DON GIOVANNI Program | Opera Philadelphia

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CONTENTS

PROGRAM INFORMATION

8 Don Giovanni

12 Synopsis and Running Time 14 Program Notes 19 Artists Bios 24 Up Next: A Coffin in

Egypt

OPERA PHILADELPHIA GENERAL INFORMATION

4 Letter from the Chairman

5 Board of Directors 6 Welcome from the

General Director 27 Leadership Support and

Major Gifts 28 Annual Fund Support 30 Corporate Council 34 Administration

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Photo: 2013 Philip Groshong/Cincinnati Opera

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FROM

THE CHAIRMAN Dear Friends, As Chairman of Opera Philadelphia, I couldn’t be more pleased with the artistic quality of our 39th Season, which continues with a production of Mozart’s classic Don Giovanni.

This has been an exciting and varied season, beginning with the grandeur of Verdi’s Nabucco here in the Academy then shifting to the intimate American Premiere of Svadba-Wedding at FringeArts. In February, we were here for a stunning production of Osvaldo Golijov’s Ainadamar, and then last month we were treated to the Curtis Opera Theatre’s emotional rendering of Dialogues of the Carmelites in the Aurora Series at the Perelman Theater.

The variety of experiences continues May 8 and 10 as we team up with The Philadelphia Orchestra for a co-production of Salome in Verizon Hall, and then in June we welcome the East Coast Premiere of Ricky Ian Gordon’s new chamber opera, A Coffin in Egypt, starring Frederica von Stade.

That ambitious artistic vision was spotlighted in the March issue of the opera industry’s leading publication, Opera News. In an extensive article, the magazine hailed Opera Philadelphia’s arrival as a national center of operatic excellence and vitality. Philadelphia has become a go-to place for opera lovers from far and wide. As the article states, “One would think it’s impossible to find such an exciting opera company in such close proximity to New York. But this one seems to be defying the force of gravity.”

None of these things, of course, would be possible without our core family of supporters. Your patronage is what has enabled us to imagine a future for opera that is vibrant and relevant, and we can’t thank you enough.

As we enjoy Mozart’s Don Giovanni, featuring some of the most successful Philadelphia-trained singers of all time (including three Metropolitan Opera National Council Audition Winners), I hope you feel the same pride that I do in what we have accomplished together.

Best Regards,

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 Joel M. Koppelman, Vice Chair Alice Strine, Esq., Vice Chair Scott F. Richard, Secretary Thomas Mahoney, Treasurer Stephen A. Madva, Esq., Chairman Emeritus

Benjamin Alexander

Ellen Berman Lee

Alice Strine, Esq.

Sandra Baldino

Gabriele Lee

Kenneth R. Swimm

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

Peter Leone

Maria Trafton

Willo Carey

Stephen A. Madva, Esq.

Charlotte Watts

Nicholas Chimicles, Esq.

Thomas Mahoney

Donna Wechsler

Ady L. Djerassi, M.D.

Daniel K. Meyer, M.D.

Ehab Hammad

Agnes Mulroney

Honorary Members

Mark Hankin

Scott F. Richard

Dennis Alter

Frederick P. Huff

Harold Rosenbluth

Alan B. Miller

Caroline Kennedy

Stephen G. Somkuti, M.D.

H.F. (Gerry) Lenfest

Joel M. Koppelman

Jonathan H. Sprogell

Beverly Lange, M.D.

James B. Straw

List as of April, 2014 *Ex officio

5

WELCOME Dear Friends, Welcome to Don Giovanni, a work of art many scholars, critics, and fans regard as one of the greatest operas ever composed. Whether this is your first time seeing this opera or your 101st, you are in for a special treat tonight, as an amazing cast of singers bring life to this timeless classic of comedy and tragedy set to music of limitless genius.

When Opera Philadelphia set out to cast this production of Don Giovanni, we listened to some of opera’s finest young talents. And a funny thing happened on the way to the Academy. As we were casting these roles, we kept finding these great, nationally-renowned singers who had connections to Philadelphia. Elliot Madore, Amanda Majeski, and Joseph Barron all trained at the Curtis Institute of Music, while Michelle Johnson, Wes Mason, and Nicholas Masters are graduates of the Academy of Vocal Arts. In many ways, we have assembled an all-star Philadelphia cast, and that makes us especially excited to share this incredible production with our great city.

