Golijov

AinAdAmAr Fountain oF tears

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8 Ainadamar

12 Synopsis and Running Time 14 Program Notes 18 Composer 19 Librettist 20 Artists

24 Compañía Antonio Gades

PROGRAM INFORMATION

4 Letter from the Chairman

5 Board of Directors

6 Welcome from the General Director 27 Leadership Support and Major Gifts

29 Annual Fund Support

32 Corporate Council

34 Longtime Subscribers

42 Administration

OPERA PHILADELPHIAGENERAL INFORMATION

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Ainadamar is the site where Federico Garcia Lorca was executed in 1936. Photo: Carlos Choin

CONTENTS

Dear Friends,

Welcome back to the Academy of Music. Tonight, our 39th Season continues with the only U.S. appearance of a new Spanish production of Ainadamar, Osvaldo Golijov’s Grammy Award-winning opera about the controversial life and defiant death of Federico García Lorca. I first encountered Ainadamar in 2005, when Fred Haas and I were the underwriters of Peter Sellars’s production at the Santa Fe Opera. I was struck by Golijov’s melding of his Argentinian and Jewish music roots, the opera’s atmospheric sounds of horses’ hooves and water and wind, and how the political action set during the Spanish Civil War resonated in the 21st century. Three years later, I was again struck by the impact of the opera during its excellent Philadelphia premiere by Curtis Opera Theatre and Opera Philadelphia, in the intimate Perelman Theater at the Kimmel Center. That production touched off the annual Curtis co-production that is now a part of each Opera Philadelphia season, in the Aurora Series for Chamber Opera. “Ainadamar” is an Arabic word meaning “fountain of tears” and is a natural spring located in the hills above the city of Granada, the site where Lorca was killed during the Spanish Civil War. The opera was finally performed in Granada in 2011, the 75th anniversary of Lorca’s assassination, thanks to Corrado Rovaris, the Jack Mulroney Music Director at Opera Philadelphia. Maestro Rovaris was the driving force behind the co-production with the Fundación Ópera de Oviedo, Festival Internacional de Música y Danza de Granada, and Festival Internacional de Música de Santander. He conducted this wonderful cast in each Spanish city over the past three years, sharing Golijov’s opera and his own incredible talents with new audiences. Tonight, we are thrilled to share this experience with you.

Sincerely,

D a n i e l K . M e y e r , M . D .c h a i r M a n

f r o m t h e c h a i r m a n

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Board of dIrECTorS

Benjamin alexander

Sandra Baldino

f. Joshua Barnett, M.d., J.d.

Willo Carey

Nicholas Chimicles, Esq.

Mark Hankin

frederick P. Huff

Caroline Kennedy

Joel M. Koppelman

Beverly Lange, M.d.

Ellen Berman Lee

Gabriele Lee

Peter Leone

Stephen a. Madva, Esq.

Thomas Mahoney

daniel K. Meyer, M.d.

agnes Mulroney

Scott f. richard

Harold rosenbluth

Stephen G. Somkuti, M.d.

Jonathan H. Sprogell

James B. Straw

alice Strine, Esq.

Kenneth r. Swimm

Maria Trafton

Charlotte Watts

donna Wechsler

Honorary Members

dennis alter

alan B. Miller

H.f. (Gerry) Lenfest

daniel K. Meyer, M.d., Chairmandavid B. devan*, President

frederick P. Huff, Vice Chair

Joel M. Koppelman, Vice Chair

alice Strine, Esq., Vice Chair

Scott f. richard, Secretary

Thomas Mahoney, TreasurerStephen a. Madva, Esq., Chairman Emeritus

List as of January, 2014*Ex officio

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Dear Friends,

We have recently been giving a lot of thought to how Opera Philadelphia connects with you, our audience. Some of you have been coming to the opera for nearly two decades. Some of you are here for the very first time, beginning what I hope will be your own lifelong love affair with this beautiful art form and its amazing composers, librettists, singers, conductors, directors, and casts of hundreds of professionals whose backstage talents make onstage magic. At Opera Philadelphia, we strive to be an organization that links highly differentiated artistic experiences to unwavering promises of innovation, connection, and transcendence. Ainadamar is certainly one opera that embodies that organizational philosophy. It is a relative adolescent among its operatic brethren, debuting in 2003 and having been performed about 100 times in various productions (by comparison, it seems Carmen gets 100 stagings every year!). In its relatively short life, Ainadamar has earned tags like “mesmerizing,” “astonishing,” and “extraordinary” from the world’s leading music critics. The opera’s brilliance comes in the way that Golijov, who earned his Ph.D. at the University of Pennsylvania, so effortlessly blends so many musical styles. I had the honor of witnessing this production when the opera was first performed at the Alhambra in Granada, the city where Federico García Lorca was killed. The emotions this opera stirred that night were palpable, as they were in subsequent performances in the cities of Santander and Oviedo. Philadelphia gets an added treat tonight, thanks to the presence of dancers from the internationally renowned Antonio Gades Company. We are thrilled to welcome them to the Academy stage. Thank you for joining us tonight. Whether this is your first night at the opera or your one-hundred-and-first, I hope this music speaks to you. And I hope you’ll be back to see what else is in store for the rest of 2014 and beyond.

D av i D B . D e va nG e n e r a l D i r e c t o r & P r e s i D e n t@ d d e v a n

We lcoMe

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The Emperor of Atlantis OctOber 10–13

L’elisir d’amore NOvember 21–24

Dialogues of the Carmelites march 5, 7, 9

La Cenerentola may 1–4

FrOm ritteNhOuse square tO the WOrld

OPERACurtis Opera theatre

Plus, reserve your tickets for the new recital series, Curtis Presents. This season’s recitals feature:

A Celebration of Ned Rorem’s 90th Birthdaycurtis Opera theatre aNd mikael eliaseN, piaNO

OctOber 23 at 8 p.m.

Ida Kavafian, violin, and friendsFebruary 2 at 3 p.m.

Alan Morrison, organ, and friendsmarch 23 at 3 p.m.

Jeffrey Khaner, fluteapril 5 at 3 p.m.

www.curtis.edu/Curtispresents

www.curtis.edu/ Opera

Explore the Curtis Opera Theatre’s Behind the Series to watch videos; read news, reviews, and program notes; and view details on all vocal performances.

Dialogues of the Carmelites, part of the Aurora Series for Chamber Opera at the Perelman Theater, is presented in association with Opera Philadelphia and the Kimmel Center for the Performing Arts. This production is funded, in part, through support from the William Penn Foundation and the Wyncote Foundation.

