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  • Eagles will play Chargers in a stadium full of ‘Monsters.’ That’s not the only difference on ESPN’s alt broadcast.

    Eagles will play Chargers in a stadium full of ‘Monsters.’ That’s not the only difference on ESPN’s alt broadcast.

    Dan Orlovsky has four children who are Eagles fans and Disney devotees, so he couldn’t turn this opportunity down. On Monday night, the former NFL quarterback will provide analysis for ESPN’s animated Monsters Funday Football alternate broadcast of the Birds’ matchup with the Chargers at SoFi Stadium.

    The alt-cast, which will air on ESPN2 (as well as the Disney Channel and Disney XD) and stream on Disney+ at 8 p.m., will be a real-time animated broadcast set in the universe of Disney/Pixar’s Monsters, Inc. franchise. It will be the third edition of the Football Funday series, which was set in The Simpsons’ Springfield last season and in the Toy Story franchise in 2023.

    Orlovsky was on the call for the Simpsons broadcast last season, but his children are far more excited about this year’s broadcast.

    “When I had told them I got asked to do Monsters, it was an excitement that was different,” Orlovsky said. “My wife is from Philly, and my kids are crazy Eagles fans. So, when I told them [it was] Monsters and it was an Eagles game, it was, like, to the moon.”

    The alt-cast will use real-time player tracking data to place Saquon Barkley, Jalen Hurts, and the rest of the Eagles in the animated Monsters universe, where they’ll face off against the Chargers inside the cheer factory in Monstropolis.

    Eagles vs. Chargers. Monsters Funday Football edition 👀

    Watch exclusively on ESPN2, Disney+, Disney XD, Disney Channel and the ESPN App on Dec. 8 pic.twitter.com/QmVJJbgwws

    — NFL (@NFL) October 28, 2025

    The real-time animation is handled by Beyond Sports, an AI-based data analysis and visualization company owned by Sony. Using data from NFL Next Gen Stats and Hawk-Eye Innovations optical tracking, Beyond Sports’ virtual recreation engine will animate live action between the Eagles and the Chargers for viewers.

    Dan Orlovsky hasn’t been shy about the Eagles’ struggles. But he still believes they can be contenders.

    Drew Carter and Orlovsky will call the game from ESPN’s headquarters in Bristol, Conn., while wearing tracking suits that allow them to pilot characters in the Monsters universe.

    “We’re in a big studio and they set up a couple monitors where we can watch the regular live broadcast,” Carter said. “We have that synced up with our animated broadcast, which makes it easier to see what’s happening. But, for the most part, I’m looking at 22 cartoons running around and trying to decipher what’s happening.”

    A look inside the “Monsters, Inc.” stadium that will play host to the Eagles-Chargers “Funday Football” broadcast on ESPN2 and Disney+ Monday.

    Carter has done play-by-play for all three of ESPN’s Funday Football alt-casts as well as its animated Big City Greens NHL broadcast. He has high praise for the technology that makes the broadcast possible, but he is preparing for the Eagles’ signature quarterback sneak to push the system to its limits.

    “If they do the Tush Push, I don’t know what’s going to happen to the technology,” Carter said. “It’s going to be very hard to spot the ball when everyone’s animated. That’s the time where I’ll look at the live game.”

    Eagles vs. Chargers predictions: Our writers pick a winner for Week 14

    Carter also calls other live events for the network, but the animated games require an extra layer of preparation, especially when he’s unfamiliar with the source material, as he was for The Simpsons alt-cast. Fortunately for Carter, he’s already familiar with Monsters, Inc., which came out when he was a young child. Still, he circled back to the 2001 film and its 2013 prequel, Monsters University, to prepare for Monday’s broadcast.

    “It is kind of like prepping for a regular game,” Carter said. “You just don’t want to be caught off guard by anything. We have an element that rolls in and it’s, for example, the pig from Monsters University. I don’t want to be like, ‘Who the heck is that?’ because I’ve only seen Monsters, Inc.”

    ESPN analyst Dan Orlovsky on the set of “First Take.”

    Orlovsky was already very familiar with the Monsters franchise. He has made 15 trips to Disney World with his children. One of his oldest boys, 13-year-old Madden, is interested in animation and drawing and is particularly drawn to the Monsters movies.

    “I’ve seen Monsters, Inc. and Monsters U a dozen times, if not more,” Orlovsky said. “I know the Monsters, Inc. Laugh Floor in Disney World very well. I have a son who is autistic and his superpower is animation and creation. Obviously, that’s one of the cores of Monsters, Inc. when it comes to their characters. So I know it very well.”

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    For Orlovsky, the more difficult aspect of the broadcast will be doing less of his X’s and O’s analysis and leaning into the animated aspect of the game.

    “No one who’s watching our alt-cast is watching it for football,” Orlovsky said. “Everybody is watching it for the unique element of it. … My default is to be very football-centric, and so I have to just be very conscious of understanding [that] no one’s watching that game for the football part of it.”

    They were way too quick with that answer 😂

    Watch Monsters Funday Football with the Eagles and Chargers Dec. 8, exclusively on ESPN2, Disney+, Disney XD, Disney Channel and the ESPN App 🙌 pic.twitter.com/FGoYxnZxW6

    — ESPN (@espn) December 4, 2025

    While the Funday Football broadcasts primarily target younger audiences, Carter says the broadcast can be enjoyed by anyone of any age. John Goodman and Billy Crystal will voice their characters from the film franchise, James “Sully” Sullivan and Mike Wazowski, who will explain basic football rules for young viewers in prerecorded cutaways during the broadcast. There will also be an animated short during halftime that will feature Mike and Sully battling to collect cheers from the crowd.

    “I’m an adult who’s watched football my entire life, and I find those interesting, even though I know the rule they’re explaining,” Carter said. “I just think it’s funny to hear John Goodman as Sully explaining what a football is.”

    A look inside the “Monsters, Inc.” stadium that will play host to the Eagles-Chargers “Funday Football” broadcast on ESPN2 and Disney+ Monday.

    Orlovsky hopes the broadcast can provide a different experience for football fans and the opportunity to enjoy the game as a family.

    “If you’re a family that, you know, you don’t watch the football game together, try this one together,” Orlovsky said. “If your kids and you don’t necessarily stay up late for Monday Night Football, this would be the one time to do it, because it’s just a very different way to take in the game. It’s going to be visually a very cool experience. I think it’s just a great way to share football.”

    For Eagles fans who want to check out the Funday Football broadcast but do not want to miss out on the experience of watching the regular broadcast, the animated alt-cast will be available on demand on Disney+ shortly after the game ends.