Working with opera’s rising talent right here in our backyard is one of the great joys of my job as General Director of Opera Philadelphia. Next season, as we celebrate our 40th Anniversary, we’ll welcome home locally-born or trained stars like Eric Owens, Stephen Costello, Ailyn Pérez, Jonathan Beyer, and Taylor Stayton, while continuing to present our annual co-production with Curtis Opera Theatre.

As you enjoy tonight's performance, take pride in the fact that Philadelphia had a hand in honing the amazing talents on stage.

Sincerely,

D AV I D B . D E VA N GENERAL DIRECTOR & PRESIDENT @ddevan

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OPERA PHILADELPHIA

Don Giovanni

Music Wolfgang Amadeus Mozart Text Lorenzo da Ponte

Conductor George Manahan*

Director &

Set Design Nicholas Muni

Costume Design David Burdick* Lighting Design Japhy Weideman*

Choreographer R. Colby Damon*

Chorus Master Elizabeth Braden

Wig & Makeup Design David Zimmerman

Fight Director Payson Burt *Opera Philadelphia debut

Don Giovanni CAST THE

DON GIOVANNI Elliot Madore

LEPORELLO Joseph Barron

DONNA ANNA Michelle Johnson

ZERLINA Cecelia Hall*

DONNA ELVIRA Amanda Majeski

MASETTO Wes Mason*

DON OTTAVIO David Portillo

COMMENDATORE Nicholas Masters*

*Opera Philadelphia debut

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SYNOPSIS Approximate running time for Don Giovanni is three hours, including one 20-minute intermission Don Ottavio receives a note from his fiancée Donna Anna, inviting him to her room that evening, but decides to preserve her purity until their impending wedding night. Meanwhile Don Giovanni decides to disguise himself as Ottavio and seduce the beautiful Anna.

Leporello’s existence as Giovanni’s man-servant is a living nightmare and he prays for a reversal of fortune so that he can play the part of a nobleman. Suddenly his master emerges from the palace, pursued by the Commendatore’s daughter, Donna Anna, whom Giovanni had attempted to seduce.

Their struggle is interrupted by the Commendatore and his guards who confront the intruders. In the ensuing duel, Don Giovanni kills the elder nobleman and escapes. Donna Anna returns with her fiancé, too late to save her father, and swears an oath of vengeance.

Donna Elvira arrives in Seville to track down Don Giovanni, the man she believes to be her husband, who has abandoned her. Giovanni, attracted to this unknown woman, approaches and is shocked to discover her identity. After some sweet talk, he manages to escape, leaving Leporello to destroy Elvira’s delusion of having a faithful husband by showing her an inventory of the Don’s 2,065 amorous conquests, organized by country. Shattered by this news, she swears vengeance.

A group of peasants arrive in celebration of the wedding ceremony of Zerlina and Masetto.

Giovanni happens upon the joyous scene and immediately begins to seduce the young bride, much to the chagrin of her new husband, who storms away in a rage. Elvira enters to thwart Giovanni’s seduction, successfully warning the girl of his treacherous nature (“Ah, fuggi il traditor!” – “Flee from the traitor!”). Anna and Ottavio arrive, seeking Giovanni’s aid in finding her father’s assassin and once again, Elvira interrupts, begging the two nobles not to trust their “friend”. As Giovanni is about to leave, Anna suddenly realizes that it is Giovanni himself who assaulted her and killed her father. She renews her demand for vengeance to Ottavio.

Giovanni orders Leporello to throw the party of all parties, vowing to add a dozen conquests to the catalog (“Fin ch’han dal vino calda la testa” – “Till they are tipsy”). Zerlina begs Masetto’s forgiveness for her behavior and assures him that she did not succumb to the advances of the Don. However, when the Don appears, the jealousies of the bridegroom flare up again. Dance music is heard in the distance and Anna, Elvira, and Ottavio, who have arrived incognito to save the peasant girls from Giovanni, are invited into the palace.

