La traviata | Program

OCTOBER 2, 4M, 7, 9, 11M, 2015 ACADEMY OF MUSIC PA R T O F T H E K I M M E L C E N T E R F O R T H E P E R F O R M I N G A R T S 1

ACADEMY OF VOCAL ARTS

EXPERIENCE DISCOVERY

THE

2015-2016 SEASON

MOZART

DON GIOVANNI V OI C E S OF T OD AY

That sang Don Giovanni at AVA 2000 Burak Bilgili Othalie Graham Latonia Moore 2005 Ellie Dehn Bryan Hymel Michael Fabiano 2011 Michelle Johnson Taylor Stayton Chrystal E. Williams Nicholas Masters 2015

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CENTER CITY NOV 7-12 | LEHIGH VALLEY NOV 14 MAIN LINE NOV 17-19 | BUCKS COUNTY NOV 21 2

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CONTENTS

PROGRAM INFORMATION

OPERA PHILADELPHIA GENERAL INFORMATION

8

4 Letter from the Chairman 5 Board of Directors 6 Welcome from the General

La traviata

12 Synopsis & Running Time 14 Director's Q&A 19 Artist Bios 23 Orchestra & Chorus 38 Up Next: Cold Mountain 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

25 Leadership Support & Major Gifts

27 Annual Giving 32 Corporate Council 37 Administration For information about advertising in Showcase, contact Joe Ciresi at 215-790-5884.

Photo: Violetta (Aurelia Florian) entertains her party guests in a stunning blue ball gown. In Philadelphia, soprano Lisette Oropesa makes her role debut as Violetta. Photos from Bucharest National Opera House 3

FROM THE

CHAIRMAN Dear Friends, On behalf of the entire Board of Directors, I would like to welcome you to the start of Opera Philadelphia’s 2015-2016 Season at the Academy of Music.

Our season actually began two weeks ago with the World Premiere of the cabaretopera hybrid ANDY: A Popera, staged in a warehouse as part of the annual Fringe Festival. Tonight’s lavish new production of Verdi’s masterpiece La traviata in America’s oldest opera house is on quite a different scale, and it’s that interaction between the new and classic, between venues built for opera and venues converted to present the art form, that I love about Opera Philadelphia. For ANDY, we donned our Warhol-designed Converse and sipped punch; the Opening Night Gala for La traviata is a night for tuxedoes and ball gowns in a tented ballroom on Broad Street.

The ambitious artistic vision of Opera Philadelphia was spotlighted in a recent article in The Daily Beast, which stated, “The loss of New York City Opera has led Opera Philadelphia to boldly step into the space where an opera company producing new and challenging works should be.”

We have boldly stepped into that space thanks to the inspired leadership of our Board of Directors, our dedicated management team and staff, the many talented artists performing on our varied stages, our opera-loving community, and a family of devoted philanthropic supporters. Your patronage is what has enabled us to imagine a future for opera that is vibrant and relevant. That future has arrived, and we cannot thank you enough.

Thank you for joining us tonight for La traviata. I look forward to seeing you often throughout the 2015-2016 Season.

Sincerely,

DANIEL K. MEYER, M.D. CHAIRMAN 4

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

Joel M. Koppelman

Jonathan H. Sprogell

Sandra Baldino

Beverly Lange, M.D.

James B. Straw

F. Joshua Barnett, M.D., J.D.

Ellen Berman Lee

Alice Strine, Esq.

Willo Carey

Gabriele Lee

Kenneth R. Swimm

Nicholas Chimicles, Esq.

Peter Leone

Maria Trafton

Ady L. Djerassi, M.D.

Thomas Mahoney

Charlotte Watts

Charles C. Freyer, Esq.

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

List as of August 2015 *Ex officio 5

WELCOME Dear Friends, Welcome to the devastatingly romantic La traviata.

Featuring Verdi’s most timeless and lyrical score, La traviata has continued to captivate audiences for more than 150 years. Conducted by Jack Mulroney Music Director Corrado Rovaris, whose “ownership of Verdi rivals any of the late greats” (Opera News), tonight’s performance is sure to make you want to raise a glass along with the cast during the famous “Brindisi” and make you want to cry over Violetta and Alfredo’s tragic love.

Director Paul Curran and set and costume designer Gary McCann have created a stunning new production which debuted at this time last year at the Bucharest National Opera House. They’ve set the action in the late 1950s, in a glamorous, goldgilded world in which Violetta’s past clashes with the mores of Parisian high society.

I am delighted that two outstanding singers will make their company and role debuts in La traviata. Soprano Lisette Oropesa is singing her first Violetta alongside tenor Alek Shrader singing his first Alfredo. The Opera Philadelphia stage has a history as a welcoming environment for important role debuts in the careers of great singers, and tonight you’ll witness these two talented young stars alongside baritone Stephen Powell, who is one of the great Germonts of our day.

Thank you for joining us for the launch of a big season at the Academy of Music.