    December 8, 2025
  • Philadanco’s Winter Residency boasts of stunning revisions and a soaring premiere

    Philadanco’s Winter Residency boasts of stunning revisions and a soaring premiere

    Philadanco is currently celebrating its 25th anniversary in residence at the Kimmel Center’s Perelman Theater with a mixed bill that showcases the company’s extraordinarily skilled dancers in works by a quartet of award-winning choreographers.

    “Then and Now!,” as the program is called, includes revised productions of pieces by Donald Byrd and Tommie-Waheed Evans, plus a company premiere from Ronald K. Brown and a brand-new work by up-and-comer Juel D. Lane.

    Friday’s opening-night audience was large and enthusiastic, giving an extended ovation to Lane’s Heirborne, a pun on its theme of literal and metaphorical flight.

    In the printed program, Lane cites among his inspirations Bessie Coleman, the first Black woman to hold a pilot’s license, and Mae Jemison, the first African American female astronaut.

    While those specific sources weren’t clear to this viewer, the dancers’ outstretched arms, perfectly controlled suspensions, and quicksilver entrances and exits clearly evoked the sensation of flying.

    Philadanco dancers during their Then & Now performance at the Kimmel Center’s Perelman Theater in Philadelphia on Saturday, Dec. 6, 2025.

    It is difficult to single out individuals in this — or, in fact, in any of the works on the program, which frequently had 10 dancers onstage at a time, performing in expert unison. But long-limbed Aliyah Clay began Heirborne with an exquisite solo, moving inside a dramatic shaft of light (designed by Nick Kolin). The piece ended on an even stronger — and unexpected — note when all eight dancers suddenly leaped forward, disappearing into the darkness.

    The music, for this and the other items on the bill, was recorded, favoring mixtures of rap, gospel, and jazz. For Heirborne, Atlanta native Lane chose pieces by several Georgia-based artists: RAHBI, Bryce Raburn, and Leo Ra Soul. Costume designer Anna-Alisa Belous dressed the women in shiny black shorts, a somewhat curious choice, and everyone wore neon-orange suspenders (a nod to airport safety equipment?).

    From Exotica Back to Us, Brown’s contribution to the program, was originally choreographed for Philadanco in 1999 and revised this year.

    Philadanco dancers during their Then & Now performance at the Kimmel Center’s Perelman Theater in Philadelphia on Saturday, Dec. 6, 2025.

    Not having seen the earlier version, I can’t comment on how the work has changed. However, its current iteration is stunning: from the richly colored and textured costumes by Wunmi Oliya (a British Nigerian singer, dancer, and fashion designer who also provides part of the score for this piece) to Brown’s seamless combination of traditional West African dance and percussion with his own, distinctive movement vocabulary.

    There is an obvious spiritual and emotional dimension to these short vignettes — as the dancers raise their arms, hide their faces in their hands, or kneel as though in prayer. This powerful effect is enhanced, at several points, by the outstanding work of dancer William E. Burden.

    Tommie-Waheed Evans created Withinverse… in 2018. In Friday’s “refreshed” version, dancer Kaylah Arielle embodies the deep emotions mentioned in the program. Sometimes she and her fellow dancers appear as supplicants, responding to sad, slow gospel music. Yet at other points they seem frantic, their bodies reflecting the heavy, insistent beat of electronic club music.

    Philadanco dancers during their Then & Now performance at the Kimmel Center’s Perelman Theater in Philadelphia on Saturday, Dec. 6, 2025.

    Evans has included a series of complicated and innovative lifts, which the dancers execute seemingly without effort. They are equally expert when performing challenging passages in unison.

    The evening begins with Everybody by Donald Byrd. Billed as a parody, it seems more like an uneasy hybrid than, say, the comedic works of Mark Morris or Les Ballets Trocadero de Monte Carlo.

    This work contrasts a harpsichord piece by J.S. Bach with hip-hop music by Ruffhouse, and Natasha Guruleva’s costumes reveal foppish men (notably the statuesque Yasir Jones) dressed in ruffled tunics, while the women wear tutus. Yet everyone is barefoot, alternating between impeccable ballet technique and decidedly non-classical body language.

    Philadanco dancers during their Then & Now performance at the Kimmel Center’s Perelman Theater in Philadelphia on Saturday, Dec. 6, 2025.

    The comparison is amusing, and — as a classically trained flutist who, in his youth, spent six years studying with the celebrated ballerina Mia Slavenska — Byrd knows his way around both Baroque music and classical dance. He enjoys himself by inserting sly touches of physical humor, here and there, and excels at creating intricate and unusual partnering sequences for two or more individuals.

    In a brief pre-performance introduction, Tommie-Waheed Evans (who is also the company’s co-artistic director, along with Kim Bears Bailey) noted that Philadanco had just returned from a successful, multicity tour of Germany. This troupe, which the indomitable Joan Myers Brown established 55 years ago, has many reasons to be proud. But, next time, I hope that ’Danco will include the work of at least one female choreographer.

    Philadanco, “Then and Now!” through Dec. 7, Perelman Theater, 300 S. Broad St. Tickets $43-$63. 215-387-8200, ensembleartsphilly.org

    December 7, 2025
  • ‘Lord of the Rings’ lands at the Philadelphia Orchestra, but the magic remained in the music

    It was the kind of night at the orchestra when any good hobbit could show up in a Bilbo Baggins waistcoat and feel right at home. Previously-human ushers had suddenly sprung elven ears. And the action on stage involved a twisty, unlikely tale of a magical gold ring whose purpose seemed to be to exploit the flaws and weaknesses of those who encounter it.

    The Philadelphia Orchestra’s presentation of The Lord of the Rings: The Fellowship of the Ring Friday night in Marian Anderson Hall was one of those cross-cultural experiences that ricocheted with surprising power. Two subcultures, each with its own specialized language — classical music, and the fandom around J. R. R Tolkien’s world of wizards, dwarfs and the dark forces — intensified the other.

    The Philadelphia Orchestra, Singing City and Philadelphia Boys Choir on stage in Marian Anderson Hall for ‘Lord of the Rings: The Fellowship of the Ring.’

    For anyone keeping score in the ongoing battle for younger audiences in classical music, Friday was a night when it seemed everyone in the hall was 31 years old and deeply engaged. Never at an orchestra performance have I heard the audience break in so many times with applause and hoots of approval.

    Of this happy synergy, the orchestra sold out all three performances, with tickets topping out at more than $250 a pop.

