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G olijov


Fountain of Tears

A C A D E M Y O F M USI C Feb. 7, 9M, 12, 14, 16M, 2014



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8 Ainadamar 12 Synopsis and Running Time 14 Program Notes 18 Composer 19 Librettist 20 Artists 24 Compañía Antonio



4 Letter from the Chairman

5 Board of Directors 6 Welcome from the General Director 27 Leadership Support and Major Gifts 29 Annual Fund Support 32 Corporate Council 34 Longtime Subscribers 42 Administration

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For information about advertising in Showcase, contact Joe Ciresi at 215-790-5884. Ainadamar is the site where Federico Garcia Lorca was executed in 1936. Photo: Carlos Choin


from the chairman Dear Friends, Welcome back to the Academy of Music. Tonight, our 39th Season continues with the only U.S. appearance of a new Spanish production of Ainadamar, Osvaldo Golijov’s Grammy Award-winning opera about the controversial life and defiant death of Federico García Lorca. I first encountered Ainadamar in 2005, when Fred Haas and I were the underwriters of Peter Sellars’s production at the Santa Fe Opera. I was struck by Golijov’s melding of his Argentinian and Jewish music roots, the opera’s atmospheric sounds of horses’ hooves and water and wind, and how the political action set during the Spanish Civil War resonated in the 21st century. Three years later, I was again struck by the impact of the opera during its excellent Philadelphia premiere by Curtis Opera Theatre and Opera Philadelphia, in the intimate Perelman Theater at the Kimmel Center. That production touched off the annual Curtis co-production that is now a part of each Opera Philadelphia season, in the Aurora Series for Chamber Opera. “Ainadamar” is an Arabic word meaning “fountain of tears” and is a natural spring located in the hills above the city of Granada, the site where Lorca was killed during the Spanish Civil War. The opera was finally performed in Granada in 2011, the 75th anniversary of Lorca’s assassination, thanks to Corrado Rovaris, the Jack Mulroney Music Director at Opera Philadelphia. Maestro Rovaris was the driving force behind the co-production with the Fundación Ópera de Oviedo, Festival Internacional de Música y Danza de Granada, and Festival Internacional de Música de Santander. He conducted this wonderful cast in each Spanish city over the past three years, sharing Golijov’s opera and his own incredible talents with new audiences. Tonight, we are thrilled to share this experience with you. Sincerely,

Daniel K. Meyer, M.d. chairman


Board of DIRECTORS Daniel K. Meyer, M.D., Chairman David B. Devan*, President Frederick P. Huff, Vice Chair Joel M. Koppelman, Vice Chair Alice Strine, Esq., Vice Chair Scott F. Richard, Secretary Thomas Mahoney, Treasurer Stephen A. Madva, Esq., Chairman Emeritus

Benjamin Alexander

Gabriele Lee

Alice Strine, Esq.

Sandra Baldino

Peter Leone

Kenneth R. Swimm

F. Joshua Barnett, M.D., J.D.

Stephen A. Madva, Esq.

Maria Trafton

Willo Carey

Thomas Mahoney

Charlotte Watts

Nicholas Chimicles, Esq.

Daniel K. Meyer, M.D.

Donna Wechsler

Mark Hankin

Agnes Mulroney

Frederick P. Huff

Scott F. Richard

Honorary Members

Caroline Kennedy

Harold Rosenbluth

Dennis Alter

Joel M. Koppelman

Stephen G. Somkuti, M.D.

Alan B. Miller

Beverly Lange, M.D.

Jonathan H. Sprogell

H.F. (Gerry) Lenfest

Ellen Berman Lee

James B. Straw

List as of January, 2014 *Ex officio


Welcome Dear Friends, We have recently been giving a lot of thought to how Opera Philadelphia connects with you, our audience. Some of you have been coming to the opera for nearly two decades. Some of you are here for the very first time, beginning what I hope will be your own lifelong love affair with this beautiful art form and its amazing composers, librettists, singers, conductors, directors, and casts of hundreds of professionals whose backstage talents make onstage magic. At Opera Philadelphia, we strive to be an organization that links highly differentiated artistic experiences to unwavering promises of innovation, connection, and transcendence. Ainadamar is certainly one opera that embodies that organizational philosophy. It is a relative adolescent among its operatic brethren, debuting in 2003 and having been performed about 100 times in various productions (by comparison, it seems Carmen gets 100 stagings every year!). In its relatively short life, Ainadamar has earned tags like “mesmerizing,” “astonishing,” and “extraordinary” from the world’s leading music critics. The opera’s brilliance comes in the way that Golijov, who earned his Ph.D. at the University of Pennsylvania, so effortlessly blends so many musical styles. I had the honor of witnessing this production when the opera was first performed at the Alhambra in Granada, the city where Federico García Lorca was killed. The emotions this opera stirred that night were palpable, as they were in subsequent performances in the cities of Santander and Oviedo. Philadelphia gets an added treat tonight, thanks to the presence of dancers from the internationally renowned Antonio Gades Company. We are thrilled to welcome them to the Academy stage. Thank you for joining us tonight. Whether this is your first night at the opera or your onehundred-and-first, I hope this music speaks to you. And I hope you’ll be back to see what else is in store for the rest of 2014 and beyond.

D a v i d B . D e va n General Director & President @ddevan


OPERA Curtis Opera theatre

The Emperor of Atlantis Opera Explore the Curtis Opera Theatre’s Behind the Series to watch videos; read news, reviews, and program notes; and view details on all vocal performances.

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Ida Kavafian, violin, and friends February 2 at 3 p.m. Dialogues of the Carmelites, part of the Aurora Series for Chamber Opera at the Perelman Theater, is presented in association with Opera Philadelphia and the Kimmel Center for the Performing Arts. This production is funded, in part, through support from the William Penn Foundation and the Wyncote Foundation.

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Alan Morrison, organ, and friends march 23 at 3 p.m.

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Opera Philadelphia

Ainadamar “Fountain of Tears” An Opera in Three Images

Music Osvaldo Golijov

Text David Henry Hwang Conductor Corrado Rovaris

Director Luis de Tavira* Set & Lighting Design Philippe Amand Costume Design Tolita and María Figueroa*

Choreographer Stella Arauzo* Projection Design Julián de Tavira*

Chorus Master Elizabeth Braden

Sound Design Rick Jacobsohn*

Wig & Makeup Design David Zimmerman Projected Titles provided by arrangement with BAY SHORE OPERA TRANSLATIONS. Translation by Lindley l. Becker.

