VERDI
REQUIEM J A N U A RY 31 & F E B R U A RY 2 , 2 0 2 0 AC ADEMY OF MUSIC Part of the Kimmel Center for the Performing Arts
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“Verdi’s Requiem … is in my heart. And the fact that we can perform here, with my chorus and my orchestra, it’s very moving, and it’s very rewarding for all the orchestra and chorus to work on something so important in the history of music.” –Corrado Rovaris
Table of CONTENTS
04 Board of Directors 05 From the Board Chairman 07 Welcome from the General Director & President 09 Requiem 12 Program Note 14 Remembering Jack Mulroney 16 Artists 18 Orchestra 19 Chorus 22 The Picture of Giving 24 Leadership Giving 28 Annual Giving 31 Planned Giving 33 Corporate Council 37 Administration 38 Up Next: Madame Butterfly 39 2020–2021 Season
OnStage Publications, Advertising: 937-424-0529 | 866-503-1966, korlowski@onstagepublications.com | onstagepublications.com This program is published in association with OnStage Publications, 1612 Prossser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or in part without written permission from the publisher. JBI Publishing is a division of OnStage Publications, Inc. Contents © 2020. All rights reserved. Printed in the U.S.A.
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Board of DIRECTORS OFFICERS
Peter Leone Chairman of the Board Charles C. Freyer Vice Chair Caroline J. MacKenzie Kennedy Vice Chair Dr. Eugene E. Stark, Jr. Secretary Thomas Mahoney Treasurer David B. Devan* President
MEMBERS
Sandra K. Baldino Willo Carey Katherine Christiano Don Cooney Carol S. Eicher Mikael Eliasen Allen R. Freedman Charles C. Freyer Beth W. Glynn Alexander Hankin Frederick P. Huff Carole H. Johnson Caroline J. MacKenzie Kennedy Beverly Lange, M.D. Peter Leone Thomas Mahoney Sarah Marshall Daniel K. Meyer, M.D. Immediate Past Chairman Agnes Mulroney Scott F. Richard Carolyn Horn Seidle Jonathan H. Sprogell Dr. Eugene E. Stark, Jr. Barbara Augusta Teichert Maria Trafton Donna Wechsler Kelley Wolfington
HONORARY MEMBERS
PAST CHAIRS
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Dennis Alter H.F. (Gerry) Lenfest † Stephen A. Madva, Esq. Chairman Emeritus Alan B. Miller Alice W. Strine, Esq. Charlotte Watts Daniel K. Meyer, M.D. Stephen A. Madva, Esq. James B. Straw C. Christopher Cannon Alan B. Miller Jack Mulroney †
* Ex officio †
Deceased
List as of January 2020
From the BOARD CHAIRMAN Dear Friends, One tenet of Opera Philadelphia’s mission is that, on behalf of our audiences, we “identify extraordinary artists … and provide opportunities for them to create their most imaginative and inspired work.” This season, we celebrate the twentieth anniversary of Jack Mulroney Music Director Corrado Rovaris’ debut with our company. Corrado has, as Opera News wrote, “presided over a striking evolution at Opera Philadelphia.” He and our outstanding Chorus Master Elizabeth Braden receive—and deserve—plaudits for the world-class music we enjoy today. Yet they would be quick to credit the extraordinary artists of Opera Philadelphia’s Orchestra and Chorus, who have contributed so much to the company’s artistic trajectory. These musicians’ skills took years to develop and must be constantly honed by practice and training. Their work is more taxing—even physically—than one might suppose. On top of that they had to navigate the “gig economy” long before anyone heard of Uber. Corrado’s care for, and fierce pride in, our Orchestra and Chorus may not always shine through his professional demeanor. But the challenges he set this season testify to his confidence in them; and they have amply justified that confidence. In September’s O19 a Baroque-sized contingent brilliantly displayed the crisp intensity required for Handel’s Semele. Then they and a battalion of their colleagues returned the next night and tore up Prokofiev’s The Love of Three Oranges. (We could tell Corrado enjoyed that.) Our Orchestra and Chorus deftly handled the personalitytransition between these pieces over nine performances in eleven days. Now we’re about to hear the players, the singers—including our wonderful principals Leah Crocetto, Daniela