    Lead usher Ryan Viz, in elven ears, in the Kimmel Center lobby Friday night.

    Not all of the orchestra’s live-to-screen presentations have justified themselves musically, but here, Howard Shore’s score was a canvas both vast (about three hours of music) and colorful.

    If there’s a single label for Shore’s musical language, it’s Celtic Craggy — with notable excursions into the bellicose, sentimental, and moods more subtle. The great value of hearing a great orchestra live in dialogue with the screen is in the emotional epiphanies, moments where the music tells you something the dialogue and action alone can’t.

    The sound engineering on this night favored the music over the dialogue, and smartly so.

    Ian McKellen as Gandalf looms over members of Singing City Friday night in Marian Anderson Hall during a Philadelphia Orchestra live-to-screen presentation of ‘Lord of the Rings: The Fellowship of the Ring.’

    The other beautiful dynamic at play: You didn’t have to walk into the hall with any prior knowledge of classical music or Middle-earth nomenclature to feel the experience. This level of communication is simply embedded deep in being human.

    The definition of human becomes hazy in the 2001 installment of Peter Jackson’s film trilogy. But time and time again, the musical score honed in on the universal goodness and country-folk sincerity embodied in instruments. Two different soprano tin whistles (one in C, the other in D), whose very pitch and story-telling inflection were skillfully stretched by orchestra flutist Erica Peel. Hornist Jennifer Montone perfectly conveyed what it feels like to be a lonely leader in the Council of Elrond scene.

    The percussion section was a city in itself, conjuring folk sounds on the bodhrán drum, and the anvils of war (struck by musicians on, essentially, flat sheets of steel).

    Brian Johnson sits rapt with attention at the Philadelphia Orchestra’s live-to-screen presentation of ‘Lord of the Rings: The Fellowship of the Ring’ Friday night.

    Anvils? The quest for a magical ring? Dwarfs, warriors and flawed characters? Tolkien drew on some of the same sources as Wagner did in his Ring Cycle, and while Shore’s score might have a Wagnerian touch here or there, the larger influence was Carl Orff, whose Carmina Burana became the musical DNA of video games and car commercials.

    Conductor Ludwig Wicki leading the Philadelphia Orchestra and other musical forces in Marian Anderson Hall.

    Colossal forces brought both precision and brutality, particularly in the repeating combination of driving percussion, screaming brass and blocs of choral sound amassed for battle. With Ludwig Wicki conducting, the Singing City Choir and Philadelphia Boys Choir — both quite strong — provided chaos and balm. Vocalist Kaitlyn Lusk and chorus were the gentle healing we needed to hear after Gandalf’s death.

    The good thing was, when you tired of watching yet another wave of fiendish Orcs getting clobbered, you could always turn your eyes to the stage, decode the instrumentation and imagine for yourself an entirely different narrative. This is the enduring promise of orchestral sound on any night at the orchestra.

    No additional magic needed.

    December 6, 2025
  • Sarah Test 2-  Adding elements – Update on 12/10

    Sarah Test 2- Adding elements – Update on 12/10

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    SEPTA strike is ‘imminent,’ say TWU leaders

    Its cash reserves have fallen to $208 million, while its debt stands at $1.6 billion, according to Fitch. Fitch called that “precipitously weak.” By contrast, Temple University Health System reported Wednesday that its cash reserves amounted to 218% of its debt at the end of June.

    Tower’s low cash reserves and large debt load mean that its ability to invest in its facilities is extremely limited, effectively only fixing things that break, Fitch said. Long-term, that would make it increasingly difficult to attract patients.

    [Temple University Health System reported a $64 million annual operating loss, its first since 2014] Edit info

    Fitch noted, however, that Tower had improved financial performance from April through June.

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    The Himalayan Institute, In Honesdale, Pa.
    The Himalayan Institute, In Honesdale, Pa.

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    South Jersey's Isabeau Levito will be skating in a show at the Penn ice rink this weekend, along with other Olympic hopefuls.
    South Jersey’s Isabeau Levito will be skating in a show at the Penn ice rink this weekend, along with other Olympic hopefuls.
    Eagles quarterback Jalen Hurts has maintained a 46.3 passer rating when under pressure since Week 10.
    Eagles quarterback Jalen Hurts has maintained a 46.3 passer rating when under pressure since Week 10.
    Exterior of Painted Bride Art Center in Philadelphia in September 2010.
    Exterior of Painted Bride Art Center in Philadelphia in September 2010.
    Remediation work continues on Ridley Creek Tuesday, Dec. 9, 2025, under the Route 1 overpass in Media, Delaware County, where a tanker overturned spilling thousands of gallons of home heating oil in September.
    Remediation work continues on Ridley Creek Tuesday, Dec. 9, 2025, under the Route 1 overpass in Media, Delaware County, where a tanker overturned spilling thousands of gallons of home heating oil in September.
    The U.S. Food and Drug Administration building in Silver Spring, Md.,
    The U.S. Food and Drug Administration building in Silver Spring, Md.,
    The obverse of the new Declaration of Independence quarter with Thomas Jefferson is shown on screen as the U.S. Mint unveils new coins for the Semiquincentennial at the National Constitution Center in Philadelphia Wednesday night. The reverse features the Liberty Bell.
    The obverse of the new Declaration of Independence quarter with Thomas Jefferson is shown on screen as the U.S. Mint unveils new coins for the Semiquincentennial at the National Constitution Center in Philadelphia Wednesday night. The reverse features the Liberty Bell.

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    Carter Hart was on the ice Thursday at Xfinity Mobile Arena but will not start vs. Flyers.
    Carter Hart was on the ice Thursday at Xfinity Mobile Arena but will not start vs. Flyers.
    Villanova will need to lean on its defense and run game to overcome Tarleton State in the FCS quarterfinals on Saturday.
    Villanova will need to lean on its defense and run game to overcome Tarleton State in the FCS quarterfinals on Saturday.
    Flyers defenseman Cam York had a "hard practice Thursday" and seems to be getting close.
    Flyers defenseman Cam York had a “hard practice Thursday” and seems to be getting close.

    December 6, 2025
  • A new South Philly crime drama debuts on the big screen and Amazon Prime

    A new South Philly crime drama debuts on the big screen and Amazon Prime

    Frank Joseph Tartaglia and his older brother, Joseph Frank Tartaglia, long dreamed of leaving the family fruit stand for Hollywood stardom.

