2014-2015
YEAR IN REVIEW
NEW PERSPECTIVES
W E N E V E R T R U L Y S E E
U N T I L W E S E E O T H E R P E R S P E C T I V E S
TA B L E O F C O N T E N T S
On the Stage
12
Composers in Residence
44
In the Community
48
52
40th Anniversary Gala 58
70
Support
What’s Next 72
Administration
Produced and edited by Frank Luzi Designed by the Karma Agency Printed by Kalnin Graphics
40TH ANNIVERSARY 03 YEAR IN REVIEW 2014–2015
CRITICAL REVIEWS
VOICES FROM THE WORLD
“ O pera Philadelphia has made a big commitment to new repertoire and the company’s first commission, in partnership with Gotham Chamber Opera, is terrific” The Wall Street Journal
“ D evan
has done
something no one
could have predicted:
He’s made
“ Opera Philadelphia should be praised for taking risks on innovative new operas” Opera Today
“ A s Opera Philadelphia celebrates its
Opera
40th anniversary, there is no abler bearer
buzzy”
Philadelphia Style
Philadelphia
of the city’s heritage”
Philadelphia Magazine
40TH ANNIVERSARY 04 YEAR IN REVIEW 2014–2015
“ O pera Philadelphia has … a wider shift
toward more new music, co-commissions and a general willingness to take risks on unorthodox subjects and genres” The New York Times
“ Coolest. Opera. Ever.” Philadelphia Weekly
“ Along with providing audiences with fresh material, the opera’s new American program has also allowed it to go from being a local company to one that’s global” The Philadelphia Business Journal
“ H aving previously shown its nimbleness with contemporary pieces, Opera Philadelphia now has shown that it can stage world-class productions of mainstream classics” Broad Street Review
“ A mong the U.S. opera companies at the forefront of demonstrating how to evolve—both artistically and from a business-model perspective—is Opera Philadelphia” Nonprofit Quarterly
“ Now in its 40th year, Opera Philadelphia
is launching groundbreaking initiatives that are making the music world stand up and take notice”
The Philadelphia Tribune
40TH ANNIVERSARY 05 YEAR IN REVIEW 2014–2015
B O A R D of DIRECTORS
OFFICERS
MEMBERS
Daniel K. Meyer, M.D.
Benjamin Alexander Sandra K. Baldino F. Joshua Barnett, M.D., J.D. Willo Carey Nicholas Chimicles, Esq. Ady L. Djerassi, M.D. Charles C. Freyer, Esq. Ehab Hammad Mark Hankin Frederick P. Huff Caroline Kennedy Joel M. Koppelman Beverly Lange, M.D. Ellen Berman Lee Gabriele Lee Peter Leone Thomas Mahoney Daniel K. Meyer, M.D. Agnes Mulroney Scott F. Richard Harold Rosenbluth Stephen G. Somkuti, M.D. Jonathan H. Sprogell James B. Straw Alice Strine, Esq. Kenneth R. Swimm Maria J. Trafton Charlotte Watts Donna Wechsler
CHAIRMAN
David B. Devan* PRESIDENT
Frederick P. Huff VICE CHAIR
Joel M. Koppelman VICE CHAIR
Alice Strine, Esq. VICE CHAIR
Scott F. Richard S E C R E TA R Y
Thomas Mahoney TREASURER
Stephen A. Madva, Esq. CHAIRMAN EMERITUS
*Ex officio COMMITTEE CHAIRS
Sandra Baldino BRANDING
Willo Carey
COMMUNITY ENGAGEMENT
Jonathan H. Sprogell FINANCE
Frederick P. Huff GOVERNANCE
Peter Leone
HONORARY MEMBERS
I N S T I T U T I O N A L A D VA N C E M E N T
Dennis Alter Alan B. Miller H.F. (Gerry) Lenfest Stephen A. Madva, Esq.
List as of August 2015
Dear Friends, Opera Philadelphia’s 40th Anniversary Season began with a gala celebration that invited us to experience opera from a new perspective. We sat on the stage of the Academy of Music for
Music Director Corrado Rovaris and stage director Tim
on Broad Street, joined by some of opera’s biggest stars
performances by Eric along with tenor Dimitri Pittas,
a gorgeous recital and then partied in a tented ballroom like Eric Owens, Ailyn Pérez, Nathan Gunn, and Isabel Leonard. The new perspectives just kept on coming
throughout a season praised by audiences and critics from around the world.
The Academy of Music came alive with a dynamic new
production of Rossini’s The Barber of Seville, featuring director Michael Shell’s colorful staging inspired by
Spanish filmmaker Pedro Almodóvar and a scene-stealing
performance by Kevin Burdette as Dr. Bartolo. In February, we presented the second staging of Oscar by composer
Theodore Morrison, with a libretto by the composer and John Cox. This important story about the trial,
imprisonment, and fall from grace of Oscar Wilde, whose
crime was loving another man, came at a time of significant national debate about marriage equality and provided both a star vehicle for countertenor David Daniels and an opportunity to contribute to the dialogue.
In March, we moved to the Perelman Theater at the
Kimmel Center for the Performing Arts for a creative
Albery guided an amazing cast, resulting in stunning
soprano Leah Crocetto, baritone Troy Cook, and bass Morris Robinson.
And then in June, this season of celebration concluded
brilliantly with the company’s first World Premiere since our very first season. Charlie Parker’s YARDBIRD was
nothing short of a revelation. Praised by the New York Times, Wall Street Journal, Denver Post, Opera Today,
Financial Times, and many more, the opera by composer Daniel Schnyder and librettist Bridgette A. Wimberly
signaled to the world that the future of American opera is being written in Philadelphia.
In the pages ahead, we look back at this special anniversary season, one that I am sure all of us who love opera will
be talking about for many years to come. I thank all of you who helped to make this season possible. Your devotion
to opera and your support of this company made our 40th season a year to remember! Sincerely,
staging of Richard Strauss’s Ariadne auf Naxos with the
stars of tomorrow from Curtis Opera Theatre. We then
welcomed home Philadelphia’s own Eric Owens to make his role debut as King Philip II in a new production of
Verdi’s Don Carlo. I was so proud of how Jack Mulroney
Daniel K. Meyer, M.D. CHAIRMAN
40TH ANNIVERSARY 07 YEAR IN REVIEW 2014–2015
“The loss of New York City Opera has led Opera Philadelphia to boldly step into the space where an opera company producing new and challenging works should be” –THE DAILY BEAST–
Cover photo and above: Lawrence Brownlee as Charlie Parker in the World Premiere of Charlie Parker’s YARDBIRD. Photo by Dominic M. Mercier.
In opera, we work in many different timelines. Planning productions, commissioning new works, and casting roles take place years before an opera comes to the stage. In the course of brainstorming with artists, we often have to pause to remind ourselves of what year it is. FOR EXAMPLE: In 2011, we had our first conversation with the
Throughout this season, we were so proud of how our artists
II in Don Carlo with Opera Philadelphia. Four years later, as
perform. David Daniels became Oscar Wilde to tell a story of
great Eric Owens about making his role debut as King Philip part of our 40th Anniversary Season, we all enjoyed his brilliant
portrayal of the troubled tyrant. The wonderful soprano Leah Crocetto made her company and role debuts as Elisabeth in
the same production, and her voice blew us away to the point that we were talking about having her return to tackle another challenging role in 2019 or 2020.
approached these roles that they had spent years preparing to persecution over gay love. Lawrence Brownlee became Charlie Parker to honor a legendary musician whose demons ultimately
consumed him. Eric Owens–one of the nicest men we have ever met–channeled his inner bad guy to become a truly terrifying
despot. A cadre of young singers from our Emerging Artists Program tackled new roles for the first time.
One of the great joys of working at Opera Philadelphia is
We could go on and on about the many artistic achievements
Brownlee, David Daniels, Angela Brown, Christine Goerke,
an insider’s perspective from the stages of the Academy of Music
speaking with tremendous artists like Eric, Leah, Lawrence Stephanie Blythe, Isabel Leonard, and Lisette Oropesa about coming to Philadelphia to create the roles that THEY want
to sing. Providing opportunities for artists to create their most imaginative and inspired work is a core value at Opera
Philadelphia. Our recently-concluded 40th Anniversary Season
of our 40th Anniversary Season, but we thought you might like and the Perelman Theater. In the pages ahead, you’ll hear from the many artists who contributed their talents to this very
special year. We thank each of them for being a part of our 40th Season, and we thank all of you who made it all possible.
featured five incredible new productions, and at the heart of
each of them was the magic of a team of creative artists–directors,
conductors, designers, musicians, and, in two cases, composers and librettists–joining together with principal singers to tell a story through music.
David B. Devan
GENERAL DIRECTOR & PRESIDENT
Corrado Rovaris
JACK MULRONEY MUSIC DIRECTOR
40TH ANNIVERSARY 10 YEAR IN REVIEW 2014–2015
NEW PERSPECTIVES Opera Philadelphia Board Chairman Daniel K. Meyer, M.D., General Director & President David B. Devan and Jack Mulroney Music Director Corrado Rovaris. Photo by Michael Branscom.
40TH ANNIVERSARY 11 YEAR IN REVIEW 2014–2015
PRODUCTIONS
GIOACHINO ROSSINI SEPTEMBER 26-OCTOBER 4, 2014 ACADEMY OF MUSIC
Rosina (Jennifer Holloway) refuses to believe when Dr. Bartolo (Kevin Burdette) tells her that Lindoro is not being honest with her. Photos by Kelly & Massa.
40TH ANNIVERSARY 12 YEAR IN REVIEW 2014–2015
(Left to right) Almaviva (Taylor Stayton) Don Basilio (Wayne Tigges) Figaro (Jonathan Beyer)
CAST
Rosina (Jennifer Holloway) Berta (Katrina Thurman) Dr. Bartolo (Kevin Burdette).
Jonathan Beyer
Katrina Thurman*
Jennifer Holloway
Sean Plumb*
Taylor Stayton
Johnathan McCullough*
FIGARO
ROSINA
C O U N T A L M AV I VA
B E R TA
FIORELLO
AN OFFICER
Kevin Burdette
DOCTOR BARTOLO
Wayne Tigges* DON BASILIO
C R E AT I V E TEAM
PRODUCTION UNDERWRITERS
Corrado Rovaris
Alice and Walter Strine, Esqs.
CONDUCTOR
Michael Shell* DIRECTOR
Shoko Kambara* SET DESIGN
Driscoll Otto*
Ady L. Djerassi, M.D. and Robert Golub, M.D.
Elizabeth Braden
CHORUS MASTER
David Zimmerman WIG & MAKE-UP DESIGN
“ Truly inspired”
Joe Gladstone
Parterre Box
S TA G E M A N A G E R
“ O ne big lollipop for the eyes…with Rossini’s music sounding fit and lively amid a cast of first-rate singers.”
CHORUS
ARTIST UNDERWRITERS
LIGHTING DESIGN
Opera News
The Estate of Harriet Forman
Amanda Seymour*
COSTUME DESIGN
“ B right, inventive and attractive”
ORCHESTRA
* Opera Philadelphia debut
The Philadelphia Inquirer
40TH ANNIVERSARY 13 YEAR IN REVIEW 2014–2015
J E N N I F E R H O L L O WAY
Mrs. Kay Bossone
TAY L O R S TAY T O N
Dr. and Mrs. Andrew Wechsler WAY N E T I G G E S
An Anonymous friend J O N AT H A N B E Y E R
Co-production with Opera Theatre of St. Louis
PRODUCTIONS
THE SHOW MUST GO ON…EVEN WHEN A M U S TA C H E W O N ’ T S TA Y O N ! A S I R E C A L L , Wayne’s mustache started
Instead, Wayne decided, as would be in line with the
“La Calunnia.” Wayne was sitting at the desk and,
fix the mustache out in the open, thereby implying
malfunctioning on opening night relatively early on in ever the pro, turned his head slightly so that the left side of his face was upstage, allowing him to try
subtly to reattach the mustache. That fix worked
for a brief time; unfortunately, “Calunnia” is a wordy aria, and in the battle between moving upper lip and
ever lessening-adhesive, the adhesive had no chance. Wayne tried valiantly a couple more times to reapply
the ’stache without the audience’s noticing. Finally
though, by the time Wayne was doing a dance routine and adding upper lip sweat, half of the mustache
became detached and started just hanging limply over the left side of Wayne’s mouth.