D AV I D B . D E VA N GENERAL DIRECTOR & PRESIDENT @ddevan

For more of David’s thoughts, read his blog at devantagepoint.tumblr.com

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ANTIGONE

BY Sophocles

TRANSLATED BY Marianne McDonald

DIRECTED BY Theodoros Terzopoulos

October 7 - November 8, 2015

“Feted the world over, [Terzopoulos] has created a theatre that seems very much his own.”

– The Guardian

TICKETS

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General Public

StudentS and theater ProfeSSionalS

Jennifer Kidwell aS antiGone Photo by

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W I L M AT H E AT E R . O R G (2 1 5) 546-7824

OPERA PHILADELPHIA La traviata Production from Bucharest National Opera House Music

Giuseppe Verdi

Libretto Francesco Maria Piave

Conductor

Director

Set & Costume Design

Lighting Design

Chorus Master

Wig & Make-up Design

Stage Manager

Corrado Rovaris Paul Curran* Gary McCann* Paul Hackenmueller Elizabeth Braden David Zimmerman Becki Smith

*Opera Philadelphia debut

La traviata is underwritten in part by Mrs. Sandra K. Baldino A Ciao Philadelphia Featured Event 8

OPERADELAWARE •IS A REVELATION•

“The Wilmington Grand Opera House is a smaller version of Philadelphia’s Academy of Music...Its intimacy allows everyone to see the singers’ facial expressions...it’s a pity that few Philadelphians seem to have discovered it.” -Steve Cohen, Broad Street Review FRANCO FACCIO

HAMLET

Faccio’s major w ‘Amleto’ is a o being p rk... worthy of lac Verdi a ed between nd Ver ismo.

–Enric

EAST COAS PREMIE T RE

Maestro Anthony Barrese leads the OperaDelaware Orchestra and Chorus with a stellar cast including Joshua Kohl, Sarah Asmar, Tim Mix, Lara Tillotson and Ben Wager Directed by E. Loren Meeker.

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Maestro Giovanni Reggioli, leads a thrilling cast including Steven Condy, Grant Youngblood, Victoria Cannizzo, Sharin Apostolou and Ryan MacPherson. Directed by Dean Anthony.

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La traviata

CAST

THE

VIOLETTA VALÉRY Lisette Oropesa*

FLORA BERVOIX Katherine Pracht

ALFREDO GERMONT Alek Shrader*

DOCTOR GRENVILLE Andrew Bogard

GIORGIO GERMONT Stephen Powell

ANNINA Rachel Sterrenberg

BARON DOUPHOL Daniel Mobbs

GIUSEPPE Daniel Taylor

GASTONE Roy Hage

MESSENGER Garrett Obrycki

MARCHESE D’OBIGNY Jarrett Ott

FLORA’S SERVANT Daniel Schwartz

*Opera Philadelphia debut

c o N N ect Wit h us follow @operaphila and join the conversation #traviataphilly facebook.com/operaphila

10

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SYNOPSIS Approximate running time for La traviata is 2 hours and 53 minutes, including two 20-minute intermissions The plot takes place in Paris and in its surroundings, in the late 1950's. The action of the first act takes place in August; the second in January; and the third in February.

ACT I Violetta ValÊry, a young courtesan, famous in the Parisian high society, throws a party in her home. Here, Gaston, Viscount of Letorières, introduces a new admirer to her, Alfredo Germont. He confesses that the moment he saw her, he was fascinated by her beauty and intelligence, though he has never had the courage to tell her. He toasts in her honor before the whole crowd.

Suddenly, she almost faints and everyone jumps in to help, but she asks them to go away. However, Alfredo remains and sincerely declares his love for her. At first she treats him with indifference, trying to reject him, but then realizes that she has never known true love and wonders whether this provincial, honest young man will be able to convince her to love him.

He whispers words of love, warning her that her adventurous life will ruin her health.

Violetta knows this, because she is suffering from tuberculosis, but she does not accept the truth and prefers to continue living in luxury and endless parties.

To have the chance to talk to him again, she gives him a flower telling him to return it when it has faded, in hope that they will meet soon.

INTERMISSION

ACT II Violetta and Alfredo have been together for three months and have withdrawn to a country house to escape their previous life. Alfredo discovers, however, that Violetta is selling all her belongings to secure their livelihood. Upset that he had not thought of this aspect of their relationship, he decides to go to Paris to raise money.

Meanwhile, Violetta receives an invitation to a ball organized by her friend Flora. But she has abandoned that lifestyle, gave up all parties for Alfredo's sake, and no longer wishes to assume the role of a courtesan. While Alfredo is away, his father, Giorgio Germont, arrives at the house. Alfredo had hoped that Violetta's promise to give up her life as a courtesan would persuade Germont to bless their relationship. Even though he discovers that Violetta is a kind and selfless woman, Germont asks her the impossible: to break up with his son. At first, Violetta refuses, but then she finds out that Alfredo has a sister who is getting married and her fiancĂŠ would never accept to form an alliance with a family in disgrace. Violetta understands that her status as a courtesan and her relationship with Alfredo could compromise the young girl's future. Grieved, she decides to give up Alfredo and asks Germont to promise her that after she dies, he will explain to his son the reason why she leaves him now.

