Document

design package

Client:Rosenwald-Wolf GalleryUniversity of the Arts320 South Broad St.Philadelphia, PA 19102

Designer:Victoria Jones1115 Walnut St. 3rd Fl.Philadelphia, PA [email protected](616)283-5432

Date: 12/17/2009

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t Design Package

Rosenwald-Wolf GalleryUniversity of the Arts

Victoria JonesMuseum Exhibition Planning and [email protected](616)283-5432

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Table of ContentsIntroduction 3Overview 3-5Audience 6Mission & Goals 7Bubble Diagram 8Look & Feel 9Design Vocabulary 10Thematic Section Plan 11Walkthrough 12-14Demolition Plan 15Partition Plan 16Plan 17Drawing Plan 18Lighting and Electrical Plan 19Axonimetric View 20Exhibition Drawings 21-33Elevations 34-36Construction Documents 37-41Logo & Colors 42Typical Graphics 43-49Graphic Schedule 50-51Element Schedule 52-54Budget 55

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OverviewThe exhibition will consist of nine sections, each designed to draw in visitors and create interest and excitement in opera, opera-making and opera-going.

Section 1. Threshhold/ Entrance AreaThis section will be geared towards drawing in visitors and piquing their interest as they pass the entrance on their way to and from classes. Its main element will be a sculptural wall with an LED wallpaper and flatscreen television. The wallpaper and television will be programmed to function in concert and catch the eye of passerbys. The video playing will be a trailer for the operas on view in Philadelphia, much the way that the Metropolitian Opera in New york posts trailers for each of its performances on its website.

Introduction This exhibition seeks to address a growing problem for performing arts venues in America, that of attracting and retaining younger audiences. The location of the Rosenwald-Wolf Gallery is ideal for addressing this issue, since it is situated in the middle of the Avenue of the Arts, since it is directly accross the street from many performance venues, (including the oldest opera house in America still in use for opera) and most importantly, since it has a natural audience of college-aged youths, particularly youths who already demonstrate an interest in the arts, in performance, and in cultural production. This project focuses on the history of opera production in Philadelphia because this city has a rich history of operatic performance that is often overlooked. The main goal of the exhbition will be to get its visitors accross the street and experiencing an opera for themselves. This mission meshes perfectly with the Rosenwald-Wolf Gallery’s own mission of interpreting “topics relating to arts and culture” and “engag[ing] its university community.”

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Section 2. Opera-GoingThis section will focus on the cultural implications of visiting an opera at different points in Philadelphia’s history. Its main feature will be a set of manniquins dressed in reproductions of outfits appropriate to opera visitation from different points in time. Included will be two manniquins featuring contemporary outfits that might be worn by a young person today. Also in this section will be a case of opera-going accessories and graphic reproductions of two of Mary Cassatt’s paintings about opera-going.

Section 3. Opera SingersThis section will focus on four opera singers important to Philadelphia, telling compelling stories about their lives with photographs and audio. Some artifacts will be included as appropriate. The personalities featured have been chosen to represent a variety of people, time-periods and experiences, but common themes will link their stories together.

Section 4. Behind the ScenesThe fourth section will look at those people and institutions behind the scenes of opera, such as composers, librettists, impressarios, schools, set designers and opera houses. It will feature more personal stories, two set scenes with reproduction costumes, and a set of models of opera venues in Philadelphia.

Section 5.TimelineThe timeline in section 5 will give visitors a chance to see the chronology of opera in Philadelphia and learn interesting facts that may not fit in with the personal stories chosen elsewhere. It will also be a place to reinforce the learning which has happened elsewhere in the exhibition.

Section 6. Theater ExperienceThe theater experience will be the focal point of the exhibition, and will be the site of several activites. Not only will visitors be able to view HD screenings of opera performances, as is sometimes done in

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movie theaters, they will be able to try their hand at opera in an opera karaoke experience, as well as meet occasionally with professional opera singers to learn their stories and get advice about their future careers.

Section 7. Opera NowThis section will focus on up-to-the-minute opera events in the Philadelphia region. It will feature posters of operas which are currently, or will soon be, performed, as well as tips and advice for unexperienced visitors looking to attend an opera. It will also feature the story of Stephen Costello, a recent alumnus of the University of the Arts who is an up-and-coming opera singer, a list of any classes in opera being offered the following semester, and a station where visitors can download opera music onto their mp3 players to listen to later. This section will provide visitors both with a role model for opera, and also with things that they can do immediately to participate in opera.

Section 8. Exit Experience This section will feature a paper chandelier in the style of Ingo Maurer’s Zettle Z lamp. The chandelier will be made up of slips of paper on which visitors have written comments about their opera experiences. The chandelier will be visible from the street, and catch the interest of passer-by.

Section 9. Student ArtThe final area will be set aside for student artwork about opera and the opera-going experience. This artwork could be created by a class of students, comissioned directly from students or created as part of a contest. Artwork could be rotated throughout the length of the exhibition, or stay for the duration, depending on the number of pieces submitted. Leaving space for student art will help to give students a personal connection to the exhibition and to opera. Ideally the students will research and experience an opera as part of their research for their artwork, encouraging learning outside of the exhibition as well as inside.

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Audience In 2002, 25.3% of the U.S. opera audience was under the age of 35 years old, (Source: National Endowment for the Arts) but that age bracket makes up 47.8% of the American population. (http://www.census.gov) This exhibition seeks to target this under-represented audience and encourage them to participate in viewing or creating opera in the future. Philadelphia Opera will be targeted towards University of the Arts undergraduate and graduate students, and will have a secondary audience of tourists and other visitors to the Philadelphia area. University of the Arts students already demonstrate interest in performance, spectacle, drama, music and the arts, making them an ideal pool to reach out to.

http://uartsjournals.com

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Mission & GoalsMISSION Philadelphia Opera will present opera to an audience of young adults, educate them about its history here in Philadelphia, and inspire them to participate in viewing or producing opera in the future.

