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18/19 U TA H SY M
P H O N Y S E AS O N
JANUARY – FEB
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2018/19 ANNUAL CULTURAL FESTIVAL
PROJECTS
During its 2018-19 season, Utah Symphony | Utah Opera joins the long list of Utah organizations commemorating the 150th anniversary of the laying of the Golden Spike, which officially connected the transcontinental railroad on May 10, 1869.
OPERA COMMISSION
GIFT OF MUSIC
MUSIC ALONG THE RAIL
Utah Opera’s 10-minute opera commissioning project, with additional support from the McCarthey Family Foundation.
Utah Symphony’s participation in the Gift of Music concert on May 10, 2019, the official Golden Spike celebration.
Utah Symphony’s performance of Chinese composer Zhou Tian’s new work, a co-commission with other orchestras along the transcontinental railroad’s route.
FOR MORE INFORMATION, VISIT USUO.ORG/FESTIVAL
JANUARY/FEBRUARY 2019 PERFORMANCES
CONTENTS
Purchase tickets at utahsymphony.org or call 801-533-6683
6 Welcome 8 Music Director
JANUARY 4–5 | 7:30 PM
10 Associate Conductor
A NEW YEAR’S CELEBRATION
15 Utah Symphony 16 Board of Trustees 18 Noteworthy Women 22 Pre-concert Rituals
JANUARY 11 | 10 AM
26 Tagged & Hashtagged
JANUARY 11–12 | 7:30 PM
30 Season Sponsors
CHOPIN’S PIANO CONCERTO NO. 1
31–38 Tonight’s Concert 39 Support USUO 40 Donors
JANUARY 18 | 7:30 PM
52 Legacy Giving 53 Tanner & Crescendo Societies 54 Administration
MOZART’S SYMPHONY NO. 39
59 House Rules 63 Education 64 Acknowledgments
JANUARY 26 | 7:30 PM
THE 5 BROWNS Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.
@UtahSymphony
PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR/ PRODUCTION MANAGER Jackie Medina GRAPHIC DESIGNERS Ken Magleby Katie Steckler Patrick Witmer
ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas Chad Saunders ADMINISTRATIVE ASSISTANT Caleb Deane EDITOR Melissa Robison
FEBRUARY 8–9 | 7:30 PM
TCHAIKOVSKY’S “PATHÉTIQUE”
FEBRUARY 15–16 | 7:30 PM LERNER AND LOEWE’S
MY FAIR LADY
WITH THE UTAH SYMPHONY
The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801-467-8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © COPYRIGHT 2019
UTAHSYMPHONY.ORG
FEBRUARY 1–2 | 7:30 PM
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FEBRUARY 22–23 | 7:30 PM
BRAHMS’ VIOLIN CONCERTO
5
WELCOME
Paul Meecham
Thierry Fischer
Kem Gardner
President & CEO
Music Director
Chair, Board of Trustees
Welcome to Abravanel Hall and to a new year of inspiring concerts filled with great live music! In January and February the Utah Symphony presents five wonderful masterworks programs of music by a diverse range of composers from early 18th century Bach and 19th century Brahms, Dvořák and Tchaikovsky to living composers including current composer-in-association Andrew Norman and works by two leading women composers, Joan Tower and Vivian Fung. These two months also feature performances to be recorded live for future commercial release of Berlioz’ Symphonie fantastique, and the debut of Chinese-American female conductor Xian Zhang. And on a lighter front, be sure not to miss in February a staging of the timeless Broadway musical, My Fair Lady, and in early March a screening with live orchestra of the classic movie Casablanca. If that weren’t enough, did you know that in addition to the more than 100 subscription concerts and operas presented in our home venues, Utah Symphony | Utah Opera performs more than 250 education concerts statewide every year? And that nearly one-third of our total audience is comprised of students? For example, in late January while part of the orchestra will be in the orchestra pit for Utah Opera’s family-friendly presentation of The Little
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Prince, the remainder of the musicians will be performing chamber education concerts in schools from Mt. Pleasant to Vernal. And in February and March, 20,000 fifth-grade students will attend special concerts in Abravanel Hall—an annual tradition for generations of our youth. These events are just a few of the many programs we offer free of charge to supplement the core music curriculum for Utah students. Our ability to reach so many students is due, in significant part, to the Utah State Legislature, which provides over one-third of the support towards their cost. The remainder of that credit goes to our many donors who cumulatively match the state’s support. Thank you for your support and advocacy of Utah Symphony | Utah Opera, and please thank your legislators for their support. It is through your involvement that we are able to connect the community through great live music! With sincere best wishes for a healthy and prosperous new year,
UTAH SYMPHONY
Utah musicians in concert at the
Gallivan Center
Larry Montoya
7:30 PM Wednesday nights excellenceconcerts.org • 385-743-0146
MUSIC DIRECTOR Music Director of the Utah Symphony since 2009 and recently extended to 2022, Thierry Fischer has revitalized the orchestra with creative programming, critically acclaimed performances, and new recordings. In April 2016 he took the orchestra to Carnegie Hall for the first time in 40 years, and together they have released CDs of Mahler symphony, newly commissions works, and the first of a three-CD set of symphonies of Saint Saëns. Since January 2017 Fischer has been Principal Guest Conductor of the Seoul Philharmonic Orchestra.
Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
Recent guesting has included Boston Symphony, London Philharmonic, Royal Philharmonic, Bergen Philharmonic, Rotterdam Philharmonic, BBC Symphony, Maggio Musicale Firenze, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande, and Sao Paulo Philharmonic, as well as Chamber Orchestra of Europe, Mostly Mozart New York, Scottish Chamber Orchestra, and London Sinfonietta. While Principal Conductor of the BBC National Orchestra of Wales from 2006–2012 Fischer appeared every year at the BBC Proms, toured internationally, and recorded for Hyperion, Signum, and Orfeo. His recording of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus won the ICMA Award in 2012 (opera category). In 2014 he released a Beethoven disc with the London Philharmonic on the Aparte label. Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra from 2001–2006. He was Chief Conductor of the Nagoya Philharmonic from 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.
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UTAH SYMPHONY
2018/19 UTAH SYMPHONY SEASON
AVAILABLE NOW THE NEW ALBUM FROM Thierry Fischer and the UTAH SYMPHONY
Saint-Saëns: Symphony No. 3 & Other Works Trois tableaux symphoniques d’après “La foi” Samson et Dalila Symphony No. 3 in C Minor, “Organ”
Experience the power and beauty of Saint-Saëns Symphony No. 3, the latest release from the Utah Symphony and Music Director Thierry Fischer, featuring organist Paul Jacobs. In the first release of a three-album set, the Utah Symphony pays homage to one of the greatest composers that France has produced, and becomes the first American orchestra to record all of Camille Saint-Saëns Symphonies.
Pick up your copy at the Abravanel Hall gift shop or at UtahSymphony.org/SaintSaens
This recording was made possible by generous support from: Kem & Carolyn Gardner | Patricia A. Richards & William K. Nichols
ASSOCIATE CONDUCTOR Conner Gray Covington begins his second season with the Utah Symphony as Associate Conductor. In his first season as Assistant Conductor, Covington conducted over 80 performances of classical, education, film, pops, and family concerts as well as tours throughout the state. Prior to his tenure in Utah, he was the Rita E. Hauser Conducting Fellow at the Curtis Institute of Music in Philadelphia where he worked closely with the Curtis Symphony Orchestra and the Curtis Opera Theater while also being mentored by Philadelphia Orchestra Music Director Yannick NézetSéguin. Covington began his career as Assistant Conductor of the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program.
Conner Gray Covington Associate Conductor
Covington has also worked with the symphonies of St. Louis, Virginia, and Monterey (California) as a guest conductor and will make debuts with the Kansas City Symphony and the Portland (Maine) Symphony in the 2018–19 season. He has served as a cover conductor for the Philadelphia Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony, Atlanta Symphony, Kansas City Symphony, The Florentine Opera Company (Milwaukee, W.I.), and the Britt Festival Orchestra (Jacksonville, O.R.). Born in Louisiana, Covington grew up in East Tennessee and began playing the violin at age 11. He went on to study violin with Dr. Martha Walvoord and conducting with Dr. Clifton Evans at the University of Texas at Arlington where he graduated summa cum laude with a degree in violin performance. He continued his studies with Neil Varon at the Eastman School of Music where he earned a Master of Music in orchestral conducting and was awarded the Walter Hagen Conducting Prize.
