer MEMBERS

HONORARY MEMBERS

Ira Brind Lawrence Brownlee William Dunbar Charles C. Freyer Deena Gu Laties Alexander M. Hankin Benjamin Hildner Peter Leone Helen Little David Low Sarah Marshall Agnes Mulroney Katherine L. Niven Nabila Sajid Nancy Sanders Carolyn Horn Seidle Ellen Steiner Barbara Augusta Teichert Lisa Washington Kathleen Weir Yueyi (Kelly) Zhou

Dennis Alter H.F. (Gerry) Lenfest† Stephen A. Madva, Esq., Chairman Emeritus Alan B. Miller Alice W. Strine, Esq. Charlotte Watts A DV ISORY BOA RD

Betsy Z. Cohen Renée Fleming John Hunter Henry Timms

† Deceased * Ex officio 20

Thank You Opera Philadelphia expresses our deepest gratitude to the individuals and institutions whose support of the Annual Fund allows us to bring you Mitridate, re di Ponto. List current as of July 29, 2026.

LE ADERSHIP CIRCLE

CHAIRMAN’S COUNCIL

Ira Brind and Stacey Spector Dani Cohen and Dr. Lucia Carbone TF Cornerstone Judith Durkin Freyer and Charles C. Freyer Katherine and John Karamatsoukas David Low E.A. Michelson Philanthropy Mrs. John P. Mulroney Edith Carol Stein Barbara Augusta Teichert Wyncote Foundation Mr. John R. Alchin and Mr. Hal Marryatt Barbaralee Diamonstein-Spielvogel The Horace W. Goldsmith Foundation Barbara and Amos Hostetter, Pilot House Ms. Lisa D. Kabnick and Mr. John H. McFadden Donald and Gay Kimelman Paul L. King Judy and Peter Leone Andrew J. Martin-Weber Mellon Foundation Leslie Miller and Richard Worley Foundation The Pew Center for Arts & Heritage Nancy and Barry Sanders Katie Adams Schaeffer and Tony Schaeffer Carolyn Horn Seidle Bud and Betty Shapiro The William Penn Foundation

Paul M. Angell Family Foundation Bloomberg Philanthropies The Buck Family Foundation Comcast NBC Universal Four Seasons Hotel Philadelphia at Comcast Center Allen R. and Judy Brick Freedman Venture Fund for New Opera Linda and David Glickstein Ms. Deena Gu Laties, in honor of Willo Carey Hamilton Family Charitable Trust Mark and Helene Hankin Family Independence Foundation Mrs. Sheila Kessler Joel and Sharon Koppelman The H.F. Lenfest Fund The McLean Contributionship National Endowment for the Arts OPERA America Steven Pesner The Presser Foundation Dr. Renée Rollin Michael L. Spolan Ellen Steiner Robert L. Turner

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P L AT I N U M PAT R O N

S I LV E R PAT R O N

William A. Barone & Sylvia K. Lanka-Barone Myron and Sheila S. Bassman Lawrence Brownlee Hauser & Wirth Contemporary Art Gallery Feather O. Houstoun Ro and Martin King Mr. and Mrs. William E. Little Jr. Ms. Jacqueline B. Mars Jeanette Lerman-Neubauer and Joe Neubauer PECO David and Susan Rattner Dr. and Mrs. Andrew Wechsler Ms. Leslie Whipkey Mrs. Kelly Zhou and Dr. Brett Frankel

Anonymous Eugene and Virginia Beier Laura Drake William and Fay Dunbar Dorothea Endicott Mr. Andrew R. Gelber and Dr. Don Schwarz Deborah Glass, in memory of Leonard Mellman Joan and William Goldstein Gray Charitable Trust Greater Philadelphia Cultural Alliance Mr. and Mrs. Jim Groch Howell Lockhart Seiple Trust Stuart A. Schwartz and Sheila Jamison-Schwartz Mr. Kenneth Klothen and Ms. Eve Biskind Camille Dickinson Labarre So-Chung Shinn and Tony W. Lee Anne Silvers Lee and Wynn Lee The Leone Family In memory of Joseph G. Leone Liddy Lindsay Dr. and Mrs. Michael B. Love Susan and Graham McDonald Mrs. Naomi Montgomery† Ms. Katherine L. Niven Pennsylvania Council on the Arts Drs. Richard and Rhonda Soricelli Esther Spear Mr. Andrew Szabo and Ms. Susan M. Long Mrs. Monica Taylor Lotty and Mr. Brendan Lotty Truist Judith W Whellan