At the party, Giovanni takes advantage of the drunken chaos to seduce Zerlina. When she screams out in terror, the three masked guests reveal their identities and threaten Giovanni, who cleverly escapes their clutches.

Intermission

Philip Groshong, Cincinnati Opera, 2013

12

Leporello is furious and threatens to leave his service but Giovanni bribes him to stay and to exchange clothing with him, so that he can more easily seduce Elvira’s maid. Elvira enters instead, forcing Leporello to impersonate his master and eventually lead her away, leaving Giovanni to serenade her maid (“Deh vieni alla finestra” – “Ah, come to the window”). Masetto enters, bearing firearms with which he intends to murder Giovanni. Convincing Masetto that he is Leporello, the Don beats him mercilessly. Zerlina arrives on the scene to console her wounded husband with tender care.

Leporello, still in disguise as his master, leads Elvira into a dark grotto in order to escape her clutches, but instead is cornered by Anna, Ottavio, Zerlina and Masetto, all thinking he is Giovanni and exacting their revenge. The servant finally reveals his true identity and manages to escape by the skin of his teeth.

Don Giovanni and Leporello meet at the burial site of the Commendatore and resume their own identities. Giovanni’s laughter rouses an unearthly voice, emanating from the Commendatore’s statue and uttering a dire warning. As a jest, Giovanni forces his petrified servant to invite the statue to dinner. To their surprise, the voice answers in acceptance. Anna and Ottavio visit the gravesite, where she insists on delaying their marriage until a proper period of mourning has passed. But Ottavio, fearing she harbors secret feelings of desire for Giovanni, storms away, leaving the deeply confused Anna to beg heaven’s forgiveness for her sins.

While Giovanni dines, awaiting the arrival of his “guest”, Elvira enters, making a final, desperate attempt to convince her beloved to save his soul by changing his way of life, but in return she receives only his harsh mockery (“L’ultima prova dell’amor mio” – “The final proof of my love”).

Suddenly the statue of the Commendatore appears, demanding that the Don repent his dissolute life at his final hour. Don Giovanni resolutely refuses. Time has run out. Demons drag him to eternal damnation.

SUMMER CLASSICS “...among the finest summer vacations that you might ever enjoy.” ARTHUR FROMMER ANNAPOLIS, MD | JUNE 22-27 SEMINAR SELECTIONS Mozart’s Don Giovanni and Two Preceding Plays Mozart’s opera of love, lust, intrigue, murder, hilarity, defiance, revenge, and punishment is preceded by two plays about this young, freedomloving, faithless lover. Participants will discuss and analyze Mozart’s score after reading Tirso de Molina’s The Trickster of Seville and Moliere’s Don Juan.

Portrait of a Lady Henry James The Canterbury Tales Geoffrey Chaucer Thus Spoke Zarathustra Friedrich Nietzsche

www.sjc.edu 410-626-2530 kathy.dulisse@sjc.edu Summer Classics is also available at our Santa Fe, NM campus.

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NOTES FROM THE PRODUCTION TEAM Don Giovanni tells the story of a libertine who decides to seduce the daughter of the Commander of the Order of Calatrava and subsequently kills him in a duel fought over her honor. After a number of misadventures and confrontations with other characters, Giovanni provokes the spirit of the Commander, who returns to demand repentance from the libertine, who steadfastly refuses. His soul is then sent to eternal damnation.

Libertine - Liberty - Liberal - Liberate The root meaning of these four words share the concept of freedom (in the case of the word libertine, in a pejorative sense).

Referencing the ideal of “life, liberty and the pursuit of happiness,” where is the line drawn between freedom of choice and the pursuit of personal freedom to the detriment of society at large? That may be the central question posed by this opera and much of the dramatic tension lies in the ambiguity it engenders.

