The Anonymous Lover Program Book

Page 1


JANUARY 31

FEBRUARY 2 2025

MUSIC BY JOSEPH BOLOGNE, CHEVALIER DE SAINT-GEORGES

OPERA PHILADELPHIA PRESENTS

Company Premiere

January 31 & February 2, 2025 Academy of Music

Music by Joseph Bologne, Chevalier de Saint-Georges

Libretto by François-Georges Fouques Deshayes, Desfontaines, based on the play

L’amant anonyme by Stéphanie Félicité, Madame de Genlis, adapted by Kirsten Greenidge

Léontine Valcour

Ophémon

Jeannette

Colin

Dorothée

Conductor Director

Choreographer and Assistant Director

Scenic Coordinator

Costume Design

Lighting Design

Chorus Master

Hair and Make-Up Design

Stage Manager

Symone Harcum*

Travon D. Walker*

Johnathan McCullough

Ashley Marie Robillard

Joshua Blue

Sun-Ly Pierce

Kalena Bovell*

Dennis Whitehead Darling*

Felicity Stiverson*

Baron E. Pugh*

Leslie Travers

Driscoll Otto

Elizabeth Braden

April Gerbode*

Jennifer Shaw

*Opera Philadelphia debut

Performed in French & English with English supertitles

Co-produced with Boston Lyric Opera Opera Philadelphia’s 2024-2025 Season is brought to you by the Artistry Now Matching Fund and Barbara Augusta Teichert Academy of Music productions are made possible with support from Judy and Peter Leone This project is supported in part by the National Endowment for the Arts By arrangement with Opera Ritrovata in conjunction with the publishers and copyright owners, engravers and editors: George N. Gianopoulos, Stephen Karr, Leila Núñez-Fredell, and Mishkar Núñez-Fredell

Le nozze di Figaro

CURTIS OPERA THEATRE

Mozart’s Comic Masterpiece of Marriage and Mayhem

FEB 27–MAR 2, 2025

PERELMAN THEATER, KIMMEL CENTER

Curtis presents the classic comedy The Marriage of Figaro, where love, intrigue, and politics hilariously collide on the eve of Figaro and Susanna’s wedding. Don’t miss the timeless opera which blends razor-sharp satire with delightful arias and lively storytelling.

2024/25 Season: Great to Groundbreaking

OPERA PHILADELPHIA STAFF

LEADERSHIP

Anthony Roth Costanzo, General Director & President

Corrado Rovaris, Jack Mulroney Music Director

Lourdes Starr, Chief Operating Officer

Veronica Chapman-Smith, Vice President of Community Initiatives

David Levy, Vice President of Artistic Operations

Jonathan Neumann, Chief Development Officer

Catherine Reay, Vice President of Administration & Human Resources

Ken Smith, Chief of Staff

Lawrence Brownlee, Artistic Advisor

MUSIC

Michael Eberhard, Director of Casting & Artistic Administration

Sarah Williams, Director of New Works & Creative Producer

Elizabeth Braden, Chorus Master & Music Administrator

Grant Loehnig, Head of Music Staff

J. Robert Loy, Orchestra Librarian & Personnel Coordinator

Nathan Lofton, Orchestra Contractor & Personnel Manager

PRODUCTION

Bridget A. Cook, Director of Production

Drew Billiau, Director of Design & Technology

Stephen Dickerson, Technical Director

Millie Hiibel, Costume Director

Emily Wanamaker, Artistic Operations Coordinator

DEVELOPMENT

Derren Mangum, Director of Institutional Giving

Adele Mustardo, Director of Events

Aisha Wiley, Director of Research

Steven Humes, Associate Director of Advancement

Aubre Naughton, Major Gifts Officer

Colby Calhoun, Development Operations Manager

Adrian Heningburg, Institutional Giving Coordinator

MARKETING & GUEST SERVICES

Claire Frisbie, Director of Marketing

Michael Knight, Director of Guest Services

Jeffrey Mason, Guest Services Manager

Coniyah McKinney, Guest Services Associate

Frank Luzi, Public Relations Consultant

Haeg Design, Graphic Design

COMMUNITY INITIATIVES

Christa Sechler, Program Manager

Abby Weissman, Assistant Manager of Youth and Community Programs

Chloe Lucente, Teaching Artist

Elizabeth Gautsche, Teaching Artist

Valentina Sierra, Lead Teaching Artist

Chabrelle Williams, Community Arts Facilitator

Dr. Lily Kass, Scholar in Residence

Julian Nguyen, T-VOCE Accompanist

Whitney Covalle, T-VOCE Director

Karim Boyd, Backstage Pass Consultant

SCENE

Daniel Jin Applebaum

Courtney Beck

Cordelia Istel

Gwyneth Muller

FINANCE

Jeremiah Marks, CFO Client Consultant

COUNSEL

Ballard Spahr, LLP, General Counsel

DEAR FRIENDS,

Wow! I never could have imagined it would be like this.

In just over seven months since I came to Opera Philadelphia, we have become the only opera company in America to sell out every performance for the whole season. That ticket you just sandwiched into your program – that’s a hot ticket! And guess what? We’ve learned some other amazing statistics about you, your fellow ticket buyers, and the impact of Pick Your Price. You can read all about those on page 24.

Take a look around right now.

See the opera lovers, the opera newbies, the drama queens, the music nuts, the theater fans, the culture vultures, and even the skeptics. This is your Opera Philadelphia family, and we’re proud to have you as part of it.

So, what does all this mean? Why am I so excited?

It means we get to tell more of you these deeply human stories, with the emotional texture of incredible music, in a meaningful, authentic, and vibrant way. And no matter how many times you come to Opera Philadelphia, I want there always to be surprises: whether you feel something you’ve never felt, hear an amazing singer you didn’t know, see an innovative set, or discover a composer who’s new to you. This is the first time in our company’s history that we are performing The Anonymous Lover, by the Black French composer Joseph Bologne, brought to you by a conductor, director, and several singers who are appearing with us for the very first time. Opera is a dialogue between the singers, orchestra, chorus, crew, and most crucially you, the audience. I’m hoping you find this opera as funny as I do, and I look forward to laughing with you, applauding with you, and hearing our collective joy echo through this grand Academy of Music.

Warmest,

Photo by Lisa Pavlova
Renée

The runtime of The Anonymous Lover is approximately 90 minutes with no intermission.

