View recent Opera Comany of Philadelphia 40th Gala Program

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FROM the
TO the
ACADEMY HOUSE
1420 LOCUST STREET
SUITE 210
P H I L A , PA
19102
40 th Anniversary Gala
Friday, September 12, 2014 | Academy of Music
OPERAPHILA.ORG
215.893.3600
FROM the
WELCOME
On behalf of the entire Gala Committee, we extend our most sincere gratitude to you for joining us
tonight in celebration of Opera Philadelphia’s 40th Anniversary.
TO the
FRIDAY, SEPTEMBER 12, 2014 | ACADEMY OF MUSIC
OVERVIEW of the EVENING
6:00 P.M.
ACADEMY OF MUSIC LOBBY & BALLROOM
Cocktail Reception
Start of the Silent A uction (see page 68)
7:00 P.M.
ACADEMY OF MUSIC STAGE
Recital by soprano A ilyn Pére z
and tenor Stephen Costello (see page 11)
8:00 P.M.
TENTED BALLROOM ON BROAD STREET
Elegant Seated Dinner
Live A uction (see page 39)
1 0:00 P.M.
Our city’s love of opera dates back more than 200 years with numerous companies having staged
opera here since the colonial times. In 1975, the Philadelphia Lyric Opera Company and the
Philadelphia Grand Opera Company merged to form Opera Philadelphia. And while tonight is
about celebrating 40 fabulous seasons, it is also a time to reflect on our city’s long standing love
affair with grand opera.
Today, Opera Philadelphia is consistently hailed as one of the world’s leading instigators of new
operatic work, for its dedication to telling American stories written by American composers, and
for its fresh approach to producing grand opera from the traditional repertoire. Opera Philadelphia
is also developing the future of this genre through its Composer in Residence program, the nation’s
largest, and through its thriving relationship with two of the world’s finest training schools for opera
singers, the Academy of Vocal Arts and the Curtis Institute of Music, both of which are located
right here in Center City.
Tonight, we will enjoy a recital by the husband-and-wife duo of Stephen Costello and Ailyn Pérez.
These immensely talented young superstars were recently dubbed “the Jay-Z and Beyoncé of opera.”
Their careers started right here in Stephen’s hometown, where they met and fell in love as students
at the Academy of Vocal Arts. They last appeared together on the Academy of Music stage in 2011’s
Romeo & Juliet, and tonight they join us on this historic stage for a unique and intimate gathering.
We’ll then go “From the Stage to the Stars,” as the party spills out onto the Avenue of the Arts for
an evening of music, dinner, and dancing in a tented ballroom with special celebrity guests from
past, present, and future opera seasons.
We’d like to salute tonight’s Honorary Chairs, Philadelphia Mayor Michael A. Nutter and Mrs. Lisa
Nutter, and we extend our sincere thanks to the many people who have worked so hard to make this
evening a success, chief among them the entire Gala Committee. Your dedication and passion for
opera in our city have made this an evening to remember.
Thank you all for joining in the celebration of Opera Philadelphia.
Enjoy the evening!
TENTED BALLROOM ON BROAD STREET
& ACADEMY OF MUSIC LOBBY
Dessert and Dancing
1 1:00 P.M.
Conclusion of the Silent A uction
SANDRA K. BALDINO
DENISE C. CREEDON
40th Anniversary Gala Co-Chair
40 th Anniversary Gala Co-Chair
S T E P H E N A . M A DVA
SUSAN E. SHERMAN
40th Anniversary Gala Co-Chair
40 th Anniversary Gala Co-Chair
3
TRIBUTE
B O AR D of DIREC TO RS
OFFIC ER S
It is our great pleasure to join in tonight’s celebration as Honorary Chairs
MEMBERS
Be n ja mi n A l e xa n de r
S a n dr a K . B a l di n o
S c o tt F. Ri c h a rd
F. Josh ua B a r n e tt, M . D., J. D.
H a ro l d Ro s e n b l uth
W i l l o C a re y
S te ph e n G . S o mk ut i , M. D.
Nic hol a s E . C h i mi c l e s , E s q.
J o n a th a n H . S pro ge l l
Ad y L . D je r a s s i , M. D.
J a me s B . S t r a w
E h a b H a mmad
A l i c e S t r i n e, E s q.
Mark Hankin
K e n n e th R . S w i mm
Fre de r i c k P. H uf f
M a r i a Tr a f to n
Ca ro l i n e K e n n e dy
C h a r l o tte Wa tts
Jo e l M . K o pp e l ma n
D o n n a We c h s l e r
for supporting the creation of new American works of art. The company’s
E l l e n B e r ma n L e e
H O N O R A RY M E M B E R S
be found elsewhere, establishing Philadelphia as a go-to place for opera buffs
Gabriele Lee
D e n n i s A l te r
DA N I EL K . M E Y ER , M . D.
CHA I R MAN
F R ED ER I C K P. H U F F
V I CE CH AIR
J O EL KO P P EL M A N
V I CE CH AIR
of Opera Philadelphia’s 40th Anniversary Gala, From the Stage to the Stars.
A g n e s Mul ro n e y
A LI C E S T R I N E , E S Q.
V I CE CH AIR
S CO T T F. R I C H A R D
S E CR E TARY
THOMAS MAHONE Y
TR E A S U RER
For the past four decades, Opera Philadelphia has brought outstanding production
quality, artistry, and educational opportunities to our community. From the stages
of the Academy of Music and the Perelman Theater at the Kimmel Center for the
Performing Arts, to pop-up performances in public spaces, in-school programs, and
free HD broadcasts in front of Independence Hall, our opera company has taken a
majestic, centuries-old art form and seamlessly woven it into the fabric of our city.
Opera Philadelphia is recognized as one of our nation’s most innovative opera
companies, for its commitment to staging grand opera on a grand scale and
commitment to artists has resulted in unique audience experiences that cannot
Be ve r l y L a n ge, M . D.
S T EP H EN A . M A DVA , E S Q.
CHA I R MA N E M ERIT U S
Pe te r L e o n e
from far and wide.
A l a n B . Mi l l e r
S t eph e n A . Madv a , E s q.
The company is one of the jewels that have made Philadelphia a destination for
H . F. (G e r r y) L e n f e s t
T h o ma s M a h o n e y
lovers of arts and culture, but it is the Opera’s commitment to the children of our
community that makes us especially proud. Through the Sounds of Learning™
D an i e l K . Me ye r, M. D.
education program, more than 140,000 Philadelphia areas students have been
served with an intensive, in-school, literacy-based music education experience
that culminates with a visit to a live opera performance. The innovative Hip
H’opera program has made students at four city schools a part of the creative
EXECUT IV E L E A D E R S HI P
DAV I D B . D EVA N
G E N E R A L DIRECT O R & P RESIDEN T
CO R R A D O ROVA R I S
J A CK MU LRO N EY M U SIC DIRECT O R
M I K A EL ELI A S EN
ART IST IC ADV ISO R
N AT H A N G U N N
D I R E CTOR , A M ERICAN REP ERT O IRE CO U N CIL
process, with student writings inspiring a new opera that will debut in 2015.
G A RY H . G A N S K Y
On this 40th Anniversary, we congratulate everyone at Opera Philadelphia who
ANNIE BURRIDGE
singers, orchestra musicians, chorus members, designers, directors, production and
CHIEF FINA NCIA L OFFICER & SENIOR VICE PR ESID EN T
helps to bring opera to our community—the Board of Directors, donor family,
SENIOR VICE PR ESID ENT, INSTITUTIONA L A D VA NCEME N T
technical staff, stagehands, administrative staff, and volunteers.
DAV I D LEV Y
Bravi!
SENIOR VICE PR ESID ENT, A RTISTIC OPERATIONS
M I C H A EL B O LT O N
VICE PR ESID ENT OF COMMUNITY PROGR A MS
MICHAEL A. NUTTER
LISA NUTTER
M AYO R
H O N O RA RY C H A I R
H O N O RA RY C H A I R
4
4
5
FROM the
TO the
HONORARY CHAIRS
B R AVO !
Chairman
Daniel K. Meyer, M.D.
Mayor Michael A. Nutter & Mrs. Lisa Nutter
GALA CHAIRS
Sandra K. Baldino
Stephen A. Madva & Denise C. Creedon
Susan E. Sherman
GALA COMMITTEE
Nancy Abbott
Peter Leone
Eric Allen
Willo Carey
Timothy Moir
David A. Dubbeldam
Kelley Reilly
OPERA PHILADELPHIA IN ITS
Joan Goldstein
Stephen G. Somkuti, M.D.
Sharon Koppelman
Donna Wechsler
L A N D M A R K 4 0 TH S E A S O N
Ellen Berman Lee
Nancy Zambelli
IS PROUD TO SUPPORT
AUCTION CO-CHAIRS
MARKETING CHAIR
Joan Goldstein
Timothy Moir
IN-KIND SPONSORS
7
4 0 TH
ANNIVERSARY
GALA
SUPPORTERS
U N D ERW R I T I N G S P O N S O R S
Mrs. Sandra K. Baldino
PAT RO N S
Anonymous
Drs. Rosalie Burns and Herbert J. Goldberg
Dr. Stanley Muravchick and Ms. Arlene Olson
Mr. Norman J. Olson
James and Nancy Abbott
Joan and William Goldstein
John Alchin and Hal Marryatt
Drs. Ellen and Erik Gregorie
Eliana Papadakis
Ben and Lorraine Alexander
Mr. and Mrs. Emilio Gravagno
Anderson and Daria Pew
Dr. Heidi Kolberg and Dr. F. Joshua Barnett
Mark and Helene Hankin
Kelley S. Reilly
Peter A. Benoliel and Willo Carey
Ms. Rhoda K. Herrold
Scott F. and Roberta C. Richard
Joanne M. Berwind
Mr. and Mrs. Frederick P. Huff
Dr. David J. Richards
Dr. Claire Boasi
Terri and Thomas Klein
Mrs. Emily C. Riley
Dr. Luther W. Brady
Gabriele Lee
John and Theresa Rollins
Ira Brind and Stacey Spector
Marguerite and Gerry Lenfest
Franny and Harold S. Rosenbluth
Robert Capanna and Cathryn Coate
William Leonard
John Pcsolar and Alan Sandman
James and Madeleine Carlson
Fran and Leon L. Levy
Anne Faulkner Schoemaker
Dianne and Don Cooney
Harriet and Shelly Margolis
Mr. and Mrs. Steve Sheller
David B. Devan
and David A. Dubbeldam
Mr. and Mrs. Peter A. Martosella, Jr.
William J. Meagher, Jr.
Keith and Jim Straw
Mr. Robert Devoe
Leonard Mellman
Barbara Augusta Teichert
P R EM I ER S P O N S O R S
Ady L. Djerassi, M.D. and Robert Golub, M.D.
Evalind Minor
Jay and Hadia Tolson
Rita and Philip Harper
Drs. Bruce and Toby Eisenstein
Constance C. Moore
Dr. and Mrs. Andrew Wechsler
Judy and Peter Leone
Ms. Barbara Freedman
Suzanne and Ron Naples
Gordon Yasinow
Susan E. Sherman
GIF TS AND SPECIAL THANKS
B EN EFAC T O R S
Bank of America
1812 Productions
Di Bruno Bros.
Mr. John H. McFadden
Saks Fifth Avenue
Academy of Natural Sciences
Domaine Serene
William McGowan
Eddy Schoenfeld
Bud and Betty Shapiro
Ronald M. Agulnick, Esq.
Evantine Design
Ocean Prime Restaurant
Charlotte and Bob Watts
Ben and Lorraine Alexander
Fork Restaurant
Mr. Norman J. Olson
Jack Stein
The Arden Theatre Company
The Franklin Institute
Panorama Ristorante
Susan Beard Photography
Banfi Vintners
William Fretz
Dr. Elizabeth M. Bowden
The Barnes Foundation
Govberg Jewelry
Pennsylvania Academy
of the Fine Arts
Ken and Sheila Swimm
Nicholas and Kathleen Chimicles
Bloomingdale’s Maximilian Fur
Salon, Willow Grove
Grounds for Sculpture
The Pennsylvania Ballet
Symphony in C
Joel and Sharon Koppelman
Rita and Philip Harper
Philadelphia Museum of Art
The Treemont
Beau Vigne
Mr .and Mrs. Frederick P. Huff
Philadelphia Theatre Company
Varalli Restaurant
Ellen Berman Lee
Pierre and Charlotte Calmels
Jibe Design
Phillip Gabriel Photography
The Capital Grille
Kalnin Graphics
Georges Perrier
The Walnut Street
Theater Company
Willo Carey
Karma Agency
The Prime Rib
Dr. and Mrs. Andrew Wechsler
The Kimmel Center
for the Performing Arts
The Print Center
WHYY
Scott and Roberta Richard
The Wilma Theater
Kramer Portraits
Dr. David Richards
Robert Taglieri and Timothy Moir
CO N T R I B U T O R S
Stephen A. Madva and Denise C. Creedon
Samuel P. Mandell Foundation
Mrs. John P. Mulroney
PECO
Ms. Carolyn Horn Seidle
Alice and Walter Strine, Esqs.
Wells Fargo
8
Carmel Bach Festival
Chamber Orchestra
of Philadelphia
Dr. Daniel V. Schidlow
Creative Closets
The Lantern Theater Company
The Rittenhouse Hotel
Winterthur Museum
and Country Estate
DanceSport Academy
Le Chéri
Dr. and Mrs. Donald Rosato
WXPN 88.5 FM
David B. Devan
and David A. Dubbeldam
Robin Lehman
Marc Rosenn
Ellen Yin
The Devon Horse Show &
County Fair
Longwood Gardens
Ruth’s Chris Steakhouse
Harriet and Shelly Margolis
Howard and Vesna Sacks
(List as of 8/29/14)
9
MUSICAL PROGRAM
Ailyn Pérez
SOPRANO
Stephen Costello
TENOR
Danielle Orlando
C O L L A B O R AT I V E P I A N I S T
“O Q U A L PA L O R ! . . . U N D Ì , FE L I CE , E T E R E A ” from La traviata
G IUS EPPE V ERD I (1813 – 1901)
“C HE G E L I D A M A N I N A ”
“M I C HI A M A N O M I M Ì ”
“O S O AV E FA N CI U L L A ” from La bohème
G IA CO MO PUCCINI (1858 – 1924)
“N O N T ’ A M O P I Ù ”
“I D E A L E “
PA O LO TO S TI (1846 – 1916)
“L O V E I S W HE R E Y O U FI N D I T ”
NA CIO HERB B RO W N (1896 – 1964) A ND EA RL K. B RENT (1914 – 1977)
“O N E HA N D , O N E HE A RT ” from West Side Story
LEO NA RD B ERNS TEIN (1918 – 1990) A ND S TEPHEN S O ND HEIM (B . 1930)
“G O O D BY E ! ”
PA O LO TO S TI
“O M I O BA BBI N O CA R O ” from Gianni Schicchi
G IA CO MO PUCCINI
“I F I L O V E D Y O U ” from Carousel
RICHA RD CHA RLES RO D G ERS (1902 – 1979) A ND O S CA R HA MMERS TEIN II (1895 – 1960)
11
S T E P H E N & A I LY N
2014 has been a big year for soprano Ailyn Pérez
and tenor Stephen Costello.
Fidelio, and has gone on to grace the Academy of Music
Summers. That same month, they earned rave reviews
demand at the world’s leading opera houses, with the role
with the BBC Symphony Orchestra under Patrick
of Violetta in La traviata as one of her signature calling
House in London. The Times (U.K.) called them
Award and the Richard Tucker Award, becoming the
that would be repeated throughout the summer, in
As Opera News observes, “The phrase ‘an embarrassment
“the Jay-Z and Beyoncé” of opera. It was a moniker
Vanity Fair, on ABC News, and by audiences enraptured
by the off-stage love story that accompanies their
spectacular on-stage chemistry.
