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CONTENTS
PROGRAM INFORMATION
OPERA PHILADELPHIA GENERAL INFORMATION
8 Don Carlo 12 Synopsis & Running Time 13 Program Notes 16 Artist Bios 20 Orchestra & Chorus 37 Up Next: Charlie
4 Letter from the Chairman 5 Board of Directors 6 Welcome from the General
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Showcase is published by Kimmel Center, Inc. 1500 Walnut Street, 17th Floor Philadelphia, PA 19102 215-790-5800 / Fax: 215-790-5801 www.kimmelcenter.org
Director
23 Leadership Support & Major Gifts
25 Annual Fund Support 28 Corporate Council 35 Administration For information about advertising in Showcase, contact Joe Ciresi at 215-790-5884. Photo: The cupola at El Escorial monastery, built near Madrid by King Philip II in 1584, inspired the set design for Don Carlo
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FROM THE
CHAIRMAN
Dear Friends, National Public Radio calls Don Carlo “one of the most enigmatic, yet profoundly beautiful operas Giuseppe Verdi ever composed.” It offers some of Verdi’s finest music and a complex plot—sometimes in four acts and sometimes in five (tonight, it’s four)—ripe with intense personal and political intrigue and set amid an uneasy peace which could erupt into war again at any moment. In other words, it is grand opera at its most grandiose! When we staged our company premiere of Don Carlo in 2004, an emerging bassbaritone from Philadelphia stepped in at the last minute to perform the role of the Friar. Today, Eric Owens is an internationally renowned superstar, and we are delighted to welcome him home to make his role debut as King Philip II. He is joined by an amazing cast of returning favorites like Troy Cook, Morris Robinson, Ashley Emerson, and Jeremy Milner, along with three outstanding stars all making their company debuts: Dimitri Pittas as Don Carlo; Leah Crocetto as Elisabeth; and Michelle DeYoung as Princess Eboli. This amazing cast has come together with Jack Mulroney Music Director Corrado Rovaris and director Tim Albery to offer a stunning new production of Verdi’s masterpiece, providing an emphatic exclamation point to our 40th Anniversary Season at the Academy of Music. Thank you for joining us tonight. Sincerely,
DANIEL K. MEYER, M.D. CHAIRMAN
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BOARD OF DIRECTORS
Daniel K. Meyer, M.D., Chairman David B. Devan*, President Frederick P. Huff, Vice Chair Joel M. Koppelman, Vice Chair Alice Strine, Esq., Vice Chair Scott F. Richard, Secretary Thomas Mahoney, Treasurer Stephen A. Madva, Esq., Chairman Emeritus
Benjamin Alexander
Beverly Lange, M.D.
James B. Straw
Sandra Baldino
Ellen Berman Lee
Alice Strine, Esq.
F. Joshua Barnett, M.D., J.D.
Gabriele Lee
Kenneth R. Swimm
Willo Carey
Peter Leone
Maria Trafton
Nicholas Chimicles, Esq.
Thomas Mahoney
Charlotte Watts
Ady L. Djerassi, M.D.
Daniel K. Meyer, M.D.
Donna Wechsler
Ehab Hammad
Agnes Mulroney
Honorary Members
Mark Hankin
Scott F. Richard
Dennis Alter
Frederick P. Huff
Harold Rosenbluth
Alan B. Miller
Caroline Kennedy
Stephen G. Somkuti, M.D.
H.F. (Gerry) Lenfest
Joel M. Koppelman
Jonathan H. Sprogell
Stephen A. Madva, Esq.
List as of April 2015 *Ex officio 5
WELCOME Dear Friends, Opera Philadelphia has enjoyed a tremendous amount of national media coverage about our commitment to new works; but in reality, it is works from the standard canon, like Don Carlo, that command the majority of our time and resources. The bulk of this planning time is spent on casting and identifying the right creative team. Tonight’s production of Don Carlo was four years in the making, and it all started with Eric Owens. In 2011, Eric let me know that he wanted to debut King Philip II with Opera Philadelphia, and that conversation put a series of events into action. First, we had to move another Verdi opera we had originally planned for April 2015 to a future season. Second, we spent a year securing the rest of the cast that would be at the international level of Eric. Third, we needed to find an insightful director to work with Music Director Corrado Rovaris and to select a creative team for a new production that would honor the talents of everyone assembled. In Tim Albery we found the perfect director, who in turn recruited designers Andrew Lieberman, Constance Hoffman, and Thomas Hase to realize this vision. All four of these artists are debuting with the company. And finally, we worked out co-production arrangements with Washington National Opera and Minnesota Opera, who will stage the production after its premiere here in Philadelphia. I hope you enjoy the culmination of four years’ worth of work this evening. And while tonight is all about Don Carlo, I hope you will join me in looking ahead with excitement to next season’s productions of Verdi’s La traviata and Donizetti’s The Elixir of Love, and future productions of great operas like Puccini’s Turandot and Mozart’s The Marriage of Figaro.
