A MIDSUMMER NIGHT'S DREAM program

BRITTEN

A MIDSUMMER NIGHT’S DREAM A FPERBI R L U2A 7,R Y2 98,, M 10 AY , 125,, 417, , 6 ,2 0 21 09 18 AC ADEMY OF MUSIC Part of the Kimmel Center for the Performing Arts

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Table of CONTENTS 04 From the Board Chairman 05 B oard of Directors 06 Welcome from The General Director & President 08 A Midsummer Night's Dream 10 Cast 12 S ynopsis 14 Program Note 16 Artists

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Orchestra & Chorus The Picture of Giving Leadership Giving Annual Giving Planned Giving Administration Up Next: La bohème

Robert Carsen’s celebrated staging of A Midsummer Night’s Dream makes its U.S. production premiere.

Photo by Patrick Berger.

OnStage Publications, Advertising: 937-424-0529 | 866-503-1966, korlowski@onstagepublications.com | onstagepublications.com This program is published in association with OnStage Publications, 1612 Prossser Avenue, Kettering, OH 45409.

This program may not be reproduced in whole or in part without written permission from the publisher.

JBI Publishing is a division of OnStage Publications, Inc. Contents © 2018. All rights reserved. Printed in the U.S.A.

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From the BOARD CHAIRMAN Dear Friends, At last Robert Carsen’s beloved production of Benjamin Britten’s A Midsummer Night’s Dream appears in Philadelphia. Our revival director Emmanuelle Bastet, who assisted at the production’s debut at Festival d’Aix-en-Provence in 1991, has rekindled its magic in more than twenty venues since then—most recently in Norway and China— but never, until now, has it been seen in the United States.

These days Opera Philadelphia might be best known for its generation of new operas; new works the company had a hand in developing over the last decade have earned numerous awards and enjoyed several hundred performances in scores of cities over five countries. We’ve developed innovative new productions of operas from the canon—often in partnership with other distinguished opera companies—that have traveled the world. Even as we enjoy Midsummer, for instance, audiences in Vienna are gathering for the European premiere of the extraordinary production of Lucia di Lammermoor that premiered here in September as part of Festival O18.

And in the Spring our production of La bohème returns home to us from its own European tour.

Then there are opera productions, developed elsewhere, so thoughtful and so intriguing that Opera Philadelphia’s role is to make sure you have an opportunity to see them here, in Philadelphia. The production you’re seeing is of that caliber.

These two artistic commitments—to represent our City to the world of opera and to represent great opera to Philadelphia—demand great dedication on the part of our brilliant staff.

Those commitments also require extraordinary support from our donors. Thank you, on behalf of our Board of Directors, to all of our patrons, including those many of you who responded generously to our end-of-calendar-year appeal. And thanks particularly to Barbara Augusta Teichert—my super-knowledgeable new colleague on Opera Philadelphia’s Board of Directors— for joining my wife Judy and me as production underwriters for A Midsummer Night’s Dream.

Peter Leone Chairman

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Board of DIRECTORS OFFICERS

MEMBERS

HONORARY MEMBERS

Peter Leone Chairman of the Board Charles C. Freyer Vice Chair Caroline J. MacKenzie Kennedy Vice Chair Dr. Eugene E. Stark, Jr. Secretary Thomas Mahoney Treasurer David B. Devan* President Benjamin Alexander Sandra K. Baldino Willo Carey Katherine Christiano Ady L. Djerassi, M.D. Mikael Eliasen Allen R. Freedman Charles C. Freyer Alexander Hankin Frederick P. Huff Caroline J. MacKenzie Kennedy Beverly Lange, M.D. Peter Leone Thomas Mahoney Sarah Marshall Daniel K. Meyer, M.D. Immediate Past Chairman Agnes Mulroney Carolyn Horn Seidle Jonathan H. Sprogell Dr. Eugene E. Stark, Jr. Kenneth R. Swimm Barbara Augusta Teichert Maria Trafton Donna Wechsler Kelley Wolfington Dennis Alter H.F. (Gerry) Lenfest † Stephen A. Madva, Esq. Chairman Emeritus Alan B. Miller Alice W. Strine, Esq. Charlotte Watts

*Ex officio

†

Deceased

List as of January 2019

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From the GENERAL DIRECTOR Dear Friends, Several years ago, while visiting Festival d'Aix-en-Provence, I sat down to see a performance of Britten’s A Midsummer Night’s Dream alongside my colleague David Levy, Vice President of Artistic Operations. Three hours later, after we had both been charmed and dazzled and amazed by what we had just witnessed, we turned to one another and simultaneously declared, “We have to do this in Philadelphia!”

