THE ELIXIR OF LOVE Program

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contents

PROGRAM INFORMATION

OPERA PHILADELPHIA GENERAL INFORMATION

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4 Letter from the Chairman 5 Board of Directors 6 Welcome from the

The Elixir of Love

13 Synopsis & Running Time 14 Q&A with Corrado Rovaris 17 Artist Bios 20 Orchestra & Chorus

Showcase is published by Kimmel Center, Inc. 1500 Walnut Street, 17th Floor Philadelphia, PA 19102 215-790-5800 / Fax: 215-790-5801 www.kimmelcenter.org

General Director

23 Leadership Support & Major Gifts

25 Annual Fund Support 28 Corporate Council 32 Administration

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Image: Dr. Dulcamara (Thomas Hammons) shows off his magic elixir. In Philadelphia, the role will be performed by bass Kevin Burdette.

Photo © Ken Howard 3

from the

chairman Dear Friends, I find myself feeling incredibly proud of our recent past and tremendously excited for our immediate future as we conclude our 41st Season with Donizetti’s The Elixir of Love.

This has been a season of transformative individual performances (Lisette Oropesa in La traviata; Jarrett Ott in Cold Mountain), exciting new partnerships (with The Apollo Theater for Charlie Parker’s YARDBIRD and with The Bearded Ladies for ANDY: A Popera), and wonderful teamwork both on our stages and behind the scenes at Opera Philadelphia.

Our efforts were recently recognized when Opera Philadelphia was nominated for Best Opera Company in the 2016 International Opera Awards! Opera Philadelphia is the only American company to be nominated in this category and was chosen by an expert jury from thousands of nominations submitted by opera fans from around the globe.

Our opera company is named alongside some of the most esteemed opera companies in the world: Deutsche Oper Berlin; Dutch National Opera; Polish National Opera; Theater an der Wien; and Welsh National Opera.

This prestigious recognition would not have been possible without you. Your support has allowed Opera Philadelphia to present innovative and inspired productions that nurture the evolution of the art form. You have also made it possible for our visionary leaders, General Director & President David B. Devan and Maestro Corrado Rovaris, to conceptualize bold artistic projects and secure the creative artists and partnerships necessary to achieve them.

To me, this nomination is for all of us, for without your enthusiastic embrace of our commitment to bringing world-class opera to Philadelphia, we simply wouldn’t be where we are today. So please allow me to extend heartfelt congratulations – not only to our beloved opera company, but also to you. Thank you so much.

The winners will be announced on May 15 at a ceremony in London. And whether we bring home the big award or not, I hope you’ll agree with me that being nominated is a huge honor for all of us.

Daniel K. Meyer, M.d. chairman 4

BOARD OF DIRECTORS

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

Benjamin Alexander

Joel M. Koppelman

Alice Strine, Esq.

Sandra Baldino

Beverly Lange, M.D.

Kenneth R. Swimm

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

Ellen Berman Lee

Willo Carey

Gabriele Lee

Nicholas Chimicles, Esq.

Peter Leone

Ady L. Djerassi, M.D.

Thomas Mahoney

Charles C. Freyer, Esq.

Daniel K. Meyer, M.D.

Ehab Hammad

Agnes Mulroney

Mark Hankin

Scott F. Richard

Frederick P. Huff

Jonathan H. Sprogell

Alan B. Miller

Caroline Kennedy

James B. Straw

H.F. (Gerry) Lenfest

Maria Trafton Charlotte Watts Donna Wechsler Honorary Members Dennis Alter

List as of April 2016 *Ex officio 5

Welcome Dear Friends, Finally, we get to laugh again!

This has been an incredibly rewarding season at Opera Philadelphia. It began with laughter (and a big party) with the World Premiere of ANDY: A Popera, staged in a Kensington warehouse, and then continued with some tears as we endured Violetta’s death in La traviata, the senseless violence of war in Cold Mountain, and the demons that haunted the great Charlie Parker in YARDBIRD, staged last month in the historic Apollo Theater in Harlem.

Opera provides us with the most beautiful opportunities to reflect on life’s biggest questions. But it can also provide us with an escape, and this charming production of Donizetti’s The Elixir of Love is a shining example of opera’s comedic brilliance.

