Carmina Burana + Credo Program

CREDO

Music by Margaret Bonds Text by W.E.B Du Bois

CARMINA BURANA

Music by Carl Orff Libretto adapted from the Carmina Burana Conductor Chorus Master Stage Manager Lina González-Granados* Elizabeth Braden Jennifer Shaw

Soprano Soloist Tenor Soloist Baritone Soloist Brandie Sutton* Alasdair Kent Ethan Vincent*

*Opera Philadelphia debut

Approximately 90 minutes including a 5-minute pause Performed in English and Latin with English supertitles

The Academy Series is underwritten, in part, by Judy and Peter Leone. Major support has been provided by Ms. Lisa D. Kabnick and Mr. John H. McFadden. Support for the Opera Philadelphia Orchestra and Chorus has been provided by Alice and Walter Strine, Esqs.

Lina González-Granados' performance is underwritten by Katherine and Andrew Christiano. Brandie Sutton’s performance is underwritten by Dr. Beverly Lange and Dr. Renato Baserga. Alasdair Kent’s performance is underwritten by Charlotte Watts.

Ethan Vincent's engagement is underwritten by David M. Ferguson, Ph.D., and Karen A. Zurlo, Ph.D. and Philip Levin, Esq.

BOARD OF DIRECTORS

OFFICERS

Stephen K. Klasko, M.D., M.B.A. | Board Chair

David B. Devan | President

Sandra K. Baldino | Vice Chair

Willo Carey | Vice Chair

Charles C. Freyer | Vice Chair

Frederick P. Huff | Secretary

Thomas Mahoney | Treasurer

MEMBERS

Sandra K. Baldino

Ira Brind

Lawrence Brownlee

Willo Carey

Katherine Christiano Maureen Craig

William Dunbar

Carol S. Eicher Mikael Eliasen

David Ferguson

Charles C. Freyer

Alexander Hankin

Valerie Harrison

Frederick P. Huff

Carole H. Johnson

John Karamatsoukas

Caroline J. Mackenzie Kennedy

Stephen K. Klasko, M.D., M.B.A

Beverly Lange, M.D.

Peter Leone, Immediate Past Chair

Thomas Mahoney

Sarah Marshall Taneise S. Marshall Agnes Mulroney

Robert J. Schena

Carolyn Horn Seidle

Barbara Augusta Teichert

Kathleen Weir Yueyi (Kelly) Zhou

HONORARY MEMBERS

Dennis Alter

H.F. (Gerry) Lenfest†

Stephen A. Madva, Esq. Chairman Emeritus

Alan B. Miller

Alice W. Strine, Esq. Charlotte Watts

† Deceased

FROM THE BOARD CHAIR

Dear Friends,

Welcome to these special concert performances of Carmina Burana + Credo at the Academy of Music. This is the second Academy production in my first season as Chair of the Opera Philadelphia Board of Directors, and I am thrilled to be with you again following our time together in September for Festival O22.

In the fall, I spoke with many members of our audience about their love for both opera and Philadelphia, and how Opera Philadelphia can be of service to and a point of pride for our city in the 21st century.

When I became Chair of this dedicated Board in June, I began a process of working with my fellow directors and the company’s administration, staff, and artists to identify, create, and accelerate new opportunities to fulfill Opera Philadelphia’s promise to our community. I have found much agreement among my peers that art can and should foster a greater capacity for empathy and social cohesion, and that access to the arts is a human right.

You’ll see and hear many of Opera Philadelphia’s core values in these concert performances. Many of the 200+ performers sharing their virtuosic talents on stage live and work in our city. They are passionate about the art they create and the audiences for whom they perform. The program of music combines the long-celebrated composition Carmina Burana, whose opening strain “O Fortuna” you’re bound to recognize instantly, with the overlooked masterpiece Credo that history has marginalized due to its composer’s race and gender. That composer, Margaret Bonds, along with her contemporary Florence Price, are the focus of a multi-year effort to amplify and center Black artists, joining Opera Philadelphia in partnership with organizations, venues, and artists across Philadelphia.

If you are inspired by your experience during these February concert performances, if you are passionate about music and the role arts should play in our community, if you have an idea for how Opera Philadelphia can be our city’s cheerleader, I encourage you to reach out to me at klasko@operaphila.org. We need your support, your passion, and your ideas as Opera Philadelphia works to make an even greater impact on our community.

Warmly,

WELCOME TO OPERA PHILADELPHIA!

Opera Philadelphia is committed to fostering an environment of belonging and inclusion for our entire community. We have adopted this Code of Conduct to ensure the comfort and safety of all artists, contractors, staff, supporters, and volunteers. We are committed to maintaining an environment wherein everyone is treated with respect, dignity, and compassion. By purchasing a ticket or entering our environment, you agree to the tenets of Opera Philadelphia’s Code of Conduct.

We are an anti-racist organization. We are fierce advocates for the rights of our trans community. Behavior that is harmful to others or disruptive to our communal sense of belonging for all will not be tolerated.

Learn more: operaphila.org/codeofconduct

FROM THE GENERAL DIRECTOR

Dear Friends,

Welcome to the Academy of Music for an epic weekend of concerts that pair the popular Carmina Burana by Carl Orff with the historically overlooked masterpiece Credo by Margaret Bonds, one of the most prominent Black women composers of the 20th century. Based on a prose poem by W.E.B. Du Bois, Credo is a rarely performed affirmation of racial justice, peace, and Black pride expressed through powerful melodic language and ingenious orchestration. It serves as an ideal prelude to Carmina Burana, one of the most-quoted music themes in popular culture.

The concert marks both the Philadelphia premiere of Credo and the company debut of a rising star, conductor Lina González-Granados, who has been delighting audiences through her positions as Resident Conductor for the LA Opera and Conducting Fellow of both the Philadelphia Orchestra and Seattle Symphony. We’re also enjoying the company debuts of two soloists, soprano Brandie Sutton and baritone Ethan Vincent, along with the return of tenor Alasdair Kent.