Act I

Valcour is hopelessly in love with his close friend Léontine, a wealthy young widow. He believes she will never reciprocate his feelings, since her late husband betrayed her, and the experience soured her on the idea of romantic love. To protect his secret, Valcour tells Léontine that he, too, has no interest in romance. For the past four years, he has contented himself with sending her various gifts and love notes anonymously. With a village wedding approaching, Valcour’s most recent gift to Léontine is a bouquet of flowers and a letter. The message tells her that if she chooses to carry the bouquet to the wedding, it will mean that she accepts the Anonymous Lover’s affections; if she does not, then the secret admirer will take it as a sign to leave her in peace.

Valcour and his friend, Ophémon, discuss the bouquet he sent to Léontine. Ophémon urges Valcour to express his affections openly, believing that Léontine is likely to return them. Valcour is less certain, however, and he remains hesitant to reveal his true feelings to her. Elsewhere, Léontine and her friend Dorothée are arguing about the bouquet. Dorothée thinks Léontine should accept the gesture. Torn, Léontine turns to Valcour for his opinion, saying that while she does not want to hurt her devoted admirer by rejecting him, she doesn’t want to lead him on, either. She decides to carry the bouquet at the wedding.

During the ceremony, Jeannette and Colin—the bride and groom—sing a duet in praise of love. The joyous atmosphere is infectious. A little later, Léontine contemplates how joyless her previous arranged marriage was and how Valcour’s friendship has been a constant support and comfort in her life.

As the festivities begin inside Léontine’s villa, Léontine, Valcour, Dorothée, and Ophémon linger in the garden, discussing who Léontine’s secret admirer might be. Valcour suggests that he could be hiding nearby at this very moment. As a joke, he hides behind a tree and jumps out, declaring himself the Anonymous Lover, to the general amusement of the group. However, during his over-the-top declaration, he and Léontine share a moment of true understanding that gives them pause. Léontine is overwhelmed, and Valcour and Ophémon try to persuade her that it was all in good fun. But her heart remains troubled.

Act II

Léontine tries to convince herself that she isn’t in love and doesn’t want to be in love, but she cannot talk herself out of her deep affection for Valcour. The matter of her anonymous admirer makes her even more conflicted. She wants to confide in Valcour, but fears that he wouldn’t understand her muddled feelings. She wishes for either the courage to commit to love, or for her feelings to fade so she doesn’t have to grapple with them.

Valcour, encouraged by Ophémon, has decided that he is ready to tell Léontine the truth, but he wants to be sure not to hurt her or frighten her off. Ophémon goes to Léontine and tells her that he has spoken to the “Anonymous One.” Once he is convinced that she wants to learn her admirer’s identity, he tells her that the Anonymous One loves her desperately, is willing to risk her rejection, and wants to meet her that very

evening. Léontine hesitantly agrees to the meeting, and her reluctance convinces Ophémon that although she is intrigued by her admirer, she is really in love with Valcour.

As she nervously anticipates the arrival of her anonymous lover, Léontine finally admits to herself that her heart is full of passion, a feeling she never expected to experience. Valcour arrives, expressing his concern for her and offering his support as her dear friend. Léontine tries to get him to leave, as she doesn’t want her friend and her admirer crossing paths at this crucial juncture. Valcour finally summons the courage to reveal his true feelings. Léontine immediately reciprocates, but now worries that the “Anonymous One” will interrupt them. Valcour quickly clears up the misunderstanding and confesses that he has been her anonymous lover all along.

Jeannette and Colin’s wedding celebrations have overtaken Léontine’s villa. In the meantime, Ophémon and Dorothée have been eavesdropping on the lovers. All is revealed, much to everyone’s joy. Léontine and Valcour decide to wed at that very moment, making it a double wedding, and everyone sings and dances the night away.

Experience

DIRECTOR'S NOTE

The extraordinary life of Joseph Bologne and his notable position as an eighteenth-century Black composer serve as a powerful example of challenging racial bias and bigotry through artistic expression, paving the way for greater inclusivity and diversity in the world. His life as a renowned violinist, fencer, equestrian, composer, conductor, military veteran, and activist inspires conversations about the significant contributions of people of color throughout the ages. His life is a testament to the resilience and creativity that flourishes in the face of adversity. It embodies the spirit of breaking boundaries and defying stereotypes, and it celebrates the richness of diverse cultural influences.

Furthermore, combining the talents of a renowned playwright, Kirsten Greenidge, and a Black composer from the 18th century creates a unique artistic collaboration. It allows for the blending of different artistic styles and storytelling techniques, resulting in a rich and dynamic performance that is more relevant and relatable to contemporary audiences. Greenidge’s contemporary perspective can help bridge the gap between 18th-century music and the present day, making it more accessible and engaging for audiences. Through directing this piece, I celebrate Joseph Bologne’s remarkable talent and amplify voices and narratives that have been historically marginalized.

In a broader context, producing Joseph Bologne’s music symbolizes a commitment to acknowledging and honoring the contributions of historically underrepresented BIPOC artists. Through the performance and appreciation of The Anonymous Lover, we preserve a significant part of musical history. Often, opera plots center around trauma and pain, but The Anonymous Lover is a celebration. It is an opera that evokes merriment, humor and fun. As this multicultural ensemble celebrates love and song joyously onstage, we witness the beauty and sheer delight that is possible while reflecting the world around us onstage.

As a stage director, I relish every opportunity to present compelling and transformative work that entertains, educates, and challenges audiences. Whether it’s a play, musical, or opera, I look for the common thread between the work’s historical context and its relevance today. I seek the story’s universality and how to tell the story through the lens of a director of color. Rarely do I find these objectives met through the work and life of the composer.

For you as audience members, we hope Bologne’s joy, humor, and love fill your cup as much as they have ours.

BOLOGNE IN PARIS

Joseph Bologne, Chevalier de Saint-Georges was a busy man. A fixture on the musical scene of eighteenth-century Paris, he might be found seated in the violin section of the orchestra Le Concert des Amateurs; performing the solo part of his many virtuosic violin concertos; directing a theater; or composing a string quartet, a symphony, or an opera. (And this is to say nothing of his astonishingly varied extramusical pursuits as a champion fencer, a soldier, and a political thinker.) Bologne’s atypical status – he was a Black composer in an overwhelmingly white art form, and he was accomplished in both music and myriad other pursuits –means that he is often thought of as a wholly exceptional figure (or as the “Black Mozart,” a moniker that is unsatisfying for its insistence on comparing Bologne to a betterknown contemporary, rather than recognizing the individual nature of his creativity). Yet as extraordinary as he may have been, he did not

work alone: he was also both a product of, and a key contributor to, a broader French musical scene. The Anonymous Lover—the only one of Bologne’s operas for which a score has survived—offers a window into not just his style as a composer, but also the whole of his immensely multifaceted musical life.