D AV I D B . D E VA N GENERAL DIRECTOR & PRESIDENT @ddevan
For more of David’s thoughts on the making of Don Carlo, read his blog at devantagepoint.tumblr.com
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OPERA PHILADELPHIA
Don Carlo New Production Co-produced with Washington National Opera and Minnesota Opera
Music Giuseppe Verdi Text François Joseph MÊry and Camille du Locle
Conductor Corrado Rovaris Director Tim Albery* Set Design Andrew Lieberman*
Costume Design Constance Hoffman*
Lighting Design Thomas Hase*
Chorus Master Elizabeth Braden
Wig & Make-up Design David Zimmerman
Stage Manager Jenny Harber *Opera Philadelphia debut Production underwritten in part by Ms. Barbara Augusta Teichert
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Don Carlo CAST
THE
DON CARLO Dimitri Pittas* ELISABETH DE VALOIS Leah Crocetto* PRINCESS EBOLI Michelle DeYoung* KING PHILIP II Eric Owens RODRIGO Troy Cook THE GRAND INQUISITOR Morris Robinson TEBALDO Ashley Emerson FRIAR Jeremy Milner THE CELESTIAL VOICE Sarah Shafer THE ROYAL HERALD & CONTE DI LERMA Mingjie Lei* *Opera Philadelphia Debut
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SYNOPSIS Approximate running time for Don Carlo is three hours and seven minutes, including one 20-minute intermission.
Don Carlo and Elisabeth de Valois, princess of France, were betrothed to be married and had, at a chance meeting, secretly fallen in love; however, for reasons of state, the princess has been forced to marry Carlo’s father, King Philip II of Spain. Carlo confides his love to his friend Rodrigo, Marquis of Posa, a radical democrat, who advises him to forget Elisabeth and ask his father for the governorship of Flanders, where he may mitigate the brutalities of Spanish rule. Philip refuses his son’s request in great anger. Meanwhile, tortured with fears that his far younger wife is deceiving him, he co-opts Rodrigo into spying for him. The Princess Eboli, Elisabeth’s lady-in-waiting, furious to discover that her passionate love for Carlo is unreturned, informs the King of Carlo’s love for Elisabeth. Philip orders his rebellious son thrown into prison, but balks at ordering his death, despite the threats of the Grand Inquisitor, who is head of the church and the power behind the throne. The Inquisitor demands instead that the king denounce his new protégé, Rodrigo, a greater menace because of his liberalism. Philip refuses. Thoroughly embittered, the King rails at Elisabeth for her supposed unfaithfulness. Eboli repents her rash confession and determines to rescue Carlo from prison. She accomplishes this mission in the confusion that ensues after the treacherous shooting of Rodrigo, as he visits Carlo in prison. Carlo plans to escape for Flanders to lead a rebellion against his father, but his last farewell to Elisabeth is interrupted by Philip and the Grand Inquisitor. Church and State have united to arrest him. —Tim Albery
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PROGRAM NOTES By Diana Burgwyn When he accepted an invitation to create a work for the Paris Opéra, Giuseppe Verdi knew his task would not be easy. “Write for the Opéra, where the performances last half a day? Poor me!” he wrote. Indeed, the preference of wealthy operagoers in that city was for long productions with melodramatic plots, lavish stage sets, action-packed crowd scenes, and a mandatory ballet--together forming what was known as “grand opera.” Verdi bested even the deceased grand opera king Giacomo Meyerbeer by composing Don Carlo, a five-act opera of over four hours, complete with ballet, a parade, and the spectacle of heretics being burned to death. However, he had to make cuts because the last train from Paris to its suburbs would have left by the final curtain. The premiere on March 11, 1867 was a relative success, and over the years Verdi developed several more versions, both in the original French and in Italian, to suit the needs of various opera houses. Still, it was not until the latter half of the 20th century that Don Carlo was recognized as the masterpiece it is; indeed, many musicologists and knowledgeable operagoers consider it to be Verdi’s supreme achievement. The libretto by Joseph Méry and Camille du Locle was taken from a dramatic poem by the German-born Friedrich Schiller, whom Verdi greatly admired. Both play and opera were loosely based on historical figures of the time. Set in 1560 during the infamous Spanish Inquisition, the opera tackles huge issues: religious dogma and political calculation pitted against personal freedom and the brotherhood of man. Its greatness lies in the composer’s masterful musical characterizations, both vocal and orchestral, which bring those issues to vibrant life. In the opera, King Philip II of Spain is a devout Catholic who adheres religiously to the
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dictums of the Catholic Church and its blind, 90-year-old, all-powerful Grand Inquisitor. As a means of ending the longtime war between Spain and France, he has decided to marry his son Carlo’s fiancée, the French-born princess Elisabeth of Valois. The great love between Carlo and Elisabeth is thus shattered, and Philip soon suspects wrongly that she has been unfaithful to him. Carlo, hot-headed and somewhat unstable, is in despair over the loss of Elisabeth. Disdaining his father’s religious beliefs, he is in sympathy with his close friend Rodrigo, Duke of Posa (the opera’s only fictional character), who is determined to end the savage repression of the Dutch Protestants in Flanders, then part of the Spanish Empire. The long-suffering Elisabeth is the moral center of the opera: pure, strong, honorable, despite the pain of having been denied Carlo’s love and the terrible betrayal of the jealous Princess Eboli, who is also in love with him. Each character in the opera is richly drawn. King Philip’s most powerful aria is also his most intimate. Sitting alone in his chambers, he expresses his heartache in realizing that Elisabeth has never loved him. She, in turn, reaches her spiritual apogée when she prays for peace in Flanders and her own death. The previously vengeful Princess Eboli undergoes a transformation when, recognizing the misery she has inflicted on the innocent Elisabeth, she curses her own beauty. The Grand Inquisitor needs no aria; his bass voice, whether used at full volume or in ominously quiet tones, has the desired chilling effect. How different he is from the opera’s passionate freedom fighter, Rodrigo, whose ringing tones are meshed with Carlo’s in one of the most stirring duets of male friendship ever penned. As for Carlo, let us remember him less for his anguish and weakness than for his brief moment of glory when he is ready to depart for Flanders. Elisabeth, thrilled by his courage, joins him in an exquisite duet as they imagine the joy of their meeting in heaven. Diana Burgwyn is a Philadelphia-based freelance writer who specializes in music.