So…what to do? An appreciable portion of the aria
sleazy, Vegas-act aura of his character, to shamelessly
that Basilio, not Wayne, was wearing a fake mustache. Once Wayne openly and unabashedly fixed his
mustache, with all the audience to see, I took that as a cue that I could reference his mustache re-application dance. So I started playing with MY mustache, pretending to reattach it to my face as Wayne was doing—which made sense, in a way, as Basilio, in
the aria, is teaching Bartolo about how
to spread calumny. The impressionable Bartolo understood, therefore, that
playing with a mustache, maybe even getting a fake one and gluing it on,
is part of the process of spreading calumny.
and scene remained, and it seemed fruitless and
From that point forward, we just started
I suppose he could have opted to pull the whole thing
eye when I played with my mustache
distracting to try to keep reattaching the mustache. off and hope nobody would be too bothered by the
break from the world we were creating in the scene, but that didn’t seem ideal, either.
having fun. Wayne got a twinkle in his
“ In the battle between moving upper lip and ever lessening-adhesive, the adhesive had no chance.”
and went back after his own with even greater vigor.
At one point, it felt like we were channeling the
“Night at the Roxbury” guys from Saturday Night Live—
40TH ANNIVERSARY 14 YEAR IN REVIEW 2014–2015
an apt duo to channel, as Wayne’s outfit was very
similar to Will Ferrell’s outfit in that sketch, with
a purple suit, a necklace, and no tie–who have a nervous Above: Dr. Bartolo (Kevin Burdette) and his maid, Berta (Katrina Thurman).
Right: As Don Basilio, Wayne Tigges experienced an opening night wardrobe malfunction starring his mustache. Photos by Kelly & Massa.
tic that manifests itself in a nose rub that is not so far removed from our mustache rub.
It was a total gas, and it felt part and parcel of the production and of Wayne’s and my collaboration:
By the end of the aria, the mustache rub was as much
we had spent hours improvising together in rehearsal,
hair. Wayne received a characteristically big applause
to get the chance to improvise with him onstage with
of a character trait as Basilio’s hip thrust and greasy
so it felt totally safe and natural–not to mention fun—
when he struck his pose at the end of the aria; once
the audience eating it up!
he broke the pose, I stood up to begin the subsequent recitative, but the audience kept applauding, so I nodded my head, smiled at and gesticulated to
Basilio—half acknowledging the great points Basilio had just made and half acknowledging Wayne’s
well-earned response–and then sat back down. As the applause began to fade in earnest, I wondered if we might not be able to milk the applause a bit more,
Incidentally, Bartolo references Basilio and “la
calunnia” by name in Act II, and I couldn’t resist calling back to Act I and giving my mustache one
last good rub. The audience caught the reference—at
that point it was like a big inside joke among Bartolo, Basilio, and the audience–and they responded with a fantastic laugh!
so I gave Wayne a knowing laugh, uttered an
incredulous “la calunnia” in a Basilio-esque voice, and then rubbed my mustache one more time.
Wayne responded in kind, and the audience started laughing and applauding again!
Kevin Burdette
DOCTOR BARTOLO
40TH ANNIVERSARY 15 YEAR IN REVIEW 2014–2015
PRODUCTIONS
“Singing at Opera Philadelphia is a real joy for me. Having gone
to Curtis, Opera Philadelphia was such a part of my musical upbringing.” Jonathan Beyer as Figaro. Photos by Kelly & Massa.
Rinat Shaham as Carmen and Jonathan Beyer as Escamillio in 2011’s Carmen.
MY DEBUT AS ESCAMILLO
in Carmen in 2011 was
a lot of fun…although it gave me a horrifying moment during my final duet on our last performance. I had knelt down in a snug Toreador costume and split my pants open…it was not my proudest moment. So when Opera Philadelphia asked me to sing a title role to open their 40th Anniversary Season, I decided I was going to lose weight before I performed there again! Haha.
Singing Figaro in The Barber of Seville was a dream. To see how
the company has grown in the past few years was mind-blowing.
The excitement and energy behind the production, the season, and the gala was tremendous. I will always remember laughing so hard during the show with my outrageously funny colleagues, looking down and seeing the smiling Corrado Rovaris, and wearing beautifully colored costumes…that never split.
Jonathan Beyer FIGARO
40TH ANNIVERSARY 17 YEAR IN REVIEW 2014–2015
vvv
PRODUCTIONS More than 6,000 people attended the Opera on the Mall broadcast of The Barber of Seville. Photos by HughE Dillon.
OPERA ON THE MALL SEPTEMBER 27, 2014 I N D E P E N D E N C E N AT I O N A L H I S T O R I C A L PA R K
“With blankets in hand and coolers filled with goodies, thousands of folks packed onto Independence Mall to watch Opera Philadelphia’s per for mance of The Barber of Seville as it played on two large screens.”
CBS Radio “More than 6,000 people filled Independence Park to watch Opera Philadelphia‘s free broadcast of Rossini’s The Barber of Seville.”
Philadelphia Magazine
O pera on the Mall is made possible through the generous support of PNC Arts Alive, The William Penn Foundation, and The Wyncote Foundation.
Top and bottom: Attendees posed in a special opera-themed photo booth. Middle: Cast members Jennifer Holloway, Jonathan Beyer, Johnathan McCullough, Katrina Thurman and Sean Michael Plumb clown around in the photo booth. Photos by CJ Dawson.
40TH ANNIVERSARY 19 YEAR IN REVIEW 2014–2015
PRODUCTIONS
THEODORE MORRISON AND JOHN COX F E B R U A RY 6 – 1 5 , 2 0 1 5 ACADEMY OF MUSIC EAST COAST PREMIERE
Oscar (David Daniels) encounters numerous horrors while in Reading Gaol. Photo by Kelly & Massa.
CAST
David Daniels*
OSCAR WILDE
Heidi Stober*
ADA LEVERSON
William Burden FRANK HARRIS
Dwayne Croft*
WA L T W H I T M A N
Reed Luplau*
LORD ALFRED DOUGLAS (“BOSIE”)
Joseph Gaines
INSPECTOR LITTLECHILD & FIRST P R I S O N WA R D E R
Benjamin Sieverding*
INSPECTOR KEARLEY & SECOND PRISON WA R D E R
Wayne Tigges
JUSTICE SIR ALFRED WILLS & COLONEL ISAACSON
Ricardo Rivera*
THOMAS MARTIN & HOTEL MANAGERS
40TH ANNIVERSARY 20 YEAR IN REVIEW 2014–2015
Roy Hage*
PRISON CHAPLAIN
Jarrett Ott*
PRISON INFIRMARY PAT I E N T # 1
Thomas Shivone
PRISON INFIRMARY PAT I E N T # 2
Toffer Mihalka BALIFF
“An absorbing theatrical experience.” The Baltimore Sun
“Oscar contains several powerful and moving moments.” Opera News
“David Daniels’s singing is superb, displaying more power than we hear in baroque operas.” The Opera Critic
“The City of Brotherly Love is having an affair with Oscar Wilde.” The Wall Street Journal
C R E AT I V E TEAM
Evan Rogister* CONDUCTOR
Kevin Newbury DIRECTOR
David Korins* SET DESIGN
David C. Woolard*
COSTUME DESIGN
Rick Fisher*
LIGHTING DESIGN
Elizabeth Braden
CHORUS MASTER
David Zimmerman WIG & MAKE-UP DESIGN
James Daniel* A S S I S TA N T DIRECTOR
Chelsea Antrim
S TA G E M A N A G E R
* Opera Philadelphia debut
PRODUCTION UNDERWRITERS
ARTIST UNDERWRITERS
Wyncote Foundation
Mrs. Sandra K. Baldino
Judy and Peter Leone Mr. Richard B. Worley and Ms. Leslie Anne Miller Alice and Walter Strine, Esqs. ORCHESTRA
Estate of Ellen Cole Miller
D AV I D D A N I E L S
Mrs. John P. Mulroney WILLIAM BURDEN
Scott F. Richard HEIDI STOBER
American Repertoire Program Co-production and co-commission with The Santa Fe Opera
CHORUS
Seán Curran
CHOREOGRAPHER
40TH ANNIVERSARY 21 YEAR IN REVIEW 2014–2015
PRODUCTIONS
E X PA N D I N G M I N D S T H R O U G H A N E X PA N D I N G REPERTOIRE As composer and co-librettist of Oscar, a new opera based on a controversial historical subject that offers much to connect it to current American life, I would like to thank Opera Philadelphia for its decision to co-commission and co-produce this work with The Santa Fe Opera.
I AM DEEPLY GRATEFUL to both companies for
One of the most impressive features of Opera
and amazing designers led by the great David Daniels
program. The trial and imprisonment of Oscar
hiring an extraordinary team of performing artists and Kevin Newbury. That Oscar was presented during
Opera Philadelphia’s 40th Anniversary year in the midst of a decade-long commitment to present ten new
American operas makes me feel especially happy. Its commitment to commissioning many new works
ranks Opera Philadelphia among the most daring, ambitious and exciting of American opera companies.
Philadelphia is its community educational outreach Wilde for the “crime” of “gross indecency” (the
Victorian legal term against expressing a person’s homosexuality) might have presented myriad challenges to a less sensitive and informed staff
as they prepared educational materials for the
large student audience that attended our final dress rehearsal. I was touched by the forthrightness
40TH ANNIVERSARY 22 YEAR IN REVIEW 2014–2015
of the printed materials Opera Philadelphia sent
promoted exceptionally well, both in advance of
detailed and careful research that went into their
encouraging to all of the artists.
to the students in advance, and I admired the
preparation. The result was rapt attention by the
students during the performance. Many of them had never attended an opera nor heard a countertenor,
and they enthusiastically expressed their pleasure about that new experience. They also expressed
their understanding of and sensitivity to the subject itself in ways that may outpace their elders as
a population. The most moving moment for me was
and during the production. This commitment was Thank you Opera Philadelphia (administration, staff, board, and patrons) for your enormous role in making
opera, and especially American contemporary opera, not only essential and relevant, but also possible! With warmest wishes for much continued success,
when two high school boys began the standing
ovation at the opera’s end by rising from front seats proudly holding hands.
The support extended to our group of creative and performing colleagues as we worked to bring the
revised production to the Academy of Music stage
Theodore Morrison COMPOSER & CO-LIBRETTIST
for its East Coast Premiere was amazing. And this
was always offered with generosity and kindness.
Special note should also be made that Oscar was
Opposite page: Oscar (David Daniels) is out on bail awaiting the verdict in his trial for “gross indecency” over his relationship with Bosie (Reed Luplau). Left: Oscar (David Daniels) finds refuge in the home of his friend Ada Leverson (Heidi Stober). Photos by Kelly & Massa.
40TH ANNIVERSARY 23 YEAR IN REVIEW 2014–2015
PRODUCTIONS
F I R S T - R AT E S U P P O R T, GUIDANCE AND ENTHUSIASM IT WAS AN HONOR to direct Oscar for Opera
Philadelphia in February 2015. David Devan and his entire company offered first-rate support,
guidance and enthusiasm throughout the process, from inception to opening. It was a delight for
all of to have a chance to bring Oscar to life for a
second time and Opera Philadelphia, throughout the process, proved that the company continues
to earn its reputation as one of the most exciting, innovative, and supportive companies on the international opera scene. I look forward to many more collaborations!
Kevin Newbury DIRECTOR
40TH ANNIVERSARY 24 YEAR IN REVIEW 2014–2015
O U T AT T H E O P E R A Out at the Opera, a special LGBT event hosted by Opera Philadelphia and the William Way LGBT Community Center, was held on Friday, February 13 at the Academy of Music. The event included a talk about homosexuality in Oscar Wilde’s time compared to today featuring ACLU of Pennsylvania Executive Director Reggie Shuford and Opera Philadelphia Vice President Michael Bolton.