They are joined on stage by the all-stars of the Opera Philadelphia Chorus and Orchestra, local musicians who serve as the backbone of all the opera we present throughout each season. It has been a joy to spend each February in recent seasons spotlighting this group of important and beloved artists.

These concerts are part of a larger multi-year effort, Sounds of America, celebrating composers Margaret Bonds and Florence Price, who played significant roles in classical music and American history. I encourage you to read more about the program on pages 20 and 21, and to join us for the events coming in 2023 and beyond.

These performances would not be possible without the support of you, our audience, and our community in Philadelphia. A special thank you to our Academy Series underwriters Judy and Peter Leone, and Lisa D. Kabnick and John H. McFadden. Special thanks to Alice and Walter Strine for their support of the Opera Philadelphia Orchestra and Chorus.

Thank you all for making Opera Philadelphia a part of your lives.

David B. Devan, General Director & President

LEADERSHIP

David B. Devan, General Director & President

Corrado Rovaris, Jack Mulroney Music Director

Dr. Derrell Acon, Vice President of People Operations & Inclusion

Veronica Chapman-Smith, Vice President of Community Initiatives

David Levy, Vice President of Artistic Operations

Frank Luzi, Vice President of Marketing Communications & Digital Strategy

Jeremiah Marks, Chief Financial Officer

Gina J. Range, Vice President of Development

Ken Smith, Chief of Staff

Lawrence Brownlee, Artistic Advisor

Mikael Eliasen, Artistic Advisor

MUSIC

Michael Eberhard, Director of Casting & Artistic Administration

Sarah Williams, Director of New Works & Creative Producer

Elizabeth Braden, Chorus Master & Music Administrator

J. Robert Loy, Orchestra Librarian and Personnel Coordinator

Nathan Lofton, Orchestra Contractor and Personnel Manager

Grant Loehnig, Head of Music Staff

PRODUCTION

John Toia, Director of Production

Drew Billiau, Director of Design & Technology

Stephen Dickerson, Technical Director

Millie Hiibel, Costume Director

Bridget A. Cook, Associate Director of Production

COMMUNITY INITIATIVES

Christa Sechler, Education Manager

D’quan Tyson, Education Coordinator for In-School Programs

Abigail Weissman, Education Coordinator for Out-of-Schooltime Programs

Dicky Dutton, Teaching Artist

Liz Filios, Teaching Artist

Taylor Ott, Teaching Artist

Valentina Sierra, Teaching Artist

Chabrelle Williams, Teaching Artist

Rosemary Schneider, T-VOCE Conductor

Jessica Gruver, T-VOCE Accompanist

Dan Amadie, Backstage Pass Consultant

Dr. Lily Kass, Scholar in Residence

MARKETING COMMUNICATIONS & GUEST SERVICES

Shannon Eblen, Content Director

Claire Frisbie, Director of Marketing

Michael Knight, Director of Guest Services

Steven Humes, Associate Director of Audience Development

Jeffrey Mason, Guest Services Manager

Ali Haegele, Graphic Designer

DEVELOPMENT

Rebecca Ackerman, Senior Director of Development

Derren Mangum, Director of Institutional Giving

Adele Mustardo, Director of Events

Eva James Toia, Director of Major Gifts

Aisha Wiley, Director of Research

Michael Bolton, Individual & Planned Gift Officer

Catherine Perez, Membership Manager

Samantha Williams, Manager of Institutional Giving

Jessica Alfaro, Administrative & Events Coordinator

Colby Calhoun, Major Gifts Associate

PEOPLE OPERATIONS & INCLUSION

Kiamesso DaSilva, Office Manager

Catherine Reay, Director of Employee Engagement

COUNSEL

Ballard Spahr, LLP, General Counsel

INTRODUCING GINA J. RANGE

Growing up in Philadelphia, Gina J. Range was introduced to opera at a young age, accompanying her mother to frequent performances at the Academy of Music. This month, she brings that experience to her new role as Vice President of Development for Opera Philadelphia.

Ms. Range was chosen to lead the company’s fundraising team and join the organization’s senior management following a nationwide search. She most recently served as Vice President of Institutional Advancement at the August Wilson African American Cultural Center in Pittsburgh, where she served as a member of the Center’s executive team and worked to extend their capacity to present programming and exhibitions that champion Black artists and innovators to a diverse audience. She previously served as Vice President of External Relations and Development with the African American Museum in Philadelphia (AAMP), where she was responsible for securing major gifts, reconfiguring and growing its membership program, and expanding external partnerships.

She began her career with the Philadelphia Orchestra, where, over a 14-year tenure, she advanced to the Managing Director of Development Services. She also held leadership roles at the Philadelphia Theatre Company, and before joining AAMP, she served as Vice President of Development Services at the Girl Scouts of Eastern Pennsylvania. Ms. Range also serves as the Vice Chair for national nonprofit, Living Beyond Breast Cancer, where she supports their fundraising efforts to provide practical resources to those navigating a breast cancer diagnosis, and address health care inequities.

“I am honored to join Opera Philadelphia at this exciting time in the company’s history,” Ms. Range said. “As a lifelong lover of opera, I hold a special place in my heart for Opera Philadelphia for being one of the best opera companies in the country that just happens to exist right in the heart of my favorite city, Philadelphia. I look forward to contributing to the growth of the company as a prominent arts organization in the city. I also look forward to supporting the company’s strategic goals, which include becoming a leading champion of the City of Philadelphia on a local and national scale, expanding funding sources, and diversifying audiences to mirror the city and community in which it resides. Being a person of color myself, that last part is most important. I want to make sure everyone in Philadelphia – a city rich in diversity – knows that there is a seat awaiting them at the Academy of Music.”

