FESTIVAL O22
READY TO LEARN MORE? CALL TODAY FOR AN APPOINTMENT WITH YOUR PERSONAL SALES CONCIERGE: 215.402.8725 4000 Fox Hound Drive | Lafayette Hill, PA 19444 215.402.8725 | TheHillatWhitemarsh.org A NOT-FOR-PROFIT CONTINUING CARE RETIREMENT COMMUNITY It’s been an adventure so far — why not continue it at The Hill at Whitemarsh? Nestled amid gently rolling hills and farmland, The Hill feels more like a luxury resort than a lifecare community. You’ll enjoy an extraordinary array of amenities, services and dining options, along with residential choices that meet the standard you expect and deserve. And it’s all within minutes of both Philadelphia and the world beyond.
MAP & CALENDAR OctoberSeptember/2022 21W 22Th 23Fri 24Sa 25Su 26M 27Tu 28W 29Th 30Fri Sa1 Su2 Miller Theater The Raven 7:00 p.m. 7:00 p.m. 7:00 p.m. 7:00 p.m. Academy of Music Otello 8:00 p.m. 2:00 p.m. 8:00 p.m. 2:00 p.m. Philadelphia Film Center Black Lodge 9:00 p.m. 8:00 p.m. Philadelphia Film Center Opera on Film 7:00 p.m. 6:00 p.m. 8:00 p.m. 6:00 p.m. 9:00 p.m. 2:00 p.m. 6:00 p.m. 8:00 p.m. 1:00 p.m. 6:00 p.m. 1:30 p.m. 4:00 p.m. Academy of Vocal Arts atAfternoonsAVA 4:00 p.m. 4:00 p.m. The Switch Late Night Snacks 8:00 p.m. 8:00 p.m. 8:00 10:30p.m.p.m. 8:00 10:30p.m.p.m. 2:30 p.m. 8:00 p.m. 8:00 p.m. 8:00 p.m. 8:00 10:30p.m.p.m. 8:00 10:30p.m.p.m. 2:30 p.m. 8:00 p.m. Old Pine PresbyterianSt. Church Choral Concert 7:30 p.m. Printed by CRW OLD PINE PRESBYTERIANSTREETCHURCH THE SWITCH PHILADELPHIA FILM CENTER ACADEMY OF MUSIC ACADEMY OF VOCAL ARTS MILLER THEATER
WELCOME TO OPERA PHILADELPHIA
Opera Philadelphia is committed to fostering an environment of belonging and inclusion for our entire community. We have adopted this Code of Conduct to ensure the comfort and safety of all artists, contractors, staff, supporters, and volunteers. We are committed to maintaining an environment wherein everyone is treated with respect, dignity, and compassion. By purchasing a ticket or entering our environment, you agree to the tenets of Opera Philadelphia’s Code of Conduct.
Learn more: operaphila.org/codeofconduct
We are an anti-racist organization. We are fierce advocates for the rights of our trans community. Behavior that is harmful to others or disruptive to our communal sense of belonging for all will not be tolerated.
4 Opera Philadelphia
OTELLO
Sept. 21, 24, 29, Oct. 1 | Miller Theater
CHORAL CONCERT
Sept. 24 & Oct. 1 | Academy of Vocal Arts
Sept. 21—Oct. 2 | The Switch
OPERA ON FILM
PAGE 66
Sept. 27–Oct. 2 | Philadelphia Film Center
PAGE 26
Oct. 1 & 2 | Philadelphia Film Center
Sept. 23, 25, 30, Oct. 2 | Academy of Music
Welcome to Festival O
PAGE 48
LATE NIGHT SNACKS
PAGE 70
PAGE 40
SEPTEMBER 21–OCTOBER 2, 2022
BLACK LODGE
AFTERNOONS AT AVA
THE RAVEN
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PAGE 14
Sept. 25 | Old Pine Street Presbyterian Church
Devan, President Sandra
K. Klasko, M.D., M.B.A., Board Chair David
Stephen B. K.
Huff, Secretary Thomas Mahoney, Treasurer MEMBERS Sandra K. Baldino Lawrence Brownlee Willo CarolineJohnCaroleFrederickValerieAlexanderCharlesMikaelCarolWilliamMaureenKatherineCareyChristianoCraigDunbarS.EicherEliasenC.FreyerHankinHarrisonP.HuffH.JohnsonKaramatsoukasJ.Mackenzie Kennedy Stephen K. Klasko, M.D., M.B.A Beverly Lange, M.D. Peter Leone, Immediate Past Chair Thomas Mahoney Sarah KathleenBarbaraCarolynAgnesTaneiseMarshallS.MarshallMulroneyHornSeidleAugustaTeichertWeir
Freyer, Vice Chair Frederick
Willo Carey, C. P.
Dennis Alter H.F. (Gerry) Lenfest† Stephen A. Madva, Esq., Chair Emeritus Alan B. Miller Alice W. Strine, Esq. Charlotte Watts † Deceased
HONORARY MEMBERS
6 Opera Philadelphia BOARD OF DIRECTORS OFFICERS
Baldino, Vice Chair
Vice Chair Charles
StephenWarmly, K. Klasko, M.D., M.B.A. Chair FROM THE CHAIR
Festival O22 7
Those of you who know me know that I started my career as a radio disc jockey on 94.1 WYSP. Who could have guessed that “Little Stevie Kent” from the rock station’s graveyard shift would grow up to be Chair of the city’s opera company? I’m not here for my music expertise; I’m here because I love my home city of Philadelphia and I want to continue to work to make it better, just as I tried to do in my healthcare career.
Philadelphia’s Festival O22! This is the company’s fourth in-depth exploration of the future of opera, returning to our great city for the first time since 2019 following a pandemic pause. This is also my first season as Chair of the Opera Philadelphia Board of Directors, and I am excited to be going on this journey together as we celebrate this amazing art form on a variety of stages and screens while also exploring what an opera company should mean to a city in the 21st century.
Opera Philadelphia is a company that is strongly guided by storytelling and a belief that access to the arts is a human right. With that as our starting point, I look forward to partnering with everyone at the company to explore the questions of what we currently mean to Philadelphia, what we should mean to Philadelphia moving forward, and how we can build deeper connections to all the people in our city as a collaborative, consistent, trustworthy, and Philly-centric organization. What does “opera at any address” look like? We have some initial explorations of this question happening in Festival O22. The Raven is a new production developed with members of Philadelphia’s AAPI community, emerging as a collaboration between opera director Aria Umezawa and Philadelphia-based performers from the Obvious Agency. Singers from the Opera Philadelphia Chorus will follow their September 25 performance in Rossini’s Otello with a free concert at Old Pine Street Presbyterian Church in Old City.
When I became Chair of this dedicated Board in June, I began a process of working with my fellow directors and the company’s administration, staff, and artists to identify, create, and accelerate new opportunities to fulfill Opera Philadelphia’s promise to our community. I believe art can and should foster a greater capacity for empathy and social cohesion. In my time as President of Thomas Jefferson University and CEO of Jefferson Health, “healthcare at any address” became a guiding principle of our work to advance higher education and health care for all Philadelphians.
Dear WelcomeFriends,toOpera
I invite you to come along for the ride with me. If you are inspired by your experience during Festival O22, if you are passionate about music and the role arts should play in our community, if you have an idea for what “opera at any address” should mean, I encourage you to reach out to me at klasko@operaphila.org. We need your support, your passion, and your ideas.
Jim Straw with Jack Mulroney Music Director Corrado Rovaris
Jim was also passionate about the city of Philadelphia. He was a Commissioner for the Philadelphia Department of Parks and Recreation for eight years; Chairman of the Board of Partners for Sacred Places; Executive Committee Board Member of the Mann Center for the Performing Arts; Chairman of the Philadelphia Flower Show Executive Committee; President of the Philadelphia Chamber Ensemble; President of the Union League of Philadelphia, and served on the Board of Directors at Bartram’s Garden, and numerous other organizations, including his beloved church, Old Pine Street Presbyterian.
"Jim was a great friend to and leader of Opera Philadelphia, even sharing his architectural expertise when needed. Keith and Jim frequently hosted guests in their home for many years. He was generous, kind, and a great lover of opera."
8 Opera Philadelphia
Everyone knew James Bennett Straw as the bespectacled, bow-tie-wearing, arts-loving, fluteplaying Jim. It is with great sadness that we share that Jim passed away on August 8, 2022 from complications of leukemia. We mourn his passing and will miss our dear friend deeply. We extend our profound condolences to his wife, Mrs. Keith R. Straw.
JIM STRAW A LOVING TRIBUTE
One proud achievement outside of the opera was his work with the Octavius V. Catto Memorial Fund. He worked with former Opera Philadelphia Board member Carol Lawrence on the project which resulted in an in-depth school curriculum, city-wide celebrations, and the installation of the 19th century civil rights leader’s statue at City Hall, gazing down the Avenue of the Arts toward South Philadelphia.
His love of the arts and his profession in architecture would merge several times as Jim was integrally involved in such projects as restoring and adapting as the historic Ridgway Library Building at the Philadelphia High School for Creative and Performing Arts; and adapting the historic Memorial Hall into the Please Touch Museum.
He would frequently greet patrons and embrace friends in the lobby of the Academy of Music or in the theater. His commitment to Opera Philadelphia was not limited to handshakes, but demonstrated when he and Keith supported young artists, opened doors for institutional philanthropic opportunities and collaborations with other arts organizations, and underwrote such diverse productions as Mozart’s The Abduction from the Seraglio (2012), Osvaldo Golijov’s Ainadamar (2014), the World Premiere of Daniel Schnyder and Bridgette A. Wimberley’s Charlie Parker’s YARDBIRD (2016), and Mozart’s The Magic Flute (2013).
You may have seen Jim’s picture in the pages of countless Opera Philadelphia programs, frequently with Keith. A retired architect and principal from Kise, Straw & Kolodner, Inc., Jim sat on the Opera Philadelphia Board of Directors between 1990 and 2016, serving both as Board President (2002–2003) and Board Chair (2003–2005).
Jim was an integral part of Philadelphia in many ways. A celebration of life will be held in October 2022. For now, let us remember Jim as a great man, a great Philadelphian, and a great member of the Opera Philadelphia family. Rest in peace, Jim.
Robert B. Driver, Former Opera Philadelphia General and Artistic Director
first time since 2019, I am delighted to say that it is time to Festival O. FestivalAgain!
None of this is possible without the support of you, our audience, and our community in Philadelphia. A special thank you to our O22 production underwriters Judy and Peter Leone, Lisa D. Kabnick and John H. McFadden, Sandra K. Baldino, Carolyn Horn Seidle, Jean and Gene Stark, Barbara Augusta Teichert, Sarah and Brad Marshall, Mr. and Mrs. Frederick P. Huff, Ellen Steiner, Paul L. King, Kimmel Cultural Campus, and the Mellon Foundation. Special thanks to our beloved Board member Agnes Mulroney for underwriting Maestro Corrado Rovaris’ engagement as the Jack Mulroney Music Director, and to Alice and Walter Strine for their support of the Opera Philadelphia Orchestra and Chorus.
FROM THE GENERAL DIRECTOR
Dear Finally,Friends,forthe
I am struck by how right this lineup feels for a first festival after our time apart during the pandemic. Otello pairs legendary tenor Lawrence Brownlee in his return to the Academy stage for his 18th Rossini role debut with young tenor Khanyiso Gwenxane, making his U.S. stage debut in the title role. The Raven features company debuts for dynamic director Aria Umezawa and conductor Eiki Isomura, who have created both an intimate chamber opera and an immersive pre-show experience with the Philadelphiabased performers of Obvious Agency. Black Lodge, produced by Beth Morrison Projects, creates something new with artists from a variety of backgrounds: composer David T. Little, poet Anne Waldman, director Michael McQuilken, rock band Timur and the Dime Museum, and a quartet from the Opera Philadelphia Orchestra. The film series celebrates an unprecedented period of creativity and flexibility in the opera industry, as our inability to gather on stage spawned a tremendous growth in operatic film experimentation.
Festival O22 9
Together, they have created a 12-day binge of all that makes opera the greatest contemporary art form in the world. Your O22 experience is a unique combination of grand opera at its grandest (Rossini’s Otello), intimate and immersive theatrical experience (Hosokawa’s The Raven), the intersection of opera, glam rock, and surrealism (Black Lodge), the future voices of opera (Afternoons at AVA), and the art form’s cinematic possibilities (Opera on Film). You can top off each evening with a visit to Late Night Snacks, a joyful space of belonging where opera and cabaret meet, flirt, and fall in love.
Thank you all for making Opera Philadelphia a part of your lives.
David B. Devan General Director & President
O is made possible by the incredible generosity, energy, and spirit of discovery invested by Opera Philadelphia’s Board of Directors, tireless and creative staff, boundlessly inventive artists, and generous donors. Each of the people credited in this book have a hand in crafting and executing O22.
Barbara Augusta Teichert
Michael Kelly and Joan Mazzotti
Opera Philadelphia expresses our thanks to those who have dedicated their support to our efforts around equity and inclusion:
Sarah and Brad Marshall Mellon Foundation Agnes Mulroney Carolyn Horn Seidle Jean and Gene Stark
Leadership support for Opera Philadelphia’s O22 Festival productions and the Opera Philadelphia Channel has been provided by:
Katherine and Andrew Christiano Barbara and Amos Hostetter
Stephen K. Klasko, M.D., M.B.A. and Colleen Wyse PECO
Mr. and Mrs. Steve Sheller William Penn Foundation
William Penn Foundation Wyncote Foundation
10 Opera Philadelphia
Mrs. Sandra K. Baldino Disosway Foundation Judy and Peter Leone
The Pew Center for Arts & Heritage PNC Arts Alive
Mr. and Mrs. James Alexandre Anonymous (5)
Ms. Nancy R. Roncetti
Joseph and Barbara D'Silva Robert and Rachel Duplessis Maurice G. Eldridge Norman and Carolyn Ellman
Ms. Virginia Bland
Ms. Susan J. Gerrity
Mr. Philip Gentry
The Samuel P. Mandell Foundation Richard and Raechal Martin
Dr. and Mrs. Elliot D. Maser Dwight and Christina McCawley Brother Michael J. McGinniss Drs. Joseph and Jane McGowan
Ingrid
Mr. Clinton Walker
Alan
Mr. Alfred Daiboch
Mrs. Adele Mustardo
May and Paul Waldron
Mr. and Mrs. Joe Kenney
Kate Olver and Jeremy Young
you
George Graham and Kyle Merker Gwynne & Donald Grasberger
Paul and Mary Lanken
Mr. Stephen M. Sader
Ms. Rae Lambert
Mr. David J Linehan
Festival O22 11
Mr. Charles Head, Jr. and Mr. John Faggotti Eileen Kennedy and Robert Heim Mrs. Betty Henderson
Alberic and Gretchen Girod
Mr. Paul De Sanctis
Mr. Michael Knight Ms. Nancy Kustin
ThomasHelenPalmerE.PettitandMargaret Rapa
Sarah Alderfer
Joan and Frederick Cohen
Dorothy Alexis Smith
If would pledge to support Opera Philadelphia’s Next Act, please contact Rebecca Ackerman, Senior Director of Development, at ackerman@operaphila.org or 215.893.5904.
Ellen Steiner
like to make a multi-year
Ms. Sandra E. Goodstein
Frances and Michael Baylson Mrs. Flora Becker Eugene and Virginia Beier
Ms. Judy Fowler
Mr. and Mrs. Gordon Munson
Stephen and Mary Sue Kitchen Stephen K. Klasko, M.D., M.B.A. and Colleen Wyse
Mr. and Mrs. Marc E. Batt
Ms. Jarol Boan Carrie and J. Bradley Boericke Lois Boyce
Dr. and Mrs. William Jantsch
Jean W. Arnold
Mr. Arthur F. Ferguson
Ms. Christina M. Bauers
Richard and Barbara Nemiroff
James R. Fairburn
Mrs. Margaret S. Griffin and Mr. Scott Sillars
Dr. Saul D. Raw
Joan and Joel Chinitz Peter Cline
Michael Mullen
Dr. Steven W. Bass, Ph.D.
BarbaraReedRice and Tina Phipps
Tom KarenSherleyWoodwardYoungA.ZurloPh.D. and Philip Levin Esq.
Ms. Brooke Mitchell
The Rev. and Mrs. Richard L. ChristinaUllman M. Valente
Ms. Barbara Barnett-Stewart and Mr. Robert E. Stewart
Mr. Daniel Szyld and Ms. Kathleen Ross
Mr. John Driscoll
Ms. Lisa D. Kabnick and Mr. John H. McFadden
to all of those who participated in Opera Philadelphia’s Go for Three initiative! This matching challenge, launched by Board Chair Stephen K. Klasko and Colleen Wyse, provides support for three consecutive years of artistic and education programming.
Thomas Faracco
Romulo Diaz and Dennis James Dr. Lamberto and Barbara Donnelly Bentivoglio Charlie and JJ Dreisbach
Katherine Stein Sachs
Ms. Joan M. Vaughan
Mr. John R. Alchin and Mr. Hal Marryatt
Ms. Catherine Friedman Bochy Fu
Thank you
Jeffrey and Kendell Saunders
Dr. and Mrs. A. H. Nishikawa
#OpenAirOperacallvisitForWorldClaudioORFEOAntonínRUSALKAClaudeMÉLISANDEPELLÉASRichardDUTCHMANTHEGiacomoTOSCAPucciniFLYINGWagnerETDebussyDvořákMonteverdiPremiereOrchestrationbyNicoMuhlyticketsandmoreinformationsantafeopera.orgor505-986-5900ViewourHealth&SafetyPolicies
Festival O22 13 17 DAYS OF OPERA, THEATER, DANCE, AND MUSIC AWAIT... SAVE THE DATES FOR 2023: MAY 26 – JUNE 11 CHARLESTON, SOUTH CAROLINA Season announcement in 2023 spoletousa.org | @spoletofestivalusa
COMPANYPREMIERE
14 Opera Philadelphia
Miller Theater
*Opera Philadelphia debut
Sept. 21, 24, 29, Oct. 1
Eiki Ang(ela)ArielAriaIsomura*Umezawa*ObviousAgencyJenniferHiyama*Wang*BlessRudisill*LucasCampbell*NicoleLabadie-Bartz*KristenChoiJosephAhmed*Bey*VitcheBoule-Ra*MakotoHirano*DanielPark*MinouPourshariati*PaxRessler*MuyuRuba*
Approximately 90 minutes with no intermission
THE RAVEN
CAST & CREATIVE TEAM
Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Schott Music Co. Ltd., Tokyo, publisher and copyright owner. Production support provided by the Kimmel Cultural Campus. Major support has been provided by Mr. and Mrs. Frederick P. Huff, Paul L. King, and Ellen Steiner.