Alfredo returns and receives a letter of separation from Violetta. Then, Germont reappears to speak privately with his son. He pleads with him to return home. Unmoved by his father's request, Alfredo sees Flora's invitation to the ball and angrily decides to go there to ask her for some explanations.

PAUSE 12

At Flora's ball, people are talking about Violetta's break up with Alfredo. Violetta arrives accompanied by Baron Douphol.

Blinded by jealousy, Alfredo appears.

Thinking that the Baron is Violetta's new lover, Alfredo challenges him to play and rebukes him repeatedly. Alfredo is followed by his father, who tries to temper him. Extremely troubled by the encounter with Alfredo, Violetta asks to speak to him privately.

When everyone else retires, Alfredo secretly asks Violetta to run away with him. She refuses, hiding the promise she had made to his father. She lies to him that her new lover is Baron Douphol.

In anger, Alfredo publicly humiliates Violetta, throwing money at her feet and saying he has repaid her. Giorgio Germont, who witnessed the scene, along with everyone else, violently rebukes him and the Baron challenges him to a duel. INTERMISSION

ACT III Violetta, having spent all of her money, lives her last moments in a modest Paris apartment. The only ones who stay by her side are Annina and Dr. Grenvil, who tells Annina that Violetta has merely a few hours to live. The carnival is underway in the streets of Paris and the cheers of the masqueraders can be heard. Violetta sends Annina to give the last bit of money she has to the poor, so that she may be alone to read a letter from Giorgio Germont.

Full of remorse, he confesses that he had written to his son about her sacrifice and that they will soon come to visit her. Their return occurs too late, because Violetta is going through the final stages of her illness. Alfredo confesses once more his love for Violetta, who dies comforted by the thought that she has received the forgiveness of the man she loved.

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Q&A WITH DIRECTOR PAUL CURRAN Q: You have directed some of opera’s greatest works – La bohème, Tosca, Il trovatore – all over the world, but until 2014 you hadn’t yet tackled La traviata. What took so long?

A: Nobody asked me!! A choice of piece is seldom up to the director. We need to be asked by a company to do it. This is one of my favorite pieces so, 23 years later, it was a thrill to finally work on it.

Q: They say this opera is so popular that at any minute, in some city, there is a company performing it. Is that intimidating?

A: Not at all. If I felt like that I’d never walk into a rehearsal room. All pieces are created for interpretation. Even paintings are there for interpretation… a Matisse will look very different in different states of light or day. I always approach something I’ve agreed to do with great respect (if I don’t “get it” or respect the piece I generally leave it alone). What we then extract from it by means of interpretation is what creates the actual production. To just “reproduce” as it was done before would be pointless for me.

Q: Why do you think it is so popular? Why do we, an opera-loving public, keep returning to this story and this music?

A: I think it is primarily the music. The melodies, musicality, drama, and drive are all quite intoxicating. The story of Violetta and her predicament in being forced to leave Alfredo (oops, spoiler alert!) is also a universal theme many audiences can relate to in some way or another. From another view it’s really just a fantastically good story!

Q: Where is the production set? And when?

A: In the late 1950s in Paris.

Q: How and why did you decide to set this opera in the 1950s?

A: This piece has a troubled past. The original production (1853) was supposed to be set in early 18th century to keep the censors happy. As with much of Hollywood today, there was pressure not to be TOO explicit in showing up society. Though the original production updated the clothes to those of the modern day it caused booing and great dissent at the premiere. In essence the story is a sex scandal. So, for me the way to view this story was how does an audience of today look at a “sex scandal” and make it relevant or even dangerous today. The last real era close enough to our own when that “mattered” was the end of the conservative 1950s. Think of the Ingrid Bergman/Rossellini scandal or Liz Taylor and Eddie Fisher. Does anybody today honestly care what Miley Cyrus does with her “act?”

Q: How does this updated setting impact how you present the characters? Is Violetta still a courtesan?

A: Violetta is very much still a courtesan − a posh word for a high class prostitute. She is not accepted by society at large, just by the men. Doesn’t that tell you a lot about those men and their hypocrisy? All of the women in the piece, by the way, are not bourgeoise society ladies. They are also prostitutes. No “lady of society” would ever accept such a professional as Violetta in the 19th century… nor in the 1950s. Today the lines are perhaps more blurred due to media and internet.

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Q: Is Germont presented as the villain of the piece?

A: Germont as the villain? Is he? Really? I don’t think so. I don’t think him particularly brave or chivalrous but he really IS just a product of his class and society. He will protect his family reputation at all costs. Would not an Upper East Side New York family do the same today?

Or particularly in the late 1950s?

Q: Are there any moments in the opera in which the 1950s has a major impact on the storyline?

A: Only in that the parallel with the 1850s is quite startling. Hypocrisy rules!

Q: Does anything happen in this Traviata that wouldn’t or couldn’t in the 1850s?

