The Magic Flute Program | Opera Philadelphia

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contents

Photo: Gary Beechey

OPERA PHILADELPHIA GENERAL INFORMATION

PROGRAM INFORMATION

6 The Magic Flute

4 Welcome

10 Synopsis

14 Background Notes

27 Leadership Support and Major Gifts

16 Artists

5 Board of Directors

29 Annual Fund Support 32 Corporate Council 42 Administration

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3

LETTER FROM OUR LEADERSHIP Dear Friends,

elcome to The Magic Flute, Mozart’s final and perhaps most popular opera.

W

When The Magic Flute premiered in 1791 it thrilled audiences.

The whimsical melodies of Papageno, the heroic, romantic drama of Tamino and Pamina, and the wild coloratura of the Queen of the Night tell a story that integrates comedy, fairytale fantasy, political satire and Masonic idealism. The fact that the opera has been imagined and reimagined many times over the past 222 years is a testament to the enduring greatness of Mozart’s exquisite music.

This dazzling production, conceived by Diane Paulus and General Director & President David B. Devan directed by Ashlie Corcoran, promises to take you on a journey of surprises, whether this is your first or tenth Magic Flute. The production features some of Opera Philadelphia’s favorite singers, including baritone Mark Stone, soprano Elizabeth Zharoff, and tenor Antonio Lozano. We are also thrilled to welcome Rachele Gilmore in her company debut as the Queen of the Night, and Jordan Bisch in his debut as Sarastro.

I am so happy to present this vibrant take on one of the most popular operas in the canon on the heels of February’s Silent Night, a critically acclaimed new American opera, and in advance of this June’s contemporary British opera, Powder Her Face. Here are three unique works, each outstanding on their own, combining in one season with Puccini’s La bohème and Britten’s Owen Wingrave to strike Philadelphia in the heart with an exciting variety of operatic experiences. Our 2013-2014 Season will provide an equally intriguing blend of productions, including another April offering of Mozart when Elliot Madore and Michelle Johnson return to the Academy stage in Don Giovanni.

Opera Philadelphia is tremendously grateful to our Opening Night Sponsor, Macy’s. We also wish to thank all of our partners who continue to support Opera Philadelphia’s efforts to bring great opera to our city.

Sincerely,

David B. Devan General Director & President

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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, Vice Chair Scott F. Richard, Secretary Thomas Mahoney, Treasurer Stephen A. Madva, Chairman Emeritus

Benjamin Alexander

Carol C. Lawrence

Harold Rosenbluth

Dennis Alter

Ellen Berman Lee

Roberto Sella

Sandra Baldino

Gabriele Lee

Stephen G. Somkuti

Elizabeth M. Bowden

Peter Leone

Jonathan H. Sprogell

Willo Carey

Stephen A. Madva

James B. Straw

Nicholas Chimicles

Thomas Mahoney

Alice Strine

Mark Hankin

Daniel K. Meyer, M.D.

Kenneth R. Swimm

Frederick P. Huff

Alan B. Miller

Maria Trafton

Stephen T. Janick

Agnes Mulroney

Charlotte Watts

Joel M. Koppelman

Michael O. Pansini

Donna Wechsler

David Kutch

Bernard J. Poussot

Beverly Lange

Scott F. Richard

List as of March 2013 *Ex officio 5

Opera Philadelphia

The Magic Flute (Die Zauberflรถte) Performed in German with English supertitles

Music Wolfgang Amadeus Mozart

Text Emanuel Schikaneder

Conductor Corrado Rovaris Production Diane Paulus*

Director Ashlie Corcoran*

Set & Costume Design Myung Hee Cho*

Lighting Design Drew Billiau

Chorus Master Elizabeth Braden

Wig & Make-up Designer David Zimmerman

*Opera Philadelphia debut

The Magic Flute Cast

The

in order of vocal appearance

TAMINO Antonio Lozano

MONOSTATOS Joseph Gaines*

FIRST PRIEST Andrew Bogard*

FIRST LADY Devon Guthrie*

PAMINA Elizabeth Zharoff

SECOND PRIEST Christopher Tiesi

SECOND LADY Tammy Coil

FIRST SPIRIT Taylor Bernstein*

THIRD PRIEST Daniel Taylor*

THIRD LADY Katherine Pracht*

SECOND SPIRIT Liana Spiro*

PAPAGENA Sarah Shafer*

PAPAGENO Mark Stone

THIRD SPIRIT Rosalie Good*

FIRST ARMORED MAN Adam Frandsen*

THE QUEEN OF THE NIGHT Rachele Gilmore*

SPEAKER Ben Wager

SECOND ARMORED MAN Andrew Bogard*

SARASTRO Jordan Bisch* *Opera Philadelphia debut Opera Philadelphia is grateful to the underwriters who made The Magic Flute possible. Please see enclosed insert for special acknowledgements.