2013–14 seasOn

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The Emperor of Atlantis OctOber 10–13

L’elisir d’amore NOvember 21–24

Dialogues of the Carmelites march 5, 7, 9

La Cenerentola may 1–4

FrOm ritteNhOuse square tO the WOrld

OPERACurtis Opera theatre

Plus, reserve your tickets for the new recital series, Curtis Presents. This season’s recitals feature:

A Celebration of Ned Rorem’s 90th Birthdaycurtis Opera theatre aNd mikael eliaseN, piaNO

OctOber 23 at 8 p.m.

Ida Kavafian, violin, and friendsFebruary 2 at 3 p.m.

Alan Morrison, organ, and friendsmarch 23 at 3 p.m.

Jeffrey Khaner, fluteapril 5 at 3 p.m.

www.curtis.edu/Curtispresents

www.curtis.edu/ Opera

Explore the Curtis Opera Theatre’s Behind the Series to watch videos; read news, reviews, and program notes; and view details on all vocal performances.

Dialogues of the Carmelites, part of the Aurora Series for Chamber Opera at the Perelman Theater, is presented in association with Opera Philadelphia and the Kimmel Center for the Performing Arts. This production is funded, in part, through support from the William Penn Foundation and the Wyncote Foundation.

2013–14 seasOn

ainadamar“fountain of Tears”

an opera in Three Images Music osvaldo Golijov Text david Henry Hwang Conductor Corrado rovaris

director Luis de Tavira* Set & Lighting design Philippe amand Costume design Tolita and María figueroa*

Choreographer Stella arauzo* Projection design Julián de Tavira*

Chorus Master Elizabeth Braden Sound design rick Jacobsohn*

Wig & Makeup design david Zimmerman

Projected Titles provided by arrangement with BaY SHorE oPEra TraNSLaTIoNS. Translation by Lindley l. Becker.

Ainadamar is underwritten by Ms. Barbara Augusta Teichert

and Opera Philadelphia's General Director's Council.

additional support is provided by the National Endowment for the arts.

The orchestra is underwritten by Alice & Walter Strine.

Corrado rovaris is underwritten by Mr. and Mrs. Emilio Gravagno.The Creative Team is underwritten by Gabriele Lee.

*opera Philadelphia debut

oPEra PHILadELPHIa

ainadamar“fountain of Tears”

an opera in Three Images

MARGARITA XIRGU María Hinojosa Montenegro*

FEDERICO GARCÍA LORCA Marina Pardo*

NURIA Sarah Shafer

RAMÓN RUIZ ALONSO alfredo Tejada*

1st SOLO NIÑA Justine aronson*

2nd SOLO NIÑA Kelly ann Bixby*

JOSÉ TRIPALDI Patrick Guetti*

MAESTRO andrew Bogard

TORERO John Viscardi

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*opera Philadelphia debut

opera Philadelphia gratefully acknowledges the following underwriters whose generous support made Ainadamar possible:

Mrs. Sandra K. Baldino (Compañía antonio Gades)Mr. and. Mrs. Frederick P. Huff (María Hinojosa Montenegro)

Mr. and Mrs. James B. Straw (Marina Pardo)Mr. Peter Benoliel and Ms. Willo Carey (Sarah Shafer)

THE

CaST

Featuring dancers from Compañía Antonio Gades*

2nd SOLO NIÑA Kelly ann Bixby*

JOSÉ TRIPALDI Patrick Guetti*

MAESTRO andrew Bogard

TORERO John Viscardi

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SYNoPSISApproximate running time for Ainadamar is 80 minutes, with no intermission.

Ainadamar is an Arabic word meaning “fountain of tears” and is a natural spring located in the hills above the Spanish city of Granada, the site where the poet and playwright Federico García Lorca was executed in 1936. Ainadamar tells the story of the playwright’s life and death through the eyes of his muse, actress Margarita Xirgu.

When the Spanish Civil War began, Xirgu was on tour in South America and she spent the rest of her life there in voluntary exile. Told in three images of flashbacks by Xirgu, the opera utilizes flamenco-accented orchestra sounds as Xirgu, who had a close working relationship with Lorca, reflects on her meetings with Lorca and his final execution for his progressive political ideals. The opera revisits themes from his most famous play, Mariana Pineda, premiered in 1927, a historic drama about a 19th-century Spanish folk heroine who was executed, similarly, for her political ideals. Margarita Xirgu played the title character in this play. The opera begins in the 1960s, with an 81-year-old Xirgu about to go onstage for what will be her last performance of Mariana Pineda.

First Image: MarianaUruguay, April 1969: Preparing for a performance, a group of young actresses sing the opening ballad of Lorca’s play, Mariana Pineda. Margarita Xirgu looks back forty years to the premiere of Mariana Pineda, as she tries to convey the brilliance

María Hinojosa Montenegro (bottom) is Margarita Xirgu, with Marina Pardo (middle) as Lorca. The role of Nuria (top) will be performed by Sarah Shafer.

SYNoPSIS

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of this young author to her student, Nuria. She has a flashback of her meeting with Lorca in a bar in Madrid where he describes his play to her for the first time. It was inspired by a statue of Mariana Pineda that he saw as a child in Granada. Mariana was martyred for sewing a revolutionary flag and refusing to reveal the identity of the revolutionary leaders, including her lover, who deserted her as she then struggled to die with dignity. Margarita compares the eerie foreshadowing of the fate of Mariana and Federico’s subsequent execution. Ramón Ruiz Alonso, the Falangist who executed Lorca, interrupts the flashback. Over the state radio we hear the Falangists extinguish the beginnings of the revolution.

Second Image: FedericoThe actresses sing the ballad from Mariana Pineda again. Margarita is taken back to the summer of 1936, the last time she saw Lorca. The Spanish Civil War has begun and the revolutionaries are in danger. Margarita begs Lorca to come with her theater company to Cuba, but he refuses and stays in Granada to write new plays and poetry.

The news of Lorca’s murder is an early warning to the world. Margarita imagines Ruiz Alonso arresting Lorca and leading him, a bullfighter, and a teacher to Ainadamar, the fountain of tears, and making them confess their sins and then shooting them all.

Third Image: MargaritaThe play starts one more time as Margarita is dying and the actresses sing the ballad once again. She tells Nuria that an actor only lives for a moment but that the voice of the people will never die. The Spanish fascist head of state and military ruler, Francisco Franco, has never permitted Margarita Xirgu, the image of freedom, to come back to Spain, but Margarita has kept the plays of Lorca alive in Latin America while they were forbidden in Spain.

Lorca’s spirit enters the room to comfort Margarita and they walk toward delirium. Margarita dies as her courage and humanity are passed on to Nuria and the young actresses as they walk onto stage. Margarita sings the final lines to Mariana Pineda, “I am the fountain from which you drink.” The performance can now begin.

