Tancredi Performance Program

C O M PA N Y PREMIERE

F E B R U A R Y 1 0 , 1 2 M , 1 5 , 17, 1 9 M AC ADEMY OF MUSIC

Part of the Kimmel Center for the Performing Arts

KIMMEL CENTER and STAGEVIEW

STAGEVIEW: your paperless program book Scan the code located to the left with your smart device for additional information on the show, or visit www.stageview.co/kmc

NO APPS. NO DOWNLOADS Access your program book quickly and securely without a cumbersome download.

SOCIAL INTERACTION Connect to your favorite venue and performers while you sit in the audience.

PURCHASE TICKETS Purchase tickets for upcoming shows right from your seat.

1

2

table of contents 05 07 08

L etter from Board Chairman

10 12 14 16 18 20

Tancredi

B oard of Directors W elcome from General Director & President

Cast S ynopsis A Tale of Two Endings Q &A with Stephanie Blythe Artist Bios

23 24 26

Artistic & Production Staff

27 30 33 34 35

A nnual Giving

Orchestra & Chorus Leadership Support & Major Gifts

C orporate Council A dministration S pecial Event: Dito & Aeneas U p Next: The Marriage of Figaro

Photo by Marc Vanappelghem | Opèra de Lausanne OnStage Publications, Advertising: 937-424-0529 | 866-503-1966, korlowski@onstagepublications.com | onstagepublications.com This program is published in association with OnStage Publications, 1612 Prossser Avenue, Kettering, OH 45409.

This program may not be reproduced in whole or in part without written permission from the publisher. JBI Publishing is a division of OnStage Publications, Inc. Contents Š 2017. All rights reserved. Printed in the U.S.A.

3

4

From the Board Chairman Dear Friends, Welcome to our first opera of the new year. As we gather for the company premiere of Rossini's Tancredi we pause to look back on a momentous 2016, a year made possible by your unending enthusiasm, ideas, and generosity. Here are just a few of the many highlights of the past year: • B reaking the Waves by Missy Mazzoli and Royce Vavrek was called “an instant masterpiece” by WQXR and “among the best 21 st century American operas yet produced” by Opera News.

• N ew York audiences got their first taste of Opera Philadelphia in April, when Charlie Parker’s YARDBIRD became the first opera ever performed at the legendary Apollo Theater.

• P hiladelphia was the site of the sold-out American Premiere of Third World Bunfight’s reimagined Macbeth.

• O pera Philadelphia was the only North American nominee for Best Opera Company in the 2016 International Opera Awards.

• G eneral Director David B. Devan was named one of the most innovative music professionals of 2016 by Musical America.

• J ack Mulroney Music Director Corrado Rovaris was honored with the Abbiati Prize by the National Association of Music Critics in Italy.

• T he multitalented Rene Orth was named Opera Philadelphia’s sixth Composer in Residence.

• O ur New Works practice remained the most active in the opera world, with workshops for upcoming world premieres like Elizabeth Cree by Kevin Puts and Mark Campbell and We Shall Not Be Moved by Daniel Bernard Roumain and Marc Bamuthi Joseph (both premiering in O17) as well as discussions, explorations, and experimentations with composers like Lembit Beecher, David Hertzberg, Luke Styles, Damien Sneed, and Jennifer Higdon.

Thank you for taking part in such a banner year. I look forward to sharing the many highlights of 2017 with you, including this company premiere of Tancredi, April’s new production of The Marriage of Figaro, and our first fall festival, O17, from September 14–25.

Sincerely,

Daniel K. Meyer, M.D. Chairman 5

6

Opera Philadelphia Board of Directors officers

Daniel K. Meyer, M.D. Chairman Frederick P. Huff Vice Chair Peter Leone Vice Chair Alice Strine, Esq. Vice Chair Scott F. Richard Secretary Thomas Mahoney Treasurer David B. Devan* President

members

Daniel K. Meyer, M.D.

Benjamin Alexander

Agnes Mulroney

Sandra Baldino

Scott F. Richard

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

Jonathan H. Sprogell

Willo Carey

Eugene Stark

Ady L. Djerassi, M.D.

James B. Straw

Charles C. Freyer, Esq.

William Stensrud

Ehab Hammad

Alice Strine, Esq.

