June
August
OPERA PHILADELPHIA PRESENTS
MUSIC BY WOLFGANG AMADEUS MOZART
LIBRETTO BY LORENZO DA
PONTE
New Production
April 25, 27, May 2, 4, 2025 Academy of Music
Don Giovanni
Donna Anna
Don Ottavio
Donna Elvira
Leporello
Zerlina
Masetto
Commendatore
Conductor Director
Production Design
Lighting Design
Costume Design
Hair and Makeup Design
Chorus Master
Stage Manager
Timothy Murray*
Olivia Smith*
Khanyiso Gwenxane
Elizabeth Reiter
Nicholas Newton*
Amanda Sheriff
Kevin Godínez*
Raymond Aceto*
Corrado Rovaris
Alison Moritz*
Cassandre Griffin* and Jesse Wine*
Jeanette Yew*
Victoria Bek*
Amanda Clark
Elizabeth Braden
Jennifer Shaw
*Opera Philadelphia debut
Performed in Italian with English supertitles
Opera Philadelphia’s 2024-2025 Season is brought to you by the Artistry Now Matching Fund and Barbara Augusta Teichert Academy of Music productions are made possible with support from Judy and Peter Leone
Production underwriting support provided by Ellen Steiner Cover art by Cassandre Griffin
Il viaggio a Reims
Company Premiere
September 19, 21, 26, 28, 2025
Academy of Music
The Seasons
Philadelphia Premiere
December 19, 20, 21, 2025
Perelman Theater
Complications in Sue World Premiere
February 4, 5, 6, 8, 2026 Academy of Music
25/26 Season
Sleepers Awake
World Premiere
April 22, 24, 26, 2026
Academy of Music
The Black Clown
Philadelphia Premiere
May 14, 15, 16, 17, 2026
Miller Theater
Vox Ex Machina
50th Anniversary Gala
Saturday, September 13, 2025
Academy of Music & Reading Terminal Market
Subscriptions are on sale now.
Pick Your Price tickets go on sale to subscribers, donors $100+, and Opera Pass holders on May 1, and to the general public on May 15.
Get access to the Pick Your Price presale, plus additional perks, with an Opera Pass for just $11/month operaphila.org/operapass
OPERA PHILADELPHIA STAFF
LEADERSHIP
Anthony Roth Costanzo, General Director & President
Corrado Rovaris, Jack Mulroney Music Director
Lourdes Starr, Chief Operating Officer
Veronica Chapman-Smith, Vice President of Community Initiatives
David Levy, Vice President of Artistic Operations
Jonathan Neumann, Chief Development Officer
Catherine Reay, Vice President of Administration & Human Resources
Lawrence Brownlee, Artistic Advisor
MUSIC
Michael Eberhard, Director of Casting & Artistic Administration
Sarah Williams, Director of New Works & Creative Producer
Elizabeth Braden, Chorus Master & Music Administrator
Grant Loehnig, Head of Music Staff
J. Robert Loy, Orchestra Librarian & Personnel Coordinator
Nathan Lofton, Orchestra Contractor & Personnel Manager
PRODUCTION
Bridget A. Cook, Director of Production
Drew Billiau, Director of Design & Technology
Stephen Dickerson, Technical Director
Millie Hiibel, Costume Director
Emily Wanamaker, Artistic Operations Coordinator
DEVELOPMENT
Derren Mangum, Director of Institutional Giving
Adele Mustardo, Director of Events
Aubre Naughton, Major Gifts Officer
Veronika Perez, Development Manager
Colby Calhoun, Development Operations Manager
MARKETING & GUEST SERVICES
Claire Frisbie, Director of Marketing
Michael Knight, Director of Guest Services
Jeffrey Mason, Guest Services Manager
Frank Luzi, Public Relations Consultant
Haeg Design, Graphic Design
COMMUNITY INITIATIVES
Abby Weissman, Assistant Manager of Youth and Community Programs
Chloe Lucente, Teaching Artist
Elizabeth Gautsche, Teaching Artist
Valentina Sierra, Interim Program Manager
Chabrelle Williams, Community Arts Facilitator
Dr. Lily Kass, Scholar in Residence
Julian Nguyen, T-VOCE Accompanist
Whitney Covalle, T-VOCE Director
Karim Boyd, Backstage Pass Consultant
SCENE
Daniel Jin Applebaum
Courtney Beck
Cordelia Istel
Gwyneth Muller
Aisha Wiley
FINANCE
Jeremiah Marks, CFO Client Consultant
COUNSEL
Ballard Spahr, LLP, General Counsel
DEAR FRIENDS,
By the time you walk out of the doors of the opera house tonight, I hope you are all singing “Don Gio-VAN-ni” in a low booming baritone, just like the Commendatore. It’s a riveting moment in the opera when a statue comes to life, and this ghostly concept is unforgettably set by Mozart in an imaginative musical sequence. As we put together this new production you are about to see, I began thinking about the stern statue, and his stoic prudence as a counterpoint to the hot-blooded Don Juan, so obsessed by human touch that he crosses into inhuman territory. This juxtaposition of stone and flesh gave me the idea to ask director Alison Moritz if she would consider developing a novel take on this classic opera with the sculptor Jesse Wine and the artist Cassandre Griffin as collaborators in teasing out new contours of this classic piece.
Opera Philadelphia is a place for just such catalytic collaborations, work that can bridge the gap between tradition and innovation. As we prepare to enter the 202526 season and celebrate our 50th anniversary, I invite you to keep hanging out with us as often as you can. Here is the incredible news: Pick Your Price is coming back! It has filled our houses this season, and we will supply where there is demand. Next season, we expand our offerings from 3 productions to 5 productions, from 9 performances to 18 performances, and from one venue to three venues. There is going to be a lot to discover. You still have time to become a beloved subscriber for the first pick of tickets, or you can join the new Opera Pass program for just $11 per month and select your Pick Your Price tickets ahead of the pack. And of course, with every seat for every show available to you for $11 or a price of your choosing, you shouldn’t wait too long if you go for single tickets – on sale May 15 – or I will miss cheering alongside you at the opera.