A: Oddly no! While women of the 1950s were a good deal more emancipated than the servitude of the 1850s, just look at contemporary advertising of the era and see that they were far from the equals of men.

Q: What can you tell us about Gary McCann’s set and costume designs?

A: The visual production is both a homage to the 18th and 19th centuries as well as the glamour of the 1950s. The set is made up of beautiful panels of carved wood with a huge sweeping staircase to represent the excessive luxury of Violetta’s lifestyle. As the show progresses the last space becomes deliberately small and bare as she has now had to sell off all of her possessions to keep both Alfredo and herself alive. The real Violetta, Marie DuPlessis, died at age 23 as bailiffs were banging at her door. A woman of the 1850s did not have the right to own property of any kind… so her only insurance was in the accumulation of jewels, paintings, expensive china, etc. Inevitably, she ends up penniless and we reflect that in the bleakness of the final set Q: What are you most looking forward to in this second staging of Traviata?

A: Honestly, working again with Alek Shrader and meeting Lisette Oropesa and Stephen Powell. I did Albert Herring with Alek twice and he is a brilliant comedian. This will be a different challenge and, as he is one of the best young tenors in the world today, I know he will approach it full on. I have watched and admired Lisette for many years and cannot wait to see her approach to this lady. She is an intelligent and passionate artist so it will be a great meeting of minds, I hope. To revisit this challenging piece with such a vital and young cast is really a gift. s n ts om o en o e m l r n b t Su aila par Av t A c le Se

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ADDITIONAL CAST ARTISTIC Assistant Director.................................................... Stephanie Havey

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

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

Flyman...............................................................................Mike Ruffo

Chorus Pianist............................................................Ting Ting Wong

Assistant Electrician.......................................................Sean Gallen

Supertitle Author........................................... Chadwick Creative Arts

Assistant Stage Managers.......................... Gregory Boyle, Jen Shaw

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

Wardrobe Supervisor......................................................Elisa Murphy

Music Staff Assistant...........................................Timothy McDonnell

Costume Shop Assistant.................................................Katie Foster Cutter/Tailors..........Althea “Nell� Unrath, Kara Morasco, Anna Light

PRODUCTION/TECHNICAL

First Hands...........Derwin Cooper, Joyanne Rampulla, Patrick Milhall

Properties Supervisor.................................................... Shane Dreher

Stitcher..........................................................................Kate Edelson

Assistant Lighting Designer.................................Dante Olivia Smith

Lead Wig & Make-up Artist..........................................Amanda Clark

Technical Director.................................................Stephen Dickerson

Wig & Make-up Assistant.................................................Alison Hora

Master Electrician............................................................Terry Smith

Shopper....................................................................... Kathy Calhoun

DANCERS: Isaac Lindy, Joshua Stansbury, Brendan Tetsuo, Michael Bishop

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JESSICA PRATT

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VIVICA GENAUX TAYLOR STAYTON ANTONY WALKER

ARTISTIC DIRECTOR/CONDUCTOR

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A L L FO R O PER A. O PERA FO R ALL. On Saturday, Oct. 3, thousands will gather in the shadow of

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PHILADELPHIA’S ULTRA-LUXU R Y DEVELOPER 18

ARTISTS ANDREW BOGARD* (Marion, Ohio)

ROY HAGE* (Beirut, Lebanon)

Bass-baritone

Tenor

DOCTOR GRENVILLE

GASTONE

2014 Maestro, Ainadamar

2015 Prison Chaplain, Oscar

2013 First Priest/Second Armored Man, The Magic Flute Recent Activities: Mozart Residency, Festival d'Aix en Provence, Abbott; Burning Fiery Furnace, Ballet Opera Pantomime; Nick Shadow, The Rake's Progress, Curtis Opera Theatre.

ELIZABETH BRADEN (Easton, Pennsylvania)

2014 Second Jew, Salomec Recent Activities: Home Guard/Reid, Cold Mountain, Santa Fe Opera; Zweiter Jude, Salome, Santa Fe Opera; Tom Rakewell, The Rake’s Progress, Curtis Opera Theatre

GARY MCCANN (London, United Kingdom)

CHORUS MASTER

SET & COSTUME DESIGN

2015

Don Carlo

Opera Philadelphia debut

2013

The Grand Duchess of Gerolstein

2006

Margaret Garner (Partial Listing)

Recent Activities: Macbeth, Wiener Staatsoper; Madama Butterfly, Nationale Reisopera; Faramondo, Brisbane Baroque Festival/Gottingen Festival

Recent Activities: ANDY: A Popera, Opera Philadelphia and The Bearded Ladies; Oscar, Opera Philadelphia; Director of Music, Wallingford Presbyterian Church

PAUL CURRAN (Glasgow, Scotland) DIRECTOR Opera Philadelphia debut Recent Activities: La donna del lago, Metropolitan Opera; Tristan und Isolde, Teatro La Fenice Venice; The Tsar’s Bride, Royal Opera House, Covent Garden

PAUL HACKENMUELLER (New York, New York) LIGHTING DESIGN

Your Happily Ever After.