Alexander Hankin

Kenneth R. Swimm

Frederick P. Huff

Maria Trafton

Caroline Kennedy

Donna Wechsler

Joel M. Koppelman

honorary members

Beverly Lange, M.D. Ellen Berman Lee Gabriele Lee Peter Leone Thomas Mahoney

Dennis Alter

Alan B. Miller H.F. (Gerry) Lenfest Stephen A. Madva, Esq.

Chairman Emeritus

List as of February 2017 *Ex officio

7

From the General Director Dear Friends, Those of you who joined us for the 2014 production of The Barber of Seville are already aware of Maestro Corrado Rovaris’s proficiency with the music of Rossini.

Corrado has conducted Rossini across the globe, drawing praise from audiences and critics for his sensitive handling of some of the composer’s greatest works. As we began exploring ideas for the 2016–2017 Season, the artistic team at Opera Philadelphia quickly fell in love with the idea of presenting the company premiere of Tancredi, one of Rossini’s earliest and most lyrical dramatic works which was unexplored territory for this company. But before committing to the opera, and before committing to this incredible production which has thrilled audiences at Opéra de Lausanne and Teatro Municipal de Santiago, we knew we first had to find the right cast to fill the trio of lead roles: the warrior Tancredi, his love Amenaide, and her father Argirio.

In mezzo Stephanie Blythe, soprano Brenda Rae, and tenor Michele Angelini, we hit a three-run home run! Or, as we’d say in Canada, we scored a hat trick!

Brenda and Michele make their company debuts in Tancredi, and I am sure they will quickly become fan favorites in Philadelphia. Michele has just been declared “one of opera’s new bel canto stars” in this month’s Opera News. Brenda has created luminous performances as Lucia, Violetta, and Zerbinetta all over the world, and we’re thrilled to see and hear her first Amenaide. Adding them to the legendary Ms. Blythe, in her role debut as Tancredi, creates a special alchemy of artists that can only be found here in Philadelphia.

Thank you for joining us for this special company premiere.

David B. Devan General Director & President @ D D E VA N

8

9

OPER A PHILADELPHIA

TANCREDI Company Premiere Music / Gioachino Rossini Libretto / Gaetano Rossi Conductor / Corrado Rovaris Director / Emilio Sagi* Set Design / Daniel Bianco* Costume Design / Pepa Ojanguren* Lighting Design / Eduardo Bravo* Chorus Master / Elizabeth Braden Wig & Make-up Design / David Zimmerman Stage Manager / Becki Smith

*Opera Philadelphia debut

Production underwritten, in part, by Ms. Barbara Augusta Teichert Opera Philadelphia Orchestra underwritten by Alice and Walter Strine, Esqs Production from OpĂŠra de Lausanne and Teatro Municipal de Santiago By arrangement with Hendon Music, Inc., a Boosey & Hawkes company, Sole Agent in the U.S., Canada and Mexico for Casa Ricordi/Universal Music Publishing Ricordi S.R.L., publisher and copyright owner

11

C AST TANCREDI / Stephanie Blythe underwritten by mrs. john p. mulroney

AMENAIDE / Brenda Rae*

underwritten by ady l. djerassi, m.d. and robert golub, m.d.

ARGIRIO / Michele Angelini*

underwritten by drs. renato and beverly baserga

ORBAZZANO / Daniel Mobbs underwritten by gabriele lee

ISAUR A / Allegra De Vita*

underwritten by mr. jonathan h. sprogell and ms. kathryn taylor and bny mellon wealth management

ROGGIERO / Anastasiia Sidorova* underwritten by myron and sheila s. bassman

*Opera Philadelphia debut

12

13

Tancredi Synopsis The city of Syracuse is tethered by conflict and war between the Byzantine Empire, with which it has an unstable truce, and the Saracen armies headed by Solamir.

Not only is Syracuse exhausted by external war, but internal war as well; the soldier Tancredi and his family have been stripped of their estates and inheritances, and he himself has been banished since his youth. Two more noble families, headed by Argirio and Orbazzano, have been warring for years. Argirio and his family (his wife and his daughter, Amenaide) have been residing as guests of the Byzantine court, where Tancredi presides in exile. Also present in the court is Solamir, the Moorish

general, who wishes for the lovely Amenaide's hand in marriage in hopes that he can create a Saracen-Syracusean alliance.