I’m incredibly grateful to all of the patrons and supporters who have made this revolutionary season possible. Opera has a lot to offer: the beauty of the human voice, the magnitude of the music, the scale of the theater, the ingenuity of the productions, the possibilities for new ideas, and the execution of Olympic effort. We are continuing to celebrate the form and change the game next season, and I want you to join us as we do. It’s Opera, but different.
Warmest,
Anthony Roth Costanzo General Director & President
Photo by Lisa Pavlova
Renée
SYNOPSIS
by Dr. Lily Kass
Photo by Cassandre Griffin
Runtime is approximately 2 hours and 50 minutes including one 20-minute intermission
ACT I After a dramatic overture played by the orchestra, the first voice we hear in the opera is that of Leporello, Don Giovanni’s servant. Don Giovanni has disguised himself and has snuck into Donna Anna’s house in the middle of the night, and Leporello has been assigned to keep watch. Leporello’s complaints about his lot in life are interrupted when Donna Anna and Don Giovanni burst onto the scene. Donna Anna is screaming at Don Giovanni that he will never be able to escape her fury, while Don Giovanni merely laughs at Donna Anna’s foolishness – she doesn’t even know who he is! Donna Anna’s father, the Commendatore, is awakened by the commotion and challenges Don Giovanni to a duel. Don Giovanni stabs the Commendatore, who slowly bleeds out, and Don Giovanni runs away. Donna Anna finds her father’s dead body and collapses with grief. When her fiancée, Don Ottavio, revives her, she asks him to swear to avenge her father’s death.
Meanwhile, Don Giovanni comes across a woman who is trying to find a lover who jilted her so that she can “tear out his heart.” Don Giovanni sidles up to her, intending to seduce her, but when she turns around, he realizes that he already knows her. She is Donna Elvira, and he is the object of her wrath. Don Giovanni tells Leporello to distract Elvira as he makes his escape. Leporello explains to Elvira that she is only one of the thousands of women that Don Giovanni has slept with from Turkey to Spain.
The scene changes, and we see a joyous wedding party. It is Zerlina and Masetto, celebrating their impending marriage. Don Giovanni takes a fancy to Zerlina and, despite Masetto’s presence, tries to convince her that if she comes with him to his manor, he will marry her there, improving her social station and her financial outlook. Zerlina is conflicted, but she allows herself to be led off by Don Giovanni...until they are stopped by Donna Elvira, who tells Zerlina about Don Giovanni’s past behavior. Zerlina runs away, and Donna Elvira tries next to alert
Donna Anna and Don Ottavio. The couple is confused, and don’t know whether to believe Donna Elvira or Don Giovanni. Don Giovanni asserts his innocence, claiming that Donna Elvira is insane.
Finally, something clicks for Donna Anna, and she realizes that Don Giovanni was the masked intruder who had surprised her in her bedroom and then killed her father in a duel. She relives the traumatic memory before informing Don Ottavio that she expects him to seek revenge, now that he knows the identity of her father’s killer. Meanwhile, Don Giovanni is back at his manor, preparing to host Masetto and Zerlina’s wedding party. He is crazed with the desire to enjoy himself. Zerlina begs forgiveness of Masetto, promising that Don Giovanni didn’t touch her at all. Masetto is almost convinced, but he still has his suspicions as the party begins. During the party, Don Giovanni constantly tries to dance with Zerlina, getting Leporello to distract Masetto. Three mysterious masked guests arrive, and Don Giovanni lets them in, not knowing who they are. Don Giovanni leads Zerlina off to a back room, and when she begins to scream for help, the masked guests reveal themselves to be Don Ottavio, Donna Anna, and Donna Elvira. They save Zerlina, but before they can accuse Don Giovanni, Don Giovanni blames Leporello. In the confusion that ensues, Don Giovanni escapes, and the act ends.
ACT II When Act II opens, Don Giovanni and Leporello have found each other, and Leporello is furious at his master for betraying him. Leporello even threatens to leave if Don Giovanni doesn’t give up women. Don Giovanni explains that women are as important to him as the air that he breathes, and that the next woman he plans to seduce is Donna Elvira’s beautiful maid. Their conversation is interrupted when they reach Donna Elvira’s lodgings. Donna Elvira is realizing
Production designers Cassandre Griffin and Jesse Wine on a recent visit during set construction. Photo by Ray Bailey.
that she still loves Don Giovanni despite herself, and she is trying to convince herself to get over him. Don Giovanni and Leporello listen in. Don Giovanni and Leporello exchange clothing, and Don Giovanni coaches Leporello on how to act like him. Leporello gestures towards the window, as Don Giovanni convinces Donna Elvira to come down, singing from the shadows. When Elvira eventually relents, Leporello, in his disguise as Don Giovanni, leads Donna Elvira off, and Don Giovanni stays to seduce her maid.
Masetto enters with a group of other peasants – they are trying to hunt down Don Giovanni to teach him a lesson. Don Giovanni, in disguise as Leporello, pretends to help them, but really leads them off in different directions, eventually isolating and attacking Masetto. Zerlina comes across the injured Masetto and tries to heal him with her love. Leporello and Donna Elvira, Donna Anna and Don Ottavio, Zerlina, and Masetto, all end up bumping into each other in the night. Donna Elvira defends Don Giovanni from the others who want to capture him...until she discovers it is not Don Giovanni she’s been strolling in the moonlight with at all, but Leporello! Leporello begs for forgiveness, and he eventually escapes.
Leporello and Don Giovanni find each other again in a graveyard. Leporello is even more angry than last time, imagining that if he were married, Don Giovanni would probably try to seduce his wife. Don Giovanni finds this funny, but as he laughs, they hear a somber voice declaring: “Your laughter will end before dawn.” Leporello insists that the voice is coming from one of the monuments in the cemetery – it is a statue of the Commendatore, Donna Anna's father, who was killed by Don Giovanni. Leporello is terrified, and Don Giovanni is as well, but he feigns bravado and jokingly invites the statue to have dinner with him that evening. The statue nods its acceptance. Don Giovanni and Leporello go off to prepare the dinner.