It is a love story that began in Stephen’s hometown of
Philadelphia, where the couple met in 2003 as students
at the prestigious Academy of Vocal Arts. An onstage
romance in Puccini’s beloved opera, La bohème, kindled
the flames of a real-life passion, and they were married
here in 2008.
Married opera singers are rare to begin with, but what
is truly rare about Ailyn and Stephen is that their
voices and repertoires are a perfect match. Pérez’s
sparkling, energetic, and passionate persona and
Costello’s romantic, charismatic, and charming nature
have made them both international opera stars in their
own right. This year, they appeared together across
the globe, headlining La traviata in London, Berlin,
Hamburg, and San Francisco, while giving concerts
in Washington D.C., Dallas, San Diego, and here in
Philadelphia, a city which holds a special place in both
their hearts and their resumes.
© Molina Visuals
stage in Carmen and Romeo & Juliet. She is increasingly in
while appearing as doomed lovers Violetta and
Alfredo in Verdi’s La traviata at the Royal Opera
12
Ailyn made her Opera Philadelphia debut in 2008 in
and-wife duo’s first album together, Love Duets,
cards. In 2012, Ailyn won both the Plácido Domingo
only Hispanic recipient in the award’s 35-year history.
of riches’ might have been invented to describe the
combination of talents that belong to Ailyn Pérez, …
who truly seems to have it all.”
Stephen made his Opera Philadelphia debut in 2008 in
the East Coast Premiere of Cyrano and returned alongside
Ailyn in Romeo & Juliet in 2011. He quickly established
a reputation as a “first-class talent” (Opera News) after
coming to national attention in 2007, when, at age 26,
he made his Metropolitan Opera debut on the
company’s season-opening night. Two years later
Stephen won the prestigious Richard Tucker Award,
and he has since appeared at many of the world’s most
important opera houses and music festivals. In 2010, he
created the role of Greenhorn (Ishmael) in the Dallas
Opera’s celebrated world-premiere production of Jake
Heggie and Gene Scheer’s Moby-Dick, prompting Opera
Magazine to hail him as “a tenor of ineffable sensitivity,
with unfailing elegance in singing and a disconcerting
ease in producing notes in head-voice.”
THIS EVENING’S PERFORMERS
In May, Warner Classics released the husband-
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DANIELLE ORL ANDO
COLL ABOR ATIVE PIANIST
Danielle Orlando is enjoying an active career as accompanist to many international opera
singers including soprano Angela Meade, tenor James Valenti, tenor Michael Fabiano, and
bass-baritone Eric Owens. She has performed for the Supreme Court of the United States
with tenor Marcello Giordani and again with tenor Stephen Costello and soprano Ailyn
Pérez. Upcoming engagements include a recital with baritone Luis Ledesma for the Festival
Classique des Hautes-Laurentides in Montblanc, and a tour with Stephen Costello and
Ailyn Pérez in Mexico, Montreal, Edinburgh, San Diego, Washington, DC, and Dallas.
Ms. Orlando also serves as a distinguished vocal coach and artistic consultant to several
prestigious music organizations. She is principal coach for the Curtis Institute of Music
and master coach for the Academy of Vocal Arts in Philadelphia. She collaborated with
Luciano Pavarotti as accompanist, judge and artistic coordinator for the Luciano Pavarotti
International Voice Competitions, and spent nine seasons in Spoleto, Italy working with
Gian Carlo Menotti for the Festival Dei Due Mondi. She was Artistic Administrator and
Independence
Foundation
Head of Music Staff for Opera Philadelphia for many years and has served on the music
staffs of numerous opera companies, festivals, and young artist programs around the world.
She is presently a guest coach for Washington National Opera’s Domingo-Cafritz Young
Artist Program, Palm Beach Opera’s Young Artist Program, and a guest judge for the
Metropolitan Opera National Council Auditions.
is pr oud to suppor t
OPERA PHILADELPHIA
in its land mark 40th season
15
OPERA PHILADELPHIA:
PAST, PRESENT
AND FUTURE
BY DIANA BURGWYN
GRANADA, SPAIN: Gurgling water and
horses galloping to a flamenco beat
introduce the story of a famous actress
who has devoted her life to the plays of
the martyred poet Federico García Lorca.
SERBIA: Five girlfriends and a bride-to-be
prepare for her marriage in a Baltic rite
of passage, as they gossip and confide
in tightly-knit a cappella singing.
FRANCE: Enemy nations in World War
I briefly lay down their arms to observe
Christmas Eve in peace, sharing their
photos, provisions, and music.
Subjects for a documentary, perhaps?
No. All three are 21st-century operas
performed by Opera Philadelphia
over the past two years: Ainadamar
by the Argentine-born composer
Osvaldo Golijov; Svadba-Wedding
by the Serbian Ana Sokolovic’ ; and
Silent Night by the American composer
Kevin Puts and librettist Mark Campbell.
That doesn’t sound like the typical fare
served up by an opera company, but
Opera Philadelphia has been breaking
new ground in its approach to the
16
venerable art form. Its profile today is
inextricably linked to its past (as the
Opera Company of Philadelphia) and
the city in which is it located.
As early as the 1750s, Philadelphians
were going to performances of humorous
British ballad operas. In 1818, an English
translation of Mozart’s Don Giovanni,
performed in the Chestnut Street Theatre,
marked the city’s first grand opera
production. A few years later another
Mozart opera, The Magic Flute, received
its American premiere at the Musical Fund
Society of Philadelphia’s new concert
hall. But it was the legendary Academy
of Music—now the oldest functioning
grand opera house in the nation—that
gave the city its perfect venue. For almost
80 years, the Metropolitan Opera of
New York traveled to Philadelphia for
regular performances, most of them at the
Academy. A number of local companies
produced opera at the Academy from
the 1920s through 1950s, among them
the Philadelphia Civic Opera Company,
several incarnations of the Philadelphia
Grand Opera Company, and the
Philadelphia La Scala Opera Company.
TOP: Flamenco singer Alfredo Tajeada in 2014’s Ainadamar; MIDDLE: Soprano Jacqueline Woodley
in 2013’s Svadba-Wedding; BOTTOM: Tenor William Burden and soprano Kelly Kaduce in 2013’s
Silent Night. Photos: Kelly & Massa. LEFT PAGE: TOP: Soprano Anna Netrebko in 2002’s I Capuleti e
i Montecchi. Photo: Kelly & Massa; MIDDLE: Soprano Jessye Norman in Oedipus Rex, 1982. Photo by
Trudy Lee Cohen; BOTTOM: A scene from 2008’s Fidelio. Photo: Kelly & Massa
17
P A S T, P R E S E N T A N D F U T U R E
When the Met stopped coming regularly to Philadelphia in 1961,
two local institutions, the Philadelphia Lyric Opera Company and
Philadelphia Grand Opera Company, thrived. The Main Line
set gravitated to the Lyric and the South Philadelphia Italians
to the Grand, both of them focusing on the standard repertoire.
Philadelphia had long been a conservative city artistically, and
even powerful figures like Philadelphia Orchestra music director
Leopold Stokowski, a champion of new music, hadn’t been able
to change that.
The two companies did remarkably well in signing on leading
singers of the day: Renata Tebaldi, Beverly Sills, Giovanni
Martinelli, Richard Tucker, Joan Sutherland, Franco Corelli, Birgit
Nilsson, and Jon Vickers, among them. Given these big names,
there was a lot of wonderful singing in the 1970s. However,
inadequate funding resulted in performances that were often
thrown together, sometimes with just one rehearsal.
In 1975, the Lyric and Grand decided to merge, and the Opera
Company of Philadelphia was born. Named General Director
was Max Leon, a Polish-born conductor who had studied with
Eugene Ormandy and, as a radio broadcasting pioneer, had
gained a lot of business savvy. Leon’s first opera was the everpopular Faust by Gounod, with Philadelphia-trained bass- baritone
James Morris as the devil. During his two-year tenure, Leon put on
some big-name productions, including Donizetti’s Anna Bolena
with Renata Scotto and Samuel Ramey. For the nation’s Bicentennial, Leon commissioned Gian-Carlo
Menotti, composer of the Pulitzer Prize-winning opera The Consul,
to write the company’s first new opera. The Hero was about a
man who had been sound asleep for ten years and woke up too
soon to gain the world title in hibernation. Audiences enjoyed
it—but not enough to want to hear it again.
Leon was succeeded by J. Edward Corn, an arts administrator
with experience at major U.S. opera companies, (he had mounted
several world premieres at Minnesota Opera). Corn’s artistic
advisor was Julius Rudel, long associated with the New York
City Opera. Their three seasons comprised such productions
as Manon with Beverly Sills, Rigoletto with Sherill Milnes and
June Anderson, and Maria Ewing in La cenerentola. As a sign
of the company’s new emphasis on education, a charming and
musically-sophisticated children’s opera, Rumpelstiltskin by Joseph
Baber, was produced under the direction of Margaret Anne Everitt.
Soprano Marilyn Zschau as Madama Butterfly, 1979. Photo: Trudy Lee Cohen
18
Everitt became the next general director
of the company, her decade-long tenure
ambitious and imaginative. She brought
masterpieces never before heard in
Philadelphia, such as Beethoven’s only
opera, Fidelio, and Dvor̆ák Rusalka,
as well as several major 20th-century
operas. These included Oedipus Rex by
Stravinsky with soprano Jessye Norman
in her North American stage debut, and
two Benjamin Britten operas: A Death
in Venice and Peter Grimes. Everitt also
developed a series of operas based on
the Faust theme, all of them televised.
Soon after taking over the company,
Everitt embarked on a joint venture
with tenor Luciano Pavarotti. This was
in the form of an international vocal
competition for young singers, with
Pavarotti donating his services. Winners
were coached by and performed with
him, thus providing important visibility to
such singers as Deborah Voigt, Marcello
Giordani, Cristina Gallardo-Domas, and
Roberto Alagna. The competition was,
however, very costly and took attention
from the company’s major purpose of
producing opera on its own.
Everitt departed in 1991. A year later,
Robert B. Driver was appointed General
Director.
ABOVE: Tenor William Lewis (center) in 1982’s Oedipus Rex. Photo by Trudy Lee Cohen
19
Driver had been an assistant director at the Munich State Opera
and later ran three U.S. opera companies simultaneously. He
put the Philadelphia company on a sound financial footing; this
was partly facilitated by his decision to break with the Pavarotti
competition. During Driver’s tenure of two decades, the number of
productions, performances, and subscribers moved ever upwards.
And when the Philadelphia Orchestra moved into the new Kimmel
Center, the company gained much more leeway in its use of the
Academy of Music.
Large and appreciative audiences were delighted to hear young
singers on the way to stardom—among these, Stephanie Blythe and
Juan Diego Flórez in The Italian Girl in Algiers, Anna Netrebko
in I Capuleti e i Montecchi, Christine Goerke in Fidelio, Nathan
Gunn and William Burden in The Pearl Fishers, and Patricia
Racette and Denyce Graves in Così fan tutte.
Driver kept a close watch on the gifted students at Philadelphia’s
Curtis Institute of Music and Academy of Vocal Arts, giving them
roles in several of his operas. Among these were three now-famous
singers who maintain a strong association with the company:
the bass-baritone native son Eric Owens and the popular couple
Ailyn Pérez and Stephen Costello.
When Driver decided to use supertitles for all his operas (a move
that some highbrow musicians disdained), the audience response
was overwhelmingly positive. Also under his watch, a highlyregarded educational program, Sounds of Learning™, introduced
opera to the curriculum of Philadelphia schools and students to
the world of opera. (By the end of the 2013-2014 season, more
than 140,000 students had been served by the program.) The
opening of a production center was another milestone, allowing
for imaginative new sets.
Hoping to progress to a more sophisticated repertoire, Driver
reached back to the past with Gluck’s Orphée et Eurydice and
ventured into such 20th-century operas as Stravinsky’s The
Rake’s Progress. Having previously shared productions with other
companies, he continued this in Philadelphia with Gershwin’s
Porgy and Bess. The leads were singers he championed: baritone
Gregg Baker and soprano Angela Brown. Subsequently he
commissioned a new opera in tandem with the Michigan Opera
Theatre and Cincinnati Opera. This was Margaret Garner by
Richard Danielpour and Toni Morrison, the story of an escaped
slave in pre-Civil War America, starring Philadelphia favorites
Denyce Graves and, again, Baker.
Among Driver’s most challenging
artistic ventures was to bring the
Chinese composer Tan Dun’s evocative
2002 opera Tea: A Mirror of Soul to
Philadelphia. Many were mesmerized by
the multi-layered power of this ritualistic
work, with its remarkable sound effects,
bold stage set, and exquisite costuming.
LEFT PAGE: TOP: Soprano Benita Valente
as Pamina in 1990’s The Magic Flute.
Photo: Trudy Lee Cohen; MIDDLE: A scene
from 1980’s The Magic Flute. Photo: Art
Braitman; BOTTOM: Soprano Patricia
Racette and tenor Richard Croft in 1995’s
Così fan tutte. Photo by Trudy Lee Cohen;
ABOVE: LEFT: Mezzo Denyce Graves in the
title role of 2002’s La Perichole. Photo: Kelly
& Massa; RIGHT: Soprano Ailyn Pérez and
tenor Stephen Costello in 2011’s Romeo &
Juliet. Photo: Kelly & Massa
With Driver gradually focusing more
on stage direction than he had the time
to do previously, a five-year leadership
transition strategy was put into place
in 2005 with the appointment of the
company’s first music director. Born
in Bergamo, Italy, and trained at the
Conservatory of Milan, Corrado Rovaris
was a man of European elegance and
musical depth. He maintained an active
career as conductor at important Italian
opera houses and had won over the
Opera Company musicians with his
appearances here in Mozart and Verdi
operas. Provided significantly increased
rehearsal time in his new position, the
maestro gradually transformed the
orchestra into a highly professional one.
A year later David B. Devan, a dapper
Canadian with great verve and a
vivid imagination, joined the company
as managing director, charged with
assuring its long-term financial stability
and developing strategic planning
initiatives. Devan increasingly saw
the company from an international
perspective, and his travels have taken
him around the world—always on the
lookout for new ideas and connections.
21
Devan has focused his emphasis on American repertoire; this,
he believes, is how the genre will stay alive and vibrant. At
the same time Devan is determined to continue the traditional
repertoire while seeking exciting new approaches. For his opening
production of Puccini’s La bohème, he collaborated with the
esteemed Philadelphia Museum of Art and The Barnes Foundation
in animating 30 masterpieces from the collections which became
the opera’s backdrop. The paintings by such artists as Van Gogh,
Renoir, and Manet evoked life in Paris at the time of the opera.
The next season’s opening work was the company’s first
performance of Verdi’s Nabucco. This truly qualified as grand
opera, with 190 performers onstage and an expanded chorus
that did full justice to one of the most famous anthems in all of
opera, “Va, pensiero.”
Devan’s fertile mind is capable of working on several cylinders
at once. Among his many initiatives has been participation in the
Knight Foundation’s “Random Acts of Culture,” which had 650
company singers performing the “Hallelujah Chorus” at Macy’s,
accompanied by the famed Wanamaker Organ, attracting more
than 8.5 million views on YouTube. He also initiated the practice
of having the opening opera each season broadcast in HD on
Independence Mall, thereby introducing many thousands of
people to opera and to the company.
One of Driver’s final productions, which he also directed, brought
the company to the attention of critics nationwide. This was the
American premiere of Phaedra, a compelling 2007 opera by
German composer Hans Werner Henze based on a Greek myth.
Performed in the 650-seat Perelman Theater at the Kimmel Center
in June 2011, it was conducted by Rovaris and starred Tamara
Mumford and William Burden.
ABOVE: Elizabeth Reiter as Aphrodite and Tamara Mumford
as Phaedra in 2011’s Phaedra. Photo: Kelly & Massa;
RIGHT: Haijing Fu, Kelly Kaduce, and Roger Honeywell
in the 2009 production of Tan Dun’s Tea: A Mirror of Soul.