Above: Bosie (Reed Luplau) and Oscar (David Daniels) dance in a dream sequence. Photo by Kelly & Massa. Top right (L to R): Marquise Lee and Paul Blore Middle right (L to R): Nellie Fitzpatrick,
“ O p e r a P h i l a d e l p h i a ’s sponsorship of Oscar shows praiseworthy commitment
Director of LGBT Affairs for the City of Philadelphia, and Tracie Lynn. Bottom right (L to R): Reggie Shuford, Executive Director of the ACLU of Pennsylvania, and Christopher Bartlett, Executive Director of the William Way LGBT Community Center.
and pride.” Gay City News
Photos by Sammy Munsch.
40TH ANNIVERSARY 25 YEAR IN REVIEW 2014–2015
PRODUCTIONS
ARIADNE AUF RICHARD STRAUSS MARCH 4–8, 2015 P E R E L M A N T H E AT E R C U R T I S O P E R A T H E AT R E
In the private art gallery of the richest man in Vienna, Ariadne auf Naxos is staged with Ariadne (Heather Stebbins) surrounded by three nymphs (Elena Perroni, Anastasiia Sidorova and Kirsten MacKinnon). Photos by Cory Weaver.
40TH ANNIVERSARY 26 YEAR IN REVIEW 2014–2015
“ Year after year, the collaboration of Curtis Opera Theatre and Opera Philadelphia creates some of the finest productions the city now enjoys.” Opera News
“ You will hear no more impassioned music making— nor see more dazzling theater—this season.” Philadelphia City Paper
“ You could not help falling in love with Lauren Eber wein’s longing gazes.” The Philadelphia Inquirer
“ C urtis Opera Theatre has given us the Gilligan’s Islandthemed Ariadne auf Naxos we’ve all been waiting for.”
The nymphs (Elena Perroni, Anastasiia Sidorova and Kirsten MacKinnon).
Likely Impossibilities
CAST
Heather Stebbins
PRIMA DONNA/ ARIADNE
C R E AT I V E TEAM
PRODUCTION UNDERWRITERS
Jean-Michel Richer
Mikael Eliasen
Wyncote Foundation
Thomas Shivone
George Manahan
The William Penn Foundation
Dogukan Kuran
Chas Rader-Shieber
The Horace W. Goldsmith Foundation
Elena Perroni
David Zinn
Anastasiia Sidorova
Jacob A. Climer
Kirsten Mackinnon
Mike Inwood
Vartan Gabrielian
Janet Neukirchner
SCARAMUCCIO
Kevin Ray
T R U F FA L D I N O
ARTISTIC DIRECTOR
CONDUCTOR
TENOR/BACCHUS
Ashley Milanese
WIG MAKER
DIRECTOR
Z E R B I N E T TA
Lauren Eberwein
NAJADE
AURORA SERIES
CURTIS OPERA T H E AT R E S E A S O N
SET DESIGN
COMPOSER
Sean Plumb
D R YA D E
COSTUME DESIGN
THE MUSIC TEACHER
Roy Hage
ECHO
LIGHTING DESIGN
DANCING MASTER
Johnathan McCullough HARLEKIN
Mingjie Lei
LACKEY
Evan LeRoy Johnson OFFICER
P R O D U C T I O N S TA G E MANAGER
Sara Prince
S TA G E M A N A G E R
BRIGHELLA
40TH ANNIVERSARY 27 YEAR IN REVIEW 2014–2015
PRODUCTIONS
Z E R B I N E T TA’ S V O C A L M A R AT H O N ZERBINETTA WAS, AT FIRST,
a very intimidating role, especially because of her famous
aria, which is considered one of the longest arias in the rep. It was scary to think of all
the amazing Zerbinettas out there and what big shoes I had to fill. My approach was to divide the aria into parts. Once I felt like I “knew” one part I would add the next part,
and so on. Then, finally, I had the entire thing learned. The next obstacle was the intimidating task of singing the aria straight through without any pauses (and even worse without any
water!). At first, I concocted a few schemes to help me not dry out on stage. For example, I would keep a sour candy in my pocket and lick it occasionally so that I would salivate.
I was lucky enough to be able to try out the aria
a few times in front of my colleagues and teachers at Curtis, during our weekly performance class. Mikael
Eliasen told me, “You have to sing the aria every week in front of an audience no matter how you feel.”
This was the best advice. I learned how to sing the aria on my good days and on my not-so-good days,
Left: Zerbinetta (Ashley Milanese), dressed as Ginger Grant from Gilligan’s Island. Right: Zerbinetta (Ashley Milanese) and Scaramuccio (Jean-Michel Richer). Photos by Cory Weaver.
40TH ANNIVERSARY 28 YEAR IN REVIEW 2014–2015
like when I was sick with a cold. If you can sing it
when you’re sick you can definitely sing it when you’re feeling your best!
Performing the aria on stage at the Perelman Theater was the most exhilarating experience. It was so
fulfilling. I felt like an athlete who had finally reached
a goal they once thought was impossible. I say athlete, because singing this aria is such a physical experience. The stamina it takes to breathe and control all of
those “Straussian” phrases for such a long amount of time was by far an athletic feat. I was drenched in sweat by the end.
I think I was in shock immediately after I first
performed the aria for an audience. It was a moment where I thought to myself, “Wait, did that really
just happen?” It was surreal and absolutely thrilling. I could feel the audience go through the journey with me, and sometimes I could even feel that they were nervous FOR me. The coloratura is so intricate and never-ending, so if you don’t
know the piece ahead of time you usually don’t imagine much to follow the first cadenza.
But then suddenly 15 minutes have passed!
The applause was confirmation that I was not alone. They made the experience a reality for
me. It is definitely a moment I will never forget.
Ashley Milanese “delivered an excellent Zerbinetta, vocally fluid, well-inflected and always on pitch.” Opera News
Ashley Milanese Z E R B I N E T TA
40TH ANNIVERSARY 29 YEAR IN REVIEW 2014–2015
PRODUCTIONS
Commedia actors Scaramuccio as the Skipper (Jean-Michel Richer), Truffaldin as Mary Ann (Thomas Shivone), and Brighella as Thurston Howell III (Mingjie Lei), enter in a bamboo car. Photo by Cory Weaver.
THE CHALLENGING ROLE of the Composer in
madly in love. This love envelops him and welcomes
sculpting a pants role (a male character sung by a
ushering in a moment of profound enlightenment
Strauss’s Ariadne auf Naxos was my first experience woman). Strauss and Hofmannsthal’s prolific and
powerful artistic partnership is exemplified in this opera’s spectacular, penetrating, and sometimes alarming music–most aptly portrayed in the
intricately crafted role of the Composer. Strauss’s opera follows the genesis of the premiere of the
Composer’s first opera. The storyline follows the young Composer in his hectic preparations for the premiere of his opera, Ariadne auf Naxos.
In Strauss’s prologue the Composer sings quotes from
the brief disillusionment of his intellectual façade, during his aria, “Sein wir wieder gut”.
The opportunity to prepare what will be a pivotal role in my repertoire at such an early point in my career
was life changing, and was made possible because of the inspiring partnership between the Curtis Opera
Theatre and Opera Philadelphia. Opera Philadelphia has been and will continue to be integral in my
artistic development, and will forever inform my operatic aesthetic.
nearly every major scene in his opera, so learning and preparing the role required an extensive knowledge and deep understanding
of the entire musical work—because after all, my character wrote it!
Lauren Eberwein THE COMPOSER
While marinating in Strauss’s music and
Hofmannsthal’s words, I also prepared physically;
I more closely admired the physicality of the men
and boys around me, gathering body language that would serve my physical representation on stage.
I wore men’s clothing in all of our rehearsals, not only for my own artistic rumination but also for
my colleagues’ benefit, in order to immediately erect
PUTTING ON A
PA N T S R O L E O N E L E G AT A T I M E
a fourth wall. The Composer’s journey throughout the prologue of Ariadne is tumultuous, and filled with great despair and angst. He spends most of
his time on stage dancing pirouettes through his
pompous, hyper intellectualizations and expends
intense amounts of emotional energy worrying about the premiere of his first opera. He then suddenly
finds himself completely swept away by this lovely,
perplexing creature, Zerbinetta–with whom he falls
40TH ANNIVERSARY 30 YEAR IN REVIEW 2014–2015
The Composer (Lauren Eberwein). Photos by Cory Weaver.
F R O M P R I S O N PAT I E N T TO MARY ANN T H I S PA S T S E A S O N I had the pleasure of
performing in a very diverse collection of operas. I started with being a Russian king in Iolanta, to an old codger in Gianni Schicchi, followed by a young prison patient in Oscar, a crazy change into a
confused member of a comedy troupe who appeared as a number of famous TV show characters in
Ariadne auf Naxos, and then finally as the devil in
The Rake’s Progress. I’ve never been more excited to start a season as I was for this one due to the huge diversity I was going to have.
Having that opportunity and time alongside some
of the great artists of our generation in a rehearsal
The most interesting and difficult transition was
from my role as an abused prison patient in Oscar
to a comedic character who appeared in four different costumes and personas just a few weeks later in
Ariadne. I’ve been asked to do a lot of crazy and funny things on stage but this was the first time I’d ever been asked to wear four-inch heels, “Daisy Dukes,” and a crop top. The timing was crazy as I was
performing a very serious role in Oscar at the time
I was staging Ariadne. It’s a fun challenge as an actor to go from one thing to the other and to not let the
performances be affected by each other. I remember the first day of Oscar rehearsal as Jarrett Ott and I
were in our respective infirmary beds in the rehearsal hall. In the scene we start a rousing rendition of a
popular folk song which then causes Oscar Wilde, played by the famous and incredibly inspirational
and on stage is so important and influential as a
young singer, and I’m so thankful to have had these
opportunities with Opera Philadelphia. I’ve now been at the Curtis Institute of Music for over eight years and have performed in over 30 operas with Curtis and quite a few with Opera Philadelphia as well.
The amount of preparation I have been given as well as the opportunities to learn from other great artists has constantly been amazing to me. I often have to
pinch myself that I sat in a room with David Daniels for four weeks or that I’ve worked with Maestro
Corrado Rovaris a number of times now and been
allowed to learn from his vast knowledge of singing and style. Those experiences all made transitioning from a very serious role and opera in Oscar to a
completely ridiculous one in Ariadne possible and incredibly enjoyable.
countertenor David Daniels, to join in. The director
David Daniels…we don’t need to act!”
costumes from a Baywatch-inspired 'Hoff to Gilligan’s Island’s Mary Ann and The Professor in the course
Bottom: David Daniels (Oscar) and
you guys. This is just insane and crazy for you both
I looked right at him and said, “We are singing with
as commedia actor Truffaldin, changes
of Act II. Photo by Cory Weaver.
came up to us and said “Oscar Wilde is singing with and you’re incredibly happy, excited, and awestruck.”
Top: Bass-baritone Thomas Shivone,
Thomas Shivone (Prison Patient #2)
Thomas Shivone
T R U F FA L D I N O / M A RY A N N
40TH ANNIVERSARY 31 YEAR IN REVIEW 2014–2015
in Theodore Morrison's Oscar.
PRODUCTIONS
GIUSEPPE VERDI A P R I L 2 4 – M AY 3 , 2 0 1 5 ACADEMY OF MUSIC
Main: King Philip II (Eric Owens) confides in Rodrigo (Troy Cook) of his worries about Elisabeth and Carlo. Inset: Elisabeth (Leah Crocetto) comforts Don Carlo (Dimitri Pittas). Photos by Kelly & Massa.
40TH ANNIVERSARY 32 YEAR IN REVIEW 2014–2015
“ E ric Owens vividly conveys Philip’s
“ T his cast was a better ensemble than the
physical isolation.”
one in the Met’s production this season.”
The New York Times
The Broad Street Review
“ O pera Philadelphia took a giant leap
“ T he evening’s most elegant singing came
with its production of Verdi’s sprawling
from Troy Cook’s nobly enacted Posa.”
masterpiece.”