Opera Philadelphia debut Recent Activities: Becoming Santa, The Dallas Opera; The Wizard of Oz, Children’s Theatre Company; Werther, Boston Lyric Opera

*Opera Philadelphia Emerging Artist 19

ARTISTS DANIEL MOBBS (Philadelphia, Pennsylvania) Bass-baritone BARON DOUPHOL 2012 Geronte, Manon Lescaut 2011 Angelotti, Tosca 2010 Capulet, Romeo and Juliet Recent Activities: Kromow, The Merry Widow, Metropolitan Opera; Baldassare, La Favorite, Caramoor Festival; Baron Douphol, La traviata, LA Opera

STEPHEN POWELL (West Chester, Pennsylvania) Baritone GIORGIO GERMONT 2004

Valentine, Faust

Recent Activities: Sharpless, Madama Butterfly, Minnesota Orchestra; Alphonse XI, La Favorite, Caramoor Festival; Count di Luna, Il Trovatore, Cincinnati Opera

JARRETT OTT* (Pen Argyl, Pennsylvania) Baritone MARCHESE D’OBIGNY 2015 Prison Patient #1, Oscar Recent Activities: Marullo, Rigoletto, The Santa Fe Opera; Guglielmo, Così fan tutte, Annapolis Opera; Roderick/ Sam, The Long Christmas Dinner, American Symphony Orchestra

CORRADO ROVARIS (Bergamo,, Italy) CONDUCTOR 2015

Charlie Parker’s YARDBIRD

2006

Cinderella

1999

he Marriage of Figaro T (Partial Listing)

Recent Activities: Beethoven’s Symphony No. 5 / Schoenberg’s Verklärte Nacht, Artosphere Festival; La traviata, Opera de Lausanne; Nielsen’s Symphony No. 4 / Pizzetti’s Cello Concerto, Orchestra Sinfonica Nazionale della RAI

KATHERINE PRACHT (Philadelphia, Pennsylvania) Mezzo-soprano FLORA BERVOIX 2015

han Parker (cover), C Charlie Parker’s YARDBIRD

2013

hird Lady, The T Magic Flute

Recent Activities: Sharon Falconer, Elmer Gantry, Florentine Opera; Der Trommler, Der Kaiser von Atlantis, Colorado Symphony; Third Lady, The Magic Flute, Opera Philadelphia

$45.00 3-Course Menu BYOB - No Corkage

LISETTE OROPESA (Baton Rouge, Lousiana) Soprano VIOLETTA VALÉRY Opera Philadelphia debut Recent Activities: Susanna, Le nozze di Figaro, San Francisco Opera; Konstanze, Die Entführung aus dem Serail, Bayerische Staatsoper and Opera National de Paris; Marie, Daughter of the Regiment, Pittsburgh Opera 20

Live Piano Nightly

ARTISTS ALEK SHRADER (Valdosta, Georgia)

DAVID ZIMMERMAN (Mt. Pleasant, Texas)

Tenor

WIG & MAKE-UP DESIGN

ALFREDO GERMONT Opera Philadelphia debut Recent Activities: Tonio, Daughter of the Regiment, Santa Fe Opera; Title role, Candide, Vancouver Symphony; Count Almaviva, The Barber of Seville, Canadian Opera Company

2015

Charlie Parker’s YARDBIRD

2015

Don Carlo

2013

The Magic Flute (Partial Listing)

Recent Activities: Cold Mountain, The Santa Fe Opera; Great Scott, The Dallas Opera; Faust with Macau International Music Festival, Chicago Lyric Opera

RACHEL STERRENBERG* (Madison, Georgia) Soprano ANNINA 2015

han Parker, C Charlie Parker’s YARDBIRD

Recent Activities: Anne Trulove, The Rake’s Progress, Curtis Opera Theatre; Soprano soloist, Curtis Symphony Orchestra; Juliette, Roméo et Juliette (excerpts in concert), New Jersey Symphony Orchestra

A benefit concert for Chester Charter School for the Arts (CCSA) “She is almost too good to be true…a vital artist, a beautiful woman, a regal presence.”

— The Washington Post

Renowned Mezzo Soprano

Photo: Devon Cass

DENYCE GRAVES

performs a program of classical, jazz, and opera standards

Christ Church Philadelphia |

December 1, 2015

20 N. American Street, Philadelphia (2nd Street Above Market)

| 7:30 pm

The region’s first K–12 arts-integrated public school, Chester Charter School for the Arts (CCSA) was founded on the principle that arts education is vital to each child’s learning and development.