Director Stephen Lawless and his design team have set this bel canto comedy in the 1940s Italian countryside, and they along with conductor Corrado Rovaris have gathered an amazing and funny cast. Sarah Shafer and Dimitri Pittas make a delightful duo as Adina and Nemorino. And I cannot wait to experience the hijinks of Kevin Burdette as Doctor Dulcamara, Craig Verm as Sergeant Belcore, and Katrina Thurman as Giannetta.

Thank you for joining us for The Elixir of Love. Please feel free to LOL! We’ll be right back into the emotional wringer in the fall, as we launch our season with the World Premiere of Missy Mazzoli’s Breaking the Waves alongside Christine Goerke in Puccini’s Turandot and a South African-set production of Verdi’s Macbeth, all coming in September.

Sincerely,

Dav i d B . D e va n General Director & President @ddevan

For more of David’s thoughts, read his blog at operaphila.org/devantagepoint 6

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Opera Philadelphia The Elixir of Love Production from The Santa Fe Opera Music

Gaetano Donizetti

Text Felice Romani Conductor Corrado Rovaris

Director

Set & Costume Design

Lighting Design

Chorus Master

Wig & Make-up Design

Stage Manager

Stephen Lawless* Ashley Martin-Davis* Pat Collins* Elizabeth Braden David Zimmerman Becki Smith

*Opera Philadelphia debut

coNNecT wiTH us follow @operaphila and join the conversation #elixirofLove facebook.com/operaphila

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operaphila

ThE ChrISTIaNS

Lucas Hnath directed by Timothy Bond co-Produced with Syracuse Stage May 4 - May 29, 2016 by

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The Elixir of Love

Cast

The

ADINA Sarah Shafer NEMORINO Dimitri Pittas

SERGEANT BELCORE Craig Verm

DOCTOR DULCAMARA Kevin Burdette

GIANNETTA Katrina Thurman

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Faccio’s major w ‘Amleto’ is a o being p rk... worthy of lac Verdi a ed between nd Ver ismo.

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Maestro Anthony Barrese leads the OperaDelaware Orchestra and Chorus with a stellar cast including Joshua Kohl, Sarah Asmar, Tim Mix, Lara Tillotson and Ben Wager Directed by E. Loren Meeker.

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GIUSEPPE VERDI

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Maestro Giovanni Reggioli, leads a thrilling cast including Steven Condy, Grant Youngblood, Victoria Cannizzo, Sharin Apostolou and Ryan MacPherson. Directed by Dean Anthony.

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SYNOPSIS Approximate running time for The Elixir of Love is two hours and 21 minutes, including one 20-minute intermission Act I In the village square, the lovesick Nemorino rapturously gazes at the local school teacher Adina. She is reading to the school children and townspeople of the magic love potion that made Tristan and Isolde fall in love as Nemorino fixes his car. Adina emphasizes that, thankfully, there are now no more elixirs to bring the merry hearts of women into slavish dependency on love, like in the story of Tristan.

Nemorino sees no joke in the legend and wishes for a magical potion for his own hopeless situation with Adina. The dashing Sergeant Belcore arrives with his soldiers. He tries to win over Adina, who is amused but not impressed. The villagers tease Nemorino about his rival, but Nemorino renews his pursuit as soon as Belcore leaves. Adina respects the worthy Nemorino, but finds him a little dull. She tells him his interest in her is hopeless and he should go visit his sick uncle.

Dulcamara, a quack doctor, enters the empty village square disguised as an old woman with his wonderful collection of medicines. He distributes his flyers in the square and leaves as the village descends.

He then makes his grand entrance to the amazement and delight of the villagers. To Nemorino, Dulcamara is heaven-sent, and he immediately requests a love potion. The doctor loses no time in producing a bottle of wine, which he tells Nemorino is an elixir of love that will work within 24 hours.

Nemorino gives Dulcamara his last coin and, as soon as the doctor leaves, drinks the entire bottle. The wine takes effect immediately and Nemorino begins to dance and sing, momentarily forgetting his problems with Adina.

Adina is astonished to see her love-sick Nemorino so happy. Believing that the love potion will do its magic in time, Nemorino pays no attention to Adina. This piques her so much that when Belcore returns and presses her for an immediate marriage because the troops are moving on, she consents to wed him in six days. Nemorino laughs loudly at this, which so enrages Adina that she sets the wedding for that very evening. At this, Nemorino sobers, fearing that the marriage will take place before the potion beings to work. He begs her for a delay, but Adina and the others only laugh at him and begin preparing for the wedding.

