Deer Valley® Music Festival 2024

WELCOME TO THE DEER VALLEY® MUSIC FESTIVAL

Steven Brosvik President & CEO

Utah Symphony | Utah Opera

Brian Greeff Chairman USUO Board of Trustees

Thank you for joining us for this evening’s concert of the 20th Anniversary Season of the Deer Valley® Music Festival, which we hope is but one of many performances that you will enjoy with us this summer.

While the Utah Symphony has been performing summer concerts at the Snow Park Outdoor Amphitheater since 1985, it was in 2004 that the newly merged Utah Symphony | Utah Opera, in partnership with Deer Valley Resort, created the Deer Valley® Music Festival as a more extensive summer offering. Over the years, it has developed into a widely anticipated orchestra festival attracting national and international artists. We are profoundly grateful for the local community, donors, and supporters who have welcomed and embraced us over the years.

Utah is an amazing place to live and to visit, and Utah Symphony | Utah Opera is able to attract some of the best musicians, artists, and staff because of the variety of outdoor activities possible and exquisite natural beauty of our state. It’s no wonder that our festival experience combining great live music with a casual mountain atmosphere has become a favorite way for many people to spend their summer evenings. As you look through this program book, we think you’ll agree we have a varied and exciting group of guest artists joining our renowned Utah Symphony musicians, providing inspiration to repeatedly return and escape into the music.

Thank you for presence here tonight. We hope that enjoying exceptional music in these outstanding landscapes demonstrates to you why a thriving performing arts community is an integral part of what makes Utah great.

Sincerely,

P.S. When summer ends, enjoying great live music doesn’t have to—please join us in our indoor venues on the other side of the Wasatch Mountains during our 2024–25 season. Visit https://usuo.org/tickets/subscriptions/ for more information about a wide variety of performances and subscription packages.

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TCHAIKOVSKY’S 1812 OVERTURE

CHRISTMAS IN JULY

SCHUBERT’S SYMPHONY NO. 6

THE MUSIC OF WHITNEY HOUSTON

FUNK LEGENDS TOWER OF POWER

HAYDN, MOZART & MORE

DISCO HITS WITH BOOGIE WONDER BAND

TRAILBLAZING MUSIC OF JONI

MENDELSSOHN’S “SCOTTISH” SYMPHONY

ROCK ‘N’ ROLL WITH THE RASCALS

DISNEY IN CONCERT: ONCE UPON A TIME

HAMILTON STAR LESLIE ODOM, JR.

MITCHELL, CAROLE KING, & CARLY SIMON ON THE HILL CONCERTS

SCHOENBERG’S TRANSFIGURED NIGHT

THE MUSIC OF JOHN WILLIAMS A NIGHT TO “HEAR A SYMPHONY” WITH CODY FRY

MARY’S CHURCH CONCERTS

UTAH SYMPHONY

Thierry Fischer Music Director Emeritus

Matthew Straw Assistant Conductor

David Robertson Creative Partner

Sharon Bjorndal Lavery

Chorus Director & Opera Assistant Conductor

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

Laura Ha

2nd Associate Concertmaster

Claude Halter Principal Second

Wen Yuan Gu

Associate Principal Second

Evgenia Zharzhavskaya Assistant Principal Second

Karen Wyatt

2nd Assistant Principal Second

Sara Bauman~

Erin David

Joseph Evans

Lun Jiang

Rebekah Johnson

Tina Johnson~

Alison Kim

Amanda Kofoed~

Jennifer Kozbial Posadas~

Veronica Kulig

David Langr

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

VIOLA*

Brant Bayless

Principal

The Sue & Walker

Wallace Chair

Yuan Qi

Associate Principal

Julie Edwards

Joel Gibbs

Carl Johansen

Scott Lewis#

John Posadas

Leslie Richards~ Whittney Sjogren

CELLO*

Matthew Johnson

Acting Principal

The J. Ryan Selberg Memorial Chair

Andrew Larson Acting Associate Principal

John Eckstein

Walter Haman

Anne Lee

Louis-Philippe Robillard

Kevin Shumway

Hannah Thomas-Hollands~ Pegsoon Whang

BASS*

David Yavornitzky Principal

Corbin Johnston

Associate Principal

Andrew Keller

Edward Merritt

James Stroup~ Jens Tenbroek

Thomas Zera

HARP

Louise Vickerman Principal

FLUTE

Mercedes Smith

Principal

The Val A. Browning Chair

Lisa Byrnes Associate Principal

Caitlyn Valovick Moore

PICCOLO

Caitlyn Valovick Moore

* String Seating Rotates ** On Leave # Sabbatical ~ Substitute Member

OBOE

Zachary Hammond

Principal

The Gerald B. & Barbara F.

Stringfellow Chair

James Hall

Associate Principal

Lissa Stolz

ENGLISH HORN

Lissa Stolz

CLARINET

Tad Calcara

Principal

The Norman C. & Barbara Lindquist

Tanner Chair, in memory of Jean Lindquist Pell

Erin Svoboda-Scott Associate Principal

Lee Livengood# Chris Bosco~

BASS CLARINET

Lee Livengood# Chris Bosco~

E-FLAT CLARINET

Erin Svoboda-Scott

BASSOON

Lori Wike

Principal

The Edward & Barbara Moreton Chair

Leon Chodos Associate Principal

Jennifer Rhodes

CONTRABASSOON

Leon Chodos

HORN

Jessica Danz Principal

Edmund Rollett Associate Principal

Jonathan Chiou

Julia Pilant~

Stephen Proser

TRUMPET

Travis Peterson Principal

Jeff Luke Associate Principal

Seretta Hart~ Paul Torrisi

TROMBONE

Mark Davidson Principal

Sam Elliot Associate Principal/ Second Trombone

BASS TROMBONE Graeme Mutchler

TUBA

Alexander Purdy Principal

TIMPANI

Vacant Principal

Eric Hopkins Associate Principal

PERCUSSION

Keith Carrick Principal

Eric Hopkins

Michael Pape

KEYBOARD

Jason Hardink Principal

LIBRARIANS

Clovis Lark Principal

Claudia Restrepo

ORCHESTRA PERSONNEL

Walt Zeschin Director of Orchestra Personnel

Hannah Thomas-Hollands Orchestra Personnel Manager

THE BOARD OF TRUSTEES

ELECTED BOARD

Brian Greeff* Chair

Annette W. Jarvis* Vice Chair & Secretary

Joanne F. Shiebler* Vice Chair

Steven Brosvik* President & CEO

Austin Bankhead

Dr. Stewart E. Barlow

Judith M. Billings

Larry Brownstein

Paul E. Burdiss

George Cardon-Bystry

Gary L. Crocker

John D’Arcy*

David L. Dee

Barry L. Eden*

Jason Englund

Senator Luz Escamilla

Theresa A. Foxley

Brandon Fugal

Dr. Julie Aiken Hansen

Daniel Hemmert*

Dennis H. Hranitzky

Stephen Tanner Irish

Thomas N. Jacobson

Abigail E. Magrane

Judy Moreton

Dr. Dinesh C. Patel

Frank R. Pignanelli

Gary B. Porter

Shari H. Quinney

Miguel R. Rovira

Stan Sorensen

Clint Stone

Dr. Shane D. Stowell

Thomas Thatcher

W. James Tozer

David Utrilla

Don Willie

Sharlene Wells

Kim R. Wilson

Thomas Wright*

Henry C. Wurts*

MUSICIAN REPRESENTATIVES

Claudia Restrepo*

Barbrara Ann Scowcroft*

EX-OFFICIO REPRESENTATIVE

Jean Vaniman

Onstage Ogden

LIFETIME BOARD

William C. Bailey

Kem C. Gardner*

Jon Huntsman, Jr.

G. Frank Joklik

Clark D. Jones

Thomas M. Love*

David T. Mortensen

Scott S. Parker

David A. Petersen

Patricia A. Richards*

Harris Simmons

David B. Winder

TRUSTEES EMERITI

Carolyn Abravanel

Dr. J. Richard Baringer

Howard S. Clark

Kristen Fletcher

Richard G. Horne

Ronald W. Jibson E. Jeffery Smith

HONORARY BOARD

Jesselie B. Anderson

Kathryn Carter

R. Don Cash

Raymond J. Dardano

Geralyn Dreyfous

Lisa Eccles

Spencer F. Eccles

Dr. Anthony W. Middleton, Jr.

Edward Moreton

Marilyn H. Neilson

Stanley B. Parrish

Marcia Price

Jeffrey W. Shields, Esq.

Diana Ellis Smith

* Executive Committee Member

BMW of Murray 4735 S. State Street

Murray, Utah

801-262-2479

bmwofmurray.com BMW of Pleasant Grove 2111 West Grove Parkway Pleasant Grove, Utah 801-443-2000

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SHARE YOUR ADVENTURE #DVMF

DEER VALLEY® MUSIC FESTIVAL

DEER VALLEY® MUSIC FESTIVAL SEASON SPONSOR

SUMMER ENTERTAINMENT SPONSOR

SUMMER SYMPHONY SPONSOR

SHIEBLER FAMILY FOUNDATION

CHAMBER SERIES SPONSOR

KENT & MARTHA DIFIORE AND BEANO SOLOMON

OFFICIAL VEHICLE OF THE UTAH SYMPHONY SUMMER FESTIVAL

2024 Deer Valley Music Festival SUMMER SYMPHONY SPONSOR

Music gives a soul to the universe, wings to the mind, flight to the imagination, and life to everything.

— PLATO —

DEER VALLEY® MUSIC FESTIVAL

STAGE SPONSORS

JULY 20 SPONSOR

JULY 27 SPONSOR

AUGUST 9 SPONSOR

Unmatched Academic Results

Come tour a campus and see for yourself!

Challenger School offers uniquely fun and academic classes for preschool to eighth grade students. Our students learn to think for themselves and to value independence.

Farmington (PS–G7) (801) 451-6565

1089 Shepard Creek Parkway

Holladay (PS–K) (801) 278-4797

4555 South 2300 East

Salt Lake (PS–G8) (801) 487-4402

1325 South Main Street

Sandy (PS–G8) (801) 572-6686

10670 South 700 East

Lehi (PS–G8) (801) 407-8777

3920 North Traverse Mountain Boulevard

West Jordan (PS–G1) (801) 565-1058

2247 West 8660 South

Shriners Children’s Salt Lake City has been providing hope and healing to children like Jorie since 1925. Specializing in pediatric orthopedics, services include wheelchair seating and mobility, prosthetics and orthotics, rehabilitation services, a motion analysis center and specialty clinics.

Our compassionate, prestigious doctors and care teams are committed to excellence in pediatric care.

At Shriners Children's all care and services are provided regardless of the families' ability to pay or insurance status.

PATRIOTIC POPS

JULY 5 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

EVAN ROIDER, conductor

LISA HOWARD, vocals

SMITH/KEY

JOHN WILLIAMS

COPLAND

ARR. JEFF TYZIK

ARR. HOLCOMBE

ARR. MOONEY

ARR. MOONEY

GOULD

ARR. HAYMAN/KESSLER GROFE

JOHN WILLIAMS

JAMES BECKEL

ARR. WALDEN

ARR. EADS

SOUSA

ARR. ROTHMAN

PRESENTING SPONSOR

Mark & Dianne Prothro

SOUSA

The Star-Spangled Banner

Liberty Fanfare

Variations on a Shaker Melody

Give My Regards to George

“Johnny One Note”

“Somewhere Over the Rainbow”

“The Wizard and I”

American Salute

Armed Forces Medley

INTERMISSION

Ode to the Star-Spangled Banner

Born on the Fourth of July

Gardens of Stone

“Don’t Rain on My Parade”

“Climb Every Mountain”

Liberty Bell March

“America the Beautiful”

The Stars and Stripes Forever

CONCERT SPONSOR GUEST ARTIST SPONSOR

JOHN & JEAN

YABLONSKI

BILL & SUSAN

BLOOMFIELD

ARTISTS’ PROFILES

Evan Roider Conductor

Equally at home on the symphonic and Broadway stages, Evan Roider is quickly becoming known as a conductor of great versatility. The 2023–2024 season included engagements with Charlotte Symphony, Sarasota Orchestra, Tucson Symphony, Toledo Symphony, and the No Name Pops. In 2024–2025, he makes debuts with San Diego Symphony, Fort Worth Symphony, the Louisiana Philharmonic, and Long Beach Symphony,

Lisa Howard Vocals

Lisa, a native of Akron, Ohio, began her performing career with the ETC All American Youth Show Choir and Firestone High School’s performing arts department before heading to The University of Cincinnati’s College Conservatory of Music where she received a BFA in Musical Theater.