    Back in 2006, when they first opened a live music venue on Ninth Street, Connie’s Ric Rac, Frankie and Joe Tartaglia — and their best friend and business partner, Peter Pelullo — would sit for hours after closing, spitballing script ideas. The brothers wanted to tell a South Philly story that captured the neighborhood they knew and that could make their dreams real.

    Frank Tartaglia, 45, South Philly writer, director, artist and musician, died suddenly at home on Thanksgiving Day.

    Then they were gone.

    First, Joe, a filmmaker, a musician, and a father of three, died in 2013 at age 44 of brain cancer. Then, Frankie, a comedian, a writer, an actor, and a true South Philly original, died in his sleep of heart failure in 2022, just a month after his first feature film, Not for Nothing, headlined the Philadelphia Film Festival to positive reviews.

    Now, Frankie and Joe Tartaglia’s big-screen dreams are finally becoming a reality.

    On Thursday, Not for Nothing, a gritty crime drama set in the heart of South Philly and written by Frankie Tartaglia and Philly-born filmmaker Tim Dowlin, debuted at the Film Society Bourse in Old City. On Friday, the movie, acquired for worldwide distribution last year by the independent film studio Buffalo 8, premiered on Amazon Prime and other major streaming services. It will be available on other cable platforms later this month.

    “It’s emotional,” said Pelullo, executive producer on the film. “It’s very rewarding for everyone involved to see it reach this place and get across the finish line. But it’s bittersweet. Joe would have been really proud of Frankie, and Frankie would have been excited for what was next.”

    He added, “That’s the painful part. This wasn’t supposed to be the end. It was supposed to be the beginning.”

    Family photo of Joseph and Frank Tartaglia

    The film has been a journey.

    Starring actor Mark Webber and praised by critics as a gripping tale infused with heart and humor, Not for Nothing follows a group of neighborhood friends who set out to uncover the truth behind a young woman’s mysterious overdose. The search for justice soon unravels into a confrontation with the ghosts of South Philly’s past.

    It’s just the type of authentic South Philly tale Frankie and Joe Tartaglia long strove to share. One that found its first roots in an independent film Joe and Frankie filmed in South Philly in 1998, called Punctuality (a quirky neighborhood film they described as Clerks meets A Bronx Tale). And one that continued to take shape during those long-ago, late-night brainstorming sessions at the Ric Rac, a grungy, glorious haven for South Philly artists and musicians that closed permanently during the pandemic.

    Carrying on the dream after Joe Tartaglia’s death, Frankie Tartaglia had reconnected with Dowlin by 2017. The pair had first become friends at the Philadelphia High School for Creative and Performing Arts. Dowlin, who had already made films with Webber, another high school friend, approached Frankie Tartaglia about making a modern-day South Philly mob flick.

    From the start, Dowlin recalled, Frankie wanted to tell something more.

    “He immediately was like, ‘I don’t think that’s real,’” Dowlin recalled. “He wanted to explore something more authentic to the world he grew up in on Ninth Street, and at the bar at Connie’s Ric Rac.”

    Their script became less about the neighborhood goodfellas and more about an exploration of South Philly corner bar culture — and the friendships formed there.

    Still in the process of selling the film at the time of Frankie Tartaglia’s death, Dowlin and Pelullo worked for three years to make sure that his vision reached audiences.

    This summer, Connie Tartaglia, 76, an artist who ceaselessly encouraged her sons — and was the namesake of their old club — died from an illness. She had hoped to live long enough to see the film released, Dowlin said.

    Before Thursday’s packed premiere, Dowlin told the crowd about the friend and collaborator he had lost — and that Philly had lost, too.

    “He was an unstoppable force of love and art,” he said of Frankie Tartaglia. “He embodied every artist everywhere. He was a champion for the unseen and unheard.”

    Frankie had planned on dedicating the film to the older brother he looked up to, Dowlin said.

    Now, he hoped the film would live in both of their memories.

    “I would like to dedicate this film to both of the Tartaglia brothers,” he said.

    December 6, 2025
  • Eggs belong at breakfast, not on Patullo’s house | Weekly Report Card

    Eggs belong at breakfast, not on Patullo’s house | Weekly Report Card

    Eagles fans egging Kevin Patullo’s house: F

    Listen — Philly has a reputation. We know this. We wear it like a badge. We boo Santa, we heckle refs, we meltdown on WIP like it’s an Olympic sport. But there’s passion, there’s unhinged, and then there’s driving to Moorestown at 3 a.m. to egg the offensive coordinator’s house because the Eagles lost to the Bears.

    That’s not passion. That’s just loser behavior.

    Patullo said all the right things this week. That criticism is part of the job, that he’s been here five years, that he loves the city and the fans. But he also made it clear: When it involves your family, the line isn’t just crossed… it’s obliterated. And he’s right. Yell at the TV, tweet about it, call WIP at 6 a.m. pretending to be “Bryce from Bridesburg.” But families are off-limits.

    The good news? Neighbors rallied, the community reached out, and Patullo isn’t going anywhere — not from his home, and not from the sidelines (despite Nick Foles’ dream of him coaching from the booth like it’s Madden franchise mode).

    Philly can take a joke, a hit, and a heartbreak season. What we can’t take is letting a few clowns make us look like we egg coaches every time the offense ranks 24th in yards.

    Save the eggs for tailgates. Or better yet, breakfast.

    A cheesesteak from Dalessandro’s in Philadelphia, on Friday, Nov. 21, 2025. Michelin recently recognized the restaurant with a Bib Gourmand. Cheesesteak restaurants Angelo’s and Del Rossi’s were also recognized by Michelin.

    Philly is America’s No. 1 foodcation destination: A (obviously)

    A new national survey says the top city Americans want to visit just for food is… Philadelphia. Not New York. Not Chicago. Not Texas’ brisket country. Philly.

    All because of one thing: the cheesesteak, which topped the national list with 27% of Americans saying it’s their dream domestic “foodcation.” Translation: People are now booking vacations around a sandwich we buy at 1 a.m. like it’s no big deal.

    Food & Wine says Americans spend about $910 on their typical food-focused trip and would nearly double that budget if the bite was bucket-list–worthy. So somewhere out there is a family justifying a $2,000 vacation to stand outside Angelo’s at 10 a.m. behind 70 locals who think they have “a system.”

    Meanwhile, New York tied us at 27% for pizza — but let’s be serious. A cheesesteak beating out an entire city’s worth of pizza is so Philly-coded it should count as a parade.

    A Waymo car drives down Market Street Tuesday, July 8, 2025, in Philadelphia.

