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GENTLEMAN’S ISLAND OCTOBER 9–18, 2020 JANET QUINNEY LAWSON CAPITOL THEATRE

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THE HUMAN VOICE & GENTLEMAN’S ISLAND 21 PG.

6 WELCOME 7 ARTISTIC DIRECTOR’S WELCOME 8 BOARD OF TRUSTEES 10 THE HUMAN VOICE NOTES 11 GENTLEMAN’S ISLAND NOTES 12 COVID PIVOTS 18 SEASON SPONSORS 22 CAST / ARTISTIC STAFF 32 THE STORY OF THE HUMAN VOICE 33 THE STORY OF GENTLEMAN’S ISLAND

34 ETIQUETTE POEM 38 COMPOSER AND LIBRETTIST 40 UTAH SYMPHONY 42 PLANNED GIVING 43 CRESCENDO & TANNER SOCIETIES 44 DONORS 51 ADMINISTRATION 52 HOUSE RULES 54 EDUCATION 58 ACKNOWLEDGMENTS

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WELCOME Music, Mission, Art, Community, Pandemic, Safety, Flexibility, Patience, Excitement, Music…Together. This is merely a string of words until you place it into our current moment. Much has been said about the state of life amidst this pandemic. The state of the performing arts, our communities, business, the economy, and individual lives. As we continue to learn more and make progress, we remain committed to the journey with you.

Steven Brosvik President & CEO

I’m honored and excited to be entering my time as President & CEO of Utah Symphony | Utah Opera just as we’re able to resume live performances. From the beginning of the search process, I’ve been impressed by the support for the music and mission by everyone I’ve encountered. USUO is an organization of great depth, history and service to the region. I look forward to building our future together as we become ever more present and relevant to our entire community. I am inspired by the extraordinary work Pat Richards has done in her role as Interim CEO. I am grateful for the direction and commitment of our Board of Trustees, our incredible donors, and the patience of our ticketholders. I am impressed by the work being done by the staff team to create and realize plans in coordination with members of the orchestra, and I am excited to finally be able to hear our musicians live in Abravanel Hall and the Janet Quinney Lawson Capitol Theatre. It has taken everyone in this list, including you, to make live performances possible. All of us at USUO believe strongly in the powerful healing effect of music to connect communities. This has long been true, but especially during trying historical times such as these. It is with great deliberation and joy that we resume these live performances and welcome you back to your musical home.

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ARTISTIC DIRECTOR’S WELCOME Dear Utah Opera Friends and Family, With apologies to Gabriel García Márquez for the appropriation, welcome to opera in the time of Corona. We here at the company have been reminding ourselves that every day is one of discovery and experiment in our current reality and we are so grateful you’ve made the decision to join us in in this effort. I’m also thankful to our board, the management of the Janet Quinney Lawson Capitol Theatre, all of my colleagues, and everyone involved in this production for working to this moment. In a time when it seems life is ever-changing, choosing to support and participate in this production was certainly a commitment on a level higher than it has been in recent years. My heartfelt gratitude goes to all.

Christopher McBeth Artisitc Director

For your return to this wonderful art form, we’ve brought to life a pair of operas which examine two concepts that we’ve all come to understand more than we did several months ago: that unsettling feeling of isolation and the need for connection. It would be difficult to find two themes which have more resonance today and the two operas examine them with the contrasting lenses of drama and comedy. I’ve always liked paring these two different approaches to art, as the reality of the human condition is generally found in the combination, with varying degrees of one or the other depending the day’s circumstances. To steal another well-used phrase: art imitating life. Our singer actors all have a special connection to our beautiful state of Utah, whether as current or former residents. This is proof that the culture of our community is to pull together in difficult times. A special thanks goes to our stage director, Kristine McIntyre, and conductor, James Lowe. Both have brought previous operas to life here at Utah Opera and traveled during these challenging times to support this organization. Thank you again for joining us. Our hope is that this live, shared experience brings you the joy, catharsis, or even just pleasant distraction that you need for the next 90 minutes. Your attendance brings all these things and more to us. In the time since our beloved art form of opera was conceived over 400 years ago, there have been more than 100 recorded epidemics in the world…and we’re still here. Sincerely,

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BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair

David L. Dee* Alex J. Dunn Dr. Julie Aiken Hansen Senator Daniel Hemmert Stephen Tanner Irish Thomas N. Jacobson Abigail E. Magrane Brad W. Merrill Robin J. Milne Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Jason Price Shari H. Quinney Miguel R. Rovira Dr. Shane D. Stowell Naoma Tate Thomas Thatcher W. James Tozer Jr.

Dr. Astrid Tuminez David Utrilla Kelly Ward Kim R. Wilson Thomas Wright* Henry C. Wurts

Clark D. Jones Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen

Patricia A. Richards* Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder

John Bates Howard S. Clark Kristen Fletcher

Richard G. Horne Ron Jibson E. Jeffery Smith

Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler

Stanley B. Parrish Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith

Joanne F. Shiebler Chair (Utah)

Susan H. Carlyle (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

Anthon S. Cannon, Jr. (S. California)

Senator Orrin G. Hatch (Washington D.C.)

Doyle L. Arnold* Brian Greeff* Joanne F. Shiebler* Vice Chairs Annette W. Jarvis* Secretary John D’Arcy* Treasurer Steven Brosvik* President & CEO Dr. Stewart E. Barlow Judith M. Billings Gary L. Crocker

MUSICIAN REPRESENTATIVES Kathryn Eberle* Julie Edwards* EX OFFICIO Doyle Clayburn Utah Symphony Guild Nancy Pinto-Orton Onstage Ogden

LIFETIME BOARD William C. Bailey Edwin B. Firmage† Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow HONORARY BOARD Jesselie B. Anderson Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles NATIONAL ADVISORY COUNCIL

*Executive Committee Member † Deceased UTAHOPERA.ORG

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THE HUMAN VOICE NOTES By Michael Clive

The Human Voice

Tragic Opera in One Act Music by Francis Poulenc (1899–1963) Libretto by Jean Cocteau (1889–1963)

Francis Poulenc and The Human Voice Born in Paris, Francis Poulenc was active in the legendary Paris of the 1920s, when creative ferment nourished the modernist trends of the early 20th century. As a member of the informal group of French composers known as “Les Six,” he helped forge a new path for French music, separating it from the dominance of Germanic Romanticism. Les Six preferred the artful simplicity of Erik Satie to the intellectualisms of Schoenberg and pat associations with French Impressionism. Seeking clarity, wit and even parody in keeping with the traditions of elegant sparseness in French musical style, they refined a genre influenced by Stravinsky and Satie often called neo-classicism. As a composer, Poulenc was largely self-taught and somewhat conservative, in contrast with his Les Six colleagues. Yet he gained wide admiration for his distinctive, buoyant style, often described as natural, spontaneous and original. His music is free of needless drama; it is colorful, lively, tuneful, and engaging.”It is free from highly elaborated development and formal rigidities. He is especially celebrated for his lyricism and his gift for melody. Neo-classical in the best sense, his

music seems familiar yet fresh, evocative of 18th-century classicism but informed by 20th-century French style. Though much of Poulenc’s music is known for playful novelty—his chamber music is often described as “fun”—he was actually a man of deep seriousness and introspection. He was devoutly Roman Catholic. While much of his music seems to belie his personal life, the two elements come together in his two great operas: Dialogues des Carmelites (about the martyrdom of thirteen nuns during the French Reign of Terror) and La Voix Humaine, or The Human Voice, which searingly exposes the inner feelings of a woman helplessly in the grip of an obsessive love that is destroying her. Writing in Grove’s Dictionary of Opera, Jeremy Sams opined that “Poulenc’s music for La Voix Humaine betrays a composer all too familiar with the pulse and pace of nervous exhaustion and depression.” The libretto for the opera was conceived and written by Jean Cocteau, based on his original play. As a foundational figure in surrealist art, the poet-artist Cocteau created the landmark filmed versions of Beauty and the Beast and Orpheus and the libretto (in Latin!) of Stravinsky’s opera Oedipus Rex.