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ProGraM NoTES

Osvaldo Golijov’s remarkable sound world in the opera Ainadamar is an amalgamation of his own Argentinian/Jewish heritage and numerous other cultures, including Muslim, Jewish and Christian musical traditions. Above all, the score is suffused with the music of Lorca’s Spain: lush, seductive and with a strong undercurrent of sadness. This dizzying array of folk music, meshed with western classical influences and jazz, has been transformed by the composer into a sophisticated musical language of his own. Even his orchestration is unusual, with guitars, marimbas and various kinds of Spanish percussion instruments added to the symphonic ensemble. Despite this unlikely combination of musical materials, the opera evolves organically, with one mode of musical expression seamlessly flowing into another and the present morphing into the past through flashbacks.

The short prelude is a vivid example of another Golijov characteristic: the use of non-musical sounds. It opens with pre-recorded drops of water falling into Ainadamar, the Moorish word for “fountain of tears,” while distant trumpets express what the composer calls “wounded freedom”—freedom desperately sought and denied. This is followed by the hoofbeats of galloping horses, which morph into a flamenco heel dance. The first music we hear is a ballad sung by a group of young girls who function rather like a Greek chorus, commenting on events and predicting the future. Recalling the death of the 19th century political martyr Mariana Pineda, they tell of sadness so great that “the stones began to cry.” That ballad acts as a frame to the opera, recurring over and over until the very end. The leading character in Ainadamar

BY dIaNa BurGWYN

Nuria, Lorca and Margarita are surrounded by flamenco dancers in a scene from AINADAMAR. Photo: Carlos Choin

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ProGraM NoTESis the renowned actress Margarita Xirgu, whose grief at Lorca’s death and guilt over not having been able to save him has taken over her life. Golijov has captured these emotions brilliantly in his searing vocal lines. Margarita’s outpourings, often in a high soprano register, are full of tears—tears wept openly and those lodged in her heart. Only at the end of the opera, as she dies, does she move from bitterness to grace and acceptance. The role of the charismatic poet/playwright Lorca was not in the original score of the opera; Golijov added it during a revision. It was written for a mezzo-soprano rather than a male singer, reflecting Lorca’s androgynous voice and feminine sensibilities. (In real life, both Lorca and Xirgu were gay.) This role contains some of the composer’s most beautiful music, notably the dark and wistful “Aria of the Statue,” in which he reflects on his childhood love of the statue depicting the martyred Mariana Pineda—a statue that for him was not cold and grey but warm and loving. One more key character (a fictional one) for soprano appears in Ainadamar; that is Nuria, Margarita’s gifted student who, over the course of the opera, grows both musically and dramatically, recognizing that it she who must carry on Lorca’s and Margarita’s message to the world. The three roles for female voice achieve their greatest beauty late in the opera when the dying Margarita, Lorca (who has died), and Nuria intertwine their voices in a sensuous trio that is often compared with the trio in Richard Strauss’s Der Rosenkavalier. One of Golijov’s most effective theatrical touches is the insertion of chilling, even ugly sounds. The role of the man who arrested and murdered

Lorca, Ramon Ruiz Alonso, a fascist functionary in Francesco Franco’s authoritarian regime, is cast for a male flamenco singer, whose wailing cries condemn Lorca and his fight for freedom. Similarly, warlike messages broadcast by Radio Falange (the Spanish fascist party) vow to “exterminate the seeds of the Revolution.” On the night before Lorca is murdered, hypnotic voices of the dead and soon-to-be dead surround him, praying to the Virgin of Guadalupe. The bullet that kills him becomes a rhythmic fugue of gunshots, with one becoming thousands, reflecting the huge number of killings that took place during the Spanish Civil War. Over those staccato volleys is heard a heartbreaking lament. There is no comic relief in this tragic opera, but there are lighter scenes, one a raucous conversation between Margarita and Lorca that takes place in a bar, another when Margarita and Lorca sing a duet in the form of a Cuban rumba as they dream of taking refuge in Havana. Osavaldo Golijov knows how to fill our hearts with beauty, pain, and terror, and even occasionally to make us smile. He is a musical magician. From the first bars of Ainadamar to the last, he puts us under his spell and does not let go.

Diana Burgwyn is a Philadelphia-based writer and music critic.

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oPEra PHILadELPHIa

arTISTICAssistant Director.............Chía PatiñoAssistant Conductor & Principal Pianist ........Lisa Keller

Assistant Choreographer ..antonio HidalgoMusical Assistant.............Matthew BrowerSupertitle Operator ...........Tony Solitro

ProduCTIoN/TECHNICaLTechnical Director .............. Christopher HanesCostume Director................ Millie HiibelVideo Conceptual Direction.......................... Gabriel diazmercadoVideo Artist ........................ roberto BonelliVideo Animations ............... The filterfx fernando Bennazar Marisa GómezStage Manager .................. Chelsea antrimProperties Coordinator........ John BryantTechnical Production Manager .......................... drew BilliauAssistant Lighting Designer .......................... Chris frey

Master Electrician .............. david CecilProperties ........................... Paul LodesFlyman ............................... John damianiAssistant Electrician .......... William HennessyAssistant Stage Managers ........................ Trevor regars Becki SmithCutters/Drapers.................. Nell unrath rachel fordHair & Make-up Coordinator ..................... Stephanie Williams

Co-production from the fundación Ópera de oviedo, festival Internacional de Música y danza de Granada and festival Internacional de Música de Santander.

COMPAÑÍA ANTONIO GADES: Stella arauzo, alfredo Tejada, antonio Hidalgo, Jacob Guerrero, daniel Torres, Carolina Pozuelo, Nazaret Martínez, Maria José López, Esmeralda Manzanas, Mayte Chico. Luisa Serrano, María Nadal, Virginia Guiñales, Miguel a. rojas, Miguel Lara, Elías Morales, Miguel Vallès, Jairo rodríguez, Pepe Vento.

opera Philadelphia performs at the academy of Music and the Perelman Theater, and is a resident Company of the Kimmel Center for the Performing arts. all photography and video or audio recording of this performance is strictly prohibited. a Commitment to Safety: The safety and comfort of visitors, artists, volunteers, and staff at the academy of Music and the Kimmel Center for the Performing arts are of paramount importance. In the event of an emergency, audience members will be advised of appropriate procedures by usher and security staffs. 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.

BarBara auGusta teichert Production Underwriter

ainadamar is underwritten by Ms. Barbara Augusta Teichert.