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UTAH SYMPHONY
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UTAH SYMPHONY Thierry Fischer, Music Director
The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Associate Conductor
VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair
Barlow Bradford Symphony Chorus Director
Elizabeth Beilman Acting Associate Principal
VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton
Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Whittney Thomas
Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair
CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair
Ralph Matson† Associate Concertmaster
Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang
David Porter Acting Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second
BASS* David Yavornitzky Principal
Wen Yuan Gu Associate Principal Second
Corbin Johnston Associate Principal James Allyn Benjamin Henderson†† Edward Merritt Jens Tenbroek Thomas Zera
Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt•• Joseph Evans LoiAnne Eyring Laura Ha• Lun Jiang Rebekah Johnson Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Ju Hyung Shin• Lynnette Stewart Bonnie Terry• Julie Wunderle
UTAHSYMPHONY.ORG
HARP Louise Vickerman† Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal
OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair
TROMBONE Mark Davidson Principal
Robert Stephenson Associate Principal
BASS TROMBONE Graeme Mutchler
Lissa Stolz
TUBA Gary Ofenloch Principal
ENGLISH HORN Lissa Stolz CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell Erin Svoboda Associate Principal
Sam Elliot Associate Principal
TIMPANI George Brown# Principal Eric Hopkins Acting Principal Michael Pape Acting Associate Principal
Lee Livengood
PERCUSSION Keith Carrick Principal
BASS CLARINET Lee Livengood
Michael Pape Stephen Kehner††
E-FLAT CLARINET Erin Svoboda
KEYBOARD Jason Hardink Principal
BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Edmund Rollett Acting Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser
Caitlyn Valovick Moore
TRUMPET Travis Peterson Principal
PICCOLO Caitlyn Valovick Moore
Jeff Luke Associate Principal
LIBRARIANS Clovis Lark Principal Katie Klich ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager
• First Violin •• Second Violin * String Seating Rotates † On Leave # Sabbatical †† Substitute Member
Peter Margulies Gabriel Slesinger††
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(801) 533-NOTE
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BOARD OF TRUSTEES ELECTED BOARD Kem C. Gardner* Chairman
Alex J. Dunn Brian Greeff Stephen Tanner Irish Thomas N. Jacobson Mitra Kashanchi Thomas M. Love* Abigail E. Magrane Brad W. Merrill Robin J. Milne Judy Moreton Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Brad Rencher Miguel R. Rovira Joanne F. Shiebler*
Naoma Tate Thomas Thatcher David Utrilla Kim R. Wilson Thomas Wright Henry C. Wurts
Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen Patricia A. Richards*
Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder
Howard S. Clark Kristen Fletcher Burton L. Gordon Richard G. Horne
Ron Jibson Warren K. McOmber E. Jeffery Smith Barbara Tanner
The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler Stanley B. Parrish
Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith
Joanne F. Shiebler Chair (Utah)
Susan H. Carlyle (Texas)
Harold W. Milner (Nevada)
David L. Brown (California)
Robert Dibblee (Virginia)
Marcia Price (Utah)
Anthon S. Cannon, Jr. (California)
Senator Orrin G. Hatch (Washington D.C.)
William H. Nelson* Vice Chairman Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO Jesselie B. Anderson* Doyle L. Arnold* Judith M. Billings Gary L. Crocker David L. Dee*
MUSICIAN REPRESENTATIVES
Elizabeth Beilman* Andrew Larson* EX OFFICIO
Henriette Mohebbi Utah Symphony Guild Dr. Robert Fudge Ogden Symphony Ballet Association *Executive Committee Member
LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow John Bates HONORARY BOARD Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles Spencer F. Eccles NATIONAL ADVISORY COUNCIL
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UTAH SYMPHONY
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Noteworthy Women
By Renée Huang, Director of Communications
During the first concerts of the new year, Utah Symphony | Utah Opera will shine a light on female composers, musicians, and conductors who are creating innovation and paving a pathway in an industry historically dominated by male counterparts. On January 4 and 5, Xian Zhang, Music Director of the New Jersey Symphony Orchestra, makes her Utah Symphony debut conducting American composer Joan Tower’s “Fanfare for the Uncommon Woman” No. 1, Tchaikovsky’s Suite from “Sleeping Beauty,” Szymanowski’s Violin Concerto No. 1, Johann Strauss Jr.’s Overture to “The Gypsy Baron” and “Bitte schön!”
Xian Zhang
Grammy-winning contemporary American composer, concert pianist and conductor Joan Tower was lauded by “The New Yorker” as “one of the most successful woman composers of all time. For several summers, she collaborated with Utah Symphony’s Deer Valley® Music Festival for an Emerging Quartets and Composers residency program. In 2015, Zhang made headlines when she was named the new principal guest conductor of BBC National Orchestra of Wales—the first time in history a woman held a titled conducting role in a BBC orchestra, launching her into the stratosphere of one of the UK’s most prominent female conductors. She spoke openly about the gender divide in classical music with “The Guardian” newspaper, and candidly answered the controversial question, “why aren’t there more of you?” “The more we ask these questions, the more people will get used to the idea of women conducting, and this will speed up the process of getting more women into the profession,” Zhang said in “The Guardian” piece. “We need to bring up the number of female conductors. There are not enough girls doing it well as professionals. Once there are more, then we can judge how good they are.”