Ainadamar is underwritten by Ms. Barbara Augusta Teichert and Opera Philadelphia's General Director's Council. Additional support is provided by the National Endowment for the Arts.

The orchestra is underwritten by Alice & Walter Strine. Corrado Rovaris is underwritten by Mr. and Mrs. Emilio Gravagno. The Creative Team is underwritten by Gabriele Lee. *Opera Philadelphia debut

Ainadamar “Fountain of Tears” An Opera in Three Images



MARGARITA XIRGU María Hinojosa Montenegro*

2nd SOLO NIÑA Kelly Ann Bixby*


JOSÉ TRIPALDI Patrick Guetti*

NURIA Sarah Shafer

MAESTRO Andrew Bogard


TORERO John Viscardi

1st SOLO NIÑA Justine Aronson* Featuring dancers from Compañía Antonio Gades* *Opera Philadelphia debut Opera Philadelphia gratefully acknowledges the following underwriters whose generous support made Ainadamar possible:

Mrs. Sandra K. Baldino (Compañía Antonio Gades) Mr. and. Mrs. Frederick P. Huff (María Hinojosa Montenegro) Mr. and Mrs. James B. Straw (Marina Pardo) Mr. Peter Benoliel and Ms. Willo Carey (Sarah Shafer) 10

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Synopsis Approximate running time for Ainadamar is 80 minutes, with no intermission. Ainadamar is an Arabic word meaning “fountain of tears” and is a natural spring located in the hills above the Spanish city of Granada, the site where the poet and playwright Federico García Lorca was executed in 1936. Ainadamar tells the story of the playwright’s life and death through the eyes of his muse, actress Margarita Xirgu. When the Spanish Civil War began, Xirgu was on tour in South America and she spent the rest of her life there in voluntary exile. Told in three images of flashbacks by Xirgu, the opera utilizes flamenco-accented orchestra sounds as Xirgu, who had a close working relationship with Lorca, reflects on her meetings with Lorca and his final execution for his progressive political ideals. The opera revisits themes from his most famous play, Mariana Pineda, premiered in 1927, a historic drama about a 19th-century Spanish folk heroine who was executed, similarly, for her political ideals. Margarita Xirgu played the title character in this play. The opera begins in the 1960s, with an 81-year-old Xirgu about to go onstage for what will be her last performance of Mariana Pineda. First Image: Mariana Uruguay, April 1969: Preparing for a performance, a group of young actresses sing the opening ballad of Lorca’s play, Mariana Pineda. Margarita Xirgu looks back forty years to the premiere of Mariana Pineda, as she tries to convey the brilliance

María Hinojosa Montenegro (bottom) is Margarita Xirgu, with Marina Pardo (middle) as Lorca. The role of Nuria (top) will be performed by Sarah Shafer.


of this young author to her student, Nuria. She has a flashback of her meeting with Lorca in a bar in Madrid where he describes his play to her for the first time. It was inspired by a statue of Mariana Pineda that he saw as a child in Granada. Mariana was martyred for sewing a revolutionary flag and refusing to reveal the identity of the revolutionary leaders, including her lover, who deserted her as she then struggled to die with dignity. Margarita compares the eerie foreshadowing of the fate of Mariana and Federico’s subsequent execution. Ramón Ruiz Alonso, the Falangist who executed Lorca, interrupts the flashback. Over the state radio we hear the Falangists extinguish the beginnings of the revolution. Second Image: Federico The actresses sing the ballad from Mariana Pineda again. Margarita is taken back to the summer of 1936, the last time she saw Lorca. The Spanish Civil War has begun and the revolutionaries are in danger. Margarita begs Lorca to come with her theater company to Cuba, but he refuses and stays in Granada to write new plays and poetry. The news of Lorca’s murder is an early warning to the world. Margarita imagines Ruiz Alonso arresting Lorca and leading him, a bullfighter, and a teacher to Ainadamar, the fountain of tears, and making them confess their sins and then shooting them all. Third Image: Margarita The play starts one more time as Margarita is dying and the actresses sing the ballad once again. She tells Nuria that an actor only lives for a moment but that the voice of the people will never die. The Spanish fascist head of state and military ruler, Francisco Franco, has never permitted Margarita Xirgu, the image of freedom, to come back to Spain, but Margarita has kept the plays of Lorca alive in Latin America while they were forbidden in Spain. Lorca’s spirit enters the room to comfort Margarita and they walk toward delirium. Margarita dies as her courage and humanity are passed on to Nuria and the young actresses as they walk onto stage. Margarita sings the final lines to Mariana Pineda, “I am the fountain from which you drink.” The performance can now begin.

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PROGRAM NOTES By Diana burgwyn

Nuria, Lorca and Margarita are surrounded by flamenco dancers in a scene from AINADAMAR. Photo: Carlos Choin

Osvaldo Golijov’s remarkable sound world in the opera Ainadamar is an amalgamation of his own Argentinian/ Jewish heritage and numerous other cultures, including Muslim, Jewish and Christian musical traditions. Above all, the score is suffused with the music of Lorca’s Spain: lush, seductive and with a strong undercurrent of sadness. This dizzying array of folk music, meshed with western classical influences and jazz, has been transformed by the composer into a sophisticated musical language of his own. Even his orchestration is unusual, with guitars, marimbas and various kinds of Spanish percussion instruments added to the symphonic ensemble. Despite this unlikely combination of musical materials, the opera evolves organically, with one mode of musical expression seamlessly flowing into another and the present morphing into the past through flashbacks. 14