The arts have been an important part of Barbara’s life since childhood. Her father was a professional musician, and while growing up, she often attended the orchestra and theater with her family, including Gilbert & Sullivan operettas. After graduating from Bryn Mawr College, she worked in the box offices of the Annenberg Center and People’s Light & Theatre Company. She recalls seeing a handful of operas over the years (her first real opera experience was a San Francisco production of La bohème as a teenager that starred, she later discovered, Luciano Pavarotti). But when she saw Plácido Domingo perform in the late 1990s, she very quickly became hooked on opera. She purchased a subscription to Opera Philadelphia in 1999 and has remained a cherished member of the Opera family ever since.

Barbara is now a bi-coastal opera philanthropist. In addition to providing underwriting support at the Metropolitan Opera, she was a longtime board member at Washington National Opera and is currently on the board of LA Opera, where she has underwritten numerous productions featuring Plácido Domingo.

An active Chairman’s Council member, Barbara has underwritten Thiago Arancam’s performances in tosca (2011) and manon Lescaut (2012), and she was a production underwriter for 2013’s critically acclaimed Silent night. When she first found out that Opera Philadelphia would be producing ainadamar in 2014, she generously offered to underwrite the production.

Opera Philadelphia is privileged to have Barbara as a steadfast champion of our commitment to bring world-class opera to Philadelphia, and we are proud to celebrate her landmark investment with her as we bring ainadamar to the Academy of Music for the first time.

Portra i t s in G i v inG

“ When Ainadamar was presented at the Perelman theater in 2008, i thought it was an amazing piece of musical theater, and i am thrilled to have the opportunity to bring it to a bigger audience at the academy of music.”

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oSVaLdo GoLIJoV, CoMPoSErOsvaldo Golijov, born December 5, 1960, grew up in an Eastern European Jewish household in La Plata, Argentina. Born to a piano teacher mother and physician father, Golijov was raised surrounded

by classical chamber music, Jewish liturgical and klezmer music, and the new tango of Astor Piazzolla. After studying piano at the local conservatory and composition with Gerardo Gandini, he moved to Israel in 1983, where he studied with Mark Kopytman at the Jerusalem Rubin Academy and immersed himself in the colliding musical traditions of that city. Upon moving to the United States in 1986, Golijov earned his Ph.D. at the University of Pennsylvania, where he studied with George Crumb, and was a fellow at Tanglewood, studying with Oliver Knussen. In the early 1990s, Golijov began to work closely with two string quartets, the St. Lawrence and the Kronos. Both ensembles were the earliest to project Golijov’s volatile and category-defying style in its true, full form. In 2002, EMI released Yiddishbbuk, a Grammy-nominated CD of Golijov’s chamber music, celebrating ten years of collaboration with the St. Lawrence String Quartet, featuring clarinetist Todd Palmer. The Kronos Quartet released three recordings featuring their collaborations with Golijov: The Dreams and Prayers of Isaac the Blind, featuring David Krakauer, as well as Caravan, and Nuevo. Kronos also expanded Golijov’s musical family through collaborations with artists such as the Romanian Gypsy band Taraf de Haidouks, the Mexican Rock group Café Tacuba, tablas virtuoso Zakir Hussain, and legendary Argentine composer, guitarist and producer Gustavo Santaolalla, with whom Golijov continues to collaborate. For the past decade Golijov has been inspired by the voice of Dawn Upshaw, for whom he composed several works, including the Three Songs for Soprano and Orchestra, the opera Ainadamar, the cycles Ayre and She Was Here, and a number of arrangements. In 2000, the premiere of Golijov’s St. Mark Passion took the music world by storm. Commissioned by Helmuth Rilling for the

European Music Festival, to commemorate the 250th anniversary of J.S. Bach’s death, the piece featured the Schola Cantorum de Caracas, with the Orquesta La Pasión. For the premiere of Ayre, Golijov founded another virtuoso ensemble, The Andalucian Dogs. Together with Dawn Upshaw, they premiered the piece at Zankel Hall in 2005. The 2006 recording of the opera Ainadamar earned two Grammy awards, one for best opera recording and one for best contemporary composition. Golijov has received numerous commissions from major ensembles and institutions in the U.S. and Europe. He is the recipient of a MacArthur Fellowship and the Vilcek Prize among other awards. He collaborates closely with directors Francis Ford Coppola and Peter Sellars who staged sold-out and critically acclaimed runs of Ainadamar at the Santa Fe Opera and Lincoln Center. In 2007, he was named first composer-in-residence at the Mostly Mozart Festival. He is currently co-composer-in-residence, together with Marc-Anthony Turnage, at the Chicago Symphony. He has also been composer-in-residence at the Spoleto USA Festival, the Los Angeles Philharmonic’s Music Alive series, Marlboro Music, Ravinia, Ojai, Trondheim and Holland festivals. Golijov is Loyola Professor of Music at College of the Holy Cross in Worcester, MA, where he has taught since 1991. He also taught for several years at Tanglewood, has led workshops at Carnegie Hall with Dawn Upshaw and teaches in the summers at the Sundance Composers Lab. Recently completed compositions include the soundtracks for Francis Ford Coppola’s Youth Without Youth and Tetro; Azul, a cello concerto for Yo-Yo Ma and the Boston Symphony; Rose of the Winds, premiered by the Silk Road Ensemble and the Chicago Symphony under Miguel Harth-Bedoya; and She Was Here, a work based on Schubert lieder premiered by Dawn Upshaw and the Saint Paul Chamber Orchestra. Future works include a new song cycle for Emanuel Ax, Dawn Upshaw and Michael Ward-Bergeman; a new opera, commissioned by New York’s Metropolitan Opera; a violin concerto for Leonidas Kavakos, co-commissioned by the Los Angeles Philharmonic, Berlin Philharmonic and London Symphony, to be premiered under Gustavo Dudamel in Los Angeles and Simon Rattle in Berlin; a new work for the St. Lawrence String Quartet; and a chamber orchestra piece commissioned by a consortium of 35 American orchestras in honor of Henry Fogel.