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Synopsis Act I Prince Tamino is pursued by a serpent. He collapses and is saved by Three Ladies who slay the serpent and leave to tell their queen of his arrival in their land. Tamino revives as Papageno, a birdcatcher, enters. When Papageno claims responsibility for slaying the serpent, the Three Ladies reappear and padlock his mouth as punishment for lying. They give Tamino a portrait of a young woman, with whom Tamino falls immediately in love. She is Pamina, the Queen of the Night’s daughter, and captive of Sarastro. The Queen herself appears and tells Tamino that if he rescues her daughter, Pamina will be his forever. The Three Ladies remove Papageno’s padlock giving him a set of magic chimes, with instructions to accompany Tamino. The Ladies give Tamino a magic flute which will protect him from danger. Three Spirits guide Tamino and Papageno on their journey.

In Sarastro’s palace Pamina is pursued by the lustful slave Monostatos. Papageno saves her and tells Pamina that her mother has sent a handsome prince to rescue her, one who is already in love with her. Pamina is overjoyed and together they reflect on the importance of love.

The Three Spirits bring Tamino to the Temples of Wisdom, Reason and Nature. The Speaker enters from the Temple of Wisdom and informs him that the Queen of the Night is the villain, not Sarastro, as he will understand when he enters the temple. He leaves in search of Papageno, who, with the help of his magic chimes, saves Pamina once more from Monostatos. Sarastro enters and tells Pamina he cannot let her return to her mother. Tamino is brought in and he and Pamina joyfully meet at last. Tamino and Papageno prepare to be tested for admittance to the brotherhood.

— 20 MINUTE INTERMISSION — Act II Near the temple Sarastro leads a prayer to Isis and Osiris, to assist Pamina and Tamino.

Tamino and Papageno begin the first test, during which they must remain silent. The Three Ladies try to tempt them to talk, only succeeding with Papageno.

Pamina is saved from Monostatos with the appearance of the Queen of the Night who demands that her daughter kill Sarastro. Alone, she is once again accosted by Monostatos, but Sarastro enters and chases the slave away. Sarastro comforts Pamina, telling her that love, not vengeance, lives in the walls of the Temple.

In the Temple a hooded crone appears to Papageno, claiming that she is his sweetheart. She disappears and the Three Spirits appear, returning the magic flute and chimes to Tamino and Papageno. Pamina enters but Tamino will not speak to her, leaving her heartbroken.

In the inner sanctum of the temple, Sarastro calls for Tamino and Pamina to be brought forth.

Tamino has two more trials to go, the most dangerous ones.

The old crone reappears to Papageno. He tells her he’d rather have her than nothing. She removes her disguise revealing a beautiful young woman. She’s immediately whisked away, as Papageno is still unworthy of her.

Pamina is prevented from taking her life by the Three Spirits and is reunited joyfully with Tamino, in time to take his last two trials with him, those of fire and water. They emerge triumphant, earning admission to the order as initiates.

The Three Spirits prevent Papageno from taking his own life, reminding him to play his chimes.

Papagena appears and the two lovers are together at last.

The Queen of the Night attempts to seize power from Sarastro but is defeated. All celebrate the triumph of Tamino and Pamina.

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Opera Philadelphia ARTISTIC Assistant Director.............Jen Nicoll Assistant Conductor & Principal Pianist.........Laura Ward Musical Assistant ............Lisa Harer de Calvo PRODUCTION/TECHNICAL Technical Director.............Christopher Hanes Costume Director..............Millie Hiibel Lighting Coordinator.........Drew Billiau Production Stage Manager...............Kerry Masek Properties Coordinator......John Bryant Assistant Lighting Designer.........................Chris Frey Master Electrician.............David Cecil Properties..........................Paul Lodes Flyman..............................John Damiani Assistant Electrician.........William Hennessy

Diction Coach....................Ulrike Shapiro Supertitle Operator............Tony Solitro Spirit Musical Preparation....................Steven Gearhart Assistant Stage Managers........................Trevor Regars

Becki Smith Costume Shop Foremen.....Kevin Ross

Elmo Struck

Althea Unrath Hair & Make-up Artists............................Manuel Jacobo

Jennifer Hill Captain of Supernumeraries............. Catherine Logan

This production of The Magic Flute was originally created for the Canadian Opera Company.

Supertitles by Gunta Dreifelds.

COVERS: First Spirit: Indira Joell; Second Spirit: Michelle Zhong; Third Spirit: Lyndsey Bentham SUPERNUMERARIES: Ellay Alksne, Aurica Hurst, Troy Jackson, Catherine Logan, Jeff Martin, Maria Mavromatis, Melissa Stavey, Jonathan Steadman, Lawrence Taylor, Dave Tukey, Max Vasapoli 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.

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PROGRAM NOTES

BY Diane paulus In creating a new production of The Magic Flute – one of the most beloved of all Mozart operas – the creative team has focused on what makes the story so engagingly theatrical for audiences of every generation. We sought to explore the layers of comedy, fairytale, and myth that come together in live performance. The entire opera has been re-imagined as a play-within-the-play – a performance being created before our eyes by the members of a household and their guests in celebration of the name day of the opera’s heroine, Pamina. It is something out of the world of Shakespearean comedy, where the concepts of the theatre and the stage are presented for what they can reveal to us about our own real-world natures. Pamina and Tamino begin their journey to love and enlightenment as living and breathing actors treading the boards of an outdoor stage.