INFO/TICKETS: chestercharterschoolforthearts.org/concert or 610.859.2988 Friends $75 • Partners $150

Partners receive reserved seating and are invited to a reception with Ms. Graves following the performance 21

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MAY 4, 7, 8

OPERA PHILADELPHIA ORCHESTRA CORRADO ROVARIS, JACK MULRONEY MUSIC DIRECTOR VIOLIN I Dayna Anderson, Concertmaster Igor Szwec, Assistant Concertmaster Meichen Liao-Barnes Charles Parker Diane Barnett Yan C. Simmons Donna Grantham Elizabeth Kaderabek Erica Miller Luigi Mazzocchi Alexandra Cutler-Fetkewicz VIOLIN II Emma Kummrow, Principal Sarah Dubois Karen Banos Heather Zimmerman Paul Reiser Lisa Vaupel Yu-Hui Tamae Lee Jennifer Lee Gared Crawford VIOLA Zoe Martin-Doike, Principal Carol Briselli, Assistant Principal Julia DiGaetani Ellen Trainer Elizabeth Jaffe Ruth Frazier Kathleen Foster

CELLO Priscilla Lee, Principal Vivian Barton-Dozor, Assistant Principal Brooke Beazley Dane Anderson Jennifer Lorenzo David Moulton BASS Miles B. Davis, Principal Anne Peterson James Freeman Stephen Groat FLUTE Adeline Tomasone, Principal Eileen Grycky OBOE Evan Ocheret, Principal Dorothy Freeman CLARINET Joseph A. Smith, Principal Allison Herz BASSOON Jon Gaarder, Principal Darryl Hartshorne FRENCH HORN John David Smith, Principal Angela Bilger Karen Schubert Ryan Stewart TRUMPET Brian D. Kuszyk, Principal Frank Ferraro

TROMBONE Brad Ward, Principal Edward Cascarella Philip McClelland CIMBASSO Paul Erion, Principal TIMPANI Martha Hitchins, Principal PERCUSSION Ralph Sorrentino, Principal Susan Jones BANDA FLUTE Tom Meany Kimberly Trolier Eve Friedman CLARINET Doris Hall-Gulati Joshua Kovach FRENCH HORNS Lisa Dunham Adam Lesnick TRUMPET Steven Heitzer Thomas Cook TROMBONE Matthew Gould Jarrod Antonacci Jonathan Schubert HARP Sophie Bruno PERCUSSION Christopher Hanning

OPERA PHILADELPHIA CHORUS SOPRANO Jessica Beebe Kelly Ann Bixby Veronica Chapman-Smith Ruth Ann Cunningham Julie-Ann Green Rebecca Myers Hoke Jessica Mary Murphy Aimee Pilgermayer Amy Spencer Lisa Helmel Thomas ALTO Marissa Chalker Joanna Gates Katherine Mallon-Day

Megan McFadden Maren Montalbano Ellen Grace Peters Paula Rivera-Dantagnan Kristen Seikaly Karina Sweeney Teresa Washam TENOR Sang B. Cho A. Edward Maddison Fernando Mancillas Toffer Mihalka DonLeroy Morales George Ross Somerville Daniel Taylor

Paul L. Vetrano Cory O’Niell Walker BASS Christopher Hodges Mark Malachesky John David Miles Frank Mitchell Garrett Obrycki Lourin Plant Robert Phillips Daniel Schwartz Andrew Skitko Tim Stopper 23

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 Erin Sammis, Director of Development, at 215.893.5904 24

or sammis@operaphila.org.

B E PA R T O F

O P E R A P H I L A D E L P H I A’ S N E W C O M M U N I T Y FOR YOUNG PROFESSIONALS

VIVACE is a new community for young professionals (ages 21–45) that offers access to a curated suite of exclusive events. See the shows, meet the casts, and mingle with likeminded peers at VIVACE Nights Photo by Michael Branscom

throughout the season.

ALL-INCLUSIVE EXPERIENCES S TA R T AT J U S T $ 5 0 .

TO JOIN OR DISCOVER MORE:

facebook.com/operaphila @operaphila operaphila

# V I VA C E

Go to

O P E R A P H I L A . O R G / V I VA C E OR

Email

V I VA C E @ O P E R A P H I L A . O R G

TH E

GENERAL DIRECTOR’S COUNCIL MEMBERS

of the General Director’s Council play a pivotal role in the

future of Opera Philadelphia through their generous annual support, collectively underwriting principal artists, and individually sponsoring Emerging Artists.

Members enjoy insider access to artistic planning and company initiatives through Strategy Sessions as well as intimate gatherings with Opera Philadelphia’s stars and leadership at private dinners, cast parties, and exclusive events. Council membership begins with annual gifts of $10,000 and can be made in convenient monthly or quarterly installments or with gifts of stock. Become an essential member of Opera Philadelphia’s donor family by joining the Council today!

Clockwise from left: General Director & President David B. Devan with General Director’s Council members Sandy and Steve Sheller at the Friends Vocal Recital and Appreciation Reception. Photo by J.R. Blackwell. General Director’s Council members Allen R. and Judith Brick Freedman with Emerging Artist Will Liverman whom they underwrote for the 2014-2015 Season. Photo by Elisa Gabor. General Director’s Council and Encore Society members Don and Dianne Cooney with baritone Jared Bybee at the Season Soirée. General Director’s Council members Robert V. Taglieri and Timothy Moir with Patrons Nancy and James Abbott at the 40th Anniversary Gala. Photo by Michael Branscom.