Intermission Act II The scene opens on hurried preparations for the wedding feast. The notary arrives and the wedding party leaves to sign the marriage contract. Nemorino laments to Dulcamara that the elixir did not work. Dulcamara obligingly produces another bottle of elixir, but Nemorino has no money with which to buy it. Belcore arrives and Nemorino desperately confides his misery to him. Ever on the lookout for new recruits, the sergeant suggests that Nemorino enlist, and tempts him with promises of immediate pay and renown. Nemorino signs the papers, takes his advance and quickly buys the second bottle of elixir.

The villagers have heard about the death of Nemorino’s uncle, who has left all his money to Nemorino.

The girls begin to flirt with Nemorino who, unaware of his uncle’s death, thinks the love potion is beginning to work. When Adina sees him surrounded by pretty girls and finds out he has enlisted in the army, she sadly realizes she cares more for Nemorino than she had realized. Nemorino is moved with compassion at the sight of her tears.

Adina buys back Nemorino’s enlistment papers from Sergeant Belcore and declares her love for Nemorino. Belcore bears the loss of Adina with the bravery of a soldier. Nemorino and Adina are told about the uncle’s death and Nemorino’s good fortune. Dr. Dulcamara credits his elixir of love for everything and as the curtain falls, he is relieving the villagers of their money in return for bottles of his wonderful elixir of love.

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INTERVIEW WITH MUSIC DIRECTOR CORRADO ROVARIS

By Diana Burgwyn

Corrado Rovaris, the Jack Mulroney Music Director at Opera Philadelphia, first conducted this production of The Elixir of Love in 2009 with The Santa Fe Opera. Opera News called it a “hugely entertaining production… enhanced by the committed conducting of Corrado Rovaris.” Corrado recently sat down with music writer Diana Burgwyn to discuss how he’ll be serving this Elixir to Philadelphia audiences.

Q: The Elixir of Love is often considered a comic opera. Is that how you see it?

A: No. In Donizetti operas we often find that, along with the delightful humor, there is a touch of melancholy. That is the case with Elixir, which is identified in the score as a melodramma giocoso, meaning a playful or light work of an emotional, sentimental nature. It is not easy to determine the right emotional balance, but achieving it is vital to the effectiveness of the opera.

Consider the touching aria “Una furtiva lagrima” sung by Nemorino, in which he rhapsodizes over the tear he saw in Adina’s eye, convincing him that she loves him. Nemorino, far from the silly country bumpkin he is often portrayed as, has an innate wisdom and an instinctively good heart that enable him to win over the more cultivated, sophisticated Adina.

For true comic operas, known as opera buffa, one naturally thinks of Rossini, who composed such frothy masterpieces as The Barber of Seville, La cenerentola, and The Italian Girl in Algiers. Only once did he venture into melodramma giacoso, and that was with Il turco in Italia.

Q: Is the peasant life depicted in Elixir realistic?

A: It is. I am often reminded of a prize-winning 1978 movie by the Italian film writer and director Ernanno Olmi about peasant life in Lombardy during the late 19th century. The movie, L’albero degli zoccoli (The Tree of Wooden Clogs), like the Donizetti opera, is about everyday peasant life, and Olmi employed real farmers and locals for all the roles, rather than professional actors. The similarity between the characters, the setting, and the time frame of that movie and the Donizetti opera is striking. There is limited availability for the film on DVD. Of course our director, Stephen Lawless has updated the time of the opera so that our production takes place in the 1940s, after the end of World War II. Nemorino is now an auto mechanic, 14

Belcore a U.S. Army officer, and Adina a glamour girl in shades. But this concept is fully respectful of the libretto and it is one of the most beautiful productions I have seen. In fact, I think it is more Italian than many Italian productions!

Q: Who had the biggest influence on you as a conductor of this opera?