GOALS Visitors who would not previously have considered going to an opera (especially those between the ages of 17 and 35) will feel inspired to see an opera in the future.

Visitors to this exhibition will feel pride in the role that Philadelphia has had on opera in America.

OBJECTIVES Visitors will be able to name at least two of Philadelphia’s important opera institutions.

Visitors to Philadelphia Opera will understand basic opera terminology including: libretto, aria, operetta and recitative.

After the exhibition, visitors will be able to name at least two of the Philadelphian opera singers, composers, or aficionados discussed in the exhibition.

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Bubble Diagram

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Look & Feel

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Design Vocabulary

Opera

Opera

Ma

ria

nA

nderson

Opera

Eliz

ab

eth

Greenfield

Opera

A collage of images illustrating the aesthetic of the exhibitionNTS

Aesthetic will draw on inspiration from traditional opera houses, but blend this older feel with a clean, modern aesthetic, especially through abstracted forms, such as the red ribbon motif. Design will draw inspiration from the neo-baroque trend in current interior design.

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Thematic Section Plan

1 2 3 4

5

67

9

1. Entrance/Threshold2. Visiting the Opera3. Opera Singers4. Behind the Scenes5. Timeline6. Theater Experiences7. Opera Now8. Exit Experience9. Student Art

8

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Walk-through Caroline enters the Anderson building, unusually early for class today. As she passes the door to the Rosenwald-Wolf Gallery on her right, she notices something unusual--”did that wall inside just start glowing?” she wonders. Curious, she shoulders her bag and enters the gallery. “The wallpaper really is lighting up in some kind of pattern!” She leans forward to get a better look at the wall when suddenly the last piece of the pattern lights up and the flatscreen hanging on the wall springs to life. In an action-packed thirty seconds or so she watches a dramatic sequence of clips from recent operas in Philadelphia-- “Hey, this isn’t quite what I expected an opera to look like,” she thinks.

The student notices several mannikins arranged down the ramp nearby and moves to walk amongst them. She pauses to examine some of the historical replicas of opera cloaks and dresses which the mannikins are sporting. Included in these mannikins are a pair dressed in contemporary outfits that one might wear to the opera today. “I think my sister has that dress,” she muses.

Caroline wanders past a nearby case filled with opera accessories such as kid gloves and opera glasses to look at reproductions of two of Mary Cassatt’s paintings of opera-goers. She glances at the label, “It’s interesting how just going to the opera was such a big deal back then.”

Caroline takes a sip of her latte and approaches a display nearby, featuring the life of acclaimed opera singer Marian Anderson. “Wow,” Caroline thinks,”It’s amazing how she was able to find such success in the face of adversity.” Curious to know what Marian’s voice sounded like, Caroline presses one of the buttons on the reader rail and listens to the audio broadcast of Marian’s famous concert at the Lincoln

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Walk-throughMemorial. While she is listening, Caroline reads more about the event on the reader rail.

Next, she reads about and listens to a recording of Mario Lanza. Caroline notices a video of musical instruments playing and is drawn into the next area. Here she reads a bit about Oscar Hammerstein I and the Metropolitan Opera House here in Philadelphia. Then, she takes a seat and listens to music by Philadelphia natives, as well as composers who lived or went to school here, such as Gian Carlo Menotti, one of the first people to bring opera to television.

From here, Caroline is drawn to a pair of large dioramas placed side by side. On one there is a very traditional-looking set with a painted backdrop, “gas” footlights and a red velvet curtain, here Caroline reads about early set design in America and Carlos Ciceri (one of the first professional set designers in America) and his work here in Philadelphia. On the other side is a diorama depicting the set from the recent Philadelphia production of Madama Butterfly, she learns how it was designed by a contemporary artist named Jun Kaneko. She also is interested to learn about the other interesting ways that Madama Butterfly is tied to Philadelphia-- how the writer of the original story was from here, and how it was one of the first operas that Marian Anderson ever heard.

Before entering the theater area, Caroline stops to look at the models of various Philadelphia theaters. “Wow!” she thinks, “Philadelphia’s Metropolitan Opera House is so big compared to some of these... and I also didn’t know that the Academy of Music is the oldest grand opera house still in use in America!”

Caroline reads the instructional sign outside of the theater and then enters it to find it set up and ready for some

fne! Wafne! ...Woe! Woe! ...

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Walk-throughOpera Kareoke. Tentatively she steps up onto the stage and takes the microphone off of the hook, triggering the device to come on. Not sure if she’s ready for opera, she notices that several musicals and a few rock operas are also on the list. After a reassuring start with a song from Phantom of the Opera, Caroline decides to try one of the songs she heard Marian Anderson sing earlier in the exhibition. The interactive gives her tips on operatic singing before she begins and shows her how she is doing as she sings. Pleased with her efforts, Caroline moves out of the theater, and browses the posters about upcoming operas that line the far wall. “Maybe I will go to one of these,” she thinks wistfully.

Caroline checks out the last of the featured personalities, “This one is a Uarts alumnus,” she notes with interest. After reading about Stephen Costello, she downloads a song by him onto her ipod, as well as a podcast of other opera tunes to listen to later.

Before she exits, Caroline stops at the last exhibit- a chandalier made out of students’ experiences with opera. She reads a few before taking a slip of paper from the nearby table and adding her own. “I’m definitely going to check out one of those operas that are coming up,” she thinks as she makes her way out.