We have set the action in 1791, the year in which the opera was first performed, against the backdrop of the Enlightenment. The entire play-within-the-play is presented in the open space of a nobleman’s garden, itself a place of enchantment and symbolic power during this historical period. As the drama unfolds, the actors leave the theatre behind and continue to enact their story in an elaborate labyrinth that covers the grounds of the estate. The theatricality of their journey is enhanced by the mysteries of the outdoor world beneath the cover of night where they act out the rituals of the drama. All distinctions between fantasy and reality fade away as their pageant lasts through the night until dawn.

For Enlightenment thinkers, journeying through the architectural spaces created by a labyrinth held a metaphorical significance, as well as an aesthetic appeal. The opera references the rites and rituals of the Freemasons, the Enlightenment society in which Mozart and the librettist Emanuel Schikaneder were lodge brothers. In Masonry, a journey through a maze symbolized the passage from death to re-birth, as well as the cyclical progression from night to day. In our production, especially important is the journey of the heroine Pamina, whose admission to the Temple of Wisdom and participation in the trials by fire and water is essential to the outcome, for only in the union of the male and female do the characters successfully pass through the trials. In this complex world of imagination, illusion, and engaged performance, we hope The Magic Flute will become a new living experience for every member of our audience as well.

— Diane Paulus is an American director of theater and opera who directed this production of The Magic Flute for the Canadian Opera Company in 2011.

Photo from Diane Paulus's original production of The Magic Flute for the Canadian Opera Company. Photo by Gary Beechey.

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Artists TAYLOR BERNSTEIN Soprano (Philadelphia, Pennsylvania)

FIRST SPIRIT

Opera Philadelphia debut.

Recent Activities: Pennsylvania Girlchoir member, Tosca, Carmen, Hansel and Gretel, L’enfant et les sortilèges, and La bohème, Opera Philadelphia; World Premiere of Se Go La by Andrea Clearfield with the Mendelssohn Club of Philadelphia, Pennsylvania Girlchoir.

ANDREW BOGARD Bass-baritone (Marion, Ohio) FIRST PRIEST / SECOND ARMORED MAN Opera Philadelphia debut.

Recent Activities: Spencer Coyle, Owen Wingrave, Curtis Opera Theatre; Méphistophélès, Faust, Curtis Opera Theatre; Colline, La bohème, Chautauqua Music Festival and School.

ELIZABETH BRADEN (Easton, Pennsylvania)

DREW BILLIAU (Rockford, Illinois)

CHORUS MASTER

LIGHTING DESIGN

2004

The Grand Duchess of Gerolstein 2006 Margaret Garner 2012 La bohème (Partial Listing)

2001 The Elixir of Love 2006 Cinderella 2012 La bohème (Partial Listing) Recent Activities: Instant God, Ballet X; English Bride, Theater Exile; Henry V, Lantern Theater.

JORDAN BISCH Bass (Redmond, Washington)

Recent Activities: Director of Music, Wallingford Presbyterian Church; Chorus Master, The Cunning Little Vixen, Curtis Opera Theatre; Silent Night, Opera Philadelphia.

SARASTRO Opera Philadelphia debut.

Recent Activities: Raimondo, Lucia di Lammermoor, Arizona Opera; Don Basilio, The Barber of Seville, Metropolitan Opera; Sarastro, The Magic Flute, Florida Grand Opera.

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Artists MYUNG HEE CHO (Beverly Hills, California)

TAMMY COIL Mezzo-soprano (Centennial, Colorado)

SET & COSTUME DESIGN

SECOND LADY

Opera Philadelphia debut.

Recent Activities: Set Design, Miss Julie, Geffen Playhouse, Los Angles; Costume Design, world premiere of Stuck Elevator, American Conservatory Theater, San Francisco; Set and Costume Design, Emotional Creature, Pershing Square Signature Center, New York.

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BEETHOVEN PAGANINI

2008

Zulma, The Italian Girl in Algiers 2009 The White Cat/ The Squirrel/ The Sidechair, L’enfant et les sortilèges 2011 Mercédès, Carmen Recent Activities: Suzuki (cover), Madama Butterfly concert performance, Opera Santa Barbara; Mezzosoprano soloist, Les Noces and Jeremiah Symphony, Tanglewood Music Festival; Alessandro (cover) and chorus member, Eliogabalo, Gotham Chamber Opera.

Camerata Ama Deus Valentin Radu,

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Artists ASHLIE CORCORAN (White Rock, British Columbia)

JOSEPH GAINES Tenor (Houston, Texas) MONOSTATOS

DIRECTOR Opera Philadelphia debut.

Recent Activities: Artistic Director, Thousand Islands Playhouse; Brothers Grimm, Canadian Opera Company; Don Giovanni, Glenn Gould School, Royal Conservatory of Music; The Ugly One, Theatre Smash.

Opera Philadelphia debut.