A: As chorus master at La Scala in Milan, I had the good fortune to meet Gianandrea Gavazzeni, who had been principal conductor there and was considered the god of Donizetti operas. He was Bergamo-born, as was Donizetti, and was intimately involved in the Donizetti Festival in that city. At the time all my conducting experience had been seated at the harpsichord with no baton, so I had much to learn before conducting Elixir standing in front of the orchestra. Gavazzeni also taught me that when you study opera chronologically from the earliest to the present day (rather than beginning with contemporary composers, as I had done, then moving backwards in history), you have a much clearer sense of whether a given composer was a true innovator. Seen in that light, Donizetti had shown great originality, especially in his use of strings and woodwinds.

In Elixir, Donizetti also made use of three trombones, which added a rustic flavor that perfectly depicts the peasant world. However, it is not always easy to find the trombones that were used then, because they are smaller in size and their sound is lighter and less thick. Another difficulty in conducting this and other bel canto operas is that often there are not many notations in the score (indicating dynamics, expression, etc.) so you have to know the style intimately in order to convey the right meaning. In a way, it has to be in your blood.

Q: How did you go about choosing the cast for this production?

A: An important part of our philosophy at Opera Philadelphia is to provide gifted young singers with the opportunity to gain professional experience on our stage and to maintain a relationship with us. We first cast them in small roles, then larger ones as they grow in ability and confidence.

The Elixir of Love is an ideal opera for young voices, because three of the major characters are of a similar age.

Adina, the leading soprano role, is taken by Sarah Shafer, a Curtis Institute graduate who previously sang with our company in The Magic Flute and Ainadamar. Tenor Dimitri Pittas performed Nemorino in this production in 2009 in Santa Fe and sang the title role of Don Carlo with Opera Philadelphia in 2015.

As Belcore, baritone Craig Verm is remembered for his performance here in La bohème. It is typical for opera companies to cast a more experienced singer in the bass role of Dr. Dulcamara, and we have bass Kevin Burdette, well-known to our audiences from his roles in The Barber of Seville and Cold Mountain, to take on that great comic role.

Your Happily Ever After.

Each of these singers is now performing leading roles at major opera houses in the U.S. and abroad.

Diana Burgwyn is a freelance writer based in Philadelphia

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Additional Cast ARTISTIC Assistant Director.......................................................Matthew Ferraro

Flyman.................................................................................Mike Ruffo

Principal Pianist............................................................ Grant Loehnig

Assistant Electrician......................................................Shawn Gallen

Musical Assistant........................................................ Ting Ting Wong

Assistant Stage Managers............................ Gregory Boyle, Jen Shaw

Supertitle Operator............................................................ Tony Solitro

Wardrobe Supervisor........................................................Elisa Murphy

PRODUCTION/TECHNICAL

Costume Shop Assistant...................................................Katie Foster

Properties Supervisor...................................................... Shane Dreher

Cutter/Tailor........................................................Althea “Nell� Unrath

Assistant Lighting Designer.................................................Chris Frey

Cutter/Drapers.............................................Kara Morasco, Anna Light

Technical Director................................................... Stephen Dickerson

First Hands........ Derwin Cooper, JHoyanne Rampulla, Patrick Mulhall

Master Electrician..............................................................Terry Smith

Shopper........................................................................ Kathy Calhoun

Properties........................................................................... Paul Lodes

Wig & Make-up Assistants...............Stephanie Williams, Michael Briseno

SUPERNUMERARIES: Timothy Sheridan (Captain), Adam Howard, Robert Hawkey, Nathaniel Devarie, Timothy Sheridan, Maureen Broadbent, Joan Bernstein, Jim Hutchison, Michael Rissinger, Joseph Procopio, Julian Miller, Nate Braden, Lucy Marone, Rose Marone, Silvia Walker, Dave Tukey, David Devan Projected English titles for this production provided by Francis Rizzo and Washington National Opera.