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Demolition Floorplan

Demolition PlanScale: 1/8” = 1’ 0”

Symbol Meaning

Wall To be Demolished

A.01

Platform To be Demolished

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Partition Plan13'-7 3

/8"

11

'-9 5

/8"

4'-0 1/2" 4'-10 1/2" 6'-8" 3'-5 3/8" 4'-2 1/4" 5'-6"

10 7

/8"

3'-4 3/4"

14'-4"

6'-5

3/4

"7

'-7

1/2

"

8'-2 1/2"

6'-2

1/4

"

5'-7" 1'-0"

1'-10 3

/4"

7'-10"

29'-1 1/4"

2'-0

"

9'-7

3/4

"

2'-5

7/8

"

9'-10 1/4"

1'-10 5/8"

Raised Platform

5"

Stage Display Platform

2'8"

Stage Platform

6"

Model Display Platform

2'8"

RAMP DOWN

Partition PlanScale: 1/8” = 1’ 0”

Symbol Meaning

New Partitions

New PlatformTitle

Elevation

A.025

'-8

"

5'-6

"

5'-11"

2'-0 3/4"

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Plan

PlanScale: 1/8” = 1’ 0”

A.03

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Drawing Plan

PlanScale: 1/8” = 1’ 0”

E.0

2

E.01

E.0

3

E.0

4

E.0

5

E.0

6

E.0

7

E.08

E.0

9

E.10 & E.11

E.12

E.13

E.1

4

E.1

5

E.16

E.16

E.1

9

E.1

9

E.18

E.18

E.20

E.20

E.1

7

E.1

7

Symbol Meaning

Perspective View

Elevation View

E.12

E.16

E.16

A.04

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Lighting and Electrical Plan

Lighting PlanScale: 1/8" = 1'-0"

Symbol Meaning

Electrical Outlet

Track with Trackhead

Theatrical Truss

Chandalier

Monopoint inside case

LED WallpaperLighting PlanScale: 1/8” = 1’ 0”

Antique-style Footlight

A.05

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Axonimetric ViewAxonimetric View of ExhibitionNorth East

1. Entry Experience

2. Going to the Opera

3. Opera Singers

4. Behind the Scenes

5. Timeline

6. Theater

7. Opera Now

8. Exit Experience

9. Artwork from Students

A.06

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Exhibition Drawings

Left:E.01View into the front window of the comment chandalierElevationScale: 3/16” = 1’0” E.01

Right:Rendering of the comment chandelierPerspectivents

Notes:Luminere to be custom made, modeled after the Zettle Z by Ingo Mauerer, but of construction durable enough to handle use by visitors.

Materials:1/4” = 1/2” thick steel rods5” x 7” sheets of japanese paper, or similar substitute3/4” Binder Clips2” - 3” thick steel pipe to suspend luminere from ceilingWiring, socket, etc.

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Exhibition DrawingsView of Section 1 showing LED wallpaper feature and two eveningwear replicas.Perspectivents

Ecco Luce Personalized Light Wall byhttp://www.jonassamson.com/or comparable solution5’6” wide x 13’0” tallCustom pattern

E.02

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Exhibition DrawingsView of Section 2, showing reproductions of opera-going outfits and the opera accessories case.Perspectivents

E.03

Notes:

Floor to be brazilian cherry laminate flooring of sufficient quality to withstand exhibition use.

All mannequins to be Tom Spina Design’s deluxe poseable mannequins: headless with steel grey flock finish

Male 5’ 10” tall, 36” chest Female 5’ 7.5” tall, 32.5” chest

Paint:Benjamin Moore Classic Colors Aged Bronze #231 (Areas to be demphasized) Leap of Faith #210 (Main wall color) Yellowstone #202 (Accents) Vellum #207 (Trim and Frames) Ryan Red #1314 (Ribbon, when it is on wall) Graphics:Digital output mounted onto gatorfoam and attached to wall with z-clips (Monarch Metal Fabrication, Inc. or equivalent)

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Exhibition DrawingsView of section 3 showing Marian Anderson and Elizabeth Greenfield.Perspectivents

E.04

Notes:

Reader Rail Materials: Chemetal Mettle Mica in Satin Bronze Aluminum #912 Bent, extruded steel powder coated to match Benjamin Moore Ryan Red #1314 Graphic Panel Glass or plastic protective surface Audio components: Buttons, digital audio repeater, small commercial grade speakers and all necessary wires and components, etc. See construction documents for more details

Trim: See construction documents for trim profiles

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Exhibition DrawingsView of Section 4 showing the Philadelphia composer and librettist listening station and Gian Carlo MenottiPerspectivents

E.05

Notes:

All chairs to be Eames Molded Plastic Side Chair in Red Orange or similar equivalent approved by designer.http://www.dwr.com

Audio Station: Television to be LG 42lg30dc Digital video repeater and necessary buttons, cables, etc.

Small holder next to audio station contains laminated copies of the scores played at the audio station, for those visitors able to read music.

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Exhibition DrawingsView of Section 4 showing the traditional set design side of the stage areaPerspectivents

E.06

Notes:

Footlights W.T.Kirkman Oil & Electric Lanterns Climax “Foot Light” #2-FL Polished Brass 12” Height 3 watt flicker bulb

Painted backdrop To be fabricated

Red curtain, and all reproductions of costumes and outfits to be created or sourced by contracted, experienced, costume designer/stitcher

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Exhibition DrawingsView of Section 4, the contemporary side of the stage display featuring costumes from the recent production of Madama ButterflyPerspectivents

E.07

Notes:

Costumes to be loaned from the Opera Company of Philadelphia

Set to recreate the feel of the 2009 set for Madama Butterfly designed by Jun Kaneko

Paint on walls and stage: white and black

Truss Lighting to be Pegasus Associates LightingTheatrical Low Voltage MR16 Halogen Track LightingItem # PCTL-9016-xwith colored gels mounted onto a decorative steel truss framework

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Exhibition DrawingsView of section 4, showing the models of Philadelphia area opera venuesPerspectivents

E.08

Notes:

Models will be created of quality acrylics or other suitable materials and be durable enough to allow visitors to touch them if they wish.