Joan Tower
Concertmaster Madeline Adkins is the featured soloist on the program Zhang will conduct. Adkins is also the music director of NOVA Chamber Music Series, and programmed 10 women from six different countries on their current season. Adkins is vocal about her reasons to create more visibility for women in classical music. “There are over 3.5 billion women in the world, and it seems incredible to me that we as artists
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UTAH SYMPHONY
MADELINE ADKINS, CONCERTMASTER
IN THE SYMPHONY WORLD, OUR MUSICIANS ARE BASICALLY ROCK STARS
2018-19 UTAH SYMPHONY SEASON
CASABLANCA IN CONCERT
MAR 1 & 2 / 7 PM
PETER AND THE WOLF BALLET WEST II
WITH
MAR 16 / 11 AM & 12:30 PM
RACHMANINOFF’S PIANO CONCERTO NO. 2
CIRQUE DANCES WITH TROUPE VERTIGO
& THE
UTAH SYMPHONY
APR 19 & 20 / 7:30 PM
VILLEGAS PLAYS CONCIERTO DE ARANJUEZ
APR 26 & 27 / 7:30 PM
STAR WARS: A NEW HOPE IN CONCERT
MAR 22 / 7:30 PM
MAY 9, 11 & 13 / 7 PM
UNWOUND: RACH 2
COPLAND’S APPALACHIAN SPRING & BILLY THE KID
MAR 23 / 7 PM
DVOŘÁK’S “NEW WORLD” SYMPHONY MAR 29 & 30 / 7:30 PM
RACHMANINOFF & SHOSTAKOVICH
MAY 17 / 7:30 PM & BMAY 18 / 5:30 PM
ALL-STAR YOUTH PRO-AM
MAY 21 / 7 PM
SEASON FINALE:
MAHLER’S SYMPHONY NO. 1
APR 12 / 7:30 PM & APR 13 / 5:30 PM
MAY 24 & 25 / 7:30 PM
STORY PIRATES: SYMPHONY EXTRAVAGANZA!
AND
APR 20 / 11 AM.
THE UTAH SYMPHONY HAS BEEN “ON A ROLL”
- THE NEW YORK TIMES
HARRY POTTER THE GOBLET OF FIRE
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IN CONCERT
JUNE 20, 21 & 22 / 7 PM
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Noteworthy Women could possibly be content not representing the life experiences and emotions of half the Earth’s people. The female voice is so important in music, film, and literature,” she explained. “There’s a richness to art when it delves into the hearts and minds of all kinds of people around the world. Six countries is just a start, but as I discovered more and more amazing works of art by women, I was quite inspired.” Women continue to be highlighted during the month of January. Chinese-Canadian composer Vivian Fung’s 2011 composition “Dust Devils” will make its Utah premiere on the Abravanel Hall stage on January 11 and 12 in a program that includes Chopin’s Piano Concerto No. 1 and Dvorák’s Symphony No. 7.
Madeline Adkins
Utah Symphony Associate Conductor Conner Covington selected a new piece by a former female classmate, T.J. Cole, with whom he studied at the Curtis Institute of Music in Philadelphia. Her 2014 piece, “Death of a Poet,” will be performed alongside works by Haydn, Britten, and Mozart on January 18 at the orchestra’s chamber concert at St. Mary’s Church in Park City. “She’s an incredibly talented composer,” said Covington. “While still in her mid-twenties, she has already been commissioned by the Cincinnati Symphony Orchestra, Baltimore Symphony Orchestra, and Louisville Orchestra.” Utah Opera’s production of The Little Prince at Janet Quinney Lawson Capitol Theatre January 19 to 27 also features work by a powerhouse woman. The opera’s composer is AcademyAward winner Rachel Portman, who, in 1996 became the first female composer ever to win an Oscar for her score to the Jane Austen screen adaptation of “Emma.” She went on to receive nominations for her compositions for “Chocolat” and “Cider House Rules.”
Rachel Portman
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Adkins recognizes the opportunity she has as concertmaster and a female leader in the industry is to be a positive role model for young women looking to excel in classical music. “I love to encourage my students to be bold and to believe in themselves, to truly know that they can accomplish whatever they set their mind to,” she said. “I believe the shift towards balance is well underway, especially in the last few years. I think the industry is moving towards a real acceptance of quality as the most important factor. There is room, and in fact, there is a demand for diverse life experiences to be represented.”
UTAH SYMPHONY
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Pre-concert Rituals
By Renée Huang, Director of Communications
Professional musicians spend much of their lives on the road performing in concert venues around the globe. Amid the hectic travel schedules, rehearsals, practice time, and adjustments to different time zones, culture, and climate, regular routine is sacrificed. We asked two of our guest artists to share what pre-concert rituals help keep them grounded.