    Waymo’s self-driving taxis hit Philly: B-

    Waymo has officially begun testing its robo-taxis in Philly — which raises the obvious question: Have they seen our streets?

    The company says its cars are now driving autonomously (with a human babysitter for now), mapping our neighborhoods and “laying the groundwork” to eventually chauffeur actual Philadelphians around.

    Bold. Truly bold. Because sure, a driverless car can operate in Phoenix. But can it:

    • Identify a pothole before it becomes a crater?
    • Handle a double-parked Amazon van, a food truck, and a guy pushing a sofa on a hand truck… all in the same block?
    • Not get stolen? (It’s Philly. We have statistics.)

    City officials say they’re “monitoring the situation,” which is Philly-speak for: If this thing blocks a SEPTA bus, there will be consequences. Meanwhile, Waymo has been chatting with local groups — the Bicycle Coalition, Best Buddies — which is smart, because they’ll need all the friends they can get once these cars try to merge on I-95.

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    A post shared by Jake Dillon (@jakedillononmusic)

    Delco Donny turning Wawa parking lots into concert venues: A

    Only in the Greater Philadelphia region could a man with a guitar, a thick Delco accent, and a dream turn random Wawa parking lots into 100-person pop-up concerts — and somehow it feels… correct.

    “Delco Donny,” the alter ego of musician Jake Dillon, started as a joke for his girlfriend’s Delco mom, reported Philly Voice. Now he’s pulling six-figure TikTok views by belting out Oasis, the Killers, and “Creep” between parked Hyundais and people sprinting inside for Sizzlis. At his Boothwyn Wawa show, fans were literally acting like he was Noah Kahan, except with more vowels flattened and more hoodies with paint stains.

    The shtick is simple: He shows up, leans into the Delco accent America learned during Mare of Easttown, and sings like he’s headlining the Spectrum in 1996. And people eat it up. Wawa corporate even started sending him merch, which is basically the Delco version of getting knighted.

    There’s something kind of pure about it: a Northeast Philly native channeling a fictional Boothwyn legend who meditates in a cluttered van, reviews local pizza joints, and humbly accepts Marlboro Reds as offerings from the people. The man is doing character work in a gas-station parking lot, and somehow it feels like local folklore in the making.

    Opera Philadelphia hosted “Home for the Holidays” at the Wanamaker Building’s Grand Court on Tuesday, Dec. 2, 2025.

    The Wanamaker Christmas comeback: A

    In the most Philadelphia plot twist imaginable, the Wanamaker Grand Court took what could’ve been a gut punch — Macy’s closing, holiday traditions dangling by a thread — and turned it into a full-blown victory lap complete with a wreath-wearing Wanamaker Eagle, opera singers, dinosaur dancers, and an organ flex so powerful it could rattle the Market-Frankford Line.

    “Home for the Holidays,” Opera Philadelphia’s one-night takeover, wasn’t just a concert, it was a statement. Philly looked at a soon-to-be shuttered space and said, Fine, then we’re going out in style. The whole night doubled as a nostalgia bomb: marching-toy projections for anyone who remembers buying Christmas presents in the old store, an audience gasping at the tree like it was 1978 again, and the ground-shaking Wanamaker Organ.

    But the real Philly heart came from the subtext: This was also a campaign to keep the space public, alive, and musical long after renovations. You don’t raise $1 million for a Pipe Up! series unless you’re gearing up for a fight.

    Philly is getting a cruise terminal again (!!): A-

    For the first time since 2011, cruise ships will actually leave from the Philadelphia region — not Baltimore, not Bayonne pretending to be New York. Right next to PHL, on the Delco side of the river.

    PhilaPort struck a deal with Norwegian Cruise Line, building a new terminal in Tinicum Township with 41 voyages already on the books over the next two years, reported 6ABC. Norwegian’s locked in through 2033, sending thousands to Bermuda, the Bahamas, Canada, and New England, all sailing straight out of the airport’s backyard.

    It’s a major comeback for a region that hasn’t had a real cruise hub in more than a decade, and the timing couldn’t be better with the 250th, the World Cup, and the All-Star Game all landing next year. Economic impact? Around $300 million annually. Jobs? More than 2,100.

    And yes, it’s a six-hour ride down the Delaware before you hit the Atlantic. Philly’s response: New York isn’t much faster, Baltimore is way slower. So grab a drink and enjoy the shoreline.

    Franklin Mall, previously known as Franklin Mills, is for sale again.

    Franklin Mills (sorry, “Franklin Mall”) is officially for sale: C

    Franklin Mills, the place where Northeast Philly teens found Hot Topic, freedom, and an alarming amount of Orange Julius, is officially on the market. Again. After years of falling occupancy, collapsing value, and visitor counts dropping from 20 million a year in the ’90s to 5.6 million today, it’s basically being lilsted as: “137 acres… willing to become literally anything.”

    Industrial redevelopment? Sure. Warehousing? Probably. Housing? Maybe, if City Council blesses it. A mall again? As one architect put it: “Unlikely.” (Philly translation: absolutely not.)

    This place is 1.8 million square feet (second only to King of Prussia), but while KOP is still the superstar of malls, Franklin Mills slowly slid into its “legacy act” phase. The valuation dropped from $370 million in 2007 to $76 million last year. Even the name had to be changed back because Simon Property Group kept the Mills trademark, which feels like getting your hoodie taken in a breakup.

    Real talk: The building is basically a demolition project waiting for a permit. But to its credit, 65% occupancy means it isn’t a ghost town yet — just a mall trying to remember who it used to be.

    It might become warehouses, apartments, or over a million square feet of “don’t worry, it’ll create jobs.” But one thing’s for sure: If Northeast Philly wakes up to find a sea of Amazon vans where Franklin Mills once stood, people will still call it Franklin Mills.

    And honestly? Same.

    December 6, 2025
  • Chris Emmanouilides, award-winning filmmaker, has died at 63

    Chris Emmanouilides, award-winning filmmaker, has died at 63

    Chris Emmanouilides, 63, of Rutledge, Delaware County, digital media director, award-winning filmmaker, TV executive producer, cameraman, teacher, and mentor, died Saturday, April 26, of a heart attack at his home.

    Born in Philadelphia and reared in Los Angeles, Mr. Emmanouilides followed his then-girlfriend back to the city in the 1980s, earned a master’s degree in radio, TV, and film at Temple University, and crafted a 36-year career as an independent filmmaker, vice president of programming for Banyan Productions, cofounder and chief content officer of the VuNeex video marketing platform, and director of digital media at the King of Prussia-based American College of Financial Services.