Photo: Kelly & Massa; Soprano Sara Tannehill, tenor William
Burden, and soprano Christine Goerke in 2005’s Die Fledermaus. Photo: Kelly & Massa
22
On Driver’s retirement, Devan assumed the position of General
Director—and, subsequently, President. His explicitly-stated goal
has been to enlarge the role that opera plays in Philadelphia,
with performances held beyond the confines of the Academy of
Music and productions that aim toward a wider audience. As
an expression of the company’s commitment to the entire city, its
name was changed to Opera Philadelphia.
The Aurora Series for Chamber Opera has flourished with Dark
Sisters by Nico Muhly, the chilling tale of a woman’s attempt
to escape a polygamous sect; Powder Her Face by Thomas
Adès, based on a real-life sex scandal in England; and A Coffin
in Egypt by Ricky Ian Gordon, which brought the much-loved
singer Frederica von Stade out of retirement. The Muhly work,
co-commissioned with Gotham Chamber Opera and Music-Theatre
Group, was the first in Opera Philadelphia’s American Repertoire
Program, a commitment to producing a new American opera in
each of ten seasons. Heading its Advisory Council is baritone
Nathan Gunn, who has been among the company’s most admired
singers since his first performance in 1996.
Every season, one Aurora production is produced by the
Curtis Opera Theatre under the direction of Mikael Eliasen in
collaboration with Opera Philadelphia and the Kimmel Center
for the Performing Arts. A second Henze work, Elegy for Young
Lovers, similarly attracted the attention of major critics.
23
Among other initiatives, Opera Philadelphia has
formed the nation’s first collaborative operatic
Composer in Residence program, which offers a
highly individualized professional development path
for today’s most promising young opera composers.
To date, four composers have taken part: Lembit
Beecher, Missy Mazzoli, Andrew Norman, and
David T. Little.
This upcoming 40th Anniversary Season of Opera
Philadelphia is a dizzying array of productions.
The season begins with Rossini’s The Barber of
Seville, with mezzo-soprano Jennifer Holloway in
the role of the seductive (and, sometimes, spiteful)
heroine, Rosina.
In February 2015 Theodore Morrison’s Oscar,
co-commissioned by Opera Philadelphia and the
Santa Fe Opera, will feature the most acclaimed
countertenor of our day—and, according to the
New York Times, perhaps ever: David Daniels. The
opera is based on writings by the gay Irish poet
and dramatist Oscar Wilde, who was sentenced to
a two-year imprisonment for his relationship with
the British Lord Alfred Douglas.
The season’s collaboration with the Curtis Institute
will bring Richard Strauss’s opera Ariadne auf
Naxos, whose consummately beautiful music is
meshed with slapstick comedy in a story of the
competition between “high” and “low” art for the
public’s attention.
In April, the great Eric Owens will grace the stage
in the role of King Philip II in Verdi’s masterful Don
Carlo. The breadth of the bass-baritone’s repertoire
is amazing: from the vengeful dwarf Alberich in
Wagner’s Ring cycle to the steely General Leslie
Groves in Doctor Atomic by John Adams, an opera
about the development of the atomic bomb. Music
director Corrado Rovaris, whom the Philadelphia
Inquirer recently described as a Verdi interpreter as
fine as the legendary conductors of the past, will
be on the podium.
The season concludes with Charlie Parker’s YARDBIRD
by Daniel Schnyder. Parker, a legendary saxophonist
who struggled with drugs, alcohol and mental illness,
is portrayed toward the end of his life by Lawrence
Brownlee, the most admired American tenor in the
bel canto repertoire.
Looking ahead to the future, consider these: the
highly-anticipated Civil War opera Cold Mountain
by Pulitzer Prize-winner Jennifer Higdon and librettist
Gene Scheer; We Shall Not Be Moved by composer
Daniel Bernard Roumain and librettist Marc
Bamuthi-Joseph, an opera inspired by the writings
of students in Opera Philadelphia’s in-school Hip
H’opera program with Art Sanctuary; Breaking
the Waves, based on the Lars von Trier film, by
Missy Mazzoli, a Composer in Residence at Opera
Philadelphia, and librettist Royce Vavrek; and
The Trial of Elizabeth Cree by Kevin Puts (another
Pulitzer Prize-winner, for Silent Night) and librettist
Mark Campbell, about a onetime music-hall
actress convicted and executed for poisoning her
husband. There is no end to the imagination of
Opera Philadelphia. You can’t help wondering,
what’s next?
Diana Burgwyn is a Philadelphia-based freelance writer who specializes in music. Her articles and reviews
have appeared in The New York Times, The Washington Post, Symphony Magazine, Opera Now, and
The Philadelphia Inquirer, among other publications. She is also the author of Seventy-Five Years of the
Curtis Institute of Music: A Narrative Portrait.
ABOVE: The Opera Philadelphia chorus sings “Va, pensiero (The Chorus of the Hebrew Slaves)” in 2013’s Nabucco. Photo: Kelly & Massa
24
25
OPERA PHILADELPHIA SALUTES
C O R R A D O R O VA R I S
D U R I N G H I S 1 0 TH S E A S O N A S M U S I C D I R E C T O R
“Corrado Rovaris is at home with operas ranging from Wozzeck to Ainadamar,
and his ownership of Verdi rivals any of the late greats.”
OPERA NEWS
Rita & Phil
Harper
ar e pr oud to suppor t
OPERA PHILADELPHIA
in its landmark 40th season
In 1999, an energetic, dark-haired, young Italian
conductor made his U.S. debut with the Opera
Company of Philadelphia in Mozart’s Le nozze di
Figaro. The Maestro from Bergamo quickly became
a company regular, returning to Philadelphia the
following season to conduct Rossini’s The Italian Girl
in Algiers with mezzo-soprano Stephanie Blythe and
tenor Juan Diego Flórez; Mozart’s Don Giovanni in
2002; and Verdi’s La traviata in 2004. In 2005, in
celebration of the company’s 30th Anniversary Season,
he was appointed as the first Music Director in
company history, a position named in honor of the
late Board Chairman and Executive Director, Jack
Mulroney, one of the key figures in convincing the
Maestro to come to Philadelphia.
27
C OR R A D O ROVA R I S
“Although there were several excellent conductors
been an honor and privilege to know him, to call him a
“Since Corrado’s arrival here, the orchestra’s playing
maintains his human side. He has a wonderful sense
undoubtedly our first choice,” recalls Robert B. Driver,
to the success of Opera Philadelphia.”
concertmaster Barbara Sonies. “His meticulous rehearsal
that we will have many more fruitful years together.”
joined the company. “Every artistic experience with his
Maestro Rovaris graduated from the Giuseppe Verdi
blended sound on a consistent basis. His humor and
“I treasure Corrado’s leadership and am so pleased he
excellence but also in the artistic growth of the company.
organ, and harpsichord. He has conducted in many of
work, apparent on stage, as well as in the pit. Everyone in
Brooke Beazley-Cyzewski. “His thorough knowledge
Opera Philadelphia has moved from an important
Milan, Teatro Comunale in Florence, Teatro dell’Opera
particularly since Corrado has been associated with it.”
the highest quality. I look forward to making more
importance.”
thoroughly native Italian to move with his family from
“We’ve been with him for Gluck to Henze and
no small matter. Working in our favor were the many
said principal flautist Adeline Tomasone. “But Corrado
who were well known to the company, Corrado was
who was General and Artistic Director when Rovaris
conducting with us had resulted not only in artistic
With Corrado at the helm of the musical direction,
regional company to a major one of considerable artistic
“This season, as Opera Philadelphia celebrates its 40th
Anniversary, the company salutes Corrado Rovaris,
whose leadership throughout the past ten seasons has
elevated Opera Philadelphia on the stage, in the pit,
and throughout the international music community,”
said David B. Devan, General Director and President
of Opera Philadelphia.
friend, and to acknowledge his great, great contribution
Conservatory of Milan with degrees in composition,
the major Italian houses such as Teatro alla Scala in
di Roma, and Teatro Comunale di Bologna. For a
Italy’s opera capital, Milan, to the “new world” was
everything in between, and he brings it every time,”
and his passionate conviction that what we do as the
first guest appearance,” recalled Miles B. Davis, principal
bassist of the Opera Philadelphia Orchestra. “Back
then, Corrado barely spoke English. When he wanted
the strings to play softly, he would say,
him with a violin bow, strung
“Over a remarkably short time, he molded a group of
the orchestra has been proud to be a part of the company,
“Has it already been ten years? It’s even longer since his
tact—Corrado refashioned not only the sound of the
Madva, Chairman Emeritus of the Board of Directors.
sincerity have created a positive atmosphere in which to
is so much more than his musicianship and skills. It’s
‘One hair, one hair!’ At the end of
orchestra, but its entire character,” said Stephen A.
style and musicianship have resulted in a more precise,
positive experiences he had enjoyed in Philadelphia.
“With complete dedication to his craft and a firm
hand—but always administered with grace and
has reached a significantly higher level,” said longtime
the run, the orchestra presented
with exactly one horsehair.”
his humanity, his tireless stewardship of our ensemble,
For Opera Philadelphia’s 40th Anniversary season, Corrado
Rovaris will lead new co-productions of Rossini’s The
Barber of Seville and Verdi’s Don Carlo at the Academy
of Music, and he will conduct the World Premiere of
Daniel Schnyder’s new chamber opera Charlie Parker’s
“On behalf of the Opera Philadelphia
said principal timpanist Martha Hitchins. “The Opera
extends heartfelt congratulations
integrity and total commitment to musical excellence,”
Orchestra, the Orchestra Committee
Philadelphia Orchestra has truly grown in stature under
to Opera Philadelphia on its 40th
his leadership. Thank you, Corrado, for ten incredible
years. We are better musicians because of you.”
Brian D. Kuszyk. “He has the rare ability to bring the
without ever putting himself in the
it comes to presenting the best possible product, but still
seen in an artist of his caliber. It has
musical memories with Corrado this season and beyond.”
“I have always been inspired by Corrado’s personal
so we give him our best.”
and hard work, and which also shares his
spotlight, with a quiet dignity rarely
of the score makes for a presentation that is always of
YARDBIRD starring tenor Lawrence Brownlee.
“Corrado has meant a great deal to Opera Philadelphia
passion and pride. And he has done it all
is celebrating ten years with the company,” said cellist
orchestra of Opera Philadelphia matters deeply. And
talented individual players into a single blended unit
that came to appreciate his demanding exactness
of humor and is a real people person. I am hopeful
as well as to me personally,” said principal trumpeter
best out of his orchestra, and is uncompromising when
Anniversary and to Corrado Rovaris on
his ten years as our maestro.
Most of us have played for Corrado for
all of those ten years, and during that
time he has transformed
the sound quality and playing level of
our orchestra. With his infallible ear
for sound and a willing ear for our
concerns, he has shaped our opera
orchestra into a truly excellent one.
Thank you, Corrado!”
Susan Jones, Paul Erion,
Edward Cascarella, Allison Herz
MEMBERS OF THE OPERA PHILADELPHIA
ORCHESTRA COMMITTEE
28
29
S U P P O R T T H E 4 0 TH A N N I V E R S A R Y
S E A S O N A N N U A L F U N D C A M PA I G N
We congratulate
OPERA PHILADELPHIA
on it’s 40th anniversary and salute it’s
artistic voice in Philadelphia!
BY WILLIAM BURDEN CHAI R , 40 T H ANNIVERSARY CAMPAIGN
It is my pleasure to join Opera Philadelphia as Honorary
Academy of Music, and it gives me great joy to return for
Campaign. My career has taken me to opera houses all
which I sing the role of Frank Harris. As a performer, I am
for twelve different productions. It always feels like home
in Philadelphia.
Chair of the 40th Anniversary Season Annual Fund
over the world, but I’ve returned to Opera Philadelphia
to me here.
During my travels, singers, directors, designers, and
composers light up when I mention Philadelphia. The opera
world is buzzing about Opera Philadelphia’s transformation
into one of the country’s most dynamic opera companies.
The Opera’s exciting approach to the stage and community,
We are the ONLY theatre
in Philadelphia to
offer young people
a place to experience the
entire acting process of
theatre & film!
coupled with its unparalleled commitment to new opera,
John Rea, Artistic Director
We grow actors!
2030 Sansom St., 2nd Floor
Philadelphia, PA 19103
215-922-1141
has made it a beacon of artistic vitality.
I was honored to be a part of Silent Night, the first production
of the American Repertoire Program to take place at the
the East Coast Premiere of Theodore Morrison’s Oscar, in
so thrilled to introduce this powerful work to audiences
When you support the 40th Anniversary Season Annual
Fund campaign you help support not only the amazing
artistic initiatives, such as the American Repertoire Program,
but also the award-winning educational and outreach
programs that help ensure that tomorrow’s audiences have
access to the same great opera that we do today.
I want to thank you so much for your generosity and support
of Opera Philadelphia, and I look forward to seeing you in
February for the East Coast Premiere of Oscar!
Offering Productions, Summer Camps & Theatre Classes for youth ages 4-18
macguffintf.com
G E T I N V O LV E D 2 1 5 . 8 9 3 . 5 9 3 4 | O P E R A P H I L A . O R G / S U P P O R T
31
OPERA
PHILADELPHIA'S
4 0 TH
ANNIVERSARY
SEASON
Opera Philadelphia’s 40 thAnniversary
Season looks to the future while celebrating
Philadelphia’s operatic heritage. Five
outstanding new productions form
a journey—a carefully sequenced collection
of the classic and the daring, the sublime
and the surreal. It is an open dialogue
between opera’s biggest stars, its greatest
fans, and its grandest stage. Simply put,
it is opera at its most unforgettable.
ROSSINI
THE BARBER OF SEVILLE
SEPTEMBER 26, 28M,
OCTOBER 1, 3, 5M, 2014
ACADEMY OF MUSIC
TRUE LOVE’S GROOM
What is a man without his name? His title? His fortune? In Rossini’s
timeless romantic comedy, the cunning Count Almaviva peels away
his nobility and wealth in pursuit of true love. Through a series
of disguises, personas, traps, and haircuts, he and his barber/
accomplice Figaro show us why many consider The Barber of Seville
to be the quintessential comedic opera. A dynamic cast puts their
talents center stage as this 17th-century love tale gets a rousing
facelift. Complete with vibrant Spanish staging and a rapid-fire
catalog of hits, this exciting new co-production proves that at the
heart of every romance is deception.
Figaro / Jonathan Beyer
Rosina / Jennifer Holloway*
Count Almaviva / Taylor Stayton
Doctor Bartolo / Kevin Burdette
Don Basilio / Wayne Tigges*
Berta / Katrina Thurman*
Conductor / Corrado Rovaris
Director / Michael Shell*
Scenic Design / Shoko Kambara*
Costume Design / Amanda Seymour*
Lighting Design / Driscoll Otto*
*Opera Philadelphia Debut
New co-production with Opera Theatre of Saint Louis
32
O P E RA AT T H E A C A D E M Y | P E RFO RM E D IN ITA L IA N W IT H E NG L IS H S U P E RT IT L E S
33
C U R T I S O P E R A T H E AT R E
EAST
COAST
PREMIERE
MORRISON/COX
OSCAR
FEBRUARY
6, 8M, 11, 13, 15M, 2015
ACADEMY OF MUSIC
POETIC INJUSTICE
Legendarily flamboyant Oscar Wilde was the toast of the literary world—
until a scandalous love affair with Lord Alfred Douglas ruined his reputation
and devastated his private life. For one of history’s greatest wits, it was a
dark counterpoint to a life earmarked by fearless humor and equally intrepid
passion. In this beautifully tragic tale of self-expression and individual freedom,
countertenor David Daniels electrifies with what The New York Times called
a “Wildean mix of arrogance and vulnerability.” Philadelphia favorite
William Burden and soprano Heidi Stober, in her company debut, co-star
as Oscar’s loyal friends. Chronicling his trial and subsequent incarceration over
“the love that dares not speak its name,” Oscar marries one of literature’s most
daring voices with one of music’s most singular. The result is unforgettable.