And here we are, proudly presenting the American premiere of Robert Carsen’s production that hasn’t seemed to have aged a day in its 25+ years of touring the world. This opera has it all: the music of Britten; the classic, brilliant source material created by William Shakespeare; a divine cast of singers; a prominent role for the Philadelphia Boys Choir; and our maestro, Corrado Rovaris, leading it all from the podium.

The amazing cast features a wonderful mix of artists, many who are making their Opera Philadelphia debuts. Leading the merry band of newcomers are countertenor Tim Mead as Oberon, soprano Anna Christy as Tytania, soprano Georgia Jarman as Helena, and actor Miltos Yerolemou as Puck. You will come to love all of them just as you’ve delighted in the past performances by returning stars like Siena Licht Miller as Hermia, Brenton Ryan as Lysander, Johnathan McCullough as Demetrius, and Matthew Rose as Bottom.

This production kicks off a busy winter/spring season at Opera Philadelphia. In March, we’ll co-present Mozart’s Don Giovanni with Curtis Opera Theatre at the Kimmel Center for the Performing Arts. April marks the return of our beloved La bohème with sets and costumes inspired and enlivened by Impressionist masterpieces from the Barnes Foundation and the Philadelphia Museum of Art. We’ll then close out the year in May, again in partnership with Curtis Opera Theatre, with a double bill of Ralph Vaughan Williams’ Riders to the Sea and Empty the House by Opera Philadelphia Composer in Residence Rene Orth.

It is clearly a great time to be an opera lover in Philadelphia, and I thank all of you for joining us for this performance and for your continued support.

David B. Devan General Director & President @DDEVAN 8

PROTECTING THE WILDEST JUNGLES ON THE PLANET.

MAIN STREET. PRESCHOOL. THE PLAYGROUND. The environment isn’t just some far off place. It’s the lawn under our feet, the food on our plate, and the air we breathe. To learn more, go to NRDC.org.

And help protect the jungle creatures in your backyard.

Because the environment is everywhere.

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A MIDSUMMER NIGHT’S DREAM U.S. Production Premiere Production of the Festival d'Aix-en-Provence & Opéra National de Lyon By arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.

Music / Benjamin Britten Libretto / Benjamin Britten & Peter Pears Based on the play by William Shakespeare Conductor / Corrado Rovaris Director & Lighting Designer / Robert Carsen* Revival Director / Emmanuelle Bastet* Choreographer / Matthew Bourne* Revival Choreographer / Shelby Williams* Set & Costume Design / Michael Levine* Lighting Design / Peter Van Praet* Revival Lighting Design / Adrian Plaut* Wig & Make-up Design / David Zimmerman Assistant Director / Seth Hoff Chorus Master / Elizabeth Braden Children’s Chorus Master / Jeffrey Smith Stage Manager / Lisa Anderson *Opera Philadelphia debut

Opera Philadelphia expresses our deepest thanks to the following Midsummer underwriters: Production / Barbara Augusta Teichert Opera at the Academy / Judy and Peter Leone Opera Philadelphia Orchestra / Alice and Walter Strine, Esqs.

Corrado Rovaris / Dr. Beverly Lange and Dr. Renato Baserga 10

Creative Team / Dr. Renée Rollin

Did You Know?

Young people who participate in the arts for at least three hours on three days each week through at least one full year are:

• 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance • 4 times more likely to win an award for writing an essay or poem

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CAST Oberon / Tim Mead* Performance underwritten by Carolyn Horn Seidle Tytania / Anna Christy* Performance underwritten by Carolyn Horn Seidle Puck / Miltos Yerolemou* Performance underwritten by Katherine and Andrew Christiano Helena / Georgia Jarman* Performance underwritten by Sarah and Brad Marshall Hermia / Siena Licht Miller Performance underwritten by Carol and Howard Lidz Lysander / Brenton Ryan Demetrius / Johnathan McCullough Performance underwritten by Judith Durkin Freyer and Charles C. Freyer Theseus / Evan Hughes* Hippolyta / Allyson McHardy* Performance underwritten by William Lake Leonard, Esq. Bottom / Matthew Rose Performance underwritten by Nancy and Al Hirsig Flute / Miles Mykkanen* Quince / Brent Michael Smith* Performance underwritten by Charlotte and Bob Watts Snug / Patrick Guetti Performance underwritten by Charlotte and Bob Watts Snout / George Somerville Cobweb / Jack Cellucci* Peaseblossom / Timothy O’Connor* Mustardseed / Evan Schaffer* Moth / Payton Owens* *Opera Philadelphia debut

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A Midsummer Night’s Dream SYNOPSIS

Act I Oberon, King of the Fairies, and his queen, Tytania, have quarrelled over a boy whom Tytania refuses to relinquish to her husband.

