Powder Her Face Program | Opera Philadelphia

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contents

PROGRAM INFORMATION

OPERA PHILADELPHIA GENERAL INFORMATION

8 Powder Her Face 4 Letter from the Chairman 12 Synopsis 5 Board of Directors 16 Program Notes 6 Welcome from the General Director 18 Artists 27 Leadership Support 22 Composer Thomas Adès and Major Gifts 24 Librettist Philip Hensher 29 Annual Fund Support 32 Corporate Council 38 Administration

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LETTER FROM OUR CHAIRMAN Dear Friends,

n behalf of the Opera Philadelphia Board of Directors, I would like to welcome you to the Philadelphia Premiere of Powder Her Face, a dazzling chamber opera that serves as a fitting close to a most eventful 2012-2013 Season.

O

It has been an extraordinary season of artistic and institutional accomplishments for the Opera, beginning with a Philadelphia artinspired La bohème in collaboration with the Barnes Foundation and the Philadelphia Museum of Art. We then presented the East Coast Premiere of the Pulitzer Prize-winning Silent Night, which catapulted Opera Philadelphia to the forefront of the development of new opera in our country via the American Repertoire Program, the opera company’s commitment to produce a new American work each year for ten consecutive seasons. We couldn’t be more pleased about the enthusiasm with which Silent Night was received.

Chairman Daniel K. Meyer, M.D.

In March we again teamed with the Curtis Opera Theatre here in the Perelman Theater, for Benjamin Britten’s Owen Wingrave, and in April we presented a charming The Magic Flute to a packed house at the Academy of Music. Now we arrive at Powder Her Face as part of the Aurora Series at the Perelman Theater. The Aurora Series is actually what led Fred Haas and me to become major supporters of Opera Philadelphia. The idea of programming adventurous works in an intimate venue has greatly increased the scope of the opera we can offer our audience and create new opera audiences, and now opera companies across the country are replicating our programming model to do the same.

And finally, this season we dropped two little words from our company name to signal a very significant commitment to our community. For Opera Philadelphia, great art is the way we plan to ignite civic pride and community engagement in our region.

I would like to thank everyone who helped make this season a reality, especially the members of our Chairman’s Council who made the performances and productions we have enjoyed on stage possible.

And last but not least, I would be remiss not to acknowledge that this spectacular season was also the first season under the leadership of David Devan as General Director. While David has been with us for more than six years now, the 2012-2013 Season was the first in which the business and artistic operations were united under his leadership. We have come to expect great things from David and his team, and his relentless pursuit to reinvent the ideal opera company right here in Philadelphia has truly taken the opera world, and Philadelphia, by storm.

Thank you for joining us at the opera. I look forward to seeing you again during the 2013-2014 Season.

Sincerely,

Daniel K. Meyer, M.D. Chairman 4

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

Benjamin Alexander

Carol C. Lawrence

Harold Rosenbluth

Dennis Alter**

Ellen Berman Lee

Roberto Sella

Sandra Baldino

Gabriele Lee

Stephen G. Somkuti

Elizabeth M. Bowden

Peter Leone

Jonathan H. Sprogell

Willo Carey

Stephen A. Madva

James B. Straw

Nicholas Chimicles

Thomas Mahoney

Alice Strine

Mark Hankin

Daniel K. Meyer, M.D.

Kenneth R. Swimm

Frederick P. Huff

Alan B. Miller**

Maria Trafton

Stephen T. Janick

Agnes Mulroney

Charlotte Watts

Joel M. Koppelman

Michael O. Pansini

Donna Wechsler

David Kutch

Bernard J. Poussot

Beverly Lange

Scott F. Richard

List as of May 15, 2013 *Ex officio **Honorary Board 5

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WELCOME FROM THE GENERAL DIRECTOR Dear Friends,

hank you for joining us as we wrap up an exciting and eventful 2012-2013 Season with the Company Premiere of Powder Her Face. This is a truly bold and original work, written when Thomas Adès was just 24 years old, brought to life here in Philadelphia in a gorgeous new production from director William Kerley.

T

The Aurora Series for Chamber Opera at the Perelman Theater is the ideal venue for this chamber work by one of the most acclaimed composers in contemporary classical music.

The British journalist Tom Service, who has written a book based on a series of interviews with Adès, says his music “makes you hear things with which you thought you were familiar as if they were completely new.”

General Director & President David B. Devan

Why do we program operas like Powder Her Face as part of the Aurora Series? Because this is a truly personal, vibrant work that requires the highest levels of artistry. It offers us a theatrical experience that connects us to one another as a part of our ongoing journey to explore, experiment with, and enjoy new music together.

This would not be possible without the leadership of our Board Chairman Daniel K. Meyer, M.D. and Frederick R. Haas, who have underwritten the Aurora Series through the Wyncote Foundation. We thank them for helping Opera Philadelphia bring unique and highly theatrical experiences to Philadelphia’s opera loving public, expanding the boundaries of what opera makes possible. Together, we have shared the American Premiere of Hans Werner Henze’s Phaedra; Benjamin Britten’s masterpiece The Rape of Lucretia; Alban Berg’s Wozzeck and Henze’s Elegy for Young Lovers as two of the many great productions presented with the Curtis Opera Theatre; and the launch of the American Repertoire Program with Nico Muhly’s new opera, Dark Sisters.