ELIZABETH BRADEN she/her

Chorus Master

Easton, Pennsylvania

Recent: Conductor, For the Beauty of the Earth, Opera Philadelphia; Chorus Master, Otello, Opera Philadelphia; Conductor, The Penn Chorale, University of Pennsylvania

Next: Chorus Master, La bohème, Opera Philadelphia

LINA GONZÁLEZ-GRANADOS she/her Conductor

Underwritten by Katherine and Andrew Christiano Cali, Colombia

Recent: Conductor, The Barber of Seville, The Dallas Opera; Conductor, The Rape of Lucretia, LA Opera; Conductor, Lucia di Lammermoor, LA Opera

Next: Conductor, El ultimo sueño de Frida y Diego, LA Opera

ALASDAIR KENT he/him Tenor Soloist

Underwritten by Charlotte Watts Perth, Australia

Recent: Il Conte d’Almaviva, Il barbiere di Siviglia, Wiener Staatsoper; Don Ramiro, La cenerentola, Bayerische Staatsoper; Lindoro, L’italiana in Algeri, Amsterdam Concertgebouw

Next: Belmonte, Die Entführung aus dem Serail, Bayerische Staatsoper

2022 Otello, 2022 Rigoletto, 2022 Oedipus Rex + Lilacs Opera Philadelphia debut

2018 Written on Skin

BRANDIE SUTTON she/her Soprano Soloist

Underwritten by Dr. Beverly Lange and Dr. Renato Baserga Huntsville, Alabama

Recent: Niece, Peter Grimes, Metropolitan Opera; Zerbinetta, Ariadne auf Naxos, Lakes Area Music Festival; Musetta, La bohème, Seattle Opera

Next: Violetta, La traviata, Virginia Opera

ETHAN VINCENT he/him Baritone Soloist

Underwritten by David M. Ferguson, Ph.D., with Karen A. Zurlo, Ph.D. and Philip Levin, Esq. Kansas City, Missouri

Recent: Germont (cover), La traviata, San Francisco Opera; Ríolobo, Florencia en el Amazonas, Lyric Opera of Chicago; Don Fernando, Fidelio, Los Angeles Philharmonic

Next: Schaunard, La bohème, Berkshire Opera Festival

Opera Philadelphia debut

Opera Philadelphia debut

CHORUS

Support for the Opera Philadelphia Orchestra and Chorus has been provided by Alice and Walter Strine, Esqs.

SOPRANO

Abigail Chapman

Veronica Chapman-Smith

Nathalie Dalziel

Natalie Esler

Noël Graves-Williams

Julie-Ann Green

Valerie Haber

Evan Kardon

Rachael Long

Jessica Moreno

Jorie Moss

Jessica Mary Murphy Christine Nass Aimee Pilgermayer

Kathryn Radakovich Sophia Santiago Evelyn Santiago Schulz

Rebecca Siler

Julie Snyder Amy Spencer Marta Zaliznyak

ALTO

Tanisha L. Anderson

Jennifer Beattie

Robin Bier

Marissa Chalker

Annalise Dzwonczyk

Joanna Gates

Misoon Ghim

Alyson Harvey Heather Jones

Heidi Kurtz

Megan McFadden Meghan McGinty Maren Montalbano

Natasha Nelson Ellen Grace Peters Bergen Price

Paula Rivera-Dantagnan Cecelia Snow Kaitlyn Tierney

TENOR Daveed Buzaglo

Sang B. Cho Matthew Coules Corey Don Colin Doyle Gabriel Feldt Samual Keeler

Christopher Hodson A. Edward Maddison

Toffer Mihalka Al-Jabril Muhammad Benjamin Perri David Price

Andrew Skitko

George Ross Somerville

Royce Strider

Daniel Taylor

Tyler Tejada Cory O’Niell Walker Steve Williamson

BASS

Gregory Cantwell

Stephen Dagrosa

Lucas DeJesus Dicky Dutton

Steven Eddy Matthew Fisher Loren Greer

James Osby Gwathney, Jr. Nicholas Hay Mark Hosseini

Steven E. Hyder Matthew Maisano

Brenton Mattox-Scott John David Miles Michael Miller Frank Mitchell Robert Phillips Nicholas Provenzale Adam Rodgers John T. K. Scherch D’quan Isaiah Tyson

PHILADELPHIA BOYS CHOIR & CHORALE

Jeffrey R. Smith, Artistic Director and Conductor

Samir Abbas

Luke Brooks

Elliet Brown

Jeston Cai

Carmelo Carino

Lucas Garcia Drass

Eric Frasch

Josiah A. Harris

Cavan Hurley

Asa S. Johnson

Kael Käufer

Edward Lankin

Isaac Mendenhall

Ethan Monberg

Liam A. Newkirk

Harry Robert Pfeiffer

Campbell Schumann

Christian Schumann

Jonah Serotta

David Sigmund

Jack Hamilton Stalker

Devan G. Truax

Asher Walker

ORCHESTRA

Support for the Opera Philadelphia Orchestra and Chorus has been provided by Alice and Walter Strine, Esqs.

VIOLIN 1

Meichen Liao-Barnes, concertmaster

Donna Grantham

Elizabeth Kaderabek

Natasha Colkett

Diane Barnett

Joseph Kauffman

Seula Lee

Catherine Kei Fukuda

Guillaume Combet

Rebecca Ansel Nina Vieru Zubaidi

Lisa Vaupel Chris Jusell Yoori Kim Williams

VIOLIN 2

Tess Varley, principal Luigi Mazzocchi Heather Zimmerman Messé

Maya Shiraishi

Karen Banos

Sarah DuBois Paul Reiser

Yu-Hui Tamae Lee Gared Crawford Elissa Wagman James Finegan Mary Loftus

VIOLA

Jonathan Kim, principal Jay Julio Yoshihiko Nakano

Elizabeth Jaffe

Ellen Trainer

Julia DiGaetani

Hannah Nicholas Ruth Frazier

Steven Heitlinger Shannon Merlino

CELLO

Branson Yeast, principal Vivian Barton Dozor Jasmine Pai Jennie Lorenzo David Moulton

Brooke Beazley Elizabeth Thompson Noelle Casella Grand

BASS

Alexander Bickard, principal Anne Peterson Stephen Groat Dan McDougall Mary Javian Domenick Fiore