Opera News
The Opera Critic
CAST
Dimitri Pittas* DON CARLO
Leah Crocetto*
E L I S A B E T H D E VA L O I S
Michelle DeYoung* PRINCESS EBOLI
Eric Owens
KING PHILIP II
Troy Cook RODRIGO
C R E AT I V E T E A M
Morris Robinson THE GRAND INQUISITOR
Ashley Emerson TEBALDO
Jeremy Milner FRIAR
Sarah Shafer
THE CELESTIAL VOICE
Mingjie Lei*
R O YA L H E R A L D & CONTE DI LERMA
Corrado Rovaris
Elizabeth Braden
Tim Albery*
David Zimmerman
CONDUCTOR
DIRECTOR
Andrew Lieberman* SET DESIGN
Constance Hoffman* COSTUME DESIGN
Thomas Hase*
LIGHTING DESIGN
ARTIST UNDERWRITERS
Anonymous Members of the Leadership Circle D I M I T R I P I T TA S A N D MICHELLE DEYOUNG
Dr. Heidi L. Kolberg and Dr. F. Joshua Barnett LEAH CROCETTO
CHORUS MASTER
WIG & MAKE-UP DESIGN
Amanda Consol A S S I S TA N T DIRECTOR
Jenny Harber
S TA G E M A N A G E R
* Opera Philadelphia debut
PRODUCTION UNDERWRITERS
Drs. Renato and Beverly Baserga
The Patron Program
Ms. Barbara Augusta Teichert
Mr. Thomas Mahoney
Alice and Walter Strine, Esqs.
MORRIS ROBINSON
C O R R A D O R O VA R I S
The General Director’s Council ERIC OWENS
Anonymous Member of the Chairman’s Council
ASHLEY EMERSON
CHORUS
Dr. Renée Rollin SARAH SHAFER
TROY COOK
40TH ANNIVERSARY 33 YEAR IN REVIEW 2014–2015
Co-production with Washington National Opera and Minnesota Opera
PRODUCTIONS King Philip II (Eric Owens) obtains help from the Grand Inquisitor (Morris Robinson) in setting up a trial for his son. Photo by Kelly & Massa.
40TH ANNIVERSARY 34 YEAR IN REVIEW 2014–2015
“ W hen King Philip II of Spain faces off against the Grand Inquisitor in Verdi’s Don Carlo at the Academy of Music, they won’t just be portraying histor y, they’ll be making a bit of it, too. In what’s believed to be a first, a major opera company has cast two African-Americans in the roles.” The Associated Press
THE KING AND I P ERS ON A L LY, one of the highlights for this
Opening night jitters were not as bad as I had
excited to sing in Philadelphia, but I was more
calm and reflective. At this point, no matter what
season was performing Don Carlo. I’m always
than beside myself with anticipation to do the
Grand Inquisitor in this production. When Opera Philadelphia threw its 40th Anniversary Gala
in September, I took a picture with my buddy, Eric Owens, and posted it on Facebook and
Twitter, entitling it “The King and I!” It was at that
moment that the momentum started to build for this
mammoth collision of two of the opera world’s most prominent bass voices.
anticipated. I was surprised to find myself more we did, we were going to make history, and for
that alone, we were extremely prideful. Then, however, it clicked. Everything prior to this moment went
out the window, and I was no longer Morris, he no longer Eric. We dove in, fully invested, and with
neither thought nor prejudice, he transformed into the psychologically ailing King, and I became the
manipulative, earthly representation of the Highest Power...And we NAILED it...And it was Magical!
The rehearsals were filled with an undertone of
tension and anxiety, because we both were excited
about making this as special a moment as Giuseppe Verdi had intended for it to be. The anticipation of
our appearance together had started to garner more
Morris Robinson
THE GRAND INQUISITOR
attention as news outlets like the Associated Press took notice of how significant our performances
would be from a historical perspective as it pertains to African-Americans in classical music.
40TH ANNIVERSARY 35 YEAR IN REVIEW 2014–2015
PRODUCTIONS
Left: King Philip II (Eric Owens) confides in Rodrigo (Troy Cook), the Marquis de Posa. Opposite: Elisabeth (Leah Crocetto) Opera Philadelphia. Photos by Kelly & Massa.
A R O YA L
HOMECOMING
PERFORMING THE ROLE of King Philip II
come to the Academy of Music and the Perelman
come-true. King Philip is a very sad character.
give around the city, and enjoy. This is your opera
with my hometown opera company was a dreamHe is very much alone. Some of it is of his own doing and the way he treats people. It’s hard to make people sympathize with him, but there is a tortured soul there. It’s a great cast of people
Theater, come to the many performances that they company and it’s an amazing company. I couldn’t be more proud to be a Philadelphian and to be associated with Opera Philadelphia.
and we had a lot of fun.
We all should be proud because Opera Philadelphia is a world class organization. What they are doing
and what they have become is something that is
quite special. They have taken the lead in the world
Eric Owens
KING PHILIP II
of opera companies and become an example
of what it is you do to adapt and survive and thrive. I invite everyone to come to Opera Philadelphia,
40TH ANNIVERSARY 36 YEAR IN REVIEW 2014–2015
ONE OF THE HIGHLIGHTS of my career so far
has been working at Opera Philadelphia and debuting Elisabeth in Don Carlo. What an experience! Every
detail was seen to; every artist’s need was met. The cast was a dream. We all felt incredibly sad to be leaving each other. It was such a joy!
David Devan and the entire Opera Philadelphia team are the most passionately amazing people. They truly care about the exceptional art form of opera. How
lucky we are that this company exists, and exists with
“M A LASSÙ CI VEDREMO
IN UN MONDO
such a presence in the international opera scene! I’m thankful that this is the beginning of a long history with this incredible company.
“Ma lassù, ci vedremo in un mondo migliore...”
Thank you Opera Philadelphia for making this, indeed, a better world!
MIGLIORE...”
Leah Crocetto ELISABETH
40TH ANNIVERSARY 37 YEAR IN REVIEW 2014–2015
PRODUCTIONS WORLD PREMIERE
C H A R L I E PA R K E R ’ S
DANIEL SCHNYDER B R I D G E T T E A . W I M B E R LY JUNE 5–14, 2015 P E R E L M A N T H E AT E R
Soprano Angela Mortellaro as Charlie’s third wife, Doris Parker, and tenor Lawrence Brownlee as Charlie Parker in the World Premiere of Charlie Parker’s YARDBIRD. Photos by Dominic M. Mercier.
“ A major achievement from a company
“ A jazz-infused score” with “more
that is committed to creating a fresh
musical ver ve than most new operas”
work ever y year”
The Financial Times
The Denver Post
40TH ANNIVERSARY 38 YEAR IN REVIEW 2014–2015
CAST
Lawrence Brownlee
Will Liverman*
Angela Brown
Tamara Mumford
C H A R L I E PA R K E R
A D D I E PA R K E R
Rachel Sterrenberg* C H A N PA R K E R
Angela Mortellaro
PRODUCTION UNDERWRITERS
Chrystal Williams*
Wyncote Foundation
C R E AT I V E TEAM
Corrado Rovaris CONDUCTOR
Lawrence Brownlee as Charlie Parker, and soprano Rachel Sterrenberg in her professional debut as Chan Parker in the World Premiere of Charlie Parker’s YARDBIRD.
Ron Daniels*
Ady L. Djerassi, M.D. and Robert Golub, M.D.
“ T he great strength of this piece The Philadelphia Inquirer
WIG & MAKE-UP DESIGN
A S S I S TA N T CONDUCTOR
Amanda Consol A S S I S TA N T DIRECTOR
The New York Times
is the music”
David Zimmerman
Geoffrey McDonald
with a pulsing, jazz-infused score”
ORCHESTRA
Emily Rebholz*
LIGHTING DESIGN
“ A swift-paced chamber opera
Alice and Walter Strine, Esqs.
ARTIST UNDERWRITERS
Scott Zielinkski*
Opera News
The Aaron Copland Fund for Music
Riccardo Hernandez
COSTUME DESIGN
and for Opera Philadelphia"
Opera America’s Opera Fund
DIRECTOR
SET DESIGN
" A n impressive evening for Brownlee
BARONESS PA N N O N I C A (“NICA”) DE K O E N I G S WA R T E R
D O R I S PA R K E R
R E B E C C A PA R K E R
Baritone Will Liverman as Dizzy Gillespie, tenor
DIZZY GILLESPIE
Becki Smith
S TA G E M A N A G E R
* Opera Philadelphia debut
L AW R E N C E BROWNLEE
Mr. and Mrs. James B. Straw ANGELA BROWN
Helene and Mark Hankin
TA M A R A M U M F O R D
Judith and Charles Freyer
RACHEL STERRENBERG
Allen Freedman and Judith Brick Freedman WILL LIVERMAN
American Repertoire Program Co-production and co-commission with Gotham Chamber Opera
40TH ANNIVERSARY 39 YEAR IN REVIEW 2014–2015
PRODUCTIONS
PA Y I N G H O M A G E TO A LEGEND I WAS SO HONORED that Opera Philadelphia,
When you think about instrumentalists—a piano
librettist Bridgette A. Wimberly, built this opera
going to use the entirety of the instrument. They’re
together with composer Daniel Schnyder and
around my voice. When Daniel first heard me
sing he felt that what I do as a singer would lend
itself to doing an opera about Charlie Parker. That started us on an amazing journey that culminated in the World Premiere of Charlie Parker’s YARDBIRD in the Perelman Theater in June.
The great thing about preparing for the role of Charlie Parker was the education that I received about his life and his contribution to music.
When people think about Charlie the first thing
player, a trumpet player, a saxophone player—they’re going to play from really, really high to really, really low, and everything in between. Singers, most times
we sing in a two-octave range, not three or four octaves. Daniel’s writing is very interesting. He’s asking us to
sing at the very top of our range as well as the very bottom and all points in between. For me, I usually
stay at the higher side of my voice, but in this opera I’ve had to sing a lot at the lower parts of my range.
It is a lot like jazz. You want to use the extremity of that instrument that you are playing, the voice.
that comes to mind is his addictions, his struggle
I’ve done Rossini and Bellini and Mozart for a long
But his contribution to the world of music was
of the world’s most important opera houses. I have
with drugs, his torment, and his very short life. enormous, impacting every genre of music today. For me, one of the great moments in the opera
that truly defines Charlie is my final aria in which he talks about the many things that he loved in
his life. But ultimately the thing that he loved more than everything else was his horn.
Performing this role was one of the great experiences
time, and I’ve been fortunate to perform in some
reached the point in my career where I am able to do some interesting projects that inspire and challenge
me both dramatically and musically. Charlie Parker’s YARDBIRD certainly did that, and I am so grateful to Opera Philadelphia, my fellow cast members,
conductor Corrado Rovaris, director Ron Daniels, and everyone involved with this world premiere.
of my career. I come from a background of singing
gospel and bel canto music, so while my voice does
move I didn’t necessarily have a scat language. That’s something I had to develop. Two of my favorite singers of all time are Ella Fitzgerald
and Mel Torme, so I listened to them quite a bit.
Lawrence Brownlee C H A R L I E PA R K E R
There are several moments in the opera where
I get to do exposed lines that are direct transcriptions of virtuosic scats that Charlie Parker played.
40TH ANNIVERSARY 40 YEAR IN REVIEW 2014–2015
Tenor Lawrence Brownlee as Charlie Parker in the World Premiere of Charlie Parker’s YARDBIRD. Photo by Dominic M. Mercier.
40TH ANNIVERSARY 41 YEAR IN REVIEW 2014–2015
PRODUCTIONS
Nothing you learn in school can prepare you for the
moment when you are staring at a conductor you have never met before with a full orchestra at the helm
GETTING IT RIGHT
and the pressure to simply: Get. It. Right. Although I do not remember much from that afternoon,
I do remember that I sang with the likes of William Burden and David Daniels, and those are memories
I will never forget. Fast-forward four days, and Heidi made a full recovery for opening night and sang an
extremely successful run of the show. I happily got IN SEPTEMBER OF 2014, Opera Philadelphia gave me the incredible opportunity to join their
season as one of their inaugural Emerging Artists. Along with several singing opportunities throughout
the season, the culmination of my Emerging Artist year would be to create and debut the role of Chan
Parker in Charlie Parker’s YARDBIRD, which would also be my professional operatic debut. This role would
have me singing alongside some of my operatic idols, one being the outstanding tenor Lawrence Brownlee. Pinch me!