34
R . S T R A U S S / V O N H O F M A N N S TA H L
ARIADNE AUF NAXOS
MARCH
4, 6, 8M, 2015
P E R E L M A N T H E AT E R
FIREWORKS OF TEMPERAMENT
Oscar Wilde / David Daniels*
Ada Leverson / Heidi Stober*
Frank Harris / William Burden
Walt Whitman / Dwayne Croft*
Lord Alfred Douglas (“Bosie”) / Reed Luplau*
Justice Sir Alfred Wills / Colonel Henry B.
Isaacson / Wayne Tigges
Conductor / Evan Rogister*
Director / Kevin Newbury*
Scenic Design / David Korins*
Costume Design / David C. Woolard*
Lighting Design / Rick Fisher*
Choreographer / Seán Curran*
When the wealthiest man in Vienna hosts a lavish night of music and
fireworks, the entertainment is in no short supply—and neither is the drama.
In a farcical twist of fate, a brash burlesque troupe and a buttoned-up
opera company must now perform together on the same stage. In a new
Curtis Opera Theatre production, the two groups argue, flirt, and fight
for the spotlight as the comic preparations of the first act transform into a
Curtis Opera Theatre
with the Curtis Symphony Orchestra
Conductor / George Manahan
Director / Chas Rader-Shieber
Curtis Opera Theatre
Artistic Director / Mikael Eliasen
beautiful opera-within-an-opera before your eyes. Challenging traditional
conventions, Strauss combines humor with undeniably beautiful music,
proving that no matter the circumstances, the two shows must go on.
Production underwritten, in part, by the Wyncote Foundation.
Libretto by John Cox and Theodore Morrison; based on the writings of Oscar Wilde and his contemporaries.
Co-commission and co-production with The Santa Fe Opera | American Repertoire Program
The Aurora Series is underwritten by the Wyncote Foundation
Curtis Opera Theatre’s Ariadne auf Naxos is funded, in part, through support from the William Penn Foundation. The Curtis Opera Theatre
season is sponsored by The Horace W. Goldsmith Foundation. Produced by the Curtis Institute of Music and presented in association with
Opera Philadelphia and the Kimmel Center for the Performing Arts.
OP E RA AT TH E AC AD EM Y | PERFO RMED IN ENGLISH WIT H ENGLISH S UPE RT I T L E S
AURORA SERIES AT THE PERELMAN THEATER | PERFORMED IN GERMAN WITH ENGLISH SUPERTITLES
35
WORLD
PREMIERE
VERDI
DON CARLO
APRIL 24, 26M, 29,
M AY 1 , 3 M , 2 0 1 5
ACADEMY OF MUSIC
F A M I L Y T I E S D O N ’ T A L WAY S B I N D
Sometimes it’s peace, not war, that tests a man’s loyalty. Elizabeth, the
centerpiece of an uneasy treaty between France and Spain, ignites a love
triangle of epic proportions. While brokered to King Philip II of Spain,
it is his son Don Carlo who possesses her heart. Now they must choose:
loyalty or their lives? Bass-baritone and native Philadelphian Eric Owens
comes home to make his much-anticipated role debut as the tyrannical
and despondent King Philip II, while Dimitri Pittas, Leah Crocetto, and
Michelle DeYoung make their company debuts in a powerhouse cast.
C H A R L I E PA R K E R ’ S YA R D B I R D
JUNE
5, 7M, 10, 12, 14M, 2015
P E R E L M A N T H E AT E R
A BIRD’S FINAL FLIGHT
Don Carlo / Dimitri Pittas*
Elizabeth de Valois / Leah Crocetto*
Princess Eboli / Michelle DeYoung*
Rodrigo / Troy Cook
Philip II, King of Spain / Eric Owens
The Grand Inquisitor / Morris Robinson
Tebaldo / Ashley Emerson
Director / Tim Albery*
Scenic Design / Andrew Lieberman*
Costume Design / Constance Hoffman*
Lighting Design / Thomas Hase*
36
S C H N Y D E R / W I M B E R LY
In that empty twilight between life and death, tortured jazz soloist
Charlie Parker composes his final masterpiece, revisiting the inspirations,
demons, and women who fueled his creative genius. Opera Philadelphia
presents the World Premiere of this freeform expedition into the mind,
heart, and personal purgatory of the bebop great. Lawrence Brownlee
stars as the legendary saxophonist—a role crafted around the effortless,
improvisational style that makes him one of music’s most sought after
tenors. Soprano Angela Brown mesmerizes as his mother, Addie Parker,
and Will Liverman debuts as jazz icon Dizzy Gillespie. Set in the famed
NYC jazz club Birdland, the opera is as uncompromising in its artistic
vision as “Yardbird” himself.
Production underwritten, in part, by Ms. Barbara Augusta Teichert
New co-production with Minnesota Opera and Washington National Opera
The Aurora Series is underwritten by the Wyncote Foundation
The production of Charlie Parker’s YARDBIRD received funding from OPERA America’s Opera Fund.
American Repertoire Program
OPERA AT THE ACADEMY | PERFORMED IN ITALIAN WITH ENGLISH SUPERTITLES
AURORA SERIES AT THE PERELMAN THEATER | PERFORMED IN ENGLISH WITH ENGLISH SUPERTITLES
Charlie Parker / Lawrence Brownlee
Addie Parker / Angela Brown
Dizzy Gillespie / Will Liverman*
Baroness Pannonica (“Nica”)
de Koenigswarter / Tamara Mumford
Chan Parker / Rachel Sterrenberg*
Doris Parker / Angela Mortellaro
Rebecca Parker / J’nai Bridges
Director / Ron Daniels*
Set Design / Riccardo Hernandez
Costume Design / Emily Rebholz*
37
AUCTION
DA CAPO ARIA:
Rules & Regulations
LIVE AUCTION
B I D D I N G : A bid is entered by raising your
hand. Please keep it raised until acknowledged.
The highest bidder acknowledged by the Auctioneer
shall be the purchaser.
C H E C K O U T : As bidding on each auction
A
B
A
item closes, a volunteer will confirm your bidder
information at your seat. Please stop by the checkout
table at the end of the evening for your receipt.
SILENT AUCTION
These exclusive items (see page 68) will be available for bid until 11 p.m.
B I D D I N G : All bids MUST be placed electronically through BidPal. During
registration, you will either receive a BidPal device to access the auction, or you may
access the auction through a link sent to your smartphone. Silent Auction items
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You can create a watch list of your favorite items, set maximum bids to allow the
system to bid for you, and receive instant alerts when you’ve been outbid.
B I D A M O U N T : The first bid on any item MUST be at least the amount
listed as the starting bid. Each subsequent bid must be higher than the previous
bid by at least the bidding increment. For example, if the current bid is $600 and
the bidding increment is $50, then your next bid must be at least $650.
C L O S I N G B I D S : The Silent Auction will close and all bidding will
stop at 11 p.m. All sales are final and there will be no exchanges or refunds.
Q U E S T I O N S : Volunteers will be available throughout the evening
to answer your auction questions and assist in using the BidPal devices.
VA L U E : Auction donors have provided fair market value as accurately as
possible for all items. “Priceless” indicates that the item has no ascertainable
market value. Opera Philadelphia has described the items as accurately as
possible and cannot be held responsible for any discrepancies in stated value
or details that may occur.
Know your client.
T H E F I N E P R I N T:
All winning auction bids
are final and binding. There will be no exchanges or refunds
on items. Please do not request refunds or exchanges from
donors. All items have been donated to and sold by Opera
Philadelphia. Please take care to read all specifications and
limitations. By participating in the auction, each bidder
recognizes and agrees that neither Opera Philadelphia nor
any donor shall be liable for any occurrence resulting from
the purchase, ownership, use, or enjoyment of auction items
and services. Gift certificates should be treated as cash
and cannot be reissued if destroyed or misplaced. Winning
bidders are encouraged to contact donors as soon as possible
and well in advance of anticipated usage to arrange mutually
convenient dates and times for auction item redemption.
Unless otherwise specified, all auction items and services
must be used within one year from September 12, 2014.
Brand. News. Culture. Commerce. Public Opinion.
PAY M E N T : For instant checkout, you may pre-swipe your credit card at
registration. You will be charged automatically for the items for which you are
the highest bidder and receive an instant receipt via email. If you wish to leave the
event prior to the conclusion of the auction, this payment option is ideal. If you do
not wish to pre-swipe your credit card, you may utilize the self-checkout option
by entering your credit card information into your BidPal device at the conclusion
of the auction, or you may visit the checkout table to pay by check made payable
to “Opera Philadelphia”, or by American Express, Visa, Discover, or MasterCard.
All payments are due on September 12, 2014.
P O R T A G E : Please take your winning items home with you. Items/certificates
will be released upon payment and should be removed by the buyer that evening.
Pick-up and delivery of any auction item is the responsibility of the buyer.
For Silent Auction items, if you are not present at the close of the auction,
you will be contacted the following week for pick-up. Opera Philadelphia is not
responsible for any items left behind.
karmaagency.com
DA CAPO ARIA: An aria in the form ABA. A first section is followed by a shorter second section. Then the first is repeated, usually with added ornamentation.
39
LIVE
AUCTION
CASA FUENTECICA
I N A N D A L U C I A , S PA I N
Casa Fuentecica is located in Bedar, an authentic Spanish village,
nestled into the slopes of the Filabres mountains, in Andalucia,
Spain. This spacious three bedroom, three bathroom, villa overlooks
the white hilltop village and is air conditioned and furnished
comfortably. Doors lead out from the mezzanine lounge out onto
the terrace which provides an inviting setting for alfresco dining and
CHEFS GEORGE PERRIER
AND PIERRE CALMELS
E X C L U S I V E D I N N E R PA R T Y
Join Opera Philadelphia supporters for an unforgettable dining
experience featuring the finest of French cooking and wine. George
Perrier, previous owner and Chef of Le Bec Fin, comes out of
retirement to prepare an exquisite meal alongside owner and Chef
of Le Chéri and Bibou, Pierre Calmels. Dinner will be paired with
an opportunity to enjoy the beautiful mountain and sea views. You
can also enjoy the beautiful private pool. The villa is within walking
distance to local bars, restaurants, and shops in Bedar. Alternatively,
the larger popular coastal resort town of Mojacar Playa with its long
sandy stretch of beach can be reached within a 20 minute drive,
offering a vast array of restaurants, beach bars and shops, as well as
the fishing port of Garrucha and Golf Resort Valle del Este.
One week stay from Saturday to Saturday. Based on availability.
DONOR: John McFadden
Chef Perrier’s favorite wine – Haut-Brion. You will also enjoy a musical
program of operatic selections by an Opera Philadelphia singer. This
event will take place at Le Chéri in the Art Alliance and is available
to 40 guests.
DONORS: Pierre and Charlotte Calmels, George Perrier,
Stephen G. Somkuti, M.D., and Opera Philadelphia
40
41
cong rat ulates
OPERA PHILADELPHIA
on 40 e xcellent years
The arts are for everyone
When community members support the arts, they help inspire and enrich everyone. Artistic diversity
helps unite communities, creating shared experiences and inspiring excellence.
Bank of America is honored to be connected to Opera Philadelphia and its dedication to bringing the
arts to our community.
Visit us at bankofamerica.com/local
Life’s better when we’re connected®
©2014 Bank of America Corporation | ARH46WCM
43
Cultivating
Tomorrow’s
Superstars
B R AVO !
Bud and Betty
ARE PROUD TO SUPPORT
OPERA PHILADELPHIA IN ITS
L A N D M A R K 4 0 TH S E A S O N
Opera Philadelphia Launches Ongoing
Emerging Artists Program during
40th Anniversary Season
Eric Owens was a relatively unknown graduate
student at the Curtis Institute of Music when
he made his 1994 Opera Philadelphia debut
as Frère Laurent in Gounod’s Romeo & Juliet.
Nathan Gunn was a 25-year-old University
of Illinois graduate when he debuted as
Guglielmo in a 1996 production of Mozart ’s
Così fan tutte. Ailyn Pérez was a fresh-faced
Academy of Vocal Arts graduate, and four
years from winning the Richard Tucker Award,
when she first appeared on the company ’s
stage as Marzelline in 2008’s Fidelio.
as a welcoming environment where rising
young talents are nurtured. This season, in
celebration of the 40 th Anniversary and the
company’s ongoing commitment to emerging
talent, Opera Philadelphia is strengthening its
mission of cultivating future stars through the
formation of an Emerging Artists Program.
Each of our six emerging singers will engage
with Opera Philadelphia onstage, appearing
in at least one production, while also singing
in community recitals and special events
throughout the 40 th Anniversary Season.
Throughout the past four decades, Philadelphia
The six Emerging Artists in the first year of
the program are sopranos Sarah Shafer and
audiences have enjoyed early exposure to
the talents of international opera superstars
like Eric, Nathan, Ailyn, and many others.
The Opera Philadelphia stage has a history
Rachel Sterrenberg; mezzo-soprano J’nai
Bridges; baritones Will Liverman and Jarrett
Ott; and bass-baritone Thomas Shivone.
45
Meet Opera Philadelphia’s Emerging Artists
J'NAI BRIDGES
SARAH SHAFER
M EZ ZO - S O P RA N O
REB ECCA PARK ER I N CH ARL I E PARK ER’S YARDB I RD
S O P RA N O
T H E C ELEST IA L V O IC E IN D O N C A R LO
A recipient of the 2012 Marian Anderson Award, J’nai Bridges earned her
A native of State College, PA, Sarah recently received her Master’s degree
her operatic credits include Carolina Kirchstetten (Henze’s Elegy for Young
appeared in more than twenty productions, appearing most recently as Sister
Master of Music degree from the Curtis Institute of Music (2012), where
Lovers), Idamante (Mozart’s Idomeneo), Carmen (Bizet’s Carmen), and Teresa
(Bellini’s La sonnambula). This season, she’ll appear with Lyric Opera of
Chicago as a Flower maiden in Wagner’s Parsifal; Flora in Verdi’s Otello;
and the 2nd Wood Nymph in Dvorak’s Rusalka. The native of Lakewood,
Washington made her company debut as the Madrigalist in Puccini’s Manon
Lescaut at the Academy of Music in 2012. She’ll next appear as Rebecca
Parker in Daniel Schnyder’s Charlie Parker’s YARDBIRD in June 2015.
from the opera program at the Curtis Institute of Music, where she has
Constance in Poulenc’s Dialogues of the Carmelites. She made her Opera
Philadelphia debut as Papagena in 2013’s Mozart’s The Magic Flute, and
earned rave reviews as Nuria in 2014’s production of Golijov’s Ainadamar. Her
2014-2015 season includes the role of the Celestial Voice in Verdi’s Don Carlo
with Opera Philadelphia and Rosetta in Marco Tutino’s World Premiere of
Two Women with San Francisco Opera.
WILL LIVERMAN
THOMAS SHIVONE
B A RI TO N E
DI ZZY GI L L ESPI E I N CH ARL I E PARKER’S YARDB I RD
B A S S - B A RI TO N E
P R ISO N PAT IENT #2 IN O SC A R
Since receiving a Bachelor of Music degree from Wheaton College in Illinois
Thomas Shivone is a student at the Curtis Institute of Music, where he has
made his Lyric Opera of Chicago debut as Brühlmann in Massenet’s Werther
in Mozart’s The Marriage of Figaro, Count Rodolfo in Bellini’s La sonnambula.
and a Master of Music degree from The Juilliard School, Will Liverman
and subsequently sang the Sergeant in Puccini’s La bohème as well as covered
Schaunard in the same opera and Marullo in Verdi’s Rigoletto. This season at
the Lyric, he will sing Fiorello in Rossini’s The Barber of Seville, Marquis in
Verdi’s La traviata, the Registrar in Puccini’s Madame Butterfly, and Yvan in
Strauss’s Die Fledermaus. He was a grand finalist of the 2012 Metropolitan
Opera National Council Auditions. He will make his company debut as Dizzy
performed the roles of Masetto in Mozart’s Don Giovanni, Bartolo and Figaro
The Fort Worth, TX native made his company debut as The Notary in a 2009
production of Puccini’s Gianni Schicchi, and performed the role of The British
Major in Kevin Puts’s Pulitzer Prize-winning Silent Night. He’ll next appear
as Prison Patient #2 opposite David Daniels in Theodore Morrison’s Oscar in
February 2015.