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ADDITIONAL CAST ARTISTIC Assistant Director......................................................Amanda Consol Principal Pianist.......................................................... Grant Loehnig Musical Assistant.....................................................Matthew Brower Supertitle Author............................................................Chris Bergen Supertitle Operator.......................................................... Tony Solitro PRODUCTION/TECHNICAL Properties Master............................................................John Bryant Assistant Lighting Designer...............................................Chris Frey Technical Director.................................................Stephen Dickerson Master Electrician............................................................Terry Smith Properties......................................................................... Paul Lodes Flyman...............................................................................Mike Ruffo Assistant Electrician.......................................................Sean Gallen
Assistant Stage Managers.............................Becki Smith, Jen Shaw Wardrobe Supervisor......................................................Elisa Murphy Costume Shop Assistant............................................ Stephen Smith Shopper/Crafts........................................................ Kathryn Calhoun Cutter/Tailor...................................................... Althea "Nell" Unrath Cutter/ Draper...............................................................Kara Morasco First Hands................................Patrick Mullhall, Joyanne Rampulla, Andre "Carl" Thomas, Derwin Cooper, Kevin Ross, Mark Mariani Stitchers.......................................Suzie Morris Barrett, Pam Raines, Suzan Cerceo, Frankie Fehr, Kathy Pierson Dyer/Painter............................................. Julie Watson, Kate Edelson Wig & Make-up Assistant.....................................Glenna Williamson Captain of Supernumeraries............................................Dave Tukey
SUPERNUMERARIES: Andrew Arcangeli, Ezequiel Hernandez, Lisa Panzer, Dave Tukey, Kristine Terrado
FACILITIES A Commitment to Safety: The safety and comfort of visitors, artists, volunteers, and staff at the Academy of Music are of paramount importance. In the event of an emergency, audience members will be advised of appropriate procedures by ushers and security staff. At this time, please take note of the exit nearest you. A red, illuminated EXIT sign should be visible, with an arrow indicating the direction of the exit door. Should an emergency arise, you will be directed to leave the auditorium and further instructions will be provided as to the safest and quickest way to exit the building. Patrons who need special assistance should contact an usher. Smoking is prohibited on the Kimmel Center campus. Accessibility: The Academy of Music is wheelchair accessible from the east lobby entrance on Broad Street. Seating is available on the Parquet and Balcony levels, with accessible restrooms located on the Canteen level. Assistive listening devices are available for loan. A limited number of ADA-compliant parking spaces are available in the Kimmel Center garage. Coat Check & Restrooms: A complimentary coat check is located on the ground floor of the Academy of Music. Restrooms are located on all levels of the Academy of Music. Food and Beverage: Concessions by Chef Jose Garces and Garces Group are available to Academy of Music and Merriam patrons at satellite bars located in the lobbies and upper levels. Water fountains are located on all levels of the Academy of Music Official Ticket Outlet: Ticket Philadelphia, a division of the Kimmel Center, is the only authorized outlet for individual tickets for shows at the Kimmel Center, Academy of Music, and Merriam Theater. We urge patrons to purchase tickets only through kimmelcenter.org, ticketphiladelphia.org, or the official websites of our Resident Companies. Tickets purchased from other sources are purchased at your own risk. Many unauthorized ticket sellers use website names that are similar to our website or even include the names of our various venues. These websites are not authorized to sell tickets to events in our venues. By purchasing only through our official outlets, you are assured that the ticket you receive is valid and is being sold to you at face value.