Music by Toshio Hosokawa Monodrama for mezzo-soprano and 12 players
Co-created and co-produced with Scenic Designer Costume, Hair & Make-Up Designer Lighting Designer Sound Designer Stage Mezzo-sopranoManagerLenore
Text by Edgar Allan Poe
ConductorDirector
Festival O22 15
Toshio Hosokawa has received numerous awards and prizes. He has been a member of the Academy of Fine Arts Berlin since 2001 and was a fellow of Berlin’s Institute for Advanced Study in 2006/7 and 2008/9. In 2013/14 he was composer in residence at the Netherlands Philharmonic Orchestra and in 2018 he received the Japan Foundation award. He is artistic director of both the Takefu International Music Festival and Suntory Hall International Program for Music Composition and, since July 2019, composer in residence for two years with the Hiroshima Symphony Orchestra.
Toshio Hosokawa, Japan’s pre-eminent living composer, creates his distinctive musical language from the fascinating relationship between Western avantgarde art and traditional Japanese culture. His music is strongly connected to the aesthetic and spiritual roots of the Japanese arts (such as calligraphy), as well as to those of Japanese court music (such as Gagaku). He gives musical expression to notions of beauty rooted in transience: “We hear the individual notes and appreciate, at the same time, the process of how the notes are born and then die: a sound landscape of continual ‘becoming’ that is animated in itself.”
Image caption
16 Opera Philadelphia
Born in Hiroshima in 1955, Hosokawa came to Germany in 1976, where he studied composition with Isang Yun, Brian Ferneyhough, and later, Klaus Huber. Although his initial compositions drew inspiration from the Western avantgarde, he gradually built a new musical world between East and West. He first gained widespread recognition with the 2001 world premiere of his oratorio Voiceless Voice in Hiroshima.
COMPOSER THE RAVEN
In the last few years, Hosokawa has written numerous orchestral works, including Nach dem Sturm for two sopranos and orchestra, commissioned to celebrate the 50th anniversary of the Tokyo Metropolitan Symphony Orchestra, and the Roche-commissioned Woven Dreams (Cleveland Orchestra under Franz Welser-M st, Lucerne Festival). Circulating Ocean, which was premiered by the Vienna Philharmonic in 2005 at the Salzburg Festival, has meanwhile become part of the standard repertoire of many orchestras. In 2013 Hosokawa returned to Salzburg with Klage for soprano and orchestra, based on a text by Georg Trakl. A performance of the organ concerto Umarmung, which had its premiere in 2017 with Christian Schmitt and the Bamberg Symphony under Jakub Hrůša, was reprised the year following at the Vienna Konzerthaus with the Vienna Radio Symphony Orchestra under the direction of Cornelius Meister. His latest orchestral work Uzu, premiered by the Tokyo MetropolitanOrchestrainNovember2019,recentlyreceivedtheOtakaPrizeforthebestJapanese compositionoftheyear. ManyofHosokawa’searliermusictheatreworkshavebecome part of the repertoire of major opera houses. His first opera Vision of Lear garnered critical acclaim at the Munich Biennale in 1998, and his 2004 work Hanjo has been seen on numerous stages since its premiere. As with Hanjo, Matsukaze also draws on material from the Japanese Noh theatre tradition. The opera was first performed in 2011 in a production by the choreographer Sasha Waltz at La Monnaie and subsequently in Berlin, Warsaw, and Luxembourg. Staged performances of the monodrama The Raven for mezzosoprano and ensemble, which had its world premiere in Brussels in 2012, have also taken place. In recent years, Toshio Hosokawa has presented three additional operas in quick succession: Stilles Meer debuted in 2016 at the Hamburg Staatsoper, the oneact melodrama Futari Shizuka (The maiden from the sea) premiered in 2017 in Paris, with Erdbeben, Träume following in 2018 at the Oper Stuttgart, based on a libretto by the Büchner prizewinner Marcel Bayer.
Every performer you encounter during the performance is a person with a right to maintain their own safety.
• The performance happens in a variety of rooms in the building, some of which require walking or standing for longer periods of time or going up stairs. Even if that’s not an option for you, we’ll make sure that you have an engaging experience.
If you don’t want to participate, that’s ok! At any point during the performance, you can say no to interaction with a performer by making an X with your arms, doing the same gesture but with just one arm, or just saying, “No, thank you.”
The Raven is two experiences in one! It’s a co-production between Opera Philadelphia and Obvious Agency, a local workerowned cooperative that creates games and interactive performances. The first half of the performance is an interactive theatrical performance that takes place in multiple rooms in the Miller Theater. After the first half, audiences will be guided to their seats where the operatic second half will begin. All audiences will experience both halves.
Festival O22 17 ABOUT THE EXPERIENCE THE RAVEN
• Do not touch performers unless they have invited physical contact.
• The performers can see you, speak to you, and will react to you.
• You can always say, “No” to interacting if you don’t want to participate.
This performance will deal with topics of grief, the death of a partner, and discussion of the afterlife.
The team behind The Raven during the June 2022 workshop. Photo courtesy of Obvious Agency
In the first half of The Raven, the audience will meet multiple people all claiming to be the same person named Lenore. “Lenore” needs to reassemble and make sense of the many versions of themself, and will be asking the audience to help in that process. Each Lenore will need something different and guide their audience on a unique journey. The audience will be split into six sections, each of which will have different experiences. You might be asked to sit and watch, to move around, to answer questions, to complete tasks, or play games, all facilitated by the performers. Here’s what to expect across the entire experience:
• If a performer says “No” or asks you not to do something, do not do it. Audience members who do not follow these requests will be escorted out of the performance.
What were your initial thoughts and ideas as you approached The Raven?
Aria: We don’t actually know a lot about Poe’s Lenore. We know the protagonist of The Raven loved Lenore, and Lenore is no longer with us on this Earth. The only actual line of description we get is “the fair and radiant maiden Lenore,” which is about as broad a description for someone as you can give. What’s
Joe: There was this wonderful day, I think our third day of workshops, when we said, what if everyone is just Lenore? I think where this interest came from is, there is this potential space of that character because she is so undefined. Interestingly, I actually realized recently there are two poems about Lenore by Poe, there’s “The Raven,” and there’s a poem called “Lenore” that is just about a woman named Lenore who died, no further characterization. I think what became so interesting about this in thinking about audience experience, and letting Lenore be what is guiding that, it became a story of the narrator and grief and how the narrator is moving through that and it’s also the story of this person named Lenore, who we only know in this abstracted way. We have all these amazing local artists working on this piece and everyone is Lenore, everyone is a different version of Lenore. Each pathway that the audience might go on will be a different version of this experience, a different artists’ take on who this person might have been, what their relationship with the narrator might have been, that will then inform how they are seeing the opera. And we are seeing these artists’ specific voices and artistic styles come to life in this piece and all coalesce.
The Raven, Lenore, and pushing boundaries in opera
An interview with The Raven director Aria Umezawa and the Obvious Agency’s Joseph Ahmed
Aria: When I was approached about The Raven, I was told that this project had been born out of conversations with Opera Philadelphia’s Community Advisory Council and this was to support these ongoing conversations. First of all, I was very excited because I’m a huge Edgar Allan Poe fan and our Halloween tradition is to listen to “The Raven” every year, like a spooky reading. But the more I thought about this project, the more I thought that if this project was supposed to be about community engagement and continuing and deepening a connection with Opera Philadelphia and the broader AAPI and artistic community, that it was probably not ideal to invite out-oftown artists to do that. I suggested we try and partner with a local theater company to create something that holds the opera. I found the Obvious Agency website and read it through and really liked it. Then just coincidentally, one of their co-founders was on the Community Advisory Council.
18 Opera Philadelphia Q&A THE RAVEN
Joe: Daniel Park, who is one of our co-founders, was on the CAC. It’s been a really interesting journey from there because initially what Aria had come to us with was this idea of this immersive framing. We moved forward with reaching out to and hiring a bunch of local folks, and we had a workshop this summer where we started playing with these ideas. We ended up arriving on teasing out some of these characters from The Raven itself more deeply, hence the idea of this character Lenore.
the film term, the MacGuffin? (Joe nods.) Yeah, so Lenore is this thing that is incredible significant to the plot but we know virtually nothing about, and as we started talking about the significance of this loss, about who Lenore was and how she is the propeller for the whole poem, the opera, we realized we didn’t know anything about this person.
Who is Lenore – both Poe’s Lenore and your interpretation?
Aria: Something that I’m aware of about myself that I think is probably true of everybody is I’m aware that there are very specific versions of myself that people know, like I have a lot of labels, right? I’m a woman, a producer, a director, a disrupter…None of them are untrue, but if you were to inform your entire understanding of me based on one of those descriptions, it becomes untrue, because I am more than a
Joe: I have the same reaction sometimes to opera that I do to ballet, these forms that are beautiful and so technical and amazing and also feel really grounded in conventions that feel really strict and hard to break out of and sometimes, to me, also feel very white and as a person of color, hard to find myself in. I remember Aria, you talking about the genesis of opera being about total performance, that included every element. I feel like I’m gaining a different appreciation for the artwork and process of opera engaging with it this way, and also feel like we are bringing tools to the table. There is, I think, in having put these two vocabularies side-by-side in one production, this cross-pollination that happens very naturally.
This production pushes the boundaries of what many people expect of opera. How do you feel about that?
single thing that has been ascribed to me. So poor Lenore! We started feeling bad for Lenore. Lenore in this poem is just “radiant maiden Lenore.” I’m pretty sure sometimes Lenore was a raging demon. I bet you at some point in the relationship Lenore was the exact opposite of whatever a radiant maiden is. Lenore was probably sometimes goofy, sometimes serious, all of these things. So what happens if Lenore has been fragmented into these abstracted versions, these labels of herself, and part of her goal is to put a more nuanced version of herself back together?
Joe: I feel like what is emerging in this production that feels really exciting is that there are so many contemporary AAPI voices working on this production. We’re not trying to be super Japanese because that is not the identities that are held – there are a lot of mixed people, Asian-American, and Asian-Canadian people working on this production. I think that really feels like it’s our way in, it’s this diasporic community reflecting and fragmenting and bringing our takes on this material, both Toshio Hosokawa’s and Poe’s material, and passing that through the kaleidoscope that is all these many identities of the artists on this project.
I think what is exciting and important about his piece, we are all wondering what is the future of opera, what is the value to contemporary audiences? There is actually a lot that is exciting about opera. If we just gave ourselves a little room to ask, “what is sparking your interest about this?” and then followed those interests that we hear from different communities and age groups, we might find opera has a very important and vibrant part to play. Anyone I speak to is always like, “oh, I’ve never been to an opera, but I’m really interested in going.” I’ve never encountered a person who I told I worked in opera, and they went, “oh boring.” The interest and curiosity in opera exists out there and I wonder what would happen if we just rose to the occasion and met people where they were, and allowed ourselves to be surprised by our own art form as well.
Aria: We did have that conversation about when opera started and how it was supposed to be the total work, and was about getting the best visuals, the best dancers, the best music, the best drama on stage all in one go. For all of my “boundary pushing,” in a lot of ways I feel like I’m just returning to form, trying to use as many of the contemporary tools we have at our disposal. It’s opera, but it’s opera in a very contemporary way. I feel like I’m just doing the thing opera said it wanted to be.
How does Noh theater influence the piece?
Festival O22 19 Q&A THE RAVEN
Aria: I’ll start by saying Noh theater is an extraordinary art form with a ton of technique. Noh theater is like opera in that it’s all about form…I would never be so bold as to pull from an art form that I have virtually no experience with. Toshio Hosokawa himself points to very high-level influences of Noh in the opera. For instance, Noh theater frequently has animal narrators, which is one connection he drew to the narrator in The Raven. We’ve taken a similar approach. We looked at images and watched videos about Noh theater, reacted to it, and incorporated it into our design. For example, Noh theaters have roofs and bridges. We’ve created a “roof” that goes over the audience. We’ve designed a mask for the Raven that is a nod to Noh theater and Victorian plague masks.
NEXT: Co-creator, Space Opera, Obvious Agency
RECENT: René, Backing Track, Arden Theatre Company; Multiple characters, Today is My Birthday, Theatre Exile, Actor 1, QvK, Philadelphia Artists’ Collective
Makoto Hirano (he/him) lenore Philadelphia, Pennsylvania Opera Philadelphia debut
ARTISTS THE RAVEN
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20 Opera Philadelphia
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Lucas Campbell (they/them) sound designer Philadelphia, Pennsylvania Opera Philadelphia debut
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Kristen Choi (she/her) mezzo-soprano Underwritten by Mrs. Sheila Kessler Torrance, California 2022 Rigoletto, 2021 TakTakShoo
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Joseph Ahmed (he/they) lenore & associate director Pennsauken, New Jersey Opera Philadelphia debut
Ang(ela) Bey (they/them) lenore Philadelphia, Pennsylvania Opera Philadelphia debut
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Jennifer Hiyama (she/her) scenic designer Los Angeles, California Opera Philadelphia debut
RECENT: Performing/Devising Artist, Convergent Evolutions, Pace Gallery; Performing/Devising Artist, Aunts Triple Threat, The Chocolate Factory Theater; Performing/Devising Artist, Test Pattern 03, Institute of Contemporary Art VCU
Eiki Isomura (he/him) conductor Underwritten by Maureen Craig and Glenn Goldberg New York, New York Opera Philadelphia debut
Vitche-Boul Ra (he/him/it) lenore Philadelphia, Pennsylvania Opera Philadelphia debut
Daniel Park (he/him) lenore Philadelphia, Pennsylvania Opera Philadelphia debut
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Festival O22 21 ARTISTS THE RAVEN
NEXT : Conductor, An American Dream, Opera Santa Barbara
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Minou Pourshariati (she/her) lenore Philadelphia, Pennsylvania Opera Philadelphia debut
22 Opera Philadelphia ARTISTS THE RAVEN
RECENT: Co-Director, The Queen In Me, Canadian Opera Company, Amplified Opera, Nightwood Theatre, Theatre Gargantua; Director, Hamlet (Thomas), West Edge Opera; Director, SF OPERA LAB POP-UP: Battle of the Divas, San Francisco Opera
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Cat Ramirez (they/she) associate director Philadelphia, Pennsylvania Opera Philadelphia debut
Aria Umezawa (she/her) director Underwritten by Katie Adams Schaeffer and Tony Schaeffer Toronto, Canada Opera Philadelphia debut
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Pax Ressler (they/them) lenore Philadelphia, Pennsylvania Opera Philadelphia debut
Muyu Ruba (she/her)Shanghai,lenoreChina Opera Philadelphia debut
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Bless Rudisill (he/him) lighting design San Antonio, Texas Opera Philadelphia debut
RECENT: Lighting Designer, The World According to Snoopy, Hedgerow Theater Company; Lighting Designer, Wheelz of Life, Nubienne Productions; Lighting Designer, Ruddigore, Savoy Theatre Company
ASSISTANT STAGE MANAGER Hunter Smith PRINCIPAL PIANIST & ASSISTANT CONDUCTOR Michael Lewis PROPERTIES SUPERVISOR
Ben Tilley
Obvious Agency is one of the nation’s only worker-owned performance cooperatives, operating primarily out of Philadelphia. Since 2016 we have created interactive live performances blurring the lines between audience and performer, theater and game. By blending theatrical and digital arts, we build spaces where participants can co-create their own experiences through first-hand exploration of the theatrical world. Always serious, always silly, we believe that by helping devise and define culture, we can create systemic and interpersonal change for the liberation of all people. Learn more at Obvious-Agency.com and @ObviousAgencyCoop on Instagram.
Joseph Ahmed, Obvious Agency
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HEAD
Festival O22 23 ARTISTS THE RAVEN
Custom Theatrical Services. LLC
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Avista
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Michael
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Ariel Wang (she/her) costume, hair, & makeup designer Beijing, China Opera Philadelphia debut
Tony Solitro
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AUDIO DESCRIPTION
HEAD
ELECTRICIAN
VIOLIN
Doris Hall-Gulati
BASS CLARINET
24 Opera Philadelphia
Scale
Mark Allen
Brad Ward
SAXOPHONE
Tess Varley, violin 2
Brian Kuszyk
Brendan Dooley
You .
Michael Lewis
FLUTE
VIOLA
Branson Yeast
Foulkeways at Gwynedd is rich in harmony. Foulkeways, a Quaker Life Plan Community, offers exceptional surroundings, a creative culture, and innovative services for retirement living. Visit or call us today to create your unique rhythm. 1120 Meetinghouse Rd, Gwynedd, PAfoulkeways.org | 215-283-7010 on a of
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Elizabeth Jaffe
Meichen Liao-Barnes, violin 1
PERCUSSION
PIANO
Anne Peterson
TROMBONE
Dave Nelson
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TRUMPET
LIFE,
CELLO
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Othello
Corrado Rovaris
Production from Opéra Royal de Wallonie - Liège (Belgium)
afterOTELLOMusicbyGioachinoRossiniLibrettobyFrancescoBeriodeSalsaWilliamShakespeare'splay
*Opera Philadelphia debut
Oct. 2
Hair and Make-UpChorusDesignerMasterStageManagerOtelloRodrigoDesdemonaIagoEmiliaElmiroGondolierLucioDoge
CAST & CREATIVE TEAM
Sept. 23, 25, 30,
CostumeSetConductorDirectorDesignerDesignerLightingDesign
Academy of Music
AaronAlekAmandaGabrielaBiancoSalaverri*EduardoBravoClarkElizabethBradenJenniferShawKhanyisoGwenxane*LawrenceBrownleeDanielaMackShraderSun-LyPierce*ChristianPursell*Crouch*DanielTaylorColinDoyle*
Approximately 3 hours including one 20-minute intermission
The Academy Series is underwritten, in part, by Judy and Peter Leone. Major support has been provided by Ms. Lisa D. Kabnick and Mr. John H. McFadden. Leadership support for Otello has been provided by Mrs. Sandra K. Baldino, Carolyn Horn Seidle, Jean and Gene Stark, and Barbara Augusta Teichert. Maestro Corrado Rovaris' engagement as the Jack Mulroney Music Director has been made possible by Mrs. John P. Mulroney. Support for costuming has been provided by Sarah and Brad Marshall. By arrangement with Hendon Music, Inc., a Boosey & Hawkes company, Sole Agent in the U.S., Canada and Mexico for Casa Ricordi/Universal Music Publishing Ricordi S.R.L., publisher and copyright owner.
Emilio Sagi Daniel
Festival O22 27
arrives and her father announces that soon she will no longer be sad, but offers no details. Desdemona move from hope to apprehension.
Elmiro organizes a celebration and all the guests heartily welcome Desdemona and Rodrigo. Desdemona suddenly understands that she is accompanied by her future husband. She is distraught, Rodrigo realizes his love is unrequited, and Elmiro is angry his daughter will not obey. There is a heated discussion going on when Otello arrives. The latter, unaware of the situation, unwittingly throws fuel on the fire by claiming Desdemona’s hand. Elmiro becomes a ball of rage when he hears Desdemona agree with Otello. Otello and Rodrigo begin to argue in front of a sea of bewildered faces.
Otello, a Moorish captain, returns victorious to Venice, acclaimed by nearly everyone. As thanks, the Doge grants him Venetian citizenship. Otello is happy but nonetheless confesses that only true love will fulfil him. Otello is admired by some but also sparks jealousy with two men: Iago and Rodrigo, the Doge’s son. Iago is jealous as Otello overlooked him for a promotion, while Rodrigo realizes Otello is his rival, both being in love with Desdemona, the daughter of Elmiro. Sensing Desdemona is sad, Rodrigo asks her father if he knows why, but Elmiro has no idea. Iago hears everything and, seeing a perfect opportunity to deny Otello’s ascension, joins forces with Rodrigo.