Little did I know that my time working with Opera Philadelphia in their 40th Anniversary season
would actually begin several months earlier, in a very different professional situation.
to watch from the audience and sighed huge sighs of relief !
After that crazy week, YARDBIRD felt like the most relaxed experience ever! Having the opportunity to
help create a role and be a part of something brand new was a completely different process than any
role I had learned in school. I was able to put to work the musical ideas and opinions I had formed during
my time at the Curtis Institute of Music into action. The transition from school to professional life was
short for me–I had 24 hours in between my last Curtis production and the first day of rehearsals for Charlie Parker’s YARDBIRD!
I cannot say enough how perfect my experience
was with the whole YARDBIRD team. It was an
On a Saturday afternoon in early February, I received
incredible few weeks of music making and having
with an odd request: Would I be willing to take a
the stage of our sold-out and highly-acclaimed run.
a call from Artistic Administrator Michael Eberhard
fun, and I think that absolutely translated onto
look at the Oscar score? Another one of my singing Soprano Rachel Sterrenberg making her professional debut as Charlie’s fourth wife, Chan Parker, in the World Premiere of Charlie Parker’s YARDBIRD.
idols, Heidi Stober, had caught the flu, and it was
under a week until the opening of the East Coast Premiere. Not quite knowing what I was getting
into, I said absolutely, and the next two days were a blur of sitting at the piano plunking out melodies
I had never heard before, trying to squeeze as many
Rachel Sterrenberg C H A N PA R K E R
notes into my brain in the smallest amount of
time. Monday arrives, and I receive the call that Heidi is still suffering, and that I may need to sing
the part of Ada Leverson at the orchestra dress rehearsal. So, there I was, with less than 48 hours
with this music, and after the first couple of scenes of the rehearsal, I was put on the side of the stage to sing for Ms. Stober.
40TH ANNIVERSARY 42 YEAR IN REVIEW 2014–2015
BEING THE
“ MAMA FIGURE” THIS WAS THE FIRST TIME in my career that I looked around the room at the other cast members
and I was the eldest and most experienced of the cast. I truly felt like a “mama figure” to this multitalented
group of young singing professionals. I felt that they looked up to me and wanted to learn from my wisdom Soprano Angela Brown as Charlie’s mother, Addie Parker, sings “My Boy is King” in the World Premiere of Charlie Parker’s YARDBIRD. Photos by Dominic M. Mercier.
about the business and life. And I was more than
willing to share my experiences. I would even cook a homemade meal and invite a few over. We would
talk for hours about life and our aspirations. As I reflect back on our times together, having that
bonding time, made my portrayal of Addie Parker more real for me. There is nothing like having your
fingerprint on a new role and I can’t wait until me and Ms. Addie meet again!
Angela Brown A D D I E PA R K E R
40TH ANNIVERSARY 43 YEAR IN REVIEW 2014–2015
COMPOSERS IN RESIDENCE MASTER CLASS
COMPOSERS
W I T H DAW N U P S H AW
Andrew Norman
Missy Mazzoli David T. Little
March 17, 2015 Perelman Theater
SINGERS Lauren Eberwein | M e z z o - s o p r a n o Evan LeRoy Johnson | Te n o r
Jazimina MacNeill | M e z z o - s o p r a n o Emily Pogorelc | S o p r a n o
C O L L A B O R AT I V E P I A N I S T Top: Composers Missy
Lisa Keller
Mazzoli, David T. Little, and Andrew Norman.
S TA G E M A N A G E R
Right: Mezzo-soprano Lauren
Sara Prince
Eberwein and soprano Dawn Upshaw at the Master Class. Photos by Dominic M. Mercier.
UNDERWRITER The Andrew W. Mellon Foundation
40TH ANNIVERSARY 44 YEAR IN REVIEW 2014–2015
COMPOSERS
O P E R A P H I L A D E L P H I A’ S D E D I C AT I O N TO NEW WORKS IS INSPIRING. The Composer in Residence program is astounding and has given me many opportunities to be involved in the creation of new music. For the Master
Class led by Dawn Upshaw, I performed a tour-de-force piece by Andrew
Norman, which challenged me on many levels. I was afforded the opportunity to craft an interpretation with Andrew and then work on shaping the piece
alongside Ms. Upshaw in a public setting. They both challenged me to push
my vocal limits through taking artistic risks. I felt inspired by both artists and learned so much about new expressive frontiers and the value of collaboration with living composers.
Lauren Eberwein MEZZO-SOPRANO
W O R K I N G W I T H D AW N U P S H AW IN THE COMPOSER IN RESIDENCE MASTER C L A S S WA S A B S O L U T E LY A M A Z I N G . She is a warm and delightful person whose positivity is infectious. I think the most useful thing I learned from watching Dawn work with Lauren
Eberwein, the mezzo-soprano who sang my piece, was some of the language singers use with each other to discuss vocal color. I am always trying to find ways to get singers to explore the softer, more intimate side of their voices, and Dawn did this quite effectively with Lauren. Having the tools and the
language to elicit from singers the full range of expression in their voices will be absolutely invaluable to me as I write my first opera.
Andrew Norman
COMPOSER IN RESIDENCE
40TH ANNIVERSARY 45 YEAR IN REVIEW 2014–2015
COMPOSERS
Through Opera
Philadelphia’s Composer
in Residence program I have been able to hone my craft as a composer for the voice and the stage.
Looking back on my first year in the program I see tremendous personal and artistic development; looking forward to the coming years I sense the immense opportunity to not only continue to grow as a composer, but also to consolidate what I’ve learned into a refined artistic vision. Opera Philadelphia has an inspired outlook for the future of opera and a concrete approach that includes composers in this progressive development. It is a privilege and a joy to be a part of these conversations—exploring what opera has been as a way of discovering what it can become.
David T. Little
COMPOSER IN RESIDENCE
40TH ANNIVERSARY 46 YEAR IN REVIEW 2014–2015
Missy Mazzoli and librettist Royce Vavrek traveled to Scotland to research their upcoming world premiere of Breaking the Waves. Photos by Royce Vavrek.
MY RESIDENCY WITH OPERA PHILADELPHIA
has been one of the
most educational and fulfilling experiences I have had as a composer. I feel that I have found my artistic home in the operatic world and have been able to explore collaborations that have fundamentally changed the way I think about all aspects of my work.
The centerpiece of my residency has been the creation
allowed me to create what I feel is some of my most
a piece that I have been able to workshop extensively
is the largest and most ambitious work I have
of my first large-scale opera, Breaking the Waves, with Opera Philadelphia.
These workshops have allowed me rare access to
one-on-one collaboration with professional singers,
exciting and progressive work. Breaking the Waves
attempted to date, and it would not have come to fruition without the steadfast support and
guidance of the Composer in Residence program.
leading to a deeper understanding of the human
voice and its dramatic potential. These workshops have also enabled me to take tremendous risks in
a safe and supportive environment, which has in turn
Missy Mazzoli
COMPOSER IN RESIDENCE
40TH ANNIVERSARY 47 YEAR IN REVIEW 2014–2015
SOUNDS OF LEARNING™
During the 40th Anniversary Season, Opera Philadelphia was awarded a grant from the William Penn Foundation to expand the already enormously successful arts integration program, Sounds of Learning™. This gift was profoundly impactful and allowed the Opera to do its first major expansion of the 24-year-old program since 2001.
Vice President of Community Programs Michael Bolton leads a classroom activity as part of the Sounds of Learning™ program. Photo by Philip Todd.
40TH ANNIVERSARY 48 YEAR IN REVIEW 2014–2015
IN THE COMMUNITY
year of the teaching artist By Amy Spencer
TEACHING ARTIST AND C U R R I C U L U M C O N S U L TA N T
A S PA R T O F T H E P R O G R A M E X PA N S I O N , I was honored
Across the board, students were stunned, amused and delighted by the
as a Teaching Artist as part of the newly developed Opera in the Classroom
an impact; it was tremendously satisfying for all of us to see children of
to be hired, alongside fellow artists David Koh and Garrett Obrycki,
initiative. Not only are all three of us part of the Opera Philadelphia
chorus, but we also have significant experience working in schools, as voice teachers, and participating in outreach programs at Opera Philadelphia and elsewhere. We were charged with developing
curriculum for grades K-4 and presenting introductory programs about opera to over 1,200 school children in grades K-12 throughout the tri-state area. Ultimately, we would reach over 2,300 students between January and May 2015.
Through assemblies and classroom programs, we gave students a taste of opera through interactive programs such as Opera in a Trunk, in
which children created their own opera; The Singing Voice, where students learned about classical singing technique; and Opera 101, during which we explored drama and expression in opera.
In addition to my work as a Teaching Artist, I was delighted to serve as the vocal music artist for Opera Philadelphia’s budding Maestro
program, where I was able to visit with a high school choir and give
sound of our unamplified voices. Yet, it wasn’t just our singing that made all backgrounds becoming engaged in our programs, discovering their
own relationship with opera, and beginning to identify personally with all that opera has to offer.
I relished asking the children, upon completion of the Opera in a Trunk
program, “What was your favorite part about being in an opera?” Many liked being with their friends, conducting, dancing, or singing Happy
Birthday. My favorite response, which was often heard, was simply, “It was fun.”
I’m so grateful for the opportunity to bring joy and creativity to so many children. My favorite moment of the year was looking out into the
classroom as I sang for a group of students at Central High School. All were engaged, but there was one young woman who was transfixed.
Her eyes were wide, and her smile was radiant. She was moved, and so was I. Who knows what she will go on to accomplish, but we have given her a wonderful gift she won’t soon forget. I know I won’t.
them insight into the life of a singer and provide a master class
experience. I hadn’t even finished my presentation before students were asking when I would be able to return!
40TH ANNIVERSARY 49 YEAR IN REVIEW 2014–2015
IN THE COMMUNITY THE BARBER OF SEVILLE
“ S ince I’ve never been to an opera it was fantastic to get to hear the voices at Opera Philadelphia; they are all beautiful voices and I would love to see another opera in the future.” Sydney, grade 12, Ridley High School
“ I really enjoyed the Barber of Seville. It was really funny. I feel really privileged to be able to see a great opera for free.” Rylee, Grade 8, Waldorf School of Philadelphia
Classroom photos by Philip Todd.
40TH ANNIVERSARY 50 YEAR IN REVIEW 2014–2015
DON CARLO
" T he plot in Don Carlo was twisted, full of drama and myster y.” Charles, grade 7, Lingelbach Elementary
“When they were going to save Don Carlo the sky was flaming, the music crescendoed and I was like, ‘This is pretty awesome!’” Monica, grade 11, Central High School
“ T he whole performance was incredible. There was not a time
OSCAR
where I did not feel the emotions in any of the singers' voices.” Serena, grade 10, Charter-Tech High School for the Performing Arts
“ O scar taught me to follow what I believe in. Both Bosie and Oscar bent the rules for the thing ever yone craves: love. It taught me that if I love something, to go after it.” Kylie, grade 8, LaBrum Middle School
“ T he most valuable lesson I learned was to not judge people.” Destiny, grade 8, LaBrum Middle School
“ T he singing was INCREDIBLE.” Kelsey, grade 10, Academy of Notre Dame de Namur
40TH ANNIVERSARY 51 YEAR IN REVIEW 2014–2015
40TH ANNIVERSARY GALA
F RO M T H E
STAGE STARS
TO THE
On Friday, September 12, 2014, Opera Philadelphia held its annual fundraising gala in celebration of its landmark 40th Anniversary Season. The 40th Anniversary Gala took guests From the Stage to the Stars, with a recital by soprano Ailyn Pérez
The event, which had a gross income of more than $500,000,
supported Opera on the Mall, Opera Philadelphia’s annual free public HD broadcast at Independence Historical National Park. In attendance was American Repertoire Council member David Hyde Pierce and dozens of artists from Opera Philadelphia’s
40 seasons, including Nathan Gunn, William Burden, Angela Brown, David Daniels, Isabel Leonard, and Eric Owens.