Knights in Society When Don Giovanni encounters Zerlina and Masetto in Act I, he is immediately recognized and addressed as “cavaliere” (knight). He is not just a nobleman, but a Knight—most probably a Knight of Calatrava, as is the Commendatore. The Chivalric Code of Knighthood dates back to the Crusades, when men of standing were sanctioned by the Pope to do battle in the name of the Church. Thereafter, these specially trained and outfitted warriors maintained a special status in society as protectors of the weak, and especially as defenders of the honor of women. Because Giovanni is a Knight, anyone encountering him would assume that he was beyond moral reproach, especially with regards to behavior towards women. This is why, when Masetto objects to Zerlina remaining alone with Giovanni, Zerlina can justifiably say “Va, non temere, nelle mani son io d’un cavaliere” (Go, no need to be concerned, I am in the hands of a Knight). It is this sacred status that Giovanni abuses in his seduction of women by gaining their immediate trust due to his status as a cavaliere.

14

Marriage Customs In 18th century western European culture, there were three phases of the marriage process. First was the promessa (the promise) or contract, now commonly known as the engagement. At this juncture, the man and woman could call each other sposo or sposa.

Then there was the religious ceremony, after which they could address each other as marito or moglia. And finally, a very important ceremony: the consummation. It was only after a successful consummation that the marriage was considered complete.

During this ceremony, the man could discover, unequivocally, whether his bride was a virgin and the bride could discover, unequivocally, if the groom was potent. A lacking in either of these conditions was grounds for the annulment of the marriage.

In Don Giovanni, all three phases of marriage are represented: Anna and Ottavio are engaged and call each other sposo/sposa; Zerlina and Masetto have completed the church ceremony and can address each other as marito/moglia (they also continue to use the term sposo/sposa, as newlyweds); Don Giovanni and Elvira have completed all three phases—although in the very compressed time period of three days. With this custom in mind, we can better understand that although Masetto and Zerlina have gone through the church ceremony and are officially man and wife, the marriage has not yet been consummated and is, therefore, incomplete. Hence, Zerlina is not in violation of the law when agreeing to marry Giovanni during “La ci darem la mano.”

Vengeance (Vendetta) or Justice (Giustizia) The distinction between vendetta and giustizia was an important one in 18th century Catholic culture. For a practicing member of the Catholic faith, taking part in a vendetta was a mortal sin. A wronged party was expected to await la giustizia del ciel (the justice of heaven) or justice through juris prudence. The notion that one took justice into one’s own hands, while still practiced, was associated with heathens and heretics and deplored by the Church. Donna Anna, daughter of a high-ranking official within the Order of Calatrava, is most certainly deeply

religious. The original audience probably found her call for a vendetta shocking, especially since she is a woman. As the piece progresses, there is an interesting evolution on the part of Don Ottavio. First, he makes a giuramento (sacred pledge) to avenge Anna, then calls for a vendetta and promises stragi e morti (slaughter and death). But in the penultimate scene, he suddenly advises Anna to submit to i voleri del ciel (the wishes of heaven). Why this shift? It could be that by that point in the story, Giovanni is believed to be a demon and must be left to the devices of the Church (exorcism or burning at the stake) and God. Salvation In one sense, Don Giovanni can be viewed as a treatise on the Catholic concepts of compassion, redemption and salvation.

These notions are expressed through two characters: Donna Elvira and the Commendatore. Elvira’s evolution from

vengeful woman to compassionate redeemer is made explicit by her Act II aria, “Mi tradi.” The Commendatore’s shift is more mysterious. It is commonly portrayed that the Commendatore’s spirit (or statue) seeks vengeance on his killer. This interpretive choice is probably based on the inscription on his tomb: “Dell’ empio chi mi trasse al passo estremo qui attendo la vendetta” (Here I await vengeance on the wicked man who killed me). But we should remember that the Commendatore could not have written this inscription. Most likely, his daughter Anna wrote it and commissioned its carving into stone. What if the Commendatore’s spirit is motivated by compassion and that his goal is to save Giovanni’s soul by convincing him to repent?

Our entire team hopes you enjoy Don Giovanni as much as we have cherished our time in exploring this most fascinating, endlessly stimulating opera.