“Since concerts generally take place in the evening, performers have a particular challenge of being at the top of their game at the time of day when relaxation and eventual sleep are the usual activities. I learned long ago that routines are impossible to keep, and when broken will throw you off—so it’s best not to have them in the first place. However, it is important to “conserve energy”, and especially to ensure that mental coherence and fortitude remains until the very end of the day. Some days, if possible, I will have a nap before the concert. However, one has to be able to snap into a concert mood even after a long and challenging day, as ultimately I have made a commitment to the audience and always intend to fulfill it by giving it everything.” Jan Lisiecki
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UTAH SYMPHONY
#
2018/19 UTAH SYMPHONY SEASON
#UTAHSYMPHONY #SYMPHONYROCKSTARS #MUSICEDMATTERS
Pre-concert Rituals
By Renée Huang, Director of Communications
Professional musicians spend much of their lives on the road performing in concert venues around the globe. Amid the hectic travel schedules, rehearsals, practice time, and adjustments to different time zones, culture, and climate, regular routine is sacrificed. We asked two of our guest artists to share what pre-concert rituals help keep them grounded.
“My routine on the day of the concert is all about optimizing my mental preparation for the performance, not practicing the violin. By the time concert day arrives, it’s usually futile to cram in desperate last-minute practice, and hopefully I’ve done all the necessary practice preparation in advance. So, instead of logging practice hours, I always try to nap before leaving for the concert hall. This refreshes my mind and body and hopefully quiets some of the noise buzzing around in my head. After my nap, I like to eat an energizing meal. Spaghetti with meatballs is an old standby, both because it’s carb heavy, and because the routine of that particular dish in my pre-concert ritual is oddly soothing.
Stefan Jackiw
Once I’m at the concert hall, holed up in my dressing room, I warm up by playing through the evening’s repertoire slowly and calmly. Fast practice just makes me more frantic and does nothing to center my mind. Slow, deliberate practice is almost a form of meditation for me. In particular, I tend to focus on the opening few minutes of the music I’m playing that night. For me, the first few moments on stage, before I find my sea legs, are the rockiest, so I like to focus on those tricky passages. Just before I walk onstage, I remind myself to be vulnerable and open. This is what music is all about.”
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UTAH SYMPHONY
2018/19 UTAH SYMPHONY SEASON
DESIGNA-SERIES CASABLANCA IN CONCERT MARCH 1 & 2 MOZART’S
THE MAGIC FLUTE MARCH 9 – 17
AT J. Q. LAWSON CAPITOL THEATRE
ˇ´ DVORAK’S
“NEW WORLD” SYMPHONY MARCH 29 & 30
RACHMANINOFF & SHOSTAKOVICH APRIL 12 & 13
CHOOSE 4+ PERFORMANCES SAVE UP TO 20% CIRQUE DANCES WITH
TROUPE VERTIGO
APRIL 19 & 20 VILLEGAS PLAYS
CONCIERTO DE ARANJUEZ APRIL 26 & 27 BELLINI’S
NORMA MAY 4 & 6 COPLAND’S
APPALACHIAN SPRING & BILLY THE KID MAY 17 & 18
FOR A FULL SEASON LISTING VISIT UTAHSYMPHONY.ORG
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Tagged & Hashtagged
By Renée Huang, Director of Communications
The 2018-19 season started out with a bang, and you really showed us you knew how to rock out to the classics. Did you miss any of those performances? Take a look at what concert goers posted on social media. We want to see your rock star Utah Symphony experience! Take out your phone and snap a quick selfie before tonight’s performance and post your photos with #symphonyrockstars or tag @UtahSymphony to join the conversation.
♥ @stephrhodesrussell
♥ @daniel_gonzalez07
♥ @cjfree29
♥ @jenunscripted
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UTAH SYMPHONY
SUCH. A. DRAMA. QUEEN.
THE MAGIC FLUTE MOZART’S
MARCH 9 − 17 J. Q. LAWSON CAPITOL THEATRE
UTAHOPERA.ORG
EVELYN ROSENBLATT YOUNG ARTIST AWARD
The February 22–23, 2019 Masterworks concerts mark the annual Evelyn Rosenblatt Artist recognition created to honor a young soloist or conductor of exceptional promise who has an emerging national reputation. The 2018–19 Artist of Distinction is Stefan Jackiw. This annual recognition is endowed in perpetuity by Evelyn Rosenblatt and her family, who personally selected Mr. Jackiw as this year’s honored artist. Previous Rosenblatt tributes have been awarded to pianists Joyce Yang, Veronika Eberle, Olga Kern, Yu Kosuge, Denis Matsuev, Cédric Pescia, and Denis Kozhukhin; violinists Viviane Hagner, Scott St. John, Baiba Skride, and Will Hagen; cellists Narek Hakhnazaryan, Julie Albers and Matthew Zalkind; and conductors Keri-Lynn Wilson, Andrew Grams, and Karina Canellakis.