Mack, Evan LeRoy Johnson, and In-Sung Sim—Liz, and Corrado grapple with the variety and depth of emotions Verdi’s Requiem calls forth. And I can’t wait for Madame Butterfly in the spring. We dedicate these performances to Jack Mulroney, who served as the company’s chairman for nineteen years and who recruited Corrado as our music director. (A tribute to Jack by Opera Philadelphia’s former General & Artistic Director, Robert Driver, appears on pages 14–15 of this program.) At the same time, we offer our great gratitude to Jack’s wife of 46 years Agnes, who has provided us (and me) sage counsel over her many years on our Board, and who has generously underwritten Corrado’s engagement with Opera Philadelphia. Thank you, Jack and Agnes, for making Opera Philadelphia possible. Thanks, as well, to the many other volunteers and donors who have helped us support these extraordinary artists—since that’s largely where your donations go—engage with audiences in our city. As we explore how best to serve artists and audiences in 2020 and beyond, I invite you to join us in following, as you can, the example Jack and Agnes have set for us. With gratitude for your patronage and enthusiasm,
Peter Leone Chairman
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From the GENERAL DIRECTOR Dear Friends, Welcome back to the Academy of Music for the second half of our 2019-2020 season. This weekend, we inaugurate a new winter tradition at Opera Philadelphia by presenting significant vocal concerts that celebrate the amazing talents of the Opera Philadelphia Orchestra and Chorus, under the direction of Jack Mulroney Music Director Corrado Rovaris and Chorus Master Elizabeth Braden. We are thrilled to spotlight Maestro Rovaris and the members of the orchestra who we so often hear—but do not see—in this building. In these two performances, they move up from the pit to take center stage alongside our incredible chorus and four very talented soloists. Opera Philadelphia last performed Verdi’s Requiem in 1986. The stage was the Philadelphia Spectrum, former home of the Philadelphia 76ers and Flyers, and the tenor performing with our orchestra and chorus was the legendary Luciano Pavarotti. A lot has changed in 34 years since that Requiem. We sadly lost Mr. Pavarotti in 2007, and the Spectrum was demolished in 2011, but, amazingly, 15 members of the orchestra and one chorister who performed that Requiem are performing it again this weekend. The four principal singers on our stage have a delightful blend of experience with Verdi and with Philadelphia audiences. Soprano Leah Crocetto graces our stage for the first time since her striking 2015 company and role debuts as Elisabeth de Valois in Verdi’s Don Carlo. Mezzo Daniela Mack returns following her knockout performance in Handel’s Semele, and this is her first time singing Verdi! Daniela is also reunited with her Carmen costar, tenor Evan LeRoy Johnson, while dynamic bass In-Sung Sim joins us for his company debut. These performances, and the many amazing experiences planned for 2020, would not be possible without the support and hard work of so many generous individuals. I extend special thanks to the Opera Philadelphia Board of Directors, the artistic team led by David Levy, the tireless Opera Philadelphia staff, the Academy of Music team led by Anne Ewers, our many patrons and donors, and the entire community that continues to support Opera Philadelphia.
David B. Devan General Director & President @ddevan
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REQUIEM
Dedicated to the Memory of Jack Mulroney Concert Performance Music / Giuseppe Verdi Conductor / Corrado Rovaris Underwritten by Mrs. John P. Mulroney Soprano / Leah Crocetto Underwritten by Dr. Beverly Lange and Dr. Renato Baserga Mezzo-soprano / Daniela Mack Underwritten by the many individuals who made gifts in memory of Ben Alexander Tenor / Evan LeRoy Johnson Bass / In-Sung Sim* Chorus Master / Elizabeth Braden Stage Manager / Lisa Anderson *Opera Philadelphia debut
Principal support has been provided by Agnes Mulroney, in loving memory of Jack Mulroney and his 19 years of service to Opera Philadelphia.