However, Amenaide is secretly in love with Tancredi. act i Warring nobles Argirio and Orbazzano have agreed to a truce in the face of a greater threat: the approaching army of Solamir.

The Senate has already given Tancredi's confiscated estates to Orbazzano. Now, Argirio offers his daughter, Amenaide, to Orbazzano in marriage. She dutifully consents to the arrangement, although she Photo by Marc Vanappelghem | Opèra de Lausanne

loves the exiled Tancredi. Soon, a letter she sends to her love falls into the hands of Orbazzano's agent near Solamir's camp. Amenaide has deliberately omitted Tancredi's name for his protection, and so it is assumed that the letter was intended for Solamir. A furious Orbazzano publicly reveals the letter at his own wedding ceremony, and Amenaide is sentenced to death for treason.

in defense of Amenaide's honor and life. He wins the duel, killing Orbazzano and winning Amenaide's freedom, before leading his fellow Syracusans into battle against Solamir.

act ii Tancredi, who has returned incognito and offered his service to Argirio, believes that his love has been betrayed. Despite this, he challenges Orbazzano to a duel

Opera at your fingertips!

Download the My OperaPhila app today!

Join the conversation! #TancrediPHL #TwoQueens

15

A Tale of Two Endings

By Steven Humes This article f irst appeared in Opera Philadelphia’s Sounds of Learning™ book, which is distributed free to students in grades 5-12 in the School District of Philadelphia Tancredi composer Gioachino Rossini was born in the small town of Pesaro located on the east coast of Italy along the Adriatic Sea. He came from a musical family; his mother sang and his father played the trumpet. As a result, Rossini spent much of his childhood in the theatres where his parents performed.

The young Rossini had a wonderful memory and a remarkable ear. At the age of 14, he went to Bologna Academy to study music at a prestigious institution which still exists today.

That year he wrote his first opera, Demetrio e Polibio, and learned to play the harpsichord, trumpet, and violin. Rossini also had a beautiful voice and sang well enough to earn a good living from performing and composing before he was out of his teens.

During his lifetime, Rossini wrote three dozen operas, six cantatas, three pieces of sacred music, numerous songs and duets, a song16

cycle, and several instrumental works. All of this was done by the time he turned 37 years old.

Rossini was best known for his operas, which often fit into two main categories: comedy and drama. The name given to comedic opera during Rossini's time, opera buffa, first originated during the 18th century when comic opera was popular in Italy. Today, Rossini is celebrated as one of the great composers of the genre. The Barber of Seville and The Italian Girl in Algiers are just two of his comic operas that have become favorites of opera-goers today. While Rossini was musically a comedic genius, he also knew how to create a little drama. The counterpart to opera buffa is opera seria, or serious opera.

Rossini's contribution to opera seria began with Tancredi. The Gran Teatro la Fenice hired Rossini to compose a new opera as part of Carnival, the most celebrated public festival in Venice, Italy. La Fenice specifically asked for it to be an opera seria. In order to achieve this goal, Rossini partnered with local librettist, Gaetano Rossi. For the subject of their opera, Rossini and Rossi were drawn to Voltaire's tragic French play Tancrède. As the

Photo by Marc Vanappelghem | Opèra de Lausanne

librettist, Rossi had the job of interpreting Voltaire's play and creating new text for the opera.

This was the text that Rossini would eventually set to music.

Within a matter of months, Rossini was finished. Premiering at La Fenice on February 6, 1813, Tancredi was a great success and proved that Rossini could go beyond comedy and master a different genre.

When Rossini and Rossi created Tancredi for La Fenice in 1813, they chose to tell the story in a slightly different way. In particular, they changed Voltaire's original ending so that the protagonist Tancredi, who has been badly injured in battle, would not die at the very end.

Instead, Tancredi would recover from his injuries and be united with his love Amenaide. However, when Rossini took his newly composed opera
to a group of nobles in Ferrara, a small town northern Italy, it was requested that he stay true to Voltaire's dramatic ending. As a result, two versions of Tancredi exist today. Spoiler Alert: In Opera Philadelphia's production of Tancredi, you will see the opera as it was performed in Ferrara.

Tenor Steven Humes is Education Manager for Opera Philadelphia and sings in the Tancredi chorus

17

Q&A with Mezzo-Soprano Stephanie Blythe How does it feel to be debuting the role of Tancredi on stage with Opera Philadelphia?