Next season, we will welcome the Company Premiere of Curtis Opera Theatre’s Dialogues of the Carmelites and the East Coast Premiere of a new opera by composer Ricky Ian Gordon starring the legendary Frederica von Stade (story on page 35).

We also could not have reached this stage in Opera Philadelphia’s history without the many supporters who have made gifts to the Wyncote Challenge (see pages 24-25).

Thank you for sharing this electrifying season with us, and for continuing to make opera a special part of your life. We look forward to making more great memories in the 2013-2014 Season.

Sincerely,

David B. Devan General Director & President

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Opera Philadelphia

Powder Her Face Company Premiere and New Production

Music Thomas Adès

Text Philip Hensher

Conductor Corrado Rovaris

Director William Kerley

Set & Costume Design Tom Rogers*

Lighting Design David Howe*

Wig & Makeup Design Anne Nesmith*

Choreographer Faye Driscoll*

*Opera Philadelphia debut The Aurora Series is underwritten by the Wyncote Foundation.

The orchestra is underwritten by Mrs. John P. Mulroney and Alice & Walter Strine.

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Powder Her Face Cast

The

MARGARET, DUCHESS OF ARGYLL Patricia Schuman ELECTRICIAN/ LOUNGE LIZARD/ WAITER/ PRIEST/ RUBBERNECKER/ DELIVERY BOY Christopher Tiesi

HOTEL MANAGER/ DUKE/ LAUNDRYMAN/ OTHER GUEST Ben Wager

MAID/ CONFIDANTE/ WAITRESS/ MISTRESS/ RUBBERNECKER/ SOCIETY JOURNALIST Ashley Emerson*

*Opera Philadelphia debut

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Synopsis ACT ONE: 1990: The Duchess has been forced to sell her Mayfair home and move to a West End hotel suite, where an Electrician amuses a Chambermaid with a crude mockery of the Duchess, that involves a vulgar rendition of a popular song written about her in the 1930s. The Duchess, however, walks in on them, and while they continue to ridicule her, she imagines the Duke is on his way to see her, and reminisces about her former beauty. A mysterious figure appears in the doorway.

1934: The Duchess – known presently as Mrs. Freeling, as she has yet to marry into the nobility – awaits the appearance of the Duke at a country house-party. Her Confidante and a Lounge Lizard gossip about her recent divorce from Mr. Freeling. The Lounge Lizard entertains the Duchess by singing the popular song heard parodied in the previous scene, and the Duke finally arrives with a flourish.

1936: A Priest marries the Duke and Duchess and a lavish wedding reception follows, while a hard-working Waitress compares her humble existence to the excessive lifestyle of the wealthy.

1953: In London at the time of Elizabeth II’s coronation, the Duchess calls for room service from her hotel suite. She proceeds to seduce the waiter and, at the moment of orgasm, a camera flash goes off. She dismisses the waiter, who reveals that similarly tawdry encounters have taken place many times before.

1953: After leaving the Duchess at a party, the Duke meets his mistress, who, despite an initial reticence to tell-tales, divulges rumors of the Duchess’s recurrent affairs. The Duke frantically searches through his wife’s belongings and finds photographic evidence of her infidelity.

— 20 Minute Intermission — ACT TWO: 1955: As the divorce case nears its end, two working-class Rubberneckers offer their commentary on the scandalous trial. The judge casts his verdict and berates the Duchess for her immoral behavior, whilst completely exonerating the Duke of any blame. In a pathetic departure from her usual grand style, the Duchess leaves on foot.

1970: A society Journalist interviews the Duchess in the hotel suite where her debts now force her to reside. Her conversation fluctuates widely, from offering health and beauty tips to railing against the graceless state of the modern world. Meanwhile deliveries arrive from various up-market stores and the Duchess is presented with bills.

1990: In a continuation of the opening scene, the mysterious figure presents himself in the Duchess’s hotel suite as the Hotel Manager and informs her that, since she cannot pay her hotel charges, she must leave within the hour. When he departs, the Duchess reflects on her childhood and life. When the Hotel Manager returns to find her still there, the Duchess attempts to seduce him into letting her stay; he rejects her advances. She tries to play a record of her famous song, but is forcefully evicted to the scratching sounds of the gramophone needle.

Ghost Epilogue: The Electrician and the Chambermaid enter, to clear the Duchess’s possessions from the hotel suite, ready for the arrival of new guests.