The short prelude is a vivid example of another Golijov characteristic: the use of non-musical sounds. It opens with pre-recorded drops of water falling into Ainadamar, the Moorish word for “fountain of tears,” while distant trumpets express what the composer calls “wounded freedom”—freedom desperately sought and denied. This is followed by the hoofbeats of galloping horses, which morph into a flamenco heel dance. The first music we hear is a ballad sung by a group of young girls who function rather like a Greek chorus, commenting on events and predicting the future. Recalling the death of the 19th century political martyr Mariana Pineda, they tell of sadness so great that “the stones began to cry.” That ballad acts as a frame to the opera, recurring over and over until the very end. The leading character in Ainadamar

is the renowned actress Margarita Xirgu, whose grief at Lorca’s death and guilt over not having been able to save him has taken over her life. Golijov has captured these emotions brilliantly in his searing vocal lines. Margarita’s outpourings, often in a high soprano register, are full of tears—tears wept openly and those lodged in her heart. Only at the end of the opera, as she dies, does she move from bitterness to grace and acceptance. The role of the charismatic poet/ playwright Lorca was not in the original score of the opera; Golijov added it during a revision. It was written for a mezzo-soprano rather than a male singer, reflecting Lorca’s androgynous voice and feminine sensibilities. (In real life, both Lorca and Xirgu were gay.) This role contains some of the composer’s most beautiful music, notably the dark and wistful “Aria of the Statue,” in which he reflects on his childhood love of the statue depicting the martyred Mariana Pineda—a statue that for him was not cold and grey but warm and loving. One more key character (a fictional one) for soprano appears in Ainadamar; that is Nuria, Margarita’s gifted student who, over the course of the opera, grows both musically and dramatically, recognizing that it she who must carry on Lorca’s and Margarita’s message to the world. The three roles for female voice achieve their greatest beauty late in the opera when the dying Margarita, Lorca (who has died), and Nuria intertwine their voices in a sensuous trio that is often compared with the trio in Richard Strauss’s Der Rosenkavalier. One of Golijov’s most effective theatrical touches is the insertion of chilling, even ugly sounds. The role of the man who arrested and murdered

Lorca, Ramon Ruiz Alonso, a fascist functionary in Francesco Franco’s authoritarian regime, is cast for a male flamenco singer, whose wailing cries condemn Lorca and his fight for freedom. Similarly, warlike messages broadcast by Radio Falange (the Spanish fascist party) vow to “exterminate the seeds of the Revolution.” On the night before Lorca is murdered, hypnotic voices of the dead and soon-to-be dead surround him, praying to the Virgin of Guadalupe. The bullet that kills him becomes a rhythmic fugue of gunshots, with one becoming thousands, reflecting the huge number of killings that took place during the Spanish Civil War. Over those staccato volleys is heard a heartbreaking lament. There is no comic relief in this tragic opera, but there are lighter scenes, one a raucous conversation between Margarita and Lorca that takes place in a bar, another when Margarita and Lorca sing a duet in the form of a Cuban rumba as they dream of taking refuge in Havana. Osavaldo Golijov knows how to fill our hearts with beauty, pain, and terror, and even occasionally to make us smile. He is a musical magician. From the first bars of Ainadamar to the last, he puts us under his spell and does not let go. Diana Burgwyn is a Philadelphia-based writer and music critic.


Opera Philadelphia ARTISTIC Assistant Director.............Chía Patiño Assistant Conductor & Principal Pianist.........Lisa Keller PRODUCTION/TECHNICAL Technical Director .............. Christopher Hanes Costume Director................ Millie Hiibel Video Conceptual Direction.......................... Gabriel Diazmercado Video Artist ......................... Roberto Bonelli Video Animations................ The Filterfx Fernando Bennazar Marisa Gómez Stage Manager ................... Chelsea Antrim Properties Coordinator........ John Bryant Technical Production Manager........................... Drew Billiau Assistant Lighting Designer........................... Chris Frey

Assistant Choreographer...Antonio Hidalgo Musical Assistant.............Matthew Brower Supertitle Operator............Tony Solitro Master Electrician............... David Cecil Properties............................ Paul Lodes Flyman................................ John Damiani Assistant Electrician........... William Hennessy Assistant Stage Managers......................... Trevor Regars Becki Smith Cutters/Drapers.................. Nell Unrath Rachel Ford Hair & Make-up Coordinator...................... Stephanie Williams

Co-production from the Fundación Ópera de Oviedo, Festival Internacional de Música y Danza de Granada and Festival Internacional de Música de Santander. Compañía Antonio Gades: Stella Arauzo, Alfredo Tejada, Antonio Hidalgo, Jacob Guerrero, Daniel Torres, Carolina Pozuelo, Nazaret Martínez, Maria José López, Esmeralda Manzanas, Mayte Chico. Luisa Serrano, María Nadal, Virginia Guiñales, Miguel A. Rojas, Miguel Lara, Elías Morales, Miguel Vallès, Jairo Rodríguez, Pepe Vento.

Opera Philadelphia performs at the Academy of Music and the Perelman Theater, and is a Resident Company of the Kimmel Center for the Performing Arts. All photography and video or audio recording of this performance is strictly prohibited. A Commitment to Safety: The safety and comfort of visitors, artists, volunteers, and staff at the Academy of Music and the Kimmel Center for the Performing Arts are of paramount importance. In the event of an emergency, audience members will be advised of appropriate procedures by usher and security staffs. At this time, please take note of the exit nearest you. A red, illuminated EXIT sign should be visible, with an arrow indicating the direction of the exit door. Should an emergency arise, you will be directed to leave the auditorium and further instructions will be provided as to the safest and quickest way to exit the building. Patrons who need special assistance should contact an usher.


Portraits In Giving Barbara Augusta Teichert Production Underwriter Ainadamar is underwritten by Ms. Barbara Augusta Teichert. The arts have been an important part of Barbara’s life since childhood. Her father was a professional musician, and while growing up, she often attended the orchestra and theater with her family, including Gilbert & Sullivan operettas. After graduating from Bryn Mawr College, she worked in the box offices of the Annenberg Center and People’s Light & Theatre Company. She recalls seeing a handful of operas over the years (her first real opera experience was a San Francisco production of La bohème as a teenager that starred, she later discovered, Luciano Pavarotti). But when she saw Plácido Domingo perform in the late 1990s, she very quickly became hooked on opera. She purchased a subscription to Opera Philadelphia in 1999 and has remained a cherished member of the Opera family ever since. Barbara is now a bi-coastal opera philanthropist. In addition to providing underwriting support at the Metropolitan Opera, she was a longtime board member at Washington National Opera and is currently on the board of LA Opera, where she has underwritten numerous productions featuring Plácido Domingo. An active Chairman’s Council member, Barbara has underwritten Thiago Arancam’s performances in Tosca (2011) and Manon Lescaut (2012), and she was a production underwriter for 2013’s critically acclaimed Silent Night. When she first found out that Opera Philadelphia would be producing Ainadamar in 2014, she generously offered to underwrite the production. Opera Philadelphia is privileged to have Barbara as a steadfast champion of our commitment to bring world-class opera to Philadelphia, and we are proud to celebrate her landmark investment with her as we bring Ainadamar to the Academy of Music for the first time.

“ When Ainadamar was presented at the Perelman Theater in 2008, I thought it was an amazing piece of musical theater, and I am thrilled to have the opportunity to bring it to a bigger audience at the Academy of Music.”