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ARTISTS TIM ALBERY (Mono, Ontario, Canada) DIRECTOR Opera Philadelphia debut Recent Activities: Tannhäuser, Chicago Lyric Opera; Kátya Kabanová, Boston Lyric Opera; The Coronation of Poppea, Opera North ELIZABETH BRADEN (Easton, Pennsylvania) CHORUS MASTER 2014 Oscar 2006 Margaret Garner 2004 The Grand Duchess of Gerolstein (Partial Listing) Recent Activities: Director of Music, Wallingford Presbyterian Church; Chorus Master, The Barber of Seville, Opera Philadelphia; Chorus Master, Dialogues of the Carmelites, Curtis Opera Theatre TROY COOK (Quakertown, Pennsylvania) Baritone RODRIGO 2012 Silent Night 2009 Madame Butterfly 2006 La bohème (Partial Listing) Recent Activities: Watty Watkins, Lady Be Good, Teatro de la Zarzuela; Sharpless, Madama Butterfly, Utah Opera; Riccardo, I puritani, Boston Lyric Opera LEAH CROCETTO (Spartanburg, South Carolina) Soprano ELISABETH DE VALOIS Opera Philadelphia debut Recent Activities: Lidoine, Dialogues des Carmelites, Washington National Opera; Mimì, La bohème, San Francisco Opera; Desdemona, Otello, English National Opera
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MICHELLE DEYOUNG (Grand Rapids, Michigan) Mezzo-soprano PRINCESS EBOLI Opera Philadelphia debut Recent Activities: Judith, Bluebeard’s Castle, Israel Philharmonic, Dallas Symphony Orchestra, and BBC Symphony Orchestra; Fricka, Das Rheingold, Hong Kong Philharmonic; Herodias, Salome, Opera San Antonio ASHLEY EMERSON (Bangor, Maine) Soprano TEBALDO 2013 Powder Her Face Recent Activities: Soeur Constance, Dialogues des Carmelites, Washington National Opera; Marie, La fille du Régiment, Greensboro Opera; Barbarina, Le nozze di Figaro, The Metropolitan Opera THOMAS HASE (Chicago, Illinois) LIGHTING DESIGN Opera Philadelphia debut Recent Activities: Doctor Zhivago, Malmö Opera; Don Giovanni, San Diego Opera; Iolanta, The Dallas Opera CONSTANCE HOFFMAN (Oakland, California) COSTUME DESIGNER Opera Philadelphia debut Recent Activities: Khovanshchina, Vlaamse Opera; Billy Budd, Berlin State Opera; Die Fledermaus, English National Opera
MINGJIE LEI (Hengyang, China) Tenor
DIMITRI PITTAS (New York, New York) Tenor
ROYAL HERALD and CONTE DI LERMA
DON CARLO
Opera Philadelphia debut Recent Activities: Dorvil, La scala di seta, Curtis Opera Theatre; Brighella, Ariadne auf Naxos, Curtis Opera Theatre; Romeo, Roméo et Juliette, New Jersey Symphony Orchestra ANDREW LIEBERMAN (Decatur, Illinois) SET DESIGN Opera Philadelphia debut Recent Activities: Partenope, San Francisco Opera; The Mystery of Love and Sex, Lincoln Center Theater; Il Turco in Italia, Teatro Regio di Torino
Opera Philadelphia debut Recent Activities: Nemorino, L’elisir d’amore, Deutsche Oper Berlin; Rodolfo, La bohème, Opera de Paris; Rodolfo, La bohème, Opera National de Bordeaux MORRIS ROBINSON (Atlanta, Georgia) Bass THE GRAND INQUISITOR 2013 Nabucco 2005 Aida Recent Activities: Sparafucile, Rigoletto, Atlanta Opera; Sarastro, The Magic Flute, Houston Grand Opera; Joe, Show Boat, San Francisco Opera
JEREMY MILNER (Philadelphia, Pennsylvania) Bass A FRIAR 2012 La bohème 2011 Carmen 2011 Phaedra (Partial Listing) Recent Activities: Capulet, Roméo et Juliette, Tulsa Opera; Title Role, Markheim, Little Opera Theatre of New York; Hagen, Der Ring des Nibelungen, Grand Theatre de Geneve ERIC OWENS (Philadelphia, Pennsylvania) Bass-baritone
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KING PHILIP II 2008 Norma 2003 Macbeth 1994 Romeo & Juliet (Partial Listing) Recent Activities: The Dutchman, Der Fliegende Holländer, Washington National Opera; Verdi Requiem, New York Philharmonic; Porgy, Porgy and Bess, Lyric Opera of Chicago
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GlassWeekend ‘15 at
W HEATON A RTS
June 12*—14 2015
CORRADO ROVARIS (Bergamo, Italy) CONDUCTOR 2014 The Barber of Seville 2006 Cinderella 1999 The Marriage of Figaro (Partial Listing) Recent Activities: RAI National Symphony Orchestra; Olimpie, Festival Pergolesi Spontini; La traviata, Opéra de Lausanne
Malaria. Luke Jerram
SARAH SHAFER* (State College, Pennsylvania) Soprano THE CELESTIAL VOICE 2014 Ainadamar