    He specialized in independent documentary films, commercials, and early forms of reality TV, and cofounded Parallax Pictures in the 1990s. His films were screened at the Philadelphia Festival of World Cinema, the Sundance Film Festival, and elsewhere around the world.

    His 40-minute film Archive premiered at the Los Angeles Greek Film Festival in 2013 and earned the Audience Choice Orpheus Award. His 1989 film Suelto! earned first prize at the 1990 Sundance Slice of Life Film Festival.

    In 1994, Inquirer movie critic Desmond Ryan called Mr. Emmanouilides’ film Remains “especially noteworthy.” In 1997, The Ad and the Ego earned the top prize at the San Francisco International Film Festival.

    In 2001, critic Damon C. Williams reviewed Talk Fast for the Daily News. Mr. Emmanouilides was the film’s director of photography. Williams said: “It does an incredible job in detailing the desire, dedication and heartbreak that go with pursuing a dream. It also shows that some do indeed find success in chasing their dreams.”

    From 1997 to 2014, Mr. Emmanouilides was an executive producer, director of special projects, and vice president of programing at Philadelphia-based Banyan Productions. Working with the Discovery Channel, the Travel Channel, the Food Network, TLC, Lifetime, and other TV outlets, he and his colleagues created thousands of hours of popular award-winning programming. Among his series credits are Travelers, Reunion, Trading Spaces, Deliver Me, Cruises We Love, and A Wedding Story.

    “What we pull off in four days — the emotions and the intimacy — is extremely rare on television,” he told The Inquirer in a 1998 story about the Reunion series. “It’s a constant push, trying to make a high-quality show on a limited budget, with limited time. And the question is, will it find an audience?”

    He worked with Reader’s Digest and Hope Paige Designs on video marketing projects at VuNeex in 2015, and spent the last 10 years as a senior producer and director of digital media at the American College of Financial Services. “Chris was relentless in the pursuit of quality,” Jared Trexler, senior vice president at American College, said in an online tribute. “He was inquisitive, introspective, and always learning. Most importantly, he was kind, caring, and funny.”

    Mr. Emmanouilides won the 2013 Audience Choice Orpheus Award in Los Angeles.

    In tributes, colleagues called him “an amazing man and incredible coworker” and “very passionate about our field.” One said: “He always brought genuine fun and energy to whatever we were doing.”

    Gregarious and energetic, Mr. Emmanouilides taught film and production courses at Temple, the University of Toledo, the Scribe Video Center, and the old University of the Arts. He lectured at Drexel and Villanova Universities, spoke at conferences and seminars, and taught English-language classes in Greece and Spain.

    He was a longtime member and onetime board president of the Philadelphia Independent Film and Video Association, and he mentored production novices at Scribe Video in Center City and elsewhere. “These newcomers don’t respect the conventions of film that much,” he told The Inquirer in 1993. “They’re trying to find their own voice. So they’re finding new ways to tell stories.”

    Christopher George Emmanouilides was born Aug. 31, 1961. His family moved from Philadelphia to Los Angeles when he was young, and he earned a bachelor’s degree in philosophy at Colorado College in 1983 and a master’s degree at Temple in 1992.

    Mr. Emmanouilides was a talented cameraman and photographer.

    He met Sandra Enck at an independent film event in Philadelphia, and they married in 2004 and had a daughter, Isabella. He doted on his family, and especially enjoyed seeing films with his wife and decorating his daughter’s breakfast pancakes with eyes, nose, and mouth cut from fresh fruit.

    “We took their pictures, and we eventually had hundreds of faces from countless mornings together,” his daughter said on her website facethemorning.com. “None were the same, and each seemed to have something to say.”

    His wife said: “We’d see a film and then talk about it for three days.”

    Mr. Emmanouilides was an avid reader and photographer. He liked to fly-fish, ski, hike, and cook.

    This article about Mr. Emmanouilides (left) appeared in the Daily News in 1997.

    He had an infectious laugh, performed magic tricks, listened to the Grateful Dead, and followed the Eagles and Phillies. “He was a big thinker,” his wife said. “He was buoyant and a powerful life force. You never forgot that you met him.”

    In addition to his wife and daughter, Mr. Emmanouilides is survived by three sisters, a brother, and other relatives.

    Celebrations of his life were held earlier.

    Donations in his name may be made to the Bryn Mawr Film Institute, 824 W. Lancaster Ave., Bryn Mawr, Pa. 19010.

    Mr. Emmanouilides doted on his family.
    December 6, 2025
  • Holiday shopping, coastal trails, and craft beer in Lewes & the Delaware Beaches | Field Trip

    Holiday shopping, coastal trails, and craft beer in Lewes & the Delaware Beaches | Field Trip

    They don’t go “down the Shore” on the other side of the Delaware Bay. First Staters go to the beach — or, more geographically correct, to the Delaware Beaches: the neighboring Atlantic towns of Rehoboth, Dewey, Bethany, and Fenwick Island, familiar to most Philadelphians even if they’ve never been.

    The Delaware Beaches and Lewes, their historic bayside gateway, are charming and festive during the holidays. Come for the tax-free shopping and craft-beer icons, stay for the smart indie restaurants and pristine nature. It’s a quick trip across the bay on the ferry. Margate, Ocean City, and Wildwood will still be there when you get back.

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    Ride: Cape May–Lewes Ferry

    Getting to Coastal Delaware is half the fun when you take the Cape May-Lewes Ferry. It takes about the same amount of time to drive directly from Philly to Lewes as it does to drive to Cape May and board the boat for the 85-minute crossing, but only one option gives you cinematic views of the Delaware Bay — historically the most important waterway in the region. (No bay for Billy Penn to sail up, no founding of Philadelphia.) It’s also a key environment for marine life, from oysters and mussels to dolphins and seals. You might even catch a migrating humpback whale on the 17-mile crossing.

    📍 1200 Lincoln Blvd., North Cape May, N.J. 08204

    Stay: Dogfish Inn

    One of the original craft-beer brands, Dogfish Head is maybe the most famous Delaware resident who wasn’t also POTUS. Sam Calagione founded the Milton brewery — more on that in a minute — in 1995, and it became such a tourist magnet that a hotel was a natural expansion.

    The friendly, 16-room Dogfish Inn opened in 2014 and sits along the Lewes–Rehoboth Canal, walking distance to both the ferry and downtown. Rooms are simply furnished and stylish, with branded swag and pops of olive and teal. Outside, beer pilgrims, holiday shoppers, and their dogs (the inn is pet-friendly) gather around the Cowboy Cauldron, the nickname for the communal firepit.