This is my stage debut of Tancredi; I have performed the role before, but in a concert version for Washington Concert Opera. I have always loved this opera—it has some of Rossini's most beautiful music, and the duets are a particular favorite of mine. I am thrilled to finally have an opportunity to portray this wonderful role in a beautiful, fully staged production, and to have an opportunity to share the stage with my gorgeous, colossally talented friend, Brenda Rae. It’s been a while since you’ve performed with Opera Philadelphia. What are you looking forward to most about the city, the Academy of Music, and Philadelphia audiences?

The city has changed quite a bit since I first came to perform with Opera Philadelphia.

Driving in I got a great look at the skyline, and it is so very different! I am looking forward to getting to know the city again, in a way that is different than coming here to do a few concerts or recital—when you are in a city for an extended period of time while rehearsing an opera, you feel much more a part of the city, because you are a resident for several weeks, and can take better advantage of what that city has to offer. I have always loved my time here, and Opera Philadelphia was a major part of the first five or six years of my career.

I love the Academy of Music, just the feeling of standing in that gorgeous theater, looking out into the audience—heaven. The audiences here have always been so lovely, so supportive, and I know that they have a very special relationship with this company.

It is a wonderful feeling to be a part of the Opera Philadelphia family again.

18

As a trouser role, Tancredi is a very different role from those like Fricka, Cornelia, and Ulrica, for which you are famous. Do you prepare any differently for this role compared to those other roles?

Not really. Of course, the major difference here is gender, but the character travels the same path that many characters do, including others that I have portrayed— love, deception, fear, joy, relief, just to name a few.

It comes with the same challenges and rewards as with any other character. The challenge is creating a character with whom the audience can identify, so that they go on a journey with you, rather than just observe the journey. I like the audience to be invested in characters, so that we all care deeply where the story goes. The reward is having the opportunity to put on a new identity, to find all the ways that the character is like you or unlike you.

Playing a role has always been the best part of being onstage for me, and Tancredi is a formidable role!

What is your favorite musical moment of the opera?

I have always loved singing Tancredi's entrance aria, "Di tanti palpiti," but I have to say that the duets with Amenaide are really remarkable. I look forward to singing them—bel canto duets have a very special feeling to them; they seem to rev up your energy, and that fabulous feeling of ensemble with one other singer—it is almost indescribable. It is a feeling that you are two singers but part of one body—not the perfect way to describe it, but that is how it feels when the pairing is right. I love to sing with Brenda Rae, so I know those duets will be a high point for me.

Tell us a bit about your role in the upcoming special event Dito & Aeneas: Two Queens, One Night. What can your fans expect?

They can expect the unexpected! I have done a good deal of crossover music, but never anything quite like this. This evening is about making dreams become reality, of crossing over many kinds of boundaries to experience pure joy, love, positivity, and wonderful energy.

What are you most looking forward to about teaming up with Martha Graham Cracker and her alter ego, your friend Dito van Reigersberg?

I am looking forward to every second of this kaleidoscope of music, light, color, sound and energy. I have been an admirer of Martha Graham Cracker for a long time, and to share the stage with her is truly a dream come true. She and Dito make me feel like an invincible force onstage, because that is what Martha is—she shares that generosity of spirit with every audience member, and I love being a recipient too.

As someone whose repertoire spans many genres of song, how do you think opera audiences can relate to cabaret performances, and vice versa?

Opera audiences love the voice. It is what draws them to the genre in the first place.

Cabaret audiences also love the voice, but take part in the performance in a different way. They are a more active, responsive audience, mostly due to the environment and the repertoire. When a performer can look into the eyes of an audience member, get right down next to them and sing to one person, that creates a whole new energy for the audience. Imagine if you were sitting right next to Rodolfo and Mimì [of La bohème] in the Cafe Momus, seeing their new love come into bloom, sharing in the cacophony of the company at large, seeing Musetta make a spectacle of herself again. If the opera audience had that kind of contact with the performers, they would understand more clearly what an effect they have on the performance.

Cabaret creates that kind of energy naturally; opera has a harder time again, because of the rep and the environment.

I think that the opera audience will enjoy our cabaret evening because they will have many moments of recognition paired with active audience participation that will make them feel like a part of the event. It is as much about them as it is about us, and that is a super joy for me.