Visitors will be able to see the interior and exterior of the theaters, due to open tops or to one open side.

Models will all be to the same scale to allow for comparison.

Images of the actual theaters, where available, will be hung on the walls behind.

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Exhibition DrawingsViews of Section 6, showing the interior of the theater. E.09 and E.10 show the screen in, and not in use.Perspectivesnts

E.09 and E.10

Notes:

Theater experience will require components for all three experiences: HD Opera screenings, Opera karaoke, and talks with professional singers.

Screen is Silverstar by Vutec 92” HDTV Format screen

Projector is dVision 30 Series in 1080p

Speakers are Soundtube Entertainment SM400i Surface-mounted speakers

Microphone is Heil Sound PR 22 Noise-Rejection Microphone

Computer and other components as necessary for completion of requirements

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fne! Wafne! ...Woe! Woe! ...

Exhibition DrawingsViews of Section 6, E.12 shows the theater from the side and E.11 shows the rear of the theater from the stage.Perspectives nts

Notes:

Television in the back to be a LG 42lg30dc positioned to be read from the stage as visitors perform opera karaoke.

Red ribbon to be fiberglass matching Ryan Red #1314 in color

Chairs to be Eames Molded Plastic Side Chair in Red Orange or similar equivalent approved by designer.http://www.dwr.com

Red floor mat to be bright red rubber similar to image below:

Fluid Stairway by Bosch & Fjord

E.11 and E.12

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Exhibition DrawingsView of section 7, Opera Now, showing posters for current and upcoming opera events.Perspectivesnts

Notes:

Posters to be loaned/donated by local opera institutions

Posters will be of opera events currently, as well as those soon to be, in the Philadelphia area. Posters may be rotated as necessary during the exhibition.

E.13

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Exhibition DrawingsView of Section 7, Opera Now, showing Stephen Costello and the podcast station.Perspectivents

Notes:

Podcast station to house UMPC - 7 inch windows xp touch screen computer mini pc

Also housed will be the most commonly used cables for connecting an mp3 player to the computer. Potentially, unit will also be capable of wireless data transfer.

Visitors will be able to choose one of three different podcasts.

E.14

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Notes:

Rectangular corkboard with pins against north wall (shown in orange) in case comments exceed capacity of chanelier.

LOUISA baroque style side table will hold blank slips of paper, writing utensils and clips.

Big label will give instructions for the chadelier and any final information about ways to participate in opera, such as classes available the following semester or how to participate in the student art projects in the window boxes.

Exhibition DrawingsView of Section 8, showing the shadows cast by the comment chandalier.Perspectivents

Photos of the Zettle’z luminere by Ingo Maurer upon which the chandalier will be modeled.

E.15

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Elevations

North Wall ElevationSections 1, 2, 3, 4 and 81/8” = 1’ E.16 & E.17

E.16

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East Wall ElevationSection 41/8” = 1’

Elevations

South Wall Main Elevation, theater interiorSections 4, 6 and 71/8” = 1’

E.17 and E.18E.18

E.17

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West Wall Interior ElevationSections 7 and 81/8” = 1’

E.20

Interior of theater- NorthSection 61/8” = 1’

E.19

Elevations

E.19 and E.20

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10'-0 1

/2"

8'-6

7/8

"

3'-2

"

2'-10 1

/8"

Audio Spot Placement and WiringScale: 3/4" = 1'-0"

Tray of Silica Gel

Hatch opens to allow access to silica gel tray and to wiring for audio station

Audio Spotlight, if echoes prove problemmatic during testing, a 4” speaker will be directed at the visitor instead

Audio SpotlightPlacement and

Wiring

Scale: 3/4” = 1’0”

Audio Spotlight cables (indicated in blue)

Detail of Hatch OpeningScale: 3/4" = 1'-0"

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1'-2

1/2

"1

1/4

"

Mario Lanza Conservation MeasuresScale: 3/4" = 1'-0"

Tray of Silica Gel

Large ventilation holes concealed by artifacts let dry air into the viewing area

Interior will be sealed with Marvelseal; interior could be subdivided to provide a separate audio section, if necessary.

Medite will be used to face construction within the air chamber and display area

Small hole for audio cables will be sealed tightly around them

Conservation Measures

(Mario Lanza)Scale: 3/4” = 1’0”

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8'-2

3/8

"

4'-4

3/8

"

6 3

/8"

3'-1

1/2

"8

1/2

"

Accessories CaseScale: 3/4" = 1'-0"

Side ViewAccessories Case

Scale: 3/4” = 1’0”

Tray of Silica Gel

Removeable Bottom for Silaca Gel Access

Object Mount

Light Attic

Case walls of Medite, sealed with Marvelseal

Front hinges opens to access interior Accessing the Silica Gel

1. Open the front 2. Remove objects from the bottom 3. Remove bottom of case

1.

2.

3.

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1'-0"

2'-5

1/4

"

4"

1'-0 1/4"

Reader rail’s leg will be composed of steel bent at the bottom to form the foot. Steel legs will be powder coated to match Ryan Red #1314 paint.

8'-8"

Reader rail will be finished with Chemetal Satin Bronze Aluminum.

Surface of graphic will be protected by a sheet of clear acrylic with holes drilled into it for the audio station buttons.