COSTUMES OF DOWNTON ABBEY March 1, 2014–January 4, 2015

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OPERA PHILADELPHIA ARTISTIC Assistant Director............... Amanda Consol Assistant Conductor & Principal Pianist........... Bénédicte Jourdois

Musical Assistant............... Matthew Brower Supertitle Operator.............. Tony Solitro

PRODUCTION/TECHNICAL Technical Director .............. Christopher Hanes Stage Manager ................... Jennifer Harber Properties Coordinator........ John Bryant Master Electrician............... David Cecil Properties............................ Paul Lodes Flyman................................ John Damiani Assistant Electrician........... William Hennessy Assistant Stage Managers......................... Trevor Regars

Becki Smith

Cutters/Drapers.................. Nell Unrath

Rachel Ford Costume Shop Assistant..... Stephen Smith Wardrobe Supervisor........... Elisa Murphy Hair & Make-up Coordinator...................... Stephanie Williams

Glenna Williamson Captain of the Supernumeraries.............. David Tukey

Production from the Cincinnati Opera. Projected supertitles written by Nicholas Muni.

SUPERNUMERARIES: Maureen Broadbent, Lauren Cifoni, Brenna Markey, Elizabeth Nicolas, Lisa Panzer, Rebecca Schaffer, Kristine Terrado, Andrew Arcangeli, Jeffrey Moorhead, David Pica, Cody Swanson, David Tukey, Christopher Latzke Opera Philadelphia performs at the Academy of Music and the Perelman Theater, and is a Resident Company of the Kimmel Center for the Performing Arts. All photography and video or audio recording of this performance is strictly prohibited.

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

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

Patrons who need special assistance should contact an usher.

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Opera Philadelphia kicks off its landmark 40th Anniversary Season with a star-studded Gala on Friday, September 12, 2014.

From the stage of the Academy of Music out onto the glorious Avenue of the Arts, celebrate Opera Philadelphia’s legacy under the stars. The spectacular evening features a recital by soprano Ailyn Pérez and tenor Stephen Costello, Vanity Fair’s “match made in verismo heaven.” The duo, who met as students at Philadelphia’s Academy of Vocal Arts, come home to celebrate on the stage where they’ve dazzled in productions like Carmen, Cyrano, and Romeo & Juliet.

This once-in-a-lifetime event features:

elegant Cocktail reception in the Academy of Music Thrilling recital from soprano Ailyn Pérez and tenor Stephen Costello live and Silent Auctions dinner and dancing in a tented ballroom on broad Street Appearances from Opera Philadelphia stars, past and present

Mark your calendars for this spectacular event and the start of Opera Philadelphia’s exciting 40 th Anniversary Season!

M O R E I N F O R M AT I O N AT O P E R A P H I L A . O R G / G A L A T I c k E T S O N S A L E AT 2 1 5 . 8 9 3 . 5 9 3 4

ARTISTS JOSEPH BARRON Bass-baritone (Pittsburgh, Pennsylvania) LEPORELLO 2012 Montano, Otello Recent Activities: Prophet/ Larry King, Dark Sisters, Pittsburgh Opera; Policeman/Gentleman, The Nose, Metropolitan Opera; Follower/Fishmonger, Gospel of Mary Magdalene, San Francisco Opera.

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ELIZABETH BRADEN (Easton, Pennsylvania) CHORUS MASTER

2013 Nabucco 2006 Margaret Garner 2004 The Grand

Duchess of

Gerolstein (Partial Listing)

Live Piano Nightly

Recent Activities: Director of Music, Wallingford Presbyterian Church; Chorus Master, Dialogues of the Carmelites, Curtis Opera Theatre; Chorus Master, Aindamar, Opera Philadelphia.

PAYSON BURT (Philadelphia, Pennsylvania) FIGHT DIRECTOR 2013 2012

Silent Night Dark Sisters

Recent Activities: Twelfth Night, AMDA/Los Angeles; Cat on a Hot Tin Roof, Pennsylvania Shakespeare Festival; King Hedley II, Mark Taper Forum.

R. COLBY DAMON (Richmond, Virginia) CHOREOGRAPHER Opera Philadelphia debut.

Recent Activities: "Let Me Live," Shut Up and Dance, Pennsylvania Ballet; Affected Effect, Charlottesville Ballet; Infected, BalletX.