Oberon decides to punish her and sends Puck in search of a magic flower. Four young people appear: Hermia and Lysander wish to marry, but have run away to escape her father’s order that she must marry Demetrius. The latter is being pursued by Helena, whom he does not love. Oberon decides that, with the aid of the magic flower, he will be able to make Demetrius reciprocate Helena’s love. Six rustics, led by Quince and Bottom, meet to prepare a play which they hope to perform in front of Theseus (the Duke of Athens) and Hippolyta (the Queen of the Amazons), to celebrate their wedding. Oberon squeezes the juice of the magic flower into the sleeping Tytania’s eyes: when she awakes she will fall in love with the first creature that she sees.

Intermission (20 minutes) 14

Act II Bottom and his companions rehearse their play. Puck transforms Bottom into an ass. Tytania awakes, sees Bottom, and is enraptured. She summons four of her attendants to wait on her new lover, and then she and Bottom fall asleep. Oberon observes this with satisfaction, but is angry when he discovers that Puck has confused Demetrius with Lysander. Oberon’s attempt to correct this mistake makes things even worse: the two men who were in love with Hermia now both love Helena. When the four lovers quarrel violently, Oberon orders Puck to separate them and restore order.

Act III Oberon, now in possession of the disputed boy, is prepared to make peace with Tytania. He frees her from her infatuation and husband and wife are reconciled. The four young people wake up: love is renewed between Hermia and Lysander, and new-born between Helena and Demetrius. They decide

to ask Theseus’s permission to marry.

The rustics lament the loss of their friend Bottom, and the inevitable cancellation of their play. Bottom, now restored to normal, joins his friends and they leave joyfully.

Theseus pardons the young lovers, and gives them permission to marry. He then invites the rustics to perform their entertainment at his and Hippolyta’s wedding reception.

When midnight strikes, Theseus declares that it is time for bed.

Oberon, Tytania, the fairies and Puck appear and give their blessing.

Photo by Patrick Berger

The running time of A Midsummer Night’s Dream is approximately 3 hours and 5 minutes, including one 20-minute intermission.

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A Midsummer Night’s Dream Q&A WITH ROBERT CARSEN What was the inspiration behind this interpretation of A Midsummer Night’s Dream?

The inspiration was to try to create as magical a production as we could without resorting to creating a socalled real fake forest on stage, with real fake trees and real fake foliage.

So, it was to create a visual metaphor for the forest. There’s an incredible amount of sleeping, of dreaming, of waking, of nightmares in the text and of course it’s about young people discovering love, and the difficulties of love and sex. The whole thing has got quite frank sexual overtones, as so much of Elizabethan theater had, so the metaphor of a bed seemed a very good one, and various beds, and because beds are good for sleeping and for dreaming and for having nightmares and making love.

How does Britten’s music enhance Shakespeare’s words?

Benjamin Britten’s interpretation is totally brilliant. First of all, the libretto, every single word of it except for six words is Shakespeare.

Only six words in the libretto are not Shakespeare, which is a line that Lysander has where he says, “compelling thee to marry with Demetrius,” talking to Hermia.

Apart from that, everything is 16

Shakespeare and it’s a wonderful, wonderful setting of the text and understanding of the text. It’s also a setting where you can mostly understand everything that’s being sung, ideally. There have been many, many operas that are based on Shakespeare plays – Verdi famously wrote three of them – but I think this is almost the only one where every word is Shakespeare, except the six I mentioned.

This staging has been performed for 28 years now. What do you think it is about the production that resonates with audiences?

We call it 28 years young, rather than 28 years old. We didn’t build in a sell-by date by setting it at this place or this time. It’s called A Midsummer Night’s Dream, and dream is an important word, so we’ve properly created something that allows the audience to dream and to explore irrational things to a certain degree, but it’s also delightful and funny. I’m not really the right person to ask that question, because I don’t want to compliment our own work, but we’re very glad we’re still able to do it. And I’m very, very fortunate to have my wonderful assistant, who was with me on the first production of this, Emmanuelle Bastet, who is still able to restage

Photo by Robert Workman

this for us, which is also one of the reasons these revivals come up so incredibly well. It’s wonderful to have the person who was originally with you still doing it because it’s not just about knowing what it is, but the essence of it and what we were trying to do in the first place.

And way back in 1991, I asked the comparatively unknown young choreographer Matthew Bourne to do the choreography of the kids, and we know what a success his work has become in the meantime. And a wonderful design by Mike (Levine) – it was a wonderful team we had and still have.