At the palace, Desdemona is fraught with worry, as her father had found a love letter with a lock of hair which she had written to Otello, and she has had no news from the man she loves. Did the letter fall into the wrong hands? Does Otello have doubts regarding her love? Emilia, her confidante, tried in vain to calm her down.
ACT I
ACT II
The two women wander away as Iago arrives. In the past Iago had also once secretly hoped to marry Desdemona. Rodrigo and Elmiro appear and Desdemona’s father promises her daughter’s hand to Rodrigo. Desdemona
While Rodrigo desperately attempts to prove his love to Desdemona, she confesses she has already married Otello. Rodrigo swears he will not let this pass. Desdemona is profoundly troubled and tells Emilia that she let her secret slip out to Rodrigo. She leaves to find her true love. She wants to forewarn him of a potential danger which lies in store.
Otello is alone and wallows in doubt – what if Desdemona prefers Rodrigo? And what if by confessing his love, he were to lose his glory and honor? But he remains wholly besotted
28 Opera Philadelphia SYNOPSIS OTELLO
when Rodrigo appears, clueless as to what just happened, having come to offer his friendship. But Otello is scornful and refuses. A dual is decided just as Desdemona appears and tries to intervene, but the men are determined. Otello and Rodrigo leave. Desdemona faints.
As the storm quietens, gun shots are heard. Someone knocks at the door. It’s Lucio, an officer, who informs Otello that Rodrigo, thought to be dead, is actually alive. But Iago is mortally wounded, after having revealed his deceitful lies. Otello is aghast. The Doge, Elmiro, and Rodrigo appear. Elmiro has changed his mind and grants his daughter’s hand Otello. Otello is horrified to the extent his jealousy has blinded him. He uncovers Desdemona’s lifeless body and kills himself.
and refuses to accept his cherished love to remain in the hands of his rival. Iago appears, fully determined to pursue his evil scheming by misleading Otello. He slowly but surely manages to transform Otello’s suspicions into certainty by showing him the letter with the strand of hair. Otello is dismayed when he reads the compelling proof of Desdemona’s infidelity and is quickly consumed by jealously. Iago revels in his successful ploy and
ACT III
Otello enters through a hidden doorway armed with a dagger and sneaks into Desdemona’s room. He contemplates her beauty as she lies in her bed, momentarily reconsidering his intentions. Desdemona murmurs endearing words in her sleep which immediately rekindle Otello’s jealousy, as he assumes they are intended for Rodrigo. A clap of thunder awakens the unfortunate Desdemona and as she opens her eyes and sees Otello, she understands he is the verge of taking her life. She tries to explain but it falls on deaf ears as his jealousy overtakes him and he deals the fatal blow. The storm begins to rage once again.
Text and photos Courtesy of Opéra Royal de Wallonie - Liège (Belgium)
SYNOPSIS OTELLO
Otelloleaves.isalone
Festival O22 29
Emilia comes to her rescue and slowly Desdemona regains her senses, praying to save Otello, but also imploring God to let her die if ever she is separated from him. Desdemona is relieved to learn Otello is alive, but this respite is short-lived as her father, still livid, decides to punish her.
Otello is condemned to exile and Desdemona seeks refuge in her room, turning to Emilia for solace and comfort. In the distance she hears a song which awakens sad memories for her. A raging storm breaks and a violent gust of wind makes the windows shatter. Could this be the harbinger of bad news? Desdemona wants to be alone and asks Emilia to leave. Before going to sleep, she says one last imploring prayer.
30 Opera Philadelphia
Translated from Spanish by Kiamesso DaSilva
Librettist Francesco Berio deviates from the Shakespearean play to favor Giraldi Cinthio’s Gli Hecatommithi, the original basis for Shakespeare’s tragedy. He exchanges, among other things, Iago's motivation of envy and manipulation for that of an ill-fated love for Desdemona, who herself displays great psychological and dramatic strength in a world ruled by the men around her. Otello, Rodrigo, Iago, and even Elmiro fight among themselves, disregarding Desdemona’s feelings and pure intentions despite each, in some way, loving her.
By Emilio Sagi
Photo of Salome Jicia as Desdemona by J. Berger.
DIRECTOR'S NOTE OTELLO
The provocations raised by this piece compelled me to set the action in Europe during the early years of the twentieth century, after the first world war. I use aristocratic figures and formalities of that time to emphasize men’s lack of scruples when deciding on the life and feelings of a woman: Desdemona.
This work by Rossini is neither rhetorical nor epic. It is an exercise in critical thought about a bourgeois society, with schematic approaches that lead to a clear, didactic end. It seeks to denounce the corruption, classism, racism and cynicism of public life in a bourgeois society, at times melodramatically.
By Dr. Naomi André
The world of Othello encompasses many stories that remain pressingly relevant for our times today. On the larger societal level, there is the issue of how close we get to the “Other,” the person who represents difference. Do we use might to force them to build our infrastructure? Do we let them fight for our freedom? When can they represent the nation? Presented as an outsider from within, the Moor Othello as the high-ranking Venetian military officer embodies these personae. There is also the intimate plane of the domestic sphere that opens the question of who we accept into our family. What is at stake are not the casual acquaintances we make that help us feel progressive and urbane, but the deeper themes regarding who we allow to become part of our bloodline, carry on our name, and shape our reputation. Othello’s world asks us to reexamine who we count among our close friends and family.
Festival O22 31 PROGRAM NOTE OTELLO
Khanyiso Gwenxane as Otello and Rina Hirayama as Desdemona in a production from Musiktheater im Revier Gelsenkirchen. Photo by Sascha Kreklau.
Performing Othello Today: Racial Fantasies and Operatic Heroism How does Othello resonate with us now?
In Shakespeare’s play and the two most well-known operatic adaptations (both named Otello by Rossini 1816 and Verdi in 1887), the relationship between Othello (Otello) and Desdemona is presented as a marriage, though continually contested by interested others, a sentiment that reminds us that interracial unions signal divergence. The story between Desdemona and Otello is that she loves him without question, even though her suitors and society are against, or at least cautious about, their union. The detractors highlight the racialized difference of Otello as the Moor to justify their own fear and horror. In such seemingly private matters, the narratives around the Othello/Otello story reproduce some of our deepest anxieties and taboos concerning racial identity and sexual relationships. These particular tellings make a damning link between
miscegenation and domestic violence that leads to murder. Compounding the tragedy of Desdemona’s death is that her trust and belief in Otello as a worthy husband is constant, even when his psyche has been broken and he has lost his reason and honor.
Using a construction for racialized identity that was theorized by Renaissance and Early Modern Shakespeare scholar Kim Hall, “things of darkness” continue to haunt us from Elizabethan England. Taking this further into performances of the play and operas today, I pose a question, what do we do with our need for Othello today? This difficult topic gets to the heart of how we manage jealousy, foster trust, and feel a sense of belonging. Many analyses focus on a condemning characterization of Othello’s motivations and deeds: his manipulatable suspicion, his mounting rage, the brutal murder of his innocent wife. Yet rarely does scholarship take into consideration the vantage point of being the outsider who has broken new ground that was not ready to be tread.
As one of the most prolific opera composers in the nineteenth century, Gioachino Rossini (17921868) is best known today for his comic operas, opere buffe, such as Il barbiere di Seviglia and La cenerentola. Even in his own lifetime, these comic operas were very popular and traveled outside of continental Europe into England and the United States. However, it was Rossini’s heroic operas, opere serie, that solidified the conventions of the primo ottocento (first half of the nineteenth century) and were critical to establishing his reputation. Today only a few are occasionally performed, usually Semiramide or Tancredi, which were both written for the Teatro La Fenice in Venice and reflect northern Italian tastes where the leading heroic role was performed by a female singing en travesti (as a trouser’s role). Rossini’s Otello from 1816 with a libretto by Francesco Maria Berio di Salsa and written for the Teatro San Carlo in Naples was a landmark opera for its time and was popular throughout the primo ottocento. Sadly, it is rarely performed today given its difficulty (multiple heroic roles for tenors) and the later Romantic period realism presented in Giuseppe Verdi’s Otello (1887).
32 Opera Philadelphia PROGRAM NOTE OTELLO
For a moment, let’s pivot to a different perspective. Otello is referred to as the Moor, a term that signals racial and ethnic difference routed through Blackness. His advancement through the Venetian military ranks has granted him access to status and power, yet his story illustrates that such gains do not lead to his being fully included in Venetian society. Whether viewed as an exception, a marvel, or the embodiment of the noble savage, Otello is not allowed to be a regular person. Instead, he exists as “the only,” or perhaps “the first,” of his kind that his adopted community has seen. When he is shown to be fallible—with foibles and weaknesses—his humanity is his undoing. While Iago is the triggering force that ultimately shatters him, the lack of community support and nurturing has let him know all along that he never truly belonged.
Operatic Otello
The circulation of Shakespeare’s works in Italy was not common until the nineteenth century. Along with Niccolò Zingarelli’s Giulietta e Romeo which premiered at La Scala in 1796, Rossini’s Otello was one of the first Shakespeare operas by a major composer to hold the stage through most of the century. Unlike Zingarelli’s Shakespeare setting, where the heroic role of Romeo was sung
PROGRAM NOTE OTELLO
by the castrato Girolamo Crescentini (though that role was later sung en travesti by women, as was done for Bellini’s Romeo in I Capuleti e i Montecchi from 1830), Rossini’s Otello is a showcase for the early Romantic heroic tenor. Given his prestigious position from 1815-1822 as director of the Teatro San Carlo in Naples, the oldest continuously active opera venue in the world (opened in 1737 and continues through today), Rossini took advantage of their rich resources. With Isabella Colbran as the leading soprano in his Neapolitan operas (and she also became his wife), Rossini’s opera serie in Naples each included three to four leading roles for tenors. Otello was premiered on December 4, 1816 at the Teatro del Fondo in Naples (the San Carlo was being repaired after a fire earlier that year). Along with Colbran as Desdemona, the roles of Otello, Rodrigo, and Iago were all performed by leading tenors of the primo ottocento: Andrea Nozzari, Giovanni David, and Giuseppe Ciccimarra.
Unlike the collaboration between Giuseppe Verdi and Arrigo Bioto on their Otello (La Scala, 1887), the version by Rossini and Berio di Salsa is not as faithful to Shakespeare’s play. Though Verdi’s four act opera is set entirely in Cyprus (Shakespeare’s Acts II-V), the action for Rossini’s three act opera takes place fully in Venice (the setting of Shakespeare’s Act I). In addition to Desdemona’s “Willow Song,” there is also an added song for a Venetian gondolier. Tragic endings in Italian opera were not the norm until 1830 when new Romantic aesthetics for heroism and tragedy were linked. For this reason, Rossini provided a “lieto fine” (happy ending; Desdemona survives) for the opera when it was revived for a production at the Teatro Argentina in Rome during the 1819-1820 carnival season. Among the conventions for organizing operatic introductions, arias, and duets, Rossini’s legacy for developing virtuosic singing for tenors is showcased in his Neapolitan operas and brought to new levels in this opera. Combined, these features make Rossini’s Otello one of the most progressive operas of the time and a trenchant examination of how the complexities of racial representation continue to resonate into the present.
Festival O22 33
Dr. Naomi André is the David G. Frey Distinguished Professor in Music at the University of North Carolina at Chapel Hill, and professor emerita at the University of Michigan. She has been the Scholar in Residence at Seattle Opera since 2019, a National Humanities Center Fellow from 2022-2023, and is Scholar in Residence at Des Moines Metro Opera for the Festival season 2022.
NEXT: Nadir, Les pêcheurs de perles, Musiktheater im Revier Gelsenkirchen
ARTISTS OTELLO
Easton, Pennsylvania
NEXT: Chorus Master, Carmina Burana + Credo, Opera Philadelphia
RECENT: Chorus Master, Oedipus Rex and Rigoletto, Opera Philadelphia; Conductor, Amahl and the Night Visitors, Three Oaks Opera
Underwritten by Mr. Jeffrey P. Cunard and Ms. Mariko Ikehara, and by Ms. Joan DeJean Bowie, Maryland Opera Philadelphia debut
RECENT: Tamino, Die Zauberflöte, Maryland Opera Studio; Contino Belfiore, La finta giardiniera, Maryland Opera Studio; Edwin, Trial by Jury, OperaDelaware
Aaron Crouch tenor / gondolier
NEXT: Lindoro, L'italiana in Algeri, Tulsa Opera
NEXT: Tamino, Die Zauberflöte, Metropolitan Opera
RECENT: Don Ramiro, La cenerentola, Wiener Staatsoper; Lindoro, L’italiana in Algeri, Opernhaus Zürich; Platée, Platée, Opéra National de Paris
Colin Doyle tenor / the doge Boulder, Colorado Opera Philadelphia debut
Khanyiso Gwenxane tenor / otello
RECENT: Tito, La clemenza di Tito, Staatsoper Braunschweig; Don José, Carmen, Musiktheater im Revier Gelsenkirchen; Admeto, Alceste, International Gluck Festival Bayreuth
2021 An Evening of Vocal Fireworks: Amici e Rivali, 2020 Cycles of My Being, 2015 Charlie Parker’s YARDBIRD
RECENT: Candide, Candide, Cincinnati May Festival; The Son, Blue, Pittsburgh Opera; Tamino, The Magic Flute, The Glimmerglass Festival
34 Opera Philadelphia
Elizabeth Braden chorus master
NEXT: Tenor Soloist, Bach, Christmas Oratorio, Choral Arts Philadelphia
2022 Rigoletto, 2022 Oedpius Rex + Lilacs
Underwritten by Carolyn Horn Seidle Cape Town, South Africa Opera Philadelphia debut
Lawrence Brownlee tenor / rodrigo Underwritten by Beth and Gary Glynn, and by Mr. Peter A. Benoliel and Ms. Willo Carey Youngstown, Ohio
RECENT: Olin Blitch, Susannah, Wolf Trap Opera; Escamillo, Carmen, Opera Theatre of St. Louis; Escamillo, Carmen, Houston Grand Opera
Sun-Ly Pierce mezzo-soprano / emilia
2019 Semele, 2018 Carmen, 2017 Elizabeth Cree
Underwritten, in part, by Kathleen and Nicholas Weir Clinton, New York Opera Philadelphia debut
NEXT: Laurene Powell, The (R)evolution of Steve Jobs, Calgary Opera
Daniela Mack mezzo-soprano / desdemona
RECENT: : Dardano, Amadigi di Gaula, Boston Baroque; Romeo, I Capuletti e I Montechi, Teatro de la Maestranza; Rosmira, Partenope, Teatro Real
RECENT: Conductor, La bohème, Ópera de Oviedo; Conductor, Rigoletto, Opera Philadelphia; Conductor, Semiramide (concert version), Opéra de Lausanne
NEXT: Frida Kahlo, El Ultimo Sueño de Frida y Diego, San Francisco Opera
Oviedo,directorSpain2017
RECENT: : Director, L'elisir d'amore, Teatro Colón de Buenos Aires; Director, Il viaggio a Reims, Rossini Opera Festival Pesaro; Director, Rossini's Otello, Opéra Royal de Wallonie de Liège
Underwritten by Ms. Caroline J. Mackenzie Kennedy Buenos Aires, Argentina
NEXT: Director, Rigoletto, New National Theatre Tokyo
Christian Pursell bass-baritone / elmiro
RECENT: Donna Elivra, Don Giovanni, Aspen Music Festival; Stéphano, Roméo et Juliette, Houston Grand Opera; Bao Chai (cover), Dream of the Red Chamber, San Francisco Opera
Emilio Sagi
Tancredi
Festival O22 35
Corrado Rovaris conductor
ARTISTS OTELLO
NEXT: Conductor, Falstaff, New National Theatre Tokyo
Underwritten by Dr. and Mrs. Andrew Wechsler Santa Cruz, California Opera Philadelphia debut
2022 Rigoletto, 2022 Oedipus Rex + Lilacs, 2021 An Evening of Vocal Fireworks: Amici e Rivali
NEXT: Bass solo, Handel Messiah, American Bach Society
Underwritten by Mrs. John P. Mulroney Bergamo, Italy
NEXT: Soloist, Three Tenors Concerts
Sam ScottPeterOberlePapadopoulosRoss
BASS Lucas MichaelMarkMatthewDeJesusFisherLorenGreerJamesGwathneyHosseiniJohnDavidMilesMillerFrankMitchellRobertPhillipsJohnT.K.Scherch
SUPERNUMERARIES
2019 Semele, 2015 La traviata
RECENT: Kaspar, Amahl and the Night Visitors, Three Oaks Opera; Guard (cover), Prisoner of the State, New York Philharmonic; Ira, Sky on Swings, Opera Philadelphia
Alek Shrader tenor / iago
Daniel Taylor tenor / lucio Lansdale, Pennsylvania
Aaron Crouch
DESDEMONA & EMILIA COVER
ARTISTS OTELLO
TENOR Matteo Adams Sang B. Cho Colin ChristopherDoyle Hodson A. Edward Maddison Toffer SteveCoryGeorgeMihalkaRossSomervilleDanielTaylorO’NiellWalkerWilliamson
36 Opera Philadelphia
NEXT: Tenor solo, Handel Messiah, Kansas City Symphony
RECENT: Dan White, Harvey Milk, Opera Theatre of St. Louis; Orante, Alcina, The English Concert (US Tour); Almaviva, Il barbiere di Siviglia, San Francisco Opera
2018 Sky on Swings, 2017 Elizabeth Cree, 2016 Breaking the Waves
Joshua Feinbaum
Megan Moore
Underwritten by Linda and David Glickstein Alva, Oklahoma
SOPRANO Natalie Esler Noel AmyAimeeValerieJulie-AnnGraves-WilliamsGreenHaberJessicaMorenoJorieMossJessicaMaryMurphyChristineNassPilgermayerEvelynSantiagoSchulzSpencer
ALTO Tanisha MeghanMeganMisoonMarissaAndersonChalkerGhimMcFaddenMcGintyNatashaNelsonEllenGracePetersPaulaRivera-DantagnanKaitlynTierney
CHORUSOTELLOCOVER
Robert Hawkey
TROMBONE
Support for the Opera Philadelphia Orchestra and Chorus has been provided by Alice and Walter Strine, Esqs.