The scene changes to Don Giovanni’s manor, and we see Don Giovanni ordering Leporello to prepare the feast. Musicians entertain them, and everything is going well until Donna Elvira bursts in. She begs Don Giovanni to repent and change his ways. He laughs in her face, and she runs off. As she goes out the door, she sees something that makes her scream. Don Giovanni tells Leporello to check what’s going on outside, and Leporello fearfully obeys. He returns to report that the statue of the Commendatore has come. Sure enough, the statue is there. Don Giovanni continues with his charade, offering the statue food. The statue refuses the food but tells Don Giovanni to repent. Don Giovanni refuses, and the statue drags him down to hell amid a chorus of furies. As the dust settles, the other characters enter and ask Leporello what has happened. When Leporello tells them, they all think ahead to what they will do with their lives now that Don Giovanni is gone. The opera ends with them all reciting the moral “This is the end for people who do evil.”
Dr. Lily Kass is Opera Philadelphia’s Scholar in Residence
DIRECTOR'S NOTE
By Alison Moritz
“The great mysteries of life are often expressed in rich and sometimes extravagant imagery.”
—Thomas Moore
Early in my career, I was the assistant director for a production of Don Giovanni that seemed uniquely ill-fated. During one performance, just as Donna Elvira described Don Giovanni descending into the depths of hell, a raging storm outside abruptly caused the power to cut out. Indeed, the electricity in the theatre couldn’t be restored for an entire week. Not the first time, nor the last, that an act of God was needed to stop the Don in his tracks.
Danish philosopher Søren Kierkegaard, who considered himself the ultimate Mozart fangirl, described the character Don Giovanni not as an individual human, but as a force of nature. To Kierkegaard, “to conceive of the sensuous in one individual is impossible. Don Juan continually hovers between being am idea — that is, power, life — and being an individual. But this hovering is the musical vibration.”
It can be hard to laugh at the ridiculous braggadocio or feel genuine erotic pull when we think of Don Giovanni as a literal person who has famously bedded over two thousand women, and not all consensually. But if we consider Don Giovanni as a natural force that Mozart expresses through music, we experience his actions moment to moment, like watching waves crash against the shore. Suddenly, the ridiculous, horrifying number in Leporello’s catalog evokes many things at once, including a sense of scale, inexhaustible power, and brutal vitality. Music captures emotion in time, and Mozart’s treatment of the idea of Don Juan allows us to experience him with both immediacy and timelessness.
The design and direction for this production make these qualities physical by creating a world where the everyday meets the symbolic. We’re placed in an anonymous, contemporary city. Instead of too many identifying details, our landmarks are symbols that aggregate layers of meaning over time. Some of the recurring visual themes you’ll see here are masks, gravity in motion, the color red, a human hand, and a crescent moon. When are the masks literal in this world and when are they metaphorical? We have our own (strong!) opinions about what these images mean but, most importantly, they are invitations to have your own thoughts and reactions to this fantastic opera.
THE SUAVE SEDUCER OF THE SERENADE?
by Dr. Lily Kass
In Act I Scene 2, Don Giovanni tells Leporello to distract Donna Elvira so that he can make a break for it. Leporello isn’t good at small talk like his master is, but when he sees Elvira’s attention wavering, he lights upon one of his favorite topics: the women his master has “loved.” In this aria, which mixes silly wordplay and musical jokes with quite disturbing subject matter, Leporello catalogs 2,065 women in all, “of every station, every station, and every age,” from Turkey to Spain. Elsewhere in the opera, Don Giovanni admits to sniffing out new conquests (“I think I sense the scent of a woman.”), and he declares that women are “more important than the air he breathes.” Don Giovanni’s purpose in life is to get close to women, but how does he do this without scaring them off? Is it that he is attractive? Well-spoken? High-born? Those qualities surely come in handy, but Don Giovanni’s most effective tool in his myopic mission is his ability to shapeshift. He latches onto his intended victims and takes on some of their characteristics, causing them to view him as an accessible and approachable figure – someone like them.
There is a good deal of physical disguise in the opera. Donna Anna does not know her attacker in the first scene, because Don Giovanni hides his identity; later Don Giovanni dresses as Leporello to seduce Donna Elvira’s maid. However, Don Giovanni does more than change his costume; he changes fundamental characteristics of his modes of expression. All of the other characters in the opera each adhere to a characteristic musical style throughout.
Photo by Ray Bailey
In contrast, when he addresses other characters, Don Giovanni often sounds suspiciously like whomever he happens to be speaking to at a given moment. A telling example appears in the Act 2, Scene 2 trio for Donna Elvira, Leporello, and Don Giovanni. Donna Elvira sings “Ah taci, ingiusto core,” to herself, chiding her heart to stop falling for Don Giovanni. Her melody is in a lilting, waltz-like meter, with symmetrical phrases and legato phrasing. Next, Leporello notices Donna Elvira and notifies his master, singing in a way that imitates his body creeping towards Donna Elvira’s window. His notes move more quickly than Donna Elvira’s, and less daintily, going down by steps, and then back up. When Don Giovanni responds to Leporello, saying that he will seize the moment to distract Elvira, he imitates Leporello’s phrase exactly, only changing the words. He then immediately shifts gears and, directing his attention to Donna Elvira, sweetly addresses her with an echo of the melody she has just sung.
Throughout the opera, Don Giovanni insinuates himself into the good graces of everyone he meets by connecting with them on their level. He imitates them to make them feel at home, ultimately making them vulnerable to his advances. Don Giovanni uses the tactics of a master con artist whose intensive research into the habits and predilections of his targets allows him to seamlessly insinuate himself into their lives, lulling them into a false sense of security.
But what happens when he is alone? Don Giovanni only has two solo arias, which together last less than five minutes – we rarely hear him alone, which is surprising since he is the title character. Still more destabilizing to the listener is the fact that Don Giovanni’s two short arias sound nothing alike.
Production designer Jesse Wine works on elements of the Don Giovanni set. Photo by Cassandre Griffin.