The Academy Series is underwritten, in part, by Judy and Peter Leone. The running time is approximately 90 minutes with no intermission.
Curtis Opera Theatre SPRING 2020 Benjamin Britten ALBERT HERRING
MARCH 5–8
Wolfgang Amadeus Mozart LA CLEMENZA DI TITO
A P R I L 3 0 – M AY 3 Tickets start as low as $20 at CURTIS.EDU/OPERA The Curtis Opera Theatre season is sponsored by the Horace W. Goldsmith Foundation and the Wyncote Foundation.
PROGRAM NOTE
Verdi’s Requiem: The Story in the Music by m ichael bolton
Opera Philadelphia Vice President of Community Initiatives
The cellos exhale a hushed, sorrowful groan like someone’s last breath. It’s a sound so quiet, you’re not sure if the performance has started. The full orchestra begins to whisper as the chorus chants “Requiem aeternam” (Grant them eternal rest) devoutly. The men of the chorus declare that hymns will be sung to honor God, but the chorus returns to its reverent plea as the orchestra again mourns soulfully. Then, like a beam of light, the soloists enter, one by one, triumphant, astonished, and in adoration. The music is filled with grandeur as the chorus joins the soloists excitedly, as all continue their prayer “Kyrie eleison” (Have mercy upon us).
set a section of the text to honor the bel canto master. Due to logistical challenges, the Messa per Rossini was not premiered and feared lost until it was discovered in 1970 by musicologist David Rosen. The premiere of this requiem waited until 1988.
That’s the beginning of Giuseppe Verdi’s Messa da Requiem, a concert work for four soloists, a chorus of 100, and orchestra. While he was not a religious man, Verdi filled this work with emotional impact and religious fervor.
The Messa per Rossini is notable as Verdi composed the final section, Libera Me, which he incorporated and revised for his 1874 Messa da Requiem, the piece you will hear today. Verdi was reluctant to write a requiem mass but reversed his opinion upon the death of one of his favorite writers, Alessandra Manzoni, the author of the classic historical novel, I promessi sposi. Believed to be the most widely read novel in the Italian language, it is said to have helped unify the Italian language from dialects within the various Italian states. Verdi felt that, much like Rossini, Manzoni deserved to be memorialized for the significance of his contributions to Italian culture.
Before penning his own full requiem, Verdi organized the composition of a musical death mass in 1869 in honor of Gioachino Rossini. Twelve other now-obscure Italian composers each
Requiem’s text comes from the Roman Catholic liturgy and is a Mass to honor those who have died. Composers throughout the centuries have turned to this sacred text as a source of inspiration.
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Most musical settings of the requiem use the text in some fashion, some verbatim and others incorporating other texts to make a statement on death, the afterlife, nationalism, or politics. Many requiems from the past 200 years use orchestra, chorus, and soloists to bring the text to musical life. It’s no wonder that the dramatic text has been a popular choice for composers to set to music. There are limitless possibilities to explore both the heights of salvation and depths of damnation. Verdi’s Messa da Requiem is almost the opposite of an opera, which has various characters, a plot, sets, and costumes. There are no characters or conflicts needing resolution. The Requiem pulls us in and then holds our attention even without any staging, costumes, or even characters. Verdi does tell a story, with some of the most operatic music ever written. He examines various stages of mourning as our “protagonists,” consisting of soloists, chorus, and orchestra, move through various emotional states – solemnity, grief, fear, anger, guilt, anxiety, loneliness, denial, desire for salvation, and acceptance. Verdi’s drama unfolds musically and keeps attendees engaged through the very end. Perhaps the most dramatic moment comes in the last 15 minutes when the soprano has a full operatic scena. The audience lays witness to her internal conflict as she works through her emotions, almost in conversation with a choir filled with celestial angels, purgatorial souls, and full orchestra.