OSVALDO GOLIJOV, COMPOSER Osvaldo Golijov, born December 5, 1960, grew up in an Eastern European Jewish household in La Plata, Argentina. Born to a piano teacher mother and physician father,  Golijov was raised surrounded by classical chamber music, Jewish liturgical and klezmer music, and the new tango of Astor Piazzolla. After studying piano at the local conservatory and composition with Gerardo Gandini, he moved to Israel in 1983, where he studied with Mark Kopytman at the Jerusalem Rubin Academy and immersed himself in the colliding musical traditions of that city. Upon moving to the United States in 1986, Golijov earned his Ph.D. at the University of Pennsylvania, where he studied with George Crumb, and was a fellow at Tanglewood, studying with Oliver Knussen. In the early 1990s, Golijov began to work closely with two string quartets, the St. Lawrence and the Kronos. Both ensembles were the earliest to project Golijov’s volatile and category-defying style in its true, full form. In 2002, EMI released Yiddishbbuk, a Grammynominated CD of Golijov’s chamber music, celebrating ten years of collaboration with the St. Lawrence String Quartet, featuring clarinetist Todd Palmer. The Kronos Quartet released three recordings featuring their collaborations with Golijov: The Dreams and Prayers of Isaac the Blind, featuring David Krakauer, as well as Caravan, and Nuevo. Kronos also expanded Golijov’s musical family through collaborations with artists such as the Romanian Gypsy band Taraf de Haidouks, the Mexican Rock group Café Tacuba, tablas virtuoso Zakir Hussain, and legendary Argentine composer, guitarist and producer Gustavo Santaolalla, with whom Golijov continues to collaborate. For the past decade Golijov has been inspired by the voice of Dawn Upshaw, for whom he composed several works, including the Three Songs for Soprano and Orchestra, the opera Ainadamar, the cycles Ayre and She Was Here, and a number of arrangements. In 2000, the premiere of Golijov’s St. Mark Passion took the music world by storm. Commissioned by Helmuth Rilling for the


European Music Festival, to commemorate the 250th anniversary of J.S. Bach’s death, the piece featured the Schola Cantorum de Caracas, with the Orquesta La Pasión. For the premiere of Ayre, Golijov founded another virtuoso ensemble, The Andalucian Dogs. Together with Dawn Upshaw, they premiered the piece at Zankel Hall in 2005. The 2006 recording of the opera Ainadamar earned two Grammy awards, one for best opera recording and one for best contemporary composition. Golijov has received numerous commissions from major ensembles and institutions in the U.S. and Europe. He is the recipient of a MacArthur Fellowship and the Vilcek Prize among other awards. He collaborates closely with directors Francis Ford Coppola and Peter Sellars who staged sold-out and critically acclaimed runs of Ainadamar at the Santa Fe Opera and Lincoln Center. In 2007, he was named first composerin-residence at the Mostly Mozart Festival. He is currently co-composer-in-residence, together with Marc-Anthony Turnage, at the Chicago Symphony. He has also been composer-inresidence at the Spoleto USA Festival, the Los Angeles Philharmonic’s Music Alive series, Marlboro Music, Ravinia, Ojai, Trondheim and Holland festivals. Golijov is Loyola Professor of Music at College of the Holy Cross in Worcester, MA, where he has taught since 1991. He also taught for several years at Tanglewood, has led workshops at Carnegie Hall with Dawn Upshaw and teaches in the summers at the Sundance Composers Lab. Recently completed compositions include the soundtracks for Francis Ford Coppola’s Youth Without Youth and Tetro; Azul, a cello concerto for Yo-Yo Ma and the Boston Symphony; Rose of the Winds, premiered by the Silk Road Ensemble and the Chicago Symphony under Miguel HarthBedoya; and She Was Here, a work based on Schubert lieder premiered by Dawn Upshaw and the Saint Paul Chamber Orchestra. Future works include a new song cycle for Emanuel Ax, Dawn Upshaw and Michael WardBergeman; a new opera, commissioned by New York’s Metropolitan Opera; a violin concerto for Leonidas Kavakos, co-commissioned by the Los Angeles Philharmonic, Berlin Philharmonic and London Symphony, to be premiered under Gustavo Dudamel in Los Angeles and Simon Rattle in Berlin; a new work for the St. Lawrence String Quartet; and a chamber orchestra piece commissioned by a consortium of 35 American orchestras in honor of Henry Fogel. - from

DAVID HENRY HWANG, LIBRETTIST According to Opera News, David Henry Hwang is America’s mostproduced living opera librettist. He has written four works with composer Philip Glass, including 1000 Airplanes on the Roof, as well as Bright Sheng’s The Silver River, Osvaldo Golijov’s Ainadamar (two 2007 Grammy Awards) and Unsuk Chin’s Alice In Wonderland. The Chinese American playwright, described by the New York Times as “a true original” and by TIME magazine as “the first important dramatist of American public life since Arthur Miller,” is best known as the author of M. Butterfly. That enduring 1988 work, which won a Tony Award, Drama Desk Award, John Gassner Award, and Outer Critics Circle Award, was also a finalist for the Pulitzer

Prize. To date, M. Butterfly has been staged in over four dozen countries and was the basis for a major motion picture. To describe Hwang as a major American dramatist is something of an understatement. His play, Golden Child, premiered OffBroadway at the Joseph Papp Public Theater, received an Obie Award, and subsequently played on Broadway, where it received three Tony nominations. Yellow Face, which premiered at Los Angeles’ Mark Taper Forum and New York’s Public Theater, also won an Obie Award, and was a finalist for the 2008 Pulitzer Prize. Other plays from his 30 year career include FOB (Obie Award), The Dance & the Railroad (Drama Desk Nomination, CINE Golden Eagle Award), and Family Devotions (Drama Desk Nomination). Hwang’s most recent play, Chinglish, a hit comedy about an American businessman in China, premiered at Chicago’s Goodman Theatre before moving to Broadway, where it received a Drama Desk Nomination for Outstanding New Play. In 2011, it was named Best New American Play by TIME magazine.

March 1 to March 16 2014 presents

Featuring Israel Galván, Pastora Galván, and Rosario Toledo

This project, “Nuevo Flamenco: The Galván Legacy,” has been supported by The Pew Center for Arts & Heritage.

This project has been supported by The John S. and James L. Knight Foundation. The The John S. and James L. Knight Foundation’s arts program aims to engage and enrich Philadelphia through the arts.