- from osvaldogolijov.com

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daVId HENrY HWaNG, LIBrETTISTAccording to Opera News, David Henry Hwang is America’s most-produced living opera librettist. He has written four works with composer Philip Glass, including 1000 Airplanes on

the Roof, as well as Bright Sheng’s The Silver River, Osvaldo Golijov’s Ainadamar (two 2007 Grammy Awards) and Unsuk Chin’s Alice In Wonderland. The Chinese American playwright, described by the New York Times as “a true original” and by TIME magazine as “the first important dramatist of American public life since Arthur Miller,” is best known as the author of M. Butterfly. That enduring 1988 work, which won a Tony Award, Drama Desk Award, John Gassner Award, and Outer Critics Circle Award, was also a finalist for the Pulitzer

Prize. To date, M. Butterfly has been staged in over four dozen countries and was the basis for a major motion picture. To describe Hwang as a major American dramatist is something of an understatement. His play, Golden Child, premiered Off-Broadway at the Joseph Papp Public Theater, received an Obie Award, and subsequently played on Broadway, where it received three Tony nominations. Yellow Face, which premiered at Los Angeles’ Mark Taper Forum and New York’s Public Theater, also won an Obie Award, and was a finalist for the 2008 Pulitzer Prize. Other plays from his 30 year career include FOB (Obie Award), The Dance & the Railroad (Drama Desk Nomination, CINE Golden Eagle Award), and Family Devotions (Drama Desk Nomination). Hwang’s most recent play, Chinglish, a hit comedy about an American businessman in China, premiered at Chicago’s Goodman Theatre before moving to Broadway, where it received a Drama Desk Nomination for Outstanding New Play. In 2011, it was named Best New American Play by TIME magazine.

March 1 to March 16 2014

Featuring Israel Galván, Pastora Galván, and Rosario Toledo

presents

For more information please visit: www.pasionyarteflamenco.org www.philaflamencofest.org

This project, “Nuevo Flamenco: TheGalván Legacy,” has been supported by The Pew Center for Arts & Heritage.

This project has been supported byThe John S. and James L. KnightFoundation. The The John S. andJames L. Knight Foundation’s artsprogram aims to engage and enrichPhiladelphia through the arts.

ARTISTSPHILIPPE AMAND(Mexico City, Mexico)

SET AND LIGHTING DESIGN

2010 Orphée & Eurydice2011 Phaedra

Recent Activities: Die Frau ohne Schatten, National Opera Company, Mexico; The Caucasian Chalk Circle, National Theater Company of Mexico; Romeo and Juliet, National Theater Company of Mexico.

STELLA ARAUZO(Madrid, Spain)

CHOREOGRAPHER

Opera Philadelphia debut.

Recent Activities: Director, La Pasión, Granada, Spain; Director, Rango, Centro

Niemeyer de Avilés, Spain; Director, Fuego, Teatro de la Zarzuela de Madrid, Spain.

JUSTINE ARONSONSoprano (Bloomfield, Michigan)

1ST SOLO NIÑA

Opera Philadelphia debut.

Recent Activities: Soloist, Handel’s Messiah, Monmouth

Civic Chorus and Orchestra; Oscar, Un ballo in maschera, Concert Opera Philadelphia; Soloist, Lili Boulanger’s Renouveau, The Bard Festival.

KELLY ANN BIXBYSoprano (Philadelphia, Pennsylvania)

2ND SOLO NIÑA

Opera Philadelphia debut.

Recent Activities: Soloist, Britten’s Biography in Music,

Lyric Fest of Philadelphia; Soloist, National Opera Center Recital: New American Songbook, Opera America; Soloist, Villa Lobos’s Bachianas Brasilieras, Black Pearl Chamber Orchestra.

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Founding Artistic Directors: Laura Ward, Randi Marrazzo, Suzanne DuPlantis

www.lyricfest.org

A MAgicAl-MusicAl MenAgerie Sunday, October 27, 2013, 3pm Main Line Reform Temple (MLRT)Thursday, October 31, 2013, 10am Girard Academic Music Program (GAMP)

BiogrAphy in Music; BenjAMin Britten Sunday, November 24, 2013, 3pm The Academy of Vocal Arts

love with A twist: A progrAM for those lucky At cArds (unlucky At love)Saturday, February 15, 2014, 7:30pm Lenape Valley Church (Bucks County) Sunday, February 16, 2014, 3pm The Academy of Vocal Arts

deAr MArch—coMe in— AMericAn woMen poets in song Friday,  March 28, 2014, 7:30pm Bryn Mawr College, Goodhart Hall, The Music RoomSunday, March 30, 2014, 3pm The Academy of Vocal Arts

connecting people through song

20132014

21

ARTISTSANDREW BOGARDBass-baritone (Marion, Ohio)

2013 First Priest/Second Armored Man, The Magic Flute

Recent Activities: Dulcamara, L’elisir d’amore, Curtis Opera

Theatre; The Abbott, Curlew River, Ballet Opéra Pantomim, Montréal; Leporello, Don Giovanni, Chautauqua Music Festival.

ELIZABETH BRADEN(Easton, Pennsylvania)

CHORUS MASTER

2004 The Grand Duchess of Gerolstein2006 Margaret Garner2013 The Magic Flute 2013 Nabucco

(Partial Listing)

Recent Activities: Director of Music, Wallingford Presbyterian Church; Chorus Master, The Cunning Little Vixen, Curtis Opera Theatre.

LUIS DE TAVIRA(Mexico City, Mexico)

DIRECTOR

Opera Philadelphia debut.

Recent Activities: The Cherry Orchard, National Theater Company of Mexico; The

Caucasian Chalk Circle, National Theater Company of Mexico; Anita, Secretaria de Cultura de Puebla, Mexico.

JULIÁN DE TAVIRA(Mexico City, Mexico)

VIDEO DESIGNER

Opera Philadelphia debut.

Recent Activities: Video Designer, Ainadamar, Opera de Oviedo; Assistant

Director, Television Series Sr. Ávila 2, HBO Latinoamérica; Assistant Director, The Caucasian Chalk Circle and Adaptation, The Cherry Orchard, National Theater Company of Mexico.

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ARTISTSMARÍA & TOLITA FIGUEROA(Mexico City, Mexico)

COSTUME DESIGNERS

Opera Philadelphia debut.

Recent Activities: Ainadamar, Oviedo Opera and Granada International Festival, Spain;

Death in Venice, Palacio de Bellas Artes, México; Pozo and God’s Blood, Two short films directed by Guillermo Arriaga.

PATRICK GUETTIBass (Highland Park, New Jersey)

JOSÉ TRIPALDI

Opera Philadelphia debut.

Recent Activities: Leggatt, World Premiere of Oscar,

The Santa Fe Opera; Title Role, Don Quichotte, Academy of Vocal Arts; Don Basilio, The Barber of Seville, Academy of Vocal Arts.

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22

RICK JACOBSOHN(Cortlandt Manor, NY) SOUND DESIGNER Opera Philadelphia debut. Recent Activities: Producer and engineer, Baltimore Symphony Orchestra’s broadcast and archival recordings since 2007; Live Sound Reinforcement and Sound Design, John Adam’s El Nino, Boston Symphony Orchestra; Live Sound Reinforcement and Sound Design, Ainadamar, Atlanta Symphony Orchestra.