Giuseppe Verdi circa 1870
The soprano begins rather desperately, almost angrily demanding that she be rescued from eternal death. By the very end, she has peacefully resigned herself to her own fate. Throughout this final movement of the Requiem, we hear the gamut of emotions: anger, fear, penitence, and piousness. In the end she almost welcomes her own death chanting in the musical purity of the key of C major. The movement is as emotionally exhausting for the audience as it is for the singers. The orchestra, chorus, and singers tell a story filled with whirlwind emotions – moving through profound loss, terror, and anger, and ending with a sense of eternal peace – that begins and ends in the same tranquility. While it’s not a typical operatic plot with conflict and resolution, we still have been part of a story all told through music. 13
PROGRAM NOTE
Remembering Jack Mulroney by robert b. driver
Former General & Artistic Director at Opera Philadelphia, 1991–2012
It is so very appropriate that Opera Philadelphia is honoring the memory of its past President and Chairman, Jack Mulroney, during this production of Verdi’s Requiem, that great musical hymn in honor of the deceased. It was thirty years ago, in the spring of 1991, that Jack described to me how “an angel appeared before him.” It was a time of great crisis for the opera company, the demise of which appeared inevitable due to a high deficit and drastically reduced ticket sales. Jack’s angel was not a grand baroque opera “deus ex machina” figure descending from a theatrical heaven to suddenly make all right in Philadelphia’s operatic world; the angel appeared to him across his backyard fence in the form of his neighbor Mel Lashner, a well-known bankruptcy lawyer, who fortified Jack with the knowledge and confidence necessary to embark on the great crusade to save the opera company. Now, thirty years later, we are all witnesses to the magnificent result of Jack’s courageous leadership. I first met Jack at my final interview in December 1990; he ended the interview with a crisp “I think I can work with you.” When I got home and reported on my meeting with Jack to my wife, 14
Jack and Agnes Mulroney
Monica, she said, “He is going to hire you.” Fortunately, she was right. It was the beginning of a wonderful 13-year partnership. From the very outset of our working together I was always comfortable in discussing any business or artistic matter with Jack. Before the 1999–2000 season, I heard that Jack was approaching retirement. I requested a meeting with Jack, who confirmed his imminent retirement from Rohm and Haas. My opening greeting was something to the effect of
“Congratulations, Jack, but I do not see you on a golf course.” He agreed, so I went on to propose that he come to the Opera to oversee the company’s business administration. He immediately accepted with pleasure and I added the caveat that, of course, I would not insult him with a financial offer, saying “you won’t be lowering your contribution, will you?” He laughed and said no, he would be doubling it! Thus, Jack became our Executive Director, happily turning the tables and reporting to me. Shortly thereafter I decided we should share responsibility equally. His new position as President gave me the ability to spend more time on artistic matters, but as always, we worked closely together on budgeting and fundraising. One of Jack’s first missions in his new position was to negotiate the move from our Walnut Street offices to Academy House. It was such a thrill to be able to go through a door on our office level to the rehearsal hall of the Academy of Music. We were really home now! In our joint “Letter from the Directors” in the April 2004 program for Bizet’s The Pearl Fishers, starring Bill Burden as Nadir, Nathan Gunn as Zurga, and Mary Dunleavy as Leila, Jack and I announced the appointment of Maestro Corrado Rovaris as our first Music Director, beginning the coming fall season. Sadly, Jack would be taken from us on a Friday evening that September, but not before he had sealed the deal
with Maestro Rovaris by telling him “You come and take care of our opera company and we will take care of you and your family.” Opera Philadelphia is so fortunate that Agnes Mulroney immediately stepped forward by joining the Board and securing Jack’s pledge to Maestro Rovaris. I am eternally grateful that my last business meeting with Jack on that fateful Friday afternoon ended with our joking about how Jack’s operatic fantasy was to be Nathan Gunn in Pearl Fishers, to which I replied “then I must be your best operatic friend Bill Burden as Nadir!” We had a good laugh, secure in the knowledge that neither of us would be appearing anywhere shirtless and singing. The sudden loss of Jack came as a terrible shock to his family and to the entire Philadelphia community where he was an important presence. Here again the greater Philadelphia community and Board of Directors came to the rescue. Stephen Madva stepped in as Chairman of the Board, a position he would hold for the next eight years, and the William Penn Foundation funded the search for Jack’s replacement. That intense nationwide search ended with the appointment of David Devan as Executive Director. Today Opera Philadelphia is in the excellent hands of General Director & President David Devan, Jack Mulroney Music Director Corrado Rovaris, and Board Chairman Peter Leone. The angels are smiling! 15
ARTISTS
Corrado Rovaris
Elizabeth Braden
conductor
chorus master
Corrado Rovaris made his Opera Philadelphia debut in 1999 and was appointed as the Jack Mulroney Music Director, the company’s first, for its 30th Anniversary Season in 2005.