Opera Philadelphia would like to thank event chairs Sandra K.
and tenor Stephen Costello that had the
Baldino, Denise Creedon, Stephen A. Madva, Esq., and Susan E.
evening’s 400 guests seated on the stage
Nutter. We would also like to thank the 40th Anniversary Gala
Sherman, as well the evening’s Honorary Chairs Lisa and Michael
of the Academy of Music, followed by
Committee: Nancy Abbott, Eric Allen, Willo Carey, David A.
dinner under the stars in a tented ballroom
Lee, Peter Leone, Daniel K. Meyer, M.D., Timothy Moir, Kelley
on Broad Street.
Dubbeldam, Joan Goldstein, Sharon Koppelman, Ellen Berman Reilly, Stephen G. Somkuti, M.D., Donna Wechsler, and Nancy Zambelli.
40TH ANNIVERSARY 52 YEAR IN REVIEW 2014–2015
“ O ne of the most thrilling things about Opera Opera Philadelphia’s 40th Anniversary Gala on the Avenue of the Arts. Event photos by Michael Branscom and Dominic M. Mercier.
Philadelphia is their commitment to new work at the same time as their devotion to rep. They look forward without forgetting where they came from.” Nico Muhly COMPOSER
Opera Philadelphia General Director & President David B. Devan (far left) and his husband, David A. Dubbeldam (far right) with the 40th Anniversar y Gala Co-Chairs: Stephen A. Madva, Esq. and his wife, Denise Creedon, Susan E. Sherman, and Sandra K. Baldino.
40TH ANNIVERSARY 53 YEAR IN REVIEW 2014–2015
Frederick R. Haas and Kathy Hanrahan
Walter and Alice Strine with bass-baritone Musa Ngqungwana
“ O pera Philadelphia is one of the most innovative, exciting companies in the countr y and I am thrilled to be a part of its past and future!” Kevin Newbury DIRECTOR
Michael Shell and Kevin Newbury
“ I love Opera Philadelphia! It’s not just a part of the city’s culture and history; it is an active member of the community. This is what makes it special in the world of performing arts.” Nathan Gunn BARITONE
Cold Mountain costars Isabel Leonard and Nathan Gunn
40TH ANNIVERSARY 54 YEAR IN REVIEW 2014–2015
“ I couldn’t be more grateful to have been a part of the incredible 40 year histor y of this great company!” William Burden TENOR
Carol and William Burden
Laura Kennedy, Caroline Kennedy, and Joseph Miller
“ T he joy that Opera Philadelphia’s vision brings to the field is one of the reasons I felt inspired and emboldened to dive into opera composing. For that, I am eternally grateful!” Jennifer Higdon COMPOSER
Cheryl Lawson and her wife, composer Jennifer Higdon
2013-2014 GALA
“ O pera Philadelphia is one of the most for ward thinking opera companies in the countr y, perhaps the world. It is an honor and a privilege to have directed the opening production of the 40th Anniversar y Season!” Michael Shell DIRECTOR
Opera Philadelphia General Director & President David B. Devan and his husband David A. Dubbeldam with Honorary Chairs Lisa and Michael Nutter
“ O ne of Opera Philadelphia’s many strengths is its commitment to fostering new music.” Tamara Mumford
MEZZO-SOPRANO Jennifer Rizk and Yuming Chiu
40TH ANNIVERSARY 56 YEAR IN REVIEW 2014–2015
Scott Walters, countertenor David Daniels (star of Oscar in February 2015) and tenor David Portillo Stephen Costello, Ailyn Pérez, and American Repertoire Council member David Hyde Pierce
“ O pera Philadelphia is a model for the 21st-centur y, world-class American opera company.” Kevin Burdette BASS Robert V. Taglieri and Timothy J. Moir Mezzo-soprano Jennifer Holloway and baritone Jonathan Beyer, co-stars in The Barber of Seville.
On the dance floor are David Devan, Judy Leone, Peter Leone, Ellen Berman Lee, Sandra Baldino, David Dubbeldam, bass-baritone Eric Owens and, photobombing in front, soprano Angela Brown.
Opera Philadelphia Managing Director Annie Burridge
40TH ANNIVERSARY 57 YEAR IN REVIEW 2014–2015
THANK EVERY CONTRIBUTION HELPS SHAPE THE FUTURE OF OPERA
YOU
DONOR SUPPORT
Our milestone 40th Anniversary Season at Opera Philadelphia would simply not have been possible without the openheartedness and generosity of our donors.
Peter Leone, Judy Leone, Dr. F. Joshua Barnett, and tenor Taylor Stayton
THE SEASON BEGAN with a Gala Celebration on the stage
the bold, collaborative Hip H’opera program in which Philadelphia
of the Arts. Many of you were there to witness the enthusiasm and
derives from their own hopes and fears. Again, our institutional
of the Academy of Music and in a tented ballroom on the Avenue affection an honor roll of singers, composers, and other luminaries of the opera world showed for Opera Philadelphia.
David Devan, Corrado Rovaris, David Levy, and their colleagues have engendered an environment in which singers such as David Daniels, Eric Owens, Lawrence Brownlee, Angela Brown, and
Heidi Stober enjoy performing; in which talents such as Oscar’s
Theo Morrison and John Cox and Charlie Parker’s YARDBIRD’s Daniel Schnyder and Bridgette A. Wimberly want to showcase
school students are helping to craft a performance piece that
and individual supporters form the foundation from which these initiatives spring.
This magical season could not have been achieved without you, the people who love and support Opera Philadelphia.
On behalf of the Institutional Advancement Committee and the
entire Board of Directors and staff of Opera Philadelphia, I thank you for helping to shape the future of opera in our community.
their contributions to the repertoire; and in which stirring new
productions focus contemporary light on The Barber of Seville and Don Carlo. Their achievements, though, depend on the support
of our donors, whose contributions underwrite the lion’s share of
production expense even when, as for Charlie Parker’s YARDBIRD, we’ve sold every last seat in the house.
Peter Leone
CHAIR I N S T I T U T I O N A L A D VA N C E M E N T C O M M I T T E E
We take pride in the free-to-the-public Opera on the Mall broadcast of The Barber of Seville at Independence National Historical Park; in the breadth of educational activities, led by
Michael Bolton, that engage our community and particularly of
Top left: Chairman’s Council and Board Member Ady
Top Right: General Director & President David B. Devan
Bottom Right: Patron Program members Maddy and Jim
Djerassi with her daughter Leah Golub at the opening
with General Director’s Council members Sandy and
Carlson at the Meet the Artists event.
night reception for Charlie Parker’s YARDBIRD.
Steve Sheller.
Top center: Emerging Artist Jarrett Ott with Patrons Dick
Bottom left: Leadership Circle member Richard
Kolberg and mezzo-soprano Chrystal Williams at the
and Margaret Ullman and General Director & President
Worley and Chairman’s Council and Board member
opening night reception for Charlie Parker’s YARDBIRD.
David B. Devan with at the Members Vocal Recital &
Scott Richard, at the Annual Chairman’s Opening
Photos by Michael Branscom, J.R. Blackwell, HughE
Appreciation Reception.
Night Dinner.
Dillon and Elisa Gabor.
Bottom Center: Chairman’s Council member Heidi
40TH ANNIVERSARY 59 YEAR IN REVIEW 2014–2015
DONOR SUPPORT
Leadership Support & Major Gifts Opera Philadelphia’s Leadership Circle and Chairman’s Council are dedicated groups of philanthropists
committed to ensuring that the future of opera is right here in Philadelphia. We are sincerely grateful to the following supporters whose collective generosity underwrote more than half of our artistic expenses this season, including productions in the Academy of Music, the nationally lauded Aurora Series for Chamber Opera at the Perelman Theater, Opera on the Mall, and our award-winning education and community programs that collectively reached more than 20,000 people this season.
LEADERSHIP CIRCLE
CHAIRMAN’S COUNCIL
$1,00 0 ,00 0+
$100,000+
$ 50 , 0 0 0 +
$ 2 5, 0 0 0 +
The Andrew W. Mellon Foundation
Anonymous
Mrs. Sandra K. Baldino
The Horace W. Goldsmith Foundation
Barra Foundation, Inc.
Mr. John R. Alchin and Mr. Hal Marryatt
Knight Foundation
The CHG Charitable Trust
Marguerite and Gerry Lenfest*
Independence Foundation
Judy and Peter Leone
Ms. Lisa D. Kabnick
The William Penn Foundation Wyncote Foundation $500,0 00 + The Pew Center for Arts and Heritage The Pew Charitable Trusts
Estate of Ellen Cole Miller* Alice and Walter Strine, Esqs. Ms. Barbara Augusta Teichert Mr. Richard B. Worley and Ms. Leslie Anne Miller
Mrs. Kay Bossone
Dr. Heidi L. Kolberg and Dr. F. Joshua Barnett Joel and Sharon Koppelman Mrs. John P. Mulroney
Drs. Renato and Beverly Baserga Mr. Peter Benoliel and Ms. Willo Carey Gray Charitable Trust Nicholas and Kathleen Chimicles Ady L. Djerassi, M.D., and Robert Golub, M.D.
Pennsylvania Council on the Arts
Estate of Harriet Forman*
PNC
Mr. and Mrs. Mark Hankin
Charlotte* and Bob Watts
Judith Durkin Freyer Rita and Philip Harper Mr. and Mrs. Frederick P. Huff Ellen Berman Lee Gabriele Lee Mr. Thomas Mahoney National Endowment for the Arts OPERA America The Presser Foundation Scott F. Richard* Mr. and Mrs. James B. Straw Mr. Jonathan H. Sprogell and Ms. Kathryn Taylor Wells Fargo
* Indicates membership in the Encore Society List as of June 2015
General Director & President David B. Devan, tenor Lawrence Brownlee, and Chairman Daniel K. Meyer, M.D. Photo by HughE Dillon.
40TH ANNIVERSARY 60 YEAR IN REVIEW 2014–2015
Annual Fund Support Opera Philadelphia’s thrilling productions, engaging community events, and stimulating educational
programs are made possible by the generous support of the members of our annual giving programs—
the General Director’s Council, Patron Program, and Membership Program. Together, 1,183 members
contributed nearly $760,000 towards the 40th Anniversary Annual Fund Campaign, helping to ensure another spectacular season of opera for Philadelphia audiences. In appreciation of their support, members received special 40th Anniversary gifts to commemorate the landmark season.
GENERAL DIRECTOR’S COUNCIL Benjamin Alexander and Kenneth Swimm, Co-Chairs
Members of the General Director’s Council play a pivotal role in
the future of Opera Philadelphia through their generous annual support and enjoy intimate gatherings with principal artists and
Opera leadership including General Director & President David B. Devan. This season, Council members collectively underwrote Eric
Owens as King Philip II in Don Carlo and were able to celebrate with him and the entire cast including Leah Crocetto, Morris
Robinson, and Troy Cook at the Annual Dinner with Principal Artists. Emerging Artists Will Liverman and Sarah Shafer were
General Director’s Council members Allen R. and Judith Brick Freedman with Emerging Artist Will Liverman whom they underwrote for the 2014-2015 Season. Photo by Elisa Gabor.
underwritten by Council members Judith Brick Freedman and Allen Freedman and Dr. Renée Rollin, respectively. Additional Council activities included Opening Night Cast Parties and
P L AT I N U M $ 1 5 ,0 0 0 +
DI A M O N D $ 1 0 ,0 0 0 +
planning with David Devan that was followed by an intimate
Jacob Burns Foundation, Inc./ Drs. Herbert and Rosalie Goldberg
Lorraine and Ben Alexander*
a Strategy Session which included a discussion on future artistic dinner at a nearby restaurant.
Allen Freedman and Judith Brick Freedman Eugene Garfield Foundation
Sarah Billinghurst Solomon and Howard Solomon Dianne and Don Cooney*
Linda and David Glickstein
David B. Devan and David A. Dubbeldam
William and Nadine Haines
Kenneth B. and Pamela R. Dunn
Hamilton Family Foundation
Ann and Gordon Getty Foundation
Nancy and Al Hirsig
Mrs. Sheila Kessler*
Mrs. Constance C. Moore*
Morgan Stanley Foundation
Jeanette Lerman-Neubauer and Joe Neubauer
Philadelphia Cultural Fund
Dr. Renée Rollin*
Mr. and Mrs. John D. Rollins
Dr. and Mrs. Andrew Wechsler*
Ms. Patricia S. Scott
Wells Fargo Private Bank
Mr. and Mrs. Harold Rosenbluth
Ms. Carolyn Horn Seidle Mr. and Mrs. Roberto Sella Ethel Sergeant Clark Smith Memorial Fund
General Director’s Council members Robert V. Taglieri and Timothy Moir with Patrons Nancy and James Abbott at the 40th Anniversary Gala. Photo by Michael Branscom.