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Opera Philadelphia ARTISTIC Assistant Director.............Amanda Consol Assistant Conductor & Principal Pianist.........Lisa Keller Supertitle Operator............Tony Solitro PRODUCTION/TECHNICAL Technical Director ............Christopher Hanes Costume Director..............Millie Hiibel Technical Production Manager.........................Drew Billiau Production Stage Manager ........................Kerry Masek Properties Coordinator ...................John Bryant Master Electrician.............David Cecil Properties..........................Paul Lodes Flyman .............................John Damiani

Assistant Electrician.........William Hennessy Assistant Stage Manager.........................Rachel Miller Davis Cutters/Drapers................Nell Unrath

Rachel Ford Hair & Makeup Artist..............................Rande Mandelplatt

Duchess Cover: Cassandra Black Production owned by Opera Philadelphia. Supertitles by Kelley Rourke, courtesy of New York City Opera. Menchey Music is the official purveyor of pianos for Opera Philadelphia.

Opera Philadelphia performs at the Academy of Music and the Perelman Theater, and is a Resident Company of the Kimmel Center for the Performing Arts. All photography and video or audio recording of this performance is strictly prohibited.

A Commitment to Safety: The safety and comfort of visitors, artists, volunteers, and staff at the Academy of Music and the Kimmel Center for the Performing Arts are of paramount importance. In the event of an emergency, audience members will be advised of appropriate procedures by usher and security staffs.

At this time, please take note of the exit nearest you. A red, illuminated EXIT sign should be visible, with an arrow indicating the direction of the exit door. Should an emergency arise, you will be directed to leave the auditorium and further instructions will be provided as to the safest and quickest way to exit the building. Patrons who need special assistance should contact an usher.

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PROGRAM NOTES

BY KYLE BARTLETT A swooning accordion gives a glimpse of tango, and half a breath later a pulse of muted trumpet sparks a flash of the Jazz Age; a bumptious bass clarinet groove followed by a fizz of cymbals drives home a punch-line. From the first beat of Thomas Adès’s tragicomic (comi-tragic?) opera Powder Her Face, the listener feels transported to another world. Adès’s musical language here is memory itself – fragmented, dreamlike shards of tunes that seem both familiar and strange at the same time.

Like all memory, Powder Her Face is episodic, exaggerated, and somehow exotic. Its lipstick is a smidge too red, its heels a bit too high, its language rather too salty for polite company. To wit, it is every bit the musical portrait of Margaret Campbell, the Duchess of Argyll.

Adès renders these scenes from her life with an astonishing range of orchestral color drawn from a mere fifteen players—including two (!) bass saxophones, three bass clarinets, and approximately 40 percussion instruments. His meticulously specific notation calls for virtuosity not just in traditional techniques, but asks the performers to control precisely the location of the bow upon the string, to manipulate the resonance of the piano by sticking Blu-Tack on the strings, and to color the sound of the brass with a cornucopia of different mutes. The result is an aristocratically louche soundworld that shimmers with fine detail even as it portrays outrageous people caught in outrageous circumstances.

The fluency of Adès’s instrumental writing is matched beat-for-beat by vocal writing that is athletic in its virtuosity and fiendish in its complexity. The absurdist comedy is heightened by ridiculously steep jumps from the lowest to the highest reaches of their vocal ranges, or by a recurring polite cough punctuating a decidedly impolite act. The role of the Maid, with her endless staccato laughter and her “Fancy” aria, is a coloratura tour-de-force that makes the Queen of the Night sound like a frumpy dowager.

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Given the skill with which Adès creates this musical portrait, it is easy to forget that Powder Her Face was his Opus 14. The work premiered in 1995, when he was 24 years old, and here and there one can identify the hand of a composer readily familiar with the subtleties of English schoolboy humor.

Among the many naughty double- and tripleentendres in the music and the libretto, one delights in Margaret’s repeated calls to room service for “meat.” Likewise, Adès has little sympathy for the Duchess: she makes her entrance not as herself, but as a drag parody performed by the hotel electrician. One moment of quiet generosity, however, is found near the end of the opera. Adès accompanies the Duchess’s last moment in her hotel room with the sound of rhythmically turning fishing reels. It is, simultaneously, the sound of a sad, lonely woman being reeled into an undeniable fate, and the small, delicate sound of a woman’s life coming undone.

Kyle Bartlett is Opera Philadelphia's New Works Administrator.

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Artists FAYE DRISCOLL (Los Angeles, California)

DAVID HOWE (London, England)

CHOREOGRAPHER

LIGHTING DESIGN

Opera Philadelphia debut.

Opera Philadelphia debut.

Recent Activities: You’re Me, Faye Driscoll Dance Group, Wexner Center for the Arts, Ohio; Kurt Weill’s Seven Deadly Sins, Castleton Festival; Stravinsky’s L’histoire du Soldat, Castleton Festival.

Recent Activities: Associate Lighting Designer, Charlie & the Chocolate Factory, London West End; Lighting Designer, Quatermaine’s Terms, London West End; Lighting Designer, La Navarriase, Portrait de Manon, and Comedy on a Bridge, Guildhall School.

ASHLEY EMERSON Soprano (Bangor, Maine)

WILLIAM KERLEY (London, England)

MAID/ CONFIDANTE/ WAITRESS/ MISTRESS/ RUBBERNECKER/ SOCIETY JOURNALIST Opera Philadelphia debut.