She has worked at prominent regional theaters across the country including the St. Louis MUNY, Kansas City Starlight, The Olney Center, Goodspeed Opera House, Pittsburgh Civic Light Opera and Barrington

along with return engagements to Sarasota Orchestra and Tucson Symphony. Other recent highlights include Pacific Symphony w/The Manhattan Transfer, Greensboro Symphony w/Michael Feinstein and Tucson Symphony w/Pink Martini, in addition to assisting at both National Symphony and Dallas Symphony. Currently, he serves as Music Director/ Conductor on the National Tour of Wicked, having previously toured with Les Misérables and Cats. Evan is a graduate of the College-Conservatory of Music, University of Cincinnati, where he earned a Masters in Orchestral Conducting.

Stage Company. She also performed in the national touring company of Les Miserables and most recently as Madame Morrible in the national tour of Wicked.

On Broadway, Lisa was most recently seen as Tammy in the new musical, Escape to Margaritaville. Other Broadway credits include her Drama Desk Nominated role of Jenny Steinberg in the musical comedy It Shoulda Been You directed by David Hyde Pierce, Diva 1 in Priscilla, Queen of the Desert, Missy Hart in 9 to 5, Head Nurse in Lincoln Center’s revival of South Pacific and Rona Lisa Peretti in The 25th Annual Putnam County Spelling Bee, for which she won a Drama Desk Award for Outstanding Ensemble Performance.

CHRISTMAS IN JULY

JULY 6 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

CONNER GRAY COVINGTON, conductor

WILLIAM HAGEN, violin

COLERIDGE-TAYLOR

VIVALDI

PIAZZOLLA (ARR. DESYATNIKOV)

JEFF TYZIK

RIMSKY-KORSAKOV

RANDOL BASS

Christmas Overture

“Winter” from The Four Seasons

Verano Porteño (“Summer”) from Four Seasons of Buenos Aires

The Skater’s Overture

Polonaise from Christmas Eve

‘Twas the Night Before Christmas

INTERMISSION

TCHAIKOVSKY ANDERSON

Selections from The Nutcracker Sleigh Ride

PRESENTING SPONSOR ORCHESTRA SPONSOR

SCOTT & KATHIE AMANN

CONCERT SPONSOR

ARTISTS’ PROFILES

William Hagen Violin

William Hagen has performed as soloist, recitalist, and chamber musician across the United States, Europe, Asia, and Latin America. Highlights of the 2023–24 season included a return to the Detroit Symphony and a tour of the Netherlands with the Amsterdam Sinfonietta.

As soloist, William has appeared with the Chicago Symphony, Chamber Orchestra of Europe, Detroit Symphony, Frankfurt Radio

Symphony (HR Sinfonieorchester), San Francisco Symphony, Seattle Symphony, Utah Symphony, and many others around the globe.

As recitalist and chamber musician, William has performed at venues such as Wigmore Hall and the Louvre, and collaborated with artists such as Steven Isserlis, Gidon Kremer, Edgar Meyer, and Tabea Zimmermann, among others. He maintains an active schedule on both sides of the Atlantic, making frequent trips to Europe and cities around the US to play a wide range of repertoire.

SCHUBERT’S SYMPHONY NO. 6

JULY 10 / 2024 / 8 PM

ST. MARY’S CATHOLIC CHURCH

CHELSEA GALLO, conductor

KATHRYN EBERLE, violin

HAYDN

BEETHOVEN SAINT-SAËNS

Symphony No. 61 in D Major

I. Vivace

II. Adagio

III. Allegretto

IV: Finale: Prestissimo

Romance No. 1 in G Major, Op. 40

Havanaise

INTERMISSION

SCHUBERT

Symphony No. 6 in C Major

I. Adagio

II. Andante

III. Scherzo

IV. Moderator

GUEST ARTIST SPONSOR

PATRICIA A.

RICHARDS & WILLIAM K.

NICHOLS

ARTISTS’ PROFILES

Chelsea Gallo Conductor

Labeled a “rising star” within the conducting world (Anwar Nasir, Associated Press), Conductor Chelsea Gallo has been praised for her ability to “lead the orchestra with grace and fiery command” (Schubring, Michigan Daily.) Her conducting style has been described as “fully in control… stylish, skillful and attentive” (Scott Cantrell, Dallas News.)

For the 2023–25 seasons, Gallo will be Resident Conductor of The Florida Orchestra, Principal Guest Conductor of the Orlando Philharmonic Orchestra, and a Cover Conductor with the New York Philharmonic. Past positions include

Assistant Conductor of the Louisiana Philharmonic, Conducting Fellow with the Dallas Opera, and Conducting Staff for the Detroit Symphony Orchestra. As a guest conductor, Gallo has conducted the Virginia Symphony Orchestra, North Carolina Symphony Orchestra, Sarasota Orchestra, Missouri Symphony, Bridgeport Symphony, Jackson Symphony Orchestra, Lancaster Symphony, Youngstown Symphony Orchestra, Toledo Symphony, the Hartford Opera, Opera Orlando, Marigny Opera, Opera Orlando, Slovak Sinfonietta, amongst others. 2023–24 debuts included the Bozeman Symphony Orchestra, Sewanee Music Festival, and Catapult Opera (NYC). She is a 2022 Award Recipient of the prestigious George Solti Foundation USA Career Fellowship.

Kathryn Eberle Violin

Acclaimed by The Salt Lake Tribune as, “marrying unimpeachable technical skill with a persuasive and perceptive voice,” violinist Kathryn Eberle is the Associate Concertmaster of the Utah Symphony and the Concertmaster of the Hollywood Bowl Orchestra in Los Angeles. Ms. Eberle has also served as Guest Concertmaster with the Kansas City, Omaha, and Richmond Symphonies.

Eberle performs annually as soloist with the Utah Symphony with whom she’s performed over 10 works as a featured soloist. She made her subscription series debut with the USO in April 2014 performing Leonard Bernstein’s Serenade. Other solo appearances include performances with the Los Angeles Philharmonic, the Nashville Symphony, the Louisville Orchestra, the National Academy Orchestra of Canada, and the Bahia Symphony in Brazil.

By Jeff Counts

Symphony No. 61 in D Major

Franz Joseph Haydn (1732-1809)

Duration: 26 minutes in four movements.

When you look at a list of Haydn’s 104 symphonies, the first thing you notice about the stretch of numbers between the late 50s and the “Paris” set (82-87) is that there are very few nicknames. Monikers in Haydn must be considered with caution since he almost never applied them himself. But the fact that most of these middle symphonies weren’t given titles by anybody means that they likely didn’t, and still don’t, get performed with great frequency. His dramatic sturm and drang period (again, not a thing he would have identified himself) was over in 1776 when he wrote the energetic and breezy Symphony No. 61. What it lacks in minor-keyed theatrics, No. 61 more than makes up for with breakneck pacing and courtly elegance. There is plenty of humor too, a feature that can be found with little effort in every Haydn symphony, even the ones that live in the shadow of their famous “named” siblings. For proof of this, just listen for the abrupt wrong-footed silences in the Menuetto. Then witness the puckish virtuosity of the finale and imagine being the bassoonist who had to play this premiere in 1776! It is funny as well as fun, this music, and yet another example of Haydn’s brilliant, idiosyncratic craftsmanship. Even when nobody was looking, he remained true to his ideals. Which is why even the forgotten, or never really known, corners of his catalogue contain such invaluable treasures.

Romance No. 1 in G Major, Op. 40

Ludwig van Beethoven (1770-1827)

Duration: 8 minutes

Drawing comparisons between Mozart and Beethoven is a popular pastime for scholars and annotators. This was true even while Beethoven was alive. And why not? It’s great fun and an interesting way to contextualize their achievements, and I hereby give myself permission to do the same thing. As instrumentalists, Mozart and Beethoven are remembered primarily as virtuoso pianists but both were also very capable string players. One can hear proof of this in their chamber music and the concerti they wrote for the violin. They challenge the instrument, yes, but they adore it too, and it all comes from a place of deep, personal experience. Beethoven’s two Romances for violin and orchestra were written in one order but published in another. So, like the first two piano concerti, No. “2” became No. 1. Written sometime in the first years of the 19th century, the G Major Romance came out in 1803 and is often cited (speculatively, to be fair) as a proof of concept for the concerto that was already forming in his mind. That monument was still hidden in the marble at the time, however, so the lyrical Romance No. 1 should be allowed to stand apart from it. This music is grace personified and an effective feature piece for sensitive soloists from Beethoven’s time to ours. It also exemplifies his easy mastery of the Classical style he was set to abandon in due course. We don’t know when the Romance No. 1 was premiered, or by whom, but this only confirms its timeless nature.

HISTORY OF THE MUSIC

Havanaise, op. 83

Camille Saint-Saëns (1835-1921)

Duration: 11 minutes.

Saint-Saëns was a frequent and devoted traveler. He visited fascinating locations in Europe, South America, Southeast Asia and Africa and the various cultures he encountered abroad inevitably found their way into his personal musical language. “Havanaise” is French for “habanera,” a Cuban dance form that became popular in Spain during the 19th century. It was characterized by a two-beat pattern, based on a repeated four-note rhythm, that was derived from the African cultural influence on Cuba. The most notable “high art” example is, of course, from Bizet’s Carmen but Ravel later wrote a two-piano Habanera that was incorporated into the symphonic Rapsodie Espagnol. The telltale habanera pattern is present in the music of SaintSaëns’ Havanaise as well, but sometimes as no more than an accompanying whisper behind the solo violin’s more reflective moments. The first version of the piece was for solo violin and piano, but the composer created an orchestration shortly after. The story of Saint-Saens’ initial inspiration for the music is very strange one. While on tour with the violinist Raphael Diaz Albertini (the eventual dedicatee of the Havanaise), SaintSaëns built a fire in his cold hotel room and the popping sound of the burning logs began to form a melody in his imagination. Though chilly Northern European nights are a far cry from tropical Cuba, that melody somehow grew into the Havanaise two years later. It was a highly unusual muse, to be sure, and not likely one that has ever been repeated.

Symphony No. 6 in C Major, D. 589

Franz Schubert (1797-1828)

Duration: 32 minutes in four movements

We’ve already broached the subject of nicknames with Haydn, so it is only fair to introduce Schubert’s Symphony No. 6 by the one it earned for itself. To distinguish it from that other “Great” work in the same key, No. 6 was given the title of “Little C Major”. This was after Schubert’s death, of course, which seems a thing hardly worth saying given how quickly that tragedy came. When he passed from this world in 1828 at the age of 31, none of his many symphonies had been published or performed in public. No. 6 got the latter honor first on a concert in Vienna less than a month after Schubert died but wouldn’t be heard again for another 20 years. Some of the others had to wait even longer than that! Schubert wrote his Little C Major between in 1817 and 1818 while he was teaching with his father in Rossau. It was the second time the two would work as educators together, but the son was never happy in an academic setting. He managed to stay productive despite his classroom duties, penning songs in great bunches as well as symphonies and various chamber music pieces. Symphony No. 6 was among the prolific lot. The divergent influences of Beethoven and Rossini are evident throughout the score, but the mature, independent Schubert of his last symphonies is not. Not yet. Still, we are fortunate that the world around him was taking notice of his talents and that his many friends and admirers were ready to bring his compositions, like this cheerful “Little” gem, to life after he lost his so young.