Bologne’s immersion into the world of French musical culture began early. He was born around 1745 in the French colony of Guadeloupe, under circumstances that were then brutally common: his father was a white wealthy planter, and his mother, Nanon, was a teenager enslaved by his father’s family. Before he turned ten, his father brought him to Paris, where he entered into a privileged social sphere. While documentation of this stage of his life is sparse, he likely studied composition with François-Joseph Gossec and violin with Antonio Lolli, both eminent musicians in their respective fields. His talent particularly impressed

Gossec, who dedicated a set of string trios to his “brilliant” student. Bologne joined Gossec’s orchestra as a violinist and moved up through the ranks, becoming concertmaster and then director. In this capacity, he came to know a wide range of other instrumentalists; in addition, because the orchestra specialized in contemporary music and premieres, he also became familiar with the latest compositional trends.

Given his work as an orchestral musician and stature as a violinist, it is unsurprising that Bologne’s early compositions were primarily instrumental pieces. He composed several sets of string quartets, making an important contribution to a genre that was still nascent in France. Elegant and fluid, they are also appealingly conversational works, which offer each of the four players a turn in the melodic spotlight. He also wrote a dozen violin concertos, serving as soloist for many of their premieres. These are strikingly virtuosic pieces which give an indication of the skill that Bologne must have possessed as a performer: the ability to toss off bravura passagework, then smoothly shift gears to offer a languid, slow melody.

Bologne turned to opera when he was in his early thirties. The genre held enormous cultural significance in France, and audiences flocked to both tragédie lyrique (stately, dramatic works in five acts, on serious subjects) and the comparatively

lighter opéra comique. Its name is easily mistranslated: opéra comique was not necessarily funny or lighthearted, but rather explored a wide range of emotional states. Its themes were often socially relevant: reworkings of historical events with clear contemporary significance, for instance, or commentary on the divisions among social classes. It interspersed music with spoken dialogue, allowing for substantive plots in which dialogue could propel the action forward, while musical interludes enabled characters to explore their more private, interior feelings in song.

The Anonymous Lover exemplifies opéra comique in its plot, structure, and style. Like many works in the genre, it celebrates the virtues of characters of humble social status. As the noble-born Léontine and her devoted friend Valcour dance around the topic of their obvious-

Photo by Nile Scott Studios for Boston Lyric Opera

to-everyone-else love for each other, they find inspiration in the romance of Jeannette and Colin, two villagers whose affections are pure and uncomplicated. The opera also traverses a wide emotional range, moving well beyond frothy comedy. The circumstances which facilitate Léontine’s distress regarding the identity of her anonymous lover, and Valcour’s self-tormenting reluctance to reveal his feelings, may be faintly ridiculous, but Bologne’s music imbues the characters’ sentiments with real weight.

Take, for example, Léontine’s Act II ariette, “Du tendre amour” (“Of Tender Love”). In a lengthy spoken section, she finally agrees to meet the man who has professed his admiration of her through gifts and letters. But then she finds herself deeply conflicted. When she begins to sing, she does so gracefully, her elegant but straightforward phrases

evoking the “defenses” that she has built up against love’s power. Yet when she muses upon the Cupid-like “arrows” which threaten those defenses, she breaks into florid melismas, illustrating the irrepressibility of her emotions. The ariette’s middle section is agitated, with chromatic harmonies conveying the unraveling of Léontine’s resolve. When, as necessitated by the ariette’s da capo structure, she returns to the music of the opening section, her earlier emotional wavering takes on new significance: we can hear the enduring tenuousness of her decision and wonder if she will change her mind yet again. Although it is easy to laugh at the plot’s silly antics, Bologne’s music insists that we take Léontine’s feelings seriously – that we make fun of the situation, but not of her.

The eminent musicologist

Dominique-René de Lerma once observed that Bologne’s music was “totally French,” and as a piece which perfectly embodies key characteristics of eighteenth-century opéra comique, The Anonymous Lover fits this description. But it is worth thinking further about what “totally French” means with respect to a Black composer who – before he was a superstar of Parisian musical culture – was a Caribbean-born child of French colonialism. The question is particularly relevant to Bologne’s work in opera, given that this was a musical realm in which he experienced direct racism: in 1777,

a few years before he composed The Anonymous Lover his candidacy to become director of the Académie Royale de Musique (later the Paris Opéra) was blocked by singers who refused to work under a Black man’s leadership.

To be sure, Bologne’s music does not directly address his biography. His enslaved mother, journey from Guadeloupe to Paris, and racial identity are not subjects of his compositions, in The Anonymous Lover or elsewhere. (In fact, given that more recent operas by Black composers are often expected to address culturally or biographically specific themes, it is interesting to consider how Bologne’s works depart from that norm.) Yet the opera may nonetheless offer insight into how Bologne understood French society and, perhaps, his place within it. Léontine shares Bologne’s insider-outsider status: despite her high social position, she is also an independent woman in a male-dominated world. The association is further strengthened in that her music, the most technically challenging in the opera, recalls the virtuosic violin concertos that Bologne wrote and premiered himself. More broadly, while the opera is not unusual in representing people of different social classes, it is compelling to wonder what these portrayals might have meant to a composer who was the product of a profoundly unequal relationship

between an enslaved mother and a father made wealthy by the system of slavery.

The Anonymous Lover is not an overtly political opera, but, like all operas, it elucidates much about the people and place who created it. It is a showcase for Bologne’s remarkable talents as a composer, which were indelibly shaped by his experience as a violinist, love of instrumental music, and immersion in the world of French composition. On a more oblique level, it may also illuminate his perspective on the social arrangements which shaped his world. To contemporary audiences, it offers not only a delightful operagoing experience, but also a reminder of how much we can still learn about – and from – music of the past.

WE SALUTE Opera Philadelphia

Independence Blue Cross (IBX) is proud to support The Anonymous Lover. We recognize Opera Philadelphia for its commitment to producing innovative and inclusive opera performances.