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GENTLEMAN’S ISLAND NOTES Gentleman’s Island

Comic Opera in Two Acts Music by Joseph Horovitz (b. 1926) Libretto by Gordon Snell (b. “estimated between 1909 and 1969”) Dry Humor on a Desert Island We can estimate the birthdate of Gordon Snell, the witty writer of scripts and children’s books, a little more closely by noting that he is the widower of the popular novelist Maeve Binchy, having married her in 1977. Born in Singapore, he met Binchy at BBC Radio in London, where he was a producer. The quoted birth date above originates with Snell himself, establishing him as a practitioner of the “dry humor” so apt in British arts and letters: delivered with deadpan accuracy, attuned to the ridiculous, and sometimes too close to the bone to laugh at. After all, why is his age any business of ours? Set in a location surrounded by water, Gentleman’s Island is an opera full of—or drenched in?—dry humor. We can trace the tradition of dry humor on the English stage back to Shakespeare, no doubt—everything goes back to Shakespeare—and certainly to the music hall. (Think of the song “Daddy Wouldn’t Buy Me a Bow-Wow” and its barbed critique of psychotherapy). Dry humor often takes aim at the preposterousness of the British class system and the manners that go along with it, as in Gilbert and Sullivan’s The Mikado. Distortion and exaggeration only serve to make the Mikado’s satire more accurate: set in Japan, with careful attention paid to authenticity of props and wardrobe, it depicts characters who are English in every detail of their ludicrous behavior. The scenario’s contradictions only serve to magnify its English-ness. And so it is with Gentleman’s Island: two gentlemen, one a teataster and the other an importer of indigo for UTAHOPERA.ORG

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the textile industry (both positively emblematic of the English economy) are stranded together on a desert island. But as the opera opens, they have not been properly introduced; thus, daring to speak to one another would be an intolerable breach of etiquette. Gentleman’s Island has been a popular operatic two-hander since its premiere in 1958. Its composer, Joseph Horovitz, has been acclaimed for a broad range of musical works serious and comic, including ballet and opera. And it seems likely that his family history has deepened his observation of cultural folly: his father, Béla Horovitz, was a prominent publisher in Vienna and fled to England with his family to escape the Nazis. The year was 1938, when Joseph was 12. Horovitz studied music and modern languages at Oxford, then trod the wellworn path to Nadia Boulanger’s door in Paris for advanced studies in composition. By the time he married, in 1956, he had recently served as on the coaching staff for the Mozart bicentennial at the celebrated Glyndebourne Festival Opera. He is a longtime professor of composition at the Royal College of Music, appointed in 1961. We might expect a composer of Horovitz’s background, with such serious credentials, to write only the most serious music. But on the lighter side he also has a deft touch, and has scored successes in television and the movies as well as the concert hall and the opera stage. His most frequently programmed work, Captain Noah and His Floating Zoo, is a children’s cantata. 11

COVID PIVOTS By Paula Fowler

UTAH OPERA’s COVID PIVOTS The Governor’s announcement on Thursday March 12 giving Utahns notice to close down all activity came at a terrible time for Utah Opera: that very evening should have been the final dress rehearsal of our delightful production of The Barber of Seville. We had been expecting 1100 secondary school students to attend. Throughout the afternoon, our Ticket Office called ticket holders about the cancellation, and in the early evening, I stood by the front doors of the Capitol Theatre, which was suddenly closed until further notice, to break the news to the few groups who hadn’t received word. There wasn’t even time (or safety) in which to make a recording

of what we would have shared with Utah audiences over the next two weeks. Waves of shock followed, as we gradually realized that schools would be closed the rest of the year. That meant our Resident Artists wouldn’t be traveling daily to schools, or to Cedar City and Parowan in April for school and community concerts, as we had planned. Soon enough, our May production also had to be cancelled. FIRST COVID PIVOT – Spring 2020 Utah Opera made its first COVID pivot and began featuring aria and art song recordings by artists from the Barber cast and our Resident Artists on our YouTube channel. These were beautiful performances, but filmed in a simple single-shot manner, with cameras that are generally just used for archival recordings. Arts organizations devoted to live performance are not well equipped with special audio and film equipment, so we did what we could with what we had at the time. Utah Opera Principal Pianist and Coach Carol Anderson quickly turned the idea of her live Prelude presentations into a Facebook Live series to accompany the performances shared nightly by The Metropolitan Opera. All told, USUO released 52 introduction videos mostly created by Carol, with Resident Artist Taylor Burkhardt and Chorus Master Michaella Calzaretta stepping in to help with a few.

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COVID PIVOTS

Our Education Department was able to make perhaps the swiftest pivot. We quickly posted an archival version of our elementary program “Who Wants to be an Opera Star?” for elementary school use, and our Resident Artists filmed a socialdistanced, be-gloved version of their high school “Opera Up Close” presentation for choir classes. They produced other resources from their homes using their phone cameras: • FAQ videos, using questions they often answered in elementary school assembly programs • “Breathing Like an Opera Singer,” and “Warming Up Your Voice with an Opera Singer” instructional videos

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• A 5-part Italian art song lesson, which voice students could use to learn “Caro mio ben”; materials include PDFs and accompaniment recordings in high and low keys We ramped up the resources available on our website with these elements, joining them to our Library of Opera Voices and our Introduction to Opera PowerPoint, always available to teachers. We named our resources “School from Home,” and sent out news of their availability to principals and teachers across the state. One teacher wrote asking for information about opera costuming, and our Costume Director created a photo story in response, now also available online. We added subtitles to our 10-minute Golden Spike opera videos

COVID PIVOTS from May 2019, and created accompanying education materials. We initiated an “Ask a Singer” form on the website, so students could engage with specific questions for our singers. It’s still available—you could use it too! During the summer months, we collaborated with a few of our established community partners to present actual live singing: three of our Resident Artists from 2019-20 were still in town, and we engaged them for a concert in the Gallivan Center with the Excellence in the Community Concert Series, where they performed live, and the event was streamed over Facebook (it’s still available on the Excellence website). The same artists performed live and in-person from the back of a lowbed trailer in Kamas and Park City one July afternoon, in collaboration with Art Pianos and Summit County Arts. A highlight of the summer opera offerings for all of us was the month-long availability of our archival recording of The Little Prince. Principal Coach Carol Anderson hosted a pre-viewing online party with many of the prime players in the original project, and families could then enjoy that glorious production online together. SECOND COVID PIVOT – Fall 2020 The Utah Opera staff committed to the preservation of the company during the summer of 2020. Many staff members took

furlough weeks and months, but in the backs of brains, and for those on actual duty at any time, a variety of contingency plans were explored. Artistic Director Christopher McBeth led the charge in coming up with alternate fall programming for the Janet Quinney Lawson Capitol Theatre, with safety in mind. Other safety procedures were added by Salt Lake County Arts: patrons are seated as they arrive, and patron egress is managed by ushers. Additionally, our Ticket Office created the USUO App, so we have contact-free ticketing and program access. The impossibility of presenting our planned production of Wagner’s The Flying Dutchman (the size of the orchestra, cast, and chorus) offered the company the opportunity to present smaller works connected by a current theme— experiences with isolation—that also allow for performer safety. The cast for each work is just 1 or 2 people. The orchestra called for is small, but still can’t be safe in a confining orchestra pit, so the symphony musicians will be on stage behind the singers, separated from them by a scrim on which backdrops will be projected. Our Education programs have shifted yet again with programs that will connect our artists with classrooms. With more time to prepare, and more knowledge now about quality of recording, we have re-created our assemblies and in-person programs for digital presentation. We hired professional Continued on page 17…

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INTRODUCING THE 2020-21 UTAH OPERA RESIDENT ARTISTS:

tenor

Daniel O'Hearn

bass-baritone

Brandon Bell

soprano

Julia Gershkoff

mezzo-soprano

Edith Grossman

New Resident Artists Julia, Edith, and Daniel join returning artists Brandon and Taylor for Utah Opera’s 2020– 21 season.

pianist

Taylor Burkhardt Nearly every day of the school year, Utah Opera’s Resident Artists perform age-appropriate programs designed to introduce students to the art form of opera. MORE INFORMATION ABOUT THE RESIDENT ARTISTS AND UTAH OPERA EDUCATION PROGRAMS CAN BE FOUND AT UTAHOPERA.ORG

GET YOUR TICKETS AND GET INTO YOUR SEAT WITH THE NEW UTAH SYMPHONY | UTAH OPERA MOBILE APP!

Available on iPhone and Android for our upcoming 2020-21 season. Visit: usuo.org/our-company/ mobile-app/

COVID PIVOTS videographers and designed these new programs for sharing via classroom screens. Our new resources are collected under the title “Connecting to Classrooms” on the Utah Opera website.

Costume and Scenic Shops. When our “All About Opera: Classroom Edition” program is edited and ready for sharing in midOctober, it will be available to elementary school classrooms statewide through the Utah Education Network. We are also expanding technical equipment for our Education Department with the kind of set up available in every classroom, so that our five professional Resident Artists can interact live with secondary school choir classes with a new version of their “Opera Up Close” program. We have pre-recorded some scenes to show students opera in full production, and the artists will also perform and discuss music history, opera, and careers in music in real time with individual classes.

We realized–because we were filming–that we could go all out with costuming, and also with sharing more behind-the-scenes information about the world of theatre. So our opera scenes for school programs this fall include fully-costumed scenes recorded in delightful locations around the Capitol Theatre, as well as fun spots around our Opera Production Studios, including our

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There’s nothing like live performance: the sound of live trained voices resonating around a theatre; the spectacle of professional sets, props, costumes, and lighting; and the connection of an audience with the performers and each other. With our high school live but virtual program, and with the opportunity offered to elementary school classrooms for a live Q&A with one of our artists after viewing our “All About Opera” presentation, we aim to be as live as possible, and still present great performances with professional artists to Utah teachers and students.