D I A M O N D PAT R O N

Aaron Copland Fund for Music Willo Carey and Peter A. Benoliel† Ms. Sarah Billinghurst Solomon Mr. Jeffrey P. Cunard and Ms. Mariko Ikehara Carol S. Eicher Jane Ginsburg and George Spera Bonnie and Lon Greenberg Benjamin Hildner John Otto Haas 1955 Trust Alan Levin William S. Mulherin & Joseph Baker Sarah and Brad Marshall Tom and Jody O’Rourke Bill Robling and Deborah R. Kravetz Mrs. Keith R. Straw Universal Health Services Barbara Tober Lisa Washington Kathleen and Nicholas Weir Ann Ziff G O L D PAT R O N

Mr. James P. Macelderry† and Ms. Marilyn S. Fishman National Sawdust Remmel Foundation

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B R O N Z E+ PAT R O N

Ms. Susan Asplundh Mr. and Ms. Robert S. Duplessis Dr. Frank F. Furstenberg Barbara Glauber Mr. George Graham and Mr. Kyle Merker Thomas S. Heckman and Mary Jo Ashenfelter William Lake Leonard, Esq. Dr. Joseph McGowan 22

B R O N Z E PAT R O N

Anonymous (4) Steven C. Abbott and James Stephens Lydia Alvarez, in memory of Isabelle Ferguson Apgar-Black Foundation Cynthia and George Balchunas Mrs. Joanne Berwind Carrie and J. Bradley Boericke Laurie Wagman In memory of Irvin J. Borowsky Nancy Brodie Elaine Woo Camarda and A. Morris Williams, Jr. Georgette Ciukurescu James Cohen, PE Mr. Stephen Cohen and Mr. John McNett Dr. Garrett FitzGerald Mr. and Mrs. Carl Flaxman Eduardo Glandt and George Ritchie Fred and Michelle Harde Drs. Christina L. and Richard J. Herring Jonathan Marder Dwight and Christina McCawley Ninja Transfers LLC David Craig and Jackie Renner Rush Order Tees Joyce Seewald Sando Mr. and Mrs. Curtis E. Sawyer Ms. Jan Shaeffer and Mr. Dennis Bianchi Kobie Smith Mr. Jeffrey Sosnick Nancy and Joel Streim The Rev. Richard L. Ullman Carol Westfall Dr. Leah Whipple Ms. Karen Ann Wibrew Janet Yaseen Foundation Ms. Ana-Maria V. Zaugg and Mr. David W. Anstice Mr. Robert Zimet PA R T N E R

Anonymous Anonymous, In Honor of Susan Solomon

Judy S Allison Marcia and Larry Arem Mr. Fred Allen Barfoot Karen Bedrosian-Richardson Drs. Deidre and Michael Blank Dr. Regina Blaszczyk & Lee O’Neill Rita B. Bocher Ph.D. Dr. Harmar Brereton and Mrs. Leslie W. Brereton Jim & Maddy Carlson Christian R. and Mary F. Lindback Foundation Ms. Julie Cohen and Mr. Nigel Blower Ms. Therese Dolan Ph.D. Robert and Florence Dolceamore Dolfinger-McMahon Foundation Vivian Barton Dozor Elise Drake Mr. John Driscoll Barbara Eberlein and Jerry Wind James R. Fairburn Thomas Faracco Evan Fenaroli & Darren White Lorraine Gallard and Richard H. Levy Jim and Kay Gately Andrew R. Gelber in memory of Sylvia Gelber Jane W. Goldblum Ms. Sandra E. Goodstein Marsha Lynn Gordon and Javier Garcia Thomas and Debra Lew Harder Dr. and Mrs. William Jantsch Elbrun and Peter Kimmelman Laura LaRosa Mr. and Mrs. David Levy Matthew Ligman Elizabeth Burns Mahoney Mr. John Malcolm Mr. John Mastrobattista and Ms. Madeline Leone Mr. Thomas Miller Judy C. Miner Mr. Benjamin F. Minick Steven Z. Mitchell Abigail & Mark Nestlehutt Rochelle L Ostroff-Weinberg Ms. Jane G. Pepper 23