Side ViewReader Rail

Scale: 1” = 1’0”

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2”

1” 1” Side ViewProfile of Trims

Scale: Actual Size

3”

1”

Top and Middle Trim Profile

BottomTrim Profile

1”

3/4”

Service Hatch/ Decorative Rectangle

Trim Profile

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Logo

ColorsC 26M 35Y 78K 2

C 34M 45Y 87K 11

C 3M 4Y 25K 0

C 100M 100Y 25K 25

C 20M 96Y 100K 11

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Typical Graphics- Reader Rail

ttInspirationFuture Generations

Un ballo in mascheraThe first opera given by the Metropolitan in New York to feature an African-American performer

The opera opened January 7th 1955 with Marian playing the role of Ulrica, a fortune teller. (right)

Listen to Marian discussing her debut at the Metropolitian Opera House in New York (5 min)

Listen to a more detailed biography of Marian’s Life (5 min)

Listen to Blanche discuss Marian (3 min)

Listen to Marian sing “Mon coeur s'ouvre à ta voix" (3 min)

By Giuseppe VerdiCivil Rights

Listen to clips from the broadcast of this performance (10 min)

Washington D.C. Marian’s fame as a singer allowed her to make important political contributions.

Throughout Marian’s lifetime she refused to let anyone hold her back from her dreams--with wonderful results. In addition to being the first African-American to perform with the Metropolitan Opera, she also became the first African-American to perform at the White House.

In 1939 Marian’s manager, Sol Hurok, tried to book Marian at Constitution Hall. The Daughters of the American Revolution, who owned the building, refused to let her perform because of her race. In response, Interior Secretary Harold Ickes arranged for Marian to perform at the Lincoln Memorial. At a time when segregation was still in place, a crowd of 75,000 gathered to hear her sing and the performance was broadcast via radio to homes around the nation. After this momentus performance, the DAR recanted and invited Marian to perform in Constitution Hall.

Marian mentored a young woman named Blanche Burton-Lyles who became the first African-American female to play with the New York Philharmonic Orchestra, as well as the first African-American graduate of the Curtis Institute.

Marian Anderson played an influential role in Blanche’s musical career. It was Marian who reccommended Blanche to the Curtis Institute. They took her on an unlimited scholarship at the age of 11. When Blanche was 14 she entered and won the Young Audiences Competition run by the New York Philharmonic Orchastra. To celevbrate, Marian invited Blanche over to her house to listen to the official radio announcement of her victory.

Despite support from Marian and from her family, as an African-American woman Blanche found it impossible to advance her career as a classical pianist. Eventually she decided to pursue a different musical course and became a music teacher. Today Blanche is the Founder and President of the Marian Anderson Historical Society.

Photos: Explabo. Daeria el mos excearchil etur, et ius expla consequos de officim peraeptam quias mos et minis esti doloratus. Delendipsae preseditia doluptatiam, solorei tisquam, aliquiamendi quis sum doluptate videndam.


Photos: Explabo. Daeria el mos.

58”

13”

The Reader Rails will provide information about important events or other details related to the featured personalities and topics. They will also provide access to the audio information, the most detailed level of information in the exhibition.

Number of Reader Rails: 9

ttInspirationFuture Generations

Un ballo in mascheraThe first opera given by the Metropolitan in New York to feature an African-American performer


Listen to Marian discussing her debut at the Metropolitian Opera House in New York (5 min)

Listen to a more detailed biography of Marian’s Life (5 min)


Listen to Marian sing “Mon coeur s'ouvre à ta voix" (3 min)

By Giuseppe VerdiCivil Rights

Listen to clips from the broadcast of this performance (10 min)

Washington D.C. Marian’s fame as a singer allowed her to make important political contributions.

Throughout Marian’s lifetime she refused to let anyone hold her back from her dreams--with wonderful results. In addition to being the first African-American to perform with the Metropolitan Opera, she also became the first African-American to perform at the White House.

In 1939 Marian’s manager, Sol Hurok, tried to book Marian at Constitution Hall. The Daughters of the American Revolution, who owned the building, refused to let her perform because of her race. In response, Interior Secretary Harold Ickes arranged for Marian to perform at the Lincoln Memorial. At a time when segregation was still in place, a crowd of 75,000 gathered to hear her sing and the performance was broadcast via radio to homes around the nation. After this momentus performance, the DAR recanted and invited Marian to perform in Constitution Hall.

Marian mentored a young woman named Blanche Burton-Lyles who became the first African-American female to play with the New York Philharmonic Orchestra, as well as the first African-American graduate of the Curtis Institute.

Marian Anderson played an influential role in Blanche’s musical career. It was Marian who reccommended Blanche to the Curtis Institute. They took her on an unlimited scholarship at the age of 11. When Blanche was 14 she entered and won the Young Audiences Competition run by the New York Philharmonic Orchastra. To celevbrate, Marian invited Blanche over to her house to listen to the official radio announcement of her victory.

Despite support from Marian and from her family, as an African-American woman Blanche found it impossible to advance her career as a classical pianist. Eventually she decided to pursue a different musical course and became a music teacher. Today Blanche is the Founder and President of the Marian Anderson Historical Society.




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Typical Graphics- Reader Rail

tInspirationFuture Generations

Un ballo in mascheraThe first opera given by the Metropolitan in New Yfeature an African-American performer


Listen to a more detailed biography


By Giuseppe VerdiMarian mentored a young woman named Blanche Burton-Lyles who became the first African-American female to play with the New York Philharmonic Orchestra, as well as the first African-American graduate of the Curtis Institute.

Marian Anderson played an influential role in musical career. It was Marian who

reccommended Blanche to the Curtis Institute. They took her on an unlimited scholarship at the age of 11. When Blanche was 14 she entered and won the Young Audiences Competition run by the New York Philharmonic Orchastra. To celevbrate, Marian invited Blanche over to her house to listen to the official radio announcement of her victory.