Recent Activities: Alice, Alice in Wonderland, Opera Theatre of Saint Louis; Barbarina, The Marriage of Figaro, Metropolitan Opera; Elvira, The Italian Girl in Algiers, Atlanta Opera.

DIRECTOR 2009 The Rape of Lucretia Recent Activities: Chinese premiere of The Barber of Seville, National Centre for Performing Arts, Beijing, China; Carmen, Teatro Petruzzelli, Bari, Italy; La bohème, Royal Opera House, Muscat, Oman.

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Artists ANNE NESMITH (Arlington, Virginia) WIG & MAKEUP DESIGN Opera Philadelphia debut.

Friends, Community and a Loving Home

Recent Activities: Other Desert Cities, Arena Stage; Dangerous Liaisons, Washington Ballet; Our Town, Ford’s Theatre.

TOM ROGERS (London, England) SET & COSTUME DESIGN Opera Philadelphia debut.

Recent Activities: Carmen, Castleton Festival, Virginia and Teatro Petruzelli, Italy; Il matrimonio segreto, Scottish Opera, Glasgow; La fille du régiment, Opera Holland Park, London.

CORRADO ROVARIS (Bergamo, Italy) CONDUCTOR

1999 The Marriage of

Figaro 2006 Cinderella 2013 The Magic Flute (Partial Listing)

Recent Activities: The Barber of Seville, Teatro Verdi di Trieste; Don Carlo, Ópera de Oviedo; La traviata, Teatro Regio di Torino.

PATRICIA SCHUMAN Soprano (Essex, Connecticut) MARGARET, DUCHESS OF ARGYLL

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1996 Cio-Cio San,

Madama Butterfly 2002 Donna Elvira,

Don Giovanni Recent Activities: Delia, Letter From Italy, 1944, MGC; Carlotta O’Neil, A Blizzard on Marblehead Neck, Glimmerglass Festival; Estelle Oglethorpe, Later That Same Evening, Glimmerglass Festival.

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Artists CHRISTOPHER TIESI Tenor (Sarasota, Florida) ELECTRICIAN/ LOUNGE LIZARD/ WAITER/PRIEST/ RUBBERNECKER/ DELIVERY BOY

2010 Gastone, La traviata

2011 Spoletta, Tosca

2013 Second Priest, The

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

BEN WAGER Bass (Havertown, Pennsylvania) HOTEL MANAGER/ DUKE/ LAUNDRYMAN/ OTHER GUEST

Curtis Opera theatre 2013—14 SeaSon Der Kaiser von Atlantis

2009 Collatinus,

The Rape of Lucretia

2013 Speaker, The Magic

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

Viktor Ullmann

october 10-13

L’Elisir d’Amore

Gaetano Donizetti

november 21-24

Dialogues of the Carmelites FranciS PoUlenc

march 5, 7, 9

La Cenerentola

Gioacchino roSSini

may 1-4

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THOMAS ADÈS, COMPOSER Born in London in 1971, Thomas Adès studied piano at the Guildhall School of Music & Drama, and read music at King’s College, Cambridge.

Between 1993 and 1995 he was Composer in Association with the Hallé Orchestra, which resulted in The Origin of the Harp (1994), and These Premises Are Alarmed for the opening of the Bridgewater Hall in 1996. Asyla (1997) was a Feeney Trust commission for Sir Simon Rattle and the CBSO, who toured it together, and repeated it at Symphony Hall in August 1998 in Rattle’s last concert as Music Director. Rattle subsequently programmed Asyla in his opening concert with the Berlin Philharmonic as Music Director in September 2002.

Adès’s operas have brought him worldwide acclaim. His first opera, Powder Her Face (commissioned by Almeida Opera for the Cheltenham Festival in 1995), has been performed all around the world, was televised by Channel Four, and is available on a DVD as well as an EMI CD. Most of the composer’s music has been recorded by EMI, with whom Adès has a contract as composer, pianist and conductor. Adès’s second opera, The Tempest, was commissioned by London’s Royal Opera House and was premièred under the baton of the composer to great critical acclaim in February 2004. It was revived in 2007 – again to a sold-out house (a performance now available on CD) and has since been seen in Copenhagen, Strasbourg, Santa Fe, Frankfurt, Lübeck and Quebec. In 2012 The Tempest was performed at the Metropolitan Opera in New York in a striking new production by Robert Le Page (as well as transmitted live to more than 1800 cinemas in 55 countries). The same production will be staged at the Wiener Staatsoper as part of the 2014/15 season. Adès is currently writing his third opera based on Luis Buñuel’s film The Exterminating Angel. It is commissioned by the Salzburg Festival, the Royal Opera House, London and the Metropolitan Opera, New York.

Adès is equally feted for his orchestral works.

Recent pieces include a Violin Concerto: Concentric Paths (2005) for Anthony Marwood, which was premiered at the Berliner Festspiele and the BBC Proms, with the Chamber Orchestra of Europe under Adès’ baton. His second orchestral work for Simon Rattle, Tevot, (2007) was commissioned by

the Berliner Philharmoniker and Carnegie Hall.