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

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Artists KEVIN BURDETTE (New York, New York)

PAT COLLINS (Branford, Connecticut)

Bass

LIGHTING DESIGN

DOCTOR DULCAMARA

Opera Philadelphia debut

2016 Stobrod/Blind Man,

Cold Mountain 2014 Doctor Bartolo, The Barber of Seville 2012 Prophet, Dark Sisters

Recent Activities: Carmen, The Santa Fe Opera; Macbeth, Berkeley Repertory Theatre; Camp David, Old Globe Theater, San Diego

Recent Activities: Pirate King, The Pirates of Penzance, The Atlanta Opera; Eric Gold & Ghost of Bazzeti, Great Scott, The Dallas Opera; Sulpice, La fille du régiment, The Santa Fe Opera Elizabeth Braden (Easton, Pennsylvania) CHORUS MASTER 2016 2015 2006

Cold Mountain Oscar Margaret Garner (Partial Listing)

STEPHEN LAWLESS (Warrington, Cheshire, UK) DIRECTOR Opera Philadelphia debut Recent Activities: Silla, Oper Halle; Der Rosenkavalier, Bolshoi Theatre; Der fliegende Holländer, Korea National Opera and Washington National Opera

Recent Activities: La traviata, Opera Philadelphia; ANDY: A Popera, Opera Philadelphia and The Bearded Ladies; Director of Music, Wallingford Presbyterian Church

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Artists ASHLEY MARTIN-DAVIS (London, England)

SARAH SHAFER (State College, Pennsylvania)

SET & COSTUME DESIGN

Soprano

Opera Philadelphia debut

ADINA

Recent Activities: Pelléas et Mélisande, Royal Swedish Opera; Hapgood, Hampstead Theatre, London; A Midsummer Night’s Dream, Liverpool Everyman and Playhouse CORRADO ROVARIS (Bergamo, Italy)

2015 The Celestial Voice,

Don Carlo 2014 Nuria, Ainadamar 2013 Papagena, The Magic Flute

Recent Activities: Soloist, “Sunday Morning,” New York City Opera; Pamina, The Magic Flute, San Francisco Opera; Rosetta, Two Women, San Francisco Opera

CONDUCTOR 2015 Charlie Parker’s YARDBIRD 2006 Cinderella 1999 The Marriage of Figaro (Partial Listing)

Recent Activities: Artosphere Festival, Blackford Schönberg; Donizetti Festival, Anna Bolena; Donizetti Festival, Bellini, Chopin, Mendelssohn

RRUUCC

KATRINA THURMAN (Philadelphia, Pennsylvania) Soprano GIANNETTA 2014 Berta, The Barber of Seville

Recent Activities: Soprano Soloist, Rutter Magnificat, Manhattan Concert Productions/Carnegie Hall; Berta, Il barbiere di Siviglia, Opera Omaha; Adele, Die Fledermaus, Syracuse Opera

CURTIS

LA BOHÈME MANON

OCTOBER 3-4

NOVEMBER 19-22

World Premiere

EMPTY THE HOUSE JANUARY 21-24 CAPRICCIO

MARCH 2, 4, 6

Collaboration with Opera Philadelphia and Kimmel Center for the Performing Arts

LE NOZZE DI FIGARO Special Gala Performance: Amadeus Affair, May 6 TICKETS STARTING AT $5 CURTIS.EDU/TICKETS 18

MAY 4, 7, 8

Artists DIMITRI PITTAS (New York, New York) Tenor NEMORINO 2015 Title Role,

Don Carlo Recent Activities: Cassio, Otello, The Metropolitan Opera; Nemorino, L’elisir d’amore, Deutsche Oper Berlin; Rodolfo, La bohème, Opera de Paris

ELEVATE YOUR EXPECTATIONS

CRAIG VERM (Pittsburgh, Pennsylvania) Baritone SERGEANT BELCORE 2012 Schaunard, La bohème Recent Activities: Doug Hanson, Everest, The Dallas Opera; George, Of Mice and Men, Tulsa Opera; Title Role, Elmer Gantry, Florentine Opera DAVID ZIMMERMAN (Mt. Pleasant, Texas) WIG & MAKE-UP DESIGN

2016 Cold Mountain 2015 Charlie Parker’s YARDBIRD 2013 The Magic Flute (Partial Listing)

Recent Activities: Becoming Santa Claus, The Dallas Opera; Faust, International Music Festival, Macau, China; Great Scott, The Dallas Opera

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opera philadelphia orchestra Corrado Rovaris, jack mulroney Music Director VIOLIN I Dayna Anderson, Concertmaster Igor Szwec, Assistant Concertmaster Meichen Liao-Barnes Charles Parker Yan C. Simmons Donna Grantham Elizabeth Kaderabek Luigi Mazzocchi Alexandra Cutler-Fetkewicz Alejandro Link VIOLIN II Emma Kummrow, Principal Sarah Dubois Karen Banos Paul Reiser Lisa Vaupel Samantha Crawford Yu-Hui Tamae Lee Guillaume Combet Gared Crawford VIOLA Jonathan Kim, Principal Carol Briselli, Assistant Principal Julia DiGaetani Ellen Trainer Elizabeth Jaffe Kathleen Foster Steven Heitlinger