Stefan Jackiw Violin
The love of great music always played an important role in the life of Evelyn Rosenblatt. As a high school student, Evelyn took the train from Ogden to Salt Lake City every Saturday to study piano. Following her marriage to Joseph Rosenblatt in 1930, she hosted many of Utah Symphony’s musicians and guest artists in her home over the years. These include Leonard Bernstein, Jascha Heifetz, Gregor Piatigorsky, Artur Rubinstein, Beverly Sills, Glenn Gould and Isaac Stern. The Rosenblatt sculptural plaque, designed to honor Evelyn Rosenblatt for her care and love of the Utah Symphony, is located in the lobby outside the First Tier Reception Room in Abravanel Hall. In 1997–98, Mr. and Mrs. Rosenblatt served as the first chairs of the Symphony’s Annual Fund Committee. In January 2000, the Rosenblatt family created the Evelyn Rosenblatt Young Artists Endowment to honor Mrs. Rosenblatt on the occasion of her 90th birthday. Mr. Rosenblatt passed away in May 1999, and Mrs. Rosenblatt in April 2004. Utah Symphony | Utah Opera gratefully thanks and recognizes Evelyn Rosenblatt.
Evelyn Rosenblatt
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UTAH SYMPHONY
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UTAH SYMPHONY
MOZART’S SYMPHONY NO. 39
Program
Mozart’s Symphony No. 39 JANUARY 18
/ 2019 / 7:30PM / ST. MARY’S CHURCH IN PARK CITY
CONNER GRAY COVINGTON, conductor
See page 10 for Conner Gray Covington’s profile.
HAYDN
Symphony No. 49 in F minor, “La Passione” I. II. III. IV.
Adagio Allegro di molto Menuet Presto
TJ COLE
Death of a Poet
BRITTEN
Soirées musicales, Op. 9 I. II. III. IV. V.
March Canzonetta Tirolese Bolero Tarantella
/ INTERMISSION / MOZART
Symphony No. 39 in E-flat Major, K. 543 I. II. III. IV.
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Adagio - Allegro Andante con moto Menuetto: Allegretto Allegro
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MOZART’S SYMPHONY NO. 39
Notes on the Program by Michael Clive
Joseph Haydn (1732–1809)
T J Cole (b. 1993)
Symphony No. 49 in F minor, “La Passione”
Death of a Poet
“La Passione” was composed in the middle of Haydn’s “Sturm und Drang” period, named for the relatively stormy sound of the music composed by this genial man during the 1760s and 1770s. The term derived from the “storm and stress” that keynoted Germanlanguage dramas of the era, which were passionately, dark, tumultuous, and even violent. (The symphony is dated 1761.) Scholars have long associated the name “La Passione” with the passion of Christ and have described the music’s sound as solemnly religious and tragic. But more recently, an alternate interpretation has emerged: based on a notation inscribed in an early score, the symphony may have been intended to double as incidental music for a play with a mockserious stage character called “Il Quakuo di bel’humore” (roughly, “The Waggish Quaker”). Such a play was current precisely when Haydn was composing “La Passione,” and a number of his symphonies were intended to pinch-hit as incidental music for plays. So is the Symphony No. 49, as H.C. Robbins Landon suggested, a sincerely tragic utterance? Or is there irony embedded in its majestic seriousness? The answer is in the ear of the listener. The symphony itself is constructed along Sonata di chiesa conventions, which were already old-fashioned by the mid-1700s: four movements arranged slow-fast-slow-fast, with the third movement in minuet time. Haydn never returned to Sonata di chiesa form after “La Passione.” The symphony remains in F minor throughout, except for a glimpse of sunny F major in the third movement.