Elizabeth Braden is Chorus Master at Opera Philadelphia, a position she has held since the 2004– 2005 season. During her tenure she has prepared the chorus for more than 40 productions, ranging from traditional favorites like La bohème and Carmen, to new works and world premieres including Kevin Puts’ Silent Night, Jennifer Higdon’s Cold Mountain, and Missy Mazzoli’s Breaking the Waves. In 2017 she made her Opera Philadelphia conducting debut with the world premiere of David Hertzberg’s The Wake World. Earlier this season she prepared the choruses for two Festival O19 productions, The Love for Three Oranges and Semele, and she will again prepare the chorus for Madame Butterfly later this spring.
Born in Bergamo, Italy, Maestro Rovaris graduated from the Conservatory of Milan with degrees in composition, organ, and harpsichord. From 1992 through 1996 he was the Assistant Chorus Master of the Teatro alla Scala and made his debut on the podium with Il filosofo di campagna by Galuppi in a production by Associazione Lirica e Concertistica Italiana. Celebrated for his vibrant and expressive performances, Maestro Rovaris brings a warm presence to the podium. He opened Opera Philadelphia’s current season with The Love for Three Oranges in Festival O19 and will return to conduct Madame Butterfly this spring. He also conducts Don Pasquale at both the Seville Opera and the New National Theater Tokyo, L’elisir d’amore at the Opéra de Lausanne, and he returns to the Santa Fe Opera this summer to conduct a new production of Il barbiere di Siviglia directed by Stephen Barlow. Maestro Rovaris was awarded knighthood by the Order of Merit of the Italian Republic in 2015 and the Franco Abbiati Prize in 2016. Maestro Rovaris’ engagement as the Jack Mulroney Music Director has been made possible by Mrs. John P. Mulroney.
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Ms. Braden is also the conductor of the Penn Chorale at the University of Pennsylvania. She recently made her debut as the conductor of this ensemble with a concert that included works by Melissa Dunphy and Samuel Barber. Ms. Braden has prepared choruses for opera productions at The Curtis Institute of Music, most recently a production of Sweeney Todd, and served for many years as Director of Music at Wallingford Presbyterian Church. She has led the choir in concerts of such works as the Fauré Requiem, Duruflé Requiem, and Leonard Bernstein’s Chichester Psalms. Ms. Braden received a B.S. in Music Education from West Chester University with a concentration in piano and voice, and a M.M. in Choral Conducting from Westminster Choir College.