Photos: Explabo. Daeria el mos. tInspirationFuture Generations



Listen to Blanche discuss Marian


Marian Anderson played an influential role in Blanche’s musical career. It was Marian who reccommended Blanche to the Curtis Institute. They took her on an unlimited scholarship at


Bodoni SvtyTwo SC ITC TT Book 115 pt


Bodoni Bold Italic 26 pt

Bodoni Roman 19 pt

Bodoni Italic 18 pt


ACTUAL SIZE CLIPPINGStInspirationFuture Generations



Listen to a more



Marian Anderson played an influential role in Blanche’s musical career. It was Marian who reccommended Blanche to the Curtis Institute. They took her on an unlimited scholarship at the age of 11. When Blanche was 14 she entered and won the Young Audiences Competition run by the New York Philharmonic Orchastra. To celevbrate, Marian invited Blanche over to her


Bodoni Italic 22 pt

Titles

Subtitles

Summary/Introduction

Body Copy

Photo Credits

Audio Description

Audio Clip Length

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Typical Graphics- Timeline


200”

13”

Actual Size

See Object Label on Next Page

The Timeline will provide a more comprehensive information-gathering experience, giving the visitors an understanding of when the people mentioned in the exhibition were alive and when important events occurred. It will use the same format as the Object Labels for the flags indicating various events.

Number of Timelines: 1

1700 1800 1900 2000Object LabelDateInformation, Facts and things to know. Philadelphia Opera.

Object LabelDateInformation, Facts and things to know. Philadelphia Opera.
















Century Markers

0

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Typical Graphics- Object Label


5”

3”

Actual Size



Bodoni Roman 21 pt

The Object Labels will give basic factual information, such as name of the object, the date, and the single most important fact condensed into a brief sentance.

Number of Object Labels: 15

Title

Date

Information

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MarianAndersonThe first African-American toperform with the Metropolitan Opera in New York

Born and raised in South Philadelphia, Marian first begain singing in the choir of the Union Baptist church. The congregation there, recognizing her talent, created a fund dedicated to providing her with vocal instruction.

After high school, Marian applied to the Philadelphia Music Academy, (now a part of the University of the Arts) but was denied because of her race. Undaunted, she continued her studies with private tutors before winning a singing contest and a chance to sing with the New York Philharmonic.

From this point her career began to take off--she toured extensively in both the United States and in Europe, where she found a reprieve from the racial tensions of the time. Before her death in 1993 she had performed for several presidents, become a delegate for the United Nations, and been awarded the Presidential Medal of Freedom.

Typical Graphics- Tall LabelThe tall label will provide an overview of the person or topic at hand. The first two lines will give the name of the topic, the next sentance the most important point, and the following three short paragraphs will give the summary of the information.

Number of Tall Labels: 15

11”

MarianAndersonThe first African-American to perform with the Metropolitan Opera in New York

Born and raised in South Philadelphia, Marian



Born and raised in South Philadelphia, Marian first begain singing in the choir of the Union Baptist church. The congregation there, recognizing her talent, created a fund dedicated

ACTUAL SIZE CLIPPINGS





Bodoni Roman 32 pt

28”Titles

Subtitles

Summary/Introduction

Body Copy

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Typical Graphics- Long LabelThe long labels will be used in situations where a reader rail is not neccessary, they will give short paragraphs of information and/or allow access to audio content. Fonts are the same size as on the Tall Label.

Number of Long Labels: 5

ElizabethGreenfieldClick the Buttons to hear more about Elizabeth Taylor Greenfield

Listen to more about Elizabeth’s time in Europe, and her Performance for Queen Victoria (5 min)

Listen to contemporary reviews of Elizabeth’s singing(7 min)

As she pursued her singing career, Elizabeth, like many African-Americans, found European audiences to be much more receptive to her performances than American audiences. American audiences tended to be more racially prejudiced, limiting opportunities for African-American performers.

Elizabeth’s wide vocal range and the quality of her voice impressed her audiences so much that she was often compared to the most famous singer of the time, “The Swedish Nightengale” Jenny Lind. Perhaps as a result, she developed the nickname “The Black Swan.”

48”

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The first African-American to perform with the Metropolitan Opera in New York

Born and raised in South Philadelphia, Marian first begain singing in the choir of the Union Baptist church. The congregation there, recognizing her talent, created a fund dedicated to providing her with vocal instruction.

After high school, Marian applied to the Philadelphia Music Academy, (now a part of the University of the Arts) but was denied because of her race. Undaunted, she continued her studies with private tutors before winning a singing contest and a chance to sing with the New York Philharmonic.

From this point her career began to take off--she toured extensively in both the United States and in Europe, where she found a reprieve from the racial tensions of the time. Before her death in 1993 she had performed for several presidents, become a delegate for the United Nations, and been awarded the Presidential Medal of Freedom.

Opera in PhiladelphiaWelcome...

Typical Graphics- Big LabelThe big label will give basic information in three places inside the exhibition, it will welcome visitors in the introductory area and introduce them to opera, it will tell them about the experiences that they can choose from in the theater experience and it will be seen a final time, at the end, where it encourages visitors to add to the comment chandalier and to go out and experience opera.

Number of Tall Labels: 3

Bodoni SvtyTwo SC ITC TT Book 250 ptTitles

Bodoni SvtyTwo SC ITC TT Book 100 ptSubtitles

Bodoni Bold Italic 59 ptSummary

Bodoni Roman 143 ptBody

30”

40”