THE MUSIC OF WHITNEY HOUSTON

JULY 11 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

RICHARD CARSEY, conductor

RASHIDRA SCOTT, vocals

CONCERT SPONSOR

GUEST ARTIST SPONSOR

SHIEBLER

GUEST ARTIST FUND

CONDUCTOR SPONSOR

JOANNE

ARTISTS’ PROFILES

Richard Carsey Conductor

Richard Carsey is a conductor, pianist, and actor. He is a Conductor for the longest-running musical in history, The Phantom of the Opera on Broadway, as well as the current revival of Carousel featuring Joshua Henry, Jessie Mueller, and Renee Fleming. National tours include Cameron Mackintosh’s new production of Phantom, and the revival of La Cage Aux Folles with George Hamilton. Also on Broadway, he was Music Supervisor of The House of Blue Leaves starring Ben Stiller and Edie Falco, and Musical Director for Joshua Schmidt’s musical A Minister’s Wife at Lincoln Center Theater.

Rashidra Scott

Vocals

Rashidra is absolutely ecstatic that her musical voyage has led to this opportunity. At four-years-old, “The Greatest Love of All” was the first song she sang. From an early age Rashidra was known around town as “the little girl with the big voice.” From community musical theatre to church music ministry, she was constantly in demand for civic and social performances at local and national events.

Throughout the years, that little girl singing

Internationally, he has performed as pianist and conductor in such exotic locales as Lima, Athens, Barcelona, Islamabad, and Kuwait. Richard enjoyed a long association with the Skylight Opera Theatre in Milwaukee, WI as Principal Conductor, and for nine seasons was Artistic Director. Highlights include the world premiere and television broadcast of Richard Wargo’s opera Ballymore; a PBS broadcast of The Mikado; and the world premiere of the opera The Rivals by Kirke Mechem. He has provided musical direction for regional productions throughout the U.S. including the Marriott Theater, Utah Shakespeare Festival, Florida State Opera, and the Guthrie in Minneapolis.

along with the radio was still ever so alive inside, leading her to a Bachelor’s Degree in Music with a concentration in Music Business/Management from Boston’s Berklee College of Music. After graduating, Rashidra spent four years singing for Walt Disney Entertainment as a featured vocalist on Disney Cruise Line (Disney Wonder) and Tarzan Rocks! at Disney’s Animal Kingdom. The highlight was being a proud member of the opening team of Hong Kong Disneyland as Nala in “The Festival of The Lion King.” After living in Hong Kong for nine months Rashidra was led to move to New York, and that turned out to be the best “nudge” she could have followed.

TRAILBLAZING MUSIC OF JONI MITCHELL, CAROLE KING, & CARLY SIMON

JULY 12 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

TED SPERLING, conductor

MORGAN JAMES, vocals

CAPATHIA JENKINS, vocals

SHAYNA STEELE, vocals

PRESENTING SPONSOR CONCERT SPONSOR

JIM & ZIBBY TOZER

CONDUCTOR SPONSOR

DOUGLAS & CONSTANCE HAYES

GUEST ARTIST SPONSOR

JIM & SUSAN BLAIR

ARTISTS’ PROFILES

Ted Sperling Conductor

Ted Sperling is a multifaceted artist; director, music director, conductor, orchestrator, singer, pianist, violinist and violist. He is the Artistic Director of MasterVoices and Music Director of the recent Broadway productions of My Fair Lady, Fiddler on the Roof and The King and I. He has directed the premiere productions of The Other Josh Cohen, Red Eye of Love, Striking 12 and See What I Wanna See, all off-Broadway.

Morgan James Vocals

Let’s start with the voice, an instrument through which she can communicate anything. A gift bestowed upon her that she has expertly trained, meticulously nurtured, and passionately galvanized into action by an urgency to make real music. Next, the stories, and she has them in spades. They are full of truth and beauty, heartache and thoughtfulness. They reveal colors we weren’t expecting to see. They make us close our eyes and relate. And finally, the soul—the emotional and intellectual energy through which these parts are fueled. That special something that prompted The Wall Street Journal to herald her as “the most promising young vocalist to come along so far this century.” That young vocalist is Morgan James. And Morgan James is a soul singer.

A Tony Award winner for his orchestrations of The Light in the Piazza, Mr. Sperling is known for his work across many genres, including opera, oratorio, musical theater, symphony and pops. His video interpretation of Adam Guettel’s Myths and Hymns can be viewed on the PBS channel, AllArts, where you can also view his concert of Carole King songs. He earned rapturous reviews for his production of Stephen Sondheim’s The Frogs at Lincoln Center, Lady in the Dark with MasterVoices at NY City Center as well as for recent performances of Let ‘Em Eat Cake and Anyone Can Whistle at Carnegie Hall.

Morgan grew up listening to everyone from Joni Mitchell to Paul Simon to Prince to Aretha Franklin, cultivating an insatiable love for strong songwriters. After graduating from The Juilliard School with a classical music degree, and performing in the original companies of five Broadway productions, James began writing and recording her own music. Meeting her mentor Berry Gordy, Jr. led to a record deal at Epic Records, where she recorded and released her solo album “Hunter” in 2014. In addition to her five studio albums, James recorded and released a full album cover of Joni Mitchell’s seminal “Blue” as well as The Beatles’ “White Album” to celebrate the 50th anniversary.

After her tenure with Epic Records, she took charge of her career from the business and musical side. She cultivated a new world of fans with her viral YouTube videos, and while connecting with them on social media and at her live shows,

she found the support and strength to go out on her own as an independent artist. With viral sensation postmodern jukebox, and her own channel, Morgan has amassed more than 250 million views on YouTube, (and climbing). Over the last several years, James has built her own empire and established herself as a touring powerhouse, allowing her to raise the funds to create her albums and make every decision from the ground up.

Capathia Jenkins Vocals

Capathia Jenkins can definitely act but all those who know her also know that this diva can blow and blow and blow you right off this planet. She has two dueling passions, each with a strong grip—acting and music— yet, she refuses to pick just one because they both represent her soul. Jenkins approaches a song the same way she approaches a script, like an artist. She looks

Shayna Steele Vocals

This dynamic vocalist puts new meaning to diversity and grass-roots talent. Her natural ability to traverse musical genres be it in the studio, on the stage, or the screen, has kept her on the A list of in-demand singers in the industry. Shayna’s effortless execution of both soul and jazz has grabbed the attention of audiences globally, be it the upcoming Monterey Jazz Festival in September, North Sea Jazz Festival with Snarky Puppy

“I feel like I am a part of the lineage of soul music. My guiding force throughout my creative process is ‘What would Aretha say? What would Otis say?’ It’s not a retro or throwback by any means. This music is me: classic elements, timeless melodies, and lyrics from my soul and experience. We need that right now. We need real music now more than ever.”

for the nuances, the secret hidden within the notes or text. She seeks the melody, harmony and rhythm. She asks herself: What am I trying to say? What do I want my audience to experience with me? She wants to take her audience on a journey.

This Brooklyn-born-and-raised actress most recently starred as Medda in the hit Disney production of Newsies on Broadway. She made her Broadway debut in The Civil War, where she created the role of Harriet Jackson.

or the hundreds of Symphony Orchestras throughout North America.

She released her fourth studio album, Gold Dust, in 2023 on Ropeadope Records. Shayna’s creative abilities explode in multiple genres and her original signature sound. Her mature songwriting abilities are dynamically evident as heard through her infusion of soul, jazz and blues. Produced by David Cook (Billboard #1 Jazz album, Spectrum by Shoshana Bean) Gold Dust embodies a sound that has taken Shayna 20 years to perfect.

MENDELSSOHN’S “SCOTTISH” SYMPHONY

JULY 17 / 2024 / 8 PM

ST. MARY’S CATHOLIC CHURCH

ARAM DEMIRJIAN, conductor

DAVID YAVORNITZKY, double bass

ANNA CLYNE

KOUSSEVITZKY

MENDELSSOHN

PIVOT

Concerto for Double Bass

I. Allegro

II. Andante

III. Allegro

INTERMISSION

Symphony No.3 in A minor, Op. 56, “Scottish”

I. Andante con moto - Allegro agitato

II. Vivace non troppo

III. Adagio

IV. Allegro vivacissimo — Allegro maestoso assai

Please stay after the concert to join us for a Q&A with the guest artists.

ARTISTS’ PROFILES

Aram Demirjian Conductor

Recipient of The Sir Georg Solti Conducting Award from The Solti Foundation U.S., conductor Aram Demirjian has built a reputation as an insightful interpreter of the symphonic repertoire and an engaging, “enthusiastic, even electric” (San Francisco Classical Voice) presence on the podium. Widely acclaimed for his transformative work as Music Director of the Knoxville Symphony Orchestra (KSO), he is sought after for his “graceful, energetic direction” (Sarasota Herald Tribune) and dynamic programs that both excite audiences and broaden the idea of

what one can expect to see on the symphonic stage.

As the eighth Music Director of the KSO, Aram has led the orchestra to new artistic heights and national distinction for its achievements. A devoted champion of American music, Aram’s programming has grown the ensemble’s repertoire, particularly by emphasizing music by living composers, artists from underrepresented groups, and cross-disciplinary collaboration. Under his leadership, the KSO was selected in 2020 as one of four orchestras to be featured at SHIFT: A Festival of American Orchestras, presented by The Kennedy Center and Washington Performing Arts.

David Yavornitzky

Double Bass

Principal Bassist of the Utah Symphony since 1988, David Yavornitzky has performed as concerto soloist, participated in U.S. and International tours, and has collaborated with many of the world’s finest conductors and guest artists. David also holds the position of Professor of Double Bass at the University of Utah, where he maintains an active teaching studio. Several of his students have won statewide and national

solo double bass competitions. He is a tireless proponent of contemporary music, having had compositions written for him, as well as having given important premieres of contemporary works. As a conductor, David has led many diverse ensembles, including area youth, collegiate and professional orchestras, and he has conducted several Utah premieres of contemporary works with the Nova Chamber Music Series. In 2007 David was appointed to the position of Cover Conductor for the Utah Symphony’s educational programs.

By Jeff Counts

Pivot

Anna Clyne (b. 1980)

Duration: 5 minutes.

London-born composer Anna Clyne began composing at the tender age of 7 but didn’t receive any formal training until she was 20. It was an early start and then kind of a late one. But her path, once identified, took her from the University of Edinburgh to the Manhattan School of Music and eventually into just about every important concert hall in the world. Clyne is among the most performed living composers now and her frequent collaborations with dancers, visual artists, filmmakers and electronic music specialists provides her with ample opportunity to explore what she refers to as the “physicality of sound.” About her work Pivot, Clyne writes that it “is inspired by my experiences at the Edinburgh Festival where I enjoyed an array of fantastic performances across the arts. It is this variety that I have tried to capture in Pivot which, as the title suggests, pivots from one experience to another. The Pivot is also a former name of the 200-year-old folk music venue and pub in Edinburgh, The Royal Oak. Pivot quotes fragments of The Flowers of Edinburgh, a traditional fiddle tune of eighteenth-century Scottish lineage that is also prominent in American fiddle music and thus bridges between Edinburgh and St. Louis, where this music was premiered. Thank you to Aidan O’Rourke for his guidance on folk fiddle bowings and ornaments, which are incorporated into Pivot.” Pivot premiered in Edinburgh in 2021.