What does it mean to you to finally have your Midsummer premiering in the U.S.?

I are both from Toronto and we always actually wanted to bring it to Canada. We haven’t quite managed that, but we’re very happy it’s in Philadelphia. I think the North American audiences really respond to Britten’s music theater and it’s probably the first time it’s been performed in Philadelphia, and I think the audiences seeing this for the first time are in for a fantastic treat. It’s better-known in the United Kingdom, this production has been done maybe five times at English National Opera, whereas this is the first. I would love to be there and see how the audience responds.

For me, it’s North America. I’m Canadian; Michael Levine and 17

A Midsummer Night’s Dream ARTISTS Zachary Altman / Starveling

bass-baritone (Philadelphia, Pennsylvania) recent: Leporello, Don Giovanni, Virginia Opera; Lovell, Richard III, Teatro la Fenice; Mr. Flint, Billy Budd, Teatro dell’Opera di Roma next: Henry Kissinger, Nixon in China, Royal Danish Opera

Opera Philadelphia debut

Emmanuelle Bastet

Opera

Matthew Bourne

Opera

Philadelphia revival director (Lorgues, France) debut recent: Revival Director, A Midsummer Night’s Dream, English National Opera; Director, Don Giovanni, Oper Köln; Director, Le nozze di Figaro, Oper Köln next: Director, Madama Butterfly, Opéra National de Lorraine à Nancy

Philadelphia choreographer (London, United Kingdom) debut recent: Director & Choreographer, Swan Lake, Sadlers Wells/ UK Tour; Director & Choreographer, Cinderella, International Tour next: Director & Choreographer, Romeo & Juliet, UK Tour

Elizabeth Braden

chorus master (Easton, Pennsylvania) recent: Conductor, The Wake World, Opera Philadelphia; Chorus Master, Lucia di Lammermoor, Opera Philadelphia; Chorus Master, Sweeney Todd, Curtis Opera Theatre next: Chorus Master, La bohème, Opera Philadelphia

Robert Carsen

2018 Carmen 2017 The Wake World 2017 The Magic Flute (partial listing)

Opera

Philadelphia director & lighting design (Toronto, Canada) debut recent: Director, The Beggar’s Opera, Théâtre des Bouffes du Nord; Director, Hansel and Gretel, Opernhaus Zurich; Director, Die tote Stadt, Komische Oper Berlin next: Director, Oceane, Deutsche Oper Berlin

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Jack Cellucci / Cobweb

Opera

soprano (Newtown Square, Pennsylvania) Philadelphia debut recent: Michael Darling, Peter Pan, Marple Newtown High School; Ensemble, Little Mermaid, Marple Newtown High School; Ensemble, Fiddler on the Roof, Media Theater Company next: The Philadelphia Boys Choir & Chorale, Gotham SINGS! Chorale Festival and Ensemble Showcase, Carnegie Hall

Anna Christy / Tytania

soprano (Pasadena, California) recent: Gilda, Rigoletto, Canadian Opera Company; Adele, Die Fledermaus, Des Moines Metro Opera; Lauretta, Gianni Schicchi, Matsumoto Festival next: Adele, Die Fledermaus, Seiji Ozawa Music Academy

Patrick Guetti / Snug

bass (Highland Park, New Jersey) recent: Fafner, Siegfried, Lyric Opera of Chicago; Sparafucile, Rigoletto, Wolf Trap Opera; Sciarrone, Tosca, Los Angeles Philharmonic next: Ensemble Member, Deutsche Oper Berlin

Opera Philadelphia debut

2014 Ainadamar

Evan Hughes / Theseus

Opera

Georgia Jarman / Helena

Opera

Philadelphia bass-baritone (Santa Barbara, California) debut recent: Protector, Written on Skin, Elbphilharmonie and Berliner Philharmoniker; Figaro, Le nozze di Figaro, San Diego Opera; Leporello, Don Giovanni, Semperoper Dresden next: Cithéron, Platée, Semperoper Dresden

Philadelphia soprano (Atlanta, Georgia) debut recent: Musetta, La bohème, Opernhaus Zürich; Agnès, Written on Skin, Mahler Chamber Orchestra in Hamburg and Berlin; Agnès, Written on Skin, Shanghai Symphony Orchestra & Beijing Music Festival next: Isabel, Lessons in Love and Violence, Staatsoper Hamburg