Discover more about Dito & Aeneas: Two Queens, One Night on page 34, or at operaphila.org/queens.

19

Tancredi Artists MICHELE ANGELINI / Argirio tenor (Hicksville, New York) recent activities: Ruodi, Guillaume Tell,

Opera Philadelphia debut

The Metropolitan Opera; Giannetto, La gazza ladra, The Glimmerglass Festival; Orphée, Orphée et Eurydice, The Royal Opera

DANIEL BIANCO set designer (Madrid, Spain) recent activities: Director, Teatro de la Zarzuela; Set

Opera Philadelphia debut

Design, La Damnation de Faust, Opéra Royal de Wallonie; Set Design, Il turco in Italia, Théâtre du Capitole

STEPHANIE BLYTHE / Tancredi mezzo-soprano (Ellenville, New York) recent activities: Mrs. Lovett, Sweeney Todd,

San Francisco Opera; Nettie, Carousel, Houston Grand Opera; Gertrude Stein, 27, Master Voices

(Partial Listing)

ELIZABETH BRADEN chorus master (Easton, Pennsylvania)

2016 The Elixir of Love 2016 Cold Mountain 2006 Margaret Garner

recent activities: Breaking the Waves, Opera

(Partial Listing)

Philadelphia; Turandot, Opera Philadelphia; Director of Music, Wallingford Presbyterian Church

EDUARDO BRAVO lighting designer (Madrid, Spain) recent activities: Fausto, Ópera de Oviedo; Il turco in Italia, Théâtre du Capitole; Lucia di Lammermoor, The Israeli Opera

20

2004 Th e Grand Duchess of Gerolstein 2000 The Italian Girl in Algiers 1997 Falstaff

Opera Philadelphia debut

Tancredi Artists ALLEGRA DE VITA / Isaura mezzo-soprano (Trumbull, Connecticut) recent activities: Cherubino, Le nozze di Figaro,

Opera Philadelphia debut

Washington National Opera; Pippo, The Thieving Magpie, The Glimmerglass Festival; Charlotte, Werther, Academy of Vocal Arts

DANIEL MOBBS / Orbazzano bass-baritone (Philadelphia, Pennsylvania)

2015 La traviata 2012 Manon Lescaut 2011 Tosca

recent activities: Don Alfonso, Così fan tutte, Portland

(Partial Listing)

Opera; Kromow, The Merry Widow, The Metropolitan Opera; Leporello, Don Giovanni, Opera Santa Barbara

PEPA OJANGUREN costume designer (Oviedo, Spain) recent activities: Linda de Chamounix, Teatro dell’Opera

Opera Philadelphia debut

di Roma; Nabucco, Ópera de Oviedo; Il turco in Italia, Théâtre du Capitole

BRENDA RAE / Amenaide soprano (Appleton, Wisconsin) recent activities: In recital with In Sun Suh, Carnegie

Opera Philadelphia debut

Hall; Queen of the Night, The Magic Flute, Bayerische Staatsoper; Lulu, Lulu, English National Opera

CORRADO ROVARIS conductor (Bergamo, Italy) recent activities: Ravel, Mussorgsky, Curtis Symphony Orchestra; Così fan tutte, Ópera de Oviedo; Mendelssohn, Mussorgsky, Conservatorio di Musica “Giuseppe Verdi” di Milano

2016 C harlie Parker’s YARDBIRD 2006 Cinderella 1999 The Marriage of Figaro (Partial Listing)

21

Tancredi Artists EMILIO SAGI director (Oviedo, Spain) recent activities: Il turco in Italia, Théâtre du Capitole;

Opera Philadelphia debut

I puritani, Teatro Real; Linda di Chamounix, Teatro dell’Opera di Roma

ANASTASIIA SIDOROVA / Roggiero mezzo-soprano (Saint Petersburg, Russia) opera philadelphia emerging artist

Opera Philadelphia debut

recent activities: Cherubino, Le nozze di Figaro,

Curtis Opera Theatre; Hata, The Bartered Bride, Music Academy of the West; Bianca, The Rape of Lucretia, Curtis Opera Theatre

DAVID ZIMMERMAN wig & makeup designer (Mt. Pleasant, Texas) recent activities: The Shining, Minnesota Opera;

Becoming Santa Claus, The Dallas Opera; Faust, International Music Festival, Macau, China