Concerto for Double Bass, Op. 3

Serge Koussevitzky (1874-1951)

Duration: 20 minutes in three movements

Never has there been a more devoted champion of composers than Serge Koussevitzky. Sure, history is full of benefactors who funded the creation of new music with their time and their coin, but none approach the magnitude of the legendary Boston Symphony Music Director. His list of commissions and world premieres over 25 years included works by Gershwin, Stravinsky, Copland, Barber, Hindemith, Schoenberg and, not to be forgotten, the Ravel orchestration of Mussorgsky’s Pictures at an Exhibition. Koussevitzky had left Russia for Berlin and Paris in 1920. His reputation as a virtuoso bassist (not to mention the deep pockets of his heiress wife Natalya Ushkov) enabled him to pursue conducting at his leisure in Europe. It wasn’t long before American orchestras began to take notice of his growing podium skills but, well before any of that, Koussevitzky composed a concerto for his instrument. This would have been in 1902, though he didn’t perform it until 1905. He dedicated it to his second wife, Natalya, but it was his third bride, Olga, who would be called upon to defend the work’s honor when doubts about its authorship began to circulate. Provenance conspiracies might still be fun for some, but this music is his. And for all his contemporary music advocacy with the baton, the concerto Koussevitzky wrote for himself looks backward to Dvorak, Tchaikovsky and Glinka. It is a fully Romantic remembrance of the distant place and time from before he came to America and made the new place his home as one its most celebrated maestros.

HISTORY OF THE MUSIC

Symphony No. 3, Op. 56 “Scottish”

Felix Mendelssohn (1809-1847)

Duration: 40 minutes in four movements.

In 1842, Mendelssohn completed his 3rd Symphony while in Berlin but conducted the premiere later that year in the city he still very much preferred, Leipzig. He performed it again in England a few months later and dedicated it to Queen Victoria. Numbers notwithstanding, this was actually the last symphony Mendelssohn ever composed. His inspiration for it dated back to a previous trip to Britain in 1829 and a particular visit to the Holyrood Chapel in Edinburgh. “[T] he chapel below is now roofless,” he wrote in a letter, “Everything is ruined, decayed, and the clear heavens pour in. I think I have found here the beginning of my ‘Scottish’ symphony.” Mendelssohn made some sketches at the time but set the music

aside until 1841, a long enough delay that the “Scottishness” of the symphony would have been difficult to identify had he not repeatedly referred to it himself. Without a single quoted folk melody, the symphony was sufficiently devoid of reference to Scotland that it elicited one of the most embarrassing moments in the history of music criticism when Robert Schumann (on bad information) wrote glowingly of the symphony’s beautiful “Italian” portraiture. Mendelssohn, for his part, was never confused about his motivation, but he did comment once in the 1830s about having trouble finding “his way back into the Scottish fog mood” when trying to complete the score. The unifying theme that opens the symphony is a solemn utterance, suggesting that Mendelssohn did eventually recall that misty scene in the ruins of Holyrood, a place where “grass and ivy thrive” at “the broken alter where Mary was crowned.”

H/HER•IT•AGE/ NOUN

History and practices of a company that exist from the past and continue to impact and be influential today.

Heritage – a word, while simple, embodies the notion of depth, consistency and history. You see, heritage transcends today's trends and the world's buzz because it denotes a level of tenure, sophistication and longevity at the core of its definition.

To us, our heritage, one that dates back to 1744, places a level of responsibility upon our shoulders, a responsibility that we welcome and step up to the plate for each and every day. Whether it's navigating the storms of polarizing real estate markets, adopting and innovating new technologies or facing challenges our industry and clients have yet to see – we deliver on our heritage, arriving with strength, a clear vision and a plan of action rooted in experience and principle. Our heritage drives our purpose, requiring each of us to treat every day as an opportunity to redefine the real estate experience and lead our industry by example. We live by the understanding that our words have power and our brand, a reputation. The Summit Sotheby's International Realty name places us amongst the most elite brands in the world – an ode to our heritage and the work and trust behind every blue sign from Utah to New York, Italy to Taiwan. But it isn't just lip service because this is our passion, our purpose, our mission.

So what is our chapter, our mark, of this iconic heritage? A demand of ourselves to deliver a quality of real estate services that others won't, leading to a client experience that others can't – and doing so with never wavering integrity.

Summit Sotheby's International Realty – Our story is you.

ROCK ‘N’ ROLL WITH

JULY 19 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

BRENT HAVENS, conductor THE RASCALS, guest artists

PRESENTING SPONSOR CONCERT SPONSOR

GUEST

Brent Havens Conductor

Berklee-trained arranger/ conductor Brent Havens has written music for orchestras, feature films and virtually every kind of television. His TV work includes movies for networks such as ABC, CBS and ABC Family Channel Network, commercials, sports music for networks such as ESPN and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale attended by over 150,000 fans. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic and the BBC Concert Orchestra in London, the CBSO in Birmingham, England, the Malaysian

The Rascals Guest

Artists

Two legendary founders of The Rascals are together again. Felix Cavaliere and Gene Cornish cite the fans and love of their timeless songs as reasons for collaboration. Rock & Roll Hall of Fame Inductees, Grammy Hall of Fame, Vocal Group Hall of Fame and Songwriter Hall of Fame members, The Rascals are widely considered the best ‘blue-eyed soul’ group

Philharmonic, the Cincinnati Symphony Orchestra, the Minnesota Orchestra, the Pittsburgh Symphony, the Indianapolis Symphony Orchestra, the Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, the Fort Worth Symphony, the Nashville Symphony, Orchestra of Opera North in Leeds, England and countless others.

Havens recently completed the score for the film “Quo Vadis,” a Premier Pictures remake of the 1956 gladiator film. In 2013 he worked with the Baltimore Symphony and the NFL’s Baltimore Ravens to arrange and produce the music for the Thanksgiving Day halftime show between the Ravens and Pittsburgh Steelers, adapting both classical music and rock songs into a single four minute show. Havens is Arranger/Guest Conductor for all of the symphonic rock programs for Windborne Music.

to come out of the 1960s and their music is the soundtrack of a generation. The Rascals have 17 Top 20 hits, seven Top 10 hits, and three No.1 hits that include “Groovin’, “People Got To Be Free” and “Good Lovin’.”

“We’re so grateful for the fans, this is for them,” Felix Cavaliere said.

“This gives us another chance to play together and do it for the fans,” Gene Cornish said.

PARK CITY & SUGAR HOUSE coming soon

VOTED BEST PARK CITY RESTAURANT city weekly

DISNEY IN CONCERT: ONCE UPON A TIME

JULY 20 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

JERRY HOU, conductor

ORCHESTRA SPONSOR

STAGE SPONSOR

ARTISTS’ PROFILES

Jerry Hou Conductor

Born in Taiwan and raised in a small town in Arkansas, Taiwanese-American conductor Jerry Hou had a late start in music. Beginning on trombone in middle school band, Hou went on to work professionally as a trombonist in American and European orchestras before his playing career was ended by injury. Turning to conducting studies with Jorma Panula in Finland, he is now recognized for his dynamic presence, insightful interpretations, versatility and commanding technique on the podium.

In 2021, Hou began working with the New York Philharmonic and their music director Jaap van Zweden, and conducted the orchestra in the tuning of the newly renovated David Geffen Hall. While continuing his role as a cover conductor, he made his NY Phil debut leading a Young People’s Concert (YPC) in 2023.

SCHOENBERG’S TRANSFIGURED NIGHT

JULY 24 / 2024 / 8 PM

ST. MARY’S CATHOLIC CHURCH

MATTHEW STRAW, conductor BRANT BAYLESS, viola

R. STRAUSS

HOLST

HINDEMITH

SCHOENBERG

Serenade

Lyric Movement

Kammermusik No. 5

I. Schnelle Halbe

II. Langsam

III. Mäßig schnell

IV. Variante eines Militärmarsches

INTERMISSION

Transfigured Night

Please stay after the concert to join us for a Q&A with the guest artists.

ARTISTS’ PROFILES

Matthew Straw Conductor

Matthew Straw is the newly appointed Assistant Conductor of Opéra National du Rhin (French National Opera in Strasbourg) as a member of their Opera Studio. Currently, he is Assistant Conductor of the Utah Symphony, where he conducted over 60 concerts during the 2023–24 season. A three-time winner of the Career Assistance Award from the Solti Foundation US, Straw became the youngest awardee in the history of the foundation in 2022. In addition, he received the Helen F. Whitaker Conducting Fellowship at the 2019 Aspen Conducting Academy.

Brant Bayless Viola

Born in Kansas and raised in Ponca City, Oklahoma, Brant Bayless came to Utah after completing his studies in New York City. After early piano lessons and singing in his father’s various church choirs, Brant started the viola at age 12. Winning the Governor’s Scholarship to Interlochen Arts Camp in 1992 gave him his first glimpse of the musical world outside Oklahoma. After two years at the University of Kansas studying with Michael Kimber, Brant found his way to New York. Invited to study on scholarship with Pinchas Zukerman and Patinka Kopec at the Manhattan School of Music, Brant

As assistant conductor he has worked with Kazushi Ono and the Brussels Philharmonic, and Ilan Volkov and the ORF Vienna Radio Symphony Orchestra at the Salzburg Festival. He has conducted the Des Moines Metro Opera, New World Symphony, and Rochester Philharmonic Orchestra, and has participated in masterclasses with Stéphane Denève, Cristian Măcelaru, Yannick Nézet-Séguin, Neeme and Paavo Järvi, Michael Tilson-Thomas, and Robert Spano. He is a graduate of the Eastman School of Music where he received an MM in conducting and holds degrees in music and philosophy from the Oberlin College and Conservatory of Music.

finished his bachelor’s degree in 1997.

Brant joined the Utah Symphony in 2001. With the Utah Symphony he has made regular concerto and concertante appearances: in February 2019 in Bach’s Sixth Brandenburg concerto with Roberta Zalkind; in May 2018 with Music Director Thierry Fischer and cellist Rainer Eudeikis in Strauss’s “Don Quixote”; in March 2012 with conductor Jun Märkl in Takemitsu’s “A String Around Autumn”; in August 2010 with conductor David Lockington in Bruch’s “Romance” and von Weber’s “Andante and Rondo Ungarese”; and multiple performances of Mozart’s Sinfonia Concertante with violinists Viviane Hagner, Kathryn Eberle, and Ralph Matson.

By Jeff Counts

Serenade in E-flat Major, Op. 7

Richard Strauss (1864-1949)

Duration: 10 minutes.

Franz Strauss was a classicist, through and through. He loathed Wagner and his progressive ideals and worked hard to instill the same respect for the old masters in Richard. It worked, at first. Teenaged Richard initially shared his father’s distaste for Wagner’s experimental approach to harmony and form, but when he went to the Bayreuth Festival for the first time in 1882, he fell under Wagner’s spell. The link to his father’s monkish traditionalism was broken, and Strauss began to chart his own path towards the 20th century. But one year prior to that paradigm-shifting Bayreuth visit, Strauss wrote a delightful Serenade for Winds that harkened back to similar works by Mozart. That he could write so well, so early, for wind and brass instruments was no surprise, given how much incredible horn playing he heard at home from Franz. Dazzling, virtuosic parts for winds and brass would be a feature of Strauss’ compositions throughout his career and it is exciting to consider that it all began here, with the Serenade. Beyond the obvious instrumental expertise, there is nothing else in this anachronistic gem to prepare us for the Salomes and Heldenlebens to come, but that is how it is with composers who live into their 80s (imagine what Mozart would have done with 50 additional years!). Thanks to Wagner, Strauss was already looking to the future by the time the Serenade premiered in Dresden in November of 1882, but it remains a beguiling artifact of his obedient youth.

Lyric Movement

Gustav Holst (1874-1934)

Duration: 11 minutes.