Wedding Compotes in Colony Harvest Amber Cowan
Guest Artists
AMBER COWAN and LUKE JERRAM International Galleries Panel Discussions Studio Events
*Registrants only
Recent Activities: Lieder with Richard Goode, Carnegie Hall; Messiah, National Orchestra of Mexico; Constance, Dialogues of the Carmelites, Curtis Opera Theatre DAVID ZIMMERMAN (Mt. Pleasant, Texas) WIG & MAKE-UP DESIGN 2015 Oscar 2014 Ainadamar 2013 The Magic Flute (Partial Listing) Recent Activites: Iolanta, The Dallas Opera; Everest, The Dallas Opera; Magazine features for Opera News, The New Yorker, and Vanity Fair
EMANATION:
ART + PROCESS
MARK DION PAULA HAYES CAROLYN HEALY AND JOHN PHILLIPS DONALD LIPSKI VIRGIL MARTI MICHAEL OATMAN JUDY PFAFF JOCELYNE PRINCE ROB WYNNE MARK ZIRPEL
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*Opera Philadelphia Emerging Artist
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OPERA PHILADELPHIA ORCHESTRA CORRADO ROVARIS, JACK MULRONEY MUSIC DIRECTOR VIOLIN I Luigi Mazzocchi, Concertmaster Igor Szwec, Assistant Concertmaster Meichen Liao-Barnes Charles Parker Diane Barnett Yan C. Simmons Donna Grantham Elizabeth Kaderabek Erica Miller Alexandra Cutler-Fetkewicz Blake Espy VIOLIN II Emma Kummrow, Principal Sarah Dubois Karen Banos Paul Reiser Lisa Vaupel Jennifer Lee Guillaume Combet Eliza Cho Yu-Hui Tamae Lee VIOLA Jonathan Kim, Principal Carol Briselli, Assistant Principal Julia DiGaetani Ellen Trainer Elizabeth Jaffe Kathleen Foster Steven Heitlinger CELLO Priscilla Lee, Principal
Vivian Barton-Dozor, Assistant Principal Brooke Beazley Dane Anderson Jennifer Lorenzo David Moulton BASS Miles B. Davis, Principal Anne Peterson Stephen Groat Frederick Weiss FLUTE Adeline Tomasone, Principal Eileen Grycky Kimberly Trolier OBOE Geoffrey Deemer, Principal Evan Ocheret Stephen Labiner CLARINET Joseph A. Smith, Principal Allison Herz BASSOON Jacob Smith, Principal Jon Gaarder Michael Pedrazzini FRENCH HORN Angela Bilger, Principal Karen Schubert Todd Williams Ryan Stewart Adam Lesnick
Lyndsie Wilson TRUMPET Brian D. Kuszyk, Principal Frank Ferraro David Seals Robert Skoniczin Steven Heitzer Eric Schweingruber TROMBONE Robert Gale, Principal Edward Cascarella Philip McClelland Brad Ward Matthew Gould Jonathan Schubert CIMBASSO Paul Erion, Principal HARP Sophie Bruno Labiner, Principal TIMPANI Martha Hitchins, Principal PERCUSSION Ralph Sorrentino, Principal Susan Jones ORGAN Lucas Brown TUBA Brian Brown
OPERA PHILADELPHIA CHORUS SOPRANO Katy Avery Jessica Beebe Veronica Chapman-Smith Ruth Ann Cunningham Katie Dufendach Noël Graves-Williams Julie-Ann Green Valerie Haber Rebecca M. Hoke Jessica Mary Murphy Christine Nass Aimee Pilgermayer Evelyn Santiago Rebecca Siler Amy Spencer Lisa Helmel Thomas Rebecca Whitlow ALTO Jennifer Beattie Margaret Caldwell-Blanchard Renée Cantwell Marissa Chalker Joanna Gates 20
Eve E. Hyzer Raffaella Lo Castro Katherine Mallon-Day Maren Montalbano Ellen Grace Peters Paula Rivera-Dantagnan Karina Sweeney Kaitlyn Tierney TENOR Dane Allison Sang B. Cho Matthew Cox Ryan Fleming Ali Javaheri A. Edward Maddison Fernando Mancillas Kristoffer Mihalka Siddhartha Misra DonLeroy Morales George Somerville Daniel Taylor Paul Vetrano Cory O’Niell Walker Steven Williamson
BASS Ennio Brugnolo Gregory Cantwell Jeffrey Chapman Peter Christian Stephen Dagrosa Lucas DeJesus Jim Osby Gwathney, Jr. Dorian Payton Hall Chris Hodges Aaron Ellery Hoke Mark Malachesky John David Miles Frank Mitchell Garrett Obrycki Andrew Thomas Pardini Lourin Plant David Saybrook Daniel Schwartz James J. Seiler Andrew Shaw Andrew Skitko Tim Stopper
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THE LEADERSHIP CIRCLE & CHAIRMAN’S COUNCIL Opera Philadelphia’s top giving programs, the Leadership Circle & Chairman’s Council, are comprised of passionate groups of philanthropists committed to ensuring that the future of opera is right here in Philadelphia. Their collective generosity underwrites more than half of Opera Philadelphia’s artistic expenses each season, including productions in the Academy of Music, the nationally lauded Aurora Series for Chamber Opera at the Perelman Theater, Opera on the Mall, and our awardwinning programs for children.