ARTISTS
Leah Crocetto soprano
Underwritten by Dr. Beverly Lange and Dr. Renato Baserga
Adrian, Michigan 2015 Don Carlo
recent: Leonora, Il trovatore, Seattle Opera; Soprano, Mahler’s Symphony No. 8, Los Angeles Philharmonic; Desdemona, Otello, Washington National Opera next: Aida, Aida, Opera Australia
Evan LeRoy Johnson tenor
Pine Island, Minnesota 2019 La bohème; 2018 Carmen recent: Cassio, Otello, Bavarian State Opera; Prince, Rusalka, Glyndebourne; Don José, Carmen, Oper Frankfurt next: Edgardo, Lucia di Lammermoor, Lyric Opera of Kansas City
Daniela Mack mezzo-soprano
Underwritten by the many individuals who made gifts in memory of Ben Alexander
Buenos Aires, Argentina 2019 Semele; 2018 Carmen; 2017 Elizabeth Cree recent: Rosina, The Barber of Seville, Minnesota Opera; Soloist, Messiah, National Symphony Orchestra; Charlotte, Werther, Florida Grand Opera next: Rosina, The Barber of Seville, Palm Beach Opera
In-Sung Sim bass Yeo-Su Jeon-Nam, South Korea Opera Philadelphia debut recent: Lodovico, Otello, The Royal Opera, London; Fiesco, Simon Boccanegra, Israeli Opera; Timur, Turandot, Teatro Comunale di Bologna next: Raimondo, Lucia di Lammermoor, The Royal Opera, London
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ORCHESTRA VIOLIN 1 Dayna Hepler, Concertmaster Igor Szwec, Asst Concertmaster Meichen Liao Barnes Charles Parker Diane Barnett Donna Grantham Elizabeth Kaderabek Tess Varley Peter Filochowski Palys Rebecca Ansel Natasha Colkett Catherine Kei Fukuda Gared Crawford Madison Marcucci Brandon Garbot Lisa Vaupel VIOLIN II Emma Kummrow, Principal Paul Reiser Sarah DuBois Heather Zimmerman Messé Luigi Mazzocchi Samantha Crawford Rebecca Harris Joseph Kauffman Andrea Levine Yu-Hui Tamae Lee Seula Lee Alexandra Cutler-Fetkewicz Jennifer Lee Christof Richter VIOLA Jonathan Kim, Principal Carol Briselli, Asst Principal Julia DiGaetani Ellen Trainer Elizabeth Jaffe 18
The Opera Philadelphia Orchestra is underwritten by Alice and Walter Strine, Esqs., and by Caroline Mackenzie Kennedy.
Ruth Frazier Yoshihiko Nakano Juliette Javaheri Kathleen Foster Steven Heitlinger Hannah Nicholas Renee Warnick CELLO Branson Yeast, Principal Vivian Barton Dozor, Asst Principal Jennie Lorenzo Brooke Beazley David Moulton Glenn Fischbach Rose Bart Jean Kim Elizabeth Thompson David Jang BASS Miles B. Davis, Principal Anne Peterson Stephen Groat Daniel McDougall Brent Edmondson Douglas Mapp Heather Lardin Fred Weiss FLUTE David Cramer, Principal Eileen Grycky Kimberly Trolier OBOE Geoffrey Deemer, Principal Nick Masterson
CLARINET John Diodati, Principal Allison Herz BASSOON Erik Höltje, Principal Emeline Chong Jon Gaarder Darryl Hartshorne FRENCH HORN John David Smith, Principal Angela Cordell Bilger Karen Schubert Ryan Stewart TRUMPET Brian Kuszyk, Principal Steven Heitzer Frank Ferraro Robert Skoniczin TROMBONE Robert Gale, Principal Edward Cascarella Phil McClelland TUBA Paul Erion, Principal TIMPANI Martha Hitchins, Principal PERCUSSION Ralph Sorrentino, Principal BANDA: TRUMPET Andrew Kissling Eric Schweingruber Thomas Cook Darin Kelly
CHORUS SOPRANO Erin Alcorn Jennifer Allenby Amy L. Armstrong Abigail Chapman Veronica Chapman-Smith Sheryl Heather Cohen Natalie Dewey Rachel Doehring Valerie V. Gay Suzanne Gerace Noël Graves-Williams Valerie Haber Evan Kardon Cara Latham Carole Latimer Kelsey Lewis Jessica Matthews Jorie Moss Kara Mulder Jessica Mary Murphy Christine Nass Aimee Pilgermayer Evelyn Santiago Rachel Sigman Amy Spencer Julie Snyder ALTO Tanisha Anderson Jennifer Beattie Robin Bier Marissa Chalker Patricia Conrad Annalise Dzwonczyk Joanna Gates Eve Hyzer Heather Jones Lauren Kelly Heidi Kurtz