40TH ANNIVERSARY 61 YEAR IN REVIEW 2014–2015
Kenneth and Sheila Swimm Robert V. Taglieri and Timothy J. Moir
DONOR SUPPORT
PAT R O N P R O G R A M
Donna Wechsler, Chair Sponsored by Wells Fargo Private Bank The Patron Program is a vital force behind Opera Philadelphia’s
spectacular productions and community programs through their united support and enthusiasm. Patrons enjoy VIP benefits in
the opera house including a VIP coat check and champagne intermission receptions, as well as exclusive social events
throughout the season. This season’s Patron events included a Season Soirée in celebration of our 40th Anniversary held
in the Gladwyne home of Board Member Ady Djerassi and
R ober t G o lub ; t h e D i re cto r ’s S a l on w i th O s c a r d i rect or
Kevin Newbury, composer Theodore Morrison, and star-studded cast in the Delancey Place home of Patrons Alan Sandman
and John Pcsolar; and a Meet the Artists event featuring an
GOLD $ 7 ,5 0 0 +
S I LVE R $ 5 ,0 0 0 +
in the beautiful gardens at the home of Toto Schiavone and
Anonymous
Aaron Copland Fund for Music
Drs. Jean and Robert Belasco
James and Nancy Abbott
Mr. and Mrs. Julian A. Brodsky
Myron and Sheila S. Bassman
Alpin J. and Alpin W. Cameron Memorial Fund
Cecile and Eugene Block
epicurean banquet with the cast of Charlie Parker’s YARDBIRD
Claire DiLullo. Patron Program support underwrote bass Morris Robinson’s performance as the Grand Inquisitor in Don Carlo.
Mr. Robert Devoe* Donald and Gay Kimelman William Lake Leonard, Esq. David and Susan Rattner Victory Foundation
Robert Bryan and Julie J. Bryan Madeleine and James Carlson Mrs. Alma Cohen (in memory of Sylvan M. Cohen) Deluxe Corporation Foundation Pauline Gray and Edward S. Barnard Mr. and Mrs. Lawrence O. Houstoun The McLean Contributionship Dr. Stanley Muravchick and Ms. Arlene Olson Tom and Jody O’Rourke Mr. and Mrs. R. Anderson Pew Dr. and Mrs. Joel Porter In Honor of Joseph G. Leone Dr. Stephen G. Somkuti Mr. and Mrs. Thomas E. Wiener Mr. and Mrs. Thomas Williams Drs. Anne and Jim Williamson* Ethel Benson Wister Mr. Robert Zimet
Patrons Arlene Olson, Stanley Muravchick, Bernadette and Jeff Bohn at the Meet the Artists event. Photo by Elisa Gabor.
40TH ANNIVERSARY 62 YEAR IN REVIEW 2014–2015
Left: Patron Kelley Reilly with Patron Program Chair Donna Wechsler at the Season Soirée. Photo by J.R. Blackwell. Right: Patron John Pcsolar, countertenor David Daniels, Oscar director Kevin Newbury and composer Theodore Morrison, and Patron Alan Sandman at the Director’s Salon event. Photo by Opera Phila.
B R ONZE $2,000+ * Indicates membership in the Encore Society
Anonymous (2) Drs. Ronald D. and Marcia Abraham
William and Joan Goldstein
Dr. and Mrs. A. Gerald Renthal
Mr. John Aglialoro and Ms. Joan Carter
Mr. and Mrs. William A. Graham, IV
Dr. David J. Richards
Brett and Nan Altman
Mr. David Sacker and Ms. Darcy Hayes
Mr. and Mrs. Paul Anderson
Ms. Carolyn L. Green and Mr. Michael T. Blakeney
Dr. Valerie Arkoosh and Mr. Jeffrey Harbison
Dr. and Mrs. Henry J. Greenwood and Ms. Marilyn Greenwood
Mr. and Mrs. Curtis E. Sawyer
Ms. Theresa Baker
Greater Philadelphia Cultural Alliance
Frances and Michael Baylson
David and Ann Harrison, Esqs.
Mr. and Mrs. Robert Bergen
Bruce and Robin Herndon
Rebecca Bien and David S. Poll, M.D.
Ms. Rhoda K. Herrold
Rick and Kelly Biesecker
Matthew and Karen Hoffer
Mr. Allen D. Black and Mr. Randolph Apgar
Dr. and Mrs. Leonid Hrebien
Dr. Claire Boasi*
Mr. Jeffrey Jowett
Beaty Bock and Jonathan Miller
Terri and Thomas Klein
Mr. and Mrs. Jeff Bohn
Cheryl Lawson and Jennifer Higdon
Mr. Michael Bolton and Mr. Peter Keleher
Abelardo and Lynne K. Lechter, Esq.
Laurie Wagman in Memory of Irvin J. Borowsky
Maribeth and Steven Lerner
Ms. Kira Sterling and Mr. Timothy Sterling
Fran and Leon L. Levy
Dr. and Mrs. Michael D. Strong
Dr. Luther W. Brady
Liddy and John Lindsay
Dr. and Mrs. Richard N. Taxin
William Lockwood
Mr. and Mrs. Jay H. Tolson
Mr. William A. Loeb*
Mr. and Mrs. Richard L. Ullman
Mr. Wayne R. Lorgus
Robert and Suzanne Welsh
Dr. and Mrs. Michael B. Love
Carol Westfall
Harriet and Shelly Margolis
William A. Wheatley and Giovanna Cilia Wheatley
Ms. Annie Burridge and Mr. Paul Richichi Mr. Michael F. Cade and Mr. Mayron Lizardo Lopez Ruiz Mrs. Elaine Camarda Joan and Frederick Cohen Dr. and Mrs. Frank Craparo Dr. Richard Davidson Barbara M. Donnelly Bentivoglio and Dr. Lamberto Bentivoglio Mark Duckett and Stan Gaddy Drs. Bruce and Toby Eisenstein Mr. and Mrs. Joseph P. Fanelli, Jr.* Mr. and Mrs. David Friedman Jim and Kay Gately Mr. Robert H. Gerlach
Victor and Joan Johnson
Jeremiah and Leslie Marks Leonard Mellman and Deborah Glass Ms. Evalind Minor
Joyce Seewald Sando Mr. David Schellenberg Drs. Daniel Schidlow and Sally Rosen Henry and Yumi Scott Mr. and Mrs. Steve Sheller Dr. William Sigmund and Mr. Vito Izzo Drs. Richard and Rhonda Soricelli Stacey Spector and Ira Brind Dr. Laura Stanton and Mr. Kim Tomlinson Ms. Kathleen Stephenson and Mr. James E. Colberg
Dr. Leah Whipple Ana-Maria Zaugg and David Anstice
Mutual Fire Foundation Denise and Volker Oakey Anna C. O’Riordan, M.D. John Pcsolar and Alan Sandman Ms. Harriet Potashnick and Mr. Marshall Levine Kelley S. Reilly
40TH ANNIVERSARY 63 YEAR IN REVIEW 2014–2015
List as of June 2015
DONOR SUPPORT
MEMBERSHIP Our members play an active role in bringing great opera
to Philadelphia through their annual contributions. Members enjoy an enhanced connection to the art form through
behind-the-scenes events including the General Director’s Backstage Tour of the Academy of Music, dress rehearsals,
and the Between the Notes lecture series. The annual Friends Vocal Recital & Appreciation Reception featured the inaugural
class of our Emerging Artists Program-Rachel Sterrenberg, Will Liverman, Jarrett Ott, Sarah Shafer, J’nai Bridges, and Thomas Shivone.
PA R T N E R $ 1 ,0 0 0 + Anonymous Dorothy and Stanley Abelson
B.A. (Mackie) and Charlotte MacLean
Ms. Mary Jo Ashenfelter Heckman and Mr. Thomas Heckman
Edward and Roberta Martin
Ms. Susan Asplundh
Ms. Susan F. Morris
Mr. and Mrs. Richard L. Bazelon
Dr. and Mrs. A. H. Nishikawa
William B. Carey
Mr. and Mrs. Bert Redgrave
Louis N. Cassett Foundation
Michael Sanyour
Mrs. Ineke M. Dikland
Susan and Paul Shaman
Dolfinger-McMahon Foundation
Mr. and Mrs. Michael J. Smith
Mr. Gerald E. Finsen
The Stainrook Foundation
Jane Gleim Gee
Mr. and Ms. Eugene Stark
Mr. and Mrs. W.D. Gillen, Jr.
Ms. Lynne Van Buskirk
Dr. Brett Gutsche
Mr. Thomas C. Woodward
Mr. Donald A. Hamme, III and Dr. Christina Gregory Dr. and Mrs. Peter M. Joseph Dr. Mark Hemling and Mr. John Marrazzo Dr. Richard B. Kent Merle and Marvin Levy Members and Patrons on the set of Oscar during the General Director’s Backstage Tour. Photo by Dominic M. Mercier.
40TH ANNIVERSARY 64 YEAR IN REVIEW 2014–2015
Mr. and Mrs. George Morris
General Director & President David B. Devan with the 2014-2015 Emerging Artist featured at the Friends Vocal Recital (left to right): Rachel Sterrenberg, Jarrett Ott, Sarah Shafer, Will Liverman, J’nai Bridges, and Thomas Shivone. Photo by J.R. Blackwell.
S U S TAINER $500+ Anonymous (2)
Mr. and Mrs. Randall P. Gaboriault
Mr. and Mrs. Norman McCausland
Mr. and Mrs. Ronald M. Agulnick
Mr. Andrew R. Gelber (in memory of Sylvia Gelber)
Dwight and Christina McCawley
Mr. Marco Georeno
Mr. and Mrs. Gordon Munson
Asplundh Foundation Mrs. Eileen M. Baird Brian and Max Baker Dr. and Mrs. Paul Batastini Drs. Deidre and Michael Blank Mr. Andrew F. Blittman Mr. and Mrs. Richard A. Blumental Dr. and Mrs. Joseph Bohen Mr. Will Sears Bricker, II Lynn and Jerri Burket Mr. and Mrs. R. Nelson Byrne Mr. Yuming A. Chiu Mrs. Mary E. Chomitz and Mr. Morton A. Collier
Ms. Phyllis S. Gitlin Deborah E. Glass Joanne T. Greenspun Ms. Cheryl Gunter and Mr. Paul A. Rabe Mr. and Mrs. John B. Hagner Mr. Luke H. Halinski Mr. Timothy Harris Mr. and Mrs. Dale Heist Mr. and Mrs. Raymond Helverson Dr. and Mrs. Howard E. Hudson Terry and Paul Hirshorn
Mr. Patrick Connolly and Ms. Karen Carvalho
Marjorie and Joel Jensen
Dr. and Mrs. Michael Conrad
Dr. and Mrs. Richard P. Kluft
Mr. Mark Cornish
John A. Kotyo, M.D.
Mr. and Mrs. George T. Craven, Jr.
