Academy of Music 155th Anniversary Concert and Ball


Major movers and shakers in Philadelphia’s economy were among the 1500 supporters at Saturday night’s 155th Anniversary Academy of Music Concert and Ball, including (left to right) Ron and Rachelle Kaiserman, Robert and Caroline Zuritsky, and Renee and Joe Zuritsky.

— by Bonnie Squires

Philadelphia’s premier white-tie event took place at the historic Academy of Music, preceded by receptions and dinner at the Park Hyatt at the Bellevue.

The Philadelphia Orchestra’s 155th Academy of Music Anniversary Concert and Ball featured the debut on the Academy of Music stage of. Music Director Designate Yannick Nézet-Séguin , with special guests multiple Grammy Award®-winners singer/pianist Diana Krall and cellist Yo-Yo Ma. Tipping its hat once again to the first Academy concert, the program was a mix of popular and classical music, just as the 1857 opening concert was.

Jazz performer Krall surprised the audience by calling back on stage her friend and collaborator, Yo-Yo Ma, to the delight of everyone.

More after the jump.


Terese Casey, wife of Senator Bob Casey, and Felice Wiener

Yannick also had the Philadanco dancers, reflecting the rainbow of colores which lit the stage and columns of the Academy, perform to the strains of the orchestra.  A surprise finish was the appearance of the Society Hill Dancers, dressed in formal attire of the 1850s, doing a waltz.

The Jewish community was among 1500 supporters of the Philadelphia Orchestra and the Academy of Music, an historic monument to music, opera and dance. The Gala evening began with a pre-concert dinner. Guests could choose from two exciting offerings this year: the President’s Cocktail Party and Dinner at the Park Hyatt at the Bellevue, or a Dine Around option, which allows patrons to dine at selected restaurants along the Avenue of the Arts, or on their own. In a nod to the Academy’s early years, and in a unique departure from recent history, both the Anniversary Concert and the Academy Ball were held entirely within the Academy of Music. A “symphony in three movements,” this unique evening gave attendees the chance to celebrate the “Grand Old Lady of Locust Street” within her very walls.

Public officials attending the evening included Governor and Mrs. Tom Corbett, Senator and Mrs. Bob Casey, a number of city and state officials, and corporate, cultural, arts organizations and philanthropic foundation leaders.


Christina and John Saler

The gala was co-chaired by Joanna McNeil Lewis, president and CEO of the Academy of Music,  and John R. Saler, chairman of Stradley and Ronon’s Government Affairs Practice Group, who also serves on the board of the Philadelphia Orchestra.


Corbetts greet Richard Worley, chairman of the Philadelphia Orchestra, with Joanna McNeil Lewis and John Saler, co-chairs of the Academy of Music Concert and Ball, in the background.

In the receiving line with the co-chairs and the Corbetts were Richard Worley, chairman of the Philadelphia Orchestra board of trustees, and Allison Vulgamore, CEO of the Orchestra.

The energy of Yannick, the Orchestra, the guest artists and the dancers enthralled the audience.  And the impressive program journal, reflecting the support of various segments of the community, was the parting gift as people finally left the Academy balls, held in various sections of the Grand Old Lady of Broad Street.

Photos credit: Bonnie Squires.


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Sandy and David Marshall, with Dianne and Jeff Rotwitt Scott and Lynne Mason with friends Pat and Rob Schaffer Harmelin Group

Open Letter to President of the Philadelphia Orchestra


— by Hannah Lee

Dear Ms. Vulgamore,

I write as a concerned music patron.  The recent decision to apply for Chapter 11 financial re-organization sets a troubling precedence in the music world and I wonder how Philadelphia would fare in the end?  Since that decision, I have been having weekly conversations with a source within the organization and I was moved to write by our latest chat yesterday.

Yes, we can be proud that the Philadelphia Orchestra is one of the top five in the nation (along with New York, Boston, Chicago and Cleveland), but I was amazed to learn that our orchestra also pays the highest salary of all these as well as the highest starting salary for the musicians (at $70,000, an unheard-of amount in the fine arts)!  Equally amazing facts to me are: the Orchestra does not perform or rehearse on Sundays; the 12-week vacations that some musicians enjoy; and the contracts that stipulate a full orchestra for each performance, necessitating substitute players and a huge substitute salary payroll.

More after the jump.
Yes, it does seem prudent to re-think these financial agreements, but what does it mean to throw all the previous years of labor negotiations out the window?  Could every other cultural organization take this “easy” way out of financial difficulties?  What obligations to your employees (and your paying patrons) remain?  But what about the unwieldy 60-member administrative staff?  And why are you still interviewing candidates for the following positions (as listed on your website): Director, Foundations and Government Relations; Institutional Giving Coordinator; Group and Corporate Sales Coordinator; Operations Coordinator; and Education and Community Partnerships Coordinator?  I do note that the part-time position as receptionist is non-paying.

How could you think of retiring Peter Nero, the energetic, two-time Grammy-award-winning pianist and director of the Philly Pops– under the same management as the Philadelphia Orchestra- for 30 years?  His much younger colleague, James Levine, has been suffering from debilitating back troubles, but he has been allowed the liberty and respect to choose when to withdraw from his multiple duties as conductor and music director of the Metropolitan Opera and the Boston Symphony.

I read in Sunday’s Inquirer that the Orchestra will have an abbreviated season at the Mann this summer, because of its previously planned European tour.  Add this fact to the uncertainty over whether there will be a fall season and you leave your patrons puzzled and frustrated.  Do remember that Philadelphia lies within an easy commute to New York and even Washington, so some of your music-loving patrons could choose to leave the city for their listening pleasure.

While I have your ear, could I also add that the Orchestra’s move to the Kimmel Center has about doubled the ticket prices beyond the affordability of the average family with children?  No wonder that your concerts as seen from the stage are often a sea of senior faces with glasses.  What are your obligations to your patrons?  To nurturing a music audience for the future?

If yours were a Jewish organization, I would say shanda for shame.  You are a world-class cultural institution, so conduct yourself with world class.

Sincerely,
Hannah Lee