In Seven Days (for video, solo piano and orchestra) was premiered in April 2008 at the South Bank and Los Angeles to great acclaim. Polaris (2010) was premiered by the New World Symphony at the opening of their new Miami concert hall. It has since been performed by the Royal Concertgebouw Orchestra, the New York Philharmonic, the Calouste Gulbenkian Orchestra, the Los Angeles Philharmonic and San Francisco Symphony. Adès’s most recent work, Totentanz, a substantial orchestral song cycle for baritone mezzo, will be premiered at the 2013 Proms by the BBC Symphony Orchestra with Adès conducting.

Adès’s reputation worldwide is now such that a number of international festivals have programmed focuses on his music. Among these are Helsinki Musica Nova (1999), Salzburg Easter Festival (2004), Radio France’s Présences, Paris (2007), the Barbican’s ‘Traced Overhead’, London (2007), New Horizons Festival, St. Petersburg, Russia (2007), Royal Stockholm Philharmonic Festival (2009), Melbourne Festival (2010), Holland Festival (2011); in addition Carnegie Hall, New York, appointed him to the R and B Debs Composer Chair and featured him as composer, conductor and pianist throughout the 2007/8 season.

Unusually for such a full-time composer, Adès is also a renowned interpreter of a range of other music and his performances and recordings of composers including Kurtág, Nancarrow, Schumann, Schubert, Ruders, Tchaikovsky, Barry and Beethoven have been critically acclaimed. The many orchestras he has conducted include the Los Angeles Philharmonic (with whom he has built a special relationship), the Concertgebouw, the City of Birmingham Symphony Orchestra, the Chamber Orchestra of Europe, the Philharmonia, Orchestre National de Radio France, the London Symphony Orchestra, the Hallé, the BBC, Finnish and Danish Radio Symphony Orchestras, the Stockholm Philharmonic and ensembles such as Birmingham Contemporary Music Group (he was their Artistic Director for a few years), the London Sinfonietta and Ensemble Modern.

Adès’s music has attracted numerous awards and prizes, including the prestigious Grawemeyer Award (2000) of which he is the youngest ever recipient. He is the only composer to have won the Royal Philharmonic Prize for Large-scale composition three times. He was Artistic Director of the Aldeburgh Festival between 1999 and 2008.

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PHILIP HENSHER, LIBBRETTIST Philip Hensher was born in London in 1965 and was educated at Oxford and Cambridge.

He is the author of several novels and a collection of short stories and he wrote the libretto for Thomas Adès’s opera Powder Her Face, based on the

life of the Duchess of Argyll.

A regular presence in the British media, he contributes reviews and articles to various newspapers and journals including The Spectator, the Mail on Sunday and The Independent. Professor of Creative Writing at the University of Exeter, Hensher was among Granta Magazine’s 20 Best of Young British Novelists in 2003. He has won numerous prizes including the Somerset Maugham Award and the Stonewall Journalist of the Year.

His first novel, Other Lulus (1994), set in Vienna, centers on a young girl’s discovery of a family connection with the composer Alban Berg. His six years spent working at the House of Commons in London provided the backdrop to his second novel, Kitchen Venom, published in 1996. The book combines a story of murder and intrigue at the House with a deft account of the eccentric relationships and rituals that have been played out for centuries. Pleasured (1998), his third novel, is set in Berlin on the eve of the fall of the Wall. His latest novels are The Northern Clemency (2008), shortlisted for the 2008 Man Booker Prize for Fiction and the 2009 Commonwealth Writers Prize (Eurasia Region, Best Book), King of the Badgers (2011) and Scenes from Early Life: A Novel (2012).

He lives in South London and is a member of the Council of the Royal Society of Literature.

OPERA PHILADELPHIA ORCHESTRA

CORRADO ROVARIS, JACK MULRONEY MUSIC DIRECTOR VIOLIN I Sophia Kessinger, Concertmaster

CELLO Vivian Barton, Principal

FRENCH HORN John David Smith, Principal

VIOLIN II Emma Kummrow, Principal

BASS Daniel McDougall, Principal

TRUMPET Brian Kuszyk, Principal

VIOLA Jonathan Kim, Principal

CLARINET Joseph Smith, Principal Allison Herz Doris Hall-Gulati Sherry Apgar

TROMBONE Brad Ward, Principal

PERCUSSION Ralph Sorrentino, Principal Susan Jones HARP Sophie Bruno, Principal PIANO Linda Henderson ACCORDION William Schimmel

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5/29/13 11:58 AM

The Wyncote Challenge Building the New American Opera Company

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

Wyncote Challenge, a five-year, $10 million campaign in support of the ambitious artistic and community programming outlined in the Opera’s 2012-2015 Strategic Plan. The initiative was launched with a historic

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

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

O p e r a o n S ta g e Bringing artists and audiences from around the globe together in the spectacular Academy of Music and the intimate Perelman Theater.