    📍 105 Savannah Rd., Lewes, Del. 19958

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    Snack: The Station on Kings

    Fig-tahini danish, pumpkin-cheesecake conchas, and sugared doughnuts plumped with chai-spiced cream gleam in the pastry case at the Station on Kings, a charming café with arboreal décor and a greenhouse dining room that feels sunny even when winter clouds cover the coast. Grab a table and settle in for a leisurely brunch of those excellent baked goods, a creamy French omelet, maybe the calendar-correct Mistletoe Matcha, Station’s matcha latte sweetened with white chocolate-peppermint syrup. After, browse the selection of candles, soaps, ornaments, and other local and artisan gifts.

    📍 720 Kings Hwy., Lewes, Del. 19958

    Shop: Tanger Outlets

    Continue making your list and checking it twice at the Tanger Outlets in Rehoboth. Bargain hunters come year-round, but the holiday sales are especially enticing. The complex is divided into three clusters (Surfside, Seaside, Bayside) along Route 1, with more than 100 brands, including Nike, North Face, and Le Creuset.

    📍 Route 1 Coastal Hwy., Rehoboth Beach, Del. 19971

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    Walk: Cape Henlopen State Park

    There’s a windswept solitude to the beach in December that, for anyone raised on towel-to-towel summer crowds, is narcotically surreal. Encompassing more than 5,000 acres of sandy shores, reedy wetlands, and maritime forest, Cape Henlopen State Park is the place to get centered in nature at the Delaware Beaches. Walking trails lace the preserve, winding through historical sites like Fort Miles, which played a critical coastal defense role in WWII, and around Gordon’s Pond. Head to the Point, near the hooked tip of Cape Henlopen, for views of the 140-year-old Delaware Breakwater Lighthouse.

    📍 15099 Cape Henlopen Dr., Lewes, Del. 19958

    Sip: Dogfish Head Brewery

    Despite being bought by the Boston Beer Company in 2019, Dogfish remains a Delaware darling. The brand offers multiple touchpoints throughout the beaches, but it’s worth the 15-minute drive west of Lewes to the Milton brewery. Tours run three times daily, seven days a week, and include a pour of 60 Minute IPA. For an extra $8, enjoy a tasting flight in the on-site taproom.

    📍 6 Cannery Village Center, Milton, Del. 19968

    Eat: the Blue Hen

    Located a block and a half from the beach, on the ground floor of the Avenue Inn & Spa, the Blue Hen gives cozy coastal tavern vibes with pewter-blue paint, carved woodwork, and a gallery wall of framed photographs. The cooking, from chef Julia Robinson, elevates the genre: gingered lobster toast with dashi aioli, mezze rigatoni with pistachio pesto and confit chicken, Iberico pork Milanese.

    Robinson bought the Blue Hen with her wife, sommelier and GM Heather Sharp, in 2022 after moving from Philly in 2017. Walking the Rehoboth boardwalk after dinner, it’s easy to see the appeal.

    📍 33 Wilmington Ave., Rehoboth Beach, Del. 19971

    December 6, 2025
  • In Philadelphia, Frank Gehry’s legacy lives on at the Art Museum

    In Philadelphia, Frank Gehry’s legacy lives on at the Art Museum

    Famed architect Frank Gehry died Friday in his home in Santa Monica at 96 after a brief respiratory illness. And while he is gone, cities all over the world will continue to hold a piece of him — including Philadelphia.

    Though he is known for the striking, rambunctious architecture of buildings like the Guggenheim Museum in Bilbao, Spain, and the Walt Disney Concert Hall in Los Angeles, around here, Gehry will perhaps be best remembered as the man behind the Philadelphia Art Museum as we know it today. Gehry in 2006 was selected from a slate of more than 20 renowned architects to oversee what would become a $233 million renovation of the Art Museum.

    Known as the Core Project, the effort — completed in 2021 — was designed to open up the museum’s floor plans, reclaim a ground level that had been closed to the public for decades, and add some 20,000 square feet of new gallery space. Completed in phases over more than a decade, Gehry’s planned renovations were designed to make the building more accessible, revitalize its aging infrastructure, and give the space more flow — all while not disrupting the museum’s iconic look.

    Frank Gehry with a model of his design for the museum’s expansion, to be on display in the exhibit “Making a Classic Modern: Frank Gehry’s Master Plan for the Philadelphia Museum of Art.”

    “Frank always felt in the design of the core project that he was collaborating with the original architects,” said retired Philadelphia Art Museum chief operating officer Gail Harrity Friday. “He often said he was following the bread crumbs left by the original architects to revitalize a building that needed a flow, needed the restoration of the east-west access, the north-south access.”

    Gehry’s work on the Art Museum created “views toward a work of art that pull you like a magnet into the galleries,” Harrity said. And in a 2021 Inquirer review of the revamp, architecture critic Inga Saffron found that the redesign gave “museum officials precisely what they wanted: clarity, light, and space.”

    A contentious choice

    But when he was selected to lead the effort, Gehry was something of a controversial choice. At the time, Gehry was known for flamboyant architecture dotted with playful, tumbling forms — much different from the Greek Revival and Neoclassical design that made the Art Museum an icon on the Benjamin Franklin Parkway. Some museum lovers worried he would desecrate Philly’s art museum, while others pondered why museum officials would pick such a high-profile architect to design features that largely would not be seen from the outside.

    “Nothing [Gehry] has done gives me a good feeling,” one reader wrote to The Inquirer in 2006. “Please rethink using this man to destroy the Philadelphia Museum of Art.”

    Gehry himself did little to quell his detractor’s worries. As he put it to The Inquirer at one point: “We will set off a bomb. But I can’t tell what kind till the fat lady sings. I think we’ll make it memorable.”

    A $233 million Frank Gehry-designed renovation of the Art Museum focusing on the building’s bottom two floors. The Core Project’s goals were to open up the museum’s floor plans, reclaim a ground level that had been closed to the public for decades, and add 20,000 square feet of new gallery space.

    Ultimately, Gehry’s design would be understated and in line with the museum’s existing structure. In fact, it was Gehry’s work on the ’60s-era Norton Simon Museum in Pasadena — which he transformed into a series of serene, classically arranged galleries in the 1990s — that convinced Art Museum officials to go with him for their redesign, so there was perhaps little to be concerned about all along.