For more information please visit: 19

Artists PHILIPPE AMAND (Mexico City, Mexico) SET AND LIGHTING DESIGN 2010 2011

Orphée & Eurydice Phaedra

Recent Activities: Die Frau ohne Schatten, National Opera Company, Mexico; The Caucasian Chalk Circle, National Theater Company of Mexico; Romeo and Juliet, National Theater Company of Mexico.

JUSTINE ARONSON Soprano (Bloomfield, Michigan) 1ST SOLO NIÑA Opera Philadelphia debut. Recent Activities: Soloist, Handel’s Messiah, Monmouth Civic Chorus and Orchestra; Oscar, Un ballo in maschera, Concert Opera Philadelphia; Soloist, Lili Boulanger’s Renouveau, The Bard Festival.

STELLA ARAUZO (Madrid, Spain)

KELLY ANN BIXBY Soprano (Philadelphia, Pennsylvania)



Opera Philadelphia debut.

Opera Philadelphia debut.

Recent Activities: Director, La Pasión, Granada, Spain; Director, Rango, Centro Niemeyer de Avilés, Spain; Director, Fuego, Teatro de la Zarzuela de Madrid, Spain.

Recent Activities: Soloist, Britten’s Biography in Music, Lyric Fest of Philadelphia; Soloist, National Opera Center Recital: New American Songbook, Opera America; Soloist, Villa Lobos’s Bachianas Brasilieras, Black Pearl Chamber Orchestra.

A MAgicAl-MusicAl MenAgerie Sunday, October 27, 2013, 3pm Main Line Reform Temple (MLRT) Thursday, October 31, 2013, 10am Girard Academic Music Program (GAMP) BiogrAphy in Music; BenjAMin Britten  Sunday, November 24, 2013, 3pm The Academy of Vocal Arts love with A twist: A progrAM for those lucky At cArds (unlucky At love) Saturday, February 15, 2014, 7:30pm Lenape Valley Church (Bucks County) Sunday, February 16, 2014, 3pm The Academy of Vocal Arts deAr MArch—coMe in— AMericAn woMen poets in song  Friday,  March 28, 2014, 7:30pm Bryn Mawr College, Goodhart Hall, The Music Room Sunday, March 30, 2014, 3pm The Academy of Vocal Arts


connecting people through song

2013 2014

Founding Artistic Directors: Laura Ward, Randi Marrazzo, Suzanne DuPlantis

Artists ANDREW BOGARD Bass-baritone (Marion, Ohio) 2013

First Priest/Second Armored Man, The Magic Flute

Recent Activities: Dulcamara, L’elisir d’amore, Curtis Opera Theatre; The Abbott, Curlew River, Ballet Opéra Pantomim, Montréal; Leporello, Don Giovanni, Chautauqua Music Festival.

$45.00 3-Course Menu BYOB - No Corkage

ELIZABETH BRADEN (Easton, Pennsylvania) CHORUS MASTER 2004 The Grand Duchess of Gerolstein 2006 Margaret Garner 2013 The Magic Flute 2013 Nabucco (Partial Listing)

Live Piano Nightly

Recent Activities: Director of Music, Wallingford Presbyterian Church; Chorus Master, The Cunning Little Vixen, Curtis Opera Theatre. LUIS DE TAVIRA (Mexico City, Mexico) DIRECTOR Opera Philadelphia debut. Recent Activities: The Cherry Orchard, National Theater Company of Mexico; The Caucasian Chalk Circle, National Theater Company of Mexico; Anita, Secretaria de Cultura de Puebla, Mexico. JULIÁN DE TAVIRA (Mexico City, Mexico)

Your Happily Ever After.

VIDEO DESIGNER Opera Philadelphia debut. Recent Activities: Video Designer, Ainadamar, Opera de Oviedo; Assistant Director, Television Series Sr. Ávila 2, HBO Latinoamérica; Assistant Director, The Caucasian Chalk Circle and Adaptation, The Cherry Orchard, National Theater Company of Mexico. 21

Artists María & TOLITA FIGUEROA (Mexico City, Mexico) COSTUME DESIGNERS Opera Philadelphia debut. Recent Activities: Ainadamar, Oviedo Opera and Granada International Festival, Spain;  Death in Venice, Palacio de Bellas Artes, México; Pozo and God’s Blood, Two short films directed by Guillermo Arriaga. PATRICK GUETTI Bass (Highland Park, New Jersey)

RICK JACOBSOHN (Cortlandt Manor, NY) SOUND DESIGNER   Opera Philadelphia debut.   Recent Activities: Producer and engineer, Baltimore Symphony Orchestra’s broadcast and archival recordings since 2007; Live Sound Reinforcement and Sound Design, John Adam’s El Nino, Boston Symphony Orchestra; Live Sound Reinforcement and Sound Design, Ainadamar, Atlanta Symphony Orchestra. MARÍA HINOJOSA MONTENEGRO Soprano (Sabadell, Spain)



Opera Philadelphia debut.

Opera Philadelphia debut.

Recent Activities: Leggatt, World Premiere of Oscar, The Santa Fe Opera; Title Role,PM Don Page Quichotte, A.P 10-07 3/12/08 12:17 1 Academy of Vocal Arts; Don Basilio, The Barber of Seville, Academy of Vocal Arts.

Recent Activities: Belinda, Dido & Aeneas, Arena di Verona, Italy; Woglinde and Wellgunde, Das Rheingold, Liceu Orchestra; Margarita Xirgu, Ainadamar, Oviedo Opera, Spain. MARINA PARDO Mezzo-soprano (Santander, Spain)



New York Opera


and Broadway

FREDERICO GARCÍA LORCA Opera Philadelphia debut.


Recent Activities: Soloist, Bruckner’s Mass No. 3, Orquesta y Coro de Radio Televisión Española; La Abuela, La vida breve, Orchestre National du Capitole de Toulouse; Frederico García Lorca, Ainadamar, Oviedo Opera, Spain. CORRADO ROVARIS (Bergamo, Italy) CONDUCTOR 1999 The Marriage of Figaro 2006 Cinderella 2013 Nabucco (Partial Listing)

Popular and Classical Study FOR FREE TEST L ESSON, CALL 215.923.7508 CENTER CITY PHILADELPHIA


rg 22

The Ultimate

Recent Activities: Ainadamar, Oviedo Opera, Spain; Betulia Liberata, Festival Wratislavia Cantans, Poland; Brahms’s Variations on a Theme of Haydn and Schubert’s Symphony No. 1, Teatro Petruzzelli, Italy.