MARÍA HINOJOSA MONTENEGROSoprano (Sabadell, Spain)

MARGARITA XIRGU

Opera Philadelphia debut.

Recent Activities: Belinda, Dido & Aeneas, Arena di Verona, Italy; Woglinde

and Wellgunde, Das Rheingold, Liceu Orchestra; Margarita Xirgu, Ainadamar, Oviedo Opera, Spain.

MARINA PARDOMezzo-soprano (Santander, Spain)

FREDERICO GARCÍA LORCA

Opera Philadelphia debut.

Recent Activities: Soloist, Bruckner’s Mass No. 3, Orquesta y Coro de Radio Televisión Española; La Abuela, La vida breve, Orchestre National du Capitole de Toulouse; Frederico García Lorca, Ainadamar, Oviedo Opera, Spain.

CORRADO ROVARIS(Bergamo, Italy)

CONDUCTOR

1999 The Marriage of Figaro2006 Cinderella2013 Nabucco(Partial Listing)

Recent Activities: Ainadamar, Oviedo Opera, Spain; Betulia Liberata, Festival Wratislavia Cantans, Poland; Brahms’s Variations on a Theme of Haydn and Schubert’s Symphony No. 1, Teatro Petruzzelli, Italy.

ARTISTSSARAH SHAFERSoprano (State College, Pennsylvania)

NURIA

2013 Papagena, The Magic Flute

Recent Activities: Adina, L’elisir d’amore, Opera Memphis; Mary Lennox, The Secret Garden, San Francisco Opera; Soloist, Handel’s Messiah, Louisiana Philharmonic Orchestra.

ALFREDO TEJADACantaor (Malaga, Spain)

RAMON RUIZ ALONSO

Opera Philadelphia debut.

Recent Activities: Flamenco singer, First place for Desplante Minero, Festival del

Cante de las Minas, Spain; Flamenco singer, First place for best Farruca. Granada, Spain; Flamenco singer, Jerez Festival, Jerez, Spain.

23

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JOHN VISCARDITenor (Manhasset, New York)

TORERO

2012 Dancing Master & Lamplighter, Manon Lescaut2013 Abdallo, Nabucco

Recent Activities: Lensky, Eugene Onegin and Almaviva, The Barber of Seville, Academy of Vocal Arts; Soloist, Eve Queler and Friends, Lincoln Center, Alice Tully Hall; Prunier, La rondine, Des Moines Metro Opera.

DAVID ZIMMERMAN(Mt. Pleasant, Texas)

WIG & MAKE-UP DESIGN

2013 Silent Night2013 The Magic Flute2013 Nabucco

Recent Activities: Wig and Makeup design for The Metropolitan Opera, The Dallas Opera, Santa Fe Opera, and Paris National Opera; Magazine features for Opera News, The New Yorker, and Vanity Fair.

24

CoMPañía aNToNIo GadES

Spanish dancer and choreographer Antonio Gades (1936-2004) founded his first dance company in the 1970s and helped to popularize flamenco on the international stage. Recognized as the greatest Spanish male dancer of his generation and an even greater choreographer, his most notable works included dance adaptations of Prosper Merimée’s Carmen and Federico García Lorca’s Blood Wedding, as well as a feature-length adaptation of Manuel de Falla’s 23-minute ballet El Amor Brujo. In the 1990s, he toured the world with his show Fuenteovejuna, based on Lope de Vega’s play of the same name. A co-founder and artistic director of the Spanish National Ballet, he was a prominent as a political activist in Alicante, where he proclaimed self-determination for the Catalan nation during the Spanish Transition between the late 1970s and early 1980s. Just months before he passed away, Gades created a foundation in charge of looking after his artistic heritage and helping to disseminate his work, promoting a greater knowledge of Spanish dance all over the world. The new Compañía Antonio Gades made its debut in August 2005 in the Roman Theatre of Verona (Italy) with Carmen, which was extraordinarily well-received by critics

and audiences alike. The Compañía Antonio Gades is now solely responsible for staging the ballets of the choreographer, keeping the original spirit and guidelines his works were devised with intact. Under the artistic direction of Stella Arauzo (who danced with Gades for many years, taking over from Cristina Hoyos in the performance of Carmen), the new formation has several members from the old company who, together with new faces, ensure the transmission of the lines which characterize the work of Gades, expressing the most profound human concerns, within an aesthetically refined language rooted in the traditions and culture of the Spanish people. After performing Carmen in the Roman Theatre, and touring almost constantly since 2005, Compañía Antonio Gades has recovered for the stage Carmen, Bodas de Sangre, Suite Flamenca and more recently Fuenteovejuna. His work has not only been endorsed by the large number of spectators who have gone to the shows but also the awards received such as the Giraldillo de Oro of the Flamenco Biennial from Seville, the Demófilo award from the Fundación Machado and the award of the Teatro Rojas in Toledo.

Compañía antonio Gades. Photo: Wang Xiaojing

VIoLIN Idayna anderson, ConcertmasterIgor Szwec, Assistant ConcertmasterBarbara SoniesCharles Parkerdiane BarnettYan ChinEmma KummrowKaren Banosdonna rudolphElizabeth KaderabekPaul reiserPat adams VIoLaJonathan Kim, PrincipalCarol BriselliJulie diGaetaniEllen TrainerSteve HeitlingerElizabeth Jaffe

CELLoVivian Barton, PrincipalJennifer Lorenzodavid MoultonBrooke Beazleydane andersonLynne Beiler BaSSMiles davis, PrincipalJames freemananne PetersonSteve Groat fLuTE adeline Tomasone, PrincipalEileen Grycky Kim Trolier oBoE Geoffrey deemer, Principal

CLarINET Joe Smith, Principal allison Herz BaSSooNEddie Burns, Principal frENCH HorN John david Smith, Principal angela Bilger TruMPET Brian Kuszyk, Principal Steve Heitzer TroMBoNE Bob Gale, Principal

TIMPaNI Martha Hitchins, Principal PErCuSSIoN ralph Sorrentino, Principal Susan Jones Gonzalo Grau HarP Sophie Bruno, Principal

CELESTE Linda Henderson LaPToP Jeremy flower GuITar adam del Monteduane Large

oPEra PHILadELPHIa orCHESTraCORRADO ROvARIS, jACk MuLRONEy MuSIC DIRECTOR

SOPRANOVeronica Chapman-SmithNoël Graves-WilliamsJulie-ann GreenValerie HaberChristine Nassaimee PilgermayerEvelyn Santiagorebecca SilerLisa Helmel Thomas