Gillespie in Schnyder’s Charlie Parker’s YARDBIRD in June 2015.
JARRETT OTT
RACHEL STERRENBERG
B A RI TO N E
PRI SON PATI EN T #1 I N OSCAR
S O P RA N O
C H A N PA R KER IN C H A R LIE PA R KER ’S YA R D BIR D
Jarrett Ott is an emerging baritone currently based out of Philadelphia and
This Georgia native is earning her Master’s Degree in Opera from the Curtis
of Music. He has been featured in lead baritone roles for Curtis Opera Theatre
Force in the Curtis Opera Theatre co-production of Poulenc’s Dialogues of
New York City who recently received his Master’s degree at the Curtis Institute
including Dandini in Rossini’s La cenerentola, Marquis de la Force in Poulenc’s
Dialogues of the Carmelites, and Gregor Mittenhoffer in Henze’s Elegy for Young
Lovers. He portrayed the lead role of W.P. Inman in workshops of Pulitzer
Award-winning composer Jennifer Higdon’s upcoming opera, Cold Mountain.
In the 2014-2015 Season, Jarrett will make his professional debuts with
Gotham Chamber Opera, Annapolis Opera, and Opera Philadelphia in the
46
East Coast Premiere of Theodore Morrison’s Oscar in February 2015.
Institute of Music, where she recently made an impression as Blanche de la
the Carmelites. This season, she sings the title role in Tchaikovsky’s Iolanta
and Anne Trulove in Stravinsky’s The Rake’s Progress at Curtis. She portrayed
Ada Monroe in workshops of Pulitzer Award-winning composer Jennifer
Higdon’s upcoming opera, Cold Mountain. Rachel makes her company and
professional debut with Opera Philadelphia in June 2015 as Chan Parker, the
wife of Charlie Parker (Lawrence Brownlee) in the World Premiere of Daniel
Schnyder’s Charlie Parker’s YARDBIRD.
47
31
B R AVO !
Ailyn Pérez,
Stephen Costello,
and Opera Philadelphia
Y O U H AV E M A D E U S S O P R O U D !
C H A R L O T T E A N D B O B WAT T S
—PR
ESEN
TED
BY—
OPERA ON THE MALL
R E T U R N S O N S A T U R D A Y, S E P T . 2 7
P R O C E E D S F R O M T O N I G H T ’ S G A L A B E N E F I T O P E R A P H I L A D E L P H I A’ S A N N U A L , F R E E ,
H D B R O A D C A S T AT 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
On Saturday, Sept. 27, our community will gather
together to enjoy the opening of the cultural season
with the funniest of all comic operas. Opera
Philadelphia’s season-opening performance of
Rossini’s The Barber of Seville will be broadcast
in high definition from the stage of the Academy
of Music to a giant outdoor screen in the shadow
of the Liberty Bell and Independence Hall.
This is the fourth year we will launch our season
with a free HD broadcast at Independence National
Historical Park. In its first three years, Opera on the
Mall has been enjoyed by nearly 10,000 members
of the community. Last season’s broadcast of Verdi’s
Nabucco attracted nearly 4,000 guests.
Rossini’s rapid-fire romp kicks off with a famous
overture and veers into a hilarious series of
misadventures and mistaken identities. Determined
to win the heart of the beautiful, strong-willed
Rosina (mezzo-soprano Jennifer Holloway, in her
role and company debuts) with charm and wit—
rather than nobility and wealth—Count Almaviva
(tenor Taylor Stayton) enlists the help of a wily
barber (baritone Jonathan Beyer) to steal her away
from her lecherous guardian, Dr. Bartolo (bass
Kevin Burdette). From the famous “Figaro” aria to
Rosina’s equally spectacular “Una voce poco fa,” the
opera is a non-stop parade of hits.
The pre-show begins at 6:00 p.m., with the opera
starting at 7:00 p.m. Opera on the Mall is presented
by PNC Arts Alive. The broadcast is also made
possible through the generous support of the William
Penn Foundation and the Wyncote Foundation, and
the support of Gala attendees like you.
49
D R . ELI Z A B E T H M .
B OW D EN
Wo u l d l i k e t o w i s h
Opera Philadelphia a
H a p p y 4 0 th A n n i v e r s a r y
S P E C TA C U L A R
EVENTS
BRAVO!
DÉCOR
PLANNING
FLORAL
CHIMICLES & TIKELLIS LLP
is pr o u d to s u p por t
OPERA P HIL AD E L P HIA
in its lan d ma rk 4 0 th s e a s on
e va n t i n e d e s i g n . c o m
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J O N AT H A N B E Y E R
BARITONE
C O M PA N Y D E B U T:
Escamillo in Carmen (2011)
U P N E X T:
Figaro in The Barber of Seville (2014)
“W hile I was a student at the Curtis Institute of Music, it was always
such a joy to walk down the street and enjoy first class opera at the
Academy of Music. Since then I have seen the company continue to
grow and reach new heights.”
ANGELA BROWN
THIS EVENING’S
SPECIAL GUEST ARTISTS
Opera Philadelphia thanks the stars of our past, present, and future seasons
for helping us to celebrate our 40 th Anniversary.
SOPRANO
Serena in Porgy and Bess (2001)
OTHER ROLES:
Ariadne in Ariadne auf Naxos (2003)
Leonora in Il trovatore (2003)
Elisabetta in Don Carlo (2004)
Title Role in Aida (2005)
Cilla in Margret Garner (2006)
Bess in Porgy and Bess (2007)
U P N E X T:
Addie Parker in Charlie Parker’s YARDBIRD (2015)
“I have so many memories of Opera Philadelphia. In
During the performance the scene came where Gregg was
experiences on stage. I was covering at the MET when I
what I had accomplished in that short time, he grabbed me
had fallen ill and I was asked to step in at that night’s
show!” To my surprise, and everyone else’s, he did the lift!
Trovatore I had one of my most memorable and funny
received a call that the soprano singing Leonora in Philly
performance! I had done the role, so I accepted. When I
arrived in Philly, I only had one run through of the blocking.
Gregg Baker was also in the cast and came to practice some
difficult staging with me that included two lifts and being
carried off at the end of our duet. Well, not being the “waif ”
that I am today, we decided in rehearsal that it would be
best to drag me off stage instead of being carried off.
supposed to ‘drag’ me off stage. He was so proud of me and
and whispered in my ear, “Come on baby, let’s give them a
I remember hearing an audible gasp and a hush come over
the audience as Gregg took one step and then another to
carry me off stage. The entire audience erupted into cheers!
Now, that is what I call being swept off your feet!”
(List of Special Guests for the 40 th Anniversary
Gala printed as of 8/21/14)
53
THIS EVENING’S SPECIAL GUEST ARTISTS
KEVIN BURDETTE
BASS
Prophet and King in Dark Sisters (2012)
U P N E X T:
Doctor Bartolo in The Barber of Seville
(2014)
“Dark Sisters exemplifies to me why Opera Philadelphia is important not just to me but to
opera in general: a company that, at once, is incredibly well-versed in the deep tradition
of opera and is blazing the trail for the future of opera, is equally comfortable in grand
opera houses and in chamber and site-specific venues, is an integral part of its city and
of the development of American singers and American operas, Opera Philadelphia is
a model for the 21st-Century, world-class American opera company.”
TROY COOK
BARITONE
Marcello in La bohème (2006)
WILLIAM BURDEN
TENOR
Tom Rakewell in The Rake’s Progress (1997)
OTHER ROLES:
Belmonte in The Abduction From the Seraglio (1999)
Tamino in The Magic Flute (2001)
Nemorino in The Elixir of Love (2001)
Alfredo in La traviata (2003)
Ferrando in Così fan tutte (2003)
Nadir in The Pearl Fishers (2004)
Title Role in Faust (2004)
Eisenstein in Die Fledermaus (2005)
Male Chorus in The Rape of Lucretia (2009)
Hippolyt in Phaedra (2011)
Nikolaus Sprink in Silent Night (2013)
U P N E X T:
Frank Harris in Oscar (2015)
“My first lasting memory of my long relationship with Opera
Philadelphia must be jumping in for my debut one year before
my officially scheduled performances. I received a call from my
manager while on an audition tour in Europe. Could I come
home and take part in a run of performances of Stravinsky’s
The Rakes’ Progress? I had just sung my first Tom Rakewell and
was ready to go. Within hours, I was flying home from London,
spent one night at home with my new bride, and hopped on the
train to Philadelphia. There was no time for nerves, just non-stop
running from costume fitting to rehearsals and leaping into the
embrace of a company that has been part of my professional life
for nearly two decades! I couldn’t be more grateful to have been
a part of the incredible 40 year history of this great company!”
54
OTHER ROLES:
Sharpless in Madame Butterfly (2009)
Lescaut in Manon Lescaut (2012)
Marcello in La bohème (2012)
Father Palmer in Silent Night (2013)
U P N E X T: Rodrigo in Don Carlo (2015)
“
S ince my first time singing for Opera Philadelphia in 2006, I knew this
was a very special opera company, and hoped that I would be able to be a
continuingpart of it! I have had the privilege to watch Opera Philadelphia become
not only an integral part of the arts community in Philadelphia, but a leader!
I am very proud to say that I have, in my small way, been able to be a part of its journey! I will
be forever grateful to Opera Philadelphia for providing me with some of my most fulfilling
artistic and personal experiences, and playing a significant role in my career successes.”
BRANDON CEDEL
BASS-BARITONE
Sciarrone in Tosca (2011)
OTHER ROLES:
William Dale in Silent Night (2013)
“As a young singer I have always felt
supported by the company as they were
the first opera company I worked with. I
will always remember the enthusiasm and
support I felt during the Curtis Opera
Theatre and Opera Philadelphia coproduction of Antony and Cleopatra. It was
my first large role in a full production with
orchestra and it was the most wonderful
experience. I feel proud to say the Opera
Philadelphia is my home company and
cannot wait to return!”
A N T H O N Y R O T H C O S TA N Z O
COUNTERTENOR
C O M PA N Y D E B U T: Artemis in Phaedra (2011)
“Walking into rehearsals for Henze’s Phaedra at Opera Philadelphia, the whole cast was
terrified. It was one of the most challenging pieces of music upon which many of us had
ever laid eyes, not to mention vocal chords. I never expected it to become one of the most
artistically and musically fulfilling experience I’ve had to date. Opera Philadelphia is the
rare kind of environment where creative choices in repertoire and casting lead to exciting
collaborative processes that can illuminate even the most complicated operas.”
55
STEPHEN COSTELLO
TENOR
Christian in Cyrano (2008)
OTHER ROLES: Romeo in Romeo & Juliet (2011)
Rinuccio in Gianni Schicchi (2009)
“Philadelphia will always have a warm place in my heart,
especially since I was born here and spent many years
studying in this special city. I am continually grateful
to Opera Philadelphia for their support of my career,
and for the opportunities I have been lucky enough to
enjoy singing in their theatre. I have numerous fond
memories, both personally and professionally, of the
city and of the opera company, and I would like to
thank you all from the bottom of my heart.”
D AV I D D A N I E L S
COUNTERTENOR
U P C O M I N G C O M PA N Y D E B U T:
Oscar Wilde in Oscar (2015)
“I ’m so excited about reviving our beloved Oscar for Opera
Philadelphia. Revisiting a work always brings exciting
revelations to me as an artist and allows me to bring
more and more to my character. And to make my Opera
Philadelphia debut during the 40th Anniversary Season is
just the icing on the cake!”
ERIC DUBIN
Robert B. Driver led Opera Philadelphia (then the Opera
He has directed over 100 productions throughout North
end of the 2011-2012 Season. It would be impossible to
Philadelphia. Standout original productions included the
Company of Philadelphia) from 1991 until retiring at the
encapsulate Robert’s career spent advancing the art of opera
in so little space. He directed 32 productions, managed the
company to a position of fiscal strength, continually pursued
BARITONE
C O M PA N Y D E B U T: Marquis de Brisaille in Cyrano (2009)
O T H E R R O L E S : Junius in The Rape of Lucretia (2009)
Baron Douphol in La traviata (2010)
Morales & Le Dancairo in Carmen (2011)
Second Nazarene and Cappadocian in Salome (2014)
“Singing with Opera Philadelphia these last six seasons has been a dream
come true. They have had a clear hand in making me the professional
opera singer I am today. The city of Philadelphia is lucky to have this everevolving and innovative fixture, and Opera Philadelphia is blessed to have
the best patrons and donors I have ever met! Their warmth and energy is
56
ROBERT B. DRIVER
only matched by their generosity. Here is to another wonderful 40 years!”
America and Europe, including 32 shows with Opera
Company Premiere of Salome; a clever Don Giovanni in
collaboration with visual artist Rafal Olbinski; the Company
Premiere of Carlisle Floyd’s 20th-century American classic,
ever greater artistic undertakings, and made sure that inspired
Susannah; a collaboration with visual artist Jun Kaneko on
Music Director Corrado Rovaris and General Director David
whimsical double-bill of Gianni Schicchi and L’enfant et les
leadership was in place through his appointment of both
B. Devan. He accomplished all of this with drive, grace,
enthusiasm—and always with an infectious sense of humor.
Robert is perhaps most well known as an avid supporter
of emerging artists with an eye for identifying and casting
singers who would go on to major careers. Denyce Graves,
Stephanie Blythe, Juan Diego FlÓrez, William Burden,
Angela Brown, and Nathan Gunn are just a handful of the
the Company Premiere of Beethoven’s Fidelio; an innovative,
sortilèges; and a new Orphée & Eurydice which was called “an
eloquent artistic statement” by The Philadelphia Inquirer. In
2011, Robert conceived a new production of Hans Werner
Henze’s Phaedra for its American Premiere as part of the
Aurora Series for Chamber Opera at The Perelman Theater.
The daring production featured a stellar cast, and was met
by audience and critical acclaim.
dozens of famous voices that Robert cast early in their careers,
creating strong bonds with Opera Philadelphia.
57
N AT H A N G U N N
BARITONE
Guglielmo in Così fan tutte (1996)
OTHER ROLES:
Guglielmo in Così fan tutte (2003)
Zurga in The Pearl Fishers (2004)
Tarquinius in The Rape of Lucretia (2009)
U P N E X T: Inman in Cold Mountain (2016)
“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
ISABEL LEONARD
U P C O M I N G C O M PA N Y D E B U T: Ada Monroe in Cold Mountain (2016)
of performing arts.”
“Charles Frazier’s Cold Mountain is a beautiful story filled with history,
love, fear, and courage. Jennifer Higdon and Gene Scheer have now
turned that story into an incredible musical journey and I cannot wait
to share it with the people of Philadelphia.”
N I C O M U H LY
COMPOSER
Dark Sisters (2012)
“One of the most thrilling things about
Opera Philadelphia is their commitment
to new work at the same time as their
devotion to rep. They look forward
THEODORE
MORRISON
COMPOSER
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JENNIFER
HIGDON
JENNIFER
H O L L O W AY
COMPOSER
MEZZO-SOPRANO
UPCOMING
Cold Mountain (2016)
UPCOMING
Rosina in The Barber of Seville (2014)
“The 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!”