Megan McFadden Meghan McGinty Margaret Mezzacappa Maren Montalbano Natasha Nelson Beatrice Osborne Ellen Grace Peters Paula Rivera-Dantagnan Rebecca Roy Karina N. Sweeney Kaitlyn Tierney TENOR Benjamin T. Berman Corey Don Bonar Daveed Buzaglo Sang B. Cho Matthew Coules Josh Eflin Stephen Dagrosa Christopher Hodson Christopher Hoster Steven Humes Michael Jones A. Edward Maddison Fernando Mancillas Cortlandt Matthews Nathaniel McEwen Toffer Mihalka Siddhartha Misra Alex Moreno Christopher Paul Sierra George Ross Somerville Hayden Smith Daniel Taylor Tyler Tejada Kevin Vondrak Cory O’Niell Walker Steven Williamson
BASS Gregory Cantwell Jeff Chapman Lucas DeJesus Michael Eberhard Matthew Fisher Matthew Adam Fleisher Kreg Godfrey James Osby Gwathney, Jr. Mark Hightower Chris Hodges Mark Hosseini Steven E. Hyder Matthew Maisano Mark Malachesky Brenton Mattox-Scott John Meyer John David Miles Frank Mitchell Cody Müller Robert Phillips Josef Samargia Peter Schertz Anthony Sharp Tim Stopper D’quan Isaiah Tyson Jackson Williams
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ARTISTIC & PRODUCTION STAFF Assistant Chorus Master...................................................................Robert Whalen Principal Pianist...............................................................................Grant Loehnig Assistant Librarian............................................................................Nathan Lofton Supertitles Author..........................................................Chadwick Creative Arts, LLC Supertitles Operator.............................................................................Tony Solitro Technical Director.......................................................................Stephen Dickerson Head Props..........................................................................................Paul Lodes Head Electrician............................................................................Ali Blair Barwick Flyman...............................................................................................Steve Wolff Opera Philadelphia thanks the following labor organizations whose members, artists, craftsmen, and craftswomen greatly contribute to our performances: American Federation of Musicians / Local 77 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
FACILITIES A Commitment to Safety: The safety and comfort of visitors, artists, volunteers, and staff at the Kimmel Center, Academy of Music, and Merriam Theater are of paramount importance. In the event of an emergency, audience members will be advised of appropriate procedures by ushers and security staff. At this time, please take note of the exit nearest you. A red, illuminated EXIT sign should be visible, with an arrow indicating the direction of the exit door. Should an emergency arise, you will be directed to leave the auditorium and further instructions will be provided as to the safest and quickest way to exit the building. Patrons who need special assistance should contact an usher. Smoking is prohibited on the Kimmel Center campus. Accessibility: The Academy of Music is wheelchair accessible from the east lobby entrance on Broad Street. Seating is available on the Parquet and Balcony levels, with accessible restrooms located on the Canteen level. Assistive listening devices are available for loan. A limited number of ADA-compliant parking spaces are available in the Kimmel Center garage. Coat Check & Restrooms: A complimentary coat check is located on the ground floor of the Academy of Music. Restrooms are located on all levels of the Academy of Music. Food and Beverage: Concessions by Chef Jose Garces and Garces Group are available to Academy of Music and Merriam patrons at satellite bars located in the lobbies and upper levels. Water fountains are located on all levels of the Academy of Music.