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In spite of the rigor and prestige of the musical training at Philadelphia’s Curtis Institute, where TJ Cole earned her bachelor’s degree in composition, it’s almost impossible to believe that her portfolio of commissions belongs to an artist who is still in her mid-20s. She has been commissioned by the Cincinnati Symphony, the Louisville Orchestra, the Baltimore Symphony, Time for Three and the Sun Valley Summer Symphony, among others, and served as a composer-in-residence at the Cabrillo Festival of Contemporary Music in 2014. Originally from the suburbs of Atlanta, Cole began her musical studies at a young age when she started taking piano lessons. Soon after, when she was six, she wrote her first composition, a piano lullaby for her new baby brother. In her early teens, she studied cello for fun by playing with local youth orchestras. When she was 16, she realized that she did not want to pursue a life of performance, but a life dedicated to creation. So she began to focus her pursuits on her passion for composing. Besides taking commissions, TJ is also interested in artistic community service projects. She collaborated with bassist Ranaan Meyer as an orchestrator on his project, The World that We All Deserve Through Music, and with First Person Arts by co-curating and performing in a musical story slam. During a year-long ArtistYear Fellowship, TJ was able to co-run and collaborate in musical performances and songwriting workshops with residents of Project HOME, a Philadelphia based organization fighting to end chronic homelessness. Cole’s style has been lauded by the Cincinnati Enquirer for its “mystical, slightly minimalist
UTAH SYMPHONY
MOZART’S SYMPHONY NO. 39
Notes on the Program
quality, with imaginative orchestral tone painting.” Her composition Death of a Poet is as deeply elegiac as the name suggests. Scored for string orchestra, it is graceful and deeply felt, with the lower string voices an unusually strong presence. Benjamin Britten (1913–1976)
Soirées musicales, Op. 9 When Benjamin Britten reached into the past to collaborate with Gioachino Rossini, it was a match made not in heaven, but on staff paper. Outwardly, the two men could not have been more different: Britten, who had been ostracized much of his life, was wary of the public eye and guarded his privacy; Rossini was a master chef and bon vivant who enjoyed the perquisites of celebrity. What they shared was musical wit. Rossini’s Italianate melodies were endlessly inventive; his driving rhythms and harmonic progressions were strict, even predictable. This combination offered the young Britten a perfect platform to create modern treatments that sparkled with sophistication and with a distinctive style like nothing that had been heard before, especially in their fresh harmonies. The English master was only 22 when he created a suite based on Rossini melodies for the film The Tocher. Soirées musicales is based in turn on that suite: five brisk, bright movements for orchestra. The suite is dedicated to the film director Alberto Cavalcanti, director of The Tocher. Wolfgang Amadeus Mozart (1756–1791)
Symphony No. 39 in E-flat major, K. 543 One of the difficulties in writing about Mozart is trying (in vain) to limit the word “great.” His symphonies from 26 to 41 are sometimes called his great symphonies, but of these, the
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final three have been accorded a special degree of greatness. (The great-great?) And one of these, No. 40, is known as the Great G Minor to distinguish it from No. 25, dubbed the Little G Minor. But does that mean that No. 25 is not great? Not really. Helpfully, his No. 39 is in E-flat major, a key that Mozart specialists call bright and auspicious, though they wonder aloud why it is the least performed of the great-great final three. “[That] in itself is something of a puzzle,” insists the distinguished writer Phillip Huscher, “for it is no less a masterwork.” In fact, he notes, it is also the least studied of the three. Musicologists love to speculate on how Mozart’s career might have progressed if he had lived beyond age 35, since his mastery and musical daring were only accelerating; his Symphonies No. 40 and 41 are full of astonishments. But the No. 39 is more modern in its refinements than its surprises. Its opening adagio is a model of restraint, adhering to strict sonata allegro form and opening onto an allegro that recalls the unfinished cadence we heard in the introduction (an effect that Charles Rosen calls “cinematic”—hardly an 18thcentury adjective). The second movement, an andante, also adheres to convention, though it is remarkable for its combination of elegance and intense expressiveness. The third movement, marked “menuetto,” is built around one of Mozart’s most admired minuets, and includes one of his beloved country dances. Finally, in the fourth movement, Mozart gives us a zesty moto perpetuo (“perpetual motion”) in which the second theme, fascinatingly, is actually the first theme in disguise. This may be the symphony’s most daring touch by a composer who, after all, was never at a loss for a melody.
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THE 5 BROWNS
Program
The 5 Browns JANUARY 26
/ 2019 / 7:30PM / ABRAVANEL HALL
RYAN BROWN, MELODY BROWN, GREGORY BROWN, DEONDRA BROWN, DESIRAE BROWN, piano
BEETHOVEN ARR. JEFFREY SHUMWAY
MOZART
Symphony No. 5 in C minor, Op. 67 I.