One would have thought, quite reasonably, that Holst’s career was meant for sustained public greatness after the success of The Planets in the early 1920s. But the man himself appeared to care not one bit about that and, by refusing to give audiences what they wanted most (another Planets of some sort), he began to lose them. Despite this fading fame and chronically poor health, Holst remained productive. His evolving style was highly personal, uncompromisingly so, and it endeared him to many of his English composer peers, but concertgoers just didn’t seem to get it. Most of what he wrote during his last decade was described by critics with dismissive words like “aloof”, “elusive”, “too serious” or some other indication of their puzzlement. Holst had to endure another hospitalization in 1932 that, in his own words, aged him significantly. Weak as he was, though, he got back to business as soon as he could in 1933 by writing the Lyric Movement for his countryman, the celebrated violist Lionel Tertis. It was one of Holst’s last completed scores, and a work of uncommon emotional generosity for him, so much more welcoming than his usual, ascetic fare. Holst’s daughter Imogen, a musical force in her own right, once called the Lyric Movement “one of the best and least known of my father’s works” and praised it for coming closest to his ideal of “a tender austerity”. Those are better words. She was not baffled by his individuality, and we shouldn’t be either. Holst was more than his Planets

HISTORY OF THE MUSIC

Kammermusik No. 5

Paul Hindemith (1895-1963)

Duration: 20 minutes in four movements.

The Kammermusik cycle of Paul Hindemith comprises seven numbered works across three opus numbers. Apart from No. 1, they are all concertos for solo instruments and large chamber orchestras. Comparisons to Bach’s Brandenburg Concertos are right there for the taking, and most scholars have. Hindemith wrote the Kammermusik works between 1921 and 1927 and there is plenty of neo-Baroque counterpoint and rhythmic athleticism to make the historical connection stick. For his part, Hindemith was almost certainly influenced by the “back to Bach” movement led by his admired friend Igor Stravinsky in Paris, but his personal musical language tended towards order and polyphony anyhow. After the Great War ended, he was not interested in the extravagances of late-stage Romanticism or the intellectual cunning of Abstract Expressionism. Hindemith had dabbled in both schools, of course—everyone did in those days—but he quickly moved towards the complex but uncomplicated, highly direct communication style for which he is now known. Kammermusik No. 5, a concerto for viola, was the 4th and final piece in the Op. 36 subset. Hindemith dedicated it to his teacher from the Frankfurt academy days, Arnold Mendelssohn (the son of Felix’s cousin). The composer performed as soloist on the premiere in 1927 with the Staatskapelle Berlin under Otto Klemperer. The difficulty of the concerto serves as a great reminder of how good a violist Hindemith was. His contributions to the repertoire of his instrument are duly cherished, but it is good to also recall that he was a performing artist on par with Lionel Tertis and William Primrose.

Verklärte Nacht (Transfigured Night), Op. 4

Arnold Schoenberg (1874-1951)

Duration: 28 minutes.

Schoenberg’s string sextet Verklärte Nacht was composed in 1899 and, though it was in some ways the perfect embodiment of its evolutionary musical moment, the fingerprints of Brahms, Wagner, Schubert and others are all over the score as well. This was intrepid music, to be sure, but it was also music fully aware of the many roads that had been leading to it. The piece was based on a poem of the same name by Richard Dehmel. Dehmel was a German writer who was a keen observer of the natural world, something Schoenberg was eager to reflect expertly in sound. But Dehmel had also frequently run afoul of conservative tastemakers (and the courts) with his “obscenities” and “blasphemies”. In fact, the words of the 1896 poem that inspired Schoenberg tell a story that still could raise a few prudish eyebrows today. The scenario: Two lovers walk in a moonlit wood. She admits to carrying the child of another man but, after some meditative soul-searching, they decide that their profound love will make the child theirs by magic. The mental arc of the characters from sadness to reflection to forgiveness is as clear in the music as it is in the verse. Schoenberg later lost his enthusiasm with the poem itself, finding it rather ridiculous to look back upon, but he believed the music stood on its own as a meaningful abstraction on nature and emotional transformation. The string orchestra version was arranged in 1917 and revised in 1943.

TCHAIKOVSKY’S 1812 OVERTURE

JULY 26 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

STEVEN JARVI, conductor

ARISTO SHAM, piano

THE CANNONEERS OF THE WASATCH

GLINKA

TCHAIKOVSKY

TCHAIKOVSKY

TCHAIKOVSKY

Overture from “Ruslan and Lyudmila”

Piano Concerto No 1. in B-flat minor, Op. 23

Selections from “Swan Lake”

INTERMISSION

“1812 Overture”

CANNON SPONSOR

LAW OFFICES OF THOMAS N. JACOBSON

GUEST ARTIST SPONSOR

ARTISTS’ PROFILES

Steven Jarvi Conductor

Praised for his “uncommonly expressive and detailed” performances by the Miami Herald and described as an “eloquent and decisive” conductor by The Wall Street Journal, Steven Jarvi is a conductor with an equal passion for the concert hall and the opera house. Mr. Jarvi is the Music Director of the Dearborn Symphony and Principal Pops Conductor of the Toledo

Aristo Sham first came under international recognition when he won First Prize in the Ettlingen International Piano Competition in Germany in 2006, and First Prize in the Gina Bachauer International Junior Piano Competition in 2008. More recently, he has also won prizes in the Vendome Prize at Verbier Festival, Gina Bachauer, Dublin, Clara Haskil, New York, Saint-Priest and Viotti International Piano Competitions. In 2019, he

The Cannoneers of the Wasatch

The Cannoneers of the Wasatch have traveled the Wasatch Front for more than

Symphony. He is also the former Resident Conductor of the St. Louis Symphony. He won the Bruno Walter Memorial Foundation Award while the Associate Conductor of the Kansas City Symphony, and previously served as the Conducting Fellow with Michael Tilson Thomas and the New World Symphony in Miami Beach, an Associate Conductor for New York City Opera at Lincoln Center, and the Domingo-Cafritz Young Artist Conductor with the Washington National Opera at the Kennedy Center.

was First Prize winner of the Casagrande International Piano Competition.

Sham has performed for royalty and dignitaries such as King (then Prince) Charles of the United Kingdom, the Queen of Belgium, and ex-President Hu of China, and collaborated with orchestras such as the London Symphony Orchestra under Sir Simon Rattle, Hong Kong Philharmonic Orchestra under Edo de Waart, English Chamber Orchestra under the late Sir Raymond Leppard, Orchestre de Chambre de Lausanne and the Minnesota Orchestra.

40 years blasting self-made cannons while orchestras perform. They formed in 1971 when the University of Utah—Snowbird Summer Arts Institute wanted to perform Tchaikovsky’s 1812 Overture with cannon fire, but lacked cannons. For more than four decades, the Cannoneers have performed in Taylorsville, Layton, Deer Valley, and Sun Valley with more than 18 historical replica cannons, ranging in size from 25 to 1,000 pounds in their arsenal.

Aristo Sham Piano

FUNK LEGENDS

TOWER OF POWER

JULY 27 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

STEVEN JARVI, conductor TOWER OF POWER, guest artists

I Like Your Style

Soul With A Capitol S You Ought To Be Having Fun

Don’t Change Horses

Soul Vaccination Time Will Tell

This Time It’s Real

James Brown Medley

So Very Hard To Go What Is Hip You’re Still A Young Man

ARTISTS’ PROFILES

Steven Jarvi Conductor

Praised for his “uncommonly expressive and detailed” performances by the Miami Herald and described as an “eloquent and decisive” conductor by The Wall Street Journal, Steven Jarvi is a conductor with an equal passion for the concert hall and the opera house. Mr. Jarvi is the Music Director of the Dearborn Symphony and Principal Pops Conductor

Power Guest Artists

For over 55 years, Tower of Power has delivered the best in funk and soul music.“We were a Soul band called The Motowns.” recalls Emilio Castillo. “Rocco was the bass player, I was in there, and my brother was the drummer. I met “Doc” Kupka back in 1968, and gave him an audition. He came in the band, and we eventually changed our name to the Tower of Power.” The reason for the band name change was that they had a specific goal in mind.

“We wanted to get into the Fillmore Auditorium and with a name like the

of the Toledo Symphony. He is also the former Resident Conductor of the St. Louis Symphony. He won the Bruno Walter Memorial Foundation Award while the Associate Conductor of the Kansas City Symphony, and previously served as the Conducting Fellow with Michael Tilson Thomas and the New World Symphony in Miami Beach, an Associate Conductor for New York City Opera at Lincoln Center, and the Domingo-Cafritz Young Artist Conductor with the Washington National Opera at the Kennedy Center.

Motowns, dressed in suits with razor cuts, we knew we’d never get in there. We grew our hair long, and started to be hippies, and changed our name. Doc then suggested that we start writing our own songs.”

The Fillmore was a major goal, which came along at the right time. “We had been playing nightclubs, and we had gotten busted for being underage. One night, the ABC came in, and caught the trumpet player drinking, and the next thing we knew, a notice was out across the Bay Area that if they hired us again, clubs would lose their liquor license. Then, my parents moved to Detroit, and I was on my own, broke and hungry, and all I did was rehearse. We wrote the songs for East Bay Grease, and by November, we were at the end of our rope. I told the guys that I was leaving for the holidays, and if nothing happened with this audition, I wasn’t coming back.”

Fortunately, he did, and the rest as they say, is history.

Tower of

SPARK CURIOSITY FOSTER BELONGING MAKE MEMORIES

IN THE 2023-24 SEASON, USUO’S EDUCATION AND COMMUNITY ENGAGEMENT PROGRAMS, CONCERTS, AND CLASSES REACHED 113,672 PEOPLE.

For over 40 years, USUO Education & Community Engagement has been uniquely distinguished among its peers nationwide for its broad and significant impact throughout the entire state of Utah.

HAYDN, MOZART & MORE

JULY 31 / 2024 / 8 PM

ST. MARY’S CATHOLIC CHURCH

COSETTE JUSTO VALDÉS, conductor JESSICA DANZ, horn

LUTOSŁAWSKI

FRANÇAIX MOZART

ANNA CLYNE DUKAS

HAYDN

Overture

Sérénade

Horn Concerto No. 4 in E-Flat Major, K. 495

I. Adagio - Allegro assai

II. Andante

III. Menuet

IV. Allegro assai

Restless Oceans

INTERMISSION

Villanelle

Symphony No. 90 in C Major

I. Adagio - Allegro assai

II. Andante

III. Menuet

IV. Allegro assai

Please stay after the concert to join us for a Q&A with the guest artists.

ARTISTS’ PROFILES

Cosette Justo Valdés

Conductor

With her gorgeous, passionate style and firecracking energy, Cuban-born and raised conductor Cosette Justo Valdés has garnered acclaim on both sides of the Atlantic and is a rising star on the world’s concert stage. She is presently Resident Conductor of the Edmonton Symphony Orchestra (Canada) where she won the hearts of musicians and audience alike with her “unique style, full of flaming energy and human warmth.” Recent highlights include a “mindblowing” (Ottawa Citizen) collaboration with Esperanza Spalding and the National

Jessica Danz Horn

Jessica Danz, from Spanish Fort, Alabama, joined the Utah Symphony as Principal Horn in 2021. She received a Master of Music degree from The Juilliard School in 2020 studying with Jennifer Montone, and she holds a Bachelor of Music degree with a minor in Social and Emotional Development as well as a Performer’s

Arts Centre Orchestra in Ottawa, and a praised Così fan tutte with the Edmonton Opera, conducted from the harpsichord.

Cosette maintains strong ties to her native Cuba, where she is celebrated as Honorary Director of the prestigious Orquesta Sinfónica de Oriente in Santiago, Cuba’s musical heartland, which she led for 9 years. During that time, she singlehandedly (with a team formed by an administrator and a librarian) managed and directed the 80-musician ensemble, developing an extensive repertoire of classical and contemporary music, jazz and pop, while championing Cuban music both new and traditional.

Certificate from the Eastman School of Music. Jessica has held fellowships with the New World Symphony, National Repertory Orchestra, Music Academy of the West, Texas Music Festival, and Pacific Music Festival. Jessica was selected as a winner of the 2019 National Repertory Orchestra concerto competition, won first prize at the 2016 Northeast Horn Solo Competition, and was the recipient of the 2018 International Horn Society Jon Hawkins award.