Patricia Perfect Mr. Stephen Perry Helen E. Pettit Rachel Reynolds Mr. and Mrs. Henry G. Scott Angela B. Silverman George R. Smith Steven A Gold Charitable Educational Institutions Trust Kathleen Ross and Daniel Szyld Ms. Judith Tannenbaum Ms. Marta Barbeosch Varela Jadwiga Villa Arnold Weiss Kenneth and Susan Weiss Reverend Margaret A. Wellert Stephen Zeller S U S TA I N E R

Anonymous (4) George Ahern Estate of Eleanor M. Allen Jean Arnold Jenna and Abraham Axler Sandra Baldino Clark Hooper Baruch Edward Bedrick Mr. and Mrs. Thomas Broadt Tim Broadt Dr. and Mrs. Lawrence Brown Mrs. Karen D. Buchholz Mr. Leo M. Carey and Ms. Sonya D. Mouzon Ms. Moitreyee Chatterjee-Kishore Frank Tobin & Ilene Chester Jonathan Conant Paula Cook Mark Cornish Judith-Ann Corrente Dr. and Mrs. Edwin Coyle Ms. Micaela de Lignerolles Mr. Paul Desanctis Mr. and Mrs. Norman S. Ellman John H. Erickson and Harry I. Zaleznik David L. Eskin Ms. Gita Estersohn Mr. and Mrs. Anthony Fiorenza Barry Fisch Ryan Fleur and Laura Banchero 24

Mr. Dennis Gallagher and Ms. Carol Barthel Esq. Linda Dubin Garfield Michael Gealt Ph.D. Leila Christine Grad, M.D. Mrs. Margaret S. Griffin and Mr. Scott Sillars Cheryl Gunter and Paul Rabe Mrs. Kate Hall Ms. Kathleen Harleman David and Ann Harrison, Esqs.

Mr. and Mrs. Philip Hauser Mr. Daniel Holmes Lee M. Huber F. John Hagele Richard and Judith Hurtig Judith Insell Mr. Mountaine Jonas Richard and Grace Karschner Drs. Ken and Julie Kendall Ms. Carol Sue Klein Jo Ann Klein Beste Kuru Charles B. Landreth Laura A. Lane and David R. DeVoe Drs. Jerry D. & Julie Meranze Levitt Dr. Thomas S. Lin Lawrence and Nancy Ludgus Cirel and Howard Magen Paul J. Martin Jon McMillan Mr. Robert J. McShea, Jr. and Mr. Bill Ward Carol and Tom Miller Moscow Philanthropic Fund Andrew Paciocco Paul Reid Laurie A Rofini Mr. and Mrs. Robert A. Rohde Mr. and Mrs. Daniel R. Ross Katherine Sachs John Pcsolar and Alan Sandman Ed Scarcelle & Dante Reyes Ms. Lesley Seitchik Susan Shaman Ms. Charlotte Sibley Mr. and Mrs. Corey R. Smith Susan Solomon

Mary M Sproat Robin Bender Stevens Mr. John J. Trifiletti Mrs. Sallie Van Merkensteijn Mrs. Peggy Wachs

Dr. R.J. Wallner Ms. Geraldine Wang Dr. Steven and Janet Weinberger Peter J. Wender

To join, visit operaphila.org/support or call 215.732.8400

Your generosity makes extraordinary opera possible.