22

2016 Breaking the Waves 2016 Cold Mountain 2015 Charlie Parker’s YARDBIRD (Partial Listing)

Artistic & Production Staff artistic

Assistant Director..............................................................................Javier Ulacia Principal Pianist...............................................................................Grant Loehnig Musical Assistant...........................................................................Renate Rohlfing Assistant Chorus Master.................................................................Emily May Sung Supertitle Author................................................................Chadwick Creative Arts Supertitle Operator.............................................................................Tony Solitro Assistant Librarian........................................................................Emily May Sung

production & technical

Properties Supervision............. ..............................Avista Custom Theatrical Services Assistant Lighting Designer.....................................................................Chris Frey Master Electrician................................................................................Terry Smith Properties...........................................................................................Paul Lodes Flyman...............................................................................................Mike Ruffo Assistant Electrician......................................................................Ali Blair Barwick Assistant Stage Managers......................... ............................Greg Boyle, Jen Shaw Wardrobe Supervisor........................................................................Elisa Murphy Cutter/Tailor..........................................................................Althea “Nell” Unrath Cutter/Drapers...............................................................................Kara Morasco First Hands...........Laura Seeley, Suzie Morris Barrett, Joyanne Rampulla, Patrick Mulhall Stitchers..............Andre "Carl" Thomas, Suzan Cerceo, Francis Fehr, Francis Fernandez Shopper........................................................................................Kathy Calhoun Wig & Make-up Assistant...................................................................Lexi O’Reilly

supernumeraries

Dave Tukey, Dave Eder, Jarrett DeStouet, Jariel Bey, Christopher Latzke, Jacob Cordie, Bobb Hawkeye, Zach Aguilar

Facilities A Commitment to Safety: The safety and comfort of visitors, artists, volunteers, and staff at the Kimmel Center, Academy of Music, and Merriam Theater are of paramount importance. In the event of an emergency, audience members will be advised of appropriate procedures by ushers and security staff. 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. Smoking is prohibited on the Kimmel Center campus.

Accessibility: The Academy of Music is wheelchair accessible from the east lobby entrance on Broad Street. Seating is available on the Parquet and Balcony levels, with accessible restrooms located on the Canteen level. Assistive listening devices are available for loan. A limited number of ADA-compliant parking spaces are available in the Kimmel Center garage.

Coat Check & Restrooms: A complimentary coat check is located on the ground floor of the Academy of Music. Restrooms are located on all levels of the Academy of Music.

Food and Beverage: Concessions by Chef Jose Garces and Garces Group are available to Academy of Music and Merriam patrons at satellite bars located in the lobbies and upper levels. Water fountains are located on all levels of the Academy of Music.

23

Tancredi Orchestra & Chorus orchestra Corrado Rovaris jack mulroney music director

violin 1 Dayna Anderson, Concertmaster Igor Szwec, Assistant Concertmaster Meichen Liao-Barnes Charles Parker Diane Barnett Donna Grantham Elizabeth Kaderabek Yan Chin Alexandra Cutler-Fetkewicz Gared Crawford Rebecca Ansel violin ii Emma Kummrow, Principal Luigi Mazzocchi Sarah Dubois Karen Banos Paul Reiser Heather Zimmerman Henry Flory Piotr Filochowski Lisa Vaupel viola Yoshi Nakano, Principal Carol Briselli, Assistant Principal Julia DiGaetani Ellen Trainer Elizabeth Jaffe Kathleen Foster Steven Heitlinger

cello Vivian Barton Dozor, Principal Brooke Beazley Jennifer Lorenzo David Moulton Glenn Fischbach Elizabeth Thompson bass Miles B. Davis, Principal Anne Peterson James Freeman Stephen Groat flute Adeline Tomasone, Principal Eileen Grycky

oboe Geoffrey Deemer, Principal Dorothy Freeman Steven Labiner clarinet Joseph A. Smith, Principal Allison Herz bassoon Wade Coufal, Principal Jon Gaarder french horn John David Smith, Principal Karen Schubert trumpet Brian D. Kuszyk, Principal Steven Heitzer

percussion Ralph Sorrentino, Principal fortepiano Grant Loehnig

chorus tenor Jeffrey Chapman Sang B. Cho Christopher Hoster Steven Humes William Lim, Jr. A. Edward Maddison Fernando Mancillas Toffer Mihalka Siddhartha Misra DonLeroy Morales George Ross Somerville Daniel Taylor Cory O’Niell Walker Steven Williamson bass Gregory Cantwell Lucas DeJesus James Osby Gwathney, Jr. Chris Hodges Maxwell Levy Mark Malachesky John David Miles Frank Mitchell Garrett Obrycki Robert Phillips Lourin Plant Andrew Skitko Tim Stopper Jackson Williams

timpani Martha Hitchins, Principal

Fortepiano courtesy of Rutgers University-Camden Department of Fine Arts.