By Jeff Counts

Overture for Strings

Witold Lutosławski (1913-1994)

Duration: 5 minutes.

Poland’s Ministry of Culture and National Heritage describes Witold Lutosławski’s music as a balance of “form and content, intellect and emotion” and asserts that, because he “did not succumb to trends or fashions”, he could be both “avantgarde and traditional”. You don’t earn a reputation of complete independence without searching your soul few times, and Lutosławski certainly did. About his Overture for Strings, he wrote, “After the first performance of my ‘first symphony’ in 1948 I realized that my way of composing up to then and especially my approach to the problems of pitch (harmony, melody, etc.) was not leading to any satisfactory result. So, I decided to start working on a sound language which could better serve my purposes. In fact, I have not finished that work up to now and I think it is good to still keep the imagination in the movement in order to try and find still new procedures and methods of composing music. It has been indeed a long way, on which the first step was my little ‘ouverture’. In this piece I tried to work on scales (moduses?) containing eight notes. And thus, the first theme has been composed using two-equal-tetrachords-scales, the second- a chromatic scale of eight notes. Later on, I abandoned that procedure and searched solutions elsewhere. The ‘ouverture’ has been composed in a sonata-form with two contrasting themes, the exposition, the development and the recapitulation. The first performance was given in November 1949 by the Prague Radio Symphony Orchestra under Fitelberg in Czechoslovakia.”

Sérénade

Jean Françaix (1912-1997)

Duration: 10 minutes.

The 1934 Sérénade for Small Orchestra of Jean Françaix is a tasting menu of NeoClassical delights, and kindred to much of what Stravinsky and other “back to Bach” composers started writing in Europe during the brief, interwar peace. Françaix, like so many in the history of his profession, started quite young and was sent to the eminent teacher Nadia Boulanger at the age of 10. She noticed his prodigious talent right away and remarked to his mother that he did not need to learn harmony from her or anyone else. “I don’t know how,” Boulanger wrote, “but he knows it. He was born knowing it.” Françaix would go on to create a fairly robust (if maybe not too widely remembered) catalogue of works, including some 16 ballet scores. It’s worth mentioning the dance music here because that would be the second life of the Sérénade when the famed impresario George Balanchine choreographed it 1951 as “A La Françaix”. In an archived New York Times review of the ballet premiere, the scenario is recounted by John Martin as that of a dashing tennis player who steals a young flirt away from the two boys who vie for her, only to have himself stolen by the charms of an alluring sylph in a cycle that apparently repeats itself ad infinitum. Balanchine’s interpretation of Françaix’s score is appropriately smart, silly and overflowing with charm, and one would be forgiven for imaging the dancers while they listen tonight. Françaix would not have minded.

HISTORY OF THE MUSIC

Concerto No. 4 for Horn in E-flat Major, K. 495

Wolfgang Amadeus Mozart (1756-1791)

Duration: 16 minutes in three movements.

Joseph Leutgeb was an accomplished horn player who spent time in the Salzburg court ensemble while Mozart was there and became close with the composer and his family. In addition to being a loyal friend, Leutgub was a master of the valve-less hand horn and a pretty good sport when it came to jokes made at his expense. We will circle back to the teasing, after a quick consideration of Leutgub’s playing talents. His instrument required a lot of physical manipulation to perform chromatic passages and he was a pioneering expert on the “stopping” technique the best players used. Mozart was aware of this, and it inspired him to push limits. The four concerti he wrote for his comrade over the mid to late 1780s all test the virtuosic fences of the day and remain rites of passage for every horn artist in our time. But back to the jokes. It would seem, from the hilarious inscriptions found in the scores of three of the concerti, that Mozart could be an impishly silly friend indeed. He took “pity on Leutgeb, ass, ox and fool” in the score of the K. 417 concerto and inserted comments like “For you, Mr. Donkey” and “Are you finished? Thank heavens!” into K. 412. The K. 495 concerto (No. 4) appears to be free of such overt jibes, but the solo part still required a performer of immense skill to pull it off. In the end, it seems Mozart’s great respect for Leutgub’s abilities was as important as his friend’s thick skin.

Restless Oceans

Anna Clyne (b. 1980)

Duration: 3 minutes.

The lack of representation in classical music is one of those issues that gets routinely painted over with statements like: “It’s so much better than it used to be”. That might be true, mathematically, but nobody should consider this problem solved. Good work is being done, though, and longstanding institutions like the Taki Fellowship for women conductors deserve attention and gratitude. Composer Anne Clyne, like so many in the field who care passionately about this topic, knew about Taki and she jumped at the chance to compose for the group. She writes: “I composed Restless Oceans for Marin Alsop and the Taki Concordia Orchestra for performance at the World Economic Forum Annual Meeting in Davos. The piece received its world premiere at the opening ceremony in 2019 where Marin Alsop was presented with the Forum’s prestigious Crystal Award in recognition of her championship of diversity in music. This work draws inspiration and its title from A Woman Speaks - a poem by Audre Lorde and was composed with this particular all-women orchestra in mind. In addition to playing their instruments, the musicians are also called to use their voices in song and strong vocalizations, and their feet to stomp and to bring them to stand united at the end. My intention was to write a defiant piece that embraces the power of women.” Audre Lord (1934-1992) described herself as a “warrior” and she spent her entire creative life confronting injustice. The “restless oceans” of her verse refer to the immense power hidden in every female heart.

Villanelle

Paul Dukas (1865-1935)

Duration: 7 minutes.

Composer, scholar, educator, critic. These are the ways in which we remember Paul Dukas, though the final title of that set made it rather difficult for him to succeed as the first. Thanks to his work as professional critic, Dukas could never accept inadequacy in his own music and because of this he only approved a very limited number of his compositions for publication. The rest he destroyed. Who can ever know if he was right to do so? What we do know, since he allowed it to be heard, is that he wrote The Sorcerer’s Apprentice in 1897 and for one brief moment was a celebrity. Nothing like it ever happened again for him and Dukas spent his golden years at the conservatory, teaching students like Rodrigo, Messiaen, Duruflé and Piston. In 1906, he wrote a test-piece for university horn students called Villanelle. The name comes from the Italian villanella, a secular song style from 16th century Naples that was rustic, showy and often humorous. Like Mozart before him, Dukas was eager to put the horn through its paces with the Villanelle By his time, the instrument had valves and was capable of technical wizardry nobody in previous eras could have imagined. In addition to some very fast passagework, the full range of the instrument is exploited in Villanelle and Dukas even asks the soloist to play a nostalgic “natural horn” (without valves, like in Mozart’s time) opening section. Passing the “test” of Villanelle could not have been easy in 1906, and still isn’t today.

Symphony No. 90 in C Major Franz Joseph Haydn (1732-1809)

Duration: 24 minutes in four movements.

Though the fullness of the acquaintance between Haydn and Mozart has likely been exaggerated, the two men clearly had significant influence on one another throughout the 1780s. Both composers were active as symphonists in the latter years of the decade and 1788 was particularly productive (between them, six new symphonies were created). Symphony No. 90 was part of a trio of works (Nos. 90-92) that Haydn used to fill two different commission obligations in 1788. One of the requests came from the French Comte d’Ogny, who had given financial support to the earlier set of “Paris” symphonies, and the other commissioner was Haydn’s Bavarian patron Prince Krafft-Ernst von OettingenWallerstein. With the Prince, at least, Haydn was apparently aware of how this “doubledipping” appeared when he offered excuses (not effective ones, according to some) for sending copies of the scores rather the expected autograph originals. No. 90 is among the least frequently performed of the composer’s mature symphonies, a distinction owing in part to its shaded position between the more famous “Paris” and “London” groupings. C Major was almost always a “joy” key for Haydn and the first movement of No. 90 certainly continues that personal tradition. The slow movement, however, shows a higher than usual measure of reserve and the archly dignified character ensuing minuet was clearly designed with the French Capitol in mind (another unintended slight for the Bavarian Prince to endure?). After all is said and done, the finale is a Haydn finale –yet another effortless study in wit and genius.

DISCO HITS WITH BOOGIE

WONDER BAND

AUGUST 2 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

MARTIN HERMAN, conductor

BOOGIE WONDER BAND, guest artists

PRESENTING SPONSOR

CONDUCTOR SPONSOR

Martin Herman Conductor

Conductor, Martin Herman, has served as guest conductor with symphony orchestras world-wide. Known for his clarity, attention to detail, advocacy of new music by living composers, powerful interpretations of the classics as well as comfort with crossover popular concerts, he is one of today’s versatile and promising conductors.

He has recently conducted Das Sinfonie Orchester Berlin at the Berlin Philharmonie Kammermusiksaal, the Sydney Symphony Orchestra in the Sydney Opera House, the Philadelphia Orchestra, Odense Symphony Orchestra, Seattle Symphony, Detroit

Artists

After more than 3000 shows around the world the Boogie Wonder Band has become the most celebrated DISCO band of our generation. They have played in Canada, Bahamas, Bermuda, Cuba, China, Macao, Italy, Ecador, Hawaii, Monaco, France, Japan, India and in over a hundred cities in the US, from casinos, to theatres, festivals and clubs like in the famous Cutting Room in New York City, Los Angeles iconic Whisky a Gogo and Brooklyn Bowl in Las Vegas.

With recent stops in Miami Beach at the LIV

Symphony, North Carolina Symphony, Ft. Worth Symphony, Atlanta Symphony, Vancouver Symphony, Long Beach Symphony, and the San Diego Symphony. He also served as music director and conductor with Downtown Opera in Long Beach, California, conducting premieres of new operas in the U.S. and the Czech Republic.

In the fall of 2009, he was conductor and music director at LaMaMa Theatre in New York City where he led performances of his one-act opera, The Doctor, based on Chekhov short stories. He has served as assistant conductor with the San Francisco Contemporary Music Players and conductor of the Berkeley Young Musicians Program Orchestra and U.C. Berkeley Summer Orchestra.

Nightclub for VIP event with Shaquille O’Neal, Disco Symphonic show with the Columbus Symphony, Carnivale du Vin in New Orleans for Emeril Lagasse Foundation, Festival Montagne & Musique in France, Ontario 54 in California, The Big E in Springfield Mass and of course as the sole Canadian band on the unforgettable Ultimate Disco Cruise and Rock & Romance Cruise, they continue to spread the word and raise the bar!

If we didn’t know better, we’d say that the Boogie Wonder Band, arrived via a time machine because this 10-piece band busts out funk-a-licious grooves and disco-strutting jams like they are straight out of the ‘70s. Channeling the era with a full throttle high-octane live show, each member dons eye-popping Las Vegasinspired costumes and flashy personas. They don’t just hail from another land; they come from another decade—where Disco ruled the dance floors!

Boogie Wonder Band Guest

HAMILTON

STAR

LESLIE ODOM, JR.

AUGUST 3 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

ENRICO LOPEZ-YAÑEZ, conductor

LESLIE ODOM, Jr., vocals

PRESENTING SPONSOR

ANTHONY & RENEE MARLON

GUEST ARTIST SPONSOR

BEN & PEGGY SCHAPIRO

CONDUCTOR SPONSOR

ARTISTS’ PROFILES

Enrico Lopez-Yañez Conductor

Enrico Lopez-Yañez is the Principal Pops Conductor of the Nashville Symphony and Pacific Symphony as well as the Principal Conductor of the Dallas Symphony Presents. This season Lopez-Yañez has been named Principal Pops Conductor Designate of the Detroit Symphony, a position he will begin in the 24/25 season. Lopez-Yañez is quickly establishing himself as one of the Nation’s leading

conductors of popular music and becoming known for his unique style of audience engagement. Also an active composer/arranger, he has been commissioned to write for the Cincinnati Pops Orchestra, Houston Symphony, San Diego Symphony and Omaha Symphony, and has had his works performed by orchestras including the Atlanta Symphony, Baltimore Symphony, Detroit Symphony, Indianapolis Symphony, National Symphony, Phoenix Symphony, Seattle Symphony, and Utah Symphony among others.