FLUTE

Brendan Dooley, principal Eileen Grycky Kimberly Trolier OBOE

Geoffrey Deemer, principal Nick Masterson Evan Ocheret

CLARINET

John Diodati, principal Allison Herz Doris Hall-Gulati

BASSOON

Norman Spielberg, principal Zach Feingold Darryl Hartshorne

HORN

John David Smith, principal Lyndsie Wilson Karen Schubert Ryan Stewart

TRUMPET

Bryan Kuszyk, principal Steven Heitzer Frank Ferraro

TROMBONE

Robert Gale, principal Ed Cascarella Phil McClelland TUBA Paul Erion, principal

TIMPANI Barry Dove

PERCUSSION

Ralph Sorrentino, principal Bradley Loudis Chris Hanning Dave Nelson Brent Behrenshausen

HARP

Sophie Bruno Labiner, principal

PIANO

Linda Henderson Michael Lewis CELESTA Grant Loehnig

Supertitle Author, Credo .......................................................................................... Tony Solitro

Supertitle Author, Carmina Burana

Chadwick Creative Arts, LCC Supertitle Operator

Solitro Technical Director

Head Props

Stephen Dickerson

Paul Lodes

Allerheiligen Carpenters

Mike Troncone, Jay Wojnarowski

Opera Philadelphia thanks the following labor organizations whose members, artists, craftsmen, and craftswomen greatly contribute to our performances:

American Federation of Musicians / Local 77

American Guild of Musical Artists / The American Guild of Musical Artists, the union of professional singers, dancers, and production personnel in opera, ballet, and concert, affiliated with the AFL-CIO, represents the Artists and Staging Staff for all purposes of collective bargaining.

International Alliance of Theatrical Stage Employees / Local 8

Theatrical Wardrobe Union / Local 799, I.A.T.S.E.

United Scenic Artists / Local 829, I.A.T.S.E.

Box Office and Front of House Employees Union / Local B29, I.A.T.S.E.

Highway Truck Drivers and Helpers / Local 107, Teamsters

Audio Description is available for the Friday, February 3 performance only. Enter Performance Code: 177615 | For more information, visit operaphila.org/ad

Audio Description for the Opera Philadelphia 2022-2023 Season has been underwritten by

The unifying power of choral music, from Carmina Burana to Credo

By Dr. Lily Kass

Margaret Bonds’ Credo (1965) and Carl Orff’s Carmina Burana (1937) are two glorious pieces of 20th-century choral music, powerful multi-movement works inspired by cosmic forces. However, they make an unlikely pair. Credo is relatively unknown, while Carmina Burana has been performed thousands of times. Credo is about the fundamental belief in racial equality and Carmina Burana centers on drinking, dancing, and carnal love. Together, the two pieces expose humanity in all its complexity: sometimes uplifting, sometimes painful, but endlessly interesting.

The text of Credo was written by W.E.B. Du Bois in 1904. Modeled after the Nicene Creed, a recitation of Christian beliefs regarding Jesus’ life, death, and resurrection, Du Bois’ Credo is about belief in God, Jesus, and humans. “Especially, do I believe in the Negro Race,” he writes, “in the beauty of its genius, the sweetness of its soul, and its strength in that meekness which shall yet inherit this turbulent earth.”

Du Bois denounces war and praises hard work, liberty, education, and patience. Credo was so personally important to Du Bois that it became the preface to his autobiography. For some of Du Bois’ readers, Credo became a personal mantra that they carried with them on small, printed cards. But Credo stayed firmly in the realm of written word until it was set to music 60 years later.

Margaret Bonds (1913-1972) was born into a musical family. Her mother, Estella C. Bonds, was an organist for a Baptist church, and she realized that her daughter had a unique aptitude for music when Margaret composed her first piece at the age of 5. Growing up in Chicago, Bonds was surrounded by eminent musicians who were friends of her mother, including the great composer Florence Price. Bonds went on to receive formal training at Northwestern University and Juilliard.

Bonds composed Credo in 1965, and it premiered in 1967. In setting Du Bois’ Credo to music, Bonds offered her own powerful interpretation of the text. She turned Du Bois’ 502 words into 22 minutes of music for chorus, soprano and baritone soloists, and piano (the full orchestral version was not performed until 1972). Bonds’ setting emphasizes important phrases in Du Bois’ text through repetition and makes sure that every word can be understood. She manipulated

Du Bois’ nine-item list of beliefs into seven movements, revealing her thoughts about connections between “pride of race and lineage” and “humble reverent service” (Movement 3) and “liberty for all men” and “training of children” (Movement 6). These links recall Bonds’ pride in and service to the Black community and her years spent teaching children piano, composition, and sightsinging, providing them with the tools they needed to live free lives, full of music.

Credo also displays Bonds’ great skill in combining elements of different musical genres, which she developed through her diverse professional experiences accompanying dance classes, editing popular vocal tunes, writing for singers such as Leontyne Price, and collaborating on film scores. Her facility with diverse styles allows her to be especially sensitive to the requirements of the text. The musically similar first and last movements, which focus on fundamental beliefs in God and patience, are forceful and declarative, while the second movement, about the “beauty of [the] genius” of the “Negro race” is gentle and lilting. The fourth movement, about the Devil, harnesses relentlessly dissonant, crashing chords, while the fifth movement, whose text begins “I believe in the Prince of Peace,” quotes the famous Christmas tune: “Hark! The Herald Angels Sing.”

Despite the potentially wide appeal of Credo, the work has rarely been performed or recorded, although scholars such as Temple University’s Dr. Rollo Dilworth have studied it at length. The score was not published until 2020, 55 years after it was composed.

In stark contrast to Credo, Carmina Burana is wildly popular. The piece is just under an hour long, but it is nonetheless a large-scale piece with tremendous impact. Perhaps this is why its framing chorus, O Fortuna, has been used on upwards of 7,000 movie and television soundtracks, according to the Internet Movie Database (IMDb).