CELLO Priscilla Lee, Principal Vivian Barton Dozor, Assistant

Principal

Brooke Beazley Dane Anderson Jennifer Lorenzo David Moulton BASS Miles B. Davis, Principal Anne Peterson James Freeman Stephen Groat FLUTE Adeline Tomasone, Principal Eileen Grycky OBOE Geoffrey Deemer, Principal Dorothy Freeman CLARINET Joseph A. Smith, Principal

BASSOON Jacob Smith, Principal Jon Gaarder FRENCH HORN John David Smith, Principal Karen Schubert TRUMPET Brian D. Kuszyk, Principal Steven Heitzer TROMBONE Brad Ward, Principal Edward Cascarella Philip McClelland TIMPANI Martha Hitchins, Principal PERCUSSION Ralph Sorrentino, Principal HARP Sophie Bruno, Principal FORTEPIANO Grant Loehnig Fortepiano provided courtesy of Matthew Bengston

Allison Herz

OPERA PHILADELPHIA CHORUS SOPRANO Jessica Beebe Veronica Chapman-Smith NoĂŤl Graves-Williams Valerie Haber Christine Nass Aimee Pilgermayer Evelyn Santiago Rebecca Siler Amy Spencer ALTO Jennifer Beattie Marissa Chalker Joanna Gates 20

Eve Hyzer Katherine Mallon-Day Maren Montalbano Ellen Grace Peters Kristen Seikaly Karina Sweeney TENOR Tyler Samuel Lee A. Edward Maddison Fernando Mancillas Toffer Mihalka DonLeroy Morales George Ross Somerville Orin Strunk

Daniel Taylor Steven Williamson BASS Gregory Cantwell Jeff Chapman Lucas DeJesus John David Miles Frank Mitchell Robert Phillips Lourin Plant Andrew Skitko Jackson Williams

is honored to be nominated as

best opera company Opera Philadelphia is the only American company to make the shortlist in this category, alongside some of the most prestigious opera producers in the world.

Congratulations to our fellow nominees: deutsche oper berlin dutch national oper a polish national oper a theater an der wien welsh national oper a

Winners will be announced on May 15 at a ceremony in London

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

Their collective generosity underwrites more than half of Opera Philadelphia’s artistic expenses each season, including productions in the Academy of Music, the nationally-lauded Aurora Series for Chamber Opera at the Perelman Theater, Opera on the Mall, and our award-winning programs for children.

Top left to right: Board member and Chairman’s Council member Dr. Joshua Barnett with his wife, Dr. Heidi Kolberg; Michael Gorman, husband of Frederica von Stade (center); Board member and Chairman’s Council member Nick Chimicles and his wife, Kathleen Chimicles; Board member and Leadership Circle member Peter Leone and his wife, Judy Leone. Bottom left to right: Board Chairman and Leadership Circle member Daniel K. Meyer, M.D., composer Jennifer Higdon, Chairman’s Council member Andrew Wechsler, M.D., and his wife Board member Donna Wechsler; Chairman’s Council members Rita and Phil Harper; Chairman’s Council member John Alchin with Vice-Chairman and Chairman’s Council member Joel Koppelman and his wife, Sharon Koppelman.

FOR MORE INFORMATION, CONTACT Erin Sammis, Director of Development, at 215.893.5904 or sammis@operaphila.org.

TH E

GENERAL DIRECTOR’S COUNCIL M E M B E R S of the General Director’s Council play a pivotal role in the future of Opera Philadelphia through their generous annual support, collectively underwriting principal artists, and individually sponsoring Emerging Artists. Members enjoy insider access to artistic planning and company initiatives through Strategy Sessions as well as intimate gatherings with Opera Philadelphia’s stars and leadership at private dinners, cast parties, and exclusive events. Council membership begins with annual gifts of $10,000 and can be made in convenient monthly or quarterly installments or with gifts of stock. Become an essential member of Opera Philadelphia’s donor family by joining the Council today!