Top left to right: Board member and Chairman’s Council member Dr. Joshua Barnett with his wife, Dr. Heidi Kolberg; Michael Gorman, husband of Frederica von Stade (center); Board member and Chairman’s Council member Nick Chimicles and his wife, Kathleen Chimicles; Board member and Leadership Circle member Peter Leone and his wife, Judy Leone. Bottom left to right: Board Chairman and Leadership Council member Daniel K. Meyer, M.D., composer Jennifer Higdon, Chairman’s Council member Andrew Wechsler, M.D., and his wife Board member Donna Wechsler; Chairman’s Council members Rita and Phil Harper; General Director’s Council member John Alchin with Vice-Chairman and Chairman’s Council member Joel Koppelman and his wife, Sharon Koppelman.
FOR MORE INFORMATION, CONTACT Rachel McCausland, Manager, Leadership & Legacy Giving at 215.893.5909 or mccausland@operaphila.org. 22
SUP PO R T T H E 40 T H A N N I V ER SARY S EAS ON A N N U A L F U N D CAMPAIGN BY WILLIAM BURDEN CHAIR, 40 TH ANNIVERSARY SEASON CAMPAIGN It is my pleasure to join Opera Philadelphia as Chair of the 40 th Anniversary Season Annual Fund Campaign. My career has taken me to opera houses all over the world, but I’ve returned to Opera Philadelphia for twelve different productions. It always feels like home to me here. During my travels, singers, directors, designers, and composers light up when I mention Philadelphia. The opera world is buzzing about Opera Philadelphia’s transformation into one of the country’s most dynamic opera companies. The Opera’s exciting approach to the stage and community, coupled with its unparalleled commitment to new opera, has made it a beacon of artistic vitality. I was honored to be a part of Silent Night, the first production of the American Repertoire Program to take place at the
Academy of Music, and it was my pleasure to return for the East Coast Premiere of Theodore Morrison’s Oscar, in which I sang the role of Frank Harris. As a performer, I was so thrilled to introduce this powerful work to audiences in Philadelphia. As an opera lover, I cannot wait to return in June to join you in the audience for the World Premiere of Charlie Parker’s YARDBIRD in the Aurora Series at the Perelman Theater. When you support the 40th Anniversary Season Annual Fund campaign you help support not only the amazing artistic initiatives, such as the American Repertoire Program, but also the awardwinning educational and outreach programs that help ensure that tomorrow’s audiences have access to the same great opera that we do today.
G E T I N V O LV E D 24
OPERAPHILA.ORG/SUPPORT | 215.732.8400
C O R P O R AT E C O U N C I L The Corporate Council generously supports Opera Philadelphia’s artistic and educational programming through contributions and in-kind donations.
2014-2015 SEASON SPONSORS
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For more information about sponsorship opportunities, or to join Opera Philadelphia’s Corporate Council, please contact Derren Mangum, Manager 28
of Institutional Giving, at 215.893.5924 or mangum@operaphila.org.
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The Magic Flute, 2012. Photo by Kelly & Massa
A WELL ROUNDED E D U C AT I O N N E V E R SOUNDED SO GOOD O P E R A P H I L A D E L P H I A’ S S O U N D S O F L E A R N I N G ™ P R O G R A M HAS INSPIRED STUDENTS FOR MORE THAN TWO DECADES Launched in 1991 in collaboration with the School District of Philadelphia, Opera Philadelphia’s Sounds of Learning™ program has introduced the theatrical, orchestral, and vocal splendor of opera to Philadelphia-area schoolchildren. Now in its third decade, the program has reached nearly 150,000 students in ten counties through an arts integration education program that includes opportunities to see an opera for free at the Academy of Music. Today, the program is more popular than ever, as school districts across the region face continued fiscal pressures that negatively impact the availability of 30
the arts in schools. “We are thrilled with the enrichment Sounds of Learning brings to our curriculum,” said a DePaul Catholic High School teacher. That sentiment was echoed by a Pan American Charter School teacher, who said each opera’s student guide “does a phenomenal job of incorporating lessons from other curricular areas, such as art, history, English, and science.”
Thanks to a grant from the William Penn Foundation, Sounds of Learning™ has now expanded its programming to offer several free, teaching artist-led programs which bring the magic of opera to students from kindergarten through 12th grade. The in-class programs connect opera to biology, math, foreign language, social studies, art, music, and other disciplines. Classroom sessions are geared specifically towards the developmental, creative, and curricular needs of the students. Photo by Phillip Todd
“Opera can offer many developmental benefits for children,” said Michael Bolton, Vice President of Community Programs. “Opera helps increase language development, teaches higher level thinking skills and creative problem solving skills in real world situations, develops an appreciation for the arts, involves all learning styles, and stimulates the imagination. Opera is literature, mythology, folk tales and legends, history, conflicts and emotions. Exposure to opera builds and sustains cultural intelligence.”