The text of Carmina Burana consists of excerpts from Latin, German, and French song lyrics found in a 13th-century manuscript. Most manuscripts from this time contained only sacred texts because the Catholic Church’s resources were needed to fund the materials and skilled labor needed to produce them. Carmina Burana is a novelty: although its texts occasionally refer to Christian beliefs, they mostly focus on sex, drinking, and pagan ideas of Fortune and Love.

The Carmina Burana manuscript came to light during a nationalistic revival of interest in the Middle Ages in late 19th-century Germany, but composer Carl Orff (1895-1982) seems to have been attracted to it because of its unique subject matter and its critical, even ironic stance towards traditional themes of courtly love and Catholicism.

Orff was born in Munich, just 18 years before Margaret Bonds was born in Chicago. The stories of their musical development have much in common: both began their studies as children at home with their parents, both became proficient in many styles and genres, and both had a passion for teaching.

Orff’s career developed as Hitler rose to power, and Carmina Burana’s place in the politics of Nazi Germany is unclear. Carmina Burana was a favorite of Hitler and his party, but Orff strongly denied that the work had a nationalistic agenda. Orff walked a fine line in his political affiliations, never joining the Nazi party but also never denouncing it, but much of Orff’s financial and critical success stemmed from commissions by, and positive reviews from, prominent members of the party.

Whatever the ultimate purpose of Carmina Burana, it thrives on dramatic contrasts, bouncing between boisterous proclamations and giddy whispers, twirling dances and dying swans over the course of its 25 movements, stubbornly resisting interpretation as either serious or comic. Orff’s musical influences for the piece include Medieval song, German folk music, bel canto opera, and Stravinskian modernism.  It is scored for a large mixed-voice adult choir, a boys choir, and

three soloists: a soprano, a tenor, and a baritone, as well as an expansive and percussion-heavy orchestra, including sleigh bells, castanets, a gong, 3 glockenspiels, 2 pianos, and a celesta. Credo and Carmina Burana have never before shared the stage, so this performance offers a unique opportunity to hear the pieces performed together. Their similarities and differences invite us to think about hierarchies of power embedded into music composition, publication, and performance.

It is important for us to reflect on the fact that Carmina Burana, written by a white, German man, has had no trouble receiving political, critical, economic, and popular support. Credo, on the other hand, was written by a Black, American woman – and although Bonds was talented and well-connected in the musical world, she never received the institutional or popular support that Orff did. Her final choral work, Credo, languished in relative oblivion until it was published in 2020 by Hildegard Publishing Company, an organization whose mission is to present the often-neglected voices of female composers to modern audiences.

Finally, Credo and Carmina Burana work together to demonstrate the power of choral voices to draw in an audience. It is thrilling to hear so many voices singing together as one; communal singing has been scientifically proven to promote feelings of unity and joy among participants, and even listeners. Think about it: choral music, including Carmina Burana, is often used in advertisements on the radio or television to convince you to buy various products. A chorus singing the national anthem at a sports game can promote feelings of patriotism for fans in the stands. A choir singing in church can uplift the congregation. If choral music has the power to make people unite around a cause, it can be used for good or for evil. This program gives us an opportunity to consider how we might use choral voices in the future to effect positive change in the world.

Dr. Lily Kass is an interdisciplinary scholar, educator, and artist, and serves as Opera Philadelphia's Scholar in Residence.

The Wheel of Fortune from Carmina Burana

This Opera Philadelphia initiative amplifies and centers Black artists, creatives and scholars through accessible studentfocused programming and public events

This initiative includes several partnerships and collaborations with organizations, venues, and artists across Philadelphia.

PARTNERS

The African American Museum in Philadelphia

The International Florence Price Festival

The Mann Center for the Performing Arts

Mighty Writers

The National Marian Anderson Museum and Historical Society

ONEcomposer

Philly Typewriter

Singing City Choir

Temple University, Boyer College of Music and Dance

Trinity Center for Urban Life

Wharton-Wesley United Methodist Church World Café Live

Sounds of America: Price and Bonds celebrates the talents of Florence Price and Margaret Bonds, who played significant roles in the development of classical music and American history as two of the most prominent twentieth century Black composers. Price and Bonds were prolific composers and wrote in many different styles, from art songs and symphonies to popular music and arrangements of African-American spirituals.

Price and Bonds’ music will be celebrated this season and next through a wide array of in-school, community, and mainstage programming. This February, Opera Philadelphia’s Chorus and Orchestra offers Margaret Bonds’ rarely performed, melodic Credo in the Academy of Music on a double-bill with Carl Orff’s Carmina Burana.

Other events this season will include workshops, readings, recitals, choir concerts, and inclusive performances celebrating Price and Bonds in locations around Philadelphia. The robust programming includes a celebration of Harlem Renaissance cabaret society, and highlights artists such as Langston Hughes and Marian Anderson, and partner organizations such as Singing City, Temple University Boyer College of Music and Dance, and the WhartonWesley United Methodist Church, among many others.

We look forward to immersing ourselves in Sounds of America: Price and Bonds this season and next. We know you will as well!

Learn more at operaphila.org/soundsofamerica

Upcoming Events

HOLD FAST TO DREAMS

Tuesday, February 14

3:30 p.m. Rock Hall, Temple University, 1715 N. Broad St.

Soprano Michele Kennedy and Pianist Grant Loehnig present a recital featuring works by Florence B. Price, Margaret Bonds, Julia Perry, Tania León, and Nkeiru Okoye. Free and open to the public.

TO SIT AND DREAM

Sunday, March 26

3:00 p.m.

Wharton-Wesley United Methodist Church 5341 Catharine St.

Members of the Opera Philadelphia Chorus and Wharton-Wesley Faith Ensemble join to explore the life and works of Florence Price, Margaret Bonds, Rosephanye Powell, and others during this narrated recital exploring the impact Price, Bonds, and their creative circles had on society today.