Recent Activities: Goro, Madama Butterfly, Central City Opera; Scaramuccio, Ariadne auf Naxos, The Indianapolis Opera; Pedrillo, The Abduction from the Seraglio, Basilio, The Marriage of Figaro, Pong, Turandot, and Goro, Madama Butterfly, Pittsburgh Opera.

ADAM FRANDSEN Tenor (Copenhagen, Denmark)

RACHELE GILMORE Soprano (Cherry Hill, New Jersey)

FIRST ARMORED MAN

QUEEN OF THE NIGHT

Opera Philadelphia debut.

Opera Philadelphia debut.

Recent Activities: Islander, Alcina, Semperoper Dresden; The Duke, Rigoletto, Haifa Symphony, Israel; Soloist, Wüerttembergische Philharmonie Opera Gala, Reutlingen, Germany.

Recent Activities: Amina, La sonnambula, Florida Grand Opera; Olympia, Les contes d’Hoffmann, Teatro alla Scala; Cunegonde, Candide, Portland Opera.

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Artists ROSALIE GOOD Alto (Flourtown, Pennsylvania) THIRD SPIRIT Opera Philadelphia debut.

Recent Activities: Member of Pennsylvania Girlchoir since 2004; Founder, The AcaPolos a cappella group, Springfield Township High School; Member of Pennsylvania Girlchoir, premiere performance of Rituals East & West with the Mendelssohn Club, Church of the Holy Trinity.

DEVON GUTHRIE Soprano (Claremont, California) FIRST LADY Opera Philadelphia debut.

Recent Activities: Bubikopf, Der Kaiser von Atlantis, Central City Opera; Donna Elvira, Don Giovanni, The Juilliard School; Susanna, The Marriage of Figaro, English National Opera.

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ANTONIO LOZANO Tenor (Murcia, Spain) TAMINO 2012

Belmonte, The Abduction from the Seraglio

Recent Activities: Liberto, L’Incoronazione di Poppea, Teatro Real de Madrid; Tamino, The Magic Flute and Ferrando, Così fan Tutte, Baluarte, Spain; Lindoro, The Italian Girl in Algiers, Ópera de Oviedo.

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KATHERINE PRACHT Mezzo-soprano (Philadelphia, PA) THIRD LADY Opera Philadelphia debut.

Recent Activities: Drummer Girl, Der Kaiser von Atlantis, Central City Opera; Prince Orlofsky, Die Fledermaus, Opera on the James; Ms. McLean, Susannah, Florentine Opera.

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Artists CORRADO ROVARIS (Bergamo, Italy) CONDUCTOR 1999 The Marriage of Figaro 2006 Cinderella 2012 La bohème (Partial Listing) Recent Activities: The Barber of Seville, Teatro Verdi di Trieste; Don Carlo, Ópera de Oviedo; La traviata, Teatro Regio di Torino.

SARAH SHAFER Soprano (State College, Pennsylvania) PAPAGENA Opera Philadelphia debut.

Recent Activities: Mary Lennox, The Secret Garden, San Francisco Opera; Adina, The Elixir of Love, Opera Memphis; Barbarina, The Marriage of Figaro, Glyndebourne Festival Opera.

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LIANA SPIRO Soprano (Philadelphia, Pennsylvania) SECOND SPIRIT Opera Philadelphia debut.

Recent Activities: Member of Pennsylvania Girlchoir since 2006; Pennsylvania Girlchoir member, Tosca, Otello, L’enfant et les sortilèges, and Hansel and Gretel, Opera Philadelphia.

MARK STONE Baritone (Carshalton, United Kingdom) PAPAGENO 2007 Ford, Falstaff 2009 Title role, Gianni Schicchi 2010 Germont, La traviata Recent Activities: Title Role, Don Giovanni, Hamburg State Opera; Soloist, Britten’s War Requiem, Royal Philharmonic Orchestra; Morald, Concert performance of Wagner’s Die Feen, Queen Elizabeth Hall, London.

CHRISTOPHER TIESI Tenor (Sarasota, Florida) SECOND PREIST 2010 2011

Gastone, La traviata Spoletta, Tosca

Recent Activities: Tebaldo, I Capuleti e i Montecchi, Curtis Opera Theatre; Nemorino, The Elixir of Love, Chautauqua Institution and Dresden Semperoper; The Italian Singer, Der Rosenkavalier, Chautauqua Music Festival.

BEN WAGER Bass (Havertown, Pennsylvania) SPEAKER 2009

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Collatinus, The Rape of Lucretia

Recent Activities: Title role, Don Giovanni, Kentucky Opera; Il Re, Aïda, Dallas Opera; Count Rodolfo, La sonnambula, Washington Concert Opera.

Artists ELIZABETH ZHAROFF Soprano (Wenatchee, Washington) PAMINA 2012

Konstanze, The Abduction from the Seraglio

Recent Activities: Violetta, La traviata and Pamina, The Magic Flute, Staatsoper Dresden; Marguerite, Faust, Curtis Opera Theatre; Soloist, Opera Gala, Dresden.