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ARTISTS CECELIA HALL Mezzo-soprano (Durham, North Carolina)

ELLIOT MADORE Baritone (Toronto, Ontario) DON GIOVANNI

ZERLINA

2009 Yamadori, Madama

Butterfly

Opera Philadelphia debut.

Recent Activities: Annio, La clemenza di Tito, Lyric Opera of Chicago; Spotlight Recital, Marilyn Horne’s “The Song Continues” Festival, Carnegie Hall; Dorabella, Così fan tutte, North Carolina Opera.

Recent Activities: Guglielmo, Così fan tutte, Opernhaus Zurich; Ramiro, L’heure espagnole, Saito Kinen Festival; Lysander, The Enchanted Island, Metropolitan Opera.

MICHELLE JOHNSON Soprano (Pearland, Texas)

AMANDA MAJESKI Soprano (Gurnee, Illinois)

DONNA ANNA

DONNA ELVIRA

2012 Title role, Manon Lescaut

2007

Recent Activities: Mimì, La bohème, Annapolis Opera and PORTopera; Soloist, Verdi’s Requiem, Orquesta Sinfónica del Principado de Asturias; Title role, Aida, Opera Santa Barbara.

Countess Ceprano, Rigoletto

Recent Activities: Vitellia, La clemenza di Tito, Lyric Opera of Chicago; Marguerite, Faust, Opernhaus Zurich; Title role, Rusalka, Oper Frankfurt.

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ARTISTS GEORGE MANAHAN (Atlanta, Georgia)

NICHOLAS MASTERS Bass (Philadelphia, Pennsylvania)

CONDUCTOR

COMMENDATORE

Opera Philadelphia debut.

Opera Philadelphia debut.

Recent Activities: Dolores Claiborne, San Francisco Opera; Salome, Portland Opera; Lucia di Lammermoor, Portland Opera.

WES MASON Baritone (Norfolk, Virginia)

Recent Activities: Parsi Rustomji/Lord Krishna, Satyagraha, English National Opera; Colline, La bohème, Houston Grand Opera; Robert, Les vêpres siciliennes, Caramoor Festival Opera.

NICHOLAS MUNI (Sewell, New Jersey)

MASETTO Opera Philadelphia debut.

DIRECTOR & SET DESIGN

Recent Activities: Title role, Hamlet, Fort Worth Opera; Curly, Oklahoma!, Utah Festival Opera Musical Theater; Zurga, The Pearl Fishers, Opera Delaware.

1987

Boris Godunov

Recent Activities: Così fan tutte, The Academy of Vocal Arts; Elektra, Michigan Opera Theater; Payne Hollow and The Turn of the Screw, Bard Conservatory of Music.

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LIGHTING DESIGNER Opera Philadelphia debut.

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DAVID ZIMMERMAN (Mt. Pleasant, Texas) WIG & MAKE-UP DESIGN 2014 Ainadamar 2013 Silent Night 2013 The Magic Flute (Partial Listing) Recent Activities: Wig and Makeup design for The Metropolitan Opera, The Dallas Opera, Santa Fe Opera, and Paris National Opera; Magazine features for Opera News, The New Yorker, and Vanity Fair.

OPERA PHILADELPHIA ORCHESTRA

CORRADO ROVARIS, JACK MULRONEY MUSIC DIRECTOR VIOLIN I Sophia Kessinger, Concertmaster Igor Szwec, Assistant Concertmaster Barbara Sonies Diane Barnett Mei Chen Liao-Barnes Yan C. Simmons Elizabeth Kaderabek Donna Rudolph Erica Miller Charles Parker

VIOLIN II Emma Kummrow, Principal Dayna Anderson, Assistant Principal Karen Banos Sarah Dubois Paul Reiser Luigi Mazzocchi Lisa Vaupel Alexandra Cutler-Fetkewicz

VIOLA Jonathan Kim, Principal Carol Brisselli, Assistant Principal Julie DiGaetani Ellen Trainer Elizabeth Jaffe Zoe Martin-Doike