Michael Levine

set & costume design (Toronto, Canada) recent: Costume & Scenic Designer, Sweeney Todd, Opernhaus Zürich; Scenic Designer, The Rake’s Progress, Netherlands Opera; Scenic Designer, Billy Budd, Teatro Real and Rome Opera next: Scenic Designer, Die tote Stadt, Komische Oper Berlin

Opera Philadelphia debut

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Johnathan McCullough / Demetrius

baritone (Los Angeles, California) recent: Harlekin, Ariadne auf Naxos, Opéra de Lausanne; Papageno, The Magic Flute, Opera San Luis Obispo; Soloist, Celestial Voices, Carnegie Hall next: Figaro, Il barbiere di Siviglia, Wolf Trap Opera

Allyson McHardy / Hippolyta

mezzo-soprano (Oshawa, Ontario, Canada) recent: Messiah, Chicago Symphony; Smeton, Anna Bolena, Canadian Opera Company; Juno, Pygmalion, Château de Versailles/Opéra Atelier next: Elijah, Calgary Philharmonic

Tim Mead / Oberon

countertenor (London, United Kingdom) recent: Hamor, Jephta, Opéra de Paris; Endimione, La Calisto, Bayerische Staatsoper; Boy, Written on Skin, Shanghai Symphony Orchestra next: Endimione, La Calisto, Teatro Real

Siena Licht Miller / Hermia

mezzo-soprano (Portland, Oregon ) recent: Apprentice Artist, Santa Fe Opera 2018; Second Lady, The Magic Flute, Opera Philadelphia; Kitty Oppenheimer, Doctor Atomic, Curtis Opera Theatre next: Denis and Katya, Opera Philadelphia

Miles Mykkanen / Flute

tenor (Bessemer, Michigan ) recent: Candide, Candide, Tanglewood; Nikolaus Sprink, Silent Night, Minnesota Opera; Brighella, Ariadne auf Naxos, The Cleveland Orchestra next: Admète, Alceste, Bayerische Staatsoper

Timothy O’Connor / Peaseblossom

soprano (Cinnaminson, New Jersey) recent: Lord Farquaad, Shrek: The Musical, Burlington County Footlighters; Soprano, The Philadelphia Boys Choir, Today Show on NBC; Soprano, The Philadelphia Boys Choir, Christmas: Spectacular Sounds of the Season, Philly POPs next: Young Simba, The Lion King Jr., Cinnaminson Middle School 20

2018 Carmen 2017 Elizabeth Cree 2016 Turandot (partial listing)

Opera Philadelphia debut

Opera Philadelphia debut

2017 The Magic Flute

Opera Philadelphia debut

Opera Philadelphia debut

Payton Owens / Moth

Opera

alto (Glen Mills, Pennsylvania) Philadelphia debut recent: Fagan’s Gang, Oliver, Garnet Valley High School; Chorus, Tosca, The Philadelphia Orchestra; 50 years of Peace Singing Tour to Singapore & Vietnam, The Philadelphia Boys Choir & Chorale next: The Philadelphia Boys Choir & Chorale, Gotham SINGS! Chorale Festival and Ensemble Showcase, Carnegie Hall

Adrian Plaut

Opera

Philadelphia revival lighting designer (London, United Kingdom) debut recent: Lighting Supervisor, Lulu, English National Opera; Lighting Designer, Sea of Troubles, Royal Opera House Clore Studio; Lighting Re-creation, The Perfect American, Brisbane Festival next: Lighting Supervisor, The Magic Flute, English National Opera

Matthew Rose / Bottom

bass (Brighton, United Kingdom) recent: Colline, La bohème, Metropolitan Opera; Ashby, La fanciulla del West Metropolitan Opera; Grande Inquisitore, Don Carlo, Deutsche Oper Berlin next: Pimen, Boris Godunov, Royal Opera House London

Corrado Rovaris

conductor (Bergamo, Italy) recent: Conductor, Glass Handel, Opera Philadelphia; Conductor, Lucia di Lammermoor, Opera Philadelphia; Conductor, Anna Bolena, Canadian Opera Company next: Conductor, La bohème, Opera Philadelphia

Brenton Ryan / Lysander

tenor (Sedalia, Missouri) recent: Spoletta, Tosca, Metropolitan Opera; Monostatos, Die Zauberflöte, Metropolitan Opera,; Dancing Master, Ariadne auf Naxos, Santa Fe Opera next: Pedrillo, Die Entführung aus dem Serail, Opéra de Monte-Carlo