DAVID ZIMMERMAN (Dallas, Texas) WIG & MAKE-UP DESIGN 2013

Silent Night

Recent Activities: Wig and Make-up Design for The Metropolitan Opera, Opera Theatre of St. Louis, Santa Fe Opera, Paris National Opera, and Opera Santa Barbara; Wicked, Rocky Horror Picture Show, Show Boat, South Pacific and Evita, Broadway, New York.

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opera philadelphia orchestra

Corrado Rovaris, jack mulroney Music Director VIOLIN I Dayna Anderson, Concertmaster Igor Szwec, Assistant Concertmaster Mei Chen Liao Barnes Charles Parker Barbara Sonies Diane Barnett Yan Chin Elizabeth Kaderabek Donna Rudolph Erica Miller

VIOLIN II Emma Kummrow, Principal Sarah Dubois Paul Reiser Luigi Mazzocchi Heather Zimmerman Tamae Lee Lisa Vaupel Alexandra CutlerFetkewicz

VIOLA Jonathan Kim, Principal Carol Briselli, Assistant Principal Ellen Trainer Julie DeGaetani Evelyn Luise Renee Warnick

CELLO Deborah Reeder, Principal Vivian Barton, Assistant Principal Jennie Lorenzo Brooke BeazleyCzewski Dane Anderson

BASS Miles Davis, Principal James Freeman, Assistant Principal Anne Peterson

FLUTE Adeline Tomasone, Principal Eileen Grycky

OBOE Geoffrey Deemer, Principal Dorothy Freeman

CLARINET Joseph Smith, Principal Allison Herz

BASSOON Natalya Rose Vrbsky, Principal Jacob Smith

FRENCH HORN John David Smith, Principal Karen Schubert

TRUMPET Brian Kuszyk, Principal Frank Ferraro

TROMBONE Bob Gale, Principal Ed Cascarella Phil McClelland

TIMPANI Martha Hitchins, Principal

GLOCKENSPIEL Linda Henderson

TENOR Sang Cho Ryan Fleming Toffer Mihalka DonLeroy Morales Daniel Taylor Paul Vetrano

BASS Gregory Cantwell Nicholas Hay Mark Malachesky John David Miles Frank B. Mitchell III Robert Phillips

opera philadelphia chorus SOPRANO Karen Rogers Blanchard Veronica ChapmanSmith Evelyn Santiago Rebecca Siler Amy Spencer Rebecca Whitlow

22

ALTO Jennifer Beattie Joanna Gates Heidi Kurtz Maren Montalbano Ellen Grace Peters Aimee Pilgermayer

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the Wyncote challenGe Building the New American Opera Company

In the spring of 2012, Opera Philadelphia was thrilled to announce

the Wyncote Challenge, a five-year, $10 million campaign in support

of the ambitious artistic and community programming outlined in the Opera’s 2012-2015 Strategic Plan. The initiative was launched with

a historic $5 million commitment from the Wyncote Foundation at the direction of Opera Philadelphia Chairman Daniel K. Meyer, M.D. and his partner Frederick R. Haas.

The Wyncote Challenge seeks to garner an additional $5 million in new and increased gifts to fund:

O p e r a O N s ta G e Bringing artists and audiences from around the globe together in the spectacular Academy of Music and the intimate Perelman Theater.

Opera iN the City Taking opera to the community through our Random Acts of Culture, our annual HD broadcast to Independence Mall, and provocative productions in unexpected venues throughout the city.

Opera iN the lab Leading the field in the development of new opera through our American Repertoire Program and Composer In Residence program.

Opera philadelphia i s G r at e F u l t O t h e FOllOwiNG suppOrters w h O h aV e m a d e New aNd iNCreased leadership GiFts tO the wyNCOte ChalleNGe:

Wyncote Foundation Kenneth B. and Pamela R. Dunn The Horace W. Goldsmith Foundation Joel and Sharon Koppelman Barbara Augusta Teichert Mr. Richard B. Worley and Ms. Leslie Anne Miller Mrs. Sandra K. Baldino Dow Chemical Company Alice & Walter Strine, Esqs.

Mr. Peter Benoliel and Ms. Willo Carey Gray Charitable Trust Rita and Philip Harper Gabriele Lee Judy and Peter Leone Mr. Thomas Mahoney

Portraits in GivinG lOrraiNe aNd beN alexaNder Encor es a nd Ext ra Innings The arts have been an important part of Lorraine and Ben Alexander’s lives since childhood. Lorraine is a painter and Ben has been attending the opera since he was a boy. Ben joined the Opera Philadelphia Board of Directors in 1998 and, 15 years later, he continues to embody the spirit of philanthropy by giving tirelessly of his time and talents. He and Lorraine have contributed to countless galas and campaigns and are charter members of the Encore Society, which recognizes and honors individuals who have included the Opera in their estate plans.

In 2012, Ben became a co-chair, along with fellow board member Ken Swimm, of the General Director’s Council. In addition to Opera Philadelphia, Lorraine and Ben support many other arts organizations in Philadelphia, including the Philadelphia Museum of Art and the Pennsylvania Academy of the Fine Arts.

Ben is an honorary board member of the Police Athletic League and an emeritus board member of the Philadelphia Orchestra.