Ralph Sorrentino, principal HARP
Yoshihiko Nakano, principal Elizabeth Jaffe Sarah Sutton Ruth ShannonJosephKathleenFrazierFosterKauffmanMerlino
Robert Gale, principal Ed PhilCascarellaMcClelland
Branson Yeast, principal Vivian Barton Dozor, assistant principal Brooke Beazley
Erik Holtje, principal Emeline Chong
CLARINET
Jennie Lorenzo David ElizabethMoultonThompson
VIOLIN 2
Brian Kuszyk, principal Steven Heitzer
VIOLIN 1
John Diodati, principal Allison Herz
Geoffrey Deemer, principal Nick Masterson
Festival O22 37 ORCHESTRA OTELLO
FLUTE
Anne Peterson, principal Brent StephenEdmondsonGroatDanielMcDougall
Meichen Liao-Barnes, concertmaster Donna GuillaumeCatherineDianeNatashaElizabethGranthamKaderabekColkettBarnettKeiFukudaCombetRebeccaAnselLisaVaupelNinaVieruZubaidiMeenaLee
HORN
Tess Varley, principal Maya HeatherShiraishiZimmerman Messe Paul YooriChrisGaredSarahKarenReiserBanosDuBoisCrawfordJusellKimWilliams
John David Smith, principal Ryan LyndsieKarenStewartSchubertWilson
Martha Hitchins, principal
BASS
PERCUSSION
BASSOON
CELLO
TIMPANI
Brendan Dooley, principal Kimberly Trolier
OBOE
VIOLA
Rong Tan, principal
TRUMPET
HEAD FLYMAN
Gregory Boyle
PROPERTIES SUPERVISOR
ELECTRICIANPROGRAMMER/ASSISTANT
Tony Solitro
HEAD PROPERTIES
PRINCIPAL PIANIST
Avista Custom Theatrical Services, LLC
Javier Ulacia
A non-profit organization, WOAR is Philadelphia’s only rape crisis center. WOAR’s mission is to eliminate all forms of sexual violence through specialized treatment services, comprehensive prevention education programs, and advocacy for the rights of victims of sexual assault. WOAR works with survivors and their loved ones to support healing, understanding, and thriving, and provides free therapy services to anyone who has experienced sexual abuse, assault, harassment or human trafficking. WOAR is committed to providing education about sexual violence and creating a culture that supports sexual violence prevention.
38 Opera Philadelphia
AUDIO DESCRIPTION
ASSISTANT STAGE MANAGERS
Grant Loehnig
ASSOCIATE DIRECTOR
ASSISTANT LIGHTING DESIGNER
Sasha Anistratova
Nicole Sardella
Jay Wonarowski
John Allerheiligen
MAKEUP ARTIST
ARTISTIC & PRODUCTION STAFF
SUPERTITLE AUTHOR & OPERATOR
Megan Coutts
ASSISTANT DIRECTOR
WOAR – Philadelphia Center Against Sexual Violence
HEAD ELECTRICIAN
WARDROBE SUPERVISOR
Chris Hetherington
“Fre” Alfreda R. Howard
Elliot Foster
Elisa Murphy
Paul Lodes
Festival O22 39 Flexible packages on sale now! ©Disney Broadway Series 2022–23 Co-presented by KimmelCulturalCampus.org
PREMIEREWORLD
40 Opera Philadelphia
Opera Philadelphia String Quartet
Timur*Jennifer Harrison Newman* Timur, Hannahvocals*Dexter, bass* Andrew Lessman, drums* Matthew Setzer, guitar* Milo Talwani, keys/electronics* Luigi Mazzocchi, violin Elizabeth Kaderabek, violin Yoshihiko Nakano, viola Jennie Lorenzo, cello
Music by David T. Little Libretto by Anne Waldman
CAST & CREATIVE TEAM
Text for “My Childhood” used with the kind permission of David Lynch.
Texts by William S. Burroughs used by kind permission of James Grauerholz, William S. Burroughs Estate
Co-Presented with FringeArts as part of the 2022 Philadelphia Fringe Festival
BLACK LODGE
Libretto incorporates text by William S. Burroughs
Tracks Edited and Mixed by Stage Manager Sindy VictorMatthewMarutiButz*Evans*SteinbergWilde,Bohemian Society* Sandra Powers* Garth AndrewMacAleavey*McKennaLee, Still Sound Music, East Chatham NY* A.K. Howard*
Presented By arrangement with Hendon Music, inc., a Boosey & Hawkes company, publisher and copyright owner
Film commissioned by Beth Morrison Projects, Opera Philadelphia, the Allen R. and Judy Brick FreedmanVenture Fund for Opera, David & Kiki Gindler, Charlotte Isaacs, and Thomas H. Platz with additional support provided by the Howard Gilman Foundation. Major support provided by the Mellon Foundation.
Philadelphia FIlm Center
Movement Coach and Costume Installation Designer Lighting Designer Associate Lighting Designer CostumeSoundCostumeDesignerStylistDesigner
*Opera Philadelphia debut
Oct. 1 & 2
Festival O22 41
Approximately 1 hour with no intermission
Opera commissioned by Beth Morrison Projects and the Allen R. and Judy Brick Freedman Venture Fund for Opera.
Developed by Beth Morrison Projects, California Institute for the Arts, HERE Arts Center, and REDCAT. Additional production support provided by David & Kiki Gindler, Charlotte Isaacs, and Thomas H. Platz. This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Developed by Beth Morrison Projects and CalArts Center for New Performance
The Man (film) The Woman (film) Timur and The Dime Museum
Story, Screenplay, and Film/Stage Direction by Michael Joseph McQuilken Produced by Beth Morrison Projects From Executive Producer Thurston Moore
Behind-the-scenes photos of Black Lodge courtesy of Beth Morrison Projects.
Trapped in a nightmarish Bardo, a place between death and rebirth, a tormented writer (Timur) faces down demons of his own making. Forced to confront his darkest moment in his life, he mines fractured and repressed memories for a way out. The woman (Jennifer Harrison Newman) is at the center of all the writer’s afterlife encounters. She is the subject of his life’s greatest regret, and she materializes everywhere in this Otherworld. The writer cannot detach any thoughts of his life from her. Inspired by the complicated mythology of the surrealist writer William S. Burroughs (Naked Lunch), Black Lodge uses dance, industrial rock, classical string quartet and opera to take viewers through a Lynchian psychological escape room, and questions what it ultimately takes to face ourselves.
42 Opera Philadelphia SYNOPSIS BLACK LODGE
It is striking for me to hear now, three years after completing the score, just how much beauty it contains. For all its rock bombast and brooding moods, much of it is soft and still, with floating, plangent melodies that plead for release. “All I want is out of here,” the score concludes; the opera itself mirroring my path in writing it, as I travelled through my own black lodge.
My Black Lodge
Festival O22 43 COMPOSER'S NOTE BLACK LODGE
Both this observation, and clues offered by Anne Waldman’s inspired libretto, helped me weather my own dark journey. I contemplated the Bardo structure we had agreed to incorporate into the work and its hungry ghosts who sing in lamentation. I became more careful about what I needed to know. I began to strain to see the elusive beauty that adorned the world’s tattered frame.
Black Lodge began with a superficial question about these artists: did they influence each other’s work? But in the 10 years since I first posed that question, it evolved into something much larger, deeper, and more personal. The process of creating Black Lodge became one not just of accepting the darker parts of myself, but of exploring that darkness – travelling through it in hopes that there would be something beautiful, even transcendent on the other side
The composer would like to thank: Clayton Eshleman, Jeffrey Edelstein, David Lynch, Eileen Mack, Beth Morrison, Donald Nally, Opera Philadelphia, Jay Wadley, Robert Woodruff
This became frightening at times; I worried I might go too far into these dark places, that like Artaud I might not be able to pull myself out, or that like Burroughs the “ugly spirit” would take hold and something horrible would happen. It seemed that only Lynch had come through his dark engagement unscathed, through spiritual practice – a lesson I marked well.
By David T. Little
Indeed, I was seeking something beautiful in Black Lodge, though deep down I still believed Burroughs’ notion that “you have to live in hell to see heaven.” I now see that I had both written myself into and out of that hell. In going through it, I found a new and healthier way of being I didn’t consciously know I was seeking — a resolution the Man in Michael Joseph McQuilken’s artful screenplay is not granted.
Behind-the-scenes photos of Black Lodge courtesy of Beth Morrison Projects.
Growing up, I always felt like I saw the world differently. I sensed the dark side of things more readily than others and possessed a certain subterranean melancholy. It is perhaps not surprising, then, that I was drawn to heavy metal – and opera – and to the works of artists like Antonin Artaud, William S. Burroughs, and David Lynch.
Behind-the-scenes photos of Black Lodge courtesy of Beth Morrison Projects.
44 Opera Philadelphia
It’s an exceedingly strange task to "movie a score"...one tends to score a movie. But in the case of Black Lodge, the entirety of the music, lyrics, timings, tempi, etc. were finished by the time I was asked to create a film for the work. To make matters even more tricky, the opera is (was?) non-narrative; neither Anne nor David had a *story* in mind for the piece, rather, a sense of emotional and imagistic significance (that also needed to be accounted for and folded in). So my task was threefold: invent a narrative, shape emotional arcs for the lead character(s), and attach all of it to preexisting music (emotions) and lyrics (images and ideas). A deeply complex puzzle. Of course I was in very regular communication with the other artists, particularly David, who helped tremendously by explaining his primary influences and motivations. The three main inspirational figures that he and Anne circled during the creation of the score/libretto were Antonin Artaud, William S. Burroughs, and David Lynch (there were others too but these were the tent poles). So we were constantly circling around how to build from their “influence” as it were. Eventually, I proposed the notion of a Lynchian world – a surreal, filmic, mid-century world – that exploited and revealed the artifice of theater craft and scenery – perhaps some Brecht snuck in there but this was mainly a nod to Artaud’s propensity to tell stories with EVERY mechanism available in the theater, giving equal weight to scenic elements as he would to (often surreal and poetic) text (like, say, a totally non-linear libretto penned by the genius Anne Waldman) – and lastly, the “ugly spirit” of William Burroughs, who conveniently lived in a period that motivated a mid-century aesthetic, and who committed and often wrote about a horrible, violent,
DIRECTOR'S NOTE BLACK LODGE
By Michael McQuilken
accidental act that could serve as an emotional and operatic center for a narrative. Regarding narrative, David and Anne were flirting with structures related to the Bardo as described in eastern religious texts – a place where a human would face down their earthy attachments – so Burroughs’ complicated past fit well into this frame also, and gave rise to our character of MAN, who spends the opera grappling with a similar offense for which he cannot forgive himself. It’s difficult to movie a score. But the act of doing so stretched and strengthened my storytelling mind in ways I would have never attempted otherwise, and I'm a better filmmaker for it.
Festival O22 45 PENNLIVEARTS.ORG 2O FRIN22GE FEST IVAL 2O FRIN22GE FEST IVAL 2O FRIN22GE FEST 28–OCTSEPTPHILADELPHIA Tickets to FringeArts.com!ongenre-defying180+showssalenowat Presented by
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Grammy-nominee David T. Little (COMPOSER) is “one of the most imaginative young composers” on the scene (The New Yorker), with “a knack for overturning musical conventions” (The New York Times). His operas Dog Days, JFK, and Vinkensport (librettos by Royce Vavrek), and his Grammy-nominated Soldier Songs have been widely acclaimed, “prov[ing] beyond any doubt that opera has both a relevant present and a bright future” (The New York Times). Little’s music has been presented by the LA Philharmonic, Carnegie Hall, LA Opera, Park Avenue Armory, Lincoln Center Festival, Kennedy Center, Holland Festival, Opéra de Montréal, and the Chicago Symphony Orchestra, among others. He recently completed What Belongs to You, a monodrama for Karim Sulayman and Alarm Will Sound, based on Garth Greenwell’s celebrated novel, and is currently composing Sin-Eater, a new choral opera for The Crossing and Ragazze Quartet; he is also developing a new work commissioned by the Metropolitan Opera / Lincoln Center Theater new work program. He is published by Boosey & Hawkes.
ARTISTS BLACK LODGE
Michael Joseph McQuilken (DIRECTOR) is a Brooklyn-based director, writer, filmmaker, and composer. Recent directing work includes Epiphany (a largescale theater & media installation at BAM), Angel's Bone (a world-premiere opera at PROTOTYPE), October In The Chair (at American Theater of Actors, NYC), and Distraction Is The Devil (a world-touring narrative rock show performed by Michael's band, ODYSSEUS FINN). Past work includes Cassandra (an original play commissioned by BRIC media art house), Theatre Is Evil (a world-touring theatrical rock concert experience Michael created for Amanda Palmer), Room No. 35 (commissioned by Krannert Center for the Performing Arts), and JIB (an original musictheater play that Michael wrote, scored, and directed). The New York Times praises Michael for his ability to “draw courageous and memorable performances from all.” Michael was commissioned by Ars Nova and The Foundry to develop scores for two new musicals which premiered in 2015 and 2016. He also regularly makes music videos and short films with his film company, Q Motion Pictures. Additional composition work can be found via Michael's solo music project, The Few Moments. He is a directing graduate of the Yale School of Drama.
Internationally recognized and acclaimed poet Anne Waldman (LIBRETTIST) has been an active member of the “Outrider” experimental poetry community, a culture she has helped create and nurture for over four decades as writer, editor, teacher, performer, magpie scholar, infra-structure curator, and cultural/political activist. Her poetry is recognized in the lineage of Whitman and Ginsberg, and in the Beat, New York School, and Black Mountain trajectories of the New American Poetry. Yet she remains a highly original “open field investigator” of consciousness, committed to the possibilities of radical shifts of language and states of mind to create new modal structures and montages of attention. She is the author of more than 40 books, including the mini-classic Fast Speaking Woman, a collection of essays entitled Vow to Poetry and several selected poems editions including Helping the Dreamer, Kill or Cure and In the Room of Never Grieve. She has concentrated on the long poem as a cultural intervention with such projects as Marriage: A Sentence, Structure of The World Compared to a Bubble, and Manatee/Humanity, which is a book-length rhizomic meditation on evolution and endangered species, and the monumental antiwar feminist epic The Iovis Trilogy: Colors in the Mechanism of Concealment, a 25 year project. Waldman is a recipient of the American Book Award’s Lifetime Achievement, a 2013 Guggenheim Fellowship, the Poetry Society of America’s Shelley Memorial Award, and is a Chancellor Emeritus of The Academy of American Poets. The Huffington Post named her one of the top advocates for American poetry. Her newest release is TRICKSTER FEMINISM (2018, Penguin). Waldman divides her time between New York City and Boulder, Colorado.
Director of Development | Julie Maykowski
Director of Production | Roderick Murray
Described by LA Times as "dangerous and seductive", Timur (THE MAN) and the Dime Museum performs “romantic, smashing, noisy” (LA Weekly) songs in a variety of eclectic projects. Known for theatrical flair and dynamic live performances, the band's notable appearances include America's Got Talent with Klaus Nomi's songwriter Kristian Hoffman, Joe’s Pub in NYC, World Café in Philadelphia, REDCAT Gala with Jack Black, the Industry LA's Crescent City and PROTOTYPE. The band is led by the Kazakh-American opera singer TIMUR, who premiered over thirty operatic works by many celebrated composers, including Thomas Adès, David Lang, Louis Andriessen, Silvano Bussotti and Nick Urata of DeVotchKa. The band collaborated with Beth Morrison Projects on COLLAPSE, a glam-rock Requiem by Daniel Corral with fashion designer Victor Wilde and video artist Jesse Gilbert. Premiered at REDCAT Theater in 2014, the show toured to Miami Light Project, Operadagen Rotterdam and BAM 2015 Next Wave Festival.
Social Media Coordinator | Maria Luisa “Lu” Mejia Development Associate | Alejandra Noyola
Beth Morrison Projects (PRODUCER) is one of the foremost creators and producers of new opera-theatre and music theatre, with a fierce commitment to leading the industry into the future, cultivating a new generation of talent, and telling the stories of our time. Founded by “contemporary opera mastermind” (LA Times) Beth Morrison, who was honored as one of Musical America’s Artists of the Year/Agents of Change in 2020, BMP has grown into “a driving force behind America’s thriving opera scene” (Financial Times), with Opera News declaring that the company,“more than any other… has helped propel the art form into the twenty-first century.” In 2013, BMP co-founded the PROTOTYPE Festival with HERE Arts Center, which has been called “utterly essential” (The New York Times), “indispensable” (The New Yorker), and “one of the world’s top festivals of contemporary opera and theater” (Associated Press).
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Executive Director | Sam Linden
Director of Touring | Victoria Voketaitis General Manager | Liz Uchtman
Associate Producer | Carlos Diaz Stoop
Jennifer Harrison Newman (THE WOMAN) is a New York based theater artist that works extensively with artists across disciplines pushing the boundaries of dance, opera, and theater. Recent site-specific and theatrical work includes:numerous Broadway and regional dance and theatrical productions including The Lion King, The Radio City Rockettes and a momentous anniversary performance with the original cast of West Side Story. Associate Director and Movement Director; Triptych(Eyes of One on Another) (BAM/Next Wave 2019, International Tour); Place (BAM/Next Wave Festival 2018, LA Opera 2020), Angel’s Bone (New Visions Festival Hong Kong 2018, Beijing Music Festival 2019, Los Angeles 2020); October in the Chair (ARACA Group 2014). Choreography and performance; Land of Broken Dreams (Park Avenue Armory 2021); AFROFEMONONOMY (PSNY 2021); when you walk through fire, hold your breath (Little Island NY 2021); Black Lodge (Beth Morrison Projects film 2021, stage premier 2022); We Were Everywhere (Princeton University 2019); Infinite Hotel (Prototype Festival 2019); within the sand and sea (Chale Wote Festival, Accra Ghana 2018);The Geneva Project (JACK, BAAD!, Yale University, International Festival of Arts & Ideas, Central Station Festival Seoul Korea), Bread of Heaven (LABA LIVE), Woman Bomb (Baryshnikov Art Center), If Pretty Hurts Ugly Must be a Motherfucker ( Yale School of Drama), The Children (Yale School of Drama), Bulrusher (New Georges); David Rousseve/ Reality (company member; Lula Washington Contemporary Dance Theater (company member)
President & Creative Producer | Beth Morrison
Associate Producer | Dani Joseph
ARTISTS BLACK LODGE
Company Manager | Maddy Rosaler
Bookkeeper | Cynthia Bastidas
Marketing Manager | Victoria Preis
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DWB (DRIVING WHILE BLACK) + SOUL (SIGNS): OPERA Thursday, Sept. 29, 9:00 p.m.
OBSCURA NOX + AFTER/GLOW Saturday, Oct. 1, 6:00 p.m.
Festival O22 49
CARMEN: A HIP HOPERA Friday, Sept. 30, 8:00 p.m.
Sept. 27, 28, 29, 30, Oct. 1, 2
SHORTS: THE OPERA WE MADE Thursday, Sept. 29, 6:00 p.m.
THE COPPER QUEEN Friday, Sept. 30, 2:00 p.m.
SOLDIER SONGS Tuesday, Sept. 27, 7:00 p.m.
DON Wednesday,GIOVANNISept.28,8:00 p.m.
SHORTS: LIKE, SHARE, FOLLOW Wednesday, Sept. 28, 6:00 p.m.
OPERA ON FILM
GOODBYE, MR. CHIPS Sunday, Oct. 2, 4:00 p.m.
LA VOIX HUMAINE + THE HUMAN VOICE Saturday, Oct. 1, 1:00 p.m.
Philadelphia Film Center
SIBYL + POLIA & BLASTEMA Friday, Sept. 30, 6:00 p.m.