24

Leadership Giving Opera Philadelphia’s top giving programs, the Leadership Circle & Chairman’s Council, are comprised of passionate groups of philanthropists committed to ensuring that the future of opera is right here in Philadelphia.

Their collective generosity underwrites more than half of Opera Philadelphia’s artistic expenses each season, including productions in the Academy of Music, internationally-lauded chamber opera at the Perelman Theater, site-specific work, Opera on the Mall, and our awardwinning programs for children.

From top: Leadership Circle Members Sandra K. Baldino and Peter Leone. Soprano Christine Goerke with Leadership Circle Member Barbara Augusta Teichert.

Chairman's Council Members Hal Marryatt and John Alchin with General Director & President David B. Devan (center). Leadership Circle Members Gene and Jean Stark with Breaking the Waves composer Missy Mazzoli.

Chairman Daniel K. Meyer, M.D. with Chairman's Council members Maria and Jack Trafton.

For more information, contact Rachel McCausland, Director of Philanthropic Engagement, at 215.893.5909 or mccausland@operaphila.org.

25

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

2016–2017 season sponsors

corporate council sponsors Center City Film and Video CRW Graphics

Official Piano

Official Piano Service Provider

PNC

Saks Fifth Avenue

Universal Health Services Official Sponsor of Opera Philadelphia’s Patron Program

Official Sponsor of Opera Philadelphia's Encore Society

Ballard Spahr LLP Morgan Stanley PECO Tiffany & Co.

Official Automotive Dealership

Season Media Partner

Ernst Brothers Designers + Builders Exelon Business Services MAC Cosmetics Termini Bros. Bakery

Brand Communications Partner

Official Catering Partner

For more information about sponsorship opportunities, or to join Opera Philadelphia's Corporate Council, please contact Rachel McCausland, Director of Philanthropic Engagement, at 215.893.5909 or mccausland@operaphila.org.

30

Patron Program

Official Sponsor of Opera Philadelphia’s Patron Program

The Patron Program is a vital force

Patrons enjoy access to VIP benefits

behind Opera Philadelphia’s

in the opera house including a

spectacular productions and

VIP coat check and champagne

community programs through

intermission receptions, as well as

their united annual support and

exclusive social events throughout

enthusiasm for Opera Philadelphia

the season and priority ticketing

and the art form.

services.

join this passionate group of opera lovers with a gift of $2,500 today!

Left to right: Patron Program members Dick and Margaret Ullman at the Opening Night Party for Charlie Parker's YARDBIRD (photo by HughE Dillon); Patron Program member and composer Jennifer Higdon with Council member Allen Freedman and Patron Rhoda Herrold at the Meet the Artists Reception for Cold Mountain (photo by J.R. Blackwell).

For more information, visit operaphila.org/patrons or contact Jennifer Dubin, Director of Individual Giving, at 215.893.5944 or dubin@operaphila.org.

31

Opera Philadelphia Administration leadership

David B. Devan

General Director & President

Corrado Rovaris

Jack Mulroney Music Director

Michael Bolton

Vice President of Community Initiatives

David Levy

production

Alexander Farino

Director of Production

Stephen Dickerson

Technical Director

Millie Hiibel

Costume Director

Meggie Scache

Production Manager

Drew Billiau

Technical Manager

Vice President of Artistic Operations

Katie Foster

Vice President of Marketing

Kelsey Burston

Ryan Lewis Frank Luzi

Vice President of Communications

Jeremiah Marks

Chief Financial Off icer

Kristy Edmunds

Artistic Advisor

Mikael Eliasen

Artistic Advisor

Michael Eberhard

Artistic Administrator

Sarah Williams

Music Administrator

Director of Orchestra Personnel & Orchestra Librarian

David Hertzberg

Composer in Residence

David T. Little

Composer in Residence

Rene Orth

Composer in Residence

Peggy Monastra

Partnerships, New Productions, & Commissions

Grants Manager

Christina Polet

Advancement Research Manager

Erica Weitze

Development Operations Coordinator

communications

Administrative Assistant, Artistic Operations

Katie Kelley

marketing & guest services Ernie D. DeRosa

Guest Services Manager

Karina Kacala

Marketing Manager Marketing Operations Manager

Lucy Clemens

Concierge

Ashley Colabella New Works Administrator RenĂŠe Drezner Elizabeth Braden Siddhartha Misra Chorus Master & Nicole Renna