“I have admired the work of Opera
Philadelphia for years. To make my
company and role debut with this fantastic
company and with this amazing cast and
creative team in the first production of
such a special season is a dream come
true. Congratulations on being forty and
fabulous! I wish you 40 thousand more!”
MICHELLE JOHNSON
SOPRANO
Oscar (2015)
without forgetting where they came from;
there was nothing more exciting to me as
a composer and opera fan than seeing a
season’s pile of sheet music ranging from
Adès to Mozart, all lovingly marked and
ready to go.”
Title Role in Manon Lescaut (2012)
OTHER ROLES:
Donna Elvira in Don Giovanni (2014)
“I will never forget the phone call from
Opera Philadelphia that changed my life. I
am forever grateful for Opera Philadelphia
having faith in me and my artistry to take
on the title role of Manon Lescaut. It was
a dream come true and I feel like I’ve
never woken up from that dream. Opera
Philly, we are family! Please know that I
am always a phone call away! Your little
sister, Michelle Johnson.”
“Few companies have the artistic and financial courage to produce a new American opera each year for
a decade. This one believes the stage lives and breathes vibrantly with the art of our own time as well
as the great works of the past, and the company presents opera vigorously and with utmost integrity.
Their seasons are vital to modern culture, not only in The City of Brotherly Love, but also for our great
nation and the world. Bravo from a grateful composer to David Devan, his amazing staff, the Board
of Directors, and all the generous patrons of Opera Philadelphia who make this happen.”
59
TA M A R A M U M F O R D
MEZZO-SOPRANO
C O M PA N Y D E B U T: Lucretia in The Rape of Lucretia
OTHER ROLES:
Title Role in Phaedra (2011)
U P N E X T: Baroness Pannonica de Koenigswarter in Charlie Parker’s YARDBIRD
(2015)
“C ongratulations to Opera Philadelphia on 40 years! One of Opera
Philadelphia’s many strengths is its commitment to fostering new music.
Singing the title role in the American Premiere of Henze’s Phaedra was
an exciting challenge for me. I admit I had a few moments (or weeks)
when I worried that I may not be able to make anything of the difficult
music and libretto. But Robert Driver and Corrado Rovaris helped sort
through the ambiguity and reveal something really beautiful. I’m honored
to be back again this season in Charlie Parker’s YARDBIRD.”
KEVIN NEWBURY
ERIC OWENS
DIRECTOR
BASS-BARITONE
C O M PA N Y D E B U T: Salome (2014)
Frere Laurent in Romeo & Juliet (1994)
U P N E X T: Oscar (2015)
“Opera Philadelphia is one of the most
innovative, exciting companies in the
country and I am thrilled to be a part of
its past and future!”
M U S A N G Q U N G WA N A
BASS-BARITONE
C O M PA N Y D E B U T: High Priest of Baal in Nabucco (2013)
“ The professionalism and care I received from Opera Philadelphia’s staff, cast
60
and crew, and the opportunity to work with leading artists of our time, as a
young opera singer, is an opportunity I shall forever treasure. I wish Opera
Philadelphia every success as it endeavors to produce more important works
and continues to inspire the audiences.”
OTHER ROLES:
Sarastro in The Magic Flute (2001)
Banquo in Macbeth (2003)
Friar in Don Carlo (2004)
Oroveso in Norma (2008)
“I saw my first opera with the Opera Company of
Philadelphia, and I am so proud of what my hometown
opera company has achieved in recent years. I am so
excited to come home during the 40th Anniversary
Season to sing my first King Philip in Verdi’s Don Carlo.”
U P N E X T: Philip II in Don Carlo (2015)
61
A I LY N P É R E Z
D AV I D P O R T I L L O
SOPRANO
TENOR
C O M PA N Y D E B U T: Marzelline in Fidelo (2008)
T he Teapot/The Little Old Man/
The Tree Frog in L’enfant et les sortilèges
and Gherardo in Gianni Schicchi (2009)
O T H E R R O L E S : Lauretta in Gianni Schicchi (2009)
Juliet in Romeo & Juliet (2011)
Micaela in Carmen (2011)
OTHER ROLES:
oro in Madame Butterfly (2009)
G
Don Ottavio in Don Giovanni (2014)
"Opera Philadelphia will always be close to my heart. Philadelphia is the city where I trained as a singer
and where I met my wonderful husband, Stephen Costello. I sang my first Micaela in Carmen with Opera
“One of my favorite experiences was in the double bill of
L’enfant et les sortilèges and Gianni Schicchi in 2008–both had
ensemble casts full of comic singer–actors with whom I loved
to sing. In Ravel’s L’enfant, one of the roles I played was the
Teapot. I entered with a giant tea cozy, then disrobed into a
1920s boxer as I sang and danced. I had boxing gloves and used
two giant tea bags hanging from my shoulders as punching
bags. To this day, I still think this scene was one of my mostenjoyed performance experiences. These experiences would not
be possible without my friends around. Opera Philadelphia
knows this about singers and opera productions—we make
art when we are happy and enlightened. Otherwise, why
would we do it? Thank you, Opera Philadelphia!”
Philadelphia in 2011, and in February 2015 I will make my Metropolitan Opera debut in the same role in
New York! It is always wonderful for my husband and me to return here and perform together for Opera
Philadelphia, to whom we owe a huge debt of gratitude and where we always feel extremely welcome."
KEVIN PUTS
COMPOSER
Silent Night (2013)
“ W hen Silent Night was performed at Opera Philadelphia in 2013, it was clear to
me that here was a company moving at full speed ahead into a bright future. David
Devan exudes a rare and brilliant energy which found its way into every corner of the
production. I felt so deeply grateful for the opportunity to experience this firsthand!”
MORRIS ROBINSON
BASS
The King of Egypt in Aida (2005)
OTHER ROLES:
Zaccaria in Nabucco (2013)
U P N E X T:
The Grand Inquisitor in Don Carlo (2015)
“My relationship with Opera Philadelphia
started back in 2005 with the role of The
King in Aida. It was such an honor to work
with this world renowned and respected
company at an early part of my professional
development. I’m thankful and grateful to
be able to work with such a wonderful and
respected company. I look forward to many
years of continued beautiful artistry and
music making! Thank you Opera Philly,
and congratulations on this momentous
and celebratory occasion.”
63
T AY L O R S T AY T O N
TENOR
Tybalt in Romeo & Juliet (2011)
U P N E X T:
Count Almaviva in
The Barber of Seville (2014)
“There are countless people at Opera
Philadelphia who I have always trusted.
Whether it be musical advice or career advice,
they have always had my best interest at heart
and for that I am truly grateful!”
PAT R I C I A S C H U M A N
SOPRANO
Cio-Cio San in Madame Butterfly (1996)
OTHER ROLES: Donna Elvira in Don Giovanni (2002)
Duchess in Powder Her Face (2013)
“One of the most exciting opera companies in North America is Opera
Philadelphia. With the creative vision of its strong leadership and the
support of a knowledgeable audience, Opera Philadelphia has created
an aura of excitement in regards to its adventurous programming of
new works and rarely performed works. It is my privilege and great joy
to have worked at this company and it renews my faith in the future of
opera as a relevant and compelling art form.”
MICHAEL SHELL
DIRECTOR
The Barber of Seville (2014)
“Opera Philadelphia is one of the most forward thinking opera companies in the country,
perhaps the world. David Devan’s leadership proves that opera can be fresh, vibrant and
relevant to new audience members while remaining entertaining for those who already love
and adore the art form. It is an honor and a privilege to be directing the opening production
of the 40th Anniversary Season!”
K AT R I N A T H U R M A N
W AY N E T I G G E S
B E N WA G E R
SOPRANO
BASS-BARITONE
BASS
Berta in The Barber of Seville (2014)
First Nazarene in Salome (2014)
Collatinus in The Rape of Lucretia (2009)
“It is a great honor to make my debut with
Opera Philadelphia this season in The
Barber of Seville. Opera Philadelphia has
been on my radar since I was a student
at university as the company has had a
long and distinguished reputation. As
young artists look forward to the career
horizon unfolding before them, Opera
Philadelphia stands out as a company
“to sing with” - one that is an important
and valued marker of a successful career
in the United States.”
U P N E X T:
Don Basilio in The Barber of Seville (2014)
Justice Sir Alfred Wills/Col. Henry B.
Isaacson in Oscar (2015)
OTHER ROLES:
Speaker in The Magic Flute (2013)
Hotel Manager/Duke/Laundryman/
Other Guest in Powder Her Face (2013)
“It’s a pleasure to be making my debut
here for the 40th Anniversary Season of
Opera Philadelphia. This opera company
is absolutely first-class, with a wonderful
administrative team. The fact that I also
get to participate in one of my favorite
operas at this great opera house makes
me feel truly blessed.”
“Opera Philadelphia has been an integral
part of my development as an artist from
the beginning. My first professional
engagement out of The Academy of
Vocal Arts was Collatinus in The Rape
of Lucretia. To Opera Philadelphia, and
to all the supporters of our art form,
thank you!”
(List of Special Guests for the 40 th Anniversary Gala printed as of 8/21/14)
65
ELLEN
BERMAN
LEE
P ra i s e s
f or 40 e xcelle n t y e a r s
K A LN I N A D
DR. MORTON &
RHEA MANDELL
ar e pr ou d to s u p por t
A RT A N D FA S H I O N
P R I VAT E T O U R F O R T E N O F T H E
PHILADELPHIA MUSEUM OF ART
Receive a private, custom-tailored tour for up to ten people
of the world-renowned collections at one of the largest art
museums in the United States. Includes complimentary
admission to Paul Strand: Master of Modern Photography.
Expires 9/30/2015; Paul Strand runs from October 21,
2014 – January 4, 2015.
Fine silver cufflinks and stud set perfect for engraving.
DONOR: Dr. Daniel V. Schidlow
SUSAN BEARD PHOTOGRAPHY
By designer Janet L. Russell. Featuring an Italian cameo,
carnelian stones, amethyst, pearl, and sterling silver.
A fine art portrait sitting with Susan Beard in the studio.
Your sitting includes 40 4x6 stamped proofs and three 5x7
fine art prints.
DONOR: Donna and Andy Wechsler
KRAMER PORTRAIT STUDIO SESSION
A N D M A S T E R P I E C E WA L L P O R T R A I T
A Kramer Portrait combines the realism of a photograph and
the distinct richness of an oil painting. Each portrait is hand
finished with oils and acrylics to design a piece of original art.
You’ll receive a Kramer Portrait studio session and Masterpiece
Wall Portrait on canvas, size 16” x 20”, hand finished with
artistic touches for color and highlights. Kramer Portraits
studio is located in the Ritz-Carlton Philadelphia Hotel.
Maximum number in portrait is eight individuals. Portrait is
unframed and gift certificate is non-transferable. Expires on
3/12/15.
DONOR: Kramer Portraits
FRAMED PIECE OF
T H E C U R TA I N F R O M T H E O L D M E T
KRAMER PORTRAIT STUDIO SESSION
AND LE PETITE PORTRAIT
DONOR: Philadelphia Museum of Art
A framed piece of the curtain from the old Metropolitan Opera
house used from the time of Enrico Caruso’s debut in Rigoletto
in 1903 to 1940.
PA FA L U N C H A N D T O U R F O R F O U R
DONOR: Dr. Daniel V. Schidlow
Enjoy Lunch and a private tour led by PAFA President,
David Brigham, for four people.
MINK INFINITY SCARF
You’ll receive a Kramer Portrait studio session for a child’s
formal portrait and a Le Petite Portrait on canvas, size
11” x 14”, hand finished with artistic touches for color and
highlights. Kramer Portraits studio is located in the RitzCarlton Philadelphia Hotel. Maximum number in portrait is
eight individuals. Portrait is unframed and gift certificate is
non-transferable. Expires on 3/12/15.
Must be scheduled Monday through Friday
9:00 a.m. – 5:00 p.m.
DONOR: Pennsylvania Academy of the Fine Arts
FOUR CAST GLASS COMPOSERS
PA P E R W E I G H T S B Y R O B I N L E H M A N
Artist Robin Lehman combines the use of lampworking
and casting techniques to produce these unique lead crystal
paperweights with highly detailed portraits of composers
inside the paperweight.
Lot 1: 20th Century: Stravinsky, Ravel, Debussy, Mahler
Lot 2: The Classics: Haydn, Schubert, Mozart, Bach
Lot 3: The Romantics: Beethoven, Chopin, Wagner, Verdi
Lot 4: Opera: Puccini, Verdi, Wagner, Debussy
DONOR: Robin Lehman
JIBE DESIGN ARCHITECTURE
A N D C R E AT I V E C L O S E T S
Jibe Design Architecture will provide three hours of design
consultation by the firm principal toward your residential or
commercial project. They will discuss your ideas, contribute
their own, and produce schematic design sketches to jump
start your vision.
Your complimentary consultation with Creative Closets
includes a $250 gift certificate towards one installed custom
designed closet or storage area.
DONOR: Jibe Design and Creative Closets
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S I LV E R C U F F L I N K S A N D S T U D S E T
A RT A N D FA S H I O N
SILENT
AUCTION
C A M E O N E C K L A C E B Y J B I R D J E W E L RY
Dyed knitted mink infinity scarf.
DONOR: Bloomingdale’s Maximilian Fur Salon, Willow Grove
DONOR: Susan Beard Photography
PHILLIP GABRIEL PHOTOGRAPHY
A portrait session for you and your family: may take place in
the studio, at your home, or at an outdoor location. Includes a
$150 credit that may be used towards your purchase following
the session.
DONOR: Phillip Gabriel Photography
T H E B A R N E S F O U N D AT I O N
AND THE PRINT CENTER
A package for art lovers! Enjoy two general admission tickets
to the Barnes Foundation and a Contributor Membership for
two to The Print Center. Includes three catalogs from The Print
Center. Barnes Foundation tickets are valid through 9/13/15.
DONORS: The Barnes Foundation and The Print Center
DONOR: Kramer Portraits
S A K S F I F T H AV E N U E :
A CHANEL BEAUTY FÊTE
Saks Fifth Avenue Bala Cynwyd cordially invites you and ten
friends to a private presentation of beauty highlights of the
season. Our beauty team will teach you and your guests the “tips
and tricks” of makeup artistry for everyday use. They will speak
to the trends and colors of the season and provide instruction
on application, color selection and skincare while you enjoy
light refreshments with your guests. Select from sweets & treats
or savory cheese and crudités. Event must be scheduled before
April 2015 on a mutually agreed upon date and time. This
certificate can only be redeemed at Saks Fifth Avenue Bala
Cynwyd and it is non-transferable.
EXPERIENCE
DONOR: Saks Fifth Avenue
DONOR: Opera Philadelphia
O P E N I N G N I G H T AT T H E O P E R A
Nothing can match the energy of an Opening Night! Attend
the Opening Night performance of each of Opera Philadelphia’s
40th Anniversary Season Opera at the Academy series operas
and sit next to one of the Opera’s leadership staff, visiting artists,
or creative team member. Includes two performance tickets
for box seats, and two passes to the intermission receptions per
Opera at the Academy production.
I G N AT I U S F E LT H AT
C A R M E L B A C H F E S T I VA L PA S S P O R T
Our Felt hats are made from a shapeless hood which is steamed,
blocked and finished with wiring or edge-work. The hats are
trimmed using millinery findings and handmade decorations.
The combination of method, materials, shape and decoration are
what make our hats reminiscent of times past, while still being
wearable and contemporary.
The Carmel Bach Festival is located in Carmel-by-the-Sea,
California, with concerts presented in Carmel, Monterey,
Pebble Beach, Seaside and Salinas. The Passport is redeemable
for two tickets to any/all of the main concerts and chamber
recital series for an entire week of the Festival. You’ll also receive
a few bottles of wine from the Carmel region to enjoy during
your visit. Does not include airfare.