Clockwise from left: General Director & President David B. Devan with General Director’s Council members Sandy and Steve Sheller at the Friends Vocal Recital and Appreciation Reception. Photo by J.R. Blackwell. General Director’s Council members Allen R. and Judith Brick Freedman with Emerging Artist Will Liverman whom they underwrote for the 2014-2015 Season. Photo by Elisa Gabor. General Director’s Council and Encore Society members Don and Dianne Cooney with baritone Jared Bybee at the Season Soirée. General Director’s Council members Robert V. Taglieri and Timothy Moir with Patrons Nancy and James Abbott at the 40th Anniversary Gala. Photo by Michael Branscom.

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MEMBER

T O D AY !

Even when every seat in the house sells out, this dazzling blend of theatrical, orchestral, and vocal splendor requires considerable philanthropic support from within our community.

Play an active role in bringing great opera to Philadelphia while enjoying exclusive benef its that enhance your opera experience.

M E M B E R S E N J OY:

Early access and savings on ticket purchases Invitations to member-only recitals and lectures Behind-the-scenes events like dress rehearsals and backstage tours And much more!

Memberships start at $100 (or only $8 per month)

Photo by Ken Howard, The Santa Fe Opera

VISIT OUR INFORMATION DESK IN THE LOBBY Or, contact Guest Services at 215.732.8400 | membership@operaphila.org

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C O R P O R AT E C O U N C I L The Corporate Council generously supports Opera Philadelphia’s artistic and educational programming through contributions and in-kind donations.

2015–2016 SEASON SPONSORS

Official Hotel

Official Automotive Dealership

Season Media Partners

Official Sponsor of Opera Philadelphia’s Patron Program

Brand Communications Partner

Chariman’s Opening Night Dinner Sponsor

Intermission Reception Sponsor

C O R P O R AT E C O U N C I L M E M B E R S Center City Film and Video

PNC

Universal Health Services

Bank of America

Kalnin Graphics

PECO

Ballard Spahr LLP

Menchey Music

Saks Fifth Avenue

BNY Mellon Wealth Management

Morgan Stanley

Evantine Design

MAC Cosmetics

Exelon Business Services

Moonstruck Restaurant

Termini Bros. Bakery

For more information about sponsorship opportunities, or to join Opera Philadelphia’s Corporate Council, please contact Rachel McCausland, Major Gifts Officer, at 215.893.5909 or mccausland@operaphila.org.

remembering Harold S. roSenblutH 1924-2016

Harold eventually joined his family business, Rosenbluth International, Inc., which had been founded by his grandfather in 1892 to help Eastern European immigrants buy steamship tickets to the United States. Under Harold’s leadership, Rosenbluth International grew considerably; the family sold the business to American Express Co. in 2003, but Harold remained Chairman of Rosenbluth Vacations until his passing at 91 years old.

Rosenbluth Travel carefully planned many Opera Philadelphia patron trips over the years, including recent excursions to Santa Fe, Spain, and Aix-en-Provence. Harold and Franny loved to travel, and they visited more than 100 countries together.

Friends recall that one of Harold’s favorite pasttimes was telling stories about the artists he met while traveling from all over the world, whose works covered the walls of their Haverford home.

Music was one of Harold’s greatest passions, and he and Franny were avid supporters of the arts. In addition to nearly ten years of loyal service on the Opera Philadelphia Board of Directors,

Franny and Harold Rosenbluth.

he was a board member at the Philadelphia Orchestra, and he often organized concerts in his home featuring performances from young local musicians. Harold was a deeply religious man, and was equally committed to interfaith religious activity. He served on the boards of Gratz College, the American Jewish Historical Society, and the Institute for Jewish-Catholic Relations at Saint Joseph’s University, among many others.

Harold’s kind and thoughtful leadership over the years played a critical role in Opera Philadelphia’s history. He could always be counted on to bring warmth and happiness to a room, and his cheerful outlook will be deeply missed both in the board room and the opera house.

Photo by Kelly & Massa.

Harold S. Rosenbluth was a cherished member of the Opera Philadelphia family for nearly 20 years, as a supporter, subscriber, and board member. A native Philadelphian, Harold is an alumni of Central High School and the University of Pennsylvania, where he also received a law degree. While studying at Penn, Harold met Frances (Franny) Baylinson; the two married in 1948 and were married for 67 years.