For more information, visit operaphila.org/gdcouncil or contact Jennifer Dubin, Associate Director, Individual Giving & Patron Services, 30

at 215.893.5908 or dubin@operaphila.org.

When you’re resting in a spacious suite, it’s easy to forget you’re in a world-class hospital.

Experience the Barbara Brodsky Suites With the finest in personal amenities, the Barbara Brodsky Suites provide an inviting space designed for your well-being and privacy.

Our suites feature stylish living and dining areas and personalized concierge services. A perfect complement to the exceptional care at Lankenau Medical Center, one of the Philadelphia region’s most trusted and honored hospitals.

See a full tour of the Barbara Brodsky Suites online mainlinehealth.org/brodsky

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.

2015–2016 SEASON SPONSORS

Official Hotel

Season Media Partners

Official Automotive Dealership

Artist Accommodations Sponsor

Official Sponsor of Opera Philadelphia’s Patron Program

Brand Communications Partner

Intermission Reception Sponsor

C O R P O R AT E C O U N C I L M E M B E R S Center City Film and Video

Bank of America Ballard Spahr LLP

PNC

BNY Mellon Wealth Management Kalnin Graphics

Universal Health Services

Menchey Music Morgan Stanley PECO

Evantine Design

LinguiSearch

Moonstruck Restaurant

Exelon Business Services

MAC Cosmetics

Termini Bros. Bakery

For more information about sponsorship opportunities, or to join Opera Philadelphia’s Corporate Council, please contact Rachel McCausland, Major Gifts Officer, at 215.893.5909 or mccausland@operaphila.org.

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TO M O R ROW ’ S S U P E R S TA R S O N T O D AY ’ S S T A G E Opera Philadelphia’s Emerging Artists Program returns for a second season For Opera Philadelphia’s 40th Anniversary Season, the role of Chan Parker in Charlie Parker’s YARDBIRD was “arrestingly sung in a rich, iridescent soprano by Rachel Sterrenberg” (The Financial Times), while the “cultivated baritone” Jarrett Ott was “outstanding” (Opera News) as a Prison Patient in Oscar.

Rachel and Jarrett’s acclaimed performances came as part of their first season in Opera Philadelphia’s Emerging Artists Program, which was launched in 2014-2015. The Opera Philadelphia stage has a history as a welcoming environment where rising young talents are nurtured. The program strengthens the company’s dedication to cultivating future stars.

Each of our six emerging singers will engage with Opera Philadelphia onstage, appearing in at least one

production, while also singing in community recitals and special events throughout the 2015-2016 Season.

Rachel (underwritten by Judith Durkin Freyer and Charles C. Freyer) and Jarrett (underwritten by Constance C. Moore) will return for a second season in the Emerging Artists Program, performing roles in both the seasonopening production of Verdi’s La traviata as well as February’s East Coast Premiere of Cold Mountain by Jennifer Higdon and Gene Scheer. They are joined this season by four firsttime members of the program: bassbaritone Andrew Bogard (La traviataunderwritten by Dr. Renée Rollin); tenor Alasdair Kent (Cold Mountain); tenor Roy Hage (La traviata and Cold Mountain); and mezzo-soprano Lauren Eberwein (Cold Mountain).

Pictured below: 2015-2016 Season Emerging Artists: Andrew Bogard, Lauren Eberwein, Roy Hage, Alasdair Kent, Jarrett Ott, and Rachel Sterrenberg.

For information on how you can underwrite an Emerging Artist, please contact Jennifer Dubin, Associate Director, Individual Giving & Patron Services, at 215.893.5908 or dubin@operaphila.org.

THE PAT R O N PROGRA M

Official Sponsor of Opera Philadelphia’s Patron Program

The Patron Program is a vital force behind Opera Philadelphia’s spectacular productions and community programs through their united annual support and enthusiasm for Opera Philadelphia and the art form. Patrons enjoy access to VIP benefits in the opera house including a VIP

FOR MORE I N F O R M AT I O N about the Patron Program, visit operaphila.org/patrons or contact Jennifer Dubin,

coat check and champagne intermission

Associate Director, Individual

receptions, as well as exclusive social events

Giving & Patron Services, at

throughout the season and priority ticketing

215.893.5908 or

services. Join this passionate group of opera

at dubin@operaphila.org.

lovers with a gift of $2,500 today!

Clockwise from top left: Patrons Robin and Bruce Herndon with tenor Lawrence Brownlee at the Meet the Artists event. Photo by Elisa Gabor. Patron John Pcsolar, countertenor David Daniels, Oscar director Kevin Newbury and composer Theodore Morrison, and Patron Alan Sandman at the Director’s Salon event. Emerging Artist Jarrett Ott with Patrons Dick and Margaret Ullman and General Director & President David B. Devan at the Friends Vocal Recital & Appreciation Reception.

Photo by J.R. Blackwell. Patron Program Chair Donna Wechsler and Andrew Wechsler at the 40th Anniversary Gala. Photo by Dominic M. Mercier. Patrons Arlene Olson, Stanley Muravchick, Bernadette and Jeff Bohn at the Meet the Artists event. Photo by Elisa Gabor.