Artists SARAH SHAFER Soprano (State College, Pennsylvania)

JOHN VISCARDI Tenor (Manhasset, New York)



2013 Papagena, The Magic Flute

2012 Dancing Master & Lamplighter, Manon Lescaut 2013 Abdallo, Nabucco

Recent Activities: Adina, L’elisir d’amore, Opera Memphis; Mary Lennox, The Secret Garden, San Francisco Opera; Soloist, Handel’s Messiah, Louisiana Philharmonic Orchestra. ALFREDO TEJADA Cantaor (Malaga, Spain)

Recent Activities: Lensky, Eugene Onegin and Almaviva, The Barber of Seville, Academy of Vocal Arts; Soloist, Eve Queler and Friends, Lincoln Center, Alice Tully Hall; Prunier, La rondine, Des Moines Metro Opera. DAVID ZIMMERMAN (Mt. Pleasant, Texas)

RAMON RUIZ ALONSO Opera Philadelphia debut.


Recent Activities: Flamenco singer, First place for Desplante Minero, Festival del Cante de las Minas, Spain; Flamenco singer, First place for best Farruca. Granada, Spain; Flamenco singer, Jerez Festival, Jerez, Spain.

2013 2013 2013

Silent Night The Magic Flute Nabucco

Recent Activities: Wig and Makeup design for The Metropolitan Opera, The Dallas Opera, Santa Fe Opera, 13-14 AVA Ads_Layout 10 1/20/14 9:42 AM Page 1 and Paris National Opera; Magazine features for Opera News, The New Yorker, and Vanity Fair.









St. Mary’s Episcopal Church

St. Paul’s Episcopal Church

The Church of the Holy Trinity


Chestnut Hill

Rittenhouse Square

215 . 7 3 5 .16 8 5 | AVA O P E R A . O R G 23

Compañía Antonio Gades

Compañía Antonio Gades. Photo: Wang Xiaojing

Spanish dancer and choreographer Antonio Gades (1936-2004) founded his first dance company in the 1970s and helped to popularize flamenco on the international stage. Recognized as the greatest Spanish male dancer of his generation and an even greater choreographer, his most notable works included dance adaptations of Prosper Merimée’s Carmen and Federico García Lorca’s Blood Wedding, as well as a featurelength adaptation of Manuel de Falla’s 23-minute ballet El Amor Brujo. In the 1990s, he toured the world with his show Fuenteovejuna, based on Lope de Vega’s play of the same name. A co-founder and artistic director of the Spanish National Ballet, he was a prominent as a political activist in Alicante, where he proclaimed selfdetermination for the Catalan nation during the Spanish Transition between the late 1970s and early 1980s.  Just months before he passed away, Gades created a foundation in charge of looking after his artistic heritage and helping to disseminate his work, promoting a greater knowledge of Spanish dance all over the world. The new Compañía Antonio Gades made its debut in August 2005 in the Roman Theatre of Verona (Italy) with Carmen, which was extraordinarily well-received by critics 24

and audiences alike. The Compañía Antonio Gades is now solely responsible for staging the ballets of the choreographer, keeping the original spirit and guidelines his works were devised with intact. Under the artistic direction of Stella Arauzo (who danced with Gades for many years, taking over from Cristina Hoyos in the performance of Carmen), the new formation has several members from the old company who, together with new faces, ensure the transmission of the lines which characterize the work of Gades, expressing the most profound human concerns, within an aesthetically refined language rooted in the traditions and culture of the Spanish people. After performing Carmen in the Roman Theatre, and touring almost constantly since 2005, Compañía Antonio Gades has recovered for the stage Carmen, Bodas de Sangre, Suite Flamenca and more recently Fuenteovejuna. His work has not only been endorsed by the large number of spectators who have gone to the shows but also the awards received such as the Giraldillo de Oro of the Flamenco Biennial from Seville, the Demófilo award from the Fundación Machado and the award of the Teatro Rojas in Toledo.

opera philadelphia orchestra

Corrado Rovaris, jack mulroney Music Director VIOLIN I Dayna Anderson, Concertmaster Igor Szwec, Assistant Concertmaster Barbara Sonies Charles Parker Diane Barnett Yan Chin Emma Kummrow Karen Banos Donna Rudolph Elizabeth Kaderabek Paul Reiser Pat Adams VIOLA Jonathan Kim, Principal Carol Briselli Julie DiGaetani Ellen Trainer Steve Heitlinger Elizabeth Jaffe  

CELLO Vivian Barton, Principal Jennifer Lorenzo David Moulton Brooke Beazley Dane Anderson Lynne Beiler BASS Miles Davis, Principal James Freeman Anne Peterson Steve Groat   FLUTE Adeline Tomasone, Principal Eileen Grycky Kim Trolier

CLARINET Joe Smith, Principal Allison Herz BASSOON Eddie Burns, Principal FRENCH HORN John David Smith, Principal Angela Bilger TRUMPET Brian Kuszyk, Principal Steve Heitzer TROMBONE Bob Gale, Principal

OBOE Geoffrey Deemer, Principal

TIMPANI Martha Hitchins, Principal PERCUSSION Ralph Sorrentino, Principal Susan Jones Gonzalo Grau HARP Sophie Bruno, Principal CELESTE Linda Henderson LAPTOP Jeremy Flower   GUITAR Adam Del Monte Duane Large

opera philadelphia chorus soprano Veronica Chapman-Smith Noël Graves-Williams Julie-Ann Green Valerie Haber Christine Nass Aimee Pilgermayer Evelyn Santiago Rebecca Siler Lisa Helmel Thomas

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ALTO Jennifer Beattie Joanna Gates Eve E. Hyzer Heidi Kurtz Kate Mallon-Day Maren Montalbano Ellen Grace Peters Paula Rivera-Dantagnan Kaitlyn Tierney


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THE Chairman’s Council Opera Philadelphia’s Chairman’s Council is a passionate group of philanthropists committed to ensuring that the future of opera is right here in Philadelphia. The Council’s collective generosity underwrites more than half of Opera Philadelphia’s artistic expenses each season, including productions in the Academy of Music, the nationally lauded Aurora Series for Chamber

F o r m o r e i n f o r m at i o n ,

Opera at the Perelman Theater, our

c o n t a c t:

annual Opening Night HD broadcast at Independence National Historical Park, and our award-winning programs for children. Clockwise from top: Rita and Philip Harper. American Repertoire Council Director Nathan Gunn and Keith Straw. Kenneth B. and Pamela R. Dunn. Composer Kevin Puts, Opera Philadelphia Chairman Daniel K. Meyer, M.D., and Barbara Teichert. Nick and Kathleen Chimicles.