Leslie

Odom, Jr. Vocals

Leslie Odom, Jr. is a two-time Academy Award nominated, Tony and Grammy Award-winning, three-time Emmy Award nominated actor, singer, songwriter, and entertainer. With an expansive career that touches many performance genres, Odom has been repeatedly recognized as a unique performer with a serious and distinct dedication to the craft of storytelling. Best known for his breakout

role as ‘Aaron Burr’ in the hit musical Hamilton on Broadway as well as his critically acclaimed performance as legendary soul singer Sam Cooke in Regina King’s 2020 film, One Night in Miami. Most recently, Odom made his long-awaited return to Broadway starring in, and co-producing, the new Broadway production of the classic American comedy Purlie Victorious: A NonConfederate Romp Through the Cotton Patch by the legendary Ossie Davis. His fifth studio album, When A Crooner Dies, was released in November 2023.

BIRTHDAY B H $10 THURSDAY 3 9 PM

Thanksgiving Point • Ashton Gardens Come Celebrate in the Gardens!

SEPTEMBER 5-7, 2024

THE MUSIC OF JOHN WILLIAMS

AUGUST 8 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

DAVID NEWMAN, conductor

Selections from Films Including: E.T. the Extra-Terrestrial

Harry Potter

Hook

Jurassic Park

Raiders of the Lost Ark

Superman

Star Wars

Jane Eyre

The Accidental Tourist

Far and Away

PRESENTING SPONSORS

CONCERT SPONSOR

TOM & JUDY BILLINGS

CONDUCTOR SPONSOR

LODGING SPONSORS

ARTIST’S PROFILE

David Newman Conductor

David Newman is one of today’s most accomplished creators of music for film.

In his 25-year career, he has scored over 100 films, ranging from War of the Roses, Matilda, Bowfinger and Heathers, to the more recent The Spirit Serenity, Behaving Badly, and Tarzan. Newman’s music has brought to life the critically acclaimed dramas Brokedown Palace and Hoffa; top-grossing comedies Norbit, Scooby-

Doo, Galaxy Quest, The Nutty Professor, The Flintstones, Throw Mama From the Train; and award- winning animated films Ice Age, The Brave Little Toaster and Anastasia.

The recipient of top honors from the music and motion picture industries, he holds an Academy Award® nomination for his score to the animated feature, Anastasia, and was the first composer to have his piece, 1001 Nights, performed in the Los Angeles Philharmonic’s FILMHARMONIC Series, conducted by Esa-Pekka Salonen.

AM I OKAY TO DRIVE? BUZZED

DRIVING IS DRUNK DRIVING

Dis co ver t he un searc h a bl e

Dis co ver the for es t

F ind a t rail near y o u a t

Dis co ver T he For es t.or g

A NIGHT TO “HEAR A SYMPHONY” WITH CODY FRY

AUGUST 9 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

ENRICO LOPEZ-YAÑEZ, conductor

CODY FRY, guest artist

PRESENTING SPONSOR

STAGE SPONSOR

ARTISTS’ PROFILES

Enrico Lopez-Yañez

Conductor

Enrico Lopez-Yañez is the Principal Pops Conductor of the Nashville Symphony and Pacific Symphony as well as the Principal Conductor of the Dallas Symphony Presents. This season Lopez-Yañez has been named Principal Pops Conductor Designate of the Detroit Symphony, a position he will begin in the 24/25 season. Lopez-Yañez is quickly establishing himself as one of the Nation’s leading

conductors of popular music and becoming known for his unique style of audience engagement. Also an active composer/arranger, he has been commissioned to write for the Cincinnati Pops Orchestra, Houston Symphony, San Diego Symphony and Omaha Symphony, and has had his works performed by orchestras including the Atlanta Symphony, Baltimore Symphony, Detroit Symphony, Indianapolis Symphony, National Symphony, Phoenix Symphony, Seattle Symphony, and Utah Symphony among others.

Cody Fry Guest Artist

Cody Fry’s music sounds like the moment in your favorite old flick when the film changes from black-and-white to technicolor in a rush of emotion. As his orchestration booms, you practically expect a Golden Age romance to unfold to the narration of his vocals. It’s warm enough to make you nostalgic, but Cody always looks

forward as a singer, songwriter, composer, producer, arranger, and multiinstrumentalist. It’s why he’s quietly emerged as a phenomenon with hundreds of millions of streams, hundreds of thousands of TikTok creations, and widespread acclaim. Along the way he’s picked up a GRAMMY® Award nomination, an RIAA Certified Gold record, and sold out countless shows. You can keep up with Cody’s journey at codyfry.com or on social media.

Utah Symphony | Utah Opera is grateful to our generous donors who, through annual cash gifts and multi-year commitments, help us to connect the community through great live music. Contributions as of June 17, 2024

* In-kind Gift

** In-kind & Cash Gift

† Deceased

Designates DVMF sponsor and/or VIP package supporter

DEER VALLEY ® MUSIC FESTIVAL FOUNDERS

Mark & Dianne Prothro Bellecorp

Perkins - Prothro Foundation

Bill & Joanne Shiebler Shiebler Family Foundation

Jim & Susan Swartz Swartz Foundation

MILLENNIUM ($250,000 AND ABOVE)

Anonymous

The Church of Jesus Christ of Latter-day Saints Foundation

Lawrence T. & Janet T. Dee Foundation

George S. & Dolores Doré Eccles Foundation

Kem & Carolyn Gardner

Larry H. & Gail Miller Family Foundation

O.C. Tanner Company

Stowell Leadership Group, LLC**

Jacquelyn Wentz

ENCORE ($100,000–$249,999)

Marriner S. Eccles Foundation

Scott & Jennifer Huntsman

Emma Eccles Jones Foundation

BRAVO ($50,000–$99,999)

47G*

Anonymous

Cultural Vision Fund

Dennis Hranitzky

Dr. Kent C. DiFiore & Dr.

Martha R. Humphrey~

Dominion Energy

The Florence J. Gillmor Foundation

Frederick Q. Lawson Foundation

LOVE Communications**

Anthony & Renee Marlon~

Marriott Residence Inn*

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Shiebler Family Foundation~

Beano Solomon~

Sorenson Legacy Foundation

The Grand America Hotel & Little America Hotel*

Janet Q. Lawson Foundation

Frederick & Lucy Moreton

Moreton & Company

Patricia A. Richards & William K. Nichols~

Harris H. & Amanda Simmons

OVERTURE ($25,000–$49,999)

Frances Akita & Christine Sulser

Scott & Kathie Amann~ Arnold Machinery

Associated Food Stores, Inc

H. Brent & Bonnie Jean

Beesley

Bill & Vicki Bennion

Thomas Billings & Judge

Judith Billings~

Jim & Susan Blair~ Bloomfield Family Foundation~

Charles Boynton

BMW of Murray/BMW of Pleasant Grove~

Judy Brady† & Drew W. Browning

Judy & Larry Brownstein~ Carol Franc Buck Foundation

Cache Valley Electric

Michael & Vickie Callen

Rebecca Marriott Champion~

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John H.† & Joan B. Firmage

John H. & Carol Firmage

Kristen Fletcher & Dan McPhun~

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Richard K. & Shirley S. Hemingway Foundation

Tom & Lorie Jacobson~

Intuitive Funding~

The John C. Kish Foundation~

Charles & Pat McEvoy~

Moreton Family Foundation

Edward Moreton

George Speciale

Stewart Family Foundation

Wheatley Family Charitable Fund

World Trade Center Utah*

James & Ann Neal~

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Mark & Dianne Prothro~

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Jonathan & Marisa Schwartz

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Simmons Family Foundation

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THANK YOU

MAESTRO

($10,000–$24,999)

Altabank

Dr. J.R. Baringer & Dr.

Jeannette J. Townsend

HJ & BR Barlow Foundation

B.W. Bastian Foundation

Beesley Family Foundation

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Caffé Molise*

Marie Eccles Caine FoundationRussell Family

William & Patricia Child

Howard & Betty Clark

Larry Clemmensen~

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Barry & Traci Eden

Mrs. Sarah Ehrlich

Matthew B. Ellis Foundation

Carolyn & Craig Enenstein~

Robert & Elisha Finney~

Goldman Sachs & Co. LLC~

Brian & Detgen Greeff

Emily & Chauncey Hall

Douglas & Connie Hayes~

Susan & Tom Hodgson~

Mary P.† & Jerald H. Jacobs Family

Stephen C.† and Lynda M. Jacobsen

Annette & Joseph Jarvis

Joseph & Kathleen Sorenson Legacy Foundation

G. Frank & Pamela Joklik

Bill Ligety & Cyndi Sharp~ McCarthey Family Foundation

Michal & Maureen Mekjian~ The Millerberg Family Giving Fund

Millburn & Company~

Harold W. & Lois Milner~ Perkins-Prothro Foundation~

Leslie Peterson & Kevin Higgins

Frank R. Pignanelli & D’Arcy Dixon Pignanelli

Walter J. & Peggy Plumb

Alice & Frank Puleo~

S.J. & Jessie E. Quinney Foundation

Raymond James & Associates

James & Anna Romano

The Joseph & Evelyn Rosenblatt Charitable Fund

Miguel Rovira

Sandefur Schmidt

Allison Schuster~

Dewelynn & J. Ryan† Selberg

Scott & Karen Smith

Stay Park City

Shane & Stacey Stowell

Mr. & Mrs. G. B. Stringfellow

Thomas & Marilyn Sutton~

Norman C. & Barbara L. Tanner

Second Charitable Trust

Brad E. & Linda P. Walton~ WCF Insurance

Kathie Zumbro

Utah Symphony | Utah Opera is grateful to the following generous sponsors for supporting our 2024 Deer Valley® Music Festival.

BRONZE ($8,000–$9,999)

4Girls Foundation

Paula Bronson

David & Deborah Brown

Kathleen & Frank Dougherty

Lynn & Tom Fey

Ray & Howard Grossman

Wes Howell

KKC Foundation

Dan Lofgren

Mitch Rice

AMBASSADOR ($5,000–$7,999)

Anonymous

Marcia Aaron

Clisto and Suzanne Beaty

Maria & Bill Boyce

Anne Daigle & Rich Heyman

Michael and Sheila Deputy

Greg & Carol Easton

Karen Enzer

Jack & Marianne Ferraro

Grandeur Peak Global Advisors

Michael Huerta and Ann Sowder

Brian & Nancy Kennedy

Tom & Janet McDougal

Moeller Family Foundation

Michael Montgomery

Richard & Carmen Rogers

Barbara & Paul Schwartz

St. Regis / Deer Crest Club**

Kelly Whitcomb

Terrell & Leah Nagata

Rhett Roberts

Marcie Stein

Craig & Marcia Stuart

Mark & Debbie Weinstein

Douglas Wood

PATRON ($3,000–$4,999)

Paul & Pam Apel

Doyle Arnold & Anne Glarner

Tina and John Barry

Jennifer Beckham

Alice & Bill Bierer

Mark & Marcy Casp

Blair Childs & Erin Shaffer

Dr. Sidney Cole

George Coleman

Tracy L Collett

Cope & Cope Investments

Cindy Corbin

James Cox

Rod & Kim Cullum

Ruth and Phil Davidson

Larry Dickerson & Marcela

Donadio

John D. Doppelheuer M.D. & Kirsten A. Hanson M.D.