Don Giovanni’s first solo moment is towards the end of the first act. He is preparing for a party, and he works himself into a frenzy imagining the revelry that is about to ensue. The aria is typically conducted at a perilously fast tempo, such that we in the audience feel that the singer is singing as fast as he possibly can. The text is coarser than we would expect from a gentleman of Don Giovanni’s station, with simple rhymes (“sei trovi in piazza/qualche ragazza”), unnecessary lists (“chi’l minuetto, chi la follia, chi l’alemana… ”) and crude vocabulary (“I want to make love to this one or that one”). The musical phrases are short, with repeated sequences of notes, rather than the long legato melodies found in the vocal lines of the other high-born characters in the opera like Donna Anna and Don Ottavio. Instead, these features of the aria most resemble the vocal writing for Leporello elsewhere in the opera. This aria is known as the “Champagne aria” because of its effervescence as well as the reference to alcohol contained in its first line. Leporello can’t afford champagne, but Don Giovanni can afford it in excess. So why, while singing about it and the extravagant party he is setting up, does Don Giovanni sound like his servant?
Don Giovanni’s second aria comes in the opera’s second act when Don Giovanni, dressed in Leporello’s clothing, serenades Donna Elvira’s maid, trying to get her to come down to him. This aria, “Deh vieni alla finestra,” or “Come to the window,” is the first time Don Giovanni consciously uses music as a tool for seduction. Although oftentimes in modern productions Don Giovanni sings without an instrument in hand, Mozart has scored the orchestra so that it sounds like a small, plucked instrument like a mandolin, as if Don Giovanni is accompanying himself. The aria’s tempo is moderate, and the vocal line contains long sweeping phrases. It opens with a fourth, the same interval as the Champagne aria, but whereas in that context the interval feels disjunct and jumpy, in this instance it seems calculated to express a poignant yearning. In the text, Don Giovanni alternates between complimenting the object of his affection and emphasizing the pain that her absence causes him. The language is highly metaphorical (“your mouth is sweeter than honey”) and exaggerated (“if you still don’t give me some relief, I will want to die in front of your eyes”). In short, it is everything we would expect from a gallant nobleman, but nothing like his previous aria.
Is Don Giovanni the manic conniver of the “Champagne aria”? The suave seducer of the serenade? Perhaps neither. Perhaps both. Maybe we never hear the “real” Don Giovanni because he is like a parasite; when he is unable to attach himself to others, he simply ceases to exist.
Dr. Lily Kass is Opera Philadelphia’s Scholar in Residence
ARTISTS
Don Giovanni
RAYMOND ACETO he/him
The Commendatore
Columbus, OH
Opera Philadelphia debut
Recent: Hunding, Die Walküre, Atlanta Opera; Frère Laurent, Roméo et Juliette, Dallas Opera; Daland, Der fliegende Holländer, Fort Worth Symphony
Next: Sourin, The Queen of Spades, Metropolitan Opera
VICTORIA BEK she/her
Costume Designer
New York, NY
Opera Philadelphia debut
Recent: Costume Design, Twyla Tharp Dance, Diamond Jubilee 60th Anniversary Tour; Associate Costume Design, The Seasons, Boston Lyric Opera; Associate Costume Design, The Marriage of Figaro, Little Island
Next: Associate Costume Design, The Counterfeit Opera, Little Island
ELIZABETH BRADEN she/her
Chorus Master
Easton, PA
Recent: Chorus Master, The Listeners, Opera Philadelphia; Director of Music, Old Pine Street Church, Philadelphia; Conductor, Penn Chorale, University of Pennsylvania
Next: Chorus Master, Il viaggio a Reims, Opera Philadelphia
AMANDA CLARK she/her
Hair and Makeup Design
Highlands Ranch, CO
Recent: Hair and Makeup Designer, Opera Philadelphia, The Listeners; Hair and Makeup Designer, Opera Philadelphia, Madame Butterfly; Hair and Makeup Designer, Opera Maine, La cenerentola
Next: Hair and Makeup Director, Skye Studios Photography
KEVIN GODÍNEZ he/him
Masetto
Alajuela, Costa Rica
Underwritten by VIVACE
Opera Philadelphia debut
Recent: Figaro, Il barbiere di Siviglia, Annapolis Opera; Thom (cover), The Listeners, Opera Philadelphia; Papageno, Die Zauberflöte, AIMS in Graz
Next: Lamparilla, El barberillo de Lavapiés, Ópera Nacional de Costa Rica
CASSANDRE GRIFFIN she/her
Production Designer
New York, NY
Opera Philadelphia debut
Recent: Featured in Vogue, Vanity Fair, Architectural Digest, and Interview magazine
Next: Residency at AZB, Zurich, Switzerland
KHANYISO GWENXANE he/him
Don Ottavio
Cape Town, South Africa
Recent: Nemorino, L’ elisir d’ amore, Semperoper Dresden; Tito, La clemenza di Tito, International Gluck Festival Bayreuth; Tuomas, Innocence, Musiktheater im Revier Gelsenkirchen
Next: Fenton, Falstaff, Musiktheater im Revier Gelsenkirchen
ALISON MORITZ she/her
Director
Baltimore, MD
Underwritten by Linda and David Glickstein
Opera Philadelphia debut
Recent: Director, The Manchurian Candidate, Austin Opera; Director, Elizabeth Cree, Glimmerglass Festival; Director, The Knock, Cincinnati Opera
Next: Director, Aida, Baltimore Symphony Orchestra
TIMOTHY MURRAY he/him
Don Giovanni
Milwaukee, WI
Underwritten by Mrs. Sheila Kessler
Opera Philadelphia debut
Recent: Seatwarmer, Grounded, Metropolitan Opera; Don Giovanni, Don Giovanni, Opéra de Lille; Masetto, Don Giovanni, Sacramento
Philharmonic & Opera
Next: Mr. Fox, The Fantastic Mr. Fox, Opera Omaha
NICHOLAS NEWTON he/him
Leporello
San Diego, CA
Opera Philadelphia debut
Recent: Mars, Castor et Pollux, Opéra national de Paris; Bartolo, Le nozze di Figaro, Lyric Opera of Chicago; Baritone, El Niño, The Metropolitan Opera
Next: Alessio, La sonnambula, The Metropolitan Opera
ARTISTS
ELIZABETH REITER
Donna Elvira
Chicago, IL