ARTISTS

JOSHUA BLUE he/him

Colin

Haywards Heath, United Kingdom & Aurora, Illinois

Recent: Rodolfo, La bohème, English National Opera; Tamino, The Magic Flute, The Metropolitan Opera; Wilson, Intelligence, Houston Grand Opera

Next: Ferrando, Così fan tutte, Detroit Opera

KALENA BOVELL she/her

Conductor

Los Angeles, CA

Opera Philadelphia debut

Recent: Conductor, Johannesburg Philharmonic, San Francisco Conservatory of Music, Billings Symphony

Next: Conductor, Orchestre Classique de Montréal, Musikkollegium Winterthur

DENNIS WHITEHEAD DARLING he/him Director

San Diego, CA

Opera Philadelphia debut

Recent: Stage Director, La bohème, Opera Memphis; Stage Director, Madama Butterfly, Opera Carolina; Stage Director, The Anonymous Lover, Boston Lyric Opera

Next: Associate Director, Lights Out: Nat “King” Cole, New York Theater Workshop

APRIL GERBODE they/them

Hair and Make-Up Designer

New York, NY

Opera Philadelphia debut

Recent: Hair and Make-up Supervisor, Walden, Second Stage Theater; Hair and Make-up Designer, The Anonymous Lover, Boston Lyric Opera; Assistant Wig Designer, Stranger Sings!, Visceral Entertainment

Next: Wardrobe/HMU Supervisor, On The Evolutionary Function of Shame, Second Stage Theater

Opera Philadelphia debut

SYMONE HARCUM she/her

Léontine

Baltimore, MD

Recent: Donna Anna, Don Giovanni, Virginia Opera; Mimì, La bohème, Minnesota Opera; Sandra, The Factotum, Lyric Opera of Chicago

JOHNATHAN MCCULLOUGH he/him

Ophémon

California, USA

Recent: Figaro, The Barber of Seville, Lyric Opera of Kansas City; Mercutio, Roméo et Juliette, Lyric Opera of Kansas City; Figaro, The Barber of Seville, Pittsburgh Opera

Next: Dr. Falke, Die Fledermaus, Opera Theatre Saint Louis

DRISCOLL OTTO he/him

Lighting Designer Texas, USA

Recent: Lighting Design, Aida, Oper Im Steinbruch; Projection Design, Turandot, Teatro Petruzelli;, Lighting Design, Melvin Van Peebles, Lincoln Center

Next: Lighting & Projection Design, Macbeth, Atlanta Opera

SUN-LY PIERCE she/her

Dorothée

Clinton, NY

Recent: Rosina, The Barber of Seville, Des Moines Metro Opera; Suzy, La Rondine, The Metropolitan Opera; Cherubino, Le nozze di Figaro, New Orleans Opera

Next: Dorabella, Così fan tutte, Detroit Opera

BARON E. PUGH he/him

Scenic Coordinator Boston, MA

Opera Philadelphia debut

Recent: Scenic Designer, The Lehman Trilogy, Gulfshore Playhouse; Scenic Designer, Primary Trust, Barrington Stage Company; Scenic Designer, Is This America?, White Snake Project

Next: Scenic Designer, The Great Reveal, Lyric Stage Company of Boston

ASHLEY MARIE ROBILLARD

Jeannette

Norton, MA

Recent: Sue Gilbert, Emily: A Musical Portrait, Chamber Music at the Barns; Papagena, Die Zauberflöte, Merola Opera Program; Soprano Soloist, Exsultate Jubilate, Amarillo Symphony

Next: Musetta & Lauretta, Puccini in Concert, Main Line Symphony Orchestra

FELICITY

STIVERSON she/her

Choreographer and Assistant Director

Annapolis, MD

Philadelphia debut

Recent: Choreographer, Pippin, Weston Theater Company; Co-Director/ Choreographer, Hansel and Gretel, Opera San Antonio; Choreographer, A Very Philly Christmas, The Kimmel Cultural Campus

Next: Choreographer, Waitress, The Engeman Theater

LESLIE

TRAVERS he/him

Costume Designer

Hartlepool, UK

Philadelphia debut

Recent: Designer, Giovanna d’Arco, Malmo Opera, Sweden; Designer, Paul McCartney’s Liverpool Oratorio, Cincinnati Opera; Designer, Cavalleria

Rusticana and Pagliacci, Greek National Opera

Next: Designer, Edward II, Royal Shakespeare Company

TRAVON D. WALKER he/him

Valcour

Hinesville, GA

Recent: The Son, Blue, Lyric Opera of Chicago; Borsa, Rigoletto, Lyric Opera of Chicago; The Navigator, Another City, Houston Grand Opera

Next: Tenor Soloist, Beethoven's 9th Symphony and Omar excerpts, North Carolina Symphony

Opera
Pet Friendly
Opera

CHORUS & ORCHESTRA

SOPRANO

Veronica Chapman-Smith

Julie-Ann Green

Jessica Mary Murphy

Aimee Pilgermayer

Evelyn Santiago Schulz

ALTO

Jennifer Beattie

Marissa Chalker

Lauren Cook

Annalise Dzwonczyk

Paula Rivera-Dantagnan

ORCHESTRA

VIOLIN 1

Max Tan, concertmaster

Elizabeth Kaderabek, assistant concertmaster

Natasha Colkett

Meichen Liao-Barnes

Donna Grantham

Diane Barnett

Maria Im

Mary Loftus

VIOLIN 2

Tess Varley, principal

Luigi Mazzocchi

Karen Banos

Paul Reiser

Sarah DuBois

Heather Zimmerman Messé

VIOLA

TENOR

Corey Don

Colin Doyle

A. Edward Maddison

Daniel Taylor

Cory O’Niell Walker

BASS

Matthew Coules

Lucas DeJesus

James Osby Gwathney, Jr.

Michael Miller

Frank Mitchell

Yoshihiko Nakano, principal

Elizabeth Jaffe

Julia DiGaetani

Ellen Trainer

CELLO

Branson Yeast, principal

Vivian Barton Dozor, assistant principal

David Moulton

Brooke Beazley

BASS

Anne Peterson, principal

Stephen Groat

FLUTE

Brendan Dooley, principal

Eileen Grycky

OBOE

Geoffrey Deemer, principal

Oliver Talukder

BASSOON

Norm Spielberg, principal

Emeline Chong

HORN

John David Smith, principal

Emerson Miller

HARPSICHORD

Leon Schelhase

Harpsichords graciously provided by Curtis Institute of Music.

ARTISTIC & PRODUCTION STAFF

Assistant Stage Managers .................................................. Brianna Thompson, Lillian Welsh*

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

Associate Pianist ................................................................................................... Michael Lewis

French Diction Coach ................................................................................... Matthieu Cognet*

Comedy Acting Coach ..................................................................................... Jennifer Childs*

Properties Supervisor ....................................................Avista Custom Theatrical Services, LLC

Assistant Lighting Designer ................................................................................... Chris Gilmore

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

Audio Description .............................................................................................. Nicole Sardella

Head Electrician ................................................................................. Christopher Hetherington

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

Programmer /Assistant Electrician ................................................................ John Allerheiligen

Assistant Carpenter ........................................................................................ Michael Troncone

*Opera Philadelphia debut

Opera Philadelphia thanks the following labor organizations whose members, artists, craftsmen, and craftswomen greatly contribute to our performances:

American Federation of Musicians, Local 77 is the collective bargaining agent for Opera Philadelphia Orchestra musicians.

American Guild of Musical Artists / The American Guild of Musical Artists, the union of professional singers, dancers, and production personnel in opera, ballet, and concert, affiliated with the AFL-CIO, represents the Artists and Staging Staff for all purposes of collective bargaining.

International Alliance of Theatrical Stage Employees / Local 8

Theatrical Wardrobe Union / Local 799, I.A.T.S.E.

United Scenic Artists / Local 829, I.A.T.S.E.

Box Office and Front of House Employees Union / Local B29, I.A.T.S.E.

Highway Truck Drivers and Helpers / Local 107, Teamsters

WHEN OPERA MEETS JUVENILE JUSTICE

Learn more at operaphila.org/backstagepass

Mariah Ghant (artistic director of Delaware Shakespeare), Sabrina Holloway (program coordinator at the PJJSCS, and Abby Weissman before the DelShakes performance at the center.

When I stepped into the Philadelphia Juvenile Justice Services Center School this October for our first session of a six-week technical theater program, I didn’t know what to expect. The facility, located in West Philadelphia, holds any young folks ages 10-20 in our city who are awaiting or currently amid a criminal trial. Opera Philadelphia is part of the RYSE (Restore Youth through Supports & Employment) cohort, managed by the PJJSCS Program Coordinator, Sabrina Holloway, and was one of several organizations tasked with bringing into the center programming that will expand their students’ understandings of what may be possible future careers.

As Assistant Manager of Youth and Community Programs for Opera Philadelphia, I was tasked with restructuring our out of school time Backstage Pass program, which is a free program for high schoolers to learn about and build skills in technical theater careers. Ordinarily, we spend our time visiting theaters and shops and working hands-on with tools that would be considered contraband in the center. One of my favorite activities of the program ended up coming from our Costume Design teacher Asaki Kuruma, who was tasked to teach a hands-on costume activity without access to scissors or needles. I worked on the program with care, and we landed on this six-week model that would focus on bringing in as many technical theater professionals as possible to speak about their jobs and pathways to success, including designers from our collaborator Delaware Shakespeare, who would be bringing a performance of their community tour to the PJJSCS. I had the pleasure of serving as the director of that production and want to take a moment to emphasize how important and exciting it is when arts organizations also support their administrative staff’s artistic pursuits!

Asaki Kuruma presents costumes she designed for DelShakes’ production of Winter’s Tale to a class at PJJSCS.

All my educators know that the best laid lesson plans don’t always pan out, so I was nervous to head into our first session, an overview of the page to stage design process. I was immediately put to ease when I entered the classroom. The unit I was teaching had class at that time with Selina Carrera, a musician and teacher at the PJJSCS. She is respected and adored by the students, and with good reason. In her audio production class, students create a song a week, starting with writing about themes from their own lives then choosing beats and recording and mixing their own vocals. The library of music that has been curated over the years is incredible, but none of it will ever see the outside of the center walls due to privacy concerns. Ms. Carrera has created space for these young people to be artists and encourages them to express themselves through music. One of her refrains which I love is “if you don’t learn how to tell your own story, someone else will tell it for you.”

I don’t want to make it sound like the six weeks at the center were all sunshine and roses. For sure there were some students who were tough nuts to crack. But every student had at least one moment, even if it was small, of curiosity “wait, you can do that as a job?” which is so encouraging. You never know when the information will find the person who needs it most, and that small nudge could change the course of a career and therefore a life.

I believe strongly that arts education has a place in civic engagement and social justice work. After all, the skills built are directly applicable — imagination, teamwork, creative problem solving, and dedication to a larger purpose. We talk all the time about the possibility of art to inspire, and therefore it is our duty to bring that art to the people in our society who are most in need of inspiration. Opera and juvenile justice may seem to be worlds at odds with one another, but I invite you to consider how each are subcultures with distinct norms, hold space for big emotions, and wrestle with moral questions regularly. And then of course, there is the desire to make sense of this complex and challenging world we live in through music.

It is exhausting work to be sitting with folks as they are forming their worldviews around what is possible for their lives and making huge mistakes while doing so. But if we from the arts community can lend some of our resilience, compassion, and hope, it can make a world of difference.

The problem, of course, is resources. Almost every staff member and teacher I met was committed to helping over hurting — and yet, students frequently missed out on lessons or on the full experience we had designed due to issues in the building that were not able to be fixed right away, or understaffing. And of course, this under resourcing applies to neighborhoods and families as well. It is well documented that it is much more challenging to put time into making art when you need to commit instead to work.

Karim Boyd (IATSE consultant for Backstage Pass) presenting about union jobs at the PJJSCS.

The results are in!

—A new, vibrant crowd

— An energized community of supporters

— An electric energy

— A cultural moment

All season performances sold out — 125% of original attendance goal

67% first-time ticket buyers

700+ new gifts made by PYP ticket buyers

Ticket sales from 34 U.S. states, DC, Puerto Rico, and more

320+ media stories reaching 1.5 billion people worldwide

Help more people experience the thrill of opera by making a donation today! operaphila.org/givepyp

BOARD OF DIRECTORS

OFFICERS

Charles C. Freyer | Interim Chair

Anthony Roth Costanzo*| President

Barbara A. Teichert | Vice Chair

Alexander Hankin | Secretary

Thomas Mahoney | Treasurer

MEMBERS

Ira Brind

Lawrence Brownlee

Katherine Christiano

William Dunbar

David Ferguson

Charles C. Freyer

Deena Gu

Alexander Hankin

Beverly Lange, M.D.

Peter Leone

David Low

Thomas Mahoney

Sarah Marshall

Taneise S. Marshall

Agnes Mulroney

Colleen O'Riordan

Steven Pesner

Nancy Sanders

Bob Schena

Carolyn Horn Seidle

Barbara Augusta Teichert

Kathleen Weir

Yueyi (Kelly) Zhou

HONORARY MEMBERS

Dennis Alter

H.F. (Gerry) Lenfest†

Stephen A. Madva, Esq., Chairman Emeritus

Alan B. Miller

Alice W. Strine, Esq.

Charlotte Watts

THANK YOU

Opera Philadelphia expresses our deepest gratitude to the individuals and institutions whose support allows us to bring you The Anonymous Lover.

LEADERSHIP CIRCLE

Mrs. Sandra K. Baldino

Barbara and Amos Hostetter

Judy and Peter Leone

Opera Philadelphia’s Special Innovation Initiative Underwritten by E.A. Michelson Philanthropy

Mrs. John P. Mulroney

The Pew Center for Arts & Heritage

Jean and Gene Stark

Artistry Now Matching Fund and Barbara Augusta Teichert

The William Penn Foundation

Mellon Foundation

Judith Durkin Freyer and Charles C. Freyer

The Horace W. Goldsmith Foundation

Ms. Lisa D. Kabnick and Mr. John H. McFadden

Stephen K. Klasko, M.D., M.B.A. and Colleen Wyse

Carolyn Horn Seidle

Mr. John R. Alchin and Mr. Hal Marryatt

Anonymous

The Waterman Trust at the Recommendation of David Haas

Sarah and Brad Marshall

Mr. Robert J. Schena

Leslie Miller and Richard Worley Foundation

CHAIRMAN’S COUNCIL

Anonymous

Myron and Sheila S. Bassman

Willo Carey and Peter A. Benoliel

The Buck Family Foundation

Katherine and Andrew Christiano

The Frederick J. Roseneau Foundation in honor of Lorraine and Benjamin Alexander

Ms. Joan DeJean†

Mrs. Marjorie E. Garwig†

Mr. and Mrs. Frederick P. Huff

Christian Humann Foundation

Independence Foundation

Donald and Gay Kimelman

Paul L. King

Joel and Sharon Koppelman

The H.F. Lenfest Fund

OPERA America

PA Dept. of Community and Economic Development

Dr. Renée Rollin

Nancy and Barry Sanders

The Tang Fund

Charlotte Watts

Ira Brind and Stacey Spector

Comcast NBCUniversal

Cunningham Piano Company

Eugene Garfield Foundation

Allen R. and Judy Brick Freedman Venture Fund for New Opera

Linda and David Glickstein

Ms. Deena Gu Laties in honor of Willo Carey

Hamilton Family Charitable Trust

Mark and Helene Hankin Family

Katherine and John Karamatsoukas

Ms. Caroline J. Mackenzie Kennedy

Mrs. Sheila Kessler

Ms. Maria Maccecchini

Ms. Jacqueline B. Mars

National Endowment for the Arts

The Presser Foundation

Katie Adams Schaeffer and Tony Schaeffer

Estate of Robert Schoenberg

Michael L. Spolan

Ellen Steiner

Wyncote Foundation

GENERAL DIRECTOR’S COUNCIL

Platinum Patron

Dr. Frank F. Furstenberg

Bonnie and Lon Greenberg

Independence Blue Cross

Ro and Martin King

Mr. Thomas Mahoney

Marcus Innovation Fund

Andrew J. Martin-Weber

Jeanette Lerman-Neubauer and Joe Neubauer

PECO

Pennsylvania Council on the Arts

David and Susan Rattner

Donald Schwarz and Andrew Gelber

Ashley and Eli Wald

Dr. and Mrs. Andrew Wechsler

Kathleen and Nicholas Weir

Wells Fargo Private Bank

Diamond Patron

Aaron Copland Fund for Music

Anonymous

Sylvia Lanka-Barone and William Barone

Chubb Limited

Mr. Jeffrey P. Cunard and Ms. Mariko Ikehara

Mark and Peggy Curchack

David B. Devan and Rev. David A. Dubbeldam

Carol S. Eicher

Drs. Bruce and Toby Eisenstein

Jane Ginsburg and George Spera

Feather O. Houstoun

Estate of Joel Jensen

Jeffrey R. Jowett in memory of Joseph G. Leone

Mr. William A. Loeb

The Samuel P. Mandell Foundation

The McLean Contributionship

Dr. Stanley Muravchick and Ms. Arlene Olson

Tom and Jody O'Rourke

The Philadelphia Cultural Fund

Dr. Joel and Mrs. Bobbie Porter

Drs. Richard and Rhonda Soricelli

Mrs. Keith R. Straw

Alice and Walter Strine, Esqs.

Ethel Benson Wister

PATRON PROGRAM

Gold Patron

Anonymous

Stephen A. Block

Robert N. Braun, M.D.

Mr. James P. Macelderry† and Ms. Marilyn S. Fishman

Otto Haas Charitable Trust

Remmel Foundation

Silver Patron

Lydia Alvarez in memory of Isabelle Ferguson

Anonymous (2)

Anonymous in honor of Grant Loehnig

Robert and Julie Jensen Bryan

Georgette Ciukurescu

Kay Deaux

Ady L. Djerassi, M.D., and Robert Golub, M.D.

David M. Ferguson, Ph.D.

Deborah Glass in memory of Leonard Mellman

Gray Charitable Trust

ImpactED

Mr. Kenneth Klothen and Ms. Eve Biskind

Anne Silvers Lee and Wynn Lee

KPK Development Co.

The Leone Family

Carol and Howard Lidz

Liddy Lindsay

Susan M. Long and Andrew J. Szabo

Monica Taylor Lotty and Brendan Lotty

Dr. and Mrs. Michael B. Love

Susan and Graham McDonald

Ms. Katherine L. Niven

Seán and Colleen O'Riordan

Mrs. Zoë S. Pappas

Bill Robling and Deborah R. Kravetz

Mr. and Mrs. John D. Rollins

Stuart A. Schwartz and Sheila Jamison-Schwartz

Mr. Jonathan H. Sprogell and Ms. Kathryn

Taylor

Jeralyn Svanda

Truist

Robert L. Turner

Universal Health Services

Wells Fargo Advisors

Leslie Whipkey

Laura A. Williamson Charitable Fund

Ms. Linda Wingate and Dr. William Liberi

Mrs. Kelly Zhou and Dr. Brett Frankel

Karen A. Zurlo Ph.D.

Bronze+ Patron

Joan and Frederick Cohen

Laura Drake

Dr. Garrett FitzGerald

Joan and William Goldstein

Ms. Rhoda K. Herrold

Thomas S. Heckman and Mary Jo Ashenfelter

Ms. Lisa R. Jacobs

William Lake Leonard, Esq.

Philip E. Lian and Joan L. Mueller

Helen E. Pettit

Dr. Leah Whipple

Bronze Patron Anonymous (5)

Ms. Susan Asplundh

Eugene and Virginia Beier

Mr. Allen D. Black and Mr. R. Randolph Apgar

James Cohen

Mr. Stephen Cohen and Mr. John McNett

Mr. Mark Cornish

David Craig and Jackie Renner

Tobey and Mark Dichter

Barbara Donnelly Bentivoglio

William and Fay Dunbar

Mr. Arthur F. Ferguson

Ms. Juliet J. Goodfriend and Dr. Marc R. Moreau

Eduardo Glandt and George Ritchie

Corey Kinger

Charles B. Landreth

Mr. and Mrs. David Levy

The Marshall's Art Endowment

Dwight and Christina McCawley

Dr. and Mrs. A. H. Nishikawa

Kate Olver and Jeremy Young

The Rotary Club of Chestnut Hill

Dr. Elida Rouby

Joyce Seewald Sando

Mr. and Mrs. Curtis E. Sawyer

The Rev. Richard L. Ullman

Mark Luis Villamar and Esther Milsted

Dr. R.J. Wallner

Peter J. Wender

Carol Westfall

Ms. Ana-Maria V. Zaugg and Mr. David W. Anstice

Mr. Robert Zimet

MEMBERSHIP

Mr. George J. Ahern

Sarah Alderfer

Scott Alexander

Mr. and Mrs. James Alexandre

Joseph T. Anderer and Virginia Benz

Anonymous

Ellen Berelson and Lawrence Franks

Mrs. Joanne Berwind

Carrie and J. Bradley Boericke

Thomas Broadt

Nicholas Alexander Brown

Jim & Maddy Carlson

Christian R. and Mary F. Lindback Foundation

Thomas Collins

Jeffrey Cooper

Robert Cottone

Robert and Florence Dolceamore

Dolfinger-McMahon Foundation

Vivian Barton Dozor

Dr. Jerome and Ms. Judy Draper

Robert and Monica Driver

Nancy Drye

Mr. and Ms. Robert S. Duplessis

Barbara Eberlein and Jerry Wind

John Erickson and Harry Zaleznik

James R. Fairburn

Thomas Faracco

Andrew Franzone

Jim and Kay Gately

Mr. Andrew R. Gelber in memory of Sylvia Gelber

Steven A. Gold Charitable Educational Institutions Trust

Marsha Lynn Gordon and Javier Garcia

George Graham

Greater Philadelphia Cultural Alliance

Dr. and Mrs. Henry J. Greenwood and Ms. Marilyn Greenwood

Michelle Harde

David and Ann Harrison, Esqs.

Frederic Harwood

Mr. Charles Head, Jr. and Mr. John Faggotti

Eileen Kennedy and Robert Heim

Ms. Susan Henry

Drs. Christina L. and Richard J. Herring

Laura Jacobson

Ms. Deborah Kostianovsky in memory of Jorge Kostianovsky

Ms. Laura LaRosa

Robert and Elizabeth Legnini

Mr. Joseph J. Leube, Jr.

Murray and Lonnie Levin

Fran Levy and Leon L. Levy

Mr. Matthew Ligman

Ruth Marcon

Mr. John Mastrobattista and Ms. Madeline Leone

Drs. Joseph and Jane McGowan

Dr. Judy Catherine Miner

Mr. Benjamin F. Minick

Steven Z. Mitchell

Maris A. Ogg and Robert Smith

W. Larz Pearson and Rick Trevino

Patricia Perfect

The Philadelphia Contributionship

Shelly Power

Merle Raab

Gina J. Range

Ms. Jane Rath

Mrs. Louise H. Reed

Ms. Nancy R. Roncetti

Eileen Rosenau

Anne Faulkner Schoemaker

Mr. and Mrs. Henry G. Scott

Paul and Susan Shaman

Janet Wilson Smith

Kobie Smith

Steven Voudouris

Laurie Wagman

Bond Wann

Robert Washburn, Esq. and Judith Drasin, Esq.

Arnold Weiss

Dr. Dilys V. Winegrad

Tom Woodward

Stephen Zeller

Janis† and Robert Ackerman

Anonymous

Jean W. Arnold

Marilyn P. Asplundh

Mr. Abraham Axler

Naomi Balzer Haas

Mrs. Valerie Baselice

Frances and Michael Baylson

Karen Bedrosian-Richardson

Joseph Blair

Drs. Deidre and Michael Blank

Rita B. Bocher Ph.D.

Dr. Howard and Mrs. Tova Brooks

Mr. Leo M. Carey and Ms. Sonya D. Mouzon

Vistula Chapman-Smith

Ms. Ilene Chester

Peter Cline

Jonathan Conant

Mr. and Mrs. Anthony B. Creamer III

Ann Csink

Paul DeSanctis

Allyson Dezii

Romulo Diaz and Dennis Bann

Elise Drake

Mr. John Driscoll

Dr. John J. Duffy and Dr. William F. Edmiston

Ms. Anne C. Ewers

Amy Finkelstein

Barry Fisch

Dennis Gallagher

Linda Dubin Garfield

Ms. Sandra E. Goodstein

Leila Christine Grad, M.D.

Mrs. Margaret S. Griffin and Mr. Scott Sillars

Cheryl Gunter and Paul Rabe

Mrs. Kate Hall

Tom Harder

Kenneth R. Hartell & Andrea Biondo

James Haughom

Phillip Hauser

Clark Hooper Baruch

Lee M. Huber

Richard Hurtig

Mr. Wallace Hussong

Judith Insell

Dr. and Mrs. William Jantsch

Marianne Kah

Ronald Kaiserman

Alan Karr

Richard and Grace Karschner

Dr. Richard B. Kent

Joanne Kornoelje

Jason Kucza

Laura A. Lane and David R. DeVoe

Rebecca A. Lee

Drs. Jerry D. and Julie Meranze Levitt

Dr. Thomas S. Lin

Janice Longer

Sarah Lutman and Robert Rudolph

Dr. Richard J. Mandel

Joseph M. Manko, Sr.

Missy Mazzoli

Mr. Robert J. McShea, Jr. and Mr. Bill Ward

Mr. and Mrs. Gordon Munson

Mark and Abigail Nestlehutt

Peter O'Dwyer

Anne Peterson

Michael Presser

Mr. and Mrs. Bert Redgrave

Alice Reyes

David Rhody

Dr. Keith M. Robinson

Robert Rohde

Ms. Willa Rosenbloom

Mr. and Mrs. Daniel R. Ross

Jeanne Ruddy and Victor F. Keen

Katherine Sachs

Mr. Walter Schlosser Jr.

Mr. and Mrs. Henry G. Scott

Paul and Susan Shama

Mr. and Mrs. Corey R. Smith

Mary Sproat

Dylan Steinberg & Amey Hutchins

Mr. Daniel Szyld and Ms. Kathleen Ross

Ms. Judith Tannenbaum

Mr. John J. Trifiletti

Rosemary and Umit Turunc

Peggy Wachs

Dr. Steven and Janet Weinberger

Kenneth and Susan Weiss

Margaret Wellert

Scott Wilds and Martin Bodtmann

List as of January 13, 2025

CORPORATE GIVING SOCIETY

The Corporate Giving Society generously supports Opera Philadelphia’s artistic and educational programming through contributions and in-kind donations.

CORPORATE PARTNERS

Ballard Spahr LLP Termini Brothers Bakery

For more information about sponsorship opportunities, EITC contributions, or to join Opera Philadelphia’s Corporate Giving Society please contact Steven Humes, Associate Director of Advancement, at 215.893.5903 or humes@operaphila.org.

Help students explore the magic of opera!

Businesses that support Opera Philadelphia may be eligible for Pennsylvania’s Education Improvement Tax Credit Program (EITC). Help students explore the magic of opera AND earn tax credits! Learn more at operaphila.org/eitc

If you love the special magic of an Opera Philadelphia experience, consider including the Opera in your estate plans. In doing so, you will join a community of supporters that help to ensure great operatic memories for generations to come.

When you bequeath a gift of cash or stock, or make the Opera the beneficiary of your IRA or life insurance policy, you make a truly meaningful gift that costs nothing now, yet benefits the company later. Plus, estate gifts like these help the Opera weather unforeseen events like COVID-19.

Making a legacy gift admits you into the Legato Society, which brings you closer to the art you love and connects you to others who share your legacy goals. We are proud to salute our Legato Society members in all Opera Philadelphia performance programs.

To learn more about making a planned gift or about the Legato Society, visit operaphila.org/legato, or contact Aubre Naughton, Major Gifts, at 215.893.5906 or naughton@operaphila.org.

Anonymous (12)

Lorraine† and Ben† Alexander

Eleanor M. Allen†

Mary Jo Ashenfelter and Thomas S. Heckman

Eileen Baird†

Mr. Kenneth H. Barr

Myron and Sheila S. Bassman

Mr.† and Mrs. Robert Bergen

Ms. Jane A. Berryman

Dr. Claire Boasi

Dr. Rita B. Bocher

Mr. Michael Bolton

Mrs. Sheila Buckley

Constance G. Burton†

Ms. Willo Carey

Dr. and Mrs. Peter Cassalia†

Dr. Thomas A. Childers and Dr. John B. Hall

Dr. Maria Elisa Ciavarelli†

Miss Lucy Clemens

Joan and Frederick Cohen

Dianne and Don Cooney

Mr.† and Mrs. Arthur Covello

Ms. Ginny L. Coyle

Mr. W. Kenneth Cressman and Mr. Lloyd Christy†

Ms. Joan DeJean†

Ms. Virginia Del Sordo†

Robert and Monica Driver

Mrs. Antoinette DuBiel

Dr. Bruce Eisenstein

Eddie and Rachel Eitches

Mr. James Fairburn

Mr. and Mrs.† Joseph P. Fanelli, Jr.

Ms. Joanne D. Fidler†

Susan and Bill Firestone

Aron and Joan Fisher

Ms. Harriet Forman†

Judith Durkin Freyer and Charles C. Freyer

Mr. Timothy V. Gardocki

Linda Dubin Garfield

Sylvia Green†

Dr. Mark H. Haller†

Mrs. Dorrance H. Hamilton†

Gail Hauptfuhrer

Mr. Charles Head, Jr. and Mr. John Faggotti

Stephen T. Janick

Karl Janowitz

Jeffrey R. Jowett

Mrs. Sheila Kessler

Gabrielle & Ernest Kimmel

Mr. Michael Knight

Dr. Beverly Lange

Mr. Tom Laporta

Gabriele Lee†

Anne Silvers Lee and Wynn Lee

John T. Lehman

Marguerite and Gerry† Lenfest

Mrs. Renee T. Levin†

Karen† and Michael Lewis

Carol and Howard Lidz

Mr. William A. Loeb

Sonja E. Lopatynskyj†

Mr. Larry Thomas Mahoney

Dwight and Christina McCawley

Drs. Joseph and Jane McGowan

Eugene C. Menegon†

Mrs. Lois Meyers

Mrs. Ellen Cole Miller†

Mr. Siddhartha Misra

Mrs. Naomi Montgomery†

Constance C. Moore

Mgsr. Felix M. O'Neill†

Helen E. Pettit

Mr. William Reily†

David Rhody

Dr. Scott F. Richard

Mr. Laurence T. Robbins†

Dr. Renée Rollin

Jeffrey and Kendell Saunders

Robert Schoenberg†

Carolyn Horn Seidle

Mr. Jonathan Sprogell and

Ms. Kathryn Taylor

Mr. and Mrs. Morton F. Steelman†

Mrs. Alise (Lee) Steinberg†

Ellen Steiner

Mr. Kenneth R. Swimm

Mr. Andrew J. Szabo

Mr. Victor Tees

Mr. Michael Toklish

Christina M. Valente, Esq.

Charlotte Watts

Dr. and Mrs. Andrew Wechsler

Esther C. Weil†

George P. White†

Drs. Anne and Jim† Williamson

Richard and Kelley Wolfington

Ms. Karen A. Zurlo Ph. D.

† Deceased

List as of January 13, 2025

Opera Philadelphia’s Community for Young Friends

"As young professionals ourselves, it’s rewarding to be able to help another person starting out in their career."

—Sarah Alderfer, Young Friends Advisory Committee

VIVACE (vee-VA-che) offers a curated suite of performance events and social outings, exclusively for young friends ages 21–45. Transform your experience, meet the artists, and support the next generation of operatic talent in Philadelphia.

Throughout the 2024–2025 Season, VIVACE members support baritone

Kevin Godínez in his Opera Philadelphia debut as Masetto in Don Giovanni.

Join VIVACE and help us reach our

$20,000

operaphila.org/vivace

VIVACE members with Kevin Godínez

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