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Graphics ScheduleCode Name Location Type FabricationG.1.A.1 Introduction Entrance Area Large Text Panel Digital PrintG.2.B.1 What to wear? Opera-going Reader Rail Digital PrintG.2.C.1 Interior of Opera House Opera-going Large Wall Image Digital PrintG.2.D.1 Opera Program Opera-going Object Label Digital PrintG.2.D.2 Opera Hat Opera-going Object Label Digital PrintG.2.D.3 Opera Glasses Opera-going Object Label Digital PrintG.2.D.4 Kid Gloves Opera-going Object Label Digital PrintG.2.E.1 Opera Accessories Opera-going Tall Label Digital PrintG.2.F.1 Cassatt Paintings Opera-going Long Label Digital PrintG.3.B.1 Mario Lanza Opera Singers Reader Rail Digital PrintG.3.B.2 Marian Anderson Opera Singers Reader Rail Digital PrintG.3.C.1 Adelina Patti Image Opera Singers Wall Image Digital PrintG.3.C.2 Mario Lanza Image Opera Singers Wall Image Digital PrintG.3.C.3 Elizabeth Greenfield Opera Singers Wall Image Digital PrintG.3.C.4 Marian Anderson Opera Singers Wall Image Digital PrintG.3.D.1 Mario Lanza Record 1 Opera Singers Object Label Digital PrintG.3.D.2 Mario Lanza Record 2 Opera Singers Object Label Digital PrintG.3.D.3 Mario Lanza Record 3 Opera Singers Object Label Digital PrintG.3.E.1 Adelina Patti Overview Opera Singers Tall Label Digital PrintG.3.E.2 Mario Lanza Overview Opera Singers Tall Label Digital PrintG.3.E.3 Elizabeth Greenfield Overview Opera Singers Tall Label Digital PrintG.3.E.4 Marian Anderson Overview Opera Singers Tall Label Digital PrintG.3.F.1 Adelina Patti Information Opera Singers Long Label Digital PrintG.3.F.2 Elizabeth Greenfield Information Opera Singers Long Label Digital PrintG.4.B.1 Oscar Hammerstein I Behind the Scenes Reader Rail Digital PrintG.4.B.2 Gian Carlo Menotti Behind the Scenes Reader Rail Digital PrintG.4.B.3 Charles Ciceri, Set Design, Early Women Libretisists Behind the Scenes Reader Rail Digital PrintG.4.B.4 Madama Butterfly, John Luther, Set Design Behind the Scenes Reader Rail Digital PrintG.4.B.5 Opera Venues in Philadelphia Behind the Scenes Reader Rail Digital PrintG.4.C.1 Academy of Music Then Behind the Scenes Wall Image Digital PrintG.4.C.2 Academy of Music Now Behind the Scenes Wall Image Digital PrintG.4.C.3 Metropolitan Opera House in Philadelphia Behind the Scenes Wall Image Digital PrintG.4.C.4 Opera Schools in Philadelphia Behind the Scenes Wall Image Digital PrintG.4.D.1 Model of Academy of Music Behind the Scenes Object Label Digital Print

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Graphics ScheduleG.4.D.1 Model of Academy of Music Behind the Scenes Object Label Digital PrintG.4.C.2 Model of Metropolitan Opera House in Philadelphia Behind the Scenes Object Label Digital PrintG.4.D.3 Model of the Chestnut Street Theater Behind the Scenes Object Label Digital PrintG.4.D.4 Model of the Walnut Street Theater Behind the Scenes Object Label Digital PrintG.4.D.5 Model of the Southwark Theater Behind the Scenes Object Label Digital PrintG.4.E.1 William Henry Fry Overview Behind the Scenes Tall Label Digital PrintG.4.E.2 Oscar Hammerstein I Overview Behind the Scenes Tall Label Digital PrintG.4.E.3 Gian Carlo Menotti Overview Behind the Scenes Tall Label Digital PrintG.4.E.4 Academy of Vocal Arts Behind the Scenes Tall Label Digital PrintG.4.E.5 Curtis Institute Behind the Scenes Tall Label Digital PrintG.4.F.1 William Henry Fry Information Behind the Scenes Long Label Digital PrintG.4.F.2 Listening Station Behind the Scenes Long Label Digital PrintG.5.G.1 Timeline Timeline Timeline Digital PrintG.6.A.1 Theater Introduction Theater Experience Large Text Panel Digital PrintG.6.E.1 How to Use Theater Theater Experience Tall Label Digital PrintG.7.B.1 Stephen Costello Opera Now Reader Rail Digital PrintG.7.C.1 Stephen Costello Image Opera Now Wall Image Digital PrintG.7.D.1 Opera Podcast 1 Opera Now Object Label Digital PrintG.7.D.2 Opera Podcast 2 Opera Now Object Label Digital PrintG.7.D.3 Opera Podcast 3 Opera Now Object Label Digital PrintG.7.E.1 Opera Event 1 Opera Now Tall Label Digital PrintG.7.E.2 Opera Event 2 Opera Now Tall Label Digital PrintG.7.E.3 Opera Event 3 Opera Now Tall Label Digital PrintG.7.E.4 Stephen Costello Overview Opera Now Tall Label Digital PrintG.8.A.1 Exit Panel and Chandalier Instructions Opera Now Large Text Panel Digital Print

Code Name Location Type Fabrication

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Element ScheduleArtifactsCode Name Location Type QtyA.2.1 Opera Program Opera-going Artifact 1A.2.2 Opera Hat Opera-going Artifact 1A.2.3 Opera Glasses Opera-going Artifact 1A.2.4 Kid Gloves Opera-going Artifact 2A.3.1 Mario Lanza Record 1 Behind the Scenes Artifact 1A.3.2 Mario Lanza Record 2 Behind the Scenes Artifact 1A.3.3 Mario Lanza Record 3 Behind the Scenes Artifact 1A.4.1 Madama Butterfly Costume Behind the Scenes Artifact 1A.4.2 B. F. Pinkerton Costume Behind the Scenes Artifact 1

ReproductionsCode Name Location Type QtyR.2.1 Antique Evening Gown Opera-going Reproduction 1R.2.2 Antique Men's Suit Opera-going Reproduction 1R.2.3 Vintage Evening Gown Opera-going Reproduction 1R.2.4 Vintage Men's Suit Opera-going Reproduction 1R.4.1 Antique Opera Costume Behind the Scenes Reproduction 2R.4.2 Painted Backdrop Behind the Scenes Reproduction 2R.4.3 Gas Footlight Behind the Scenes Reproduction 3