Recent: title role, The Cunning Little Vixen, Frankfurt Opera; Amanda, Le Grand Macabre, Bavarian State Opera; Tatiana, Eugene Onegin, Norwegian National Opera
Next: title role/St. Marguerite, La Damoiselle élue/Jeanne d’Arc au bûcher, Frankfurt Opera
CORRADO ROVARIS he/him
Conductor
Bergamo, Italy
Recent: Conductor, Tokyo Philharmonic Orchestra; Conductor, I puritani, Opéra national de Paris; Conductor, Arabella, Ópera de Oviedo
Next: Conductor, Il barbiere di Siviglia, New National Theatre, Tokyo
AMANDA SHERIFF she/her
Zerlina
Houston, TX
Opera Philadelphia debut
Recent: 2nd Apparition, Macbeth, Atlanta Opera; Papagena, The Magic Flute, Atlanta Opera; Jess, The Listeners, Opera Philadelphia
Next: Ruth, Steele Roots, Atlanta Opera
OLIVIA SMITH she/her
Donna Anna
Penticton, BC, Canada
Opera Philadelphia debut
Recent: Pamina, The Magic Flute, Opera Naples; Micaëla, Carmen Encounter, San Francisco Opera; Chrisann Brennan, The (R)evolution of Steve Jobs, San Francisco Opera
Next: Mimì, La bohème, Theater St. Gallen
JESSE WINE he/him
Production Designer
Chester, United Kingdom
Opera Philadelphia debut
Recent: Art exhibitions at SculptureCenter, Queens, NY; Tate St Ives, St Ives, UK; The Modern Institute, Glasgow, UK
Next: Solo Exhibit, The Modern Institute, Glasgow, Scotland
Don Giovanni
JEANETTE OI-SUK YEW* she/her
Lighting Designer
Detroit, MI
Recent: Lighting & Projection Designer, The Odyssey, A.R.T. (American Repertory Theater); Lighting Designer, Macbeth in Stride, BAM; Lighting Designer, An American Soldier, PAC NYC (Perelman Performing Arts Center)
Next: Lighting Designer, A Wrinkle in Time, Arena Stage
CHORUS
SOPRANO
Natalie Esler
Noel Graves-Williams
Jessica Mary Murphy
Aimee Pilgermayer
Sophia Santiago
Evelyn Santiago Schulz
ALTO
Robin Bier
Megan McFadden
Meghan McGinty
Maren Montalbano
Paula Rivera-Dantagnan
Kaitlyn Tierney
TENOR
Matteo Adams
Matthew Coules
A. Edward Maddison
Andrew Skitko
Daniel Taylor
Cory O’Niell Walker
BASS
Jeff Chapman
Lucas DeJesus
Loren Greer
John David Miles
Michael Miller
Frank Mitchell
ORCHESTRA
VIOLIN I
Max Tan, concertmaster
Donna Grantham, assistant concertmaster
Meichen Liao-Barnes
Natasha Colkett
Elizabeth Kaderabek
Diane Barnett
Guillaume Combet
Gared Crawford
VIOLIN II
Tess Varley, principal
Luigi Mazzocchi
Paul Reiser
Maya Shiraishi
Mary Loftus
Emily Barkakati
VIOLA
Jonathan Kim, principal
Elizabeth Jaffe
Ellen Trainer
Julia DiGaetani
CELLO
Branson Yeast, principal
Vivian Barton Dozor, assistant principal
Brooke Beazley
Jennie Lorenzo
BASS
Alexander Bickard, principal
Anne Peterson
FLUTE
Brendan Dooley, principal
Kimberly Trolier
OBOE
Geoffrey Deemer, principal
Oliver Talukder
CLARINET
John Diodati, principal
Allison Herz
BASSOON
Erik Höltje, principal
Emeline Chong
HORN
John David Smith, principal
Emerson Miller
TRUMPET
Brian Kuszyk, principal
Steven Heitzer
TROMBONE
Brad Ward, principal
Matthew Moran
Phil McClelland
TIMPANI
Martha Hitchins, principal
FORTEPIANO
Grant Loehnig
STAGE BANDA
Rebecca Ansel, violin
Lisa Vaupel, violin
Yoori Kim Williams, violin
Catherine Kei Fukuda, violin
Stephen Groat, bass
Mary Javian, bass
WE SALUTE
Opera Philadelphia
Independence Blue Cross (IBX) is proud to support Don Giovanni. We recognize Opera Philadelphia for its commitment to delivering innovative and inclusive performances that engage the people in our region.
Independence Blue Cross is an independent licensee of the Blue Cross and Blue Shield Association.
ARTISTIC & PRODUCTION STAFF
Assistant Conductor ...............................................................................................Robert Kahn*
Assistant Director ................................................................................................ Edward Sturm*
Assistant Stage Managers .................................................... Brianna Thompson, Lillian Welsh
Assistant Costume Designer ................................................................................ Olivia Rivera*
Technical Designer ........................................................................................ Stephen Dickerson
Fight Director ....................................................................................................... John Bellomo*
Principal Pianist ..................................................................................................... Grant Loehnig
Associate Pianist ................................................................................................... Michael Lewis
Properties Supervisor ....................................................Avista Custom Theatrical Services, LLC
Assistant Lighting Designer ............................................................................ Sasha Anistratova
Supertitle Operator ................................................................................................... Tony Solitro
Supertitle Author ........................................................................... Chadwick Creative Arts, LLC
Audio Description .............................................................................................. Nicole Sardella
Head Electrician ................................................................................. Christopher Hetherington
Programmer /Assistant Electrician ................................................................ John Allerheiligen
Wardrobe Supervisor ............................................................................................... Elisa Myers
Costume Shop Staff: Becca Austin, Sarah Mitchell, Kara Morasco, Patrick Mulhall, Joy Rampulla, Althea Unrath, Julie Watson, Morgan Porter
*Opera Philadelphia debut
Opera Philadelphia thanks the following labor organizations whose members, artists, craftsmen, and craftswomen greatly contribute to our performances:
American Federation of Musicians, Local 77 is the collective bargaining agent for Opera Philadelphia Orchestra musicians.