SHORTS: OPERA BOLDLY GOES… Sunday, Oct. 2, 1:30 p.m.
A Jarful of Bees 2021, directed by Natalie Frank and Erin Pollock, produced by Paola Prestini
Corsair 2020, directed by George Cederquist, produced by Chicago Fringe Opera
Opera Philadelphia received more than 800 submissions for the first Opera on Film series. In choosing 20 official selections to screen alongside special presentations and films produced by Opera Philadelphia, series producers Frank Luzi and Sarah Williams worked with a screening panel consisting of film specialist Rob Buscher, Board Chair of the Philadelphia Asian American Film Festival; Philadelphia-born visual artist and film director Tiona Nekkia McClodden; and Director of Casting & Artistic Administration Michael Eberhard.
A selection of short film submissions, paired for their viewpoints on contemporary life.
Wednesday, Sept. 28, 6:00 p.m. 1 hour and 40 minutes
Among the Flowers 2021, directed by Patrick Eakin Young, produced by Royal Opera House, London
In Opera Philadelphia’s GRAMMYnominated 2021 film of David T. Little’s opera, baritone Johnathan McCullough directs and stars as the Soldier. This theatrical premiere of the film the New York Times called “a worthy addition to the far-too-slight catalog of opera presented in cinematic form” will be followed by a talk with the artists. Viewer discretion advised.
SOLDIER SONGS
Adapted from Rossini’s Otello, two men (tenor Nathan Granner as Otello and tenor Orson Van Gay as Rodrigo) are seated in a hospital room, waiting to get their vaccine administered. They bicker about their own macho ways, but when it comes time to get the vaccine shot, both at first, chicken out. (5:43)
SHORTS
The Two Hot Shots 2021, directed by George Moïse, produced by A Lab Studios
A Facebook-post-apocalyptic opera traversing the pressure-filled struggle to balance staying happy with staying well “liked.” (16:30)
Based on a short story from Boccaccio’s “Decameron,” Corsair is one man’s journey from greed to humility, from isolation to community, starring baritone and hip-hop MC K.F. Jacques. (9:52)
A multimedia, immersive short film on the transformation of memory and the mutability of familial relationships, created in collaboration with painter Natalie Frank and artist/animator Erin Pollock. With music by Paolo Prestini, text by Pulitzer Prize-winning librettist Royce Vavrek, and sung by mezzosoprano Eve Gigliotti. (10:02)
LIKE, SHARE, FOLLOW
Someone Like Me 2018, written and directed by Adam Taylor, produced by Obadiah Baker
An opera for Instagram. Bereft of social contact, a woman (mezzo-soprano Lucy Goddard) looks to her phone for traces of past joy. (10:14)
50 Opera Philadelphia ABOUT THE FILMS OPERA ON FILM
Tuesday, Sept. 27, 7:00 p.m. 90 minutes
DON Wednesday,GIOVANNISept.28, 8:00 p.m.
THE OPERA WE MADE
Joseph Losey (1909-1984), director of such diverse films as The Servant (1963), Boom! (1968) and The Go-Between (1971), directed this internationally acclaimed film of Mozart’s masterpiece, hailed by critics as the superior of even Ingmar Bergman’s version of The Magic Flute (1974) in successfully meeting the demands of two art forms. Shot on location near Venice, the film called “sinister and sumptuous” by the New York Times, stars baritone Ruggero Raimondi as opera’s patron saint of toxic masculinity, with soprano Dame Kiri Te Kanawa as Donna Elvira, soprano Edda Moser as Donna Anna, and mezzosoprano Teresa Berganza as Zerlina. Rated PG.
With the help of a failed Broadway actress (soprano Janet Szepei Todd), a wide-eyed Amish teen (tenor Jon Lee Keenan) sings his way to adulthood on his Rumspringa through New York City. Contains explicit language and brief nudity. (23:30)
TakTakShoo
A snapshot of the heroic efforts made by five of the countless unique souls who make New York City’s heart beat: The Doctor (Shannon Delijani), The Oyster Lady (David Charles Tay), The Bodega Owner (Brace Negron), The Sex Worker (Patrice P. Eaton), and The Singer (Meryl Dominguez). Featuring music by Dina Pruzhansky and libretto by Briana Hunter. (23:53)
Heroes of New York 2021, directed by Brian Gonzalez and Malena Dayen, produced by Bare Opera
Rumspringawakening
Composer Rene Orth’s fusion of opera and K-pop, marimba, electronics, and dance, that
Save the Boys
Blessed Composer Courtney Bryan’s multi-layered exploration of darkness and light, hope and love, created as a response to the milestone events of 2020, in collaboration with filmmaker Tiona Nekkia McClodden, soprano Janinah Burnett, vocalist Damian Norfleet, and sound designer Rob Kaplowitz. (22:02)
2019, written and directed by Adam Taylor, produced by Obadiah Baker
The Island We Made A haunting lullaby formed from the memories and individual relationships of its collaborators—acclaimed composer Angélica Negrón, drag superstar Sasha Velour, and renowned filmmaker Matthew Placek. (10:46)
Pulitzer Prize-winning composer Caroline Shaw and director Maureen Towey create an environment filled with tension and energy in this short film based on a poem by Anne Carson. Soprano Ariadne Greif stars as a young woman in conversation with herself, reminiscent of our isolated days of quarantine: days of frustration, joy, and grief. (10:44)
An evening of short films commissioned and produced for streaming on the Opera Philadelphia Channel in 2021, making their theatrical debuts in Festival O22.
We Need to Talk
Thursday, Sept. 29, 6:00 p.m. 80 minutes
Festival O22 51 ABOUT THE FILMS OPERA ON FILM
SHORTS
Three hours
Tyshawn Sorey’s world premiere inspired by an 1887 poem by abolitionist, writer, and Black women’s rights activist Frances Ellen Watkins Harper, performed by countertenor John Holiday and pianist Grant Loehnig. (21:02)
Blanchard’s opera Champion: An Opera in Jazz, also featuring Andrew Morrill and Alberto Medero, and a new audio recording by baritone Markel Reed. In an ASL reimagining of “His Name is Jan” from Missy Mazzoli and Royce Vavrek’s Breaking the Waves, Monique Holt signs the role of Bess as she confronts a chorus of church elders — signed by Seth Gore, Dickie Hearts, Andrew Morrill, and Zavier Sabio. Featuring a new audio recording by soprano Kiera Duffy and students from the University of Notre Dame. Created by Up Until Now Collective, and commissioned by Boston Lyric Opera, Opera Omaha, Opera Columbus, and Portland Opera.
creates an eclectic sound and movement world. With a libretto by playwright Kanika Ambrose, the film stars mezzo-soprano Kristen Choi as an energizing life force inviting people to come into the world anew, and is directed by Emmy Award-nominated director and choreographer Jeffrey L. Page. (11:58)
Soul(Signs): Opera is a series of three 2022 short films exploring the intersection of opera and American Sign Language. In a queer, ASL spin on Mozart’s The Magic Flute, Dickie Hearts signs the role of Papageno and Brandon Kazen-Maddox signs the role of Papagena, with a new audio recording by baritone John Taylor Ward and countertenor Jordan Rutter. Brandon Kazen-Maddox signs the role of Emile Griffith in an ASL version of the aria “What Makes a Man?” from Terence
Originally slated to be a stage production, and delayed due to the COVID-19 pandemic, composer-librettist John de Los Santos’ The Copper Queen was reimagined as Arizona Opera’s first film project, directed by Crystal Manich. Still healing from her grandmother’s death, Addison Moore (mezzo-soprano Sarah Coit) finds herself checking into The Copper Queen Hotel in Bisbee, Arizona. Aware of the ghost stories and hauntings, Addison fearlessly elects to stay in Room 315, the location of the death of heartbroken Julia Lowell (soprano Vanessa Becerra) a century ago. But what draws Addison to Room 315? And why does she want to face Julia’s ghost? This film contains scenes that some viewers may find disturbing.
DWB (DRIVING WHILE BLACK)
ABOUT THE FILMS OPERA ON FILM
Filmmakers Du’Bois and Camry A’Keen’s 2021 adaptation of Susan Kander and Roberta Gumbel’s one-woman opera incorporates elements of dance, music video production, and intimate storytelling. dwb (driving while black) is a montage of poetic and haunting moments examining the trials and triumphs Black mothers experience as their children come of age in a society plagued by racism and inequality. In the central narrative, we meet the Mother (soprano Karen Slack) in her home. The dangerous world outside, however, is out of her control, and anxiety builds in her mind and heart as her “beautiful brown boy” approaches manhood and the realities of modern life as a Black person in America. Produced by UrbanArias.
THE COPPER QUEEN
52 Opera Philadelphia
Friday, Sept. 30, 2:00 p.m. 1 hour and 50 minutes
+ SOUL (SIGNS): OPERA Thursday, Sept. 29, 9:00 p.m. 60 minutes
With thanks to Marian Goodman Gallery New York and William Kentridge for their support of this presentation of Sibyl.
In 2001, Robert Townsend (Hollywood Shuffle) directed this MTV adaptation of Georges Bizet’s Carmen, quoting from the classic opera’s music and melding it with a new hiphop score performed by a cast of recording artists including Mos Def, Wyclef Jean, Lil’ Bow Wow, Da Brat, Rah Digga, and Beyoncé Knowles in her acting debut as Carmen. Set in Philadelphia, with Mekhi Phifer also starring as Philly cop Derek Hill (an update of Don José), the film debuted to mixed reviews. Two decades later, it has a loyal fanbase thanks to its provocative exploration of hip hop on an operatic scale, called “fun and fascinating to watch because of its intelligent direction and heartfelt performances at its core” (The Spool). Rated PG-13.
ABOUT THE FILMS OPERA ON FILM
Polia & Blastema (2022) is the first foray into opera for American film director E. Elias Merhige (Shadow of the Vampire). This scifi opera film is a gnostic creation myth told through a visual tapestry which journeys into immensely desolate hellscapes of the inorganic as organic folding back onto itself in ever spiraling, fractally superimposing cataclysms of wormhole network (be)longing. Aesthetically tempered by aspects of decay, rot, earth, and the meta-myth structure of human cognition, the multi-leveled world of Polia & Blastema is informed by the visual imagination of David
CARMEN: A HIP HOPERA Friday, Sept. 30, 8:00 p.m. 1 hour and 35 minutes
South African artist William Kentridge has achieved a worldwide reputation with his powerful animation films, charcoal drawings, large-scale installations, and opera stage direction and designs. Sibyl is a 10-minute film conceived in 2020 as a companion piece to Work in Progress, the only stage work conceived by the U.S. sculptor Alexander Calder for Teatro dell’Opera in Rome in 1968. Inspired by the movement and by the rotation of Calder’s artworks, Kentridge evokes the priestess mentioned by Dante: The Cumean Sibyl, who used to write her prophecies for people’s destinies on oak leaves. The leaves at the mouth of her cave were scattered by the wind, confusing the destinies of those who came to fetch them. In the film, the contemporary Sibyl is portrayed as an African dancer, who dances against book pages to jazz music composed by Kyle Shepherd and vocal compositions by Nhlanhla Mahlangu.
Friday, Sept. 30, 6:00 p.m. 50 minutes
SIBYL + POLIA & BLASTEMA
Festival O22 53
Wexler, a celebrated visual artist who has been the mastermind behind the live performances of Flying Lotus, The Weeknd, and The Glitch Mob, among many other artists. It is also informed by Viennese Actionism as much as it is by Eugene Thacker’s notions of “the world without us,” of supernatural horror and dissolution, expressed in the separation and (re)union of two entities who in the end feast on one another in ritualistic ecstasy. Starring Nina McNeely and Jasmine Albuquerque and featuring vocalists Micaela Tobin and Sharon Chohi Kim, Polia & Blastema is a unique cinematic journey into the cosmic. World Premiere screening.
SHORTS
Two films based on the same Jean Cocteau play come together for a fascinating double feature, as James Darrah’s 2021 La voix humaine starring Patricia Racette is paired with Pedro Almódovar’s 2020 The Human Voice starring Tilda Swinton. Darrah’s adaptation of the Poulenc opera, produced by Opera Philadelphia, tells the story of one woman (Racette) as she grapples with grief, denial, and anger in the face of unrequited love, all shared through a one-sided telephone call. In Almodóvar’s first English-language film, called “the most rewarding 30 minutes you could imagine” by Rolling Stone, a woman (Swinton) watches time passing next to the suitcases of her ex-lover (who is supposed to come pick them up, but never arrives) and a restless dog who doesn’t understand that his master has abandoned him. The Human Voice is rated R.
54 Opera Philadelphia
OBSCURA NOX + AFTER/GLOW
LA VOIX HUMAINE + THE HUMAN VOICE
Saturday, Oct. 1, 1:00 p.m. 80 minutes
In a modern retelling of Plato’s Allegory of the Cave, a woman (soprano Julia Dawson) is cloistered in a prison of her own making until a mysterious stranger shows her a way out.
ABOUT THE FILMS OPERA ON FILM
OPERA BOLDLY GOES…
An adaptation of Arnold Schoenberg’s song “Erwartung” (from vier lider, op. 2:1), Erwartung/EXPECTATION recontextualizes the salon-like qualities of western lieder performance to a surrealistic bistro — told through the lens of a cabaret singer’s reflection on a fever-dream encounter with a ghostly muse. (4:31)
Featuring Mozart’s “Exsultate, Jubilate” (KV 165) and new music by Iranian-Canadian composer Iman Habibi with original Latin text, Obscura Nox is a combination of classical music and narrative film. Director Mary Birnbaum’s 26-minute “création lyrique” explores themes of isolation, the relationship between perception and reality, and society’s morphine-drip addiction to our screens.
Saturday, Oct. 1, 6:00 p.m. 80 minutes
Sunday, Oct. 2, 1:30 p.m. 90 minutes
A selection of short film submissions that boldly go where no opera has gone before. Erwartung/EXPECTATION 2021, directed and produced by George R. Miller
The spark of new love, the smoldering of desire, the haze of loss. Life and death are but bodies intertwined in After/Glow, a 2021 film directed by Ryan McKinney. Reimagining a classic European work through contemporary voices, After/Glow boldly embarks upon a cinematic journey through Schumann’s iconic sixteen song cycle Dichterliebe (A Poet’s Love). Featuring the original work of acclaimed poet Marc Bamuthi Joseph and the virtuosic performance of countertenor and recent finalist on NBC’s The Voice John Holiday, After/Glow will leave you basking in the raw power of intimate human connection.
2022, directed by Raviv Ullman, produced by Long Beach Opera
Be a Doll 2019, music, libretto, design, direction, and performance by Alexa Dexa
2020, composed by Rene Orth and directed by Zachary James
Jabberwocky
2021, directed by Aoife Spillane-Hicks, produced by Irish National Opera
ABOUT THE FILMS OPERA ON FILM
A music video of Lewis Carroll’s poem from his 1871 novel Through the Looking Glass, scored by composer Rene Orth for singer Zachary James. (7:09)
After three productions were cancelled in the first pandemic year, mezzo-soprano Nikola Printz and composer Erling Wold decided to produce three short operatic films in three styles - three responses to danger, each with its own approach to voice and visuals. (13:43)
2022, composed and directed by Erling Wold
Ātman 2021, written directed, and produced by Bruno Soares
Three women (sopranos Kelli Ann Masterson and Rachel Goode and mezzo Aebh Kelly). All different. Connected only by the intensity of their wildly dissimilar desires. Through their letters, their voices join each other across time, in an attempt to give name to their desires. With music by Amanda Feery and a libretto by Megan Nolan. (21:52)
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A woman struggles with perfectionist and submissive conditioning in a world that commands her to “be a doll.” Living in a dollhouse filled with functioning toy versions of household items, she reluctantly carries out the traditional role of woman as pretty plaything and keeper of the home. (8:29)
Three Romances with Nikola Printz
Entry
A visual poem from Portuguese director Bruno Soares. After a confrontation between the protagonist (Mauro Ramos) and Death, he faces several changes until realizing that evil is always in him. (16:22)
A Thing I Cannot Name
Driven by a frenzied score and stunning choreography, Entry follows one woman’s journey as she revisits key moments of the last year — in order to find her voice. With music by Alex Simon and a libretto by Bird’s Nest Family, Entry was developed in collaboration with indigenous artists based in Ogaa Po Ogeh — the occupied Tewa territory known as Santa Fe, New Mexico. This art-forward film examines the nature of isolation, activation, transformation, and reintegration. (13:00)
GOODBYE, MR. CHIPS Sunday, Oct. 2, 4:00 p.m. 1 hour and 50 minutes
Composer-librettist Gordon Getty’s new opera, reimagined for film in November 2021, is based on the popular 1934 novella by James Hilton. Goodbye, Mr. Chips tells the story of a teacher at Brookfield, an all-boys English boarding school to which “Chips” dedicates most of his adult life. The film chronicles Chips’ story of love, loss and learning over his decades-long tenure at Brookfield. Directed by Brian Staufenbiel, the film stars tenor Nathan Granner as Mr. Chips, soprano Marnie Breckenridge as Kathie, and baritone Lester Lynch as Merrivale.
KarasMattbyPhoto
Subscribe online at Kennedy-Center.org/Subscriptions or call the Subscriptions Office at (202) 416-8500, weekdays 10 a.m.–5 p.m. THANKS TO OUR SPONSORS WNO Presenting Sponsor Jacqueline Badger Mars Mrs. Eugene B. Casey PURE POWER Gabriella Reyes l Denyce Graves l Raehann Bryce-Davis l Christine Goerke l Latonia Moore Il trovatore l Elektra l Blue l La bohème l and more
2022–2023 season Information for all other ticket-related customer service inquiries available at Advance Sales Box Office at (202) 416-8540
New streaming programs to be announced
A Post “Best of 2021 Classical Music” Pick of the great treasures of the pandemic has been Opera Philadelphia’s digital shorts.” New York Times TUNED! this fall. Opera Philadelphia Channel has been made possible by the Mellon Foundation, the Disosway Foundation, by Wyncote Foundation.
“One
STAY
Inc., and
Washington
—The
Subscribe at OPERAPHILA.TV The
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AFTERNOONSATAVA
Helen Corning Warden Theater
Latonia Moore
TenorTenorSopranoBassbaritonePiano
Sept. 24 & Oct. 1
SATURDAY, SEPTEMBER 24, 2022
André Courville* EmilyZacharyMargevich*Rioux*MichaelLewis
TenorBass-baritoneSopranoPiano
LukeShawnNorvell*Roth*YueWu*LauraWard
*Opera Philadelphia debut
SATURDAY, OCTOBER 1, 2022
Jacques(1890-1962)Ibert
Clair de lune, Op. 46, No. 1 Le Voyageur, Op. 18, No. 2
Scenes from Faust Ah! Je ris de me voir si belle Salut! demeure chaste et pure Vous qui faites l’endormie Alerte, alerte!