FLUTE Adeline Tomasone, Principal Eileen Grycky

TRUMPET Brian D. Kuszyk, Principal Steven Heitzer

CELLO Priscilla Lee, Principal Vivian Barton-Dozor, Assistant Principal Dane Anderson Brooke Beazley-Cyzewski David Moulton

BASS Miles B. Davis, Principal James Freeman Assistant Principal Anne Peterson

CLARINET TIMPANI Joseph A. Smith, Principal Martha Hitchins, Principal Alison Herz MANDOLIN BASSOON Patrick Mercuri Norman Spielberg,

Principal Michael Pedrazzini

TROMBONE OBOE Robert Gale, Principal Geoffrey Deemer, Principal Edward Cascarella Dorothy Freeman Phil McClelland

FRENCH HORN John David Smith, Principal Angela Cordell

OPERA PHILADELPHIA CHORUS SOPRANO Veronica Chapman-Smith Noël Graves-Williams Valerie Haber Aimee Pilgermayer Evelyn Santiago Lisa Helmel Thomas

ALTO Jennifer Beattie Margaret CaldwellBlanchard Joanna Gates Katherine Mallon-Day Ellen Grace Peters Teresa Washam

TENOR Matthew Cox Ryan Fleming A. Edward Maddison Daniel Taylor Paul Vetrano Steven Williamson

BASS Jeffrey Chapman Chris Hodges John David Miles Frank B. Mitchell III Robert Phillips Lourin Plant

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The EITC program provides lucrative tax credits to eligible businesses who contribute to approved educational programs. Tax credits may be applied against the tax liability for the tax year in which the contribution was made.

Businesses may receive up to 90% of their contribution amount towards their Pennsylvania business taxes.

Applications for businesses are accepted beginning July 1, 2014, and credits are awarded on a first come, first served basis.

To learn more, visit operaphila.org/eitc or contact Derren A. Mangum, Manager of Institutional Giving, at 215.893.5924 or mangum@operaphila.org.

Photo: Diane Mattis

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A COF F I N I N EG Y P T I S A S TA R V EHI CLE F OR LEG E N D A RY MEZZO F REDE RI C A VO N S TA D E E A S T C O A S T P R E M I E R E | J U N E 6 – 1 5 , 2 0 1 4 | P E R E L M A N T H E AT E R

A Coffin in Egypt is a chamber opera in one act, based on the play of the same name by Pulitzer Prize-winning playwright Horton Foote (1916-2009). Co-commissioned and co-produced by Houston Grand Opera, Opera Philadelphia, and The Wallis Annenberg Center for the Performing Arts, it tells the story of 90-year-old grand dame Myrtle Bledsoe (von Stade), who has outlived her philandering husband, Hunter (actor David Matranga), her daughters, and virtually everyone else in Egypt, Texas. In this tale of adultery, deception, murder, and lost beauty, Myrtle is determined to finally free herself of all the anger, resentment, and hate that has ruled her life.

The Houston Press hailed the role as “a first-rate star vehicle for a first-rate stage performer.” The beloved Flicka, as von Stade is known, carries the piece as she reflects on her life in a powerhouse performance, accompanied by four non-singing actors and a quartet of gospel singers heard from an African-American church adjacent to the Bledsoe plantation.

Lynn Lane

Legendary mezzo-soprano Frederica von Stade has performed many of opera’s greatest roles in her storied career that began in 1970. In June, she makes her Opera Philadelphia debut in an incredible role written just for her, in the East Coast Premiere of A Coff in in Egypt, a new opera by composer Ricky Ian Gordon and librettist/director Leonard Foglia.

“I’ve heard Flicka’s voice since I was a child—she’s been singing since I grew to love singing—so it was easy to write for her,” said Gordon. “The piece fits her like a glove.”

“Her liveliness as a singing actress makes Myrtle a commanding figure.”

THE HOUSTON CHRONICLE

“Frederica von Stade creates a ravishing heroine who is part Scarlett O’Hara, part Aurora Greenway, but always wholly human.”

THE HOUSTON PRESS

“Mezzo heaven!”

T H E AT E R J O N E S

“Absorbing.”