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O P E R A P H I L A . O R G / V I VA C E
Opera Philadelphia ADMINISTRATION LEADERSHIP David B. Devan, General Director & President Corrado Rovaris, Jack Mulroney Music Director Michael Bolton, Vice President of Community Initiatives David Levy, Vice President of Artistic Operations Frank Luzi, Vice President of Marketing & Communications Jeremiah Marks, Chief Financial Officer Rachel McCausland, Vice President of Development Ken Smith, Chief of Staff Lawrence Brownlee, Artistic Advisor Mikael Eliasen, Artistic Advisor MUSIC Michael Eberhard, Artistic Administrator Sarah Williams, New Works Administrator Elizabeth Braden, Chorus Master & Music Administrator J. Robert Loy, Director of Orchestra Personnel Grant Loehnig, Head of Music Staff Robert Whalen, Assistant Chorus Master Nathan Lofton, Assistant Orchestra Personnel Manager & Librarian PRODUCTION John Toia, Director of Production Drew Billiau, Director of Design & Technology Stephen Dickerson, Technical Director Millie Hiibel, Costume Director Meggie Scache Eltz, Production Manager Lisa Anderson, Production Stage Manager Katie Holloway, Assistant Costume Director Bridget A. Cook, Artistic Operations Coordinator COMMUNITY INITIATIVES Veronica Chapman-Smith, Manager of Out of School Time Initiatives
MARKETING, COMMUNICATIONS & GUEST SERVICES Michael Knight, Director of Guest Services Karina Kacala, Director of Advertising & Promotions Shannon Eblen, Communications Manager Steven Humes, Manager of Audience Development Katie Kelley, Design Manager Ali Haegele, Graphic Designer Siddhartha Misra, Lead Guest Services Associate Catherine Perez, VIP Services Coordinator Marissa Chalker, Hannah Moloshok, Guest Services Associates Karma Agency, Brand Communications Partner 21C Media Group, National Media Representatives DEVELOPMENT Rebecca Ackerman, Director of Individual Giving & Advancement Services Derren Mangum, Director of Institutional Giving Adele Mustardo, Director of Events Eva James Toia, Director of Major Gifts Aisha Wiley, Director of Research Rachel Mancini, Leadership Giving Administrator Vanyah Harrigan, Manager of Institutional Giving EboniJoi McNeill, Development Services Coordinator FINANCE Brian Ramos, Controller Bethany Sellers, Director of HR & Operations COUNSEL Ballard Spahr, LLP, General Counsel 37
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PUCCINI
MA DA ME BU TTERF LY April 24–May 3, 2020 | Academy of Music The famous tragedy of the young geisha singer” (Gramophone) makes her Cio-Cio San and the American naval company and role debut as Cio-Cio San, officer who pursues, then betrays, her and Bryan Hymel (2012’s La bohème) is given a fresh perspective for today’s returns to Opera Philadelphia in the role audiences. Discover the musical of Lt. Pinkerton. masterpiece from Cio-Cio San’s point of view as she transforms from an object “Outstanding” tenor (Opera Magazine) of lust to a fully realized woman, wife, Julius Ahn, last seen at Opera and mother. Grounded in the original Philadelphia in Turandot, portrays Goro. historical setting of the mid-19th Both making company debuts, baritone century, Puccini’s achingly beautiful Anthony Clark Evans, a Grand Finals score, conducted by Jack Mulroney Music Winner at the Metropolitan Opera Director Corrado Rovaris, now soars National Council Auditions, sings above a modern-day commentary on Sharpless, and mezzo Kristen Choi power dynamics and western exploitation. reprises her “warm and lovely Suzuki” (Washington Post). Wei Wu, a top prizeTed Huffman (Denis & Katya) directs winner in the Taiwan Vocal Competition, the production described by Opera News portrays Bonze, and “promising lyric as “a treasure that will provide fond baritone” Takaoki Onishi (Opera News) memories for a long time.” Soprano Eri takes on the role of Prince Yamadori. Nakamura, “a wonderfully characterful
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