Evan Schaffer / Mustardseed

2001 The Magic Flute 2002 Madama Butterfly 2007 Falstaff (partial listing)

2018 L ucia di Lammermoor 2018 Written on Skin 2017 Elizabeth Cree (partial listing)

2017 The Magic Flute

Opera

Philadelphia soprano (Moorestown, New Jersey) debut recent: Minstrel, Once Upon a Mattress, William Allen Middle School; Mufasa, The Lion King, Upper Elementary School next: The Philadelphia Boys Choir & Chorale, Gotham SINGS! Chorale Festival and Ensemble Showcase, Carnegie Hall 21

Brent Michael Smith / Quince

Opera

Jeffrey Smith

Opera

Philadelphia bass (Owosso, Michigan) debut recent: Lakey, Ariadne auf Naxos, Santa Fe Opera; Ariodates, Xerxes, The Glimmerglass Festival; Ashby, La fanciulla del West, Michigan Opera Theatre next: Don Alfonso, Così fan tutte, The Academy of Vocal Arts

Philadelphia chorus master (Delran, New Jersey) debut recent: Artistic Director, Philadelphia Boys Choir & Chorale & Assistant Conductor, Philly POPS; Recent and upcoming PBCC appearances with Opera Philadelphia, Philadelphia Orchestra, Pennsylvania Ballet, The Philly POPS

George Somerville / Snout

tenor (Point Pleasant, New Jersey) recent: Morbus, The Wake World, Opera Philadelphia; Trin, La fanciulla del West, Des Moines Metro Opera; Elder 3, Sky on Swings, Opera Philadelphia next: Chorus, La bohème, Opera Philadelphia

2017 The Wake World 2018 Carmen 2018 Sky on Swings (partial listing)

Peter Van Praet

Opera

Shelby Williams

Opera

Philadelphia lighting design (Antwerp, Belgium ) debut recent: Lighting Designer, Hansel & Gretel, Zurich; Lighting Designer, Oedipe, Amsterdam; Lighting Designer, Die tote Stadt, Komische Oper Berlin next: Lighting Designer, Idomeneo, Madrid

Philadelphia revival choreographer (Antwerp, Belgium ) debut recent: Director & Choreographer, Little Women: The Musical, Stanwix Theatre; Associate Choreographer, Wind In The Willows, London Palladium; Resident Director & Associate Choreographer, Bend It Like Beckham, London Phoenix Theatre next: Choreographer & Associate Director, Georgiana, Buxton Opera Festival

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Miltos Yerolemou / Puck

actor (Bristol, United Kingdom ) recent: Old Turk Baker, Murder on the Orient Express; Bar Patron, Star Wars: The Force Awakens; Dr. Mai, The Danish Girl next: The Crown

David Zimmerman

Opera Philadelphia debut

2018 Lucia di

Lammermoor wig & make-up designer (Mt. Pleasant, Texas) 2018 Carmen recent: Wig & Make-up Designer, Aida, Washington 2018 Written on Skin National Opera; Wig & Make-up Designer, The Shining, (partial listing) Minnesota Opera; Wig & Make-up Designer, Madame Butterfly, Lyric Opera of Kansas City next: Wig & Make-up Designer, Eugene Onegin, Washington National Opera

THE 42nd ANNUAL SPRING CONCERT THE THOMAS JEFFERSON UNIVERSITY CHOIR AND ORCHESTRA

Present

George Frideric Händel’s

Messiah, Part II ROBERT THAYER SATALOFF, M.D., D.M.A. Conductor MARGARET M. BAROODY, M.M. MICHAEL MAHLA, M.D. Associate Conductors

Friday April 12, 2019 8:00 PM ST. LUKE AND THE EPIPHANY 330 S. 13TH STREET PHILADELPHIA

Admission Free 23

ORCHESTRA & CHORUS VIOLIN 1 Dayna Hepler, Concertmaster Igor Szwec, Assistant Concertmaster Meichen Liao Barnes Charles Parker Diane Barnett Donna Grantham Elizabeth Kaderabek Gared Crawford Tess Varley Rebecca Ansel VIOLIN 2 Emma Kummrow, Principal Luigi Mazzocchi Sarah DuBois Paul Reiser Heather Zimmerman Messé Yu-Hui Tamae Lee Guillaume Combet Natasha Colkett VIOLA Jonathan Kim, Principal Carol Briselli, Assistant Principal Julia DiGaetani Ellen Trainer Elizabeth Jaffe Renee Warnick CELLO Branson Yeast, Principal Vivian Barton Dozor Jennie Lorenzo Brooke Beazley 24