Visit operaphila.org for more information

Nayara Lopes, Jack Thomas, and Marjorie Feiring | Photographer: Alexander Iziliaev

COMPOSERS CELEBRATION

Remember the excitement around the world premieres of Missy Mazzoli’s Breaking the Waves, David Hertzberg’s The Wake World, and Tyshawn Sorey’s Save the Boys? All of these (and many others) were given birth through Opera Philadelphia’s groundbreaking Composer in Residence (CIR) program.

This spring, we will celebrate CIR’s 10th anniversary with a very special event.

Funded by the Mellon Foundation, the CIR program fosters the best in 21st century opera and a new generation of great opera composers. When it launched, the program was the nation’s first comprehensive, opera-focused program of its kind, providing gifted composers with a multi-year residency, immersing them in all aspects of creating an opera: working one-on-one with librettists and dramaturges, workshops, and scene treatments with world-class performers. They have exceptional access to observe and work hands-on in every aspect of creative development, production, and performance.

Over the past 10 years, there have been eight brilliant Composers in Residence who have created more than 20 new operas during and after their time with Opera Philadelphia. Those pieces have garnered critical and audience acclaim, including a GRAMMY nomination for Best Opera Recording, two Music Critics Association of North America Awards for Best New Opera, several finalists for the International Opera Awards, and more.

To honor the anniversary of this landmark program, all of these talented composers – Lembit Beecher, Missy Mazzoli, Andrew Norman, David T. Little, David Hertzberg, Rene Orth, Tyshawn Sorey, and Courtney Bryan – will be returning to Philadelphia for one extraordinary night – Saturday, March 18, 2023.

The evening will include a special performance of operatic selections from each of the composers, a cocktail reception, and an elegant, seated dinner, all in the Kimmel Center’s Perelman Theater.

Mark your calendar to join us to celebrate these remarkable composers, their music, and this vital program. Your contribution to this special fundraising event will help support Opera Philadelphia’s new works practice, continuing to foster the future of the artform you love.

Sponsorships start at $5,000 and are on sale now. A limited number of single tickets, from $50–1,000, are also available now.

Learn more at operaphila.org/celebration

THANK YOU

LEADERSHIP CIRCLE

Mrs. Sandra K. Baldino

Disosway Foundation, Inc. The Horace W. Goldsmith Foundation Barbara and Amos Hostetter Judy and Peter Leone

Mrs. John P. Mulroney Barbara Augusta Teichert The William Penn Foundation Wyncote Foundation

Judith Durkin Freyer and Charles C. Freyer Mellon Foundation

The Pew Center for Arts & Heritage Carolyn Horn Seidle

The Horace W. Goldsmith Foundation

Anonymous

Sarah and Brad Marshall

The Phoebe Waterman Haas Charitable Trust Mr. Robert J. Schena Jean and Gene Stark

Leslie Miller and Richard Worley Foundation

CHAIRMAN’S COUNCIL

Katherine and Andrew Christiano Mr. and Mrs. Frederick P. Huff Independence Foundation Ms. Lisa D. Kabnick and Mr. John H. McFadden

Stephen K. Klasko, M.D., M.B.A. and Colleen Wyse

Joel and Sharon Koppelman

H.F. Lenfest Fund of the Philadelphia Foundation

Mr. Thomas Mahoney

The Presser Foundation Scott F. Richard and Mamie Duff Dr. Renée Rollin Robert L. Turner Charlotte and Bob† Watts

Mr. John R. Alchin and Mr. Hal Marryatt Mr. Peter A. Benoliel and Ms. Willo Carey Lawrence Brownlee Maureen Craig and Glenn Goldberg Carol S. Eicher

Eugene Garfield Foundation Linda and David Glickstein Beth and Gary Glynn Hamilton Family Charitable Trust Mark and Helene Hankin Family Christian Humann Foundation

Katherine and John Karamatsoukas Ms. Caroline J. Mackenzie Kennedy Mrs. Sheila Kessler Donald and Gay Kimelman Paul L. King Dr. Beverly Lange and Dr. Renato Baserga Jacqueline Badger Mars

The McLean Contributionship National Endowment for the Arts PNC Ellen Steiner

Opera Philadelphia expresses our deepest gratitude to the individuals and institutions whose support allows us to bring you Carmina Burana + Credo .

GENERAL DIRECTOR’S COUNCIL

Platinum Patron

Myron and Sheila S. Bassman

Mr. and Mrs. Julian A. Brodsky

Connelly Foundation

Dr. Frank F. Furstenberg Dr. Heidi L. Kolberg and Dr. F. Joshua Barnett

In memory of Joseph G. Leone

The Samuel P. Mandell Foundation Marcus Innovation Fund

Joan Mazzotti and Michael Kelly Jeanette Lerman-Neubauer and Joe Neubauer David and Susan Rattner

Katie Adams Schaeffer and Tony Schaeffer Drs. Richard and Rhonda Soricelli Mr. and Mrs. James B. Straw Alice and Walter Strine, Esqs.

Diamond Patron

Al and Laura Anonymous

Ira Brind and Stacey Spector Mark and Peggy Curchack Allen R. and Judy Brick Freedman Venture Fund for New Opera Feather O. Houstoun

Jeffrey R. Jowett

William Lake Leonard, Esq. Dr. Stanley Muravchick and Ms. Arlene Olson PECO

Pennsylvania Council on the Arts Dr. Joel and Mrs. Bobbie Porter Mr. and Mrs. John D. Rollins Mr. and Mrs. Steve Sheller Jeralyn Svanda Dr. and Mrs. Andrew Wechsler Ethel Benson Wister

PATRON PROGRAM

Gold Patron

Anonymous

Stephen A. Block

Dr. Robert N. Braun

Mr. Jeffrey P. Cunard and Ms. Mariko Ikehara

Ms. Joan DeJean Mr. James P. Macelderry and Ms. Marilyn S. Fishman

Susan and Graham McDonald

Ashley and Eli Wald Kathleen and Nicholas Weir

Silver Patron Anonymous (3) Lorraine Alexander Cynthia and George Balchunas Sylvia Lanka-Barone and William Barone Mr. and Mrs. Robert Bergen Robert and Julie Jensen Bryan Harlow R. Case Cunningham Piano Company

