A Hundred Years On, a 46-minute oratorio composed by Peter Boyer, with a libretto by Mark Campbell, commissioned by Highmark Mann Center for the Performing Arts to celebrate its 50th anniversary, was premiered by The Philadelphia Orchestra, The Crossing choir, and vocal soloists, conducted by Anthony Parnther, at the Highmark Mann Center on June 17, 2026. The premiere performance received extensive press coverage and a hugely enthusiastic audience response, with lengthy standing ovation.
The vocal soloists were sopranos Mary Dunleavy and Meredith Lustig, mezzo-soprano Eve Gigliotti, tenor David Portillo, and baritone Malcolm J. Merriweather. The conductor of The Crossing is Donald Nally. The stage director was Tazewell Thompson, the projections designer was Rasean Davonté Johnson, and the costume designer was Millie Hiibel.
The complete program book can be found here.
A demo recording of the overture can be found here. Video of the original demo session of the work in progress can be found here.
Press Quotes
“A glorious concert about America’s past… Boyer and Campbell crafted a soaring portrait of five people at the fair… Boyer’s gorgeous music…”
—John McWhorter, The New York Times
“In a backward gaze at Philadelphia’s 1876 Centennial Exposition, ‘A Hundred Years On,’ composed by Peter Boyer, had the message that America somehow prevails. […] the total effect of this vocal/video/orchestral package featuring the Philadelphia Orchestra and the Crossing choir prompted roaring approval…
With any luck, this ambitious, communicative piece will have a further life.
[…] Campbell’s poetic extrapolations of the 1876 experience clearly inspired Boyer to write essentially lyrical arias […] Boyer didn’t resist writing difficult but atmospheric harmonies for the supercapable Crossing choir, as well as descriptive vocal gestures suggesting the budding mechanization of the 19th century.
In general, he used the orchestra as a frame to give focus and scope to the bigger idea of what 1876 meant then and now. The guy definitely knows the art of orchestration. […] Remarkable!”
—David Patrick Stearns, The Philadelphia Inquirer
“It opens with jubilant syncopation that feels very Copland Americana in the best way. Throughout, Boyer’s music very much captures the optimism and joy of America, the hope for what it can be. He also did a terrific job embodying the forward energy that we’re known for both musically and societally.
[…] As for the soloists, this piece has a very arresting entrance for them, with a lush, beautiful interwoven ensemble number to start. It brought to mind ‘Make Our Garden Grow’ from ‘Candide.’ The hope, the coming together of motifs, the strength, and the warmth were moving.”
—Maayan Voss de Bettancourt, OperaWire
“Boyer wisely used the chorus (the multiple prize-winning Crossing) to handle the lists of hundreds of inventions on display, naming them in variously numbered configurations of singers. This led to some interesting harmonic cross-fertilization, fleeting intersecting phrases about sewing machines, typewriters, steam engines, etc., that neatly balanced Boyer’s lyrical vocal lines.
Orchestrally… Boyer’s work fit the occasion perfectly, a grand, sweeping, tribute to America then and now, with such declarations as ‘Happy Birthday, America.’
[…] Boyer’s craft as an orchestrator was on full display, as were strains of Copland, John Williams, and Walt Disney’s Alan Menken; with practiced skill he managed to build to a finale that brought the house down, the raucous standing ovation further fueled by the final slide, ‘We Welcome You to Philadelphia.’”
—Susan Elliott, Musical America
Photo credits:
Top image, bottom 4 images: Elizabeth Robertson, The Philadelphia Inquirer © 2026 Philadelphia Inquirer, LLC. All rights reserved. Used under license.
Middle 6 images: Jordan August, courtesy of Highmark Mann Center for the Performing Arts