SPONSORS

SEASON SPONSOR

EMMA ECCLES JONES FOUNDATION OPERA ARTISTIC DIRECTOR SPONSOR

JANET Q. LAWSON FOUNDATION S.J. AND JESSIE E. QUINNEY FOUNDATION PATRICA A. RICHARDS & WILLIAM K. NICHOLS PRODUCTION SPONSORS

USUO’s 2020–21 season is funded in part by the CARES Act and the Utah State Legislature through Arts & Museums

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Utah Symphony | Utah Opera Season Sponsor | 2020-21

Enriching excellence in the arts in Utah for more than half a century.

George S. and Dolores DorĂŠ Eccles Foundation Board of Directors (l to r): Robert M. Graham , Spencer F. Eccles, Lisa Eccles

OCTOBER 9–18, 2020 JANET QUINNEY LAWSON CAPITOL THEATRE

The Human Voice (La voix humaine)

Composed by Francis Poulenc Based on a play by Jean Cocteau, Adapted by Kristine McIntyre Sung in English Premiere: 1959 at the Théâtre National de l’opéra-comique in Paris 40 minutes in length CAST

Elle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wendy Bryn Harmer Oct. 9, 10 (eve), 12, 14, 15, 16, 17 (eve.), 18 Elle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edith Grossman* Oct 10 (mat.), Oct. 17 (mat.)

Gentleman’s Island

Composed by Joseph Horovitz, arranged for chamber ensemble by James Lowe Libretto after W.S. Gilbert by Gordon Snell Based upon the Bab Ballad “Etiquette” by Sir William Schwenk Gilbert Sung in English 30 minutes in length CAST

Mr. Gray . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brian Stucki Oct. 9, 10 (eve), 12, 14, 15, 16, 17 (eve.), 18 Mr. Gray . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel O’Hearn* Oct 10 (mat.), Oct. 17 (mat.) Mr. Somers . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Clayton Oct. 9, 10 (eve), 12, 14, 15, 16, 17 (eve.), 18 Mr. Somers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brandon Bell* Oct 10 (mat.), Oct. 17 (mat.) ARTISTIC STAFF

Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . James Lowe Oct. 9, 10 (eve), 12, 14, 15, 16, 17 (eve.), 18 Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michaella Calzaretta Oct 10 (mat.), Oct. 17 (mat.) Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristine McIntyre Lighting & Video Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kathy Maxwell Costume Coordination . . . . . . . . . . . . . . . . . . . . . . . . . . . . Verona Green & Kristine McIntyre Hair & Makeup Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . La Beene Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Taylor Burkhardt* Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amber Bielinski Assistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dee Dee Palmer Supertitle Musician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brooke Hundley Illustration Contribution (Gentleman’s Island) . . . . . . . . . . . . . . . . . . . . . . . . Andrew Palmer *Current Utah Opera Resident Artist

CAST / THE HUMAN VOICE

Wendy Bryn Harmer Elle Oct. 9, 10 (eve), 12, 14, 15, 16, 17 (eve.), 18

An alumna of the Metropolitan Opera’s prestigious Lindemann Young Artist Development Program, soprano Wendy Bryn Harmer continues to maintain a strong relationship with the company having appeared in their productions of Le nozze di Figaro, War and Peace, Khovanshchina, Parsifal, Die Ägyptische Helena, Jenůfa, and the complete Ring Cycle. She also appeared in the Met’s HD broadcasts of the Ring Cycle and The Magic Flute, which have subsequently been released on DVD (Deutsche Gramophone). Other opera engagements have included Fata Morgana in The Love for Three Oranges at Opera Philadelphia, the title role in Ariadne auf Naxos and Adalgisa in Norma at the Palm Beach Opera, Leonora in Fidelio at Opera Omaha and with Boston Baroque, Senta in Die fliegende Holländer at the Seattle Opera, Rosalinde in Die Fledermaus at the Houston Grand Opera, Eglantine in Euryanthe at the Bard Music Festival, Die Walküre at the San Francisco Opera, Vitellia in La Clemenza di Tito at Opera Boston, and Mimì in La bohéme at the Utah Festival Opera. In concert, Ms. Harmer has appeared with the Milwaukee Symphony Orchestra, San Francisco Symphony Orchestra, Montreal Symphony Orchestra, and the Mormon Tabernacle Choir, and at the Tanglewood Festival and Lincoln Center. In 2005, she made her New York recital debut under the auspices of The Marilyn Horne Foundation, and was presented by the George London Foundation in a recital with Ben Heppner at the Morgan Library. Born in Roseville, California, Ms. Harmer graduated with a Bachelor’s degree from The Boston Conservatory and attended the Music of Academy of the West. She was a member of the Merola Opera Program at San Francisco Opera. Her many awards include a 2010 Richard Tucker Grant, the 2007 Jensen Award, the 2005 winner of the George London/Leonie Rysanek Award, and an award from the Marilyn Horne Foundation.

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CAST / THE HUMAN VOICE

Edith Grossman Elle Oct 10 (mat.), Oct. 17 (mat.)

Opera, operetta, musical theater; mezzo-soprano Edith Grossman does it all. She joins the Utah Opera this season as a Resident Artist. Most recently she created the role of Rachel in the world premiere of Jake Heggie and Gene Scheer’s If I Were You with the Merola Opera Program. In Merola’s Grand Finale, she shined as Hélène in an excerpt from La belle Hélène at the San Francisco War Memorial Opera House. Her opera experiences include Falstaff (Meg) with Crested Butte Music Festival, La Cenerentola (Tisbe) with Merola Opera Company, Le nozze di Figaro (Cover: Marcellina) with Opera Saratoga, Suor Angelica (The Abbess/Monitor) and the world premiere performance of In a Mirror, Darkly (Elaine) both with the Crane Opera Ensemble. With an expertise in the annals of classical musical theatre, her roles have ranged from Eliza Doolittle to Julie Jordan. Edith is equally adept at contemporary material, including Cats (Grizabella) and most recently, Ordinary Days (Claire). Edith is a graduate of the Crane School of Music at SUNY Potsdam with a B.M. in Vocal Performance.

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CAST / GENTLEMAN’S ISLAND Quickly distinguishing himself with a voice that the Salt Lake Tribune declares is “heaven sent,” Brian Stucki’s recent engagements include Don Ottavio in Don Giovanni with Florentine Opera and Mozart’s Requiem with the Phoenix Symphony. He also joined the Mormon Tabernacle Choir for Beethoven’s rarely performed dramatic oratorio Christus am Ölberge and made his debuts with San Francisco Symphony singing Handel’s Messiah and the Houston Symphony in Schumann’s Der Rose Pilgerfahrt. He also sang his first performances of Beethoven’s Symphony No. 9 with the Alabama Symphony Orchestra and Handel’s Judas Maccabeus with Boise Baroque.

Brian Stucki Mr. Gray Oct. 9, 10 (eve), 12, 14, 15, 16, 17 (eve.), 18

Among his other recent engagements is his international debut as Ferrando in Così fan tutte with New Israeli Opera; Glass’ The Fall of the House of Usher with Polish National Opera; Almaviva in Il barbiere di Siviglia with the Compañía Nacional de Opera at the Palacio de Bellas Artes in Mexico City and in Tijuana, and Ottavio in Don Giovanni with Opera Fuoco. He has also sung Nadir in Les pêcheur de perles with Seattle Opera, Lyric Opera of Kansas City, Utah Opera and Syracuse Opera; Almaviva in Il barbiere di Siviglia with Opera Colorado and Arizona Opera; Ramiro in La cenerentola with Pacific Opera Victoria, Michigan Opera Theater, and North Carolina Opera; Lindoro in L’italiana in Algeri with Utah Opera; Lysander in A Midsummer Night’s Dream at the Princeton Festival; Roméo in Roméo et Juliette with Arizona Opera and the Bar Harbor Music Festival; the Chevalier in Dialogues of the Carmelites; Ferrando in Così fan tutte with Piedmont Opera; and Der Geliebte von Morgen in Weill’s Royal Palace at the Bard Music Festival. Mr. Stucki holds a Master of Music from Indiana University and a Bachelor of Music from Brigham Young University. Additionally, he is a former member of the Glimmerglass Opera Young American Artists Program. Also an accomplished cellist, he has released a recording of Rachmaninoff works on the Tantara label.

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CAST / GENTLEMAN’S ISLAND Daniel O’Hearn is an emerging operatic tenor from Tinley Park, IL, a south suburb of Chicago. His position this year with Utah Opera is his first as a resident artist. In June of 2020, he graduated with a master of music in performance from DePaul University’s School of Music in Chicago, IL, where he studied with tenor Scott Ramsay. He most recently appeared in the university’s operatic productions of Britten’s arrangement of Gay’s The Beggar’s Opera as Captain Macheath, and Cavalli’s L’Egisto as Egisto. In addition to appearing as Mr. Gray in Horovitz’s Gentleman’s Island, Mr. O’Hearn’s Utah Opera debut, other 2020–21 season responsibilities include Bill in Dove’s Flight and Spoletta in Puccini’s Tosca. He is also slated to cover other main stage roles and perform for the company’s educational outreach program. Daniel O’Hearn Mr. Gray Oct 10 (mat.), Oct. 17 (mat.)