He is “very excited” about the recently announced collaboration between the Opera and the Orchestra on a theatrical mash-up of Strauss’ Salome, to be presented in the Kimmel Center’s Verizon Hall in May 2014.

It is impossible to describe Lorraine and Ben Alexander without mentioning their love of the Philadelphia Phillies. Lorraine and Ben— she wasn’t a baseball fan to begin with, but Ben brought her around—have been season ticket holders for more than 60 years, ranking them among the team’s longest continuous full season ticket holders.

why they suppOrt the Opera:

“ Opera Philadelphia is a special organization, from the productions on stage to the people behind-the-scenes. The leadership—from Robert Driver to David Devan and Corrado Rovaris—has been particularly impressive.

Everything about the Opera is moving in the right direction. When you get involved with such a warm and kind group of people, helping them is rewarding in many ways.”

Portraits in GivinG dONNa weChsler

J OaN G OldsteiN

C hai r, Pat r on P r og ram

C h a i r, Friends of the Opera

Donna Wechsler is one of Opera Philadelphia’s most enthusiastic and long standing supporters. She has been a member of the Board of Directors since 2005 and currently serves on the Institutional Advancement committee.

Donna is also a member of the Opera’s Aria and Gala Committees and is a charter member of the Encore Society, which recognizes and honors individuals who have included the Opera in their estate plans. In 2012, Donna became Chair of the Patron Program, a group of committed supporters whose annual contributions strengthen the Opera’s productions and community programs. The recent growth of the Patron Program can be attributed in large part to Donna’s leadership; she has personally recruited many new members.

Joan Goldstein became a staunch advocate for the arts after she retired from a decades-long career as an information technology executive. “I love Puccini! I’m a romantic! Who would think someone with a degree in math would say such a thing?” In addition to her service to the Opera as Chair of the Friends of the Opera and Co-Chair of the Auction Subcommittee for the annual Gala, Joan’s support for the arts extends to the symphony world, where she was recently elected to the Chamber Orchestra of Philadelphia’s Board of Directors. She also serves on the Board of Trustees of the Abramson Center for Jewish Life and the Board of Overseers of the Albert Einstein Healthcare Network.

Growing up in a small Connecticut agricultural community, Donna first fell in love with opera when she heard Mozart’s Marriage of Figaro on the radio. Although it is still one of her favorites, she says that her tastes have evolved since she began subscribing to the Opera in 1999.

“The education I have received in my years of involvement has been incredible,” she said. “My understanding of all opera has become more mature as a consequence of my connection with Opera Philadelphia. I love this organization.” why she suppOrts the Opera:

“ When you give to the Opera, it rewards you in return. When you become a Patron, you become a part of the Opera Philadelphia family and feel a special connection. The opportunities to meet and learn from singers, directors, conductors, and composers in an intimate environment are tremendous! Many of these talented individuals have become friends over the years.”

Her favorite opera is La bohème. She saw the Opera’s October 2012 production twice – live at the Academy of Music and the free HD broadcast on Independence National Historical Park. “Nothing is more fun than watching people watch the opera on Independence Mall. I was impressed with the turnout and the quality of the broadcast. The Opera’s community programs are so intelligent and dynamic. I’m thrilled to be a part of it!” why she suppOrts the Opera:

“ There are so many reasons to become a Friend or Patron! It’s a wonderful group of people.

The benef its are extraordinary – you receive so much in return for your investment.

Everything you do with the Opera feels like it rewards you more than it does the company.”

Join donna and Joan as a part of the Opera philadelphia annual Giving family.

Visit operaphila.org/donate today.

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m a k e a d i F F e r e N C e b y pa rt i C i pat i N G i N t h e O p 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 dubin@operaphila.org

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.

O p e r a p h i l a d e l p h i a’ s 2 0 1 3 G a l a C e l e b r at e s a New Name aNd N e w O p e r at i C w O r k On Saturday, February 2nd, Opera Philadelphia hosted

N.O.W.: A Gala Celebration of New Operatic Work at the Loews Philadelphia Hotel. This dazzling evening celebrated the

Pulitzer Prize-winning opera Silent Night and the American Repertoire Program, Opera Philadelphia’s commitment to

produce an American work in each of ten consecutive seasons, as well as the numerous groundbreaking initiatives recently

launched by the Opera. The gala’s 250 guests enjoyed a cocktail hour, silent and live auctions, and musical performances from

Opera Philadelphia’s newest operas, including Kevin Puts and Mark Campbell’s Silent Night, Theodore Morrison and John Cox’s Oscar (premiering at the Academy of Music in 2015),

and Jennifer Higdon and Gene Scheer’s Cold Mountain (2016).

Celebrity guests included internationally-acclaimed baritone Nathan Gunn, Director of Opera Philadelphia’s American

Repertoire Council, and Council member David Hyde Pierce.

The event raised more than $150,000 for Opera Philadelphia.

Peter A. Benoliel and his wife, gala committee member Willo Carey, with baritone Liam Bonner, whom they underwrote in the role of Lt. Audebert in Silent Night.