ALTOJennifer BeattieJoanna GatesEve E. Hyzer Heidi KurtzKate Mallon-dayMaren MontalbanoEllen Grace PetersPaula rivera-dantagnanKaitlyn Tierney

oPEra PHILadELPHIa CHoruS

25

Fratelli’sItalian bistro

1339 Chestnut Street(Broad & Chestnut)Philadelphia, PA 19107

Join Our 1339 Club!Now Open

215-731-0700www.fratellisib.cominfo@fratellisib.com

opera Philadelphia’s chairman’s council is a passionate group of philanthropists committed to ensuring that the future of opera is right here in Philadelphia.

the council’s 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, our annual opening night hD broadcast at independence national historical Park, and our award-winning programs for children.

t h e c h a i r M a n ’ s c o u n c i l

F o r M o r e i n F o r M at i o n , c o n ta c t:

annie Burridge, senior vice President,

institutional advancement at 215.893.5906 or at

burridge@operaphila.org.

a c a D e M y h o u s e 1 4 2 0 l o c u s t s t r e e t

s u i t e 2 1 0 P h i l a , Pa

clockwise from top: Rita and Philip Harper. American Repertoire Council Director Nathan Gunn and Keith Straw. Kenneth B. and Pamela R. Dunn. Composer Kevin Puts, Opera Philadelphia Chairman Daniel K. Meyer, M.D., and Barbara Teichert. Nick and Kathleen Chimicles.

The General Director’s Council is a newly formed group of donors who play a pivotal role in the future of Opera Philadelphia. They meet with General Director and President David B. Devan twice each year to discuss artistic plans and strategies. This highly engaged group of opera lovers also enjoys intimate dinners and receptions with principal artists, among many other benefits.

The Opera is very grateful to members of the Council for their collective support of ainadamar. We especially thank co-chairs Ben Alexander and Kenneth Swimm for their leadership.

Portra i t s in G i v inG

for more information on the General Director’s council, please contact christina

Deemer, Director of annual Giving, at 215.893.5904 or deemer@operaphila.org

General Director’s councilProduction Underwriter

Ainadamar is supported by the General Director’s council. Photo: Fernando Daniel Fernandez.

MaKe a DiFFerence By Part ic iPat inG in

the oPera’s annual Giv inG ProGraM While

enhancinG your oPerat ic exPer ience

With exclusive Donor BeneF its.

Fr iends oF the operAJoan Goldstein, chair

Friends support the opera with annual gifts between $25 and $1,999 and enjoy an enriched connection to the opera with behind-the-scenes opportunities including invitations to the General Director’s Backstage tour, dress rehearsals, our Between the notes lecture series, and more!

pAtron proGrAmDonna Wechsler, chair

Members of the Patron Program directly support the company’s productions, artistic initiatives, and community programs through annual gifts beginning at $2,000. Patrons receive the above benefits, plus viP privileges including personalized ticket service, a private coat check, champagne intermission receptions, meet-the-artist events, travel opportunities, and more!

For more information about annual Giving or for a complete list of donor benefits, please contact Jennifer

Dubin, associate Director, annual Fund and Development services, at 215.893.5908 or dubin@operaphila.org

Photos (clockwise, beginning top right): Patrons James and nancy abbott with their children at a dress rehearsal; Patrons robert V. taglieri and timothy moir with Board member ellen Berman Lee; chairman’s council member Barbara augusta teichert and tenor Thiago arancam; Patrons Bruce and robin herndon at a meet-the-artists event.

Get involveD: oPeraPhila.orG/annual-GivinG

o F F i c i a l s P o n s o r o F o P e r a P h i l a D e l P h i a’ s

Pat r o n P r o G r a M

c o r P o r at e c o u n c i lthe corporate council generously supports opera Philadelphia’s artistic and educational

programming through contributions and in-kind donations.

2 0 1 3 - 2 0 1 4 s e a s o n s P o n s o r s

c o r P o r at e c o u n c i l M e M B e r s

araMarK

Bank of america

Bny Mellon Wealth Management

GlaxosmithKline

Kalnin Graphics

Menchey Music

Morgan stanley

national Penn investors trust

Peco

savona restaurant

varalli restaurant

catering By Design

cunningham Piano company

Donovan interior systems, inc.

evantine Design

exelon Business services

Mac cosmetics

Montgomery, Mccracken,

Walker and rhoads, llP

Moonstruck restaurant

termini Bros. Bakery

trattoria san nicola

uber

official airline

official sponsor of opera Philadelphia’s Patron Program

season Media Partner intermission reception sponsor

official automotive Dealership

official hotel

For more information about sponsorship opportunities, or to join opera Philadelphia’s corporate council, please contact Derren Mangum, Manager

of institutional Giving, at 215.893.5924 or mangum@operaphila.org.

center city Film and video

universal health services

mozArt

don G iovAnni

Widely regarded as one of the greatest operas ever composed, Don Giovanni returns to the Academy of Music in April, weaving the tale of the legendary rake Don Juan in Mozart’s alternately playful and dramatic musical masterpiece. With an ingenious staging of masquerades, trapdoors and mirrored panels, the production shines a spotlight on opera’s most infamous scoundrel in a timeless classic of comedy and tragedy set to music of limitless genius. Mozart’s anti-hero has a personality so engaging that audiences will wonder why they are rooting for him as he charms and abandons women at will, until his darkest side emerges.

When Opera Philadelphia set out to cast this production of Don Giovanni, they went looking for some of opera’s finest young talents. “And a funny thing happened on the way to the Academy,” said David B. Devan, General Director and President of Opera Philadelphia. “As we were casting these roles, we kept finding these great nationally-renowned singers who had connections to Philadelphia. In many ways, this is like the all-star Philadelphia cast, and that makes us even more excited to share this production with our great city.”

A cadre of the most prestigious alumni of the Curtis Institute of Music and the Academy of Vocal Arts come home to star in director Nic Muni’s lavish production. Baritone Elliot Madore (Yamadori in 2009’s madama

Butterfly), a graduate of the Curtis Institute of Music and a winner of the 2010 Metropolitan Opera National Council Auditions, returns as the beguiling Giovanni. Soprano Michelle Johnson, who made a dazzling Opera Philadelphia debut in 2012 in the title role of Puccini’s manon Lescaut, returns as Donna Anna, the conflicted object of Giovanni’s desire. The Academy of Vocal Arts alumnus is herself a Grand Prize winner of the 2011 Metropolitan Opera National Council Auditions.