Karey and Phillip Dye

Barbara & Melvin Echols

Blake & Linda Fisher

Karen Fletcher

James Forman

Joseph and Dixie Furlong

Robert & Annie-Lewis Garda

David & Angela Glenn

Kenneth† & Amy Goodman

Sue & Gary Grant

Mary Haskins

Nancy Ann Heaps

Merele Kosowsky

Debbie & Gary Lambert

Stan & Susan Levy

Michael Liess

Don List

Kris Maclay

Steve and Marion Mahas

Keith & Vicki Maio

Miriam Mason & Greg Glynis

Karen & Mike McMenomy

Clayton McNeel

MJZR Charitable Trust

Glenn & Dav Mosby

GRASS PASS ($2,000–$2,999)

Ryan Aller & Natasja Keys

Kenneth Colen

Margarita Donnelly

Emily Stewart

Madeline Vandever

The Victory Foundation

VIP FOR A NIGHT ($1,000–$1,999)

Alan Agle

Nanci Meyer Fastre

Sheila Gardner

Caroline & David Hundley

Stacy Lederer

Mark & Pat Lucas

Charles & Amy Newhall

Vincent & Elizabeth Novack

Charlotte & Patrick O’Connell

James S. & Dyan Pignatelli

Steven K. Richards

Lee Rippel

Nathan & Shannon Savage

Lisa & Joel Shine

Marlin Sandlin, Jr

Becky Roof & Gary Smith

Elana Spitzberg & Avi

Markowitz

Ray & Ann Steben

Alfred Stein

Tim & Judy Terrell

Richard Valliere

Gerard & Sheila Walsh

Grant Lippincott & Donna Walsh

Cindy Williams

Barry & Fran Wilson

Peter Zutty

Stephen Watson

Nancy Rossman

Daniel & Sari Schachtel

Jeff Trocin

THANK YOU

Utah Symphony | Utah Opera expresses deep gratitude to donors who, over the past 20 seasons, through extraordinary generosity have made the Deer Valley® Music Festival a resounding success. We appreciatively acknowledge cumulative giving in support of USUO & the Festival.

$500,000+

Diane & Hal Brierley

Church of Jesus Christ of Latter-day Saints Foundation

Deer Valley Resort**

Dominion Energy

George S. & Dolores Doré Eccles Foundation

Marriner S. Eccles Foundation

$250,000 – 499,999

Scott & Kathleen Amann

Richard K. & Shirley S. Hemingway Foundation Holland & Hart

Kem & Carolyn Gardner

Marty & Jane† Greenberg

LOVE Communications**

The Tony & Renee Marlon Charitable Foundation / Anthony & Renee Marlon

O.C. Tanner Company

Perkins-Prothro Foundation / Mark & Dianne Prothro

Patricia A. Richards & William K. Nichols

Shiebler Family Foundation / Joanne & Bill Shiebler

Sorenson Legacy Foundation

The Swartz Foundation / James R. & Susan Swartz Zions Bank

Thomas & Lorie Jacobson

Montage Deer Valley**

Jim† & Marilyn Parke Alice & Frank Puleo

St Regis Deer Valley**

Stein Eriksen Lodge**

WCF Mutual Insurance Company

Utah Symphony | Utah Opera would like to especially thank our major sources of public funding that help us to fulfill our mission and serve our community.

National Endowment for the Arts

Orem City CARE Tax

Salt Lake City Arts Council

Salt Lake County Zoo, Arts and Parks

GIFTS MADE IN HONOR

Georgia Gates

Summit County Restaurant Tax / RAP Tax~

Utah Department of Cultural & Community Engagement

Utah Division of Arts & Museums

Utah State Legislature

Utah State Board of Education

Utah Office of Tourism

Alan W. Stout

Carol Zimmerman

GIFTS MADE IN MEMORY

Fred Andersen

Jay T. Ball

John Bates

Earle Robert Bevins III

Danny Boy

Robert H. Burgoyne, M.D.

Norman & Charleen Clark

Orson Clay

Esther Markey Davenport

Marlene Dazley

Jack G. Edwards

Carolyn Hanks

Carl & LeAnn Hoyal

Gary B Kitching, M.D.

Adrienne W. Larson

Lona Mae Stratford Hyde

Lauritzen

Morris Lee

Steven S. McDonald

Glade & Mardean Peterson

Nedra S. Robison

Rodney Rougelot

Robert Sedgewick

Linda Twitchell

Sheila Van Frank

Sheila M. VanFrank

Judy Watts Brady

James Edward Wright

Utah Symphony | Utah Opera offers sincere thanks to our Patrons who have included USUO in their financial and estate planning.

CRESCENDO SOCIETY OF UTAH OPERA

Anonymous

Mr. & Mrs. William C. Bailey

Judy Brady & Drew W. Browning

Dr. Robert H.† & Marianne

Harding Burgoyne

Shelly Coburn

Travis & Jamie Donio

Dr. Richard J.† & Mrs.

Barbara N.† Eliason

Anne C. Ewers

Joseph & Pat Gartman

Paul (Hap) & Ann† Green

Annette W. & Joseph Q. Jarvis

Edward R. Ashwood & Candice A. Johnson

Clark D. Jones

Turid V. Lipman

Herbert C. & Wilma Livsey

Richard W. & Frances P. Muir

Marilyn H. Neilson

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†

Dr. Melissa J. Bentley

Marcy & Mark Casp

Shelly Coburn

Raymond & Diana Compton

Mahler Circle

Anonymous (3)

Eva-Maria Adolphi

Dr. Robert H.† & Marianne

Harding Burgoyne

Richard Clegg

Mr. & Mrs. Kenneth E. Coombs

Paul (Hap) & Ann† Green

Robert & Carolee Harmon

Richard G. & Shauna† Horne

Virginia A. Hughes

Turid V. Lipman

Anne C. Ewers

Annette W. & Joseph Q. Jarvis

Flemming & Lana Jensen

James Read Lether

Daniel & Noemi P. Mattis

Anthony & Carol W. Middleton, Jr., M.D.

Robert & Diane Miner

Glenn Prestwich

Herbert C. & Wilma Livsey

Dianne May

Jerry & Marcia McClain

Jim & Andrea Naccarato

Stephen H. & Mary Nichols

Craig S. Ogan

Mr. & Mrs. Scott Parker

Mr. & Mrs.† Michael A. Pazzi

Richard Q. Perry

Chase† & Grethe Peterson

Glenn H. & Karen F. Peterson

Carol & Ted Newlin

Patricia A. Richards & William K. Nichols

Mr.† & Mrs. Alvin Richer

Jeffrey W. Shields

G.B. & B.F. Stringfellow

Dr. Ralph & Judith Vander Heide

Edward J. & Marelynn† Zipser

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

Mr.† & Mrs. M. Walker Wallace

Thomas A. & Sally† Quinn

Dan† & June Ragan

Mr. Grant Schettler

Glenda & Robert† Shrader

Mr. Robert C. Steiner & Dr. Jacquelyn Erbin†

JoLynda Stillman

Joann Svikhart

Edward J. & Marelynn† Zipser

Jim Tozer

Chair

Kathie Amann

Scott Amann

Judy Billings

Tom Billings

Hal Brierley

Judy Brownstein

Larry Brownstein

Carolyn Enenstein

Craig Enenstein

Lynn Fey

Kristen Fletcher

Tom Jacobson

Debra Kasirer

Michael Liess

Bill Ligety

Charles McEvoy

Pat McEvoy

Dan McPhun

Hal Milner

Lois Milner

Mark Prothro

Ben Schapiro

Joanne Shiebler

Jim Swartz

Susan Swartz

Zibby Tozer

Howard Wallack

From all of us at USUO, we thank our DVMF Council members for their generous support, insightful guidance, and unwavering dedication.

By including Utah Symphony | Utah Opera in your estate plans, you’re investing in the cultural vibrancy of our community while meeting your financial goals today. Whether through a bequest, beneficiary designation, or other planned giving option, your gift of any size ensures the beauty and power of music will continue to inspire generations to come.

Find out more: 801-869-9200 | usuo.org/planned-giving

ADMINISTRATION

ADMINISTRATION

Steven Brosvik

President & CEO

David Green

Senior Vice President & COO

Micah Luce

Director of Human Resources & Organizational Culture

Julie McBeth

Executive Assistant to the CEO

Natty Taylor

Human Resources Coordinator

Madison Wilde Thunhorst

Executive Assistant to the Senior VP & COO

SYMPHONY ARTISTIC

Anthony Tolokan

Artistic Consultant

Cassandra Dozet

Artistic Consultant

Walt Zeschin

Director of Orchestra Personnel

Hannah Thomas-Hollands

Orchestra Personnel Manager

Morgan Moulton

Artistic Planning Manager

Isabella Zini

Artistic Planning Coordinator & Assistant to the Music Director

Abigail Homer

Artist Logistics Intern

Matthew Straw

Assistant Conductor

SYMPHONY OPERATIONS

Jen Shark

Director of Orchestra Operations

Melissa Robison

Front of House Director

Megan Rasmussen

Front of House Intern

Chip Dance

Director of Production

Marcus Lee Operations Manager

Sarah Madany

Stage Manager

Christopher Danz

Assistant Stage Manager

OPERA ARTISTIC

Christopher McBeth

Opera Artistic Director

Sharon Bjorndal Lavery

Chorus Director & Opera Assistant

Conductor

Carol Anderson

Principal Coach

Michelle Peterson Director of Production

Ashley Tingey

Production Coordinator

DEVELOPMENT

Leslie Peterson

Vice President of Development

Garrett Murphy Director of Development

David Hodges

Director of Development, Institutional Giving

Calli Forsyth

Assistant Director of Institutional

Sponsorships and Engagement

Katie Swainston

Individual Giving Manager

Lisa Poppleton

Grants Manager

Dallin Mills

Development Database Manager

Maren Holmes

Manager of Special Events

Ellesse Hargreaves

Corporate Engagement Manager

Paul Murphy

Development Intern

MARKETING & COMMUNICATIONS

Meredith Kimball Laing

Vice President of Marketing & Communications

Adia Thornton

Director of Marketing

Robert Bedont

Marketing Manager

Megs Vincent Communications Manager

Nina Starling

Website Content Coordinator

Emma Price

Marketing & Communications Coordinator

PATRON SERVICES

Faith Myers

Director of Patron Engagement

Jaron Hatch

Patron Services Manager

Toby Simmons

Patron Services Assistant Manager

Caitlin Marshall

Sales & Engagement Manager

Genevieve Gannon

Group Sales Associate

Lorraine Fry

Michael Gibson

Ian Painter

Ananda Spike

Val Tholen

Salem Rogers

Chloe Toyn

Crystal Pryor

Thia Harris

Leah Medley

True Moore

Patron Services Associates

ACCOUNTING & INFORMATION TECHNOLOGY

Steve Hogan

Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Melanie Giles Controller

Jared Mollenkopf

Patron Information Systems Manager

Bobby Alger

Accounts Payable Specialist

Karine Mnatsakanyan

Payroll Specialist

EDUCATION & COMMUNITY ENGAGEMENT

Ben Kipp

Vice President of Education &

Community Engagement

Jessica Wiley

Symphony Education Manager

Kevin Nakatani

Opera Education Manager

Beth Foley

Education Coordinator

OPERA TECHNICAL

Sam Miller

Technical Director

Kelly Nickle

Properties Master

Dusty Terrell

Scenic Charge Artist

JR Orr

Head Carpenter/Shop Foreman

COSTUMES

Carol Wood

Costume Director

Marcos Ambriz

Costume Rentals & Collections Manager

Madi Halverstadt

Costume Rentals & Collections

Assistant Manager

Milivoj Poletan

Master Tailor

Melanie Lamb-Delgado

Assistant Tailor

Dawnette Dryer

Cutter/Draper

Molly Hartvigsen

First Hand

Julie Porter

Crafts Artisan/Milliner

Líle Casey

Costume Collections Assistant

Emily Jarman

Costume Intern

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

UTAH SYMPHONY | UTAH OPERA DEER VALLEY® MUSIC FESTIVAL 123 West South Temple Salt Lake City, UT 84101

801-533-5626

EDITOR

Megs Vincent

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 Jones Waldo

ADVERTISING SERVICES

Provided by Love Communications, Salt Lake City

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.

Maurice 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.