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

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

GE T INVOLVE D: operaphila.org/wyncote-challenge

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O p e r a P h i ladel p h i a i s g r ateful t o t h e f o ll o w i n g su p p o r te r s w h o h ave made ne w and i n c r eased leade r s h i p g i fts t o t h e W y n c o te C h allen g e :

Wy nco t e Fo u ndat ion Kenneth B. and Pamela R. Dunn The Horace W. Goldsmith Foundation Joel and Sharon Koppelman Mrs. John P. Mulroney Barbara Augusta Teichert Mr. Richard B. Worley and Ms. Leslie Anne Miller Mrs. Sandra K. Baldino Dow Chemical Company Judy and Peter Leone Alice & Walter Strine, Esqs.

Scott F. and Roberta C. Richard Mr. Peter Benoliel and Ms. Willo Carey Nicholas and Kathleen Chimicles Gray Charitable Trust Rita and Philip Harper Gabriele Lee Mr. Thomas Mahoney

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Portraits In Giving Dr. Eugene Garfield Eugene Garfield, PhD., a pioneering figure in the field of information science, developed his appreciation for opera as a child; he can recall listening to classical music in his home at six years old. But this key, early exposure to the arts is less prevalent among today’s youth, and can be especially rare for economically disadvantaged children in the Philadelphia region. “Many of these children don’t even know what an opera is,” said Dr. Garfield.

“They don’t get a chance to experience the art form.” So when he was introduced in the mid-90s to Opera Philadelphia’s Sounds of Learning™ education program by then University of Pennsylvania doctoral student Dennis W. Creedon, currently Deputy Chief, Academic Enrichment & Support at the School District of Philadelphia, he was intrigued, and he has supported the program through the Eugene Garfield Foundation ever since.

Launched by Creedon at Opera Philadelphia in 1991, Sounds of Learning™ weaves the study of an Opera Philadelphia production into the core school curriculum through a six-week, in-school experience conducted by classroom teachers with guidance and material provided by the Opera’s Community Programs staff. Students in grades 5-12, approximately half from the School District of Philadelphia, study the libretto, learn about the opera’s history and themes, and discuss the parallels between classic works and modern culture.

At the end of the classroom phase, students and chaperones are invited to attend the final dress rehearsal of the opera they studied at the Academy of Music.

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As thousands of students arrived for the dress rehearsal of The Magic Flute in April, many of them seeing an opera for the very first time, they were also joined by Dr. Garfield himself, who has consistently attended the student performances during the many years of his support. “I love to see their excitement, to see their faces, and to hear how they react,” said Dr. Garfield. “In fact, I never attended an opera until I was an adult, so Sounds of Learning™ is truly providing an exceptional experience for the children.”

For more information about Sounds of Learning™, please visit operaphila.org/sounds-learning or email education@operaphila.org

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Portraits In Giving Sheila and Kenneth Swimm Sheila and Ken Swimm have been a vibrant part of the fabric of Opera Philadelphia for more than fifteen years. Each year they are among the first to register for the annual gala, and are always among the first to get up and get down on the dance floor. It is no surprise, then, to learn that Ken’s mother was a vaudeville musician. She played the saxophone, the violin, and the piano, instilling in Ken an appreciation for music and the arts. Sheila has been a long-time supporter of many organizations, including art museums and orchestras.

A friend and fellow long-time Opera Philadelphia board member, James Straw, took Ken and Sheila to their first opera in the 1990s. It was Puccini’s La bohème. “It was spectacular,” Ken said. “And we’ve been coming ever since.” Ken joined the Opera’s Board of Directors in 1997. In 2013, he and Ben Alexander became co-chairs of the General Director’s Council, a giving program that recognizes Opera supporters who make annual contributions of between $10,000 and $24,999.

Over the course of his involvement with the Opera, Ken has witnessed tremendous artistic and professional growth of Opera Philadelphia. “The balanced focus between the classics and new opera has been struck beautifully. Both are important.”

Sheila and Ken each count a new opera among their most memorable operatic experiences in Philadelphia. Sheila, a self-described feminist, particularly liked Nico Muhly’s Dark Sisters and Ken, who served in the Navy, was struck by Kevin Puts’ Silent Night. “The music and staging of Silent Night captured the savagery and futility of World War I. I was quite moved.”

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Ken is looking forward to more great experiences next season. “Don Giovanni is Mozart at his best.

I’ve only seen parts of Nabucco and from those fragments I can understand why it has been an audience favorite for more than a century.

The Spanish Civil War was a time of great tragedy and Lorca was caught in the middle of it. Ainadamar will be an adventure.”

In addition to Ken’s service at the Opera, he is President of Hope Springs Equestrian Therapy in Chester Springs, PA, and is a board member of the National Liberty Museum, which is dedicated to preserving America’s heritage of freedom by fostering good character, civic responsibility, and respect for all people.

Why They support the Opera:

“ The Opera’s dedication to producing great operas in Philadelphia and providing innovative arts programming for the community make it an important contributor to the quality of life in the region.”