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In addition to his operatic work, Mr. O’Hearn has also performed as a soloist in a number of classical concert works in the Chicagoland area. Recently, he has performed in Handel’s Messiah with the Chicago Bar Association Symphony Orchestra & Chorus, and in Beethoven’s Symphony No. 9 with the DePaul Community Chorus. Mr. O’Hearn has also competed in several singing competitions, earning an encouragement award at the Metropolitan Opera National Council’s 2019 Central Region Finals, winning the 2019 American Prize from the American Prize Oratorio Society of Chicago, and placing first in the 2019 Kleinman Competition.

CAST / GENTLEMAN’S ISLAND

Baritone Christopher Clayton is quickly establishing himself as a rising talent on the operatic stage. He has appeared with companies such as Utah Opera, Opera Birmingham, Portland Opera, Cedar Rapids Opera Theatre, Sacramento Opera, Chautauqua Opera, the Skylight Opera, and Opera Idaho. Recent engagements include a role debuts as Il Conte di Luna in Trovatore with St. Petersburg Opera, and in the title role of Rigoletto, a return to Tonio as well as a role debut as Alfio in Pagliacci and Cavalleria Rusticana with Cedar Rapids Opera, Álvaro in Catán’s Florencia en el Amazonas and Frank in Die Fledermaus with Utah Opera, Falke in Die Fledermaus with Opera Theatre of the Rockies and the Imperial Symphony and Giorgio Germont in La Traviata with the Imperial symphony. Christopher Clayton Mr. Somers Oct. 9, 10 (eve), 12, 14, 15, 16, 17 (eve.), 18

On the concert stage he has recently appeared as a soloist in Ravel’s L’Enfant et les Sortilèges, Bernstein’s “Mass” and in Händel’s Messiah with the Utah Symphony, as the Baritone soloist in Carmina Burana and Haydn’s Creation with Utah Voices and as the soloist in Cimarosa’s Il maestro di cappella with the Walla Walla Symphony. He has also appeared as the baritone soloist in Carmina Burana with Ballet West and the Cincinnati Ballet.

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CAST / GENTLEMAN’S ISLAND

Hailing from Suffolk, Virginia, baritone Brandon Bell returns to Utah Opera as a member of theirResident Artist Program for the 2020–21 season. This season, he appears with Utah Opera as Montague Somers in Gentleman’s Island, the Steward in Flight, Sciarrone in Tosca, and Samuel in Pirates of Penzance. Mr. Bell also joins the Utah Symphony as the baritone soloist for their performances of Fauré’s Requiem.

Brandon Bell Mr. Somers Oct 10 (mat.), Oct. 17 (mat.)

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Mr. Bell was most recently slated to perform as an Apprentice Artist with Des Moines Metro Opera, covering the role of Hawkins Fuller in Fellow Travelers, as well as singing the roles of General Arlie and the Bartender. Unfortunately, due to COVID-19, these engagements, as well as a fellowship at Ravinia’s Steans Music Institute in their Program for Singers, were canceled/postponed. Additional engagements during the 2019–20 season, included Mr. Bell’s house debut with Utah Opera, appearing in their production of Silent Night as the British Major and La traviata as Dr. Grenvil. Mr. Bell was awarded 4th Place in the 2018 East Bay Opera League Young Artist Scholarship Awards Competition, and was also chosen from national auditions as a finalist in the 2018 Mondavi Center Young Artist Competition. In 2017, he received both the Third Place (Student Division)—Orpheus Da Capo Award at the Orpheus National Music Competition for Vocalists and the Leola Boyce Award, awarded by the Knoxville Choral Society. The Cleveland Foundation chose Mr. Bell as the 2015 and 2016 recipient of its A. Grace Lee Mims Vocal Scholarship, awarded in recognition of his commitment to the perpetuation of the singing of the Negro spiritual.

ARTISTIC STAFF Equally at home in Opera and Musical Theater, Grammy nominated conductor James Lowe continues to garner praise for “beautifully sculpted” (Opera News) performances. Recent engagements include a return to Houston Grand Opera to lead La bohème, Lyric Opera of Chicago (West Side Story), Washington National Opera (Jeanine Tesori’s The Lion, The Unicorn and Me), The Glimmerglass Festival (Show Boat) and Utah Opera (The Little Prince). He made his European debut conducting Candide at the Théâtre du Capitole in Toulouse and Opéra National de Bordeaux, and he recently led Madama Butterfly at Tulsa Opera.

James Lowe Conductor

Mr. Lowe has had a long relationship with Houston Grand Opera, where he has conducted Carmen, Le nozze di Figaro, Die Entführung aus dem Serail, Sweeney Todd, The End of the Affair, as well as the world premiere production of The Little Prince. At Utah Opera he has led The Little Prince, Florencia en el Amazonas, and Of Mice and Men, and he has appeared at the San Francisco Opera, the Houston Symphony, Memphis Symphony, Jacksonville Symphony, Wolf Trap Opera, and the Houston Ballet. On Broadway, James Lowe was the Music Director and Conductor of the recent revival of Les Misérables, as well as the Tony Awardwinning revival of Cole Porter’s Anything Goes, starring Sutton Foster and Joel Grey. Mr. Lowe was nominated for a Grammy Award for his work on the Anything Goes cast album, which he conducted and co-produced. He served as the US Music Supervisor of the North American Tour of The Phantom of the Opera and he made his Broadway debut conducting performances of Gypsy, starring Patti LuPone. Mr. Lowe has appeared in concert with Sir Elton John, conducting his own orchestrations and choral arrangements of Elton’s classic songs, as well as with singer-songwriter Randy Newman and the legendary Booker T. Jones. He is currently composing a new opera entitled Poppea, based on themes of Monteverdi’s seminal opera.

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ARTISTIC STAFF

Michaella Calzaretta Conductor Oct. 10 (mat.), Oct. 17 (mat.)

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Michaella Calzaretta recently completed her third season as Chorus Master and Assistant Conductor at Utah Opera. Under her leadership, the opera chorus has garnered more and more recognition with each production. Of her MobyDick, Opera Today extolled her “superb choral preparation. Her large chorus was flawless in tonal beauty, dramatic engagement, and clarity of diction, even when performing busy stage movement. Her large chorus was flawless in tonal beauty, dramatic engagement, and clarity of diction, even when performing busy stage movement.” In a review of Roméo et Juliette, Opera News praised “…the strong performance of the Utah Opera Chorus, setting a reliably high standard under the direction of Chorus Master Michaella Calzaretta.” Partnership with the Utah Symphony has also been successful, as the opera chorus performed in a semi-staged presentation of Candide and provided vocals for live film concerts of Pirates of the Caribbean and Harry Potter and the Prisoner of Azkaban. Ms. Calzaretta is completing a Doctorate in Choral Conducting at Indiana University in Bloomington, Indiana, where she studied with Walter Huff, Betsy Burleigh, and Dominick DiOrio. She was the Music Director for the University Gilbert and Sullivan Society of Bloomington, as well as the Music Director for New Voices Opera, a student-run organization that commissions and produces operas by student composers. Ms. Calzaretta holds a Bachelor of Music in Vocal Performance from Simpson College and a Master of Music in Choral Conducting from the University of MissouriKansas City.

ARTISTIC STAFF

Kristine McIntyre Stage Director

Stage director Kristine McIntyre has directed more than 100 operas across the U.S. with a focus on 20th and 21st century opera and American works. Productions include Jake Heggie and Gene Scheer’s Moby-Dick (Utah Opera, Pittsburgh Opera, Chicago Opera Theater, Opera San Jose); the world premieres of Louis Karchin’s Jane Eyre (Center for Contemporary Opera, New York), Kirke Mechem’s John Brown (Lyric Opera of Kansas City); Mark Lanz Weiser and Amy Punt’s The Place Where You Started (Art Share LA), and Mirror Game by Celka Ojakangas and Amy Punt (PSU, Opera America Female Composer Discovery Grant); new productions of Dead Man Walking, As One, Glory Denied, Soldier Songs, Flight, The End of the Affair, Three Decembers, Billy Budd (regional Emmy award), Wozzeck, Peter Grimes, Jenůfa, Florencia en el Amazonas, Street Scene, The Tender Land, Of Mice and Men, Elmer Gantry and Bon Appétit as well a filmnoir style Don Giovanni, a new adaptation of Poulenc’s The Human Voice, Manon (regional Emmy award), Otello, Eugene Onegin, Le nozze di Figaro, Lucia di Lammermoor, La cenerentola, Cosi fan tutte, Tosca, Un Ballo in Maschera and Les Contes d’Hoffmann. Upcoming projects include new productions of Sweeney Todd and Semele, the world premiere of Laura Kaminsky and Kim Reed’s Hometown to the World at the Santa Fe Opera, and 2 revivals of her production of Jonathan Dove’s Flight for Utah Opera and the Dallas Opera. Kristine is also developing several new operas specifically for the digital realm and for production in non-traditional spaces, including Galaxies in her Eyes, about the work of female mathematicians, astronomers and astronauts designed for planetarium technology.