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
The results are in!
—A new, vibrant crowd
— An energized community of supporters
— An electric energy
— A cultural moment
All season performances sold out — 125% of original attendance goal
67% first-time ticket buyers
700+ new gifts made by PYP ticket buyers
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Opera Philadelphia extends a heartfelt thank you to the generous support of all who contributed to the Artistry Now Matching Fund.
Inspired by Opera Philadelphia’s continued commitment to operatic excellence as we emerge from the unprecedented challenges presented by the pandemic, longtime supporter and Board of Directors member Barbara Teichert established the Artistry Now Matching Fund and pledged $2.5 million in one-to-one matching funds for new and increased gifts made from January 1, 2023 through May 31, 2025.
Thanks to the support of hundreds of donors who contributed, we were able to raise $5 million in support of innovative artistry happening here at Opera Philadelphia, now in this moment and into the future. Thanks to this incredible community effort, we’re empowered to continue advancing the art form and propelling the genre forward.
BOARD OF DIRECTORS
OFFICERS
Charles C. Freyer | Interim Chair
Anthony Roth Costanzo*| President
Barbara A. Teichert | Vice Chair
Alexander Hankin | Secretary
Thomas Mahoney | Treasurer
MEMBERS
Ira Brind
Lawrence Brownlee
Katherine Christiano
William Dunbar
David Ferguson
Charles C. Freyer
Deena Gu
Alexander Hankin
Beverly Lange, M.D.
Peter Leone
David Low
Thomas Mahoney
Sarah Marshall
Taneise S. Marshall
Agnes Mulroney
Colleen O'Riordan
Steven Pesner
Nabila Sajid
Nancy Sanders
Bob Schena
Carolyn Horn Seidle
Barbara Augusta Teichert
Lisa Washington
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
THANK YOU
Opera Philadelphia expresses its deepest gratitude to the individuals and institutions whose support allows us to bring you Don Giovanni.
LEADERSHIP CIRCLE
Mrs. Sandra K. Baldino
Barbara and Amos Hostetter
Judy and Peter Leone
Opera Philadelphia’s Special Innovation Initiative Underwritten by E.A. Michelson Philanthropy
Mrs. John P. Mulroney
The Pew Center for Arts & Heritage
Jean and Gene Stark
Artistry Now Matching Fund and Barbara Augusta Teichert
Barbaralee Diamonstein-Spielvogal
Diamonstein-Spielvogel Foundation
The William Penn Foundation
Mellon Foundation
Anonymous
Judith Durkin Freyer and Charles C. Freyer
The Horace W. Goldsmith Foundation
Ms. Lisa D. Kabnick and Mr. John H. McFadden
Stephen K. Klasko, M.D., M.B.A. and Colleen Wyse
Carolyn Horn Seidle
Mr. John R. Alchin and Mr. Hal Marryatt
Anonymous
The Buck Family Foundation
The Waterman Trust at the Recommendation of David Haas
Sarah and Brad Marshall
Mr. Robert J. Schena
Edith Carol Stein
Leslie Miller and Richard Worley Foundation
CHAIRMAN’S COUNCIL
Anonymous
Myron and Sheila S. Bassman
Willo Carey and Peter A. Benoliel
Katherine and Andrew Christiano
The Frederick J. Roseneau Foundation in honor of Lorraine and Benjamin Alexander
Ms. Joan DeJean†
Mrs. Marjorie E. Garwig†
Mr. and Mrs. Frederick P. Huff
Christian Humann Foundation
Independence Foundation
Donald and Gay Kimelman
Paul L. King
Joel and Sharon Koppelman
The H.F. Lenfest Fund
Mr. and Mrs. William E. Little Jr.
OPERA America
PA Dept. of Community and Economic Development
Dr. Renée Rollin
Nancy and Barry Sanders
The Tang Fund
Charlotte Watts
Ira Brind and Stacey Spector
Comcast NBCUniversal
Cunningham Piano Company
Eugene Garfield Foundation
Allen R. and Judy Brick Freedman Venture Fund for New Opera
Linda and David Glickstein
Ms. Deena Gu Laties in honor of Willo Carey
Hamilton Family Charitable Trust
Mark and Helene Hankin Family
Katherine and John Karamatsoukas
Ms. Caroline J. Mackenzie Kennedy
Mrs. Sheila Kessler
Ms. Maria Maccecchini
Ms. Jacqueline B. Mars
Andrew J. Martin-Weber
Constance C. Moore†
National Endowment for the Arts
The Presser Foundation
Katie Adams Schaeffer and Tony Schaeffer
Estate of Robert Schoenberg
Michael L. Spolan
Ellen Steiner
Wyncote Foundation
GENERAL DIRECTOR’S COUNCIL
Platinum Patron
Dr. Frank F. Furstenberg
Bonnie and Lon Greenberg
Independence Blue Cross
Ro and Martin King
Mr. Thomas Mahoney
Marcus Innovation Fund
Jeanette Lerman-Neubauer and Joe Neubauer
PECO
Pennsylvania Council on the Arts
David and Susan Rattner
Donald Schwarz and Andrew Gelber
Ashley and Eli Wald
Dr. and Mrs. Andrew Wechsler
Kathleen and Nicholas Weir
Wells Fargo Private Bank
Diamond Patron
Aaron Copland Fund for Music
Anonymous
Sylvia Lanka-Barone and William Barone
Chubb Limited
Mr. Jeffrey P. Cunard and Ms. Mariko Ikehara
Mark and Peggy Curchack
David B. Devan and Rev. David A. Dubbeldam
Carol S. Eicher
Drs. Bruce and Toby Eisenstein
Jane Ginsburg and George Spera
Feather O. Houstoun
Estate of Joel Jensen
Jeffrey R. Jowett in memory of Joseph G. Leone
Mr. William A. Loeb
David Low
The Samuel P. Mandell Foundation
The McLean Contributionship
Dr. Stanley Muravchick and Ms. Arlene Olson
Tom and Jody O'Rourke
The Philadelphia Cultural Fund
Dr. Joel and Mrs. Bobbie Porter
Drs. Richard and Rhonda Soricelli
Mrs. Keith R. Straw
Alice and Walter Strine, Esqs.