Because of you, artists can create boldly, audiences can experience something unforgettable, and Opera Philadelphia can continue bringing new voices and new stories to our community.

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Corporate Partners Our Corporate Partners generously support Opera Philadelphia’s artistic and educational programming through contributions and in-kind donations.

Official Piano Service Provider

Official Piano

For more information about sponsorship opportunities, EITC contributions, and corporate partnerships, please email philanthropy@operaphila.org.

Help students explore the magic of opera!

Businesses that support Opera Philadelphia may be eligible for Pennsylvania’s Education Improvement Tax Credit Program (EITC). Help students explore the magic of opera AND earn tax credits! Learn more at operaphila.org/eitc 26

Legato Society If you love the special magic of an Opera Philadelphia experience, consider including the Opera in your estate plans. In doing so, you will join a community of supporters that help to ensure great operatic memories for generations to come. When you bequeath a gift of cash or stock, or make the Opera the beneficiary of your IRA or life insurance policy, you make a truly meaningful gift that costs nothing now, yet benefits the company later.

Making a legacy gift admits you into the Legato Society, which brings you closer to the art you love and connects you to others who share your legacy goals. We are proud to salute our Legato Society members in all Opera Philadelphia performance programs.

To learn more about making a planned gift or about the Legato Society, please contact David Walker, Chief Philanthropy Officer, at walker@operaphila.org.

Anonymous (12) Lorraine† and Ben Alexander† Eleanor M. Allen† Mary Jo Ashenfelter and Thomas S. Heckman Eileen Baird† Mr. Kenneth H. Barr Myron and Sheila S. Bassman Mr. † and Mrs. Robert Bergen Ms. Jane A. Berryman Dr. Claire Boasi Rita B. Bocher Ph.D. Michael Bolton Mrs. Sheila Buckley Constance G. Burton† Ms. Willo Carey Dr. and Mrs. Peter Cassalia† Dr. Thomas A. Childers Dr. Maria Elisa Ciavarelli† Miss Lucy Clemens Joan and Frederick Cohen Dianne and Don Cooney Mr. † and Mrs. Arthur Covello Ms. Ginny L. Coyle Mr. W. Kenneth Cressman and Mr. Lloyd Christy† Ms. Joan DeJean† Ms. Virginia Del Sordo† Robert and Monica Driver Mrs. Antoinette DuBiel Dr. Bruce Eisenstein Eddie and Rachel Eitches James R. Fairburn Mr. and Mrs.† Joseph P. Fanelli, Jr. Ms. Joane D. Fidler† Susan and Bill Firestone

Aron and Joan Fisher Ms. Harriet Forman† Judith Durkin Freyer and Charles C. Freyer Mr. Timothy V. Gardocki Linda Dubin Garfield Mrs. Marjorie E. Garwig† Sylvia Green† Dr. Mark H. Haller† Mrs. Dorrance H. Hamilton† Gail Hauptfuhrer Mr. Charles Head, Jr. and Mr. John Faggotti Stephen T. Janick Mr. and Mrs. Joel E. Jensen† Jeffrey R. Jowett Mrs. Sheila Kessler Gabrielle and Ernest Kimmel Mr. Michael Knight Mr. Tom Laporta Gabriele Lee† Anne Silvers Lee and Wynn Lee John T. Lehman Marguerite and Gerry† Lenfest Mrs. Renee T. Levin† Karen† and Michael Lewis Carol and Howard Lidz Mr. William A. Loeb† Susan M. Long and Andrew J. Szabo Sonja E. Lopatynskyj† Mr. Larry Thomas Mahoney Dwight and Christina McCawley Drs. Joseph and Jane McGowan