PropsCode Name Location Type QtyP.2.1 Kimchi blue Taffeta Ruffle Dress Opera-going Prop 1P.2.2 Urban Outfitters Men's Outfit Opera-going Prop 1P.4.1 Model of Academy of Music Behind the Scenes Prop 1P.4.2 Model of Metropolitan Opera House Behind the Scenes Prop 1P.4.3 Model of Chestnut Street Theater Behind the Scenes Prop 1P.4.4 Model of Walnut Street Theater Behind the Scenes Prop 1P.4.5 Model of the Southwark Theater Behind the Scenes Prop 1P.4.6 Traditional-style Painted Backdrop Behind the Scenes Prop 1P.4.7 Red Velvet Theatrical Curtain Behind the Scenes Prop 1P.7.1 Opera Poster 1 Opera Now Prop 1P.7.2 Opera Poster 2 Opera Now Prop 1P.7.3 Opera Poster 3 Opera Now Prop 1

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Element ScheduleMultimediaCode Name Location Type QtyM.1.D.1 LG Widescreen LCD HDTV Intro Area Device 1M.1.C.1 Philadelphia Opera Trailer Intro Area Content 1M.3.D.1 Audio Spotlight Opera Singers Device 2M.3.C.1 Audio- Mario Lanza singing Opera Singers Content 2M.3.C.2 Audio- Interview with Mario Lanza Opera Singers Content 1M.3.C.3 Audio- Impact of Mario Lanza Opera Singers Content 1M.3.C.4 Audio- Marian Anderson singing Opera Singers Content 1M.3.C.5 Audio- Blanche talks about Marian Opera Singers Content 1M.3.C.6 Audio- Biography of Marian Anderson Opera Singers Content 1M.3.C.7 Audio- Interview with Marian Anderson Opera Singers Content 1M.3.C.8 Audio- Concert at the Lincoln Memorial Opera Singers Content 1M.4.D.1 Audio Spotlight Behind the Scenes Device 3M.4.D.2 LG Widescreen LCD HDTV Behind the Scenes Device 1M.4.C.1 Audio- Selections of work by Philadelphians Behind the Scenes Content 5M.4.C.2 Audio- Pieces by Gian Carlo Menotti Behind the Scenes Content 2M.4.C.3 Audio- Interview with Menotti Behind the Scenes Content 1M.4.C.4 Audio- Impact of Menotti Behind the Scenes Content 1M.4.C.5 Audio- More about Charles Ciceri Behind the Scenes Content 1M.4.C.6 Audio- More about Women Composers & Authors Behind the Scenes Content 1M.4.C.7 Audio- More about the Native American Genre Behind the Scenes Content 1M.4.C.8 Audio- Clip from Tamannay Behind the Scenes Content 1M.6.D.1 dVision 30 Series Projector Theater Experience Device 1M.6.D.2 92" Vutec Silverstar HD Wall Screen Theater Experience Device 1M.6.D.3 Soundtube SM400i Speakers Theater Experience Device 1M.6.D.4 Computer Theater Experience Device 1M.6.D.5 LG Widescreen LCD HDTV Theater Experience Device 1M.6.D.6 Heil Sound PR 22 Noise-Rejection Microphone Theater Experience Device 2M.6.C.1 HD Operas Theater Experience Content 6M.6.C.2 Opera Karaoke Songs Theater Experience Content 15M.7.D.1 Audio Spotlight Opera Now Device 1M.7.C.1 Audio- Stephen Costello Singing Opera Now Content 2M.7.C.2 Audio- Interview with Stephen Costello Opera Now Content 2M.7.D.2 Solid State Touchscreen computer with mp3 jack Opera Now Device 1M.7.C.3 Opera Podcasts Opera Now Content 3

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Element ScheduleCasesCode Name Location Type QtyC.2.1 Opera Accessories Opera-going Case 1C.3.1 Mario Lanza LPs Opera singers Case 2

FurnitureCode Name Location Type QtyF.X.1 Eames DSR-style chair Throughhout Chair 17F.8.1 High-top Baroque Table Exit Experience Table 1

Misc.Code Name Location Type QtyRR.X.1 Reader Rail Throughout Reader Rail 9D.6.1 Decorative Ribbon Element Theater Experience Decoration 1D.X.1 Red ribbon Throughout Decoration 8

LightingCode Name Lamp Type Qty VoltageT1 Flex II Fixture in Antique Bronze 36 Degree Solux Halogen 40 12 V T2 Flex II Fixture in Antique Bronze 17 Degree Solux Halogen 20 12 V T3 Pegasus Theatrical Low Voltage MR16 MR16 Halogen 10 12 VC1 Comment Chandalier MR16 Halogen 1 CustomM1 X-LED USA DLL-08 Luminaire Included LED 2 12 VM2 2 Climax Footlight Flicker Bulb Incandescent 3 12 VW1 Ecco Luce Wallpaper Included LED 1

F1 Flex II TrackA1 Transformers and any other necessary

accessories for all fixtures and lamps

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BudgetProfessional Services $105,000 Exhibition Developer $ 55,000 & Designer Script Writer $ 10,000 Costume Stitcher $ 20,000 Multimedia Specialist $ 20,000

Construction $180,000 Fabrication $ 65,000 Demolition $ 15,000 Construction $ 100,000

Graphics & Lighting $ 100,000 Graphics $ 50,000 Lighting $ 50,000

Audio-Visual $ 50,000 Theater Equipment $ 10,000 Flatscreens $ 6,000 Audio Spotlights $ 20,000 Media Station $ 3,000 Licensing Fees $ 5,000 Misc. $ 6,000

Miscellany $114,000 Insurance $ 10,000 Transport $ 5,000 Rights & Reproduction $ 10,000 Conservation $ 5,000 Contingency $ 55,000 Revisions $ 16,500 Maintenance $ 5,500 Visiting Experts $ 5,000 Student Art $ 2,000

TOTAL: $ 549,000