The Dietrich W. Botstiber Foundation Ady L. Djerassi, M.D., and Robert Golub, M.D. Drs. Bruce and Toby Eisenstein David M. Ferguson, Ph.D. Deborah Glass, in memory of Leonard Mellman

Gray Charitable Trust Bonnie and Lon Greenberg Thomas S. Heckman and Mary Jo Ashenfelter Dr. and Mrs. Peter M. Joseph Mr. Kenneth Klothen and Ms. Eve Biskind Linda Richardson Korman Victory Foundation Carol and Howard Lidz Liddy and John Lindsay Dr. and Mrs. Michael B. Love Universal Health Services Tom and Jody O'Rourke Howard and Sarah D. Solomon Foundation

Mr. Jonathan H. Sprogell and Ms. Kathryn Taylor Truist

Mr. Vince Tseng and Mr. Geoffrey Mainland Wells Fargo Ms. Linda Wingate and Dr. William Liberi Ms. Yueyi Zhou Karen A. Zurlo Ph.D. and Philip Levin Esq.

Bronze+ Patron

Anonymous

2300 Arena

Joan and Frederick Cohen

Mr. Stephen Cohen and Mr. John McNett

Joan and William Goldstein Bruce and Robin Herndon Ms. Rhoda K. Herrold

Anne Silvers Lee and Wynn Lee Helen E. Pettit Dr. Leah Whipple

Bronze Patron

Sarah Alderfer

Brett and Nan Altman

Lydia Alvarez, in memory of Isabelle Ferguson Mr. and Mrs. Paul Anderson Anonymous (3) Ms. Susan Asplundh Eugene and Virginia Beier Dr. Claire Boasi

Elaine Woo Camarda and A. Morris Williams, Jr. Drs. Judith and Jeffrey Carpenter Dr. Margaret S. Choa Mr. Mark Cornish Tobey and Mark Dichter Dolfinger-McMahon Foundation Dr. Lamberto and Barbara Donnelly Bentivoglio William and Fay Dunbar Mr. Arthur F. Ferguson Stephen and Susan Garza Ms. Phyllis S. Gitlin

Stanley Goldfarb MD Ms. Juliet J. Goodfriend and Dr. Marc R. Moreau Dr. and Mrs. Leonid Hrebien Ms. Lisa R. Jacobs Stuart A. Schwartz and Sheila Jamison-Schwartz

Corey Kinger

Terri and Thomas Klein

Charles B. Landreth

Ms. Laura LaRosa

Ellen Berman Lee

Leon L. & Frances Levy Fund of the Jewish Community Foundation

The Marshall's Art Endowment

Dwight and Christina McCawley

Kate Olver and Jeremy Young

The Pew Charitable Trusts

Mr.† and Mrs. R. Anderson Pew Mrs. Louise H. Reed Dr. and Mrs. David J. Richards Dr. Joel Rosenbloom Mr. David Sacker and Ms. Darcy Hayes The Rev. Canon Dr. Alan K. Salmon Joyce Seewald Sando Mr. and Mrs. Curtis E. Sawyer Scott and Linda Schaeffer Jordan and Eileen Silvergleid Dr. and Mrs. Richard N. Taxin The Rev. and Mrs. Richard L. Ullman Dr. R.J. Wallner Peter J. Wender Carol A. Westfall Mr. Robert Zimet

MEMBERSHIP

Partner

Mr. and Mrs. James Alexandre Joseph T. Anderer and Virginia Benz Anonymous (5) Mr. Allen D. Black and Mr. R. Randolph Apgar Karen Bedrosian-Richardson Drs. Jean and Robert Belasco Ellen Berelson and Lawrence Franks Mrs. Joanne Berwind Susan Bienkowski Drs. Deidre and Michael Blank Beaty Bock and Jonathan Miller Carrie and J. Bradley Boericke Pauline Candaux and Solomon Katz Mr. Leo M. Carey and Ms. Sonya D. Mouzon Ms. Rhonda Chatzkel and Mr. Michael B. Mann Romulo Diaz and Dennis Bann Jonathan R Disegi & Grace H Kim Robert and Monica Driver Mr. and Mrs. Peter A. Dunn Mr. and Ms. Robert S. Duplessis Russ Alexander and Mary Dupre Lois and John Durso Barbara Eberlein and Jerry Wind Ren Egawa and Eugenia Chang

Mr. Robert A. Ellis

John Erickson and Harry Zaleznik James R. Fairburn

Thomas Faracco Dr. Garrett Fitzgerald Helen H. Ford Jim and Kay Gately Georgyn G. Fest

Mr. Andrew R. Gelber in memory of Sylvia Gelber

Eduardo Glandt and George Ritchie

George Graham and Kyle Merker

Dr. and Mrs. Henry J. Greenwood and Ms. Marilyn Greenwood David and Ann Harrison, Esqs. Eileen Kennedy and Robert Heim Ms. Susan Henry Drs. Christina L. and Richard J. Herring Cheryl Lawson and Jennifer Higdon F. John Hagele

Laura Jacobson

Dr. and Mrs. William Jantsch Jeffrey Johnson and Linda Prater

Richard B. Johnson Mr. Joseph H. Kluger and Ms. Susan E. Lewis Mr. Joseph J. Leube, Jr. Mr. and Mrs. David Levy

Michael G. Lewis, in honor of Karen Lewis Christian R. and Mary F. Lindback Foundation

Mr. William A. Loeb

Susan Long and Andrew Szabo Mr. John Mastrobattista and Ms. Madeline Leone Susan McClary Drs. Joseph and Jane McGowan Madelyn Mignatti Mr. Benjamin F. Minick Mr. and Mrs. Benjamin R. Neilson Dr. and Mrs. A. H. Nishikawa