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CORPORATE COUNCIL 2012-2013 Season Sponsors

Official Airline Official Automotive Dealership

Official Hotel

Official Sponsor of Opera Philadelphia's Patron Program

CORPORATE COUNCIL MEMBERS Bank of America Center City Film and Video Cunningham Piano Company Debra Malinics Advertising Ray Donovan Evantine Design Exelon Business Services

Fox Rothschild LLP Kalnin Graphics the karma agency Loews Philadelphia Hotel Macy's Menchey Music

Montgomery, McCracken, Walker and Rhoads, LLP Moonstruck Restaurant Savona Restaurant Termini Bros. Bakery Trattoria San Nicola Varalli Restaurant

2012-2013 Sounds of Learning™ and EITC This season over 4,500 Philadelphia students will participate in the Sounds of Learning™ program, a unique arts education experience that weaves the study of a current production into the core school curriculum. After several weeks of stimulating classroom study and activities, students attended the final dress rehearsal at the Academy of Music. For many students, Sounds of Learning™ is their only access to the arts, and in an environment of drastic proposed cuts to education funding, programs like this are needed more than ever.

Dedicated funding for the Sounds of Learning™ program has been provided by: Alpin J. and Alpin W. Cameron Memorial Fund Deluxe Corporation Foundation Eugene Garfield Foundation GlaxoSmithKline Hamilton Family Foundation

The Hirsig Family Fund of the Philadelphia Foundation Lincoln Financial Foundation Louis N. Cassett Foundation The McLean Contributionship Morgan Stanley Foundation

Mutual Fire Foundation The Presser Foundation Wells Fargo Foundation Universal Health Services

The Opera is especially grateful to businesses who participate in Pennsylvania’s Educational Improvement Tax Credit (EITC) program, which grants lucrative tax credits to eligible businesses that donate to approved educational programs like the Sounds of Learning™. EITC donors during the 2012-2013 Season included the Mutual Fire Foundation, and Universal Health Services. To find out more about applying, visit http://www.operaphila.org/eitc.

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

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THE C h a i r man ’ s C o un c i l Opera Philadelphia’s Chairman’s Council is a passionate group of philanthropists committed to ensuring that the future of opera is right here in Philadelphia.

The Council’s collective generosity underwrites more than half of Opera Philadelphia’s artistic expenses each season, including productions in the Academy of Music, the nationally lauded Aurora Series for Chamber

F o r m o r e i nf o r mat i o n ,

Opera at the Perelman Theater, our

c o nta c t :

annual Opening Night HD broadcast at Independence National Historical Park, and our award-winning programs for children.

Clockwise from top: Rita and Philip Harper.

American Repertoire Council Director Nathan Gunn and Keith Straw. Kenneth B. and Pamela R. Dunn. Composer Kevin Puts, Opera Philadelphia Chairman Daniel K. Meyer, M.D., and Barbara Teichert. Nick and Kathleen Chimicles.

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Annie Burridge, Senior Vice President, Institutional Advancement at 215.893.5906 or at burridge@operaphila.org.

A c adem y H o use 1 4 2 0 L o c ust S t r eet S u i te 2 1 0 P h i la , P A

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M ake a d i ffe r en c e b y pa r t i c i pat i n g i n t h e O p e r a’ s A nnual G i v i n g p r o g r am w h i le en h an c i n g y o u r o p e r at i c e x p e r i en c e w i t h e x c lus i ve d o n o r b enef i ts .

Friends of the Opera Joan Goldstein, Chair Friends support the Opera with annual gifts between $25 and $1,999 and enjoy an enriched connection to the opera with behind-the-scenes opportunities including invitations to the General Director’s Backstage Tour, dress rehearsals, our Between the Notes lecture series, and more!

Pat r o n P r o g r a m Donna Wechsler, Chair Members of the Patron Program directly support the company’s productions, artistic initiatives, and community programs through annual gifts beginning at $2,000. Patrons receive the above benefits, plus VIP privileges including personalized ticket service, a private coat check, champagne intermission receptions, meet-the-artist events, travel opportunities, and more!

For more information about Annual Giving or for a complete list of donor benefits, please contact Jennifer Dubin, Associate Director, Annual Fund and Development Services, at 215.893.5908 or dubin@operaphila.org O F F ICI A L S PO N S OR O F OP E R A PHI L A D E L PHI A’ S PAT RO N PROGR A M

GET INVOLVED: OPERAPHILA.ORG/ANNUAL-GIVING

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

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N EXT SE ASO N I N T H E A URORA S E RIE S

A COFFIN IN EGYPT PROVES THERE ARE SOME THINGS YOU JUST CAN’T BURY

EAST C OAST PREMIERE

J une 6 – 1 5 , 2 0 1 4 | Per elman T h eater

The Aurora Series has transported opera lovers all over the world, from London’s West End in Powder Her Face to the American Southwest (Dark Sisters), Ancient Greece (Phaedra) and Rome (The Rape of Lucretia). Next season, Opera Philadelphia’s American Repertoire Program will present the East Coast Premiere of a new opera by composer Ricky Ian Gordon and librettist Leonard Foglia, taking the audience on a musical journey to Egypt.