    Museumgoers got their first taste of the revamp in the fall of 2012, when work on an art-handling facility was completed. That project moved a loading dock and backstage area from the building’s northeast side near Kelly Drive to the Schuylkill side, and would allow for Gehry’s redesign project to progress.

    And, at least to Gehry, big plans were afoot.

    “I wonder if people in Philadelphia know what a big deal this is,” he told The Inquirer in 2014. “Bilbao was a sleepy little town before the Guggenheim came along. This is going to change Philadelphia.”

    The unveiling

    By 2017, the Art Museum officially broke ground on the Core Project phase of its redesign. Two years later, in 2019, it reopened a long-shut entryway on the building’s north side, leading to a vaulted walkway more than 600 feet long, running the width of the museum. An auditorium was demolished, being replaced by the area today known as the Williams Forum.

    Its removal opened up the interior of the museum, allowing visitors to see through the entire building, bringing in light and street vistas through windows, and “possibly ending that feeling of being lost amid proliferating galleries of art,” The Inquirer reported at the time.

    In 2021, the Art Museum officially unveiled Gehry’s work, showing off the result of 15 years of planning, design, and reconstruction. The Daniel W. Dietrich II Galleries and Robert L. McNeil Jr. Galleries made their debut, housing contemporary and American art, respectively.

    “Gehry has provided the canvas,” Saffron wrote of the redesign. “Now it’s up to the museum to make the most of it.”

    View of the vaulted walkway at the Art Museum.

    But the design wasn’t exactly completely finished. Gehry also created the Philadelphia’s museum’s master plan that includes a proposed next phase: building more gallery space beneath the museum’s east steps. The project has been on hold for a number of years, and its status remains undetermined, a museum spokesperson said Friday.

    The museum had also had informal discussions recently with Gehry about designing a learning and engagement center, but that project‘s status is also undetermined, the spokesperson said.

    “The building is a landmark that is iconic in Philadelphia, that’s difficult to change the exterior of, and in many respects is on a site that is hard to expand,” said Harrity. “So in looking at previous ideas and designs I think Frank’s solution for further increasing gallery space while responding to the architectural integrity of a landmark that is beloved in Philadelphia is brilliant.”

    This article contains information from the Associated Press.

    December 5, 2025
  • Piffaro presents ‘exuberant’ Christmas music but with hurdy gurdy, theorbo, bagpipes, and more

    Piffaro presents ‘exuberant’ Christmas music but with hurdy gurdy, theorbo, bagpipes, and more

    NEW YORK — Christmas concerts are God’s gift to early music groups such as Piffaro (Philadelphia’s Renaissance wind band). Audience love taking refuge in holiday exuberance from what we imagine as a better, centuries-ago past.

    The Thursday concert of 17th-century German music titled “Ein Kind Geborn” (A Child is Born) ― the first in a string of performances that includes Philadelphia and Wilmington ― had Piffaro fruitfully collaborating with New York’s Tenet Vocal Artists, whose finely-etched sound and deep musical comprehension make their concerts drop-everything-and-go occasions.

    The partnership with Piffaro’s recorders, theorbo, and bagpipes (gentle ones) was a sound feast ― of and for a particular sort.

    The question is: Are audiences ready for the kind of uncommercialized, predominantly devotional Christmas concert that many say they long for? It was exuberance without brass, flash, or modern Santa Claus mythologies, and from an era when the loudest human-made sound was church bells. One’s ears must adjust.

    Tenet Vocal Artists performing “Ein Kind Geborn” with Philadelphia’s Renaissance wind band, Piffaro, at New York City’s Church of St. Vincent Ferrer on Thursday, December 4, 2025.

    The brainy crowd Thursday at Church of St. Vincent Ferrer definitely took to it, with side conversations like “I wanted to hear more dulcians” (an arcane woodwind) or asking why 17th-century German texts “are so stingy with their vowels.” (Who knows.)

    Composers included Michael Praetorius (1571-1621), and his durable “In dulci jubilo,” plus lesser-known contemporaries (Johann Walter, Melchior Schärer, etc.)

    Devised by Piffaro artistic director Priscilla Herreid, the 75-minute intermissionless program had 18 shortish vocal/instrumental pieces, both in German and in Latin, arranged under subheadings such as “From Silence to Singing” and “Sweet Jubilation.”

    Some selections were hymns, such as the famous “Von Himmel hoch” (the audience was invited to sing along); others, in a more sophisticated form known as “sacred concertos.” Composer Praetorius encouraged diverse adaptations of his music, and in that spirit, no two pieces had the same manner of expression.

    Some had the five-member Tenet Vocal Artists unaccompanied (they can do that and stay perfectly in tune) or the nine-member Piffaro players (who alternate between a dozen different instruments, including dulcians) in purely instrumental works. Multi-stanza pieces were built and sustained beautifully, progressing from different pairings of voices and varied interactions with the instruments — though within a richly textured 17th-century sound envelop.

    Always a highlight in Tenet concerts are sopranos Jolle Greenleaf (Tenet artistic director) and Clara Rottsolk, whose rather different voices create a compelling blend, whether positioned for antiphonal effects across church spaces, leapfrogging in counterpoint, or coming together in ways that create a shifting highlight of composite sound.

    Tenet Vocal Artists performing “Ein Kind Geborn” with Philadelphia’s Renaissance wind band, Piffaro, at New York City’s Church of St. Vincent Ferrer on Thursday, December 4, 2025.

    When not blending, the other Tenet voices invite one’s ears in low-key ways. This is a long way from Metropolitan Opera singing and is a relief as well as a pleasure.

    In other respects, the performances were excellent though the fusion of elements is likely to be better in Philadelphia-area concerts.

    There were moments when a particular member of the ensemble would poke out of the texture to lead others to the right musical destination — sometimes necessary in conductorless ensembles.

    In general, Piffaro continues to evolve nicely under Herreid’s leadership. Renaissance repertoire is far less standardized than music of later centuries, and the wide possibilities constantly reveal new sounds, both ethereal and with underlying grit — thanks to Piffaro’s inclusion of folky instruments such as hurdy gurdy, the guitarlike cittern and, of course, bagpipes.


    “Ein Kind Geborn,” Dec. 5, 7:30 p.m., Church of the Holy Trinity, Rittenhouse Square; Dec. 6, 7.30 p.m., St. Martin-in-the-Fields, Chestnut Hill; Dec. 7, 3 p.m., Westminster Presbyterian Church, Wilmington. $25-$49.

    The program will stream online Jan. 15-18 at piffaro.org or tenet.nyc. $18.

    December 5, 2025
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