Ethel Benson Wister
PATRON PROGRAM
Gold Patron
Anonymous
Stephen A. Block
Robert N. Braun, M.D.
Mr. James P. Macelderry† and Ms. Marilyn S. Fishman
Otto Haas Charitable Trust
Remmel Foundation
Silver Patron
Lydia Alvarez in memory of Isabelle Ferguson
Anonymous (2)
Anonymous in honor of Grant Loehnig
Robert and Julie Jensen Bryan
Georgette Ciukurescu
Kay Deaux
Ady L. Djerassi, M.D., and Robert Golub, M.D.
David M. Ferguson, Ph.D.
Deborah Glass in memory of Leonard Mellman
Gray Charitable Trust
ImpactED
Mr. Kenneth Klothen and Ms. Eve Biskind
Anne Silvers Lee and Wynn Lee
KPK Development Co.
The Leone Family
Carol and Howard Lidz
Liddy Lindsay
Susan M. Long and Andrew J. Szabo
Monica Taylor Lotty and Brendan Lotty
Dr. and Mrs. Michael B. Love
Susan and Graham McDonald
Ms. Katherine L. Niven
Seán and Colleen O'Riordan
Mrs. Zoë S. Pappas
Bill Robling and Deborah R. Kravetz
Mr. and Mrs. John D. Rollins
Stuart A. Schwartz and Sheila Jamison-Schwartz
Mr. Jonathan H. Sprogell and Ms. Kathryn
Taylor
Jeralyn Svanda
Truist
Robert L. Turner
Universal Health Services
Wells Fargo Advisors
Leslie Whipkey
Laura A. Williamson Charitable Fund
Ms. Linda Wingate and Dr. William Liberi
Mrs. Kelly Zhou and Dr. Brett Frankel
Karen A. Zurlo Ph.D.
Bronze+ Patron
Joan and Frederick Cohen
Laura Drake
Dr. Garrett FitzGerald
Joan and William Goldstein
Ms. Rhoda K. Herrold
Thomas S. Heckman and Mary Jo Ashenfelter
Ms. Lisa R. Jacobs
William Lake Leonard, Esq.
Philip E. Lian and Joan L. Mueller
Helen E. Pettit
Dr. Leah Whipple
Bronze Patron
Anonymous (5)
Ms. Susan Asplundh
Eugene and Virginia Beier
Mr. Allen D. Black and Mr. R. Randolph Apgar
James Cohen
Mr. Stephen Cohen and Mr. John McNett
Mr. Mark Cornish
David Craig and Jackie Renner
Tobey and Mark Dichter
Barbara Donnelly Bentivoglio
William and Fay Dunbar
Mr. Arthur F. Ferguson
Ms. Juliet J. Goodfriend and Dr. Marc R. Moreau
Eduardo Glandt and George Ritchie
Corey Kinger
Charles B. Landreth
Mr. and Mrs. David Levy
The Marshall's Art Endowment
Dwight and Christina McCawley
Dr. and Mrs. A. H. Nishikawa
Kate Olver and Jeremy Young
The Rotary Club of Chestnut Hill
Dr. Elida Rouby
Joyce Seewald Sando
Mr. and Mrs. Curtis E. Sawyer
The Rev. Richard L. Ullman
Mark Luis Villamar and Esther Milsted
Dr. R.J. Wallner
Peter J. Wender
Carol Westfall
Ms. Ana-Maria V. Zaugg and Mr. David W. Anstice
Mr. Robert Zimet
DONOR CIRCLE
Partner
Mr. George J. Ahern
Sarah Alderfer
Scott Alexander
Mr. and Mrs. James Alexandre
Joseph T. Anderer and Virginia Benz
Anonymous
Ellen Berelson and Lawrence Franks
Mrs. Joanne Berwind
Carrie and J. Bradley Boericke
Thomas Broadt
Nicholas Alexander Brown
Jim & Maddy Carlson
Christian R. and Mary F. Lindback Foundation
Thomas Collins
Jeffrey Cooper
Robert Cottone
Robert and Florence Dolceamore
Dolfinger-McMahon Foundation
Vivian Barton Dozor
Dr. Jerome and Ms. Judy Draper
Robert and Monica Driver
Nancy Drye
Mr. and Ms. Robert S. Duplessis
Barbara Eberlein and Jerry Wind
John Erickson and Harry Zaleznik
James R. Fairburn
Mary Fallon, in loving memory of Steven Wayne Parr
Thomas Faracco
Andrew Franzone
Jim and Kay Gately
Mr. Andrew R. Gelber in memory of Sylvia Gelber
Steven A. Gold Charitable Educational Institutions Trust
Marsha Lynn Gordon and Javier Garcia
George Graham
Greater Philadelphia Cultural Alliance
Dr. and Mrs. Henry J. Greenwood and Ms. Marilyn Greenwood
Michelle Harde
David and Ann Harrison, Esqs.
Frederic Harwood
Mr. Charles Head, Jr. and Mr. John Faggotti
Eileen Kennedy and Robert Heim
Ms. Susan Henry
Drs. Christina L. and Richard J. Herring
Laura Jacobson
Ms. Deborah Kostianovsky in memory of Jorge Kostianovsky
Ms. Laura LaRosa
Robert and Elizabeth Legnini
Mr. Joseph J. Leube, Jr.