Egypt, Texas that is.

A Coff in in Egypt is a chamber opera in one act, based on the play of the same name by award-winning playwright Horton Foote (1916-2009). Co-commissioned and coproduced by Houston Grand Opera and Opera Philadelphia, it tells the story of 90-year-old grand dame Myrtle Bledsoe, who will be portrayed by the legendary Frederica von Stade, in her Opera Philadelphia debut. The beloved mezzo-soprano has enriched the world of classical music for more than three decades with her appearances in opera, concert, and recital.

Since her debut in 1970 she has sung nearly all of her great roles with the Metropolitan Opera, and she has been described as “one of America’s finest artists and singers” by The New York Times.

The role of Myrtle Bledsoe provides the perfect showcase for von Stade’s Opera Philadelphia debut. In her earlier years, Myrtle represented the bigoted rich of Texas, but also seemed to have a sense of injustice. In order to escape her neglectful, adulterous husband, she travelled to New York, London, Paris, Rome, and the real Egypt with her two daughters. When the money runs out during the Great Depression,

Myrtle is forced to come back to her husband’s plantation, where she outlives him and her two daughters and is left alone to resolve old conflicts and reflect on her life.

Composer Ricky Ian Gordon’ effervescent style has spanned opera (The Grapes of Wrath) and musical theater (Green Sneakers, Sycamore Trees, Orpheus and Euridice). Here, he teams up with Foglia, who serves the dual role of librettist and director. Foglia, who directed the world premiere of Moby-Dick at the Dallas Opera and will direct the East Coast Premiere of Jennifer Higdon’s Cold Mountain at Opera Philadelphia in 2016, has long had operatic aspirations for Foote’s play.

“I had the great privilege of working with Horton Foote in 1998 when I directed the play A Coffin in Egypt,” Foglia said recently. “It was an invaluable experience having him by my side as we explored the character of Myrtle Bledsoe and her need to find meaning in her long life. My best memory of my time with Horton was the afternoon when we spent recording hymns in an AfricanAmerican church that were to be used in the play. I had never seen him so excited and moved as when that congregation burst into song.

As I think back, that is probably when the seed was planted that this could be an opera.

Over the years, whenever I thought of A Coffin in Egypt my mind would always go back to that rainy afternoon in a church filled with music and Horton singing along.”

S U B S CRIB E T O D AY o p e r a p h i la . o r g | 2 1 5 . 7 3 2 . 8 4 0 0 The Aurora Series is generously underwritten by the Wyncote Foundation.

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S aV e t H e d at e

S AT U R D AY ocTobeR 26, 2013 Four SeaSonS Hotel PHiladelPHia

DuenDe 2 0 13 gAlA

2 0 14

For more i n F o r m at i o n , go to opeRAphilA.oRg/gAlA

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Opera P h i ladel p h i a Encore S o c i et y If the Opera has played a significant role in your life, we invite you to pay it forward to future generations by including Opera Philadelphia in your estate plans.

Opera Philadelphia’s Encore Society acknowledges the generosity of those individuals who have included the company in their estate plans as an important philanthropic commitment to opera’s future in Philadelphia, and the Society is our way of honoring members today for the legacy they will leave tomorrow.

Not only do members enjoy exclusive

To Join o r t o Re c e i ve M o r e Inf o r mat i o n : Go to operaphila.org/encore-society or

Contact Rachel McCausland, Manager, Research and Special Gifts, at 215.893.5909 or at mccausland@operaphila.org. * Please consult your financial and/or legal advisors to determine which type of gift is best for you and for the legal requirements and tax advantages specific to these gifts.

access to events that allow them to celebrate the impact of their commitment to the organization’s continued artistic growth, but these gifts have the potential to provide valuable tax and income benefits now and in the future.*

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

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

Mikael Eliasen Artistic Advisor

Nathan Gunn Director, American Repertoire Council

Gary Gansky Chief Financial Officer & Senior Vice President

Annie Burridge Senior Vice President, Institutional Advancement

David Levy Senior Vice President, Artistic Operations

Michael Bolton Vice President of Community Programs

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

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

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

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D AV I D B . D E V A N GENERAL DIRECTOR & PRESIDENT C O R R A D O R O VA R I S JACK MULRONEY MUSIC DIRECTOR

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

VERDI

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

GOLIJOV

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

MOZART

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

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

SUBSCRIBE T O D AY FOR EXCLUSIVE BENEFITS

C U R T I S O P E R A T H E AT R E

POULENC

DIALOGUES OF THE CARMELITES

GORDON / FOGLIA

A COFFIN IN EGYPT JUN. 6–15, 2014

In association with Opera Philadelphia and the Kimmel Center for the Performing Ar ts

MAR. 5–9, 2014

OPERAPHILA.ORG | 215.732.8400 KC-OPERA_Powder_Her_Face_CS5.5.crw1.indd 39

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e! lif g n ti por a s

The Plaza at King of Prussia (610) 992-9730 Hermes.com

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