1 2 - D AY O P E N I N G N I G H T SEPTEMBER 14—25, 2017 Opera Philadelphia’s new, annual festival O makes the soaring song, sound, and soul of opera accessible to aficionados and newcomers alike, while opening the genre to creative opportunity. As a groundbreaking season opener for Opera Philadelphia, O17 will feature twelve days of opera with compelling performances all around the city.

L E A R N M O R E AT O P E R A P H I L A . O R G / F E S T I VA L

Administration LEADERSHIP David B. Devan General Director & President Corrado Rovaris Jack Mulroney Music Director Annie Burridge Managing Director Jeremiah Marks Chief Financial Officer David Levy Senior Vice President, Artistic Operations Michael Bolton Vice President of Community Programs Mikael Eliasen Artistic Advisor Kristy Edmunds Artistic Advisor Peggy Monastra Artistic Advisor Nathan Gunn Director, American Repertoire Council Youngmoo E. Kim Resident Technologist Music Michael Eberhard Artistic Administrator Elizabeth Braden Chorus Master and Music Administrator J. Robert Loy Director of Orchestra Personnel & Orchestra Librarian Sarah Williams New Works Administrator David Hertzberg Composer in Residence David T. Little Composer in Residence

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Production Alexander Farino Production Manager Drew Billiau Technical Production Manager Stephen Dickerson Technical Director Millie Hiibel Costume Director Meggie Scache Production Coordinator MARKETING & MEMBERSHIP Ryan Lewis Director of Marketing & Membership Karina Kacala Marketing Manager Michael Knight Marketing Operations Manager Filiz O'Brien Membership Manager Lucy Clemens Concierge Siddhartha Misra Guest Services Associate DEVELOPMENT Erin Sammis Director of Development Adele Mustardo Director of Events Jennifer Dubin Associate Director, Individual Giving & Patron Services Rachel McCausland Major Gifts Officer Derren Mangum Associate Director of Institutional Giving Nathan Schultz Grants Manager Christina Polet Advancement Research Manager

communications Frank Luzi Director of Communications Aubrey Nagle Communications Manager Katie Dune Graphic Designer Administration Ken Smith Assistant to General Director & Board Relations Coordinator Bethany Steel Assistant to the Managing Director COMMUNITY PROGRAMS Adrienne Bishop Education Coordinator Finance Brian Ramos Controller Counsel Ballard Spahr, LLP General Counsel

opening night gal a F r i d ay, s e p t e m b e r 2 3 , 2 0 1 6

Celebrate the start of Opera Philadelphia’s 42nd Season with a spectacular black-tie Opening Night Gala, located this year in a tented ballroom at Dilworth Park.

Enhance your experience of the kaleidoscopic production of Puccini’s Turandot with this unique party that includes: Elegant cocktails and dinner in the tented ballroom before the performance, a champagne intermission reception in the Academy of Music ballroom, and a dazzling After-Party back in the tent with dessert, dancing, and the cast of Turandot. tWo diFFerent ticKet types:

Full Gala tickets starting at $500 per person After-Party tickets for $100 per person

discover more operaphila.org/gala 215.732.8400

T H E PA S S I O N W I T H I N

STARRING Marco Berti, Stephanie Blythe, Layla Claire, Kiera Duffy, Christine Goerke, Brenda Rae, and more!

MA Z ZO L I / VAV RE K

BREAKING T H E WAV E S Wor l d Pre m i e re S E P T. 22–OCT. 1, 2016

PUCCINI

TURANDOT Op e n in g Night G a l a | SE PT. 23 Op e ra o n t he Ma l l | OCT. 1 S E P T. 23–OCT. 2, 2016

2016-2017 SeaSon

C A SSO L , A F TE R V E RDI

macbeth T h ir d Wor l d Bun figh t Am er ic an P r emier e Tour S E P T. 24 & 25, 2016

RO SSINI

ta n c r e d i Co mpan y P r emier e F E B. 10–19, 2017

MO Z A RT

the marriage of figaro New P r oduc tion AP R. 28–M AY 7, 2017

diScoVer more oPeRaPHILa.oRG | 215.732.8400

HERMÈS BY NATURE