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ARTISTIC STAFF Kathy Maxwell is a lighting and video designer based in St. Paul/Minneapolis, Minnesota. This is her first time working with Utah Opera. Recent design credits include This Bitter Earth, Benevolence, Glory Denied, Ride the Cyclone, and the world premiere of Mirror Game. Kathy is also a adjunct professor at Macalester College and the Univesity of Minnesota. She received her M.F.A in theatrical design from The University of Minnesota and her B.A. in theatre and dance from the University of Texas.

Kathy Maxwell Lighting & Video Designer

La Beene is an Assistant Professor of Costume Design at Utah Valley University. She has an MFA in Costume Design and Technology from BYU. She is an active member of USITT. In addition to teaching she is an active costume designer throughout the Greater Salt Lake City area and U.S., designing for Sundance, Salt Lake Acting Company, Plan B Theatre Co., Utah Festival Opera and Musical Theatre and Oregon Cabaret Theatre.

La Beene Hair and Make-up Designer

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THE HUMAN VOICE SYNOPSIS

Synopsis of The Human Voice

As the opera opens, the protagonist, ambiguously referenced as Elle (“she,” in French), lies prostrate and unmoving. When she finally mobilizes and rises as if to leave the room, her telephone rings: two wrong numbers, and eventually her ex-lover, whom we never hear. Her sung conversation with him is a study in concealment, posturing, disguised pleading, and mental disintegration. First she dissembles and lies, saying that she had gone out; then she blames herself for their romantic problems. The call is interrupted by system problems and eventually disconnects; in her attempt to call back, Elle discovers that her ex-lover is not at home, as he had claimed; but when he calls her, she conceals this knowledge, imputing the background music to a home radio. Eventually she gives way to suspicions that he is with her friend Marthe. (He is at a club where live music is performed.) As her tormented monologue proceeds, the depth of Elle’s preoccupation with the telephone and its fateful role in her life becomes clear to us. The opera ends with Elle, having repeatedly confessed her continuing love for her unseen ex, tells him that the telephone cord has wrapped around her neck. Finally, she collapses back onto her bed—is she physically depleted…or unconscious…or has she strangled herself with the cord? Poulenc leaves the answer to us.

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GENTLEMAN’S ISLAND SYNOPSIS

Synopsis of Gentleman’s Island Mr. Gray and Mr. Somers, both proper Englishmen, have survived a shipwreck and find themselves on the same desert island. Since they have not been formally introduced, conversing is not an option; however, listening to each other as they alternately think aloud, the two men discover a mutual acquaintance: a certain Mr. Robinson. Even in a population of two, it seems, inequality of wealth can give rise to social unrest. Abiding by certain territorial boundaries on their island home, Mr. Gray and Mr. Somers are subject to unequal distribution of food resources. At length, they agree that the demands of formal etiquette have been satisfied—after all, they do both know Mr. Robinson—and decide to cooperate. After some months of this social routine, Mr. Robinson arrives at the island as leader of a mission to rescue Mssrs. Gray and Somers. But when it becomes clear that the rescue party is comprised of convicts, the two men decline to be rescued. To accept such help, they feel, would be socially unacceptable; in fact, in light of Mr. Robinson’s criminal social status, Gray and Somers prefer to reject their past association with Robinson altogether. Instead, they determine to live in the respective territories of the island that has become home—and will eventually be their grave.

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ETIQUETTE POEM Etiquette

by William Schwenk Gilbert From “Fifty ‘Bab’ Ballads: Much Sound and Little Sense” 1887 The Ballyshannon foundered off the the coast of Cariboo, And down in fathoms many went the captain and the crew; Down went the owners—greedy men whom hope of gain allured: Oh dry the starting tear, for they were heavily ensured. Besides the captain and the mate, the owners and the crew, The passengers were also drowned excepting only two: Young Peter Gray, who tasted teas for Baker, Croop & Co. And Somers, who from Eastern shores, imported indigo. These passengers, by reason of their clinging to a mast Upon a desert island were eventually cast. They hunted for their meals, as Alexander Selkirk used, But they couldn’t chat together—they had not been introduced. For Peter Gray, and Somers too, though certainly in trade, Were properly particular about the friends they made; And somehow thus they settled it without a word of mouth— That Gray should take the northern half, while Somers took the South. On Peter’s portion oysters grew—a delicacy rare, But oysters were a delicacy Peter couldn’t bear, On Somers’ side was turtle, on the shingle lying thick, Which Somers couldn’t eat, because it always made him sick. Gray gnashed his teeth with envy as he saw a mighty store, Of turtle unmolested on his fellow-creature’s shore. The oysters at his feet aside impatiently he shoved,

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ETIQUETTE POEM For turtle and his mother were the only things he loved. And Somers sighed in sorrow as he settled in the south, For the thought of Peter’s oysters brought the water to his mouth. He longed to lay him down upon the shelly bed, and stuff: He had often eaten oysters, but had never had enough. How they wished an introduction to each other they had had When on board the Ballyshannon! And it drove them nearly mad. To think how very friendly with each other they might get, If it wasn’t for the arbitrary rule of etiquette! One day when out a hunting for the mus ridiculus, Gray overheard his fellow man soliloquizing thus: “I wonder how the playmates of my youth are getting on, McConnell, S.B. Walters, Paddy Byles, and Robinson?” These simple words made Peter as delighted as could be Old chummies at the charterhouse were Robinson and he! He walked straight up to Somers, then he turned extremely red. Hesitated, hummed and hawed a bit, then cleared his throat and said: “I beg your pardon—pray forgive me if I seem too bold, But you have breathed a name I know familiarly of old. You spoke aloud of Robinson—I happened to be by. “You know him?” “Yes, extremely well” “allow me, so do I”. It was enough: they felt they could more pleasantly get on, For (ah, the magic of the fact!) they each knew Robinson! And Mr. Somers’ turtle was at Peter’s service quite, And Mr. Somers punished Peter’s oyster beds all night. They soon became like brothers from community of wrongs:

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ETIQUETTE POEM They wrote each other little odes and sang each other songs; They told each other anecdotes disparaging their wives; On several occasions, too, they saved each other’s lives. They felt quite melancholy when they parted for the night, And got up in the morning soon as ever it was light; Each other’s pleasant company they reckoned so upon, And all because it happened that they both knew Robinson. They lived for many years on that inhospitable shore, And day by day they learned to love each other more and more. At last, to their astonishment, on getting up one day, They saw a frigate anchored in the offing of the bay. To Peter an idea occurred. “Suppose we cross the main? So good an opportunity may not be found again”. And Somers thought a minute, then ejaculated “Done! I wonder how my business in the City’s getting on?” “But stay,” said Mr. Peter: “when in England as you know, I earned a living tasting teas for Baker, Croop and Co., I may be superceded—my employer thinks me dead!” “Then come with me,” said Somers, “and taste indigo instead”. But all their plans were scattered in moment when they found the vessel was a convict ship from Portland, outward bound; When a boat came off to fetch them, though they felt it very kind, To go on board they firmly but respectfully declined. And both the happy settlers roared with laughter at the joke, They recognized a gentlemanly fellow pulling stroke: ‘Twas Robinson—a convict, in an unbecoming frock!

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ETIQUETTE POEM Condemned to seven years for misappropriating stock!!! They laughed no more, for Somers thought he had been rather rash In knowing one whose friend had misappropriated cash; And Peter thought a foolish tack he must have gone upon In making the acquaintance of a friend of Robinson. At first they didn’t quarrel very openly, I’ve heard; They nodded when they met, and now and then exchanged a word; The word grew rare, and rarer still the nodding of the head, And when they meet each other now, they cut each other dead. To allocate the island they agreed by word of mouth, And Peter takes the north again, and Somers takes the south; And Peter has the oysters, which he hates, in layers thick, And Somers has the turtle—turtle always makes him sick.

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COMPOSERS AND LIBRETTIST

Francis Poulenc Composer

Joseph Horovitz Composer

Francis Poulenc, born in 1899 and died in 1963, is known for his wide repertoire including piano, choral, opera, ballet, and orchestral works. Poulenc had to fight his family’s desires of taking over his father’s business and teach himself music with the help of pianist, Ricardo Viñes. Poulenc became a famous musician and composer in his early twenties, but only started his opera work beginning in his forties. He believed that he could not write the nuanced and mature nature of operas without first being more mature himself, and thus waited until he was older and briefly fought in WWII to write in this genre. His opera, La Voix humaine, was based on the play (having the same title) written by Jean Cocteau. Cocteau and French soprano Denise Duval worked closely with Poulenc to develop the opera. Poulenc had, in fact, written this opera specifically for Duval, while also riding the success of his second opera Dialogues des Carmélites. Poulenc was able to write with specificity to Duval’s own “stormy love life,” and he was able to identify with the character Elle.