David Moulton Dane Anderson

TIMPANI Martha Hitchins, Principal

BASS Miles B. Davis, Principal Anne Peterson Stephen Groat Brent Edmondson

PERCUSSION Ralph Sorrentino, Principal Christopher Hanning

FLUTE David Cramer, Principal Kimberly Trolier OBOE Evan Ocheret, Principal CLARINET Doris Hall-Gulati, Principal Allison Herz BASSOON Emeline Chong, Principal FRENCH HORN John David Smith, Principal Ryan J. Stewart TRUMPET Brian Kuszyk, Principal TROMBONE Robert Gale, Principal HARP Sophie Bruno Labiner, Principal Rong Tan

HARPSICHORD/ CELESTE Linda Henderson MEMBERS OF THE PHILADELPHIA BOYS CHOIR SOPRANO Evan Bishop Jack Cellucci Luke Ganley Jeffrey Jabbour Bu Long Timothy O’Connor Evan Schaffer Chase Shatzman Carols Villegas Yiguo Zhang ALTO Jason Adams Jeremy Allen Aleem CastilloGambardella Lucas Collazo Zachary Crothamel Ethan Lee Julian Mills Payton Owens Lucas Shannon Daniel West

ARTISTIC & PRODUCTION STAFF Principal Pianist & Musical Assistant....................................................Grant Loehnig Diction Coach......................................................................................Lynn Baker Supertitles Author.........................................Damien Kennedy, English National Opera Supertitles Operator............................................................................Tony Solitro Production Design Associate...............................................................Alison Walker Associate Costume Designer....................................................................Zeb Lalljee Assistant Stage Managers............................................Jennifer Shaw, Gregory Boyle Props Supervision..............................................................Avista Custom Theatrical Assistant Lighting Designer.....................................................................Chris Frey Head Props...........................................................................................Paul Lodes Head Electrician...................................................................................Terry Smith Assistant Electrician......................................................................Ali Blair Barwick Flyman................................................................................................Mike Ruffo Scene Shop Technicians......................................Mike Ruffo, Paul Lodes, Steve Wolff Wardrobe Supervisor.........................................................................Elisa Murphy Wigs & Make-Up Staff.................................................................Monique Gaffney Stitchers......................................................................Susie Benitez, Morgan Porter Cutter/Drapers.........................................Kara Morasco, Althea Unrath, Suzie Morris First Hands.............................................Patrick Mulhall, Joy Rampulla, Mark Mariani Challis Harpsichord courtesy of Dr. Robert Thayer Sataloff and the Thomas Jefferson University Choir.

FACILITIES A Commitment to Safety: The safety and comfort of visitors, artists, volunteers, and staff at the Kimmel Center, Academy of Music, and Merriam Theater are of paramount importance. In the event of an emergency, audience members will be advised of appropriate procedures by ushers and security staff. 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. Smoking is prohibited on the Kimmel Center campus.

Accessibility: The Academy of Music is wheelchair accessible from the east lobby entrance on Broad Street. Seating is available on the Parquet and Balcony levels, with accessible restrooms located on the Canteen level. Assistive listening devices are available for loan. A limited number of ADA-compliant parking spaces are available in the Kimmel Center garage.

Coat Check & Restrooms: A complimentary coat check is located on the ground floor of the Academy of Music. Restrooms are located on all levels of the Academy of Music.

Food and Beverage: Concessions by Chef Jose Garces and Garces Group are available to Academy of Music and Merriam patrons at satellite bars located in the lobbies and upper levels. Water fountains are located on all levels of the Academy of Music.

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The

PICTUR E of

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To

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P LA NNE D GIV I N G S PO T L I G H T

JOAN

R.

COHEN

At age 19, I experienced my first opera, La bohème, at the Academy of Music. I was thrilled, and I knew my life was changing. The impact was staggering. I felt the birth of passion for opera, a dynamic state which I have nurtured ever since.

Opera became the focus of my life. I plunged into attending, studying, and listening to operas, hungry for background, stories, and information.

Introducing people to opera became a mission, and education seemed the most accessible route. I developed a study program for students and teachers, including attendance at live performances. I lectured throughout Philadelphia Joan Cohen with Opera Philadelphia's immediate and other major American cities. Guiding study past General Director and Legato Society member Robert B. Driver. Photo by Dave DiRentis. tours to famous European opera houses also enriched my appreciation for this glorious art form.

I soon recognized that building audiences for the future is the only way to guarantee survival for this complex, engaging, and emotional art. Opera Philadelphia, more than any other company in this country, perhaps in the world, has addressed this crucial need. Festival O, especially, draws in a healthy mixture of people. It presents fresh perspectives on beloved works. It challenges creative talent to find new operatic expression of the human condition. Creativity is at the heart of survival.

Creativity is expensive.