THE FINANCIAL TIMES The Aurora Series is generously underwritten by the Wyncote Foundation.

Production underwritten in part by the Aaron Copland Fund for Music.

TICKETS NOW ON SALE OPERAPHILA.ORG | 215.893.1018

M A K E A D I F F E R E N C E B Y PA R T I C I PAT I N G I N T H E O P E R A’ S A N N U A L G I V I N G P R O G R A M W H I L E E N H A N C I N G Y O U R O P E R AT I C E X P E R I E N C E WITH EXCLUSIVE DONOR BENEFITS.

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

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

For more information about Annual Giving or for a complete list of donor benefits, please contact Jennifer Dubin, Associate Director, Annual Fund and Development Services, at 215.893.5908 or dubin@operaphila.org OFFICIAL SPONSOR OF O P E R A P H I L A D E L P H I A’ S PAT R O N P R O G R A M

GET INVOLVED: OPERAPHILA.ORG/ANNUAL-GIVING

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

THE CHAIRMAN’S COUNCIL Opera Philadelphia’s Chairman’s Council is a passionate group of philanthropists committed to ensuring that the future of opera is right here in Philadelphia.

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

F O R M O R E I N F O R M AT I O N ,

Opera at the Perelman Theater, our

C O N TA C T:

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

Clockwise from top: Rita and Philip Harper.

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

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

ACADEMY HOUSE 1420 LOCUST STREET SUITE 210 P H I L A , PA

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

Mikael Eliasen Artistic Advisor

Nathan Gunn Director, American Repertoire Council

Gary Gansky Chief Financial Officer & Senior Vice President

Annie Burridge Senior Vice President, Institutional Advancement

David Levy Senior Vice President, Artistic Operations

Michael Bolton Vice President of Community Programs

MUSIC Michael Eberhard Artistic Administrator Elizabeth Braden Chorus Master and Music Administrator J. Robert Loy Director of Orchestra Personnel & Orchestra Librarian Sarah Williams New Works Administrator Colleen Hood Music Staff Assistant Lembit Beecher Composer in Residence Missy Mazzoli Composer in Residence Andrew Norman Composer in Residence PRODUCTION Alexander Farino Production Manager Drew Billiau Technical Production Manager Christopher Hanes Technical Director Millie Hiibel Costume Director Elizabeth Larsen-Silva Production Coordinator 34

INSTITUTIONAL ADVANCEMENT Christina Deemer Director of Annual Giving Ryan Lewis Director of Marketing Frank Luzi Director of Communications Lucy Clemens Director of Audience Services Adele Betz Director of Events Jennifer Dubin Associate Director, Annual Fund & Development Services Karina Kacala Marketing Manager Derren Mangum Manager of Institutional Giving Rachel McCausland Manager, Leadership & Legacy Giving Michael Knight Assistant Director, Audience Services and Group Sales Katie Dune Multimedia Communications Coordinator Sarah Johnson Donor Services Coordinator

ADMINISTRATION Ken Smith Assistant to General Director & Board Relations Coordinator Maurice Marietti Personnel Manager COMMUNITY PROGRAMS Adrienne Bishop Community Programs Assistant FINANCE Maureen McHale Senior Accountant COUNSEL Montgomery, McCracken, Walker & Rhoads LLP General Counsel

2014–2015

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The bARbeR Of seVIlle S E P T. 2 6 – O C T. 5 , 2 0 1 4 ACADEMY OF MUSIC

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East Coast Premiere

FEb. 6–15, 2015 ACADEMY OF MUSIC

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MARCh 4–8, 2015 P E R E l M A n T h E AT E R

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DON CARlO A P R I l 2 4 – M AY 3 , 2 0 1 5 ACADEMY OF MUSIC

s C h N y D e R / w I M b e R ly

C h A R l I e pA R k e R ’ s yA R D b I R D World Premiere

JUnE 5–14, 2015 P E R E l M A n T h E AT E R The AurorA SerieS AT The PerelmAn TheATer iS underwriTTen by The wyncoTe FoundATion

subsCRIpTIONs ON sAle NOw OpeRAphIlA.ORG | 215.732.8400

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