Joseph Horovitz was born in Vienna in 1926 into a Jewish family, they emigrated to England in 1938 to escape the Nazi party. Horovitz studied music at New College, Oxford, and later attended the Royal College of Music in London studying composition. He began his music career in 1950 conducting ballet and opera, touring Europe and the United States. He continued composing as well, and many of his concerti show jazz influences. However, Horovitz had a wide range of styles of music including serious religious vocal works and “pop cantata.” One of his most successful in this latter style is the children’s cantata “Captain Noah and His Floating Zoo” with the libretto by Michael Flanders. Horovitz wrote the music for Gentleman’s Island alongside librettist Gordon Snell. Gentleman’s Island, written in 1958, is a comedic opera that was inspired by the poem “Etiquette” by William S. Gilbert (of Gilbert & Sullivan). The opera was first performed as a part of a Christmas entertainment by a group called the London Opera Club. After that, the opera was toured widely by the Intimate Opera Company which toured it widely.

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COMPOSERS AND LIBRETTIST

Gordon Snell Librettist

Gordon Snell is a British author of children’s literature and a scriptwriter. Snell was born in Singapore, and his father was an engineer. While with his mother in Australia attending boarding school, Singapore was invaded and his father became a prisoner of war for three years. After growing up, Snell worked as a freelance producer for the BBC, Snell met Maeve Binchy in London. The two were married in 1977, and they wound up back in Binchy’s hometown of Dalkey, Ireland (which is just outside of Dublin). Ireland had an impact on Snell’s writing as he states in an essay for Penguin Random House publishing: “Like many another before me, when I came to live in Ireland I found a whole new homeland. Everyone had a story to tell and most of them were telling it in print and verse, or as a play. The hills of Ireland are alive with the sound of stories.” Snell worked on the libretto while Joseph Horovitz composed the music for the comedic opera, Gentleman’s Island before moving to Ireland, in 1958.

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UTAH SYMPHONY Thierry Fischer, Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Associate Conductor

Barlow Bradford Symphony Chorus Director

VIOLIN* Madeline Adkins

Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton

Kathryn Eberle

Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair

VIOLA* Brant Bayless

Principal The Sue & Walker Wallace Chair

Yuan Qi

Associate Principal

Elizabeth Beilman† Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas CELLO* Matthew Johnson

Ralph Matson†

Associate Concertmaster

Acting Principal The J. Ryan Selberg Memorial Chair

Laura Ha

Andrew Larson

Acting Associate Concertmaster

David Park

Assistant Concertmaster

Claude Halter

Principal Second

Wen Yuan Gu

Associate Principal Second

Evgenia Zharzhavskaya

Acting Associate Principal

John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal

PICCOLO Caitlyn Valovick Moore

TRUMPET Travis Peterson

OBOE James Hall

Jeff Luke

Principal The Gerald B. & Barbara F. Stringfellow Chair

Robert Stephenson Associate Principal

BASS TROMBONE Graeme Mutchler

CLARINET Tad Calcara

Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell

TIMPANI George Brown

Erin Svoboda-Scott

PERCUSSION Keith Carrick

Principal

Eric Hopkins

Associate Principal

Principal

Lee Livengood

Eric Hopkins Michael Pape

BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda-Scott BASSOON Lori Wike

James Allyn Andrew Keller Edward Merritt Jens Tenbroek Thomas Zera

Caitlyn Valovick Moore

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

• First Violin •• Second Violin

* String Seating Rotates † On Leave

# Sabbatical †† Substitute Member

FLUTE Mercedes Smith

Principal The Val A. Browning Chair

Lisa Byrnes

Associate Principal

TROMBONE Mark Davidson

Associate Principal

Karen Wyatt•• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Bonnie Terry• Julie Wunderle

Principal

Peter Margulies Paul Torrisi

Sam Elliot

ENGLISH HORN Lissa Stolz

Corbin Johnston

HARP Louise Vickerman

Associate Principal

Principal

Lissa Stolz

Assistant Principal Second

Associate Principal

Principal

Principal The Edward & Barbara Moreton Chair

KEYBOARD Jason Hardink Principal

LIBRARIANS Clovis Lark Principal

Katie Klich ORCHESTRA PERSONNEL Walt Zeschin

Leon Chodos

Associate Principal

Director of Orchestra Personnel

Jennifer Rhodes CONTRABASSOON Leon Chodos

Andrew Williams

Orchestra Personnel Manager

HORN Edmund Rollett Acting Principal

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PLANNED GIVING

We never know what the future holds, but our eyes have been opened to how crucial planning ahead is. The pandemic has caused many of us to contemplate our legacy, assess our priorities, and plan for the future. Perhaps now more than ever, we recognize how important and meaningful it is to have a place where we can gather as a community to be uplifted and inspired by great music. If you want to ensure the future legacy of Utah Symphony | Utah Opera for future audiences to enjoy, please include USUO in your estate planning.

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CRESCENDO AND TANNER SOCIETIES “YOU ARE THE MUSIC WHILE THE MUSIC LASTS.”~T.S. Eliot

Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012 for more information, or visit our website at usuo.giftplans.org.

CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage

Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean† Henkels Edward R. Ashwood & Candice A. Johnson Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Richard W. & Frances P. Muir Marilyn H. Neilson

Carol & Ted Newlin Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Jeffrey W. Shields G.B. & B.F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser

TANNER SOCIETY OF UTAH SYMPHONY

Beethoven Circle (gifts valued at more than $100,000) Anonymous (3) Doyle Arnold & Anne Glarner Edward R. Ashwood & Candice A. Johnson Dr. J. Richard Baringer Haven J. Barlow Marcy & Mark Casp Shelly Coburn Raymond & Diana Compton Anne C. Ewers

Mahler Circle

Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Virginia A. Hughes Ms. Marilyn Lindsay† Turid V. Lipman

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Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane Miner Glenn Prestwich Kenneth A.† & Jeraldine S. Randall Mr.† & Mrs. Alvin Richer

Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffery & Joyce Smith G.B. & B.F. Stringfellow Norman† & Barbara† Tanner Mr. & Mrs. M. Walker Wallace

Herbert C. & Wilma Livsey Dianne May Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn

Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart Frederic & Marilyn† Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser

INDIVIDUAL DONORS We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from July 1, 2019 to September 29 2020. * in-kind donation

** in-kind & cash donations

† deceased

ENCORE ($100,000 OR MORE) Anonymous Kem & Carolyn Gardner

Anthony & Renee Marlon Estate of Linda & Don Price

Jacquelyn Wentz

BRAVO ($50,000 TO $99,999) Scott & Kathie Amann Diane & Hal Brierley James A.† & Marilyn Parke

Patricia A. Richards & William K. Nichols** Elizabeth Solomon

Naoma Tate & the Family of Hal Tate Jim & Zibby Tozer Jack Wheatley

OVERTURE ($25,000 TO $49,999) Doyle Arnold & Anne Glarner Judy Brady & Drew W. Browning Michael & Vickie Callen John & Flora D’Arcy Brian & Detgen Greeff

Kristen Fletcher & Dan McPhun Susan & Tom Hodgson Tom & Lorie Jacobson G. Frank & Pamela Joklik Chuck & Crystal Maggelet Edward Moreton

Fred & Lucy Moreton Mark & Dianne Prothro Alice & Frank Puleo George Speciale John & Jean Yablonski Edward & Marelynn Zipser

MAESTRO ($10,000 TO $24,999) Anonymous A. Scott & Jesselie Anderson AKBankhead FundBerenice J. Bradshaw Trust Thomas Billings & Judge Judith Billings Carol, Rete & Celine Browning Judy & Larry Brownstein Howard & Betty Clark Larry Clemmensen Marian Davis & David Parker Kathleen Digre & Michael Varner Pat & Sherry Duncan Spencer & Cleone† Eccles 44

Midge Farkas Thierry & Catherine Fischer** Doug & Connie Hayes Mary P.† & Jerald H. Jacobs Family Mr. & Mrs. Christopher J. Lansing Herbert† & Helga Lloyd Tom & Jamie Love Mr. & Mrs. Charles McEvoy Carol & Anthony W. Middleton, Jr., M.D. Amanda & Spencer Millerberg Richard & Robin Milne Terrell & Leah Nagata

James & Ann Neal Leslie Peterson & Kevin Higgins Stephen & Cydney Quinn Albert J. Roberts IV Carmen Rogers Sandefur Schmidt Dr. & Mrs. Charles W. Sorenson, Jr. Mr. & Mrs. G. B. Stringfellow Steve & Betty Suellentrop James R. & Susan Swartz Jonathan & Anne Symonds Norman C.† & Barbara L. Tanner † Tim & Judy Terrell

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INDIVIDUAL DONORS ALLEGRO ($5,000 TO $9,999) Anonymous (5) Alan, Carol, & Annie Agle Edward R. Ashwood & Candice A. Johnson Dr. J.R. Baringer & Dr. Jeannette J. Townsend Dr. & Mrs. Clisto Beaty Mr. & Mrs. Neill Brownstein Mark & Marcy Casp John Clukey Marc & Kathryn Cohen Mr. & Mrs. Kenneth R. Cutler Willard & Julia Dere Patricia Dougall Eager Trust Mrs. Sarah Ehrlich Robert & Elisha Finney Wen Flatt Nash Foster Diana George David & SandyLee Griswold** Ray & Howard Grossman Chuck & Kathie Horman