Murray and Lonnie Levin
Fran Levy and Leon L. Levy
Mr. Matthew Ligman
Ruth Marcon
Mr. John Mastrobattista and Ms. Madeline Leone
John McGinley
Drs. Joseph and Jane McGowan
Dr. Judy Catherine Miner
Mr. Benjamin F. Minick
Steven Z. Mitchell
Maris A. Ogg and Robert Smith
W. Larz Pearson and Rick Trevino
Patricia Perfect
The Philadelphia Contributionship
Shelly Power
Merle Raab
Gina J. Range
Ms. Jane Rath
Mrs. Louise H. Reed
Ms. Nancy R. Roncetti
Eileen Rosenau
Anne Faulkner Schoemaker
Mr. and Mrs. Henry G. Scott
Paul and Susan Shaman
Janet Wilson Smith
Kobie Smith
Steven Voudouris
Laurie Wagman
Bond Wann
Robert Washburn, Esq. and Judith Drasin, Esq.
Arnold Weiss
Dr. Dilys V. Winegrad
Tom Woodward
Stephen Zeller
Sustainer
Janis† and Robert Ackerman
Anonymous
Jean W. Arnold
Marilyn P. Asplundh
Mr. Abraham Axler
Naomi Balzer Haas
Mrs. Valerie Baselice
Frances and Michael Baylson
Karen Bedrosian-Richardson
Joseph Blair
Drs. Deidre and Michael Blank
Rita B. Bocher Ph.D.
Dr. Howard and Mrs. Tova Brooks
Mr. Leo M. Carey and Ms. Sonya D. Mouzon
Vistula Chapman-Smith
Ms. Ilene Chester
Peter Cline
Jonathan Conant
Mr. and Mrs. Anthony B. Creamer III
Ann Csink
Paul DeSanctis
Allyson Dezii
Romulo Diaz and Dennis Bann
Elise Drake
Mr. John Driscoll
Dr. John J. Duffy and Dr. William F. Edmiston
Ms. Anne C. Ewers
Amy Finkelstein
Barry Fisch
Dennis Gallagher
Linda Dubin Garfield
Barbara Glauber
Amelia Glauber
Ms. Sandra E. Goodstein
Leila Christine Grad, M.D.
Mrs. Margaret S. Griffin and Mr. Scott Sillars
Cheryl Gunter and Paul Rabe
Mrs. Kate Hall
Tom Harder
Kenneth R. Hartell & Andrea Biondo
James Haughom
Phillip Hauser
Clark Hooper Baruch
Lee M. Huber
Richard Hurtig
Mr. Wallace Hussong
Judith Insell
Dr. and Mrs. William Jantsch
Marianne Kah
Ronald Kaiserman
Alan Karr and Jeanne Ruane
Richard and Grace Karschner
Dr. Richard B. Kent
Joanne Kornoelje
Jason Kucza
Laura A. Lane and David R. DeVoe
Rebecca A. Lee
Drs. Jerry D. and Julie Meranze Levitt
Marcia D.B. Levy
Dr. Thomas S. Lin
Janice Longer
Sarah Lutman and Robert Rudolph
Dr. Richard J. Mandel
Joseph M. Manko, Sr.
Missy Mazzoli
George McNeely
Mr. Robert J. McShea, Jr. and Mr. Bill Ward
Mr. and Mrs. Gordon Munson
Mark and Abigail Nestlehutt
Peter O'Dwyer
Mr. Stephen Perry
Anne Peterson
Michael Presser
Mr. and Mrs. Bert Redgrave
Alice Reyes
David Rhody
Dr. Keith M. Robinson
Robert Rohde
Ms. Willa Rosenbloom
Mr. and Mrs. Daniel R. Ross
Jeanne Ruddy and Victor F. Keen
Katherine Sachs
Mr. Walter Schlosser Jr.
Mr. and Mrs. Henry G. Scott
Paul and Susan Shama
Mr. and Mrs. Corey R. Smith
Mary Sproat
Dylan Steinberg & Amey Hutchins
Mr. Daniel Szyld and Ms. Kathleen Ross
Ms. Judith Tannenbaum
Mr. John J. Trifiletti
Rosemary and Umit Turunc
Peggy Wachs
Dr. Steven and Janet Weinberger
Kenneth and Susan Weiss
Margaret Wellert
Scott Wilds and Martin Bodtmann
List as of April 3, 2025
The Corporate Giving Society generously supports Opera Philadelphia’s artistic and educational programming through contributions and in-kind donations.
CORPORATE PARTNERS
Ballard Spahr LLP
Termini Brothers Bakery
Steve Voudouris
For more information about sponsorship opportunities, EITC contributions, or to join Opera Philadelphia’s Corporate Giving Society contact Aubre Naughton at 215.893.5906 or naughton@operaphila.org.
Businesses that support Opera Philadelphia may be eligible for Pennsylvania’s Education Improvement Tax Credit Program (EITC). Help students explore the magic of opera AND earn tax credits! Learn more at operaphila.org/eitc
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 Aubre Naughton, Major Gifts, at 215.893.5906 or naughton@operaphila.org.
Anonymous (12)
Lorraine† and Ben† Alexander
Eleanor M. Allen†
Mary Jo Ashenfelter and Thomas S. Heckman
Eileen Baird†
Drs. Frederic Joshua Barnett† and Heidi Kolberg
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†
Carolyn Horn Seidle
Mr. Jonathan 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. Victor Tees
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.
List as of April 3, 2025
BECOME A VIVACE MEMBER
Opera Philadelphia’s Community for Young Friends
"As young professionals ourselves, it’s rewarding to be able to help another person starting out in their career."
—Sarah Alderfer, Young Friends Advisory Committee
VIVACE (vee-VA-che) offers a curated suite of performance events and social outings, exclusively for young friends ages 21–45. Transform your experience, meet the artists, and support the next generation of operatic talent in Philadelphia.
Throughout the 2024–2025 Season, VIVACE members support baritone Kevin Godínez in his Opera Philadelphia debut as Masetto in Don Giovanni.
Join VIVACE and help us reach our goal! 12-month membership pledge starting at $7/month
$20,000 GOAL
VIVACE members with Kevin Godínez