Chansons de Don Quichotte Chanson du départ de Don Quichotte Chanson à Dulcinée Chanson du Duc Chanson de la mort de Don Quichotte
Air du tambour major, Le caïd Ambroise(1811-1896)Thomas
60 Opera Philadelphia SEPT. 24 PROGRAM AFTERNOONS AT AVA
Charles(1818-1893)Gounod La vie en rose Les feuilles mortes Ne me quitte pas
Louiguy (1916-1991) Joseph Kosma (1905-1969) Jacques Brel (1929-1978)
La DoucemerFrance Charles(1913-2001)Trenet
Bois épais, Amadis, LWV 63 Jean-Baptiste(1632-1687)Lully
Gabriel(1845-1924)Fauré
Opus 38
1. In my garden at night
Nancy Hanks Katherine(1892-1980)Davis
Die CäcilieAllerseelenNacht
Pleurez Mes Yeux, Le Cid Jules(1842-1912)Massenet
4. The pied piper
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5. Dreams
3. Daisies
Stresa Wintter(1884-1962)Watts
2. To her
Sergei Rachmaninoff(1873-1943)
Giuseppe(1813-1901)Verdi
6. A-oo (The Quest)
Richard(1864-1949)Strauss
Son giunta!…Madre Pietosa Vergine, La forza del destino
Dream Valley Roger(1877-1953)Quilter
62 Opera Philadelphia ARTISTS AFTERNOONS AT AVA
RECENT: Music Director, Trailblazers, Academy of Vocal Arts; Pianist, Lift Every Voice Philadelphia, Aural Compass Projects; Principal Coach, Castor & Patience (World Premiere), Cincinnati Opera
Next: Violetta, La traviata, Academy of Vocal Arts
NEXT: Leonora, Il trovatore, Washington National Opera; Aida, Aida, Metropolitan Opera; Cio-Cio San, Madama Butterfly, Staatsoper Berlin
RECENT: Billie, Fire Shut Up In My Bones, Metropolitan Opera; Billie, Fire Shut Up In My Bones, Lyric Opera of Chicago; Aida, Aida, Los Angeles Opera
Lewisburg, Pennsylvania
RECENT: Don Giovanni, Don Giovanni, Berkshire Opera Festival; Colline, La bohème, Cincinnati Opera; Lord Cecil, Maria Stuarda, Zurich Opera
Luke Norvell tenor Tacoma, Washington Opera Philadelphia debut
Michael Lewis pianist
2003 Così fan tutte
RECENT: Lensky, Eugene Onegin, Music Academy; Lensky, Eugene Onegin, Academy of Vocal Arts; Duca, Rigoletto, Academy of Vocal Arts
Latonia Moore (AVA '04) soprano Houston, Texas
Cecilia,bass-baritoneLouisiana Opera Philadelphia debut
2019 Semele, 2021 Tosca
NEXT: Keyboardist, Carmina Burana + Credo, Opera Philadelphia
André Courville (AVA '17)
Emily MargevichChicago,sopranoIllinois Opera Philadelphia debut
RECENT: Suor Angelica, Suor Angelica, International Opera Festival of Morelia; Tatiana, Eugene Onegin, Academy of Vocal Arts; Juliette, Roméo et Juliette, Brevard Janiec Opera
NEXT: Titurel, Parsifal, Houston Grand Opera
ARTISTS AFTERNOONS AT AVA
NEXT: Spoletta (Cavaradossi Cover), Tosca, Edmonton Opera Shawn Roth tenor Johnstown, Pennsylvania Opera Philadelphia debut
RECENT: CD Releases Spirits in Bondage, Art Songs of Benjamin C.S. Boyle, Navonna Records Yue Wu bass-baritone Tianjin, China Opera Philadelphia debut
Zachary Rioux tenor Grand Falls, New Brunswick, Canada Opera Philadelphia debut
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Laura Ward pianist Philadelphia, Pennsylvania 2014 A Coffin in Egypt Co-Artistic Director of Lyric Fest
Next: Soloist, Pops Concert, Johnstown Symphony Orchestra
RECENT: Rotnyi, Eugene Onegin, Music Academy of the West; Charlie Soong, Dr. Sun Yat-Sen, Mannes School of Music; Bartolo, Le nozze di Figaro, Mannes School of Music
RECENT: Don José, La tragédie de Carmen, Velaa Island Opera; Mr. Upfold, Albert Herring, Princeton Festival; Parpignol, La bohème, Academy of Vocal Arts
RECENT: Recent: Rodolfo, La bohème, Academy of Vocal Arts; Lensky, Eugene Onegin, Academy of Vocal Arts; Prince, Rusalka, LAH-SOW
JOIN AVA THIS SEASON! GIVING VOICE TO OPERA'S FUTURE! Friday, September 30, 2022 7:30 PM Perelman Theater, Kimmel Center GIARGIARI BEL CANTO COMPETITION La traviata | Verdi November 2022 Don Pasquale | Donizetti February 2023 Don Giovanni | Mozart April/May 2023 with concerts and recitals throughout the season! An evening of vocal fireworks! Come hear opera ' s rising stars compete for prizes, including an audience award! Tickets available now through the Kimmel Cultural Campus at kimmelculturalcampus.org or 215 893 1999 1920 Spruce Street Philadelphia, PA 19103 avaopera org | 215 735 F1685 ollow @avaopera
Join Jillian Pirtle, CEO of the National Marian Anderson Museum & Historical Society, for a reading of When Marian Sang, a story about the Philadelphia-born contralto Marian Anderson. The Marian Anderson Historical Society and Museum will display items of Marian’s – letters, dresses, and sheet music – to bring the story of the Philadelphia luminary to life.
This event is geared toward Pre-K to 1st grade, but all ages are welcome!
Delve into Toshio Hosokawa’s The Raven, and its O22 presentation by director Aria Umezawa and the Obvious Agency, at this panel discussion led by Robert Buscher with panelists Makoto Hirano and William Gardner Ph.D.
Approximately 45 minutes
The Fellowship Room, Wharton Wesley United Methodist Church 5341 Catharine St, Philadelphia, PA 19143
This event is geared toward Pre-K to 1st grade, but all ages are welcome! Approximately 45 minutes
300 South Broad St. Philadelphia, PA 19102
Approximately one hour
OPERA STORYBOOK TIME
Saturday, October 1, 2022, 10:30 a.m.
Rendell Room, Kimmel Center
Join D’quan Tyson, Opera Philadelphia’s Education Coordinator for In-School Programs, for a reading of When Marian Sang, a story about the Philadelphia-born contralto Marian Anderson, followed by a hands-on activity. The Marian Anderson Historical Society and Museum will display items of Marian’s – letters, dresses, and sheet music – to bring the story of the Philadelphia luminary to life.
September 27, 2022, 7:00 p.m.
Marian Anderson Recreational Center 740 S. 17th Street, Philadelphia PA 19146
FESTIVAL EXTRAS
Saturday, September 24, 10:30 a.m.
OPERA STORYBOOK TIME
THE RAVEN ROUNDTABLE
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Sept. 21–Oct. 2 The Switch | 421 N 7th St
A mixed-plate performance that’s 50% cabaret destination, 50% neighborhood jawn, and 100% good to the last bite.
See the full lineup at fringearts.com/snacks
Performers include Veronica Chapman-Smith, Anthony Martinez-Briggs, Cookie Diorio, John Jarboe, Pax Ressler, Martha Graham Cracker, and many, many more!
LATESNACKSNIGHT
Wednesday, September 21, 8:00 p.m. Thursday, September 22, 8:00 p.m. Friday, September 23, 8:00 p.m. & 10:30 p.m. Saturday, September 24, 8:00 p.m. & 10:30 p.m. Sunday, September 25, 2:30 p.m. & 8:00 p.m. Wednesday, September 28, 8:00 p.m. Thursday, September 29, 8:00 p.m. Friday, September 30, 8:00 p.m. & 10:30 p.m. Saturday, October 1, 8:00 p.m. & 10:30 p.m. Sunday, October 2, 2:30 p.m. & 8:00 p.m.
Part of Festival O22 and the 2022 Philadelphia Fringe Festival
The Bearded Ladies Cabaret shares a new selection of guilty pleasures, soul nourishment, and tasty cabaret treats in this year’s Late Night Snacks. Performances feature different artists every night – from opera singers to drag queens, cabaret stars to art clowns, and everything in between – all baked together and seasoned to perfection, blending the rich cultures of Philadelphia with entertainment like you’ve never sampled before.
Whether you come for one night, come every night, or just stop by on your way to the corner store, this potluck of a performance series is here to welcome you with music, drinks, and more enticing entertainment than you can fit on a single paper plate.
68 Opera Philadelphia DIGITAL STEFANIEUNDINEOFFERINGJANSSEN • MICHAËL BRIS • SJARON MINAILO • RICHARD VAN KRUYSDIJK WORLD TRADE/MARYPREMIERE MOTORHEAD EMMA O’HALLORAN · MARK O’HALLORAN · TOM CREED · ELAINE KELLY EAST COAST PREMIERE IN OUR DAUGHTER’S EYES DU YUN · MICHAEL JOSEPH MCQUILKEN · NATHAN GUNN WORLD NOTEPREMIERETO A FRIEND DAVID LANG • YOSHI OIDA WORLD PREMIERE M LAURASILVANAMARCHITAWORLDGELSEY[MORNING//MOURNING]NIŊBELL•TARAAHMADINEJADPREMIEREESTRADA·ROBERTOVERÁSTEGUI·ITANDEHUI·CLARAPAMPYNWORLDPREMIERETHEALLSING“HERELIES JOY” DANIEL BERNARD ROUMAIN (DBR) · MARC BAMUTHI JOSEPH · DAMIEN SNEED JANUARY 5–15, PROTOTYPEFESTIVAL.ORG2023 “One of the world’s top festivals of contemporary opera and theater.” – Associated Press rC
Join us for our most magical season yet! Tickets now on PHILADELPHIABALLET.ORGsale! Cinderella OCTOBER 13-23, 2022 The Sleeping Beauty MARCH 2-12, 2023 Balanchine Ballet Imperial | Agon | Who Cares? MARCH 16-19, 2023 New Works Juliano Nunes, Andonis Foniadakis, Hope Boykin FEBRUARY 3-11, 2023 Coppélia World premiere choreography by Artistic Director Angel Corella MAY 11-14, 2023 GEORGE BALANCHINE’S The Nutcracker® DECEMBER 9-28, 2022
Sterling Baca and Sydney Dolan | Photographer: Alexander Iziliaev
2022/2023SEASON
Sunday, Sept. 25, 7:30 p.m.
FOR THE BEAUTY OF THE EARTH
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Aimee Pilgermayer PaulaEvelynRivera-DantagnanSantiagoCeceliaSnowAmySpencerKaitlynTierney
An Evening with the Opera Philadelphia Chorus
Opera Philadelphia Chorus
Old Pine Street Presbyterian Church
Julie-Ann Green Alyson Harvey Megan MeghanMcFaddenMcGintyJessicaMorenoJorieMoss
Jennifer Beattie Robin Bier Natalie Esler
PERFORMERS
Jessica Mary Murphy Natasha Nelson Ellen Grace Peters
Elizabeth Braden, conductor Michael Lewis, pianist Cookie Diorio, narrator
This concert explores how the marriage of music and words in song inspire us to celebrate the sacred, experience joy and sorrow on stage, and be moved in a new way. The voices we have chosen to lead us on this journey are composers and poets from the LGBTQ+ community. Through their words and music, we’ll sing of hope, contemplation, prayer, baking terrible pies, loss, and of course, love. Join us for an evening of music and poetry as we travel through all the emotions that make up the beauty of the earth.
“How I Go to the Woods” Mary Oliver Solitary Hotel, from Despite and Still, Op. 42, Samuel Barber Natasha Nelson, soloist
PROGRAM CHORUS CONCERT
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The Worst Pies in London, from Sweeney Todd Stephen Sondheim
No Time Not to Love Joan Szymko
I. Sacred Songs
Losing My Mind, from Follies Stephen Sondheim Megan McFadden, soloist “Haiku (for Sarah Vaughan)” Sonia Sanchez
Sonia Sanchez
Pretty Women, from Sweeney Todd Stephen Sondheim
“Loneliness” Mary Oliver
“Song” Sonia Sanchez
“Two Haiku”
Send in the Clowns, from A Little Night Music Stephen Sondheim III. Poetic Songs
“Short Poem” Sonia Sanchez
Last Night the Rain Spoke to Me Lori Laitman Jorie Moss, soloist
“Drifting” Mary Oliver At the River, from Old American Songs, Set 2 Aaron Copland Robin Bier, soloist
“Invitation” Mary Oliver Ave Verum Corpus Francis Poulenc Ave Maria Pax Ressler
The Silver Swan Michael Bussewitz-Quarm The Peace of Wild Things Joan Szymko
“Praying” Mary Oliver For the Beauty of the Earth Michael Bussewitz-Quarm
II. Theatrical Songs
A Boy Like That/I Have a Love, from West Side Story Leonard Bernstein Paula Rivera and Evelyn Santiago, soloists
“Wild Geese” Mary Oliver
Nocturne Eric Tuan
Meghan McGinty, soloist
When you are not composing or playing music, how do you spend your time?
Q&A: COURTNEY BRYAN
Opera Philadelphia audiences may recognize Bryan from her digital commission Blessed, which premiered on the Opera Philadelphia Channel in February of 2021. The personal piece includes footage of Bryan at St. Luke’s Episcopal Church of New Orleans, which is home to an organ with a feature named after her father, Dr. Clifford Bryan. Whenever she uses the stop of Trumpet Bryan as the church musician, she said, she feels connected to her grandparents.
To read the full interview, visit operaphila.org/courtneybryan
I am thrilled about this opportunity! I am looking forward to learning about the various aspects of what it means to make an opera, from how the administration roles work to the creative process and collaborator roles. I love that Opera Philadelphia has such a forwardthinking approach to opera and I look forward to learning more about the various productions that the company has produced and to being involved in the arts community in Philadelphia over time.
What musical genre have you always wanted to experiment with?
I have had experience playing and writing in various musical genres. The first composers I learned about were Scott Joplin and Frederic Chopin. My formal training is in Western classical and jazz musical styles. I have performed in R&B bands, contributed to hip-hop tracks, and have performed in and written for marching band growing up. I have been involved in a range of experimental music traditions. A major part of my training has been as a church musician with a range of musical styles, including gospel music.
I like to enjoy various cultural events and talks at Tulane University where I teach, and great music venues and art museums in New Orleans. I enjoy concerts by the Louisiana Philharmonic Orchestra where I work as creative partner. In my free time, I enjoy spending time with my family in New Orleans.
What are you most interested in exploring as Opera Philadelphia’s Composer in Residence over the next year?
One musical genre that I have been looking forward to experimenting with is opera! I am also interested in improving upon my production skills, finding inspiration in electronic dance traditions.
Bryan is currently working on a piano concerto that she will premiere as composer and performer with the Los Angeles Philharmonic in February 2023 and with Cincinnati Symphony Orchestra in May 2023. She also is working on a commission for the New York Philharmonic in collaboration with librettist Tazewell Thompson that will feature bass-baritone Ryan Speedo Green, to be premiered in March 2023. Learn more about Bryan as we welcome her to Opera Philadelphia!
I grew up in New Orleans, Louisiana and music is a part of everything in this city. Growing up, we had a piano in the house. My sisters were taking piano lessons, and I liked to do whatever they did. That’s how I got into it and I fell in love with the piano as soon as I could climb onto the bench. I would improvise and hear the sounds and spend all the time I could at the piano. At five, I started studying piano. I would practice these lessons and would improvise on them and on music that I heard on the radio and movies. This is how I taught myself how to compose. Once I shared with my kindergarten teacher a composition of mine and she started teaching me, outside of class, an introduction to music notation.
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Interview by Blake Velick
Courtney Bryan, a composer and professor at Tulane University, has been called “a pianist and composer of panoramic interests” by the New York Times. This season, she also becomes Opera Philadelphia’s newest Composer in Residence.
Where did you get your start in music?
SAVE THE DATE 3.18.23foranexcitingfundraisingeventcelebrating 10 years of Opera Philadelphia's groundbreaking Composer in Residence Program For more information, please visit operaphila.org/composer-celebration The Composer in Residence program is made possible by the Mellon Foundation. Mark your calendar to join us as we celebrate these remarkable composers, their music, and the innovative program that has fostered tomorrow's masterpieces of opera. David Hertzberg 2015–2018 Andrew Norman 2013–2016 Missy Mazzoli 2012–2015 Lembit Beecher 2011–2014 David T. Little 2014–2017 Tyshawn Sorey 2019–2023 Rene Orth 2016–2019 Courtney Bryan 2022
The Pew Center for Arts & Heritage Carolyn Horn Seidle
Scott F. Richard and Mamie Duff Dr. Renée Rollin Robert L. Turner Charlotte and Bob† Watts
Mr. Peter A. Benoliel and Ms. Willo Carey Lawrence Brownlee Maureen Craig and Glenn Goldberg Carol S. Eicher
Eugene Garfield Foundation Linda and David Glickstein Beth and Gary Glynn Hamilton Family Charitable Trust Mark and Helene Hankin Family Katherine and John Karamatsoukas Ms. Caroline J. Mackenzie Kennedy Mrs. Sheila Kessler Donald and Gay Kimelman Paul L. King
Mrs. Sandra K. Baldino Disosway Foundation, Inc. Barbara and Amos Hostetter Judy and Peter Leone
Dr. Heidi L. Kolberg and Dr. F. Joshua Barnett Joel and Sharon Koppelman Dr. Beverly Lange and Dr. Renato Baserga Jacqueline Badger Mars
The Horace W. Goldsmith Foundation
The McLean Contributionship
For more information, contact Eva James Toia, Director of Major Gifts, at 215.893.5906 or etoia@operaphila.org. YOU
Mr. John R. Alchin and Mr. Hal Marryatt Ms. Robin Angly Eileen Baird†
EllenPNC Steiner
THANK
Opera Philadelphia expresses our deepest gratitude to the individuals and institutions whose support allows us to bring you Festival O22.
AnonymousMr.AllenD. Black and Mr. R. Randolph Apgar Katherine and Andrew Christiano Mr. and Mrs. Frederick P. Huff Independence Foundation Ms. Lisa D. Kabnick and Mr. John H. McFadden Stephen K. Klasko, M.D., M.B.A. and Colleen Wyse H.F. Lenfest Fund of the Philadelphia Foundation
Dr. and Mrs. Andrew Wechsler
Jean and Gene Stark
Judith Durkin Freyer and Charles C. Freyer Mellon Foundation
Leslie Miller and Richard Worley Foundation
The William Penn Foundation Wyncote Foundation
CHAIRMAN'S COUNCIL
The Presser Foundation
LEADERSHIP CIRCLE
AnonymousSarahandBrad Marshall
Mrs. John P. Mulroney Barbara Augusta Teichert
Allen R. and Judy Brick Freedman Venture Fund for New Opera Feather O. Houstoun
Stacey Spector
For more information, contact Rebecca Ackerman, Senior Director of Development, at 215.893.5904 or ackerman@operaphila.org.
AlAnonymousandLauraIraBrindand
Dr. Stanley Muravchick and Ms. Arlene Olson Tom and Jody O'Rourke
Platinum Patron
Ms. Joan DeJean
Katie Adams Schaeffer and Tony Schaeffer Drs. Richard and Rhonda Soricelli Alice and Walter Strine, Esqs.