The Right Reverend Carolyn Tanner Irish & Mr. Frederick Quinn Ken & Margo Jacobs Annette & Joseph Jarvis M. Craig Johns Michael Liess Bill Ligety & Cyndi Sharp Daniel & Deena Lofgren Beatrice Lufkin Nick Markosian Christopher & Julie McBeth Hallie & Ted McFetridge Michal & Maureen Mekjian Carol & Anthony W. Middleton, Jr., M.D. Joanne Mitchell Dr. Louis A. Moench & Deborah Moench Marilyn H. Neilson Dr. Stephen H. & Mary Nichols O. Don & Barbara Ostler

Dr. Thomas Parks & Dr. Patricia Legant Dr. Dinesh & Kalpana Patel Frank R. Pignanelli & D’Arcy Dixon Brooks & Lenna Quinn Dr. & Mrs.† Marvin L. Rallison James & Gail Riepe James & Anna Romano Ted & Lori Samuels Peggy & Ben Schapiro Barbara & Paul Schwartz D. Brent† & Suzanne Scott Gerald† & Sharon Seiner Dr. John Shigeoka Stuart & Mary Silloway Gibbs† & Catherine W. Smith Sidney Stern Memorial Trust Thomas & Marilyn Sutton Paul L. Wattis Dr. Rasmus Wegner Kathie & Hugh Zumbro

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) Anonymous (6) Fred & Linda Babcock Tom & Carolee Baron Tina & John Barry Jennifer & Charles Beckham Dr. Melissa Bentley Donna Birsner Roger & Karen Blaylock Bill & Susan Bloomfield Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Michael & Christy Bush Mr. & Mrs. William D. Callister Vincent Cannella Hal & Cecile Christiansen The Chung Family George & Katie Coleman Debbi & Gary Cook Dr. Thomas D. & Joanne A. Coppin Thomas D. Dee III & Dr. Candace Dee UTAHOPERA.ORG

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Elizabeth deForest John D. Doppelheuer & Kirsten A. Hanson Blake & Linda Fisher Mr. Joseph F. Furlong III Robert & AnnieLewis Garda Heidi Gardner David & Sherrie Gee Jeffrey L. Giese, M.D. & Mary E. Giese Andrea Golding Sue & Gary Grant Arlen Hale Kenneth & Kate Handley Dr. Bradford D. Hare & Dr. Akiko Okifuji Mary Haskins Jeff & Peggy Hatch John Edward Henderson Deborah & Steve Horton Sunny & Wes Howell Dixie S. & Robert P. Huefner

Michael Huerta & Ann Sowder Jay & Julie Jacobson Drs. Randy & Elizabeth Jensen Maxine & Bruce Johnson Dale & Beverly Johnson Dan & Jane Jones Dr. & Mrs. Michael A. Kalm Rick & Paulette Katzenbach Susan Keyes & Jim Sulat Jeanne Kimball Allison Kitching Howard & Merele Kosowsky Donald L. & Alice A. Lappe Gary & Suzanne Larsen Ms. Susan Loffler Dennis & Pat Lombardi David & Donna Lyon Steve Mahas Keith & Vicki Maio Brian & Shasha Mann Jed & Kathryn Marti 45

INDIVIDUAL DONORS

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Daniel & Noemi P. Mattis Tom & Janet McDougal David & Nickie McDowell George & Nancy Melling Brad Merrill John Mertens Mr. & Mrs. Richard Mithoff Ruth & William Ohlsen Dr. S. Keith & Barbara Petersen Ray Pickup

Gregory & Ann Robison Marilynn Roskelley & Paul Dorius Mark & Loulu Saltzman Margaret P. Sargent Shirley & Eric Schoenholz Dewelynn & J. Ryan† Selberg Mary & Doug Sinclair Jeffrey Starr Paul Taylor

Denise Torrisi Thomas† & Caroline Tucker Peter Margulies & Louise Vickerman Susan & David† Wagstaff Susan Warshaw Robert R. & Sue A. Webb Dan & Amy Wilcox David & Jerre Winder

PATRON ($1,500 TO $2,499) Anonymous (3) Fran Akita C. Kim & Jane Blair Mr. & Mrs. Lee Forrest Carter Mr. & Mrs. Fred L. Carter, Jr. William J. Coles & Joan L. Coles David & Karen Gardner Dee Michael Deputy Lawrence Dickerson & Marcela Donadio Margarita Donnelly Dr. Paul Dorgan

Thomas Fuller Dr. & Mrs. John Greenlee C. Chauncey & Emily Hall Christine St. Andre & Cliff Hardesty E. Art Woolston & Connie Jo Hepworth-Woolston Connie C. Holbrook Gordon Irving Bryce & Karen† Johnson Carl & Gillean Kjeldsberg Heidi & Edward Makowski Clifton & Terri McIntosh Warren K†. & Virginia G. McOmber

Joe Mulvehill Kenneth Roach & Cindy Powell Dr. Barbara S. Reid Frances Reiser Susan Rothman Janet Schaap Mr. August L. Schultz Thomas & Gayle Sherry Douglas & Susan Terry Astrid S. Tuminez Dr. Ralph & Judith Vander Heide John & Susan Walker Frank & Janell Weinstock

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INDIVIDUAL DONORS

FRIEND ($1,000 TO $1,499) Anonymous (5) Madeline Adkins & John Forest Jim Alexander Christine A. Allred Clayton Anderson Dr. & Mrs. Jeffrey L. Anderson Pj Aniello Drs. Crystal & Dustin Armstrong Ian Arnold Curtis Atkisson, Jr. Mr. & Mrs. Lawrence R. Barusch Diane Banks Bromberg & Dr. Mark Bromberg Kevin Burdette Michael Carnes Dana Carroll & Jeannine Marlowe Carroll Michael & Beth Chardack William & Patricia Child Dr. & Mrs. David Coppin David & Carol Coulter Sandra Covey† Dorothy B. Cromer David & Donna Dalton James Dashner Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Alice Edvalson Eric & Shellie Eide Larry Gerlach Bob & Mary Gilchrist Ralph & Rose Gochnour Kenneth & Amy Goodman Mr. Keith Guernsey John & Ilauna Gurr Dr. Elizabeth Hammond

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Geraldine Hanni Jonathan Hart Lex Hemphill & Nancy Melich Craig & Tiffany Hess Peggy Hudson Stephen Irish Thomas Jacobson Eldon Jenkins & Amy Calara Chester & Marilyn Johnson Jill Johnson James R. Jones & Family Mr. & Mrs. Bruce M. Lake Gary Lambert Guttorm & Claudia Landro Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Harrison & Elaine Levy Julie & John Lund Miriam Mason & Greg Glynis MS. Mary Pat McCurdie Edward J. & Grace Mary McDonough MR. Jeffrey McNeal David Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville Hal & JeNeal Miller Drs. Jean & Richard R. Miller Henriette Mohebbizadeh Glenn & Dav Mosby Sir David Murrell IV & Mary Beckerle Renate B. Nebeker Ruzena Novak Dr. & Mrs. Richard

T. O’Brien Lee K. Osborne Joseph J.† & Dorothy Moyle Palmer Dr. Marzia Pasquali & Ms. Nicola Longo Linda S. Pembroke Rori & Nancy Piggott Charles R. Pikler Arthur & Susan Ralph W.E. & Harriet R. Rasmussen Gina Rieke Lousje & Keith Rooker Miguel Rovira David & Lois Salisbury Brent & Jan Scharman James & Janet Schnitz Barbara Slaymaker Jerilyn McIntyre & David Smith Sheryl & James Snarr Dr. & Mrs. Michael H. Stevens Richard and Shannon Straight Richard & Janet Thompson Kenneth Uy David H. & Barbara S. Viskochil Dr. James C. Warenski Renee Waters Cindy Williams Mary Ann & Charles Williams Margaret & Gary Wirth David B. & Anne Wirthlin Marsha & Richard Workman Paul Wright

ENDOWMENT DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being & stability of USUO, & through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9015. Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation Thomas & Candace Dee

Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation Kenneth† & Jerrie Randall

The Evelyn Rosenblatt Young Artist Award Bill & Joanne Shiebler James R. & Susan Swartz Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner Company M. Walker & Sue Wallace

GIFTS MADE IN HONOR Marie Nelson Bennett Neill & Linda Brownstein Peggy Chase Dreyfous Paula Fowler Kem Gardner

Burton & Elaine Gordon Barbara Scowcroft & Ralph Matson Matthew & Maria Proser Pat Richards

Bill & Joanne Shiebler Grant Gill Smith Dale Strobel Whittney Thomas J. Brian Whitesides

GIFTS MADE IN MEMORY Dennis Austin Jay T. Ball Dawn Ann Bailey Betty Bristow Robert H. Burgoyne, M.D. Doris Macfarlane Corry Kathie Dalton Dr. James Drake Robert Ehrlich William K. Evans, Jr. Crawford Gates Lowell P. Hicks Jamila Janata 48