Dedicated funding for the Sounds of Learning™ program has been generously provided by: THE WILLIAM PENN FOUNDATION Wells Fargo Hamilton Family Foundation Universal Health Services Anonymous Eugene Garfield Foundation Ethel Sergeant Clark Smith Memorial FundGlaxoSmithKline The Hirsig Family Fund of the Philadelphia Foundation Morgan Stanley Foundation Victory Foundation Alpin J. and Alpin W. Cameron Memorial Fund Deluxe Corporation Foundation The McLean Contributionship Louis N. Cassett Foundation
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OPENING NIGHT GALA F R I D AY, O C T O B E R 2 , 2 0 1 5 ACADEMY OF MUSIC
Opera Philadelphia invites you into
a world of Parisian opulence, gilded fêtes, and one of the greatest love
stories in all of opera. The 2015-2016 Season kicks off with a stunning
Opera Philadelphia’s 40th Anniversary Gala on the Avenue of the Arts. Photo by Dominic M. Mercier.
T H I S S P E C TA C U L A R B L A C K T I E E V E N I N G F E AT U R E S :
•C ocktails and an Elegant Dinner beginning at 5:30 p.m.
production of Verdi’s La traviata,
•O pening Night Performance of La traviata in the Academy of Music*
with a one-of-a-kind experience:
• C hampagne Intermission Reception
the opening night of the season by
•A fter-Party with dessert, dancing, and the cast of La traviata
and we invite you to join in the party the Opening Night Gala. Celebrate stepping into the glittering world of Violetta, Alfredo, Flora, and
all of their
TWO DIFFERENT TICKET TYPES:
fellow
•F ull Gala tickets starting at $500 per person
goers.
•A fter-Party tickets for $100 per person
party-
*Some Opening Night Gala tickets do not include performance tickets to La traviata, and therefore must be purchased separately. If your current series does not include tickets to the Oct. 2 performance and you would like to attend the Opening Night Gala, please contact Subscriber & Member Services at 215.732.8400, and we would be happy to exchange your performance tickets.
TICKETS ON SALE NOW OPERAPHILA.ORG/GALA | 215.732.8400 32
OPERA PHILADELPHIA ENCORE SOCIETY If the Opera has played a significant role in your life, we invite you to pay it forward to future generations by including Opera Philadelphia in your estate plans.
TO JOIN OR TO RECEIVE M O R E I N F O R M AT I O N :
Opera Philadelphia’s Encore Society
Go to OPERAPHILA.ORG/ENCORE-SOCIETY
acknowledges the generosity of those
OR
individuals who have included the company in their estate plans as an important philanthropic commitment to opera’s future in Philadelphia, and the Society is our way of honoring members today for the legacy they will leave tomorrow. Not only do members enjoy exclusive access to events that allow them to celebrate the impact of their commitment to the organization’s continued artistic growth, but these gifts have the potential to provide valuable tax and income benefits now and in the future.*
Encore Society members Ben Alexander (left) and Sheila Kessler with baritone Mark Stone at the annual Encore Society Luncheon.
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Contact Rachel McCausland, Manager, Leadership & Legacy Giving, at 215.893.5909 or at mccausland@operaphila.org. * P lease consult your financial and/or legal advisors to determine which type of gift is best for you and for the legal requirements and tax advantages specific to these gifts.
Choose a Create-Your-Own 6-Concert Series for as little as $35 per concert! This season marks Yannick’s fourth year as music director of our Fabulous Philadelphians. 2015-16 Season Highlights include
Mahler’s “Symphony of a Thousand” Mar. 10-13
is an enormous, ambitious, soul-stirring work that simply must be experienced live.
Yo-Yo Ma Apr. 28-May 1
The phenomenal cello master Yo-Yo Ma kicks off a two-week celebration of John Williams’s music for concert hall and film.
John Williams
May 4 Living-legend John Williams makes a rare Philadelphia appearance to lead a special benefit concert with The Philadelphia Orchestra.