Myron and Sheila S. Bassman Mr. and Mrs. Julian A. Brodsky Connelly Foundation Dr. Frank F. Furstenberg Christian Humann Foundation
Mark and Peggy Curchack
PECODr.Joel and Mrs. Bobbie Porter
Diamond Patron
Mr. and Mrs. Steve Sheller
Howard and Sarah D. Solomon Foundation Jeralyn Svanda
Members of the General Director’s Council play a pivotal role in the future of Opera Philadelphia. Council members may align their support with areas of special interest, such as sponsoring Emerging Artists, supporting community programming that furthers arts education, or funding Opera Philadelphia’s innovative new works.
Mr. and Mrs. John D. Rollins
GENERAL DIRECTOR’S COUNCIL
Sylvia W. And Randle M. Kauders Foundation William Lake Leonard, Esq. David J. Leone
Jeffrey R. Jowett
Ethel Benson Wister
In memory of Joseph G. Leone The Samuel P. Mandell Foundation Marcus Innovation Fund Joan Mazzotti and Michael Kelly Jeanette Lerman-Neubauer and Joe Neubauer Pennsylvania Council on the Arts David and Susan Rattner
Clockwise from top: Emerging Artists soprano Kara Goodrich, contralto Lauren Decker, soprano Lindsey Reynolds, soprano Raven McMillon, soprano Tiffany Townsend, and Head of Music Staff and accompanist Grant Loehnig; General Director and President David B. Devan with Reverend Maxine Dornemann and Patron Program members William Barone and Sylvia Lanka-Barone; Carlos Soto, countertenor Anthony Roth Costanzo, General Director’s Council member Jeanette Lerman-Neubauer, and Zack Winokur; Pat Donahue with Vivace Ambassadors Brian Hylton and Clint Walker, and Patron Program member Ellen Berman Lee; former Board Chair Peter Leone with David B. Devan and Jack Mulroney Music Director Corrado Rovaris; Photos on this page by Dave DiRentis and by Sofia Negron.
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Clockwise from top: Board Chair Stephen K. Klasko, M.D., M.B.A, with artist Justin Vivian Bond and countertenor Anthony Roth Costanzo; Board member Taneise S. Marshall with Jeff Marshall; Joseph Krafchik and Carol Fitzgerald with Board member Sandra K. Baldino, Fay Dunbar, and Board member William Dunbar; Individual and Planned Gift Officer Michael Bolton with Drs. Bruce and Toby Eisenstein and Dr. Steven W. Bass. Photos on this page by Dave DiRentis and by Sofia Negron.
Bronze+ Patron Anonymous (2) Joan and Frederick Cohen Mr. Stephen Cohen and Mr. John McNett Joan and William Goldstein Bruce and Robin Herndon Ms. Rhoda K. Herrold Anne Silvers Lee and Wynn Lee Helen E. Pettit Dr. Leah Whipple
Bronze Patron Anonymous (3) Brett and Nan Altman Lydia Alvarez in memory of Isabelle Ferguson Mr. and Mrs. Paul Anderson Ms. Susan Asplundh Eugene and Virginia Beier Dr. Claire Boasi
Elaine Woo Camarda and A. Morris Williams, Jr. Drs. Judith and Jeffrey Carpenter Dr. Margaret S. Choa Mr. Mark Cornish Dr. Frank Craparo Tobey and Mark Dichter Mark Duckett and Stan Gaddy William and Fay Dunbar
PATRON PROGRAM
Mr. James P. Macelderry and Ms. Marilyn S. Fishman Susan and Graham McDonald Robert V. Taglieri and Timothy J. Moir Ashley and Eli Wald Kathleen and Nicholas Weir
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Silver Patron Anonymous (3) Lorraine Alexander Cynthia and George Balchunas Sylvia Lanka-Barone and William Barone Mr. and Mrs. Robert Bergen Robert and Julie Jensen Bryan Cunningham Piano Company The Dietrich W. Botstiber Foundation Ady L. Djerassi, M.D., and Robert Golub, M.D. Dr. Lamberto and Barbara Donnelly Bentivoglio Drs. Bruce and Toby Eisenstein Deborah E. Glass, in memory of Leonard Mellman Gray Charitable Trust Bonnie and Lon Greenberg Thomas S. Heckman and Mary Jo Ashenfelter Dr. and Mrs. Peter M. Joseph Mr. Kenneth Klothen and Ms. Eve Biskind Linda Richardson Korman Charles B. Landreth Carol and Howard Lidz Liddy and John Lindsay Mr. William A. Loeb Dr. and Mrs. Michael B. Love Mrs. Naomi Montgomery†
The Patron Program is comprised of committed opera enthusiasts whose collective generosity provides vital support for Opera Philadelphia’s productions and community programs. Patrons enjoy access to benefits in the opera house including champagne intermission receptions, as well as invitations to exclusive events throughout the season, and priority ticketing services.
Jordan and Eileen Silvergleid
Gold Patron
Mr. Jonathan H. Sprogell and Ms. Kathryn Taylor Mr. and Mrs. James B. Straw TruistMr.Vince Tseng and Mr. Geoffrey Mainland Universal Health Services Victory Foundation Ms. Linda Wingate and Dr. William Liberi Michael Zisman and Linda Gamble
AnonymousStephenA.BlockDr.RobertN.BraunMr.JeffreyP.Cunard and Ms. Mariko Ikehara
Ms. Phyllis S. Gitlin
Stephen and Susan Garza
Dr. R.J. Wallner
Peter J. Wender
Robert and Elizabeth Legnini
Mr.† and Mrs. R. Anderson Pew
The Marshall's Art Endowment
Ms. Lisa R. Jacobs
The Rev. Canon Dr. Alan K. Salmon
Ms. Juliet J. Goodfriend and Dr. Marc R. Moreau
Leon L. & Frances Levy Fund of the Jewish Community Foundation
Kate Olver and Jeremy Young
Joyce Seewald Sando
Dr. and Mrs. Richard N. Taxin
Dr. Joel Rosenbloom
Terri and Thomas Klein
Mr. Arthur F. Ferguson
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Mady Jourdan
Dr. and Mrs. Leonid Hrebien
The Rev. and Mrs. Richard L. Ullman
Dwight and Christina McCawley
Ellen Berman Lee
Patron Program members Wynn Lee and Anne Silvers Lee with Dr. Rebecca Anwar and David B. Devan. Photo by Dave DiRentis.
For more information, contact Catherine Perez, Membership Manager, at 215.893.5944 or membership@operaphila.org.
James R. Fairburn
Corey Kinger
Carol A. Westfall
Dr. and Mrs. A. H. Nishikawa
Mr. Robert Zimet
Avram Hornik/FCM Hospitality
Mrs. Louise H. Reed
Mr. and Mrs. Curtis E. Sawyer
Dr. and Mrs. David J. Richards
Mr. David Sacker and Ms. Darcy Hayes
80 Opera Philadelphia
Sarah Alderfer
Merle Raab
Mr. Joseph H. Kluger and Ms. Susan E. Lewis M. Leanne Lachman
Henry and Yumi Scott Susan and Paul Shaman
Dr. Keith M. Robinson
Mrs. Zoë S. Pappas
Dr. Rachel R. Reynolds
Mr. Daniel Szyld and Ms. Kathleen Ross
Mr. Joseph and Dr. Detta Tate
Jim and Kay Gately Georgyn G. Fest
Dr.LauraHouldinJacobsonandMrs.William Jantsch
Mr. Robert A. Ellis
Anonymous (4)
Mr. and Mrs. Benjamin R. Neilson
Arnold Weiss
Helen H. Ford
F. John Hagele David and Ann Harrison, Esqs. Eileen Kennedy and Robert Heim Ms. Susan Henry
Robert Washburn, Esq. and Judith Drasin, Esq. Penelope and Thomas Watkins
Dr. Garrett Fitzgerald
Richard B. Johnson
Susan Bienkowski
Drs. Joseph and Jane McGowan
Ms. Jane G. Pepper
Mr. Benjamin F. Minick
Mr. and Mrs. Peter A. Dunn Barbara Eberlein and Jerry Wind Ren Egawa and Eugenia Chang
Drs. Jean and Robert Belasco Mrs. Joanne Berwind
Partner
Drs. Christina L. and Richard J. Herring Cheryl Lawson and Jennifer Higdon Scott
Mr. John Aglialoro and Ms. Joan Carter Mr. George J. Ahern
George R. Smith
Cynthia Du Pont Tobias and Terrence A. Tobias
Mr. and Mrs. James Alexandre Joseph T. Anderer and Virginia Benz Karen Bedrosian-Richardson
Joan P. Wohl
Sustainer
Alan E. Ankeny
John Erickson and Harry Zaleznik Thomas Faracco
Even when every seat in the house sells out, this dazzling blend of theatrical, orchestral, and vocal splendor requires considerable support from within our community. Play an active role in bringing great opera to Philadelphia while enjoying exclusive benefits that enhance your opera experience when you make a membership gift of $100 or more.
Beaty Bock and Jonathan Miller Carrie and J. Bradley Boericke
Mr. Andrew R. Gelber in memory of Sylvia Gelber George Graham and Kyle Merker Dr. and Mrs. Henry J. Greenwood and Ms. Marilyn Greenwood
W. Larz Pearson and Rick Trevino
Mr. John Mastrobattista and Ms. Madeline Leone Susan McClary
Ms. Nancy R. Roncetti
Mark and Robin Rubenstein Anne Faulkner Schoemaker
Mr. Joseph J. Leube, Jr. Mr. and Mrs. David Levy Michael G. Lewis
Tom JosephWoodwardZalewski and Laura Bartels
Susan M. Long & Andrew J. Szabo
Anonymous (5) Janis and Robert Ackerman
MEMBERSHIP
Mr. and Mrs. Stuart A. Schwartz
Ms. Ana-Maria V. Zaugg and Mr. David W. Anstice
Laurie Wagman in memory of Irvin J. Borowsky
Bill Robling and Deborah R. Kravetz
Mr. Leo M. Carey and Ms. Sonya D. Mouzon Ms. Rhonda Chatzkel and Mr. Michael B. Mann Christian R. and Mary F. Lindback Foundation Dianne and Don Cooney Robert and Monica Driver
Ms. Laura LaRosa
Dr. Arthur S. Patchefsky and Mrs. Marilyn McHenry, Esq. Clifford Pearlman and Lynn Marks
Lois and John Durso
JeffreyJonathanClineConantCooperMr.andMrs.George
Jonathan R Disegi & Grace H Kim Robert and Florence Dolceamore Robert and Jean Donato, in memory of Felice Donato Levy
Hauser
Mr. Charles F. Tarr and Mr. Roy Ziegler
SaraKaySmithand Stanton Smullens
Mary Ann Strembo
Ms. Lois Freed
Pauline Candaux and Solomon Katz Dr. and Mrs. Nicholas P. Cernansky Ms. Ilene Chester Peter
T. Craven, Jr. Ann Csink and John Linck Thierry Danz
Mr. Will Sears Bricker, II Kimberly Bridges-White Paula Burns
For more information, contact Catherine Perez, Membership Manager, at 215.893.5944 or membership@operaphila.org.
Ms. Rebecca A. Lee Mr. and Mrs. Victor Lidz Dr. Thomas S. Lin David and Emily Lowe
Ronald Mack Joseph
J.E.
Mr. Robert J. McShea, Jr. and Mr. Bill Ward
Kobie
JaneHarwellHathawayMr.andMrs.Philip
Mr. and Mrs. Gordon Munson Mark and Abigail Nestlehutt
Karen A. Zurlo Ph.D. and Philip Levin Esq.
Mr. Michael Rissinger
Mr. Philmore Robertson and Ms. Kathryn Caywood
Jean W. Arnold
Richard and Grace Karschner Alex LauraKelberA.Lane and David R. DeVoe
Monica Taylor Lotty and Brendan Lotty
Barry Fisch Aron and Joan Fisher
Linda Dubin Garfield Stacey and Jack Gelman Eduardo Glandt and George Ritchie Bill and Julie Golderer
Dr. William H. Shoff and Ms. Jane Cooper Mr. and Mrs. Corey R. Smith Janet Wilson Smith
Mr. Charles Head, Jr. and Mr. John Faggotti S. Kay Hoke and Dixon Brady Deborah and David Holloway Scott Houldin
Dr. Anthea Butler
Mrs. Valerie Baselice Frances and Michael Baylson
Ms. Maria K Spano
Mr. Yves Quintin and Ms. Rosanne Loesch Dr. Saul D. Raw
Mr. and Mrs. William Mueller
Mr. and Mrs. Daniel R. Ross
Rosemary and Umit Turunc
Marilyn P. Asplundh
Mr. John J. Trifiletti
Katherine Stein Sachs
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Drs. William C. and Susan H. Regli
Ms. Judith Dean Romulo Diaz and Dennis Bann
Mr. Donald A. Hamme, III and Dr. Christina Gregory Valerie Harrison
Mr. William Eisen Melissa and Tim Fender
Mrs. Margaret S. Griffin and Mr. Scott Sillars Cheryl Gunter and Paul Rabe
Mr. Walter Schlosser Jr. Mr. and Mrs. Gregory Shannon Ms. Susan E. Sherman
Ms. Judith Tannenbaum
Mr. Fred M. Wolfe
Mr. Peter J. Ryker
Mr. L.S. Illoway
Florence and Stephen Zeller
Lee M. Huber
List as of August 2022
Mr. and Mrs. Robert A. Lukens Paul J. Martin
Dylan Steinberg & Amey Hutchins
Mrs. Peggy Wachs
Johann A. Porisch
Mr. Wallace Hussong
Lisa Washington
Michael Presser
PLANNED GIVING SPOTLIGHT
"Becoming a member of the Legato Society is a chance to ... maybe change the life of a student attending an OperadressPhiladelphiarehearsal."
82 Opera Philadelphia
Growingexperiences.up, we listened to opera with my father, who had a good voice, a talent for mimicry, and an irreverent but genuine love of opera. But it was the brilliant, indefatigable Vera Suppa who, while teaching at the Academy of Notre Dame, introduced me to live opera. In her classes, we listened to Verdi, Debussy, Prokofiev, and Kansas (yes, the prog-rock band). With her eye for the dramatic, she moved our choral performances out of the school’s drab gymnatorium and onto the impressive Great Hall staircase.
Last spring, I went to the dress rehearsal of Rigoletto after the Legato Society luncheon. The students were there, boisterous before the curtain came up, suddenly quiet and rapt during the performance, then talking excitedly during intermission. All of it brought back my own early opera
By Christina Valente
Mrs. Suppa’s husband, Carl, was the Artistic Director of the newly founded Opera Company of Philadelphia. The Suppas arranged for us to attend dress rehearsals, as part of what would become the Opera’s long-standing Sounds of Learning Dress Rehearsal Program, and performances. I even made my Academy of Music debut (also, alas, my swan song) in the Children’s Chorus in the 1978 production of Verdi’s Attila
Plus ça change. . . Forty-some years later, Philadelphia is a very different city and Opera Philadelphia is a very different company. But the Suppas’ passion for music, dedication to performance excellence, and commitment to music education live on, amplified, at Opera Philadelphia. I’m incredibly proud to have been a beneficiary of that commitment.
Opera is a unique art form: enthralling, but not without its challenges (those self-abnegating heroines and plots that leave you wondering if you came back to the wrong theater after intermission). We all have our own stories of how we came to love opera. For most of us, someone led us to it and helped us over barriers that might otherwise have been deal breakers. Yet we are moved and captivated by opera in a way that we are by no other art form. This is why I’ve included Opera Philadelphia in my estate plans. Without philanthropic contributions, Opera Philadelphia would not exist. Without an emissary like my dad or Vera Suppa, I might never have had the countless hours of enjoyment which Opera Philadelphia has given me. Becoming a member of the Legato Society is a chance to give that opportunity to someone else, ensure the vibrancy of opera in Philadelphia, and maybe change the life of a student attending an Opera Philadelphia dress rehearsal.
Dr. Claire Boasi
Mr. Kenneth R. Swimm
Judith Durkin Freyer and Charles C. Freyer
Ms. Joanne D. Fidler† Susan and Bill Firestone Aron and Joan Fisher Ms. Harriet Forman†
Mr. William Reily† David Rhody
Mr. Laurence T. Robbins† Dr. Renée Rollin Jeffrey and Kendell Saunders Robert Schoenberg† Mr. Johnathan Sprogell and Ms. Kathryn Taylor
Mr. Kenneth H. Barr Myron and Sheila S. Bassman Mr. and Mrs. Robert Bergen Ms. Jane A. Berryman
Mr. William A. Loeb Sonja E. Lopatynskyj† Mr. Larry Thomas Mahoney
Mrs. Lois Meyers
Anonymous (11)
Ms. Karen A. Zurlo Ph. D.
Mrs. Renee T. Levin† Karen† and Michael Lewis Carol and Howard Lidz
Mr. and Mrs. Morton F. Steelman† Mrs. Alise (Lee) Steinberg† Ellen Steiner
Eddie and Rachel Eitches
There are many ways you can help Opera Philadelphia now and in the future. If the Opera has played a significant role in your life, we encourage you to ensure our future by making a gift to Opera Philadelphia in your will or estate plan and joining our Legato Society. Informing us of your intentions allows us to recognize your generosity today as well as plan for the future.
Dr. Rita B. Bocher
Mr. Michael Knight
Mrs. Sheila Buckley Constance G. Burton† Ms. Willo Carey
List as of August 2022 † Deceased
Mr. Michael Bolton
Sylvia Green†
Dr. and Mrs. Peter Cassalia† Dr. Thomas A. Childers and Dr. John B. Hall
Mr. James Fairburn
Dr. Beverly Lange Mr. Tom Laporta Gabriele Lee†
Mrs. Ellen Cole Miller† Mr. Siddhartha Misra Mrs. Naomi Montgomery† Constance C. Moore
Dr. Scott F. Richard
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LEGATO SOCIETY
Dr. Bruce Eisenstein
Anne Silvers Lee and Wynn Lee John T. MargueriteLehmanandGerry† Lenfest
Dwight and Christina McCawley Drs. Joseph and Jane McGowan Eugene C. Menegon†
Mr. W. Kenneth Cressman and Mr. Lloyd Christy†
How will you be remembered?
Ms. Virginia Del Sordo† Robert and Monica Driver Mrs. Antoinette DuBiel
Dr. and Mrs. Andrew Wechsler Esther C. Weil† George P. White† Drs. Anne and Jim† Williamson Richard and Kelley Wolfington
Mr. Timothy V. Gardocki Linda Dubin Garfield
Mr. and Mrs. Joseph P. Fanelli, Jr.