DONOR: Donna and Andy Wechsler
DONOR: Carmel Bach Festival
A F R I C A N G A M E R E S E R V E VA C AT I O N
IN NAMIBIA FOR FOUR
Spend an unforgettable 5 days and 4 nights on safari in the
exclusive Ongava Game Reserve located next to Etosha
National Park in Namibia. The package allows the winners to
choose between staying at Ongava Tented Camp or Ongava
Lodge. A combination of both properties is also possible.
Both tented and lodge accommodations include the “creature”
comforts of private baths, luxury suites, and cooling units—all
with fabulous views looking out at the preserve and waterholes.
Meals are served either in the main dining room under thatch
with a view, or on the dining deck under the stars.
Namibia has become a most sought-after safari destination.
Activities include game drives in open jeeps, guided hikes
and walks giving you the unique opportunity to see resident
elephants, cheetahs, lions, and the unique resident white and
black rhinos as well as to visit the Ongava Research Center,
which is sponsored in part by the Philadelphia Zoo. Ongava
has been listed on the Condé Nast Traveler Gold Reserve List.
Does not include airfare.
DONOR: John McFadden
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MULRONE Y
FAMILY
P ra i s e s
EXPERIENCE
THE
DOMAINE SERENE OREGON WINE
C O U N T RY VA C AT I O N F O R F O U R
W I L M A T H E AT E R A N D
VA R A L L I R E S TA U R A N T
Two couples will enjoy the best that the Willamette Valley has
to offer with a three-night stay at their own private hideaway
on the grounds of the prestigious Domaine Serene Winery,
located atop the Dundee Hills, Oregon’s premier wine growing
region. A bottle each of Domaine Serene’s Chardonnay and
Pinot Noir will be available at the Winery Hill House for the
guests to enjoy during their stay. The trip includes a VIP tour
of the five-level gravity flow winery and a tasting of Pinot
Noir, Chardonnay, and Syrah in the winery’s cave. Trip must
be redeemed within one year. Does not include airfare.
Two tickets to any performance of the Wilma Theater’s
2014-2015 Season. Includes: Rapture, Blister, Burn, The Body
of an American, Hamlet, and Rosencrantz and Guilenstern are
Dead. Not redeemable for Sunday Matinee or Opening Night
performances. $50 gift certificate to Varalli Restaurant.
DONOR: Domaine Serene
O N E W E E K M AYA N R I V I E R A
VA C AT I O N F O R U P T O T E N
One week at Villa Ka Kuxta - a 5,000 sq. ft. luxury villa located
on one of the most beautiful resort beaches in the Mayan
Riviera. The villa sleeps 10, is fully air-conditioned, and has 2
spacious living areas, 4 bedrooms, 4 baths, 2 kitchens, 2 dining
areas, pool, and casita. Ground floor patio and second floor
balcony face the sea, rooftop terrace with sea views and full wet
bar. Private white sand beach is only steps away from the house
and is one mile from the small town of Akumal, which has
shops and dining, and 25 minutes away from the larger city of
Playa del Carmen. Staff includes a gardener, maid, and Englishspeaking property manager. Activities include snorkeling
and scuba diving in the second largest coral reef in the world,
kayaking, fishing, golf, horseback riding, gourmet dining, and
Mayan ruins are within an easy driving distance. Week stay is
from Saturday to Saturday. Dates to be mutually agreed upon
with the donor based on availability. Excludes all major holidays.
Stay must be arranged by 9/12/15. Does not include airfare.
DONOR: Dr. David Richards
ROUND OF GOLF FOR FOUR
AT P H I L A D E L P H I A C O U N T RY C L U B
Includes cart and caddie.
DONORS: Fred and Leslie Huff
S TAY C AT I O N D AY T R I P S PA C K A G E
Two tickets for admission to Longwood Gardens in
Kennett Square, PA where you can enjoy the dazzling art
of horticulture in 20 outdoor gardens, a 4-acre conservatory,
and majestic fountains.
Two general admission passes to Winterthur Museum and
Country Estate located in Delaware’s Brandywine Valley.
Provides admission to an introductory house tour, the
Winterthur Garden and Garden Tram, the Galleries, and
Enchanted Woods.
DONORS: The Wilma Theater and Varalli Restaurant
WA L N U T S T R E E T T H E AT E R
A N D T H E C A P I TA L G R I L L E
Enjoy two tickets to see a Mainstage production in the
oldest theater in America, the Walnut Street Theater.
The 2014-2015 Season includes: 9 to 5: The Musical, Noël
Coward’s Private Lives, Agatha Christie’s And Then There Were
None, and Memphis. Not valid for Mary Poppins or on Fridays
or Saturdays. Includes a gift package from The Capital Grille
with steak knives, wine, and a gift certificate
for a champagne three-course lunch for four guests.
DONORS: Th
e Walnut Street Theater Company
and The Capital Grille
T H E A R D E N T H E AT R E C O M PA N Y
A N D PA N O R A M A R E S TA U R A N T
Two tickets to any one performance of the Arden Theatre’s
2014-2015 Season. Includes Mainstage productions including
La Bête, Great Expectations, Under the Skin, Macbeth, Passions
and Children’s Theater productions Beauty and the Beast and The
Jungle Book. Not valid on Opening nights and performances
between December 24-January 1.Valid through June 14, 2015.
$100 gift certificate to Panorama Ristorante, authentic trattoriastyle dining in the heart of Old City.
DONORS: The Arden Theatre Company
and Panorama Ristorante
P H I L A D E L P H I A T H E AT R E C O M PA N Y
AND RUTH’S CHRIS STEAKHOUSE
Two tickets to any one performance of the Philadelphia Theatre
Company’s 2014-2015 Season. Includes: Detroit, Pulitzer Prize
finalist; Outside Mullingar, Tony Award Nomination for Best
Play; Mothers and Sons, Tony Award Nomination for Best Play;
Brownsville Song (B-Side for Tray); and the hit musical Murder
For Two, Drama Desk, Drama League, Outer Critics Circle,
and Lucille Lortel Nominated. Seats are subject to availability
and are not valid on Saturdays or opening night. $100 gift
certificate to Ruth’s Chris Steakhouse.
DONORS: Philadelphia Theatre Company
and Ruth’s Chris Steakhouse
Four one day guest passes to Grounds for Sculpture located
minutes from Princeton, NJ. Grounds for Sculpture is located
on 35 magnificently landscaped acres with a constantly evolving
collection of contemporary sculpture outdoors and rotating
exhibitions in three indoor galleries.
DONORS: Longwood Gardens, Winterthur Museum and
Country Estate, and Grounds for Sculpture.
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H O R N S EI D LE
EXPERIENCE
C A RO LY N
T I C K E T S T O T H E T H E AT E R
A N D D I N N E R AT O C E A N P R I M E
B R O A D WAY P H I L A D E L P H I A : R O D G E R S
AND HAMMERSTEIN’S CINDERELLA
1812 Productions: Enjoy two tickets to an 1812 Productions
2014-2015 Season performance which includes Intimate
Exchanges, This Is The Week That Is, To The Moon. Tickets
cannot be redeemed for performances on Saturday or
Opening Night.
Enjoy four tickets to the Tony-Award winning Broadway
musical Rodgers and Hammerstein’s Cinderella at the Academy
of Music.
The Lantern Theater Company: Two tickets to any one
performance of the 2014-2015 Season. Includes: Arcadia,
Doubt: A Parable, The Taming of the Shrew, and The Hound
of Baskervilles. Excludes Opening Nights. Includes a $25 gift
certificate to Ocean Prime Restaurant.
WHYY EXPERIENCE: RADIO TIMES
WITH MARTY MOSS-COANE
DONORS: 1812 Productions, The Lantern Theater Company,
and Ocean Prime Restaurant
Wo u l d l i k e t o w i s h
Opera Philadelphia a
H a p p y 4 0 th A n n i v e r s a r y
T H E P E N N S Y LVA N I A B A L L E T ’ S S WA N
LAKE AND THE PRIME RIB
Two parquet tickets for Swan Lake at the Merriam Theatre.
Certificate is redeemable for performances on March 6, 2015
7:30 p.m., March 7, 2015 2:00 p.m., or March 14, 2015 8:00
p.m. $100 gift certificate to The Prime Rib.
DONOR: The Pennsylvania Ballet and The Prime Rib
THE CHAMBER ORCHESTRA OF
P H I L A D E L P H I A T I C K E T S , A B A C K S TA G E
T O U R O F T H E P E R E L M A N T H E AT E R ,
M E E T- A N D - G R E E T A N D T H E
T R E E M O N T R E S TA U R A N T
Two tickets to a performance of The Chamber Orchestra of
Philadelphia’s 2014-2015 Season which includes Di Wu Plays
Mendelssohn, Baroque Concerti with Hai-Ye Ni, Spotlight on
Kozasa, Mozart with Augustin Dumay, Mahler's 4th, Masters
of All Time, and 50th Anniversary Celebration Concert. Plus,
receive a backstage tour of the Perelman Theater and attended a
Meet-and-Greet with the Music Director and/or Guest Artist.
$150 gift certificate to The Treemont Restaurant.
DONOR: Chamber Orchestra of Philadelphia
and The Treemont Restaurant
ALICE &
WALTER STRINE
W O R L D C A F É FA N PA C K A G E B Y W X P N
Includes a one-year WXPN Membership, four Live at the
World Café compilation CDs, a selection of two CDs by XPN
favorite artists, an WXPN T-Shirt, and a drawstring backpack.
DONOR: WXPN 88.5 FM
SYMPHONY IN C
P ra i s e
A $400 gift certificate to Symphony in C. Redeemable for
single tickets or a subscription. 2014-2015 Season includes
the Bruckner Fourth Symphony, Mendelssohn Piano
Concerto, and an All Brahms Program. Music Director
Rossen Milanov. Performances held at the Gordon Theater,
Rutgers University-Camden.
DONOR: Symphony in C
DONOR: The Kimmel Center for the Performing Arts
Watch from the control room during the live production
of WHYY’s Radio Times with Marty Moss-Coane. Meet
host Marty Moss-Coane, Radio Times producers, and enjoy
a tour of WHYY. Also receive a copy of Writers Speak: A
Collection of Interviews with Writers on Fresh Air with
Terry Gross. Certificate is for two guests and is valid through
September 12, 2015.
DONORS: WHYY and Willo Carey
THE DEVON HORSE SHOW
A N D C O U N T Y FA I R
10 general admission tickets to the 2015 Devon Horse Show &
Country Fair. Tickets can be used for 10 guests on the same day,
or can be split up to be used over many days of the show, May
21 – May 31, 2015.
DONOR: The Devon Horse Show & County Fair
CARRIAGE RIDE IN NORTHERN
C H E S T E R C O U N T Y C O U N T RY S I D E
An idyllic 1-1/2 hour carriage ride for up to six people through
the lovely northern Chester County countryside, you will be
driven on a beautifully restored antique carriage drawn by
four matched horses that have been grand champions at the
famed Devon Horse Show. Or you may choose a 1-1/2 hour
supervised driving lesson for two people using experienced
horses. Dates to be mutually agreeable.
DONOR: Dr. and Mrs. Donald Rosato
SET SAIL ON THE CHESAPEAKE
O N ‘ G L O R I O U S D AY ’ –
A C ATA L I N A 3 0 ’ S A I L B O AT
Up to six adults will meet at the Bohemia Bay Yacht Harbor
(about an hour drive from West Chester) at noon on a mutually
convenient day and board a Catalina 30’ sailboat ‘Glorious Day’
for an afternoon of sailing, swimming and relaxation. The owner
is a licensed captain but you and your guests will have ample
opportunity to participate in the handling of the boat. If winds
are light, anchoring for swimming is possible. Lunch is served
on board and soft drinks are provided - sorry, no alcohol while
under way. We will arrive back at the dock in time to enjoy
the sunset. Champagne and cheeses are served back at dock.
Afterwards, you may wish to cap off your day by enjoying dinner
(at your cost) at one of the fine restaurants in Chesapeake City –
recommendations aplenty.
DONOR: Ronald M. Agulnick, Esq.
73
EXPERIENCE
FOUR PHILLIES TICKETS
Four tickets to a Phillies game in the Hall of Fame section
during the 2015 season at Citizens Bank Park, with preferred
parking. Date to be mutually agreed upon with the donor.
DONOR: Ben and Lorraine Alexander
T H R E E P R I VAT E D A N C E L E S S O N S
Learn to waltz, foxtrot, swing, tango, mambo, rumba, and more
at DanceSport Academy in Ardmore, PA. Gift Certificate
cannot be redeemed for cash and must be used before
September 2015. Lessons are given on an appointment basis.
Can be used for a single person or a couple.
THE FRANKLIN INSTITUTE AND
A C A D E M Y O F N AT U R A L S C I E N C E S
Enjoy a yearlong membership at The Academy of Natural
Sciences for two adults and up to five children. Includes
lunch vouchers for up to seven people. One full year of
Franklin Institute admission for 2 adults and 4 children. 4 parking passes, each good for a single visit in The Franklin
Institute parking garage. *Parking not guaranteed.
DONORS: The Franklin Institute
and Academy of Natural Sciences
DONOR: DanceSport Academy
WINE & DINE
HOME COOKED GOURMET MEAL FOR SIX
AT D AV I D D E VA N ’ S L O F T
Enjoy a home cooked gourmet meal prepared by Opera
Philadelphia General Director and Chef Extraordinaire David
Devan in his Center City home. Date to be mutually agreeable.
DONOR: David B. Devan and David A. Dubbeldam
FORK DINNER FOR TEN
“One of Philly’s most exciting and relevant reservations”
– the Philadelphia Inquirer.
Enjoy an evening of wine and award-winning contemporary
American cuisine for ten guests. Updated daily, Chef Eli
Kulp’s menu celebrates the freshest, most flavorful produce,
fish, meat, and poultry from local farmers and sources. Voted
Best Restaurant for a Party in Philadelphia Magazine's Best
of Philly 2012. Wines from the owner’s cellar. May not be
scheduled on weekends. Gratuity not included.
DONOR: Ellen Yin and Fork Restaurant
CASTELLO BANFI BRUNELLO
D I M O N TA L C I N O 2 0 0 4 5 L I T E R
Castello Banfi pioneered groundbreaking research
into Tuscany’s native Sangiovese grape to make a more
consistently excellent Brunello di Montalcino, and have
helped make it perhaps the most respected red of Italy. Aged
for a total of up to four years, including a minimum of two
years in oak barrels, Castello Banfi Brunello di Montalcino
is a wine of robust character. It possesses a rich garnet color,
and a depth, complexity and opulence that is softened by an
elegant, lingering aftertaste. A regular on Wine Spectator’s
“Top 100 Wines of the Year” ranking and highly acclaimed
by critics around the world.
DONOR: Banfi Vintners
ONE BOTTLE OF 1979
C H AT E A U L A T O U R H A U T- B R I O N
1 9 9 9 C H AT E A U L A F I T E - R O T H S C H I L D
“The 1999 Lafite Rothschild sports an engraved "1999" on the bottle
along with an eclipse to mark that significant historical event of
August, 1999. It is a quintessential offering from Lafite Rothschild.
This prodigious wine is both elegant and intensely flavored, and
almost diaphanous in its layers that unfold with no heaviness. An
opaque ruby/purple color is accompanied by a complex bouquet of
lead pencil, graphite, cedar, creme de cassis, toast, and vanilla. It is
medium-bodied, with extravagant layers of richness yet little weight,
and a f inish that is all sweetness, ripeness, and harmony.
This extraordinary Laf ite increasingly appears to be a modern
day clone of the majestic 1953. A mere one-third of the crop made
it into the grand vin! Anticipated maturity: 2007-2030.”
95 points Robert Parker’s The Wine Advocate.