Dr. Judith M. LaLonde and Mr. Peter V. Bodine
Mr. Peter Cressman Mr. and Mrs. Claude DeBotton Mr. and Mrs. Mark S. Dichter Lois and John Durso Ms. Carol S. Eicher Mr. Thomas Faracco Mr. Arthur F. Ferguson In memory of Isabelle M. Ferguson Mr. and Mrs. Anthony Fiorenza Mr. and Mrs. Henry Foehl Ms. Helen H. Ford
Ms. Aileen M. Kennedy
Lucinda and Charles Landreth Dr. and Mr. Jeffrey Martin Lang Lastowski Dr. and Mrs. J. Frederick Laucius Mr. and Mrs. Wynn E. Lee Mr. and Mrs. David Levy Ann Csink and John Linck Dr. Colin F. Mackay Dr. & Mrs. Larry Mapow Dr. Joel Marmar and Ms. Alexis Berg Marmar, Esq. Mr. and Mrs. James M. Matarese
Mr. Benjamin F. Minick Drs. Tomoko and S. Tsuyoshi Ohnishi Mr. and Mrs. Mario Palumbi Dr. Ashish Patel, Plannerzone Dr. and Mrs. William P. Potsic Mr. Frederic L. Pryor Renaissance Charitable Foundation, Inc. Ms. Barbara Rice Mr. Philmore Robertson Dr. Joel Rosenbloom Mr. and Mrs. Daniel R. Ross The Reverend Dr. Alan K. Salmon Erin and Adam Sammis Dr. Margot Savoy Anne Faulkner Schoemaker Dr. and Mrs. Robert Sharrar Mr. James L. Smith Dr. and Mrs. Stanton N. Smullens Don Snyder Ms. Corinne R. Stone Mr. and Mrs. Edward L. Thomas Dr. and Mrs. Rocco P. Triolo Mrs. Rita Turner Mr. John Ventura Mr. Edward Wagner Ms. Nancy B. Wingo Dr. Robert Winn Mr. Richard Joseph Yoder Mr. Robert Yonaitis
40TH ANNIVERSARY 65 YEAR IN REVIEW 2014–2015
* Indicates membership in the Encore Society List as of June 2015
DONOR SUPPORT
Encore Society Members of the Encore Society help to ensure the advancement
of opera in Philadelphia by directly funding the company’s future artistic and educational programming through the inclusion of
the Opera in their estate plans. The Opera is especially proud to honor two members this season: Harriet Forman, whose
estate underwrote the chorus in The Barber of Seville, and Ellen Cole Miller, whose estate underwrote the chorus in Oscar.
Additional Encore Society membership highlights this past season included the annual Encore Society member luncheon,
where several members of the Society enjoyed an intimate meal in the Private Dining Room at XIX Restaurant before taking in
the final orchestra dress rehearsal of Don Carlo. This year, the Opera welcomed seven new members into the Encore Society.
Their collective commitments will ensure that opera has a bright future in our great city, and we are honored to celebrate their
extraordinary future commitments with them today. To learn more, please visit operaphila.org/encore.
ENCORE SOCIETY MEMBERS Anonymous (6)
Mr. Michael Knight
Ben and Lorraine Alexander
Dr. and Mrs. Paul Krueger
Ms. Jane A. Berryman
Mr. Tom LaPorta
Dr. Claire Boasi
Marguerite and Gerry Lenfest
Constance G. Burton†
Reneé T. Levin†
Dr. and Mrs. Elaine Cassalia
Mr. William A. Loeb
Mr. Lloyd Christy
Mr. Eugene Menegon
Dr. Maria Elisa Ciavarelli†
Mrs. Lois Meyers
Dianne and Don Cooney
Ms. Ellen Cole Miller†
Mr. and Mrs. Arthur Covello
Ms. Constance C. Moore
Ms. Ginny L. Coyle
Mr. William Reily†
Dr. Kenneth R. Cundy†
Dr. Scott F. Richard
†
Encore Society and Patron Program member Claire Boasi with tenor Lawrence Brownlee and Board Member Jim Straw. Photo by Elisa Gabor.
Ms. Virginia Del Sordo†
Mr. Laurence T. Robbins†
Mr. Robert Devoe
Dr. Renée Rollin
Mr. and Mrs. Joseph P. Fanelli, Jr.
Morton F. Steelman†
Ms. Harriet Forman
Ms. Lee Steinberg
†
Ms. Sylvia Green†
Mrs. Charlotte Watts
Mrs. Gail Hauptfuhrer
Dr. and Mrs. Andrew Wechsler
Dr. Mark H. Haller†
Ester C. Weil†
Mr. Stephen T. Janick
Mr. George P. White
Mrs. Sheila Kessler
Drs. Anne and Jim Williamson
Dr. Thomas Knadig
†
Deceased
* Indicates membership in the Encore Society List as of June 2015
40TH ANNIVERSARY 66 YEAR IN REVIEW 2014–2015
Patrons Bruce and Toby Eisenstein with Al and JoAnne Disanto at the Season Soirée. Encore Society and General Director's Council members Don and Dianne Cooney with baritone Jared Bybee.
OUR Chairman’s Council members Judith Durkin Freyer and Charles Freyer with Emerging Artist Rachel Sterrenberg, whom they underwrote for the 2014-15 Season.
SUPPORTERS ARE THE TRUE S TA R S O F T H E SHOW
Chairman’s Council members Phil and Rita Harper with Patrons Hadia and Jay Tolson at the 40th Anniversary Gala.
Encore Society and Board Member Charlotte Watts with her husband, Bob Watts, at the 40th Anniversary Gala. Photos by Dominic M. Mercier, J.R. Blackwell, and Michael Branscom.
Member Benjamin Minick, Emerging Artist Sarah Shafer and Member David Eskin at the Friends Vocal Recital & Appreciation Reception.
The Corporate Council generously supports Opera Philadelphia’s artistic
and educational programming through contributions and in-kind donations. To learn more, please visit operaphila.org/corporate-council.
COR PORATE COUNC IL M E M BERS
Morgan Stanley
MAC Cosmetics
PECO
Center City Film and Video
Savona Restaurant
Montgomery, McCracken, Walker and Rhoads, LLP
PNC
Varalli Restaurant
Universal Health Services
Catering by Design
Bank of America
Cunningham Piano Company
BNY Mellon Wealth Management
Evantine Design
Kalnin Graphics
Exelon Business Services
Menchey Music
LinguiSearch
Moonstruck Restaurant Termini Bros. Bakery Universal Health Services
S E A S ON SPONSORS
Official Airline
Season Media Partner
aka Artist Accommodation Sponsor Official Hotel
Media Partner Official Automotive Dealership
Brand Communications Partner
Official Sponsor of Opera Philadelphia’s Patron program Intermission Reception Sponsor
40TH ANNIVERSARY 68 YEAR IN REVIEW 2014–2015
DONOR SUPPORT
Corporate Council
Sounds of Learning™ Support Each year, more than 5,000 students attend their first opera at the Academy of Music for FREE
through Opera Philadelphia’s Sounds of Learning™ program, a unique arts education experience that weaves the study of a current production into the core school curriculum. After several weeks
of stimulating classroom studies and activities, students attend a final dress rehearsal at the Academy of Music. More than 145,000 students and teachers have participated in Sounds of Learning™ since its founding in 1991.
OP E R A PHIL ADEL PH IA THA N K S THOS E WHO H AVE DE DI C AT E D THE I R SUPPORT T O S OU N D S OF LEA R N IN G ™ : William Penn Foundation
Morgan Stanley Foundation
Wells Fargo
Alpin J. And Alpin W. Cameron Fund
Hamilton Family Foundation
Deluxe Corporation Foundation
Universal Health Services*
The McLean Contributionship
Eugene Garfield Foundation
Louis N. Cassett Foundation
Ethel Sergeant Clark Smith Memorial Fund
Victory Foundation
The Hirsig Family Fund of the Philadelphia Foundation
To learn more, please visit O P E R A P H I L A . O R G / S O U N D S * Opera Philadelphia is especially grateful to businesses who participate in the Commonwealth of Pennsylvania’s Educational Improvement Tax Credit (EITC) program, which grants lucrative tax credits to eligible businesses that donate to approved educational programs like Sounds of Learning™.
Vice President of Community Programs with Chairman’s Council and Board Member Jonathan Sprogell of BNY Mellon Wealth Management, and his wife, Kathryn Taylor. Kathy and Jon support Sounds of LearningTM through the Alpin J. and Alpin W. Cameron Fund. Photo by Elisa Gabor.
40TH ANNIVERSARY 69 YEAR IN REVIEW 2014–2015
W H AT ’ S N E X T
The View from Tomorrow
NEXT SEASON
“ A dynamic place to experience opera in the 21st centur y” Opera Now
“ O pe ra Phi lade lphi a casts excellent young singers, assures intense music preparation, and maintains solid
20152016
production values” Opera Today
World Premiere
A N D Y: A P O P E R A SEPTEMBER 10-20, 2015
L A T R AV I A T A OCTOBER 2-11, 2015 East Coast Premiere
C O L D M O U N TA I N FEBRUARY 5-14, 2016 Curtis Opera Theatre
CAPRICCIO MARCH 2–6, 2016
THE ELIXIR OF LOVE A P R I L 2 9 – M AY 8 , 2 0 1 6
40TH ANNIVERSARY 71 YEAR IN REVIEW 2014–2015
OPERA PHILADELPHIA
Administration
40TH ANNIVERSARY 72 YEAR IN REVIEW 2014–2015
“ Opera Philadelphia is a very well-managed opera company with a great vision” Opera Today
David B. Devan
Jeremiah Marks
Mikael Eliasen
Corrado Rovaris
David Levy
Nathan Gunn
GENERAL DIRECTOR & PRESIDENT
CHIEF FINANCIAL OFFICER
JACK MULRONEY MUSIC DIRECTOR
Annie Burridge
MANAGING DIRECTOR
S E N I O R V I C E P R E S I D E N T,
ARTISTIC ADVISOR
A R T I S T I C O P E R AT I O N S
DIRECTOR, AMERICAN REPERTOIRE COUNCIL
Michael Bolton
Youngmoo E. Kim
VICE PRESIDENT OF COMMUNITY PROGRAMS
RESIDENT TECHNOLOGIST
MUSIC
PRODUCTION
DEVELOPMENT
A D M I N I S T R AT I O N
Michael Eberhard
Alexander Farino
Erin Sammis
Ken Smith
Elizabeth Braden
Drew Billiau
Adele Mustardo
A R T I S T I C A D M I N I S T R AT O R
CHORUS MASTER & M U S I C A D M I N I S T R AT O R
J. Robert Loy
DIRECTOR OF ORCHESTRA PERSONNEL & ORCHESTRA LIBRARIAN
Sarah Williams
N E W W O R K S A D M I N I S T R AT O R
David T. Little
PRODUCTION MANAGER
TECHNICAL PRODUCTION MANAGER
Stephen Dickerson TECHNICAL DIRECTOR
Millie Hiibel
COSTUME DIRECTOR
Meggie Scache
P R O D U C T I O N C O O R D I N AT O R
DIRECTOR OF EVENTS
Jennifer Dubin
A S S O C I AT E D I R E C T O R , INDIVIDUAL GIVING & PAT R O N S E R V I C E S
Rachel McCausland MAJOR GIFTS OFFICER
Derren Mangum
A S S I S TA N T T O G E N E R A L D I R E C T O R & B O A R D R E L AT I O N S C O O R D I N AT O R
Bethany Steel
A S S I S TA N T T O T H E MANAGING DIRECTOR
COMMUNITY PROGRAMS
Adrienne Bishop
E D U C AT I O N C O O R D I N AT O R
A S S O C I AT E D I R E C T O R O F INSTITUTIONAL GIVING
COMPOSER IN RESIDENCE
Missy Mazzoli
COMPOSER IN RESIDENCE
MARKETING &MEMBERSHIP
Andrew Norman
Ryan Lewis
COMPOSER IN RESIDENCE
DIRECTOR OF DEVELOPMENT
DIRECTOR OF MARKETING & MEMBERSHIP
Karina Kacala
MARKETING MANAGER
Michael Knight
FINANCE CO M M U N I C AT I O N S
Frank Luzi
D I R E C T O R O F C O M M U N I C AT I O N S
Katie Dune
M U L T I M E D I A C O M M U N I C AT I O N S C O O R D I N AT O R
Brian Ramos CONTROLLER
Maureen McHale S E N I O R A C C O U N TA N T
COUNSEL
M A R K E T I N G O P E R AT I O N S M A N A G E R
Filiz O’Brien
MEMBERSHIP MANAGER
Siddhartha Misra
SUBSCRIBER & MEMBER SERVICES C O O R D I N AT O R
40TH ANNIVERSARY 73 YEAR IN REVIEW 2014–2015
Ballard Spahr, LLP GENERAL COUNSEL
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