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The Magic Flute, LA Opera. Photos by Robert Millard.

2 016

TR IP

PAT R O N T R AV E L P R O G R A M LOS ANGELES, CALIFORNIA F E B R U A R Y 18 – 2 2 , 2 0 16

Featuring Barrie Kosky’s dazzling state-of-the-art production of Mozart’s The Magic Flute at LA Opera Trip highlights also include: •

Debussy’s Pelléas et Mélisande by the Los Angeles Philharmonic, considered to be “…among the finest achievements of Esa-Pekka Salonen’s principal conductorship” (The Guardian)

•

Piano recital by internationally acclaimed Yundi, the youngest winner XIV Chopin International Piano Competition

•

Private tours of the Norton Simon Museum, Gamble House,

REGISTER BY OCT. 30

Getty Villa, and an architectural tour of the city •

Dinner at Michelin-rated Patina and other unique LA restaurants

•

Four nights in premier rooms at the Omni Los Angeles, California Place Participation in the Patron Travel Program is a benefit of Patron Program membership at the Bronze Level and up ($2,500+).

FOR THE FULL ITINERARY AND BOOKING INFORMATION, visit operaphila.org/travel, or contact Jennifer Dubin at 215.893.5908 or dubin@operaphila.org.

Photo by Phillip Todd

A W E L L R O U N D E D E D U C AT I O N NEVER 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 1989 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 Philadelphiaarea students. 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 the arts in schools.

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.

Dedicated funding for the Sounds of Learning™ program has been generously provided by: THE WILLIAM PENN FOUNDATION

“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.”

WILLIAM A. LOEB

Thanks to a grant from the William Penn Foundation, Sounds of Learning™ has now expanded its programming to offer several

Victory Foundation The McLean Contributionship Louis N. Cassett Foundation

Wells Fargo Hamilton Family Foundation Universal Health Services Eugene Garfield Foundation Ethel Sergeant Clark Smith Memorial Fund The Hirsig Family Fund of the Philadelphia Foundation Morgan Stanley Foundation

LEARN MORE 36

OPERAPHILA.ORG/SOUNDS | 215.893.5925

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 Timothy McDonnell

Music Staff Assistant David Hertzberg Composer in Residence David T. Little 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

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 Ramos Controller Maureen McHale Senior Accountant COUNSEL Ballard Spahr, LLP General Counsel

DEVELOPMENT Erin Sammis Director of Development Adele Mustardo Director of Events Jennifer Dubin Associate Director, Individual Giving & Patron Services Rachel McCausland Major Gifts Officer Derren Mangum Associate Director of Institutional Giving Nathan Schultz Grants Manager Christina Polet Advancement Research Manager

37

UP N E XT AT

Photo by Ken Howard, The Santa Fe Opera, 2015

C O L D M O U N TA I N

FEBRUARY 5–14, 2016 | ACADEMY OF MUSIC PA R T O F T H E K I M M E L C E N T E R F O R T H E P E R F O R M I N G A R T S

The critically-acclaimed Cold Mountain, the first opera written by Pulitzer Prizewinning Philadelphia composer Jennifer Higdon, makes its highly-anticipated East Coast Premiere at the Academy of Music in February. The opera is based on the National Book Award-winning novel by Charles Frazier, and features a libretto by Gene Scheer (Moby-Dick; An American Tragedy).

This co-commission and co-production with The Santa Fe Opera and Minnesota Opera, in collaboration with North Carolina Opera, is a compelling story of love, honor and determination.

Grammy winner Nathan Gunn, one of the most exciting and in-demand baritones of the day, stars as Civil War deserter W.P. Inman, “the soul of perseverance and integrity” (San Francisco Classical Voice). Wounded and sick of war, when he’s due to be sent back to the front he starts walking home to his fiancée Ada Monroe (mezzo-soprano Isabel Leonard) in the hills of North Carolina. “Their duets under the stars of Orion define and fulfill an improbable romance,” says the Santa Fe Reporter. Tenor Jay Hunter Morris creates the role of the villainous Teague, the leader of the Confederate Home Guard. “It’s hard to imagine a better cast,” raves the Fort Worth Star-Telegram.

“Fur ther proof that we are living in a Golden Age of American opera” T HE WA S HIN G TON P OS T

“Cold Mountain is an astonishing triumph” F ORT W ORT H S TA R -T E LE G R A M

“Isabel Leonard was a beautiful, believable Ada, the richness of her mezzo evoking Ada’s reser ve and desire” T HE WALL S T R E E T J OUR N A L

“Nathan Gunn’s large, warm, resonant voice endeared him to listeners from the ver y beginning of the opera” OP E R A TOD AY

“Jay Hunter Morris made Teague a gleeful sadist, exulting in his exercise of power” T HE WALL S T R E E T J OUR N A L

“A special piece of American ar t that examines both our for titude and failures” T HE D E N VE R P OS T

“Music that is timelessly American, with a modern sensibility” S T. L OUIS P OS T-D IS PAT C H

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