Eugene C. Menegon† Mrs. Lois Meyers Mrs. Ellen Cole Miller† Mr. Siddhartha Misra Mrs. Naomi Montgomery† Constance C. Moore† Msgr. Felix M. O’Neill† Helen E. Pettit Kelley Wolfington and Richard Wolfington Mr. William Reily† David Rhody Dr. Scott F. Richard Mr. Laurence T. Robbins† Dr. Reneé Rollin Jeffrey and Kendell Saunders Robert Schoenberg† Carolyn Horn Seidle Mrs. Barbara Crea Shannon Mr. Jonathan H. Sprogell and Ms. Kathryn Taylor Mr. and Mrs. Morton F. Steelman† Mrs. Alise (Lee) Steinberg† Ellen Steiner Mr. Kenneth R. Swimm Mr. Victor Tees Michael Toklish† Christina M. Valente, Esq. Charlotte Watts Dr. and Mrs. Andrew Wechsler Esther C. Weil† George P. White† Drs. Anne and Jim† Williamson Ms. Karen A. Zuro, Ph.D.

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S AV E T H E DAT E

2 026 -2 027 G A L A

Voices for Peace S AT U R DAY, A P R I L 2 4 , 2 0 2 7

Mark your calendars for a powerful celebration of peace through the transformative power of music.

An extraordinary concert at the Academy of Music will bring together several Nobel Peace Laureates with star singers and our full orchestra for a musical program that illustrates what peace requires and what it means. The evening is a special partnership with the American Friends Service Committee, a Quaker peace and justice organization. We will celebrate AFSC’s groundbreaking work on their 110th anniversary and the 80th anniversary of AFSC and British Friends’ acceptance of the Nobel Peace Prize on behalf of Quakers worldwide.

The concert will be followed by a spectacular dinner at the Four Seasons Philadelphia, thanks to their generous sponsorship.

More information to come at operaphila.org/gala Sponsorships on sale October 2026.

Individual Gala tickets and Pick Your Price Concert tickets on sale February 2027.

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Up Next: Suddenly Last Summer

A scene from the world premiere of Suddenly Last Summer as part of Bard SummerScape 2026.

Photo by Maria Baranova

Composer Courtney Bryan began developing her first opera, an adaptation of the feverish Tennessee Williams play Suddenly Last Summer, during her tenure as an Opera Philadelphia Composer in Residence from 2022 to 2024.

“The first 20th-century opera I saw, while still in high school, was André Previn and Philip Littell’s setting of Tennessee Williams’ A Streetcar Named Desire, and it left a lasting impression, seeing how opera with contemporary language could complement the storytelling of such a powerful play,” Bryan said. “The setting of [Suddenly Last Summer] in my city of New Orleans and the various themes of wealth and power, of sexuality and vulnerability, and the blurring of reality and fiction and of sanity and insanity are compelling to me.”

Opera Philadelphia presents the Philadelphia premiere of Suddenly Last Summer in October, directly following the successful world premiere performances this summer at Bard SummerScape. The opera

concerns a family secret and a mother’s desperate attempt to silence the truth. Gideon Lester and Tony-winning director Daniel Fish penned the opera’s libretto.

Mikhaela Mahony revives Fish’s original direction in Philadelphia for a cast led by soprano Mikaela Bennett. Nathan Koci serves as conductor and music supervisor.

The New York Times praised Bryan’s score for its “brisk drama and tightly threaded elements that, miraculously, include room for improvisatory freedom.” Fish’s production was also lauded for how it effectively combines dance, film, painting, song, speech, and more, “piling storytelling onto storytelling in a way that only opera, a synthesis of all art forms, can.”

Suddenly Last Summer Philadelphia Premiere October 22, 23, 25, 2026 Forrest Theatre Pick Your Price tickets now on sale at operaphila.org 29

The Difference We Choose to Make Opera, But Different: A campaign for a future without boundaries

Opera is unlike any other art form. It brings together extraordinary voices, music, theater, poetry, visual art, design, and craftsmanship in a shared experience that invites us to see the world differently. Its future depends on people who believe opera should be fearless in its artistry and continually evolving.

Launched in September 2025, the Opera, But Different Campaign grows from a simple belief: great opera becomes even more powerful when more people have the opportunity to experience it.