DONOR: Mr. and Mrs. Philip Harper
A F T E R N O O N T E A AT T H E M A RY C A S S AT T
TEA ROOM IN THE RITTENHOUSE FOR
FOUR GUESTS
For nearly twenty-five years, The Rittenhouse has captured
the hearts of guests from around the world with its timeless
elegance and well-appointed luxury accommodations just
steps Rittenhouse Square. Offering guests a distinctly refined
signature experience, Afternoon Tea in the hotel’s world-class,
modern Mary Cassatt Tea Room is perfect for a unique escape
from the bustling city or any occasion that calls for pampered
tranquility.
For a few hours of sensory indulgence, Afternoon Tea at The
Rittenhouse treats you to all of the essentials and so much more,
including a variety of hand-crafted single-note and signature
blended teas, savory house-made canapés and tea sandwiches,
a collection of sweet delicacies and a bubbly glass of Segura
Viudas Brut Reserva Cava, all presented to you with five star
personalized service.
DONOR: The Rittenhouse
DONOR: Marc Rosenn
75
WINE & DINE
B - F L ATS
BALDWIN
RIVERS-MARIE CABERNET SAUVIGNON
2006-2008 VERTICAL AND DI BRUNO
B R O S . G I F T C E R T I F I C AT E
Rivers-Marie is made by well-known wine maker Thomas
Rivers Brown is a mailing list only wine.
2008 Rivers-Marie Cabernet Sauvignon: 50% new oak.
“In its early stages, driven by texture. Less opaque in the glass
than the ’07, the ’08 begins with aromas of fully ripe raspberry
and blueberry and us followed shortly with notes of sandalwood
and pencil shavings. With air, the red-blue fruit notes dominate
the nose. On the palate, the wine possesses a weighty entry
and is already generous and expansive. This broadness is what
we’ve come to like so much about the vintage. The palate tannin
sweetness is the real payoff before a textured f inish of cocoa and
graphite. Ultimately, this wine is really about the typicity of
Cabernet.” – Winery
ORIGINAL
2007 Rivers-Marie Cabernet Sauvignon: 75% new French Oak.
“This wine has always been aromatic. Starting out with a nose of
violets, wet rock and cassis, then entry takes on a richness that betrays
its two hillside sources. There’s brightness to the black fruited quality
that pushes the perception of the fruit to the red/blue end of the
spectrum until the tannin hits. As with all hillside sites, the tannin
us there it’s just a manner if managing the quality of it that sets the
wine apart. The structure here takes on fine-grained sweetness and
if it deviates from a fruit focus it moved more toward the varietally
correct notes of creosote, charcoal and graphite with loamy, minerally
tones creeping in. time in the decanter definitely helps to prolong the
finish and mellow out some of the mountain tannin.” – Winery
The B-Flats are Baldwin’s renowned a cappella ensemble founded nearly 50 years
ago. The girls’ affection and spirit come alive through their concerts and they are
frequent performers throughout the region and internationally, performing last
spring in Vienna, Austria and Budapest, Hungary. They recently took first place in a
regional singing competition and donated the cash award to support the Ada Mutch
Food Pantry, named in memory of a 1922 Baldwin alumna.
2006 Rivers-Marie Cabernet Sauvignon: 75% new French oak.
“I liked this wine from day one. A large part of that stems from the
love of the vintage. The great California vintages possess ample
quantities of fruit balanced generally by tannin (2002) or nice,
firm acidity (1996). 2006 has all of the fresh fruit of a great year
balanced nicely by both tannin and acidity. I can smell the wine as
it sits a couple feet away from me on the desk. Saturated black-ruby
with a nose of cassis, sandalwood, white flowers and crushed rock.
The classic Cabernet taste components come up quickly: blackcurrants,
more cassis, lavender, sweet tobacco, blackberries, blueberry, espresso
and licorice. The finish is interrupted by a bit by structure until the
acidity cuts in framing and lengthening the backend. This wine
drinks well earlier than either the 2003 or 2004 but us certainly
in no danger of fading for at least a decade.” – Winery
PROGRAM
Become a Baldwin Original. Join us for an
OPEN HOUSE
Pre-Kindergarten to Grade 12
Wed., October 22 at 6:00 p.m.
Thurs., November 6 at 9:00 a.m.
Includes a $75 gift certificate to Di Bruno Bros.
DONOR: William McGowan and Di Bruno Bros.
H A B E R FA M I LY H O W E L L M O U N TA I N
CABERNET 1.5 LITER MAGNUM
Howell Mountain Cabernet Sauvignon opens with dusty
cherry and vanilla, then unfolds with aromas of graham cracker,
blackberry, tobacco, and nutmeg. The palate is rich and lively,
layered with the flavors of sweet tobacco, bramble, black plum,
roast beet and blueberry jam, supported by a supple tannins and
a long lingering finish of black cherry fruit. Smooth and rich, it
has the backbone to support years of enjoyment. – Winery
DONOR: Stephen G. Somkuti, M.D.
THREE BOTTLES OF 1996 GRAND CRU
BURGUNDY FROM AMONG FRANCE’S
G R E AT E S T V I N E YA R D S :
1996 Le Chambertin, Grand Cru, Louis Jadot
1996 La Grande Rue, Grand Cru, Francois Lamarche
1996 Richebourg, Grand Cru, Gros Frere et Soeur
DONOR: Scott and Roberta Richard
CALIFORNIA CABERNET DREAMING
Five fine cabernets from Napa all rated in the mid to high 90s.
Enjoy some California dreaming with five wonderful cabs!
2009 Silver Oak Cabernet Sauvignon
2012 Caymus Vineyards 40th Anniversary Cabernet Sauvignon
2009 Les Pavots – Peter Michael Winery Cabernet Sauvignon
2009 Robert Foley Cabernet Sauvignon
2005 Dunn Vineyards Howell Mountain Cabernet Sauvignon
DONOR: Ken and Sheila Swimm
THREE BOTTLES OF 2008 BORDEAUX
One bottle 2008 Chateau Clinet: "This is the greatest Clinet
since the incredible duo made by the late Jean-Michel Arcaute in
1989 and 1990. The dense purple-colored 2008 offers up beautiful
floral, blackberry, and pen ink-like notes, exceptional intensity, that
multilayered texture that seems to be commonplace in the top 2008
Pomerols, silky but elevated tannins, good freshness, precision, and
nuance, a substantial size, and an extremely long finish with not
a hard edge to be found. It should evolve for 30+ years.”
97 Points Robert Parker’s The Wine Advocate.
One bottle 2008 Chateau La Lagune.
One bottle 2008 Chateau La Gomerie.
90 points James Suckling.
DONOR: Howard and Vesna Sacks
Please RSVP online or call (610)525-2700.
77
WINE & DINE
A CASE OF 2009
B E A U V I G N E E S TAT E W I N E S
6 bottles of 2009 Persuasion Chardonnay: “This is a delicate
and pretty wine from the start. The straw hues and honeysuckle
wafts tempt the nose. Further nuances of citrus, light, dry
straw, pineapple f ields and lemon drops. The palate speaks of
the Russian River with its Burgundian style mouth feel of yeast,
French Oak caramels and striking acidity.” –Winery
6 bottles of 2011 Romeo Cabernet: “This brooding blend of
premium Cabernet Sauvignon brings life to the glass and power
to the palate. It begins with a deep and rich garnet hue that
welcomes and enlivens the senses. As the wine opens, layer upon
layer of rich red fruit, cooking spices, plum, blackberry preserves
and even hints of cherry tobacco emerge. Given more time the
aromatics evolve to crushed herbs, clove, light anise and a touch
of black pepper. The palate is bold but very well balanced,
with an initial attack of plush black cherry and massive black
fruit mouthfeel. Moments later on the midpalate the detail of
cinnamon mixed with vanillin and sweet French oak come in to
focus. The savory flavor lingers but is carried with the tapering
inertia of acidity and tannin well far back. Overall, the worthy
Romeo is an expansive yet focused Cabernet that will continue
to serve its possessor well from release to 2026 and beyond.” –
Winery. 93 points Robert Parker’s The Wine Advocate.
DONOR: Beau Vigne
1998 VEUVE CLICQUOT
P O N S A R D I N C H A M PA G N E
BRUT ROSÉ LA GRANDE DAME
“ This belle of the ball will have you ditching your date and
asking her for a dance. A sublime nose of pink grapefruit,
tangerine peel, and white flowers swing with honeyed citrus
and strawberries to create a gorgeous, perfectly balanced
champagne. Grab her before she leaves the party with
someone else!” 93 points Wine Spectator.
1996 OPUS ONE
"This is one of the f inest Opus Ones to date, offering a dark ruby/
purple color, as well as a striking, intense bouquet of sweet licorice
intermixed with blackberries, cassis, plums, and saddle leather.
This seamless, full-bodied wine is more velvety-textured, opulent,
and succulent than past vintages. The mid-palate is expansive
and chewy. The long f inish is f illed with glycerin, ripe fruit,
and sweet tannin. Drink this impressive, user-friendly yet richly
concentrated effort over the next 15 years."
94 Points Robert Parker’s The Wine Advocate.
1 9 9 8 H E N R I O T B R U T C H A M PA G N E
CUVÉE DES ENCHANTELEURS
"Like f inely woven silk, this offers beautiful texture, sublime
balance and integration. Rich apple pastry, candied orange peel,
crystallized honey and dried apricot flavors are layered with
hints of smoke, sea salt and toasted nut. Lovely, with a fresh,
persistent f inish." 95 Points Wine Spectator.
C H A M PA G N E R U I N A R T R O S E N V
A N D C H A M PA G N E R U I N A R T B L A N C
DE BLANC NV
Champagne Ruinart Blanc de Blanc NV: “Made exclusively from
Chardonnay grapes, Ruinart Blanc de Blancs is smooth and rounded
on the palate. A balanced wine with a beautiful luminous pale gold
colour, enhanced by the elegance of the clear bottle. A perfect summer
aperitif champagne, delectable sipped by the pool or on a sunny
terrace. At table, a light, delicate dish such as grilled sole would be the
perfect partner.” 92 points Stephen Tanzer.
Champagne Ruinart Rose NV: “Orange-salmon color. Very fine,
strong mousse. Initially closed nose hints at strawberry, fresh apple,
mint and flowers; a spicy note of vineyard peach emerged as the
wine opened in the glass. Quite airy, dry and understated; a lighter,
aperitif style but with firm structure and terrific finesse. Subtle red
berry flavors carry through to the persistent, dry finish.
A Champagne like this one could never become tiring to drink.”
93 points Wine Spectator.
2 0 0 5 C H AT E A U L A M I S S I O N H A U T- B R I O N
“2005 La Mission-Haut-Brion, a blend of 69% Merlot, 30%
Cabernet Sauvignon, and a touch of Cabernet Franc. While
there is little difference between La Mission and Haut-Brion’s
terroirs (their vineyards are only separated by a two-lane
road), La Mission possesses more fat, texture, and intensity. An
enormously endowed wine with huge tannin and structure, the
2005 offers a quintessential Graves bouquet of burning embers,
charcoal, blackberries, truffles, black currants, and a meaty
character. Reminiscent of the 1989, with more structure as well
as a longer window of drinkability, the 2005 may be a modern
day, improved version of a vintage such as 1955, which was
well-endowed, very tannic, and took a long time to come around.
While fabulously full-bodied and unctuous, the 2005 will not
provide much charm in its youth. It needs 8-10 years of cellaring,
and should age effortlessly for 30-40 years.”
97+ points Robert Parker’s The Wine Advocate.
2011 KISTLER TRENTON ROADHOUSE
C H A R D O N N AY M A G N U M
“A new offering for me comes from the rich Goldridge soils of
the Russian River and Sonoma Coast. The 2011 Chardonnay
Trenton Roadhouse is a dead-ringer for a Chassagne-Montrachet
premier cru. Roasted hazelnuts, buttered citrus and wood smoke
notes are followed by a full-bodied, honeyed Chardonnay that is
best consumed over the next 3-4 years.”
DONOR: Jack Stein
79
OPERA PHILADELPHIA
A D M I N I S T R AT I O N
D AV ID B. DEVAN
General Director & President
MUSIC
MARKETING
A D M I N I S T R AT I O N
MIC HAEL EB ERHARD
RYAN LE WIS
CORRADO ROVA R IS
Jack Mulroney Music Director
Artistic Administrator
Director of Marketing
KE N SMIT H
ELIZAB ETH B RAD EN
LUCY CLE ME NS
M IK AEL EL IASEN
Artistic Advisor
NAT HAN GUNN
Director,
American Repertoire Council
G ARY GANSK Y
Chief Financial Officer
& Senior Vice President
A N NIE BURRIDG E
Senior Vice President,
Institutional Advancement
D AV ID L EV Y
Senior Vice President,
Artistic Operations
M ICHAEL BOLTON
Vice President of
Community Programs
Chorus Master &
Music Administrator
J. ROB ERT LOY
Director of Orchestra Personnel
& Orchestra Librarian
Director of Audience Services
KARINA KACALA
Marketing Manager
MICHAE L KNIGHT
SARAH WILLIAMS
Assistant Director,
Audience Services & Group Sales
C OLLEEN HOOD
DEVELOPMENT
New Works Administrator
Assistant Director of
Orchestra Personnel &
Assistant Orchestra Librarian
LEMB IT B EEC HER
Composer in Residence
MISSY MAZZOLI
AND REW NORMAN
D AVID T. LITTLE
CHRIST INA DE E ME R
Director of Annual Giving
ADE LE BE T Z
Director of Events
DE RRE N A. MANGUM
Manager of Institutional Giving
JE NNIFE R DUBIN
Associate Director, Annual Fund &
Development Services
RACHE L MCCAUSLAND
PRODUCTION
Manager, Leadership &
Legacy Giving
ALEXAND ER FARINO
SARAH JOHNSON
Production Manager
Donor Services Coordinator
D REW B ILLIAU
C O M M U N I C AT I O N S
Technical Production Manager
C HRISTOPHER HANE S
Technical Director
MILLIE HIIB EL
Costume Director
Assistant to General Director &
Board Relations Coordinator
BE T HANY ST E E L
Assistant to the Sr. Vice President
of Institutional Advancement
MAURICE MARIE T T I
Personnel Manager
COMMUNITY
PROGRAMS
ADRIE NNE BISHOP
Community Programs Assistant
FINANCE
MAURE E N MCHALE
Senior Accountant
B R AVO !
Opera Philadelphia
Board of Directors
D AV I D D E VA N & D AV I D D U B B E L D A M
T H A N K Y O U F O R Y O U R U N WAV E R I N G C O M M I T M E N T,
L E A D E R S H I P, T R U S T A N D S U P P O R T.
COUNSEL
MONT GOME RY,
MCCRACKE N,
WALKE R & RHOADS LLP
General Counsel
FRANK LUZI
Director of Communications
KAT IE DUNE
Multimedia Communications
Coordinator
ELIZAB ETH LARSEN-SILVA
Production Coordinator
OPERA PHILADELPHIA
extends special thanks to Director of Events Adele Betz
for orchestrating this extraordinary evening!
BENJAMIN ALEXANDER
S T E P H E N A . M A D VA , E S Q .
SANDRA BALDINO
THOMAS MAHONEY
F. J O S H U A B A R N E T T , M . D . , J . D .
DANIEL K. MEYER, M.D.
WILLO CAREY
AGNES MULRONEY
NICHOLAS CHIMICLES, ESQ.
S C O T T F. R I C H A R D
ADY L. DJERASSI, M.D.
HAROLD ROSENBLUTH
EHAB HAMMAD
STEPHEN G. SOMKUTI, M.D.
MARK HANKIN
J O N AT H A N H . S P R O G E L L
F R E D E R I C K P. H U F F
J A M E S B . S T R AW
CAROLINE KENNEDY
ALICE STRINE, ESQ.
JOEL M. KOPPELMAN
KENNETH R. SWIMM
BEVERLY LANGE, M.D.
MARIA TRAFTON
ELLEN BERMAN LEE
C H A R L O T T E WAT T S
GABRIELE LEE
DONNA WECHSLER
PETER LEONE

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