Annie Burridge, Senior Vice President, Institutional Advancement at 215.893.5906 or at Academy House 1420 Locust Street Suite 210 P h i l a , PA

Portraits In Giving GENERAL D IRECTOR ’S COUNCIL P roduction Under writer The General Director’s Council is a newly formed group of donors who play a pivotal role in the future of Opera Philadelphia. They meet with General Director and President David B. Devan twice each year to discuss artistic plans and strategies. This highly engaged group of opera lovers also enjoys intimate dinners and receptions with principal artists, among many other benefits. The Opera is very grateful to members of the Council for their collective support of Ainadamar. We especially thank co-chairs Ben Alexander and Kenneth Swimm for their leadership.

Ainadamar is supported by the General Director’s Council. Photo: Fernando Daniel Fernandez.

For more information on the General Director’s Council, please contact Christina Deemer, Director of Annual Giving, at 215.893.5904 or

M a k e a d i ff e r e n c e b y pa rt i c i pat i n g i n t h e Op e r a’ s A n n u a l G i v i n g p r o g r a m w h i l e e n h a n c i n g y o u r o p e r at i c e x p e r i e n c e with exclusive donor benefits.

Friends of the Opera Joan Goldstein, Chair Friends support the Opera with annual gifts between $25 and $1,999 and enjoy an enriched connection to the opera with behind-the-scenes opportunities including invitations to the General Director’s Backstage Tour, dress rehearsals, our Between the Notes lecture series, and more! Pat r o n P r o g r a m Donna Wechsler, Chair Members of the Patron Program directly support the company’s productions, artistic initiatives, and community programs through annual gifts beginning at $2,000. Patrons receive the above benefits, plus VIP privileges including personalized ticket service, a private coat check, champagne intermission receptions, meet-the-artist events, travel opportunities, and more! For more information about Annual Giving or for a complete list of donor benefits, please contact Jennifer Dubin, Associate Director, Annual Fund and Development Services, at 215.893.5908 or O F F ICIAL S P ONSOR O F O P ERA P HILA D EL P HIA’ S PATRON P RO G RA M


Photos (clockwise, beginning top right): Patrons James and Nancy Abbott with their children at a dress rehearsal; Patrons Robert V. Taglieri and Timothy Moir with Board Member Ellen Berman Lee; Chairman’s Council Member Barbara Augusta Teichert and tenor Thiago Arancam; Patrons Bruce and Robin Herndon at a meet-the-artists event.

COR P ORATE COUNCIL The Corporate Council generously supports Opera Philadelphia’s artistic and educational programming through contributions and in-kind donations.

2 0 1 3 - 2 0 1 4 S e a s o n Sp o n s o r s

Official Airline

Official Automotive Dealership Official Hotel

Official Sponsor of Opera Philadelphia’s Patron Program

Season Media Partner

Intermission Reception Sponsor

COR P ORATE COUNCIL M E M B ERS Center City Film and Video

Universal Health Services



Bank of America

Kalnin Graphics


BNY Mellon Wealth Management

Menchey Music

Savona Restaurant

Morgan Stanley

Varalli Restaurant

Catering By Design

Exelon Business Services

Moonstruck Restaurant

Cunningham Piano Company

MAC Cosmetics

Termini Bros. Bakery

Donovan Interior Systems, Inc.

Montgomery, McCracken,

Trattoria San Nicola

Evantine Design

Walker and Rhoads, LLP

National Penn Investors Trust


For more information about sponsorship opportunities, or to join Opera Philadelphia’s Corporate Council, please contact Derren Mangum, Manager of Institutional Giving, at 215.893.5924 or



DON G IOVA NNI Ap r i l 2 5 – M ay 4 , 2 0 1 4 | A c a d e m y o f M u s i c Widely regarded as one of the greatest operas ever composed, Don Giovanni returns to the Academy of Music in April, weaving the tale of the legendary rake Don Juan in Mozart’s alternately playful and dramatic musical masterpiece. With an ingenious staging of masquerades, trapdoors and mirrored panels, the production shines a spotlight on opera’s most infamous scoundrel in a timeless classic of comedy and tragedy set to music of limitless genius. Mozart’s anti-hero has a personality so engaging that audiences will wonder why they are rooting for him as he charms and abandons women at will, until his darkest side emerges. When Opera Philadelphia set out to cast this production of Don Giovanni, they went looking for some of opera’s finest young talents. “And a funny thing happened on the way to the Academy,” said David B. Devan, General Director and President of Opera Philadelphia. “As we were casting these roles, we kept finding these great nationallyrenowned singers who had connections to Philadelphia. In many ways, this is like the all-star Philadelphia cast, and that makes us even more excited to share this production with our great city.” A cadre of the most prestigious alumni of the Curtis Institute of Music and the Academy of Vocal Arts come home to star in director Nic Muni’s lavish production. Baritone Elliot Madore (Yamadori in 2009’s Madama

Butterfly), a graduate of the Curtis Institute of Music and a winner of the 2010 Metropolitan Opera National Council Auditions, returns as the beguiling Giovanni. Soprano Michelle Johnson, who made a dazzling Opera Philadelphia debut in 2012 in the title role of Puccini’s Manon Lescaut, returns as Donna Anna, the conflicted object of Giovanni’s desire. The Academy of Vocal Arts alumnus is herself a Grand Prize winner of the 2011 Metropolitan Opera National Council Auditions. American lyric soprano Amanda Majeski (Curtis Institute of Music), hailed by Musical America for the “silvery beauty” of her voice, makes her role debut as the spurned Donna Elvira, with David Portillo (Goro in Madama Butterfly) as Anna’s loyal fiancé, Don Ottavio. Joseph Barron (Curtis Institute of Music), last seen here in Otello, plays Giovanni’s servant, Leporello, while rising American mezzosoprano Cecilia Hall makes her company debut as Zerlina. Maestro George Manahan leads the Opera Philadelphia Orchestra.

