Facing a fragile financial picture,Opera Philadelphia has undertaken a fundraising campaign that seeks to raise $33 million – an enterprising sum for a company of its size.
The money won’t go toward erecting a building or starting an endowment, but, essentially, to build an opera company. The aim of the campaign is to stabilize finances, underwrite artistic projects, support the opera’s popular $11 ticket program, and create a cash reserve to weather any swings in the company’s fortunes.
“There were many hair-raising moments in my first year when I didn’t know if we were going to make it to the next production or the next payroll,” said Anthony Roth Costanzo, the renowned countertenor and impresario who took over as general director and president of Opera Philadelphia 15 months ago. “What I want to do is create board-designated cash reserves. that means if one donation doesn’t go through or we go over budget, we’re not down to the bone.”
The campaign was announced Saturday night from the stage of the Academy of Music,where a gala performance by a half dozen opera personalities and other artists helped to celebrate the opening of Opera philadelphia’s 50th anniversary season. Stephanie Blythe had a vocal presence so grand you could have counted it twice – both in her regular mezzo-soprano persona, and as her more hirsute alter-ego, tenor Blythely Oratonio.
Costanzo began fundraising promptly upon his arrival in June 2024,and it is from that point that the company is counting the beginning of the three-year campaign. Already, more than $18.7 million has been raised, which, Costanzo said, “for this kind of campaign, we’re incredibly excited about.”
Saturday night’s event added to the fundraising total, and tho net proceeds have not yet been totaled, it was the company’s highest grossing gala on record, a spokesperson said. The evening,dubbed vox Ex Machina,featured a partnership with Drexel University’s ExCITe Center and creative technologist Daniel Belquer.As singers sang and instrumentalists played, sounds were interpreted by a machine that produced artwork that was then auctioned off at an after-concert dinner at Reading Terminal Market.The company has embraced the view that it can’t cut its way to viability – that to survive it must grow both artistically and financially. Just before Costanzo took over, the season consisted of three productions for a total of nine performances.He increased the schedule this season to five productions and 18 performances, and with it, the annual budget.
To support that level of activity, the company will seek to augment its philanthropy. The campaign calls for continuing the $7 million being raised each year as part of the regular annual giving program, while adding $4 million in special fundraising per year.
The math: $11 million raised over three years = $33 million.
“$33 million is the starting goal. I hope we surpass that,” said Costanzo.
Opera Philadelphia’s recent contraction and financial challenges are a far cry from its position.