Subscribe Today! 215.893.1999 www.philorch.org Groups of 10 or more call 215.875.7695 All concerts are in Verizon Hall at the Kimmel Center for the Performing Arts. All artists, dates, prices, and programs are subject to change. All tickets subject to availability. For a complete listing view our concert schedule online at www.philorch.org. Photos: Todd Rosenberg, Jan Regan
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ADMINISTRATION LEADERSHIP David B. Devan General Director & President Corrado Rovaris Jack Mulroney Music Director Annie Burridge Managing Director Jeremiah Marks Chief Financial Officer David Levy Senior Vice President, Artistic Operations Michael Bolton Vice President of Community Programs Mikael Eliasen Artistic Advisor Nathan Gunn Director, American Repertoire Council Youngmoo E. Kim Resident Technologist MUSIC Michael Eberhard Artistic Administrator Elizabeth Braden Chorus Master and Music Administrator J. Robert Loy Director of Orchestra Personnel & Orchestra Librarian Sarah Williams New Works Administrator Colleen Hood Assistant Director of Orchestra Personnel & Assistant Orchestra Librarian David T. Little Composer in Residence Missy Mazzoli Composer in Residence Andrew Norman Composer in Residence
PRODUCTION Alexander Farino Production Manager Drew Billiau Technical Production Manager Stephen Dickerson Technical Director Millie Hiibel Costume Director Meggie Scache Production Coordinator MARKETING & MEMBERSHIP Ryan Lewis Director of Marketing & Membership Karina Kacala Marketing Manager Michael Knight Marketing Operations Manager Filiz O'Brien Membership Manager Siddhartha Misra Subscriber & Member Services Coordinator INDIVIDUAL GIVING Erin Sammis Director of Major Gifts Adele Betz Director of Events Jennifer Dubin Associate Director, Individual Giving & Patron Services Rachel McCausland Manager, Leadership & Legacy Giving
COMMUNICATIONS Frank Luzi Director of Communications Katie Dune Multimedia Communications Coordinator ADMINISTRATION Ken Smith Assistant to General Director & Board Relations Coordinator Bethany Steel Assistant to the Managing Director COMMUNITY PROGRAMS Adrienne Bishop Education Coordinator FINANCE Brian R. Ramos Controller Maureen McHale Senior Accountant COUNSEL Montgomery, McCracken, Walker & Rhoads LLP General Counsel
INSTITUTIONAL GIVING Thomas Rhodes Director of Institutional Giving Derren Mangum Manager of Institutional Giving
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I N R E C I TA L
L AW R E N C E BROWNLEE M o n da y, J un e 8 | 7: 00 p.m. U n i o n B a p t is t C hurc h
Acclaimed tenor, and star of Charlie Parker's YARDBIRD, Lawrence Brownlee, collaborates with renowned gospel, jazz, and classical musician Damian Sneed (pictured) for an exciting program of original spiritual arrangements. Many of the selections on the program are from Spiritual Sketches, their acclaimed 2013 recording which will be available for sale at the event. Selections on the program include inspiring version of such well-known spirituals like “Deep River,” “Every Time I Hear the Spirit,” “Down by the Riverside,” and many more. National Public Radio
declared, “The spirituals might be wellknown, but through Brownlee's voice, they shine in new, occasionally jazz-inflected arrangements by Damien Sneed.” The program will be held at Union Baptist Church, a National Historic Landmark where trailblazing Philadelphia contralto Marian Anderson sang as a child. Anderson, who in 1924 became the first African-American concert artist to record spirituals for RCA Victor, was the first black artist to perform with the Metropolitan Opera.
$15 TICKETS ON SALE NOW OPERAPHILA.ORG | 215.732.8400 36
UP NEXT AT S C H N Y D E R / W I M B E R LY
C H A R L I E PA R K E R ’ S
y ard b i r d J U N E 5 – 1 4 , 2 0 1 5 | P E R E L M A N T H E AT E R March 12, 1955. New York City. Charlie Parker is dead. But nobody knows it yet. In that empty twilight between the here and the hereafter, the bebop legend sets out to compose his final masterpiece, revisiting the inspirations, demons, and women who fueled his creative genius. This is the setting of Charlie Parker’s YARDBIRD, a chamber opera that invites the audience directly into a musician’s mind, heart, and personal purgatory. Set after-hours in the famed New York City jazz club Birdland, the chamber opera stars Lawrence Brownlee as the Grammy Awardwinning saxophonist—a role crafted around the effortless, improvisational style that makes him one of music’s most sought after tenors. Swiss American composer and saxophonist Daniel Schnyder said the idea for the opera came to him when he first heard Brownlee sing. The composer immediately likened the color of the tenor’s voice and his technical command to the music of Charlie Parker. His music is paired with a poetic libretto by playwright Bridgette A. Wimberly to
create a work described as a “bebopera” by The New York Times. Dazzling soprano Angela Brown costars as Charlie’s mother, Addie Parker, with baritone Will Liverman debuting as jazz icon Dizzy Gillespie, who once described Parker as “the other half of my heartbeat.” Mezzo-soprano Tamara Mumford, who shined in the title role in the 2011 American Premiere of Henze’s Phaedra, returns to the Aurora Series as Baroness Pannonica de Koenigswarter, in whose apartment Parker died. Ron Daniels directs this World Premiere production, with Corrado Rovaris conducting the Opera Philadelphia Orchestra.
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OPERA PHILADELPHIA & THE BEARDED LADIES
A N D Y: A P O P E R A Wo r l d P r e m i e r e
SEPTEMBER 10, 11, 12, 13, 17, 18, 19, 20, 2015 OPERA IN THE CITY VERDI
L A T R AV I A T A OCTOBER 2, 4M, 7, 9, 11M, 2015 ACADEMY OF MUSIC
HIGDON / SCHEER
C O L D M O U N TA I N East Coast Premiere
FEBRUARY 5, 7M, 10, 12, 14M, 2016 ACADEMY OF MUSIC
C U R T I S O P E R A T H E AT R E
R. STRAUSS
CAPRICCIO Company Premiere
MARCH 2, 4, 6M, 2016 P E R E L M A N T H E AT E R
DONIZETTI
THE ELIXIR OF LOVE A P R I L 2 9, M AY 1 M , 4 , 6 , 8 M , 2 0 1 6 ACADEMY OF MUSIC
The Academy of Music and Perelman Theater are part of the Kimmel Center for the Performing Arts
S U B S C R I B E T O D AY ! OPERAPHILA.ORG | 215.732.8400
FLĂ‚NEUR FOREVER
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