TIC K ETS NO W ON SALE O P ERA P HILA . OR G | 2 1 5 . 8 9 3 . 1 0 1 8

Op e r a Philadelphia Encore Society If the Opera has played a significant role in your life, we invite you to pay it forward to future generations by including Opera Philadelphia in your estate plans. Opera Philadelphia’s Encore Society acknowledges the generosity of those individuals who have included the company in their estate plans as an important philanthropic commitment to opera’s future in Philadelphia, and the Society is our way of honoring members today for the legacy they will leave tomorrow. Not only do members enjoy exclusive access to events that allow them to celebrate the impact of their commitment to the organization’s continued artistic growth, but these gifts have the potential to provide valuable tax and income benefits now and in the future.*

Photo Caption: Encore Society members Ben Alexander (left) and Sheila Kessler with baritone Mark Stone at the annual Encore Society Luncheon.

To Join or to Receive M o r e I n f o r m at i o n : Go to or

Contact Rachel McCausland, Manager, Leadership & Legacy Giving, at 215.893.5909 or at *P lease consult your financial and/or legal advisors to determine which type of gift is best for you and for the legal requirements and tax advantages specific to these gifts.

On Saturday, October 26, Opera Philadelphia hosted its 2013–2014 gala, DUENDE, at the Four Seasons Hotel Philadelphia. The evening’s 250 guests enjoyed a Spanish-themed cocktail hour with tapas and sangria, an elegant seated dinner, and live and silent auctions. Entertainment included a musical recital and lively flamenco performance by Pasión y Arte. DUENDE raised more than $150,000 to support Opera on the Mall, Opera Philadelphia’s annual free public HD broadcast at Independence Historical National Park. The Opera would like to thank the event’s Honorary Chairman Romulo L. Diaz, Jr., and members of the gala committee: Nancy Abbott, Eric Allen, Willo Carey, Joan Goldstein, Sharon Koppelman, Ellen Berman Lee, Timothy Moir, Kelley Reilly, and Stephen G. Somkuti, M.D.

General Director and President David B. Devan with soprano Michelle Johnson, who will star as Donna Anna in this season’s Don Giovanni. Photo: Sofia Negron.

Rick Pitcairn and Megan Clark with Board member Alice Strine and her husband, Walter Strine, Pennsylvania State Senator Dominic Pileggi and his wife Diana Pileggi, and Jayne Garrison. Photo: Susan Scovill.

General Director’s Council member John Alchin with Board Member Joel Koppelman and his wife, Sharon Koppelman. Photo: Sofia Negron.

Board Chairman Daniel K. Meyer, M.D. with DUENDE Honorary Chairman Romulo L. Diaz, Jr. Photo: Sofia Negron.


Opera Philadelphia’s 40th Anniversary Season begins with a Gala on Broad Street starring Ailyn Pérez and Stephen Costello Opera Philadelphia kicks off its landmark 40th Anniversary Season with a star-studded Gala on Friday, September 12, 2014. From the stage of the Academy of Music out onto the glorious Avenue of the Arts, celebrate Opera Philadelphia’s legacy under the stars. The spectacular evening features a recital by soprano Ailyn Pérez and tenor Stephen Costello, Vanity Fair’s “match made in verismo heaven.” The duo, who met as students at Philadelphia’s Academy of Vocal Arts, come home to celebrate on the stage where they’ve dazzled in productions like Carmen, Cyrano, and Romeo & Juliet. This once-in-a-lifetime event features:

Elegant Cocktail Reception in the Academy of Music Thrilling Recital from soprano Ailyn Pérez and tenor Stephen Costello Live and Silent Auctions  inner and Dancing in a tented ballroom D on Broad Street Appearances from Opera Philadelphia stars, past and present

Mark your calendars for this spectacular event and the start of Opera Philadelphia’s exciting 40th Anniversary Season!

IN F ORM ATION AT 2 1 5 . 8 9 3 . 5 9 3 4 OR OPER A PHIL A . OR G / G A L A

Administration David B. Devan General Director & President Corrado Rovaris Jack Mulroney Music Director

Mikael Eliasen Artistic Advisor

Nathan Gunn Director, American Repertoire Council

Gary Gansky Chief Financial Officer & Senior Vice President

Annie Burridge Senior Vice President, Institutional Advancement

David Levy Senior Vice President, Artistic Operations

Michael Bolton Vice President of Community Programs

Music Michael Eberhard Artistic Administrator Elizabeth Braden Chorus Master and Music Administrator J. Robert Loy Director of Orchestra Personnel & Orchestra Librarian Colleen Hood Music Staff Assistant Lembit Beecher Composer In Residence Missy Mazzoli Composer In Residence Andrew Norman Composer In Residence Production Alexander Farino Production Manager Drew Billiau Technical Production Manager Christopher Hanes Technical Director Millie Hiibel Costume Director Elizabeth Larsen-Silva Production Coordinator


Institutional Advancement Christina Deemer Director of Annual Giving Ryan Lewis Director of Marketing Frank Luzi Director of Communications Lucy Clemens Director of Audience Services Adele Betz Director of Events Jennifer Dubin Associate Director, Annual Fund & Development Services Derren Mangum Manager of Institutional Giving Rachel McCausland Manager, Leadership & Legacy Giving Michael Knight Assistant Director, Audience Services and Group Sales Kevin Gifford Donor Services Coordinator

Administration Ken Smith Assistant to General Director & Board Relations Coordinator Maurice Marietti Personnel Manager COMMUNITY PROGRAMS Adrienne Bishop Community Programs Assistant Finance Maureen McHale Senior Accountant Counsel Montgomery, McCracken, Walker & Rhoads LLP General Counsel

D av i d B . D e va n General Director & President C o r r a d o R o va r i s Jack Mulroney Music Director

C u r t i s O p e r a T h e at r e




D o n g i o va n n i Ap r . 2 5 – M ay 4 , 2 0 1 4 Ac a d e my o f M u s i c

In association with Opera Philadelphia and the Kimmel Center for the Performing Arts

Mar. 5–9, 2014 P e r e l m a n T h e at e r




Produced by The Philadelphia Orchestra and Opera Philadelphia

m ay 8 & 1 0 , 2 0 1 4 verizon hall

gordon / foglia

a c o ff i n in egypt

Jun. 6–15, 2014 P e r e l m a n T h e at e r

The Aurora Series for Chamber Opera at the Perelman Theater is underwritten by the Wyncote Foundation



Metamorphosis, an Hermès story

« Chaîne d’ancre 24 » bracelet in silver The Plaza at King of Prussia (610) 992-9730

AINADAMAR Program | Opera Philadelphia  
AINADAMAR Program | Opera Philadelphia