General Director David B. Devan; baritone Nathan Gunn, Director of Opera Philadelphia’s American Repertoire Council; N.O.W. Co-Chairs R. Anderson Pew and his wife, Daria; actor David Hyde Pierce, member of Opera Philadelphia’s American Repertoire Council; and Opera Philadelphia Chairman Daniel K. Meyer.

Walter Strine and Board member Alice Strine.

Gala committee member Sharon Koppelman and her husband, Vice Chairman Joel M. Koppelman, with Georgette Ciukurescu and Eliana Papadakis.

Board member Peter Leone with his wife Judy and tenor William Burden, whom they underwrote in the role of Nikolaus Sprink in Silent Night, and his wife Judy Leone.

Opera Philadelphia General Director David B. Devan and Silent Night librettist Mark Campbell with Barbara Augusta Teichert, Production Underwriter for Silent Night, Chairman Daniel K. Meyer, and Silent Night composer Kevin Puts.

iN memOry OF mark h. haller For more than 30 years, Dr. Mark H. Haller was a cherished member of the Opera Philadelphia family as a subscriber, volunteer, and donor. He was endlessly devoted to studying and promoting the art form, and in a final act of quiet generosity, Mark left the Opera an extraordinary gift in his will, ensuring a lasting and significant impact on opera in Philadelphia for generations to come.

Mark’s family recalls that one of his biggest passions throughout his life was opera. He traveled all over the world to see operas, totaling more than 50 productions in over 25 cities outside of Philadelphia, and spent much of his free time studying the art form, preparing pre-performance lectures for his friends and family prior to Opera Philadelphia performances so that they could learn more about the music that played such an important role in his life.

Mark spent most of his professional life as a professor at Temple University in the history department. He was one of the country’s foremost experts on organized urban crime (which he preferred to term ‘Illegal Enterprise’), and a posthumous collection of his papers, “Illegal Enterprise: The Work of Historian Mark Haller” is to be published in 2013. Mark was especially dedicated to the governance of Temple, the cause of civil liberties, and the reform of criminal justice.

A treasured colleague and friend, Mark was equally committed to his students. He loved to challenge them within the criminal justice field, but also encouraged them to expand their horizons beyond their collegiate studies, often inviting them to join him at the opera. Mark frequently purchased multiple subscriptions for his students through Opera Philadelphia’s Sponsor a Student program, and hosted his students for dinner at his home before performances.

Mark was deeply committed to ensuring that his legacy would foster the same love and appreciation for opera that he enjoyed for so many years, and with characteristic foresight and ingenuity, Mark left a transformational gift to the Opera in his will. His gift will ensure that the productions he loved will continue in our city well into the future, and we will think of him every time we bring one of his favorite works to the stage.

pat r O N t r aV e l prOGram trip t O s a N ta F e

Wed n es d a y, J uly 24 – Wednesday, Ju ly 31, 2013

patron program members are invited to join board Chairman dr. daniel k. meyer and General director and president david b. devan on a patron travel program trip to one of america’s premier summer opera festivals, the santa Fe Opera. the highlight of our trip will be the world premiere of Oscar, composer theodore morrison’s opera about the life of Oscar wilde, co-commissioned by Opera philadelphia and the santa Fe Opera. the charismatic countertenor david daniels creates the title role. we will have prime tickets to Oscar and attend a special Opening Night dinner prior to the performance. we’ll also take in performances of rossini’s La donna del lago and Verdi’s La traviata, as well as a behind-the-scenes tour of the santa Fe Opera and a private dinner on the opera grounds.

Featuring deluxe accommodations, private tours, special receptions, and the freedom to explore the galleries, restaurants, and shops of santa Fe at your own pace, this tour offers the finest food, spirits, and culture santa Fe has to offer! this trip is available exclusively to patron program members. space is limited. For more information, please contact Christina deemer, director of annual Giving, at 215.893.5904 or deemer@operaphila.org

the philadelphia OrChestra aNd Opera philadelphia JOiN FOrCes iN First-eVer CO-prOduCtiON: riChard strauss’s SaLOme Opera Philadelphia Chairman Daniel K. Meyer and Richard B. Worley, Chairman of The Philadelphia Orchestra, joined together on March 25 to announce plans for a firstever artistic collaboration in the 2013–2014 Season—a theatricallyinspired production of Richard Strauss’s compelling and provocative masterpiece, Salome.

Two performances in the Kimmel Center’s Verizon Hall are set to take place on Thursday, May 8, and Saturday, May 10, 2014, and will be led by Philadelphia Orchestra Music Director Yannick Nézet-Séguin.

Orchestra music director yannick Nézet-séguin, Opera General director & president david b. devan, and Orchestra president & CeO allison Vulgamore.

“I am so ecstatic that two of Philadelphia’s iconic performing arts organizations will be sharing the stage of Verizon Hall in 2014,” said David B. Devan, General Director and President of Opera Philadelphia. “This partnership is born out of a genuine alignment between our two companies’ shared artistic goals, and together we will be creating an amazing moment of civic pride for our city.”