American lyric soprano Amanda Majeski (Curtis Institute of Music), hailed by musical america for the “silvery beauty” of her voice, makes her role debut as the spurned Donna Elvira, with David Portillo (Goro in madama Butterfly) as Anna’s loyal fiancé, Don Ottavio. Joseph Barron (Curtis Institute of Music), last seen here in otello, plays Giovanni’s servant, Leporello, while rising American mezzo-soprano Cecilia Hall makes her company debut as Zerlina. Maestro George Manahan leads the Opera Philadelphia Orchestra.

t icKets noW on sale

oPeraPhi la .orG | 215.893.1018

uP next at

aPr i l 25–May 4 , 2014 | acaDeMy oF Mus ic

o P e r a P h i l a D e l P h i a e n c o r e s o c i e t y

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.

opera Philadelphia’s encore society acknowledges the generosity of those 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.*

Photo caption: Encore Society members Ben Alexander (left) and Sheila Kessler with baritone Mark Stone at the annual Encore Society Luncheon.

t o J o i n o r t o r e c e i v e

M o r e i n F o r M at i o n :

Go to operAphilA.orG/encore-society

contact rachel Mccausland, Manager, leadership & legacy Giving,

at 215.893.5909 or at mccausland@operaphila.org.

* Please 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.

or

38

on saturday, october 26, opera Philadelphia hosted its 2013–2014 gala, DUENDE, at the Four seasons Hotel Philadelphia. the evening’s 250 guests enjoyed a spanish-themed cocktail hour with tapas and sangria, an elegant seated dinner, and live and silent auctions. Entertainment included a musical recital and lively flamenco performance by Pasión y arte.

DUENDE raised more than $150,000 to support opera on the Mall, opera Philadelphia’s annual free public HD broadcast at independence Historical national Park.

the opera would like to thank the event’s Honorary Chairman romulo L. Diaz, Jr., and members of the gala committee: nancy abbott, Eric allen, Willo Carey, Joan Goldstein, sharon Koppelman, Ellen Berman Lee, timothy Moir, Kelley reilly, and stephen G. somkuti, M.D.

Rick Pitcairn and Megan Clark with Board member Alice Strine and her husband, Walter Strine, Pennsylvania State Senator Dominic Pileggi and his wife Diana Pileggi, and Jayne Garrison. Photo: Susan Scovill.

Board Chairman Daniel K. Meyer, M.D. with DUenDe Honorary Chairman Romulo L. Diaz, Jr. Photo: Sofia Negron.

General Director and President David B. Devan with soprano Michelle Johnson, who will star as Donna Anna in this season’s Don Giovanni. Photo: Sofia Negron.

General Director’s Council member John Alchin with Board Member Joel Koppelman and his wife, Sharon Koppelman. Photo: Sofia Negron.

opera philadelphia kicks off its landmark 40th Anniversary season with a star-studded Gala on Friday, september 12, 2014. From the stage of the academy of Music out onto the glorious avenue of the arts, celebrate opera Philadelphia’s legacy under the stars. the spectacular evening features a recital by soprano ailyn Pérez and tenor stephen costello, Vanity Fair’s “match made in verismo heaven.” the duo, who met as students at Philadelphia’s academy of vocal arts, come home to celebrate on the stage where they’ve dazzled in productions like Carmen, Cyrano, and Romeo & Juliet.

SaVe the Date!opera Philadelphia’s 40th anniversary Season

begins with a Gala on Broad Street starring ailyn Pérez and Stephen costello

elegant cocktail reception in the academy of Music

thrilling recital from soprano ailyn Pérez and tenor stephen costello

live and silent auctions

Dinner and Dancing in a tented ballroom on Broad street

appearances from opera Philadelphia stars, past and present

Mark your calendars for this spectacular event and the start of opera Philadelphia’s exciting 40th anniversary season!

inFormAt ion At 215.893.5934 or operAphilA .orG/GAlA

this once-in-a-lifetime event features:

42

MUSICMichael Eberhard Artistic AdministratorElizabeth Braden Chorus Master and Music AdministratorJ. robert Loy Director of Orchestra Personnel & Orchestra LibrarianColleen Hood Music Staff AssistantLembit Beecher Composer In Residence Missy Mazzoli Composer In Residence andrew Norman Composer In Residence

PRODUCTIONalexander farino Production Manager drew Billiau Technical Production Manager Christopher Hanes Technical DirectorMillie Hiibel Costume DirectorElizabeth Larsen-Silva Production Coordinator

INSTITUTIONAL ADVANCEMENTChristina deemer Director of Annual Givingryan Lewis Director of Marketing frank Luzi Director of Communications Lucy Clemens Director of Audience Servicesadele Betz Director of EventsJennifer dubin Associate Director, Annual Fund & Development Servicesderren Mangum Manager of Institutional Givingrachel McCausland Manager, Leadership & Legacy GivingMichael Knight Assistant Director, Audience Services and Group SalesKevin Gifford Donor Services Coordinator

ADMINISTRATIONKen Smith Assistant to General Director & Board Relations CoordinatorMaurice Marietti Personnel Manager

COMMUNITY PROGRAMSadrienne Bishop Community Programs Assistant

FINANCEMaureen McHale Senior Accountant

COUNSELMontgomery, McCracken,Walker & rhoads LLP General Counsel

adMINISTraTIoNDavid B. Devan

General Director & President

Corrado RovarisJack Mulroney Music Director

Mikael EliasenArtistic Advisor

Nathan GunnDirector, American Repertoire

Council

David LevySenior Vice President, Artistic Operations

Michael BoltonVice President of Community Programs

Gary GanskyChief Financial Officer & Senior Vice President

Annie BurridgeSenior Vice President,

Institutional Advancement

D av i D B . D e va nG e n e r a l D i r e c t o r & P r e s i D e n t

c o r r a D o r o va r i sJ a c K M u l r o n e y M u s i c D i r e c t o r

operaphilafacebook.com/operaphila @operaphila

the aurora series for chamber opera at the Perelman theater is underwritten by the Wyncote Foundation

M a r . 5 – 9 , 2 0 1 4P e r e l M a n t h e at e r

c u r t i s o p e r A t h e At r e

p o u l e n cd i A l o G u e s o F t h e c A r m e l i t e sin association with opera Philadelphia and the Kimmel Center for the Performing arts

a P r . 2 5 – M aY 4 , 2 0 1 4a C a D e M Y o F M u s i C

m o z A r t d o n G i o vA n n i

M aY 8 & 1 0 , 2 0 1 4v e r i z o n h a l l

s t r A u s s s A l o m e Produced by the Philadelphia orchestra and opera Philadelphia

J u n . 6 – 1 5 , 2 0 1 4P e r e l M a n t h e at e r

G o r d o n / F o G l i A A c o F F i n i n e G y p t

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