J. Robert Loy

Membership Manager

Nathan Schultz

Assistant Costume Director

Michael Knight

music

Filiz Leigh

Guest Services Associates

development Jennifer Dubin

Director of Individual Giving

Rachel McCausland

Director of Philanthropic Engagement

Adele Mustardo

Director of Events

Derren Mangum

Associate Director of Institutional Giving

Aubrey Nagle

Communications Manager Graphic Designer

administration Ken Smith

Assistant to General Director & Board Relations Coordinator

community programs Steven Humes

Education Manager

Veronica Chapman-Smith

Community Programs Assistant

finance

Brian Ramos

Controller

Bethany Steel

Operations Manager

Alison McMenamin

Accounting Associate

counsel

Ballard Spahr, LLP

General Counsel

33

F R I D AY, F E B R U A R Y 2 4 , 2 0 1 7

THE

HAIRIEST OPERAT EVENT OF THE SEASON

EVENT CHAIRS

KATHY HANRAHAN & DREW CHRISTIANO

S TA R R I N G MEZZO-SOPRANO

STEPHANIE BLY THE A S B L Y T H E L Y O R AT O N I O AND

D I T O VA N R E I G E R S B E R G A S

MARTHA GRAHAM CRACKER DIRECTED BY JOHN JARBOE

Also made possible through the generous support of: BETH AND GARY GLYNN INDEPENDENCE FOUNDATION JUDITH AND CHARLES FREYER DONNA AND ANDREW WECHSLER

C O M E A S Y O U A R E O R A S Y O U WA N T T O B E !

34

O P E R A P H I L A . O RG / Q U E E N S | 215 . 7 3 2 . 8 4 0 0

Up Next MOZART

A P R I L 2 8 - M AY 7 , 2 0 1 7 | A C A D E M Y O F M U S I C Regarded as one of the greatest operas ever written, Mozart’s The Marriage of Figaro is a screwball comedy complete with disguises, surprises, and compromises. Figaro, the wily barber and part-time matchmaker, has finally fallen in love. But on the eve of his marriage to Susanna, Figaro’s master, Count Almaviva, sets his wandering eye on the lovely bride-to-be. Chaos ensues, and even the Countess Rosina gets in on the action when she learns of her husband’s desires. But is she embroiled in a dangerous liaison of her own? From the opening notes to the final curtain, Mozart’s score delivers a tangled love story with great farce and satire.

Stephen Lawless directs this brand-new co-production with Lyric Opera of Kansas City, for which designer Leslie Travers has created luscious period costumes and sets. John Chest brings “the dark rich colours” (Opera Now) of his baritone to the role of the Count, with Layla Claire’s “luminous soprano” (The New York Times) as the Countess, both in their Opera Philadelphia debuts. Soprano Ying Fang as Susanna, Brandon Cedel as Figaro and mezzo-soprano Cecelia Hall (Ruby in Cold Mountain) as Cherubino round out a cast sparkling with talent. Jack Mulroney Music Director Corrado Rovaris leads the Opera Philadelphia Orchestra, making this a Figaro to remember.

TICKETS NOW ON SALE operaphila.org | 215.732.8400

35

Barrie Kosky’s The Magic Flute photo by Robert Millard / LA Opera

SEPTEMBER 14–25, 2017 Twelve days, seven operatic happenings, six venues across the city of Philadelphia, three world

opening n i g h t turned opening f e s t i va l

premieres, and superstar Festival Artist Sondra Radvanovsky: O17 represents a thrilling new way to experience opera.

O 1 7 F E S T I VA L T I C K E T PA C K A G E S O N S A L E F E B . 2 8 36

OPERAPHILA.ORG/O | 215.732.8400