It is the responsibility of us—current opera lovers—to safeguard the opportunity for future audiences to experience passion. Because I believe with all my heart that our generation must guarantee the survival of opera, I have joined the Legato Society. Along with my grandchildren, Opera Philadelphia is named for a bequest in my will. I encourage you to consider naming the Opera in your own will or estate plan.

Operatically yours, Official Sponsor, Legato Society

Joan R. Cohen Founder, Opera Salon and Legato Society Member

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opera philadelphia ADMINISTRATION LEADERSHIP David B. Devan, General Director & President Corrado Rovaris, Jack Mulroney Music Director Michael Bolton, Vice President of Community Initiatives David Levy, Vice President of Artistic Operations Frank Luzi, Vice President of Marketing & Communications Jeremiah Marks, Chief Financial Officer Rachel McCausland, Vice President of Development Lawrence Brownlee, Artistic Advisor Mikael Eliasen, Artistic Advisor Ken Smith, Chief of Staff MUSIC Michael Eberhard, Artistic Administrator Sarah Williams, New Works Administrator Elizabeth Braden, Chorus Master & Music Administrator J. Robert Loy, Director of Orchestra Personnel & Orchestra Librarian Grant Loehnig, Head of Music Staff Rene Orth, Composer in Residence Emily May Sung, Assistant Chorus Master Nathan Lofton, Assistant Orchestra Librarian PRODUCTION John Toia, Director of Production Drew Billiau, Director of Design & Technology Stephen Dickerson, Technical Director Millie Hiibel, Costume Director Meggie Scache, Production Manager Lisa Anderson, Production Stage Manager Katie Foster, Assistant Costume Director Bridget A. Cook, Artistic Operations Coordinator

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MARKETING, COMMUNICATIONS & GUEST SERVICES Michael Knight, Director of Guest Services Karina Kacala, Director of Advertising & Promotions Shannon Eblen, Communications Manager Siddhartha Misra, Lead Guest Services Associate Marissa Chalker, Catherine Perez, Rae Rosenbayger, Guest Services Associates Katie Kelley, Design Manager Ali Haegele, Graphic Designer Karma Agency, Brand Communications Partner DEVELOPMENT Rebecca Ackerman, Director of Individual Giving & Advancement Services Derren Mangum, Director of Institutional Giving Adele Mustardo, Director of Events Mark Nestlehutt, Director of Planned Giving Aisha Wiley, Director of Research Rachel Mancini, Development Special Projects Manager COMMUNITY INITIATIVES Steven Humes, Education Manager Veronica Chapman-Smith, Community Initiatives Administrator FINANCE Brian Ramos, Controller Bethany Sellers, HR & Operations Manager Megan Harris, Accounting Assistant COUNSEL Ballard Spahr, LLP, General Counsel

up NEXT PUCCINI

L A BOHÈ ME April 26–May 5, 2019 Academy of Music

A chance encounter on a winter night changes everything for Mimì and Rodolfo, sending them into a deep, passionate romance in the heart of Paris, living among other young Bohemians who are making art and falling in love. This popular revival of Puccini’s romantic blockbuster features masterpieces from the Barnes Foundation and the Philadelphia Museum of Art. Vivid projections of some of the world’s most renowned Impressionist art from the turn of the 20th century— including works from Renoir, Van Gogh, Toulouse-Lautrec, and Cassatt—will set the stage at the Academy of Music.

When first mounted by Opera Philadelphia in 2012, Davide Livermore’s “visually inventive and colorful” (Opera News) production of Puccini’s La bohème was deemed “an absolute success, full of fine singing and acting, and eye-filling stage direction” (The Philadelphia Inquirer). In this much-anticipated revival, 2017 Metropolitan Opera

National Council Auditions-winning soprano Vanessa Vasquez—known for “melting all hearts” (Chicago Tribune)—makes her Opera Philadelphia debut as the shy seamstress Mimì. Opposite her as Rodolfo is Evan LeRoy Johnson, who impressed audiences last spring in his Opera Philadelphia debut as Don José in Carmen.

Baritone Troy Cook returns to the role he had in 2012, during which he offered “a strong, well-rounded portrayal of Marcello” (Opera News).

Opera Philadelphia Emerging Artist Ashley Marie Robillard brings her “spring-fresh soprano” (Parterre Box) to the role of Marcello’s on-and-off love, Musetta. The “mellow-voiced and charismatic” (The New York Times) baritone Will Liverman (Charlie Parker’s YARDBIRD) returns as Schaunard, with the “aural and interpretive beauty” (WQXR) of Peixin Chen as Colline, with the “vocal splendor and comic timing” (San Francisco Chronicle) of Kevin Burdette as Benoit and Alcindoro.