Maris A. Ogg and Robert Smith Mrs. Zoë S. Pappas W. Larz Pearson and Rick Trevino Ms. Jane G. Pepper Merle Raab

Bill Robling and Deborah R. Kravetz Ms. Nancy R. Roncetti Eileen Rosenau Mark and Robin Rubenstein Anne Faulkner Schoemaker Mr. and Mrs. Henry G. Scott Susan and Paul Shaman

Janet Wilson Smith Ms. Judith Tannenbaum Mr. Joseph and Dr. Detta Tate Monica Taylor Lotty and Brendan Lotty Cynthia Du Pont Tobias and Terrence A. Tobias

Laurie Wagman in memory of Irvin J. Borowsky

Robert Washburn, Esq. and Judith Drasin, Esq. Penelope and Thomas Watkins Arnold Weiss Drs. Anne and Jim† Williamson Joan P. Wohl Tom Woodward

Ms. Ana-Maria V. Zaugg and Mr. David W. Anstice Zisman Family Foundation

List as of January 16, 2023

CORPORATE COUNCIL

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

CORPORATE COUNCIL SPONSORS

Affairs to Be Remembered, Inc. Ballard Spahr LLP Exelon Business Services FCM Hospitality Garces Group Glenmede

Media Copy Termini Brothers Bakery Universal Health Services

EITC Approved

The Opera is a recognized Educational Improvement Organization, eligible for EITC contributions.

For more information about sponsorship opportunities, EITC contributions, or to join Opera Philadelphia’s Corporate Council please contact Derren Mangum, Director of Institutional Giving, at 215.893.5924 or mangum@operaphila.org.

Official Piano Service Provider

Official Piano

If you love the special magic of an Opera Philadelphia experience, consider including the Opera in your estate plans. In doing so, you will join a community of supporters that help to ensure great operatic memories for generations to come.

When you bequeath a gift of cash or stock, or make the Opera the beneficiary of your IRA or life insurance policy, you make a truly meaningful gift that costs nothing now, yet benefits the company later. Plus, estate gifts like these help the Opera weather unforeseen events like COVID-19.

Making a legacy gift admits you into the Legato Society, which brings you closer to the art you love and connects you to others who share your legacy goals. We are proud to salute our Legato Society members in all Opera Philadelphia performance programs.

To learn more about making a planned gift or about the Legato Society, visit operaphila.org/legato, or contact Michael Bolton, Individual and Planned Gift Officer, at 215.893.5927 or bolton@operaphila.org

Anonymous (11)

Lorraine and Ben† Alexander

Eleanor M. Allen†

Mary Jo Ashenfelter and Thomas S. Heckman Eileen Baird†

Mr. Kenneth H. Barr Myron and Sheila S. Bassman

Mr. and Mrs. Robert Bergen Ms. Jane A. Berryman

Dr. Claire Boasi Dr. Rita B. Bocher

Mr. Michael Bolton Mrs. Sheila Buckley Constance G. Burton†

Ms. Willo Carey Dr. and Mrs. Peter Cassalia† Dr. Thomas A. Childers and Dr. John B. Hall Dr. Maria Elisa Ciavarelli†

Miss Lucy Clemens

Joan and Frederick Cohen

Dianne and Don Cooney

Mr.† and Mrs. Arthur Covello

Ms. Ginny L. Coyle

Mr. W. Kenneth Cressman and Mr. Lloyd Christy†

Ms. Joan DeJean

Ms. Virginia Del Sordo†

Robert and Monica Driver Mrs. Antoinette DuBiel

Dr. Bruce Eisenstein

Eddie and Rachel Eitches

Mr. James Fairburn Mr. and Mrs. Joseph P. Fanelli, Jr.

Ms. Joanne D. Fidler† Susan and Bill Firestone Aron and Joan Fisher Ms. Harriet Forman†

Judith Durkin Freyer and Charles C. Freyer Mr. Timothy V. Gardocki Linda Dubin Garfield Sylvia Green† Dr. Mark H. Haller† Mrs. Dorrance H. Hamilton† Gail Hauptfuhrer Mr. Charles Head, Jr. and Mr. John Faggotti Stephen T. Janick Karl Janowitz

Jeffrey R. Jowett Mrs. Sheila Kessler Gabrielle & Ernest Kimmel Mr. Michael Knight Dr. Beverly Lange Mr. Tom Laporta

Gabriele Lee†

Anne Silvers Lee and Wynn Lee John T. Lehman

Marguerite and Gerry† Lenfest Mrs. Renee T. Levin†

Karen† and Michael Lewis Carol and Howard Lidz

Mr. William A. Loeb

Sonja E. Lopatynskyj†

Mr. Larry Thomas Mahoney

Dwight and Christina McCawley Drs. Joseph and Jane McGowan Eugene C. Menegon†

Mrs. Lois Meyers

Mrs. Ellen Cole Miller† Mr. Siddhartha Misra Mrs. Naomi Montgomery† Constance C. Moore

Mgsr. Felix M. O'Neill† Helen E. Pettit

Mr. William Reily† David Rhody

Dr. Scott F. Richard Mr. Laurence T. Robbins† Dr. Renée Rollin

Jeffrey and Kendell Saunders Robert Schoenberg†

Mr. Johnathan Sprogell and Ms. Kathryn Taylor

Mr. and Mrs. Morton F. Steelman† Mrs. Alise (Lee) Steinberg† Ellen Steiner

Mr. Kenneth R. Swimm

Mr. Andrew J. Szabo Mr. Michael Toklish

Christina M. Valente, Esq. Charlotte Watts

Dr. and Mrs. Andrew Wechsler Esther C. Weil†

George P. White†

Drs. Anne and Jim† Williamson Richard and Kelley Wolfington

Ms. Karen A. Zurlo Ph. D.

Academy of Music

Opera’s beloved bohemians find hope in a visionary new interpretation from director and MacArthur “Genius” Yuval Sharon, called a "stellar" new take that "literally turns back the clock" on this classic opera (Boston Globe).

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