“This is a thrilling time for us as we prepare to join forces with one of Philadelphia’s flagship cultural organizations in a project that will combine and advance our shared institutional goals of artistic growth, innovation, and reinvigorated concert experiences,” said Allison Vulgamore, Philadelphia Orchestra CEO and President.

Finnish soprano Camilla Nylund will sing the role of Salome, with American bassbaritone Alan Held as Jochanaan. Canadian tenor John Mac Master, who created the role of Casey in Richard Danielpour’s Margaret Garner, will be the lecherous King Herod, and German mezzo-soprano Birgit Remmert will perform as Herodias.

2013–2014 season subscribers may purchase tickets to Salome as an add-on to their philadelphia Orchestra or Opera philadelphia subscription. to subscribe, visit operaphila.org/subscribe or call 215.732.8400. individual tickets will be made available for purchase at a later date.

up N ext at

P O W D e R H e R Fa C e airs the dirty lauNdry OF a ‘dirty duChess’ J u N e 7 – 1 6 | p e r e l m a N t h e at e r

“she is a be ast t O aN e x C e p t iO N al d e Gr e e . ” “she i s a dO N J u aN amO N G wO m e N. ” “ sh e i s iNs atiable, u N N at u ral aNd alt O G e t h er Fa i r ly a p pa l l i NG . ” These are just some of the epithets hurled at Margaret, Duchess of Argyll, in Thomas Adès’ provocative first opera, Powder Her Face. The then 24-year-old composer based his 1995 work on Britain’s so-called “Dirty Duchess,” whose sensational divorce trial, complete with explicit Polaroids and allegations of depraved sexual exploits, riveted Britain in 1963.

The Duke bitterly divorced Margaret on grounds of her nymphomania, producing in court those compromising photos along with a list of her 88 ‘conquests,’ including three members of Britain’s Royal Family and Hollywood stars like Bob Hope, Maurice Chevalier, Douglas Fairbanks, Jr., and David Niven. In her prime, the Duchess’s beauty was mentioned in Cole Porter’s song “You’re the Top.” She and the Duke lived in Scotland’s grand Inverary Castle, featured decades later on the hit BBC TV series Downton Abbey.

But the heart of the opera lies in its depiction of the aging Duchess’s fall from grace. In Opera Philadelphia’s new production of Powder Her Face created by director Will Kerley and set and costume designer Tom Rogers, the audience will feel for the aging ‘it girl,’ living alone in a hotel room she cannot pay for, filled with the possessions she has accrued through decades of materialism. One by one, memories emerge from various dressers and doors, until they threaten to swallow her up.

Powder Her Face, starring soprano Nancy Gustafson as the Dirty Duchess, is presented from June 7-16, 2013 as part of the Aurora Series for Chamber Opera at the Perelman Theater.

The Aurora Series is generously underwritten by the Wyncote Foundation.

Adès and librettist Philip Hensher revel in the licentiousness that spilled into the British tabloids, presenting Margaret’s rise as a wealthy, look-at-me party girl—a Lindsay, Paris and Kim lusting for status in the pre-paparazzi, pre-Internet age. The opera is perhaps most infamous for its musical depiction of a sex act between the Duchess and a waiter.

O r d e r y O u r t i C k e t s t O d ay !

Operaphila.OrG | 215.893.1018

POWDeR HeR FaCe Features expliCit sexual CONteNt aNd adult situatiONs whiCh are iNapprOpriate FOr yOuNG audieNCes.

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 Vice President of Production

Michael Bolton Vice President of Community Programs

Music Michael Eberhard Artistic Administrator Kyle Bartlett New Works Administrator Elizabeth Braden Chorus Master J. Robert Loy Director of Orchestra Personnel & Orchestra Librarian Colleen Hood Music Staff Assistant Lembit Beecher Composer In Residence Missy Mazzoli Composer In Residence Administration Ken Smith Assistant to General Director & Board Relations Coordinator Maurice Marietti Personnel Manager

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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 Lauren Ancona Manager of Marketing Technology Rachel McCausland Manager, Research & Special Gifts Michael Knight Assistant Director, Audience Services and Group Sales Kevin Gifford Donor Services Coordinator

Production Christopher Hanes Technical Director Millie Hiibel Costume Director Kerry Masek Production Stage Manager Drew Billiau Lighting Coordinator Elizabeth Larsen-Silva Production Coordinator COMMUNITY PROGRAMS Adrienne Bishop Community Programs Assistant Finance Maureen McHale Senior Accountant Counsel Montgomery, McCracken, Walker & Rhoads LLP General Counsel Fox, Rothschild, O’Brien & Frankel Special 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

O P E R A AT T H E A C A D E M Y

VERDI

NABUCCO S E P. 2 7 – O C T. 6 , 2 0 1 3

GOLIJOV

AINADAMAR “ F o u n t a i n o f Te a r s ” FEB. 7–16, 2014

MOZART

D O N G I O VA N N I A P R . 2 5 – M AY 4 , 2 0 1 4

AURORA SERIES: CHAMBER OPERA AT T H E P E R E L M A N T H E AT E R Underwritten by the Wyncote Foundation

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MAR. 5–9, 2014

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