Dr. Mark H. Haller† Mrs. Dorrance H. Hamilton† Gail Hauptfuhrer Mr. Charles Head, Jr. and Mr. John Faggotti Stephen T. Janick Karl JeffreyJanowitzR.JowettMrs.SheilaKesslerGabrielle&Ernest
Lorraine and Ben† Alexander Eleanor M. Allen† Mary Jo Ashenfelter and Thomas S. Heckman Eileen Baird†
Mgsr. Felix M. O'Neill† Helen E. Pettit
For more information, Michael Bolton, Individual and Planned Gift Officer, at 215.893.5927 or bolton@operaphila.org
Ms. Joan DeJean
Dr. Maria Elisa Ciavarelli† Miss Lucy Clemens Joan and Frederick Cohen Dianne and Don Cooney Mr.† and Mrs. Arthur Covello Ms. Ginny L. Coyle
Mr. Andrew J. Szabo
Mr. Michael Toklish Christina M. Valente, Esq. Charlotte Watts
Kimmel
Official Piano
Exelon Business Services FCM
Affairs to Be Remembered, Inc. Ballard Spahr LLP
CORPORATE COUNCIL
The Corporate Council generously supports Opera Philadelphia’s artistic and educational programming through contributions and in-kind donations.
UniversalTerminiGarcesHospitalityGroupGlenmedeMediaCopyBrothersBakeryHealthServices
CORPORATE COUNCIL SPONSORS
EITC Approved
For more information about sponsorship opportunities, EITC contributions, or to join Opera Philadelphia’s Corporate Council, contact Derren Mangum, Director of Institutional Giving, at 215.893.5924 or mangum@operaphila.org.
SEASON SPONSORS
The Opera is a recognized Educational Improvement Organization, eligible for EITC contributions.
84 Opera Philadelphia
Official Piano Service Provider
Since its launch in 2017, Festival O and our historic and vibrant city have welcomed opera enthusiasts from across the country and around the globe. We are proud of our part in nurturing a community among opera lovers.
James Toia, Director of Major Gifts, at 215.893.5906 or etoia@operaphila.org
verb, noun Italian word conveying two meanings, either “host” or “guest”
OSPITE CIRCLE
Learn more atTooperaphila.org/ospite.learnmore,contactEva
To support the Festival O audience as it continues to grow—and return—Opera Philadelphia has created a national council, the Ospite Circle, to welcome our out-of-town guests to connect through shared experiences and curated events during Festival O.
ospite | AW-spih-tay
Festival O22 85
A National Council
Bringing the colors of opera to life for the visually impaired
86 Opera Philadelphia
For audio describer Nicole Sardella, La traviata was her first time describing a show in which the primary language was not English. Looking meticulously at rounds and rounds of supertitles of each number, she familiarized herself with the Italian opera, understanding which actions were essential to move the plot forward. Sardella took the time to receive outside help from her two mentors, Steve and Mimi, both of whom are experts and pioneers in this field. She also
For people who are blind, have low vision or are visually impaired, audio description uses words to describe the visual elements of the opera performance.
“It is part of my job to actually get that information from people who are blind and make sure that the description meets their needs and expectations,” Sardella said “It’s an undertaking but I love doing it.”
Sardella combines her pre-show notes, playbills, books, research, and synopsis not only for a deeper understanding, but also respect for the show and her target audience. She records her audio live, delivering translations, noting costume changes, announcing character appearances, and describing the sets. If the recording is not specific enough or does not suffice the expectations of her audience, she re-records. The best recording is sent to Opera
By Abigail So AUDIO DESCRIPTION
consulted two blind viewers, improving each description with constructive feedback every step of the way.
When you first walk into an opera house, you may be astounded by the grandeur of the theater and overwhelmed by the baroque art covering the ceiling. As the red curtains draw open, you notice a woman glistening in her indigo gown wrapped with a crystal belt as she sings a haunting tune. Her blue and silver necklace reflects a rainbow in the spotlight below twelve chandeliers and a bold red lipstick amplifies her voice across the theater. All part of the La traviata experience, the sparkling visuals are provided through our sight—a gift viewers often take for granted. For people who are blind, have low vision or are visually impaired, audio description uses words to describe the visual elements of the opera performance.
Nicole Sardella guides a group of visually impaired guests through an exhibit at the Philadelphia Flower Show.
CARMINA BURANA + CREDO Sunday, February 5, 2:00 p.m. LA BOHÈME Sunday, May 7, 2:00 p.m.
The term “audio describer” is self-explanatory, but each individual has their own experience and perspective. As someone who works to enhance accessibility in the arts, Sardella checks herself every step of the way, ensuring that she accurately depicts a performance in a way that makes sense to others besides just her. A few years back, Sardella observed an art installation made up of dodgeballs connected by a string in groups of 10 and one wrapped around the columns of the museum. Raised in a Catholic family, Sardella interpreted the piece as a rosary due to her Catholic background, but this memory would not be as potent to nonCatholics. She explained it as a challenge and feat to audio describe from an unbiased, neutral standpoint. To simply say what you see is to provide the best experience for someone else.
Performances in Festival O22 with Audio Description include:
Audio Description for the 2022-2023 Season has been underwritten by PECO.
•Say what you see. Each show, piece, and artwork are different, and it is vital to speak with specifics (even with uncomfortable topics).
Philadelphia’s staff and several rounds of revision transform the description into the final version on the Opera Philadelphia Channel. Sardella always follows these three rules while audio describing:
•Never talk over the performers. Sardella prefers not to speak over singing. She tries to get as much as possible in breaks between singing and dialogue. Only a few seconds are allotted, so she speaks as tightly as possible.
•Lead with empathy. It is important to describe from a place of care, compassion, and love. She is the eyes for someone who is blind, and it is her job to provide a comparable experience. The show will never be exactly the same as one with vision, but those with disabilities cannot be left out.
Audio described films on the Opera
Philadelphia Channel include La traviata, La voix humaine, and TakTakShoo, and can be found at operaphila.tv/audio-descriptions
Festival O22 87
THE RAVEN Thursday, September 29, 7:00 p.m. OTELLO Friday, September 30, 8:00 p.m.
BLACK LODGE Sunday, October 2, 8:00 p.m.
Learn more about Audio Description at operaphila.org/ad
Nicole Sardella has been an audio describer in the Philadelphia area for more than 10 years. Interning at Art-Reach her freshman year of college, she discovered her passion for AD and provided her services. She has described a range of performances including operas, musicals, and flower shows. Sardella highly encourages others to do their part in expanding accessibility in small ways, such as adding image descriptions on social media posts.
Audio Description will also be provided at these performances in Spring 2023:
MEET NICOLE
“Being able to combine art and accessibility is such an incredible privilege to be able to do this work,” Sardella said “Just to play a small role in all of it is such a great gift.”
88 Opera Philadelphia
It is our obligation as a cultural institution in Philadelphia to give back to the city from which we draw our name. Not just with the amazing art happening on our mainstage, but with off-stage experiences that are meaningful, welcoming, and accessible.
Access to the arts is a human right. We are working to create a more accessible space within the opera house. But for some, the best accommodation we provide those who are interested in the operatic art form, is going to where they are, bringing the music to
Resonant Philly
Sounds of America: Price and Bonds
COMMUNITY INITIATIVES OUR PROGRAMS
Backstage Pass
Learn more operaphila.org/communityat
building work fosters a greater capacity for empathy and social Artisticcohesion.output in the community broadens our musical footprint by exploring a wider range of repertoire and genres, allowing us to tell stories in a variety of ways and on varying scales.
Opera Philadelphia @ Project Home
Residency Program
Reflection & Re-Vision
OUR PRINCIPLES
Opera Philadelphia is committed to presenting innovative programming relevant to the multicultural Philadelphia region and fostering an environment of belonging and inclusion for our entire community.
T-VOCEOperaon the Spot
Opera on Trial Dress Rehearsal Program
Thisthem.community
“‘I'm into the performing arts myself, as I am in the choir and looking into colleges for the arts, and it just reminded me how fun and inspiring the arts can be.”
Festival O22 89
“Backstage Pass has contributed to their professional growth, (and) has helped them know what careers exist in technical theater and that their experience has motivated them to continue learning about the arts.”
“T-VOCE feels like family to me. Everyone is unique and it is cool to see everyone’s individual traits blend together to create a really unique experience that you really can’t find anywhere and in any other choirs.”
The William Penn Foundation provides lead support for the ACCESS Program for Festival O Opera Philadelphia recognizes the generous supporters of our Community Initiatives Programs
Major support for Reflection & Re-Vision has been provided by The Pew Center for Arts & Heritage Resonant Philly is presented by PNC Arts Alive
90 Opera Philadelphia COMMUNITY INITIATIVES
T-VOCE is supported by the Connelly Foundation, the Mazzotti/Kelly Fund of the Philadelphia Foundation, the Victory Foundation, and by the Christian R. and Mary F. Lindback Foundation
In-school education programming is supported by The William Penn Foundation, Hamilton Family Charitable Trust, Eugene Garfield Foundation, Truist, Universal Health Services, The McLean Contributionship, and Mr. William A. Loeb
Backstage Pass is supported by Mr. and Mrs. Steve Sheller
Wharton-Wesley United Methodist Church World Café Live
Florence Price
Festival O22 91
Philly
The National Marian Anderson Museum and Historical ONEcomposerSociety
TempleSingingTypewriterCityChoirUniversity,
This Opera Philadelphia initiative amplifies and centers Black artists, creatives and scholars through accessible student-focused programming and public events beginning late summer 2022. This initiative includes several partnerships and collaborations with organizations, venues, and artists across Philadelphia.
Boyer College of Music and Dance
Margaret Bonds
Florence Price and Margaret Bonds played significant roles in classical music and American history as two of the most prominent African-American woman composers of the twentieth century. Price and Bonds supported each other’s work while simultaneously championing many historic firsts for Black women. Price was a friend and colleague of Bonds’ mother, Estella, who was also an accomplished keyboard player and teacher. Estella eventually sent young Margaret to study with Price, and the two quickly established a lasting relationship as colleagues and friends in the midst of a circle of leading Black creatives of the time. Price and Bonds were prolific composers, and they wrote for a variety of forces in many different styles. From art songs and symphonies to popular music and arrangements of African-American spirituals, there is music in their catalogues for everyone.
The African American Museum in Philadelphia
COMMUNITY INITIATIVES
Mighty Writers
Use this QR code to find a list of events. This initiative has events geared towards both youth and adults.
operaphila.org/soundsofamericaPARTNERS
Trinity Center of Urban Life
Sounds of America: Price and Bonds
The Mann Center for the Performing Arts
The International Florence Price Festival
Performing Artists
92 Opera Philadelphia COMMUNITY INITIATIVES
Community Advisory Council
The purpose of the CAC is not to make the decisions, but representatives from the greater Philadelphia community will work with staff to provide insight and advice guiding the exploration of new opportunities. The CAC will influence Opera Philadelphia’s artistic practice, community building, and marketing/communication helping to create an Opera Philadelphia that is dynamic, and equity focused. By creating a CAC, Opera Philadelphia is agreeing to participate in an ongoing collaborative relationship with members of our local community.
Major support for the Community Advisory Council has been provided by The Pew Center for Arts & Heritage.
1. Provide a space for input from external voices where diverse perspectives can be heard on a consistent basis
4. Act as a consultant to help diversify Opera Philadelphia’s creative team season wide
3. Provide guidance for Opera Philadelphia’s Marketing and Communication team around marketing materials and audience development
Julius Ahn Rob Buscher Ren PhiladelphiaHiroEgawaNishikawaAsian
During the 2020/2021 season Opera Philadelphia created a group of community members from our local Asian community to create a Community Advisory Council.
COMMUNITY ADVISORY COUNCIL
While the primary focus of the council began as a dialogue around Madame Butterfly and Turandot, the group has also explored ways that Opera Philadelphia might be in collaboration with local artists. This exploration led to the Community Advisory Council (CAC) having a direct influence on the Festival O22 production of The Raven Opera Philadelphia recognizes the importance of external stakeholders from varying fields in the development, curation, promotion, education, and community engagement of our artistic production. Understanding the need for such stakeholders/partners, Opera Philadelphia formed a CAC.
2. Provide important insight and guidance regarding education curriculum and community-engagement opportunities surrounding our artistic work
The goal of this council is to:
Taylor Ott, Opera Philadelphia @ Project Home Teaching Artist
A collaboration between Project Home, Practice.Party Inc., and Opera Philadelphia, this initiative helps to address structural inequities in music education by providing free music instruction to people experiencing housing insecurities that are part of the Project Home community, many of whom would not otherwise have access to private lessons. Teaching Artist Taylor Ott has already begun teaching this year’s cohort of participants, providing private virtual lessons to interested people within the Project Home community.
—Annette Jeffrey, Project HOME
"Project Home is deeply grateful for the talent and compassion offered by Musical Mentors Collaborative, Practice.Party, Inc, and Opera Philadelphia. Music can bring connection, comfort, and inspiration where there has been isolation, pain, and discouragement. This opportunity brings more music, and all its healing powers, into our community and we are so thankful! ”
—Teddy Poll, Practice.Party, Inc
Opera Philadelphia @ Project Home
To learn more about Opera Philadelphia @ Project Home please contact Veronica Chapman-Smith, V.P. of Community Initiatives at chapman-smith@operaphila.org. Festival O22 93
“Opera Philadelphia and Project Home are both such expansive and pathbreaking organizations in their fields, we’re just honored to plug the two in and watch them transform the musical life of our city.”
"Teaching people who have experienced housing insecurity is both incredibly rewarding and a huge responsibility. I know from previous work with Southern Solidarity in New Orleans, where they provide daily meals, water, and connections to resources to houseless folxs, that being consistent and following through is one of the most important qualities when working with vulnerable communities. My students range from their 20s to 50s in age and they all have different musical experiences from the church, to drag and cabaret. They have expressed gratitude for the opportunity to learn, and excitement when they have a breakthrough or find a special kind of freedom. As a teacher, this gives me an opportunity to create a brave space for them to experiment with new sensations, less personal judgment, and hopefully a place where their humanity can be seen in full. There is so much gatekeeping in the arts, that affording lessons is a huge barrier for people. I feel grateful to be teaching at this intersection of education and social justice as a new resident to Philadelphia."
COMMUNITY INITIATIVES
Dr. Derrell Acon, Vice President of People Operations & Inclusion
FESTIVAL
Bridget A. Cook, Associate Director of Production
Elizabeth Braden, Chorus Master & Music Administrator
Ken Smith, Chief of Staff
Abigail Weissman, Education Coordinator for Out-of-Schooltime Programs
David Levy, Vice President of Artistic Operations
Frank Luzi, Vice President of Marketing Communications & Digital Strategy
Stephen Dickerson, Technical Director
Christa Sechler, Education Manager
Mikael Eliasen, Artistic Advisor
Nathan Lofton, Orchestra Contractor & Personnel Manager
LEADERSHIP
PRODUCTION
Dicky Dutton, Teaching Artist
Rosemary Schneider, T-VOCE Conductor
Taylor Ott, Teaching Artist
Jessica Gruver, T-VOCE Accompanist
Olivia Cleri, Summer Community Initiatives Intern
Grant Loehnig, Head of Music Staff
John Toia, Director of Production
Dan Amadie, Backstage Pass Consultant
David B. Devan, General Director & President
J. Robert Loy, Orchestra Librarian & Personnel Coordinator
Valentina Sierra, Teaching Artist
Juliet Dempsey, Summer Community Initiatives Intern STAFF
Corrado Rovaris, Jack Mulroney Music Director
Chabrelle Williams, Teaching Artist
Liz Filios, Teaching Artist
Lawrence Brownlee, Artistic Advisor
94 Opera Philadelphia
Veronica Chapman-Smith, Vice President of Community Initiatives
Jeremiah Marks, Chief Financial Officer
COMMUNITY INITIATIVES
Millie Hiibel, Costume Director
MUSIC
D’quan Tyson, Education Coordinator for In-School Programs
Drew Billiau, Director of Design & Technology
Sarah Williams, Director of New Works & Creative Producer
Michael Eberhard, Director of Casting & Artistic Administration
Morgan Porter, First Hand
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Emma Storm, Marketing Specialist
Blake Velick, Summer Marketing & Digital Content Intern
Samantha Williams, Manager of Institutional Giving
Alda Bjorns, Covid Compliance Officer
Elisa Murphy, Wardrobe Supervisor
Rachel Mancini, Associate Director of Leadership Giving & Development Strategy
Althea Unrath, Draper/Tailor
Christie Kelly, Driver/Runner
Derren Mangum, Director of Institutional Giving Adele Mustardo, Director of Events
Joy Rampulla, First Hand
DEVELOPMENT
Eva James Toia, Director of Major Gifts
Susie Benitez, First Hand
International Alliance of Theatrical Stage Employees / Local 8 Theatrical Wardrobe Union / Local 799, I.A.T.S.E. Make-up Artists and Hair Stylists Union / Local Local 799, I.A.T.S.E. United Scenic Artists / Local 829, I.A.T.S.E.
PEOPLE OPERATIONS & INCLUSION
Julie Watson, Draper
Khemie Medina, Guest Services Associate
Ballard Spahr, LLP, General Counsel
Andrew Anderson, Guest Services Associate
Kiamesso DaSilva, Office Manager
Robert Hawkey, Festival Assistant
Becca Austin, Costume Associate
Catherine Reay, People Operations Manager
American Guild of Musical Artists / The American Guild of Musical Artists, the union of professional singers, dancers and production personnel in opera, ballet and concert, affiliated with the AFL-CIO, represents the Artists and Staging Staff for the purposes of collective bargaining.
MARKETING COMMUNICATIONS &
Opera Philadelphia thanks the following labor organizations whose members, artists, craftsmen, and craftswomen greatly contribute to our performances:
American Federation of Musicians / Local 77
Steven Humes, Manager of Audience Development
Damire Williams, Guest Services Associate
Ali Haegele, Graphic Designer
FESTIVAL STAFF
Kara Morasco, Draper
Susan Morris, First Hand
Mark Mariani, First Hand
Catherine Perez, Membership Manager
Jeffrey Mason, Guest Services Manager
Michael Bolton, Individual & Planned Gift Officer
Michael Knight, Director of Guest Services
Rebecca Ackerman, Senior Director of Development
Aisha Wiley, Director of Research
Shannon Eblen, Content Director
GUEST SERVICES
Erin Markham, Guest Services Associate
Sy-eeta Edwards, Guest Services Associate
Box Office and Front of House Employees Union / Local B29, I.A.T.S.E.
Patrick Mulhall, First Hand
Highway Truck Drivers and Helpers / Local 107, Teamsters
COUNSEL
isIntermission calling!
Try Hopera Philadelphia Hazy IPA by Conshohocken Brewing Company at every Festival O venue and at bars and restaurants all around the city.
Join Opera Philadelphia’s community for young professionals with a membership gift, season pass, or single ticket purchase!
VIVACE
SHOP.OPERAPHILA.ORG
ORFF /BONDS CARMINA BURANA + CREDO
SPRING
April/May 2023 | Academy of Music
LA BOHÈME
The critically acclaimed Opera Philadelphia Chorus and Orchestra take center stage in a thrilling concert double header that brings together one of the most popular pieces in the choral canon with a rarely performed masterpiece by Margaret Bonds.
February 2023 | Academy of Music
PUCCINI
In a visionary production from MacArthur “Genius” Yuval Sharon, the story and music you adore are presented in reverse order, ending with the promise of new love and the joys of friendship, wine, and song for opera’s beloved bohemians. operaphila.org 215.732.8400 2023