Pick Your Price has demonstrated what is possible. By removing barriers, thousands of people have experienced opera for the first time, affirming something vital: when opera is generous in its welcome, people come.

That conviction now shapes every part of the company.

Guided by four convictions, the campaign is helping shape the Opera Philadelphia we are today and the one we aspire to become.

• • • •

Radical Creation & Artistic Excellence Opera as a Civic Right Daring Leadership Financial Resilience

The campaign has reached $27 million toward its initial $33 million goal, providing the necessary resources to keep asking bigger questions about what opera can be and who it can reach. We hope you’ll join us.

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With deepest gratitude to our generous lead supporters of the Opera, But Different campaign Every campaign begins with people willing and wanting to lead. We are honored to recognize the following Leadership Supporters, whose gifts of $25,000 or more are strengthening Opera Philadelphia today while investing in what comes next. The commitments below represent threeyear investments in both the Annual Fund and the Opera, But Different campaign. Thank you so much!

LUMIN A RY CIRCLE $1, 0 0 0 , 0 0 0+

The Wyncote Foundation Barbara and Amos Hostetter, Pilot House E. A. Michelson Philanthropy Carolyn Horn Seidle Barbara Augusta Teichert CRESCENDO CIRCLE $500,000 – $999,999

Ira Brind and Stacey Spector Judy and Peter Leone Mellon Foundation The Estate of Bud and Betty Shapiro VA N G U A R D C I R C L E $250,000 – $499,999

Cohen & Company Barbaralee Diamonstein-Spielvogel Diamonstein-Spielvogel Foundation Donald and Gay Kimelman Paul L. King Mrs. Agnes Mulroney I N N O VAT O R C I R C L E $10 0 , 0 0 0 – $ 2 4 9 , 9 9 9

Katie Adams Schaeffer and Tony Schaeffer Bloomberg Philanthropies

The Buck Family Foundation Thérèse Esperdy Judith Durkin Freyer and Charles C. Freyer Mr . Jeffrey P. Cunard and Ms. Mariko Ikehara Gay and Don Kimmelman, Henry J Kimmelman Foundation David Low Sarah and Brad Marshall Nancy and Barry Sanders Edith Carol Stein Ellen Steiner TF Cornerstone Andrew J. Martin Weber S U S TA I N E R C I R C L E $50,000 – $99,999

Ms. Dominique Laffont Steven Pesner The Tang Fund Lisa Washington C O L L A B O R AT O R C I R C L E $25,000 – $49,999

Betsy Cohen Ms. Deena Gu Laties Helen Little

Annual support is also recognized separately under Annual Fund recognition.

For more information about the Opera, But Different campaign, please contact David Walker, Chief Philanthropy Officer, at walker@operaphila.org

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OUT NOW ON BCM& D RECORDS:

The recording of Opera Philadelphia’s world premiere production is available for streaming and download on all major platforms. Physical CDs available for purchase on Bandcamp.

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Scan to purchase

Opera, but different

Access Pick Your Price tickets to Let ’Em Eat Cake, Aida, and Sitcom before the November 23 On-Sale with Opera Pass

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Year Two!

Artistry Forward Fund Challenge

Opera, But Different Campaign Your support, matched dollar for dollar, through December!

A founding supporter has committed $3 million over four years to match every gift made to Opera, But Different, the first campaign in Opera Philadelphia's history. This incredible community effort is now at the top of year two, with $500,000 in matching funds available between September and December. Every new and increased gift qualifies, and every dollar you give is matched with another.

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The Black Clown photo by Dominic M. Mercier

The Artistry Forward challenge runs through 2029 because it is all about providing Opera Philadelphia with the resources to take real creative risks, to bring opera to everyone and across communities, and to build a company with the financial footing to plan for what's next.

From September to December, one supporter is standing behind every gift you make. Your gift goes twice as far.

To learn more about the campaign or to make a gift, please contact David Walker, Chief Philanthropy Officer, at walker@operaphila.org.

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