Dr. Gary B. Kitching M.D. Harry Lakin Julia Lawrence Frank & Maxine McIntyre Warren K. (Sandy) McOmber Clyde Dennis Meadows Dr. Richard George Middleton Mary Muir Mary E. Nelson Jack Newton Richard Perkins

Glade & Mardean Peterson Rhoda Ramsey Richard Reiser Norman B. Ross Shirley Corbett Russell J. Ryan Selberg Venice Shields Ann O’Neill Shigeoka, M.D. Robert C. Sloan Dorotha Smart Barbara Tanner Maxine Winn

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INSTITUTIONAL DONORS We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from July 1, 2019 to September 29, 2020. USUO’s 2020–21 season is funded in part by the CARES Act and the Utah State Legislature through Utah Arts & Museums. * in-kind donation

** in-kind & cash donation

$100,000 OR MORE The Church of Jesus Christ of Latter-Day Saints Foundation Lawrence T. & Janet T. Dee Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation The Florence J. Gillmor Foundation

Emma Eccles Jones Foundation Larry H. & Gail Miller Family Foundation John & Marcia Price Foundation O.C. Tanner Company Salt Lake County Shiebler Family Foundation Sorenson Legacy Foundation

State of Utah Summit County Restaurant Tax / RAP Tax Utah Division of Arts & Museums / National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank

Kahlert Foundation League of American Orchestras

Grand America Hotel* William Randolph Hearst Foundation

Goldman Sachs Janet Q. Lawson Foundation Frederick Q. Lawson Foundation McCarthey Family Foundation Nora Eccles Treadwell Foundation

Charles Maxfield & Gloria F. Parrish Foundation Moreton Family Foundation Schmidt Family Foundation Simmons Family Foundation Utah Office of Tourism

$50,000 TO $99,999 Anonymous AHE/CI Trust Dominion Energy

$25,000 TO $49,999 Arnold Machinery Brent & Bonnie Jean Beesley Foundation Carol Franc Buck Foundation Cache Valley Electric Chevron Corporation C. Comstock Clayton Foundation

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INSTITUTIONAL DONORS

$10,000 TO $24,999 Anonymous B.W. Bastian Foundation Bank of America Caffé Molise* HJ & BR Barlow Foundation Johnson Foundation of the Rockies Marie Eccles Caine FoundationRussell Family

Matthew B. Ellis Foundation Onstage Ogden Orange County Community Foundation Park City Chamber / Visitors Bureau Promontory R. Harold Burton Foundation Regence Blue Cross Blue Shield

Richard K. & Shirley S. Hemingway Foundation S.J. & Jessie E. Quinney Foundation The Christian V. & Lisa D. Young Family Foundation The Joseph & Evelyn Rosenblatt Charitable Fund WCF Insurance W. Mack & Julia S. Watkins Foundation

M Lazy M Foundation Microsoft Corporation Millcreek Coffee Roasters* Morris Murdock Travel Orem City CARE Tax Park City Community Foundation Rancho Market Ray, Quinney & Nebeker Foundation Raymond James & Associates Robert S. Carter Foundation Rocky Mountain Power Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Rotary Club of Salt Lake Salt Lake City Arts Council

Snow, Christensen & Martineau Foundation Spitzberg-Rothman Foundation Summerhays Music Center Tesoro Petroleum Corporation Texas de Brazil* The Fanwood Foundation Western Office The Val A. Green & Edith D. Green Foundation US Bank Utah Autism Foundation Victor Herbert Foundation

$1,000 TO $9,999 AC Hotel Salt Lake City/Downtown* Adib’s Rug Gallery Bambara* Bertin Family Foundation Better Days CBRE City Creek Center Corning Incorporated Foundation D’Addario Foundation David Dee Fine Arts Grandeur Peak Global Advisors Henry W. & Leslie M. Eskuche Charitable Foundation Holland & Hart J. Wong’s Thai & Chinese Bistro*

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ADMINISTRATION ADMINISTRATION Steven Brosvik

Barlow Bradford

Symphony Chorus Director

PATRON SERVICES Faith Myers

David Green

Director of Orchestra Personnel

Merry Magee

President & CEO

Walt Zeschin

Senior Vice President & COO

Julie McBeth

Executive Assistant to the CEO

Collette Cook

Executive Assistant to the Sr. VP and COO & Office Manager

OPERA ARTISTIC Christopher McBeth Opera Artistic Director

Carol Anderson

Andrew Williams

Orchestra Personnel Manager

Lance Jensen

Executive Assistant to the Music Director Symphony Chorus Manager

SYMPHONY OPERATIONS Cassandra Dozet

Director of Orchestra Operations

Melissa Robison

Principal Coach

Program Publication & Front of House Director

Director of Production

Production & Stage Manager

Chip Dance

Michelle Peterson

Michaella Calzaretta Opera Chorus Master

Brooke Hundley

Opera Production Coordinator

OPERA TECHNICAL Jared Porter

Kate Henry

Operations Manager

Jeff F. Herbig

Properties Manager & Assistant Stage Manager

Lyndsay Keith

Senior Technical Director

Kelly Nickle

Artist Logistics Coordinator

Robyne Anderson

2nd Assistant Stage Manager

Properties Master

DEVELOPMENT Leslie Peterson

Dusty Terrell

Scenic Charge Artist

Vice President of Development

COSTUMES Verona Green

Jessica Proctor

Director of Institutional Giving

Costume Director

Jessica Cetrone

Olivia Custodio

Kierstin Gibbs LisaAnn DeLapp

Heather Weinstock

Amanda Reiser Meyer

Lisa Poppleton

Milivoj Poletan

Nikki Orlando

Tiffany Lent

Ellesse Hargreaves

Donna Thomas

MARKETING & COMMUNICATIONS Jon Miles

Costume Rentals Supervisor

Director of Individual Giving Director of Special Events & DVMF Donor Relations

Rentals Assistants

Wardrobe Supervisor

Grants Manager

Development Operations Manager

Tailor

Development Assistant

Cutter/Draper

Milliner & Craftsperson

Vice President of Marketing & Public Relations

SYMPHONY ARTISTIC Thierry Fischer

Symphony Music Director

Renée Huang

Vice President of Symphony Artistic Planning

Kathleen Sykes

Anthony Tolokan

Conner Gray Covington

Associate Conductor & Principal Conductor of the Deer Valley® Music Festival

Director of Patron Engagement Marketing Manager - Patron Loyalty

Mara Lefler

Sales Manager

Andrew J. Wilson

Patron Services Manager

Hallie Wilmes

Patron Services Assistant

Genevieve Gannon

Group Sales Associate

Jenna O’Dell Sarah Pehrson Powell Smith Sales Associates

Nicholas Barker Lorraine Fry Ellen Lewis Naomi Newton Ian Painter Talia Ricci Ananda Spike Ticket Agents

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Karyn Cunliffe Controller

Alison Mockli

Payroll & Benefits Manager

Kyle Siedschlag

Accounts Payable Specialist

Jared Mollenkopf

Patron Information Systems Manager

EDUCATION Paula Fowler

Director of Education & Community Outreach

Kyleene Johnson

Symphony Education Manager

Annie Farnbach

Symphony Education Assistant

Director of Communications & Digital Media Digital Content Producer

Robert Bedont

Marketing Manager - Audience Development

Nina Starling

Website Content Coordinator We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.

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HOUSE RULES

Photo Credit: Austen Diamond

ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Abravanel Hall. Ask at the Coat Check for details. WHEELCHAIR SEATING Ample wheelchair seating is available. Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager. LATECOMERS In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating

will be used. During some productions late seating may not occur until an intermission after which time you may be seated by an usher in an alternate section. When traveling to performances, please allow ample time for traffic delays, road construction, and parking. COPYRIGHT ADHERENCE In compliance with copyright laws, it is strictly prohibited to take any photographs or any audio or video recordings of the performance. EMERGENCY INFORMATION In the event of an emergency, please remain seated and wait for instructions. Emergency exits are located on both sides of the house. Please identify the exit closest to your location.

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VOLUNTEERING

WITH UTAH SYMPHONY | UTAH OPERA

THANK YOU! During the time when concerts in Abravanel Hall, Capitol Theater, and the Deer Valley Music Festival were cancelled, the Excellence Concert Series featured Utah Symphony and Utah Opera musicians in live streamed concerts from the Gallivan Center. Thank you for featuring our musicians and giving us quality performance opportunities during this difficult time.

ACKNOWLEDGMENTS UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR

Melissa Robison HUDSON PRINTING COMPANY www.hudsonprinting.com 241 West 1700 South Salt Lake City, UT 84115 801-486-4611 AUDITING AND ACCOUNTING SERVICES PROVIDED BY

Tanner, llc LEGAL REPRESENTATION PROVIDED BY

Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY

Love Communications, Salt Lake City

ADVERTISING CREATIVE & BRANDING SERVICES PROVIDED BY

Struck, Salt Lake City / Portland

The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief. Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.

Photo Credit: Austen Diamond

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