Allegro con brio
Sonata for Two Pianos in D Major, K.448 I. Allegro con spirito Desirae and Deondra Brown
RIMSKY-KORSAKOV ARR. JEFFREY SHUMWAY
RACHMANINOFF
Flight of the Bumblebee The 5 Browns
Prelude in C-Sharp minor Op. 3, No. 2 Melody Brown
LECUONA
Malaguena from Andalucia Suite Gregory and Ryan Brown
DUKAS
The Sorcerer’s Apprentice The 5 Browns
/ INTERMISSION / GERSHWIN ARR. JEFFREY SHUMWAY
RYAN BROWN
Rhapsody in Blue The 5 Browns
The Factory Ryan Brown
MOZART ARR. GREG ANDERSON
SCHUMANN
Rondo Alla Turca The 5 Browns
Widmung – from Myrthen, Op. 25
ARR. LISZT
Gregory Brown
DEBUSSY
“Clair de lune” from Suite Bergamasque
ARR. GREG ANDERSON
STRAVINSKY ARR. JEFFREY SHUMWAY
Melody, Desirae, and Deondra Brown
The Firebird Suite (from the 1911 Version) The 5 Browns CONCERT SPONSOR
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UTAH SYMPHONY
THE 5 BROWNS
The 5 Browns Guest Artists
Artists’ Profile
The 5 Browns are delivering on their dream to wake up classical music by introducing it to the widest, largest, and most excited audience they can find. Whether performing individually or together in various combinations from duo to complex five-piano arrangements, The 5 Browns reveal a deep connection to the intent of their material while bringing a fresh energy and dynamic character to the color and tonal spectrum of their sound. The 5 Browns—Ryan, Melody, Gregory, Deondra, and Desirae—all attended New York’s Juilliard School. In fact, they became the first family of five siblings ever accepted simultaneously. The quintet enjoyed their first wave of critical attention in February 2002 when People magazine dubbed them the “Fab Five” at about the same time they were featured on Oprah and 60 Minutes. The 5 Browns have released 3 CDs that each went to #1 on Billboard Magazine’s Classical Album Chart. The New York Post has proclaimed: “One family, five pianos and 50 fingers add up to the biggest classical music sensation in years…When these kids do Rachmaninoff, they’ll make you forget about Marshall amps.” The 5 Browns tour extensively and have performed in numerous venues including Grand National Theater in China, Suntory Hall in Japan and, in the United States, The Kimmel Center in Philadelphia, Symphony Hall in Chicago, and Carnegie Hall’s Isaac Stern Auditorium and Alice Tully Hall in New York City. Individually and collaboratively, they have soloed with orchestras around the world. In addition to touring, The 5 Browns are published writers. Their book, Life Between the Keys, a lighthearted collection of personal stories, was published by Phoenix Books in March 2009. The group was also featured in a PBS TV special, “The 5 Browns in Concert,” which aired on PBS stations throughout the country. The 5 Browns are managed by IMG Artists, LLC, and are exclusive Steinway Artists.
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SYMPHONIE FANTASTIQUE
Program
Symphonie fantastique FEBRUARY 1–2
J.S. BACH
/ 2019 / 7:30PM / ABRAVANEL HALL
THIERRY FISCHER, conductor
JEANNETTE SORRELL, harpsichord
MERCEDES SMITH, flute
BRANT BAYLESS, viola
KATHRYN EBERLE, violin
ROBERTA ZALKIND, viola
Brandenburg Concerto No. 5 in D Major, BWV 1050 I. Allegro II. Affettuoso III. Allegro Mercedes Smith, flute Kathryn Eberle, violin Jeannette Sorrell, harpsichord
BOULEZ J.S. BACH
Initiale Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 I. Allegro II. Adagio ma non tanto III. Allegro Brant Bayless, viola Roberta Zalkind, viola
/ INTERMISSION / BERLIOZ
Symphonie fantastique, Op. 14 I. II. III. IV. V.
Reveries and Passions: Largo - Allegro agitato e appassionato assai A Ball: Waltz - Allegro non troppo In the Country: Adagio March to the Scaffold: Allegretto non troppo Dream of the Witches’ Sabbath: Larghetto - Allegro
C O N D U C TO R S P O N S O R
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UTAH SYMPHONY
SYMPHONIE FANTASTIQUE
Artists’ Profiles See page 8 for Thierry Fischer’s profile. Since joining the Utah Symphony in 2001, Brant Bayless has immersed himself in the vibrant musical community in Salt Lake City. From his regular performances on the NOVA and Intermezzo chamber music series, to a teaching post at Westminster College, occasional appearances with Canyonlands New Music Ensemble and Salty Cricket Composers Collective, masterclasses and teaching at institutions statewide, and such special events as the William Primrose Memorial Recital he gave at BYU in 2005, Brant remains busily committed to his art even when off the Abravanel Hall stage.
Brant Bayless Viola
Kathryn Eberle is the Associate Concertmaster of the Utah Symphony. Previously Ms. Eberle was a violinist with the St. Louis Symphony and served as Guest Concertmaster with the Richmond and Omaha Symphonies. She served extensively as Concertