JANUARY 31
FEBRUARY 2 2025
JANUARY 31
FEBRUARY 2 2025
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
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
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
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
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
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
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
Daniel Jin Applebaum
Courtney Beck
Cordelia Istel
Gwyneth Muller
Jeremiah Marks, CFO Client Consultant
Ballard Spahr, LLP, General Counsel
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,
Anthony Roth Costanzo General Director & President
The runtime of The Anonymous Lover is approximately 90 minutes with no intermission.
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.
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.
By Dennis Whitehead Darling
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.
By Lucy Caplan
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-
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.
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.
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.
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
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
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
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
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
Corey Don
Colin Doyle
A. Edward Maddison
Daniel Taylor
Cory O’Niell Walker
Matthew Coules
Lucas DeJesus
James Osby Gwathney, Jr.
Michael Miller
Frank Mitchell
Yoshihiko Nakano, principal
Elizabeth Jaffe
Julia DiGaetani
Ellen Trainer
Branson Yeast, principal
Vivian Barton Dozor, assistant principal
David Moulton
Brooke Beazley
BASS
Anne Peterson, principal
Stephen Groat
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
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
By Abby Weissman
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.
Abby Weissman is Assistant Manager of Youth and Community Programs at Opera Philadelphia
The results are in!
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Charles C. Freyer | Interim Chair
Anthony Roth Costanzo*| President
Barbara A. Teichert | Vice Chair
Alexander Hankin | Secretary
Thomas Mahoney | Treasurer
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
Dennis Alter
H.F. (Gerry) Lenfest†
Stephen A. Madva, Esq., Chairman Emeritus
Alan B. Miller
Alice W. Strine, Esq.
Charlotte Watts
Opera Philadelphia expresses our deepest gratitude to the individuals and institutions whose support allows us to bring you The Anonymous Lover.
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
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
The Corporate Giving Society generously supports Opera Philadelphia’s artistic and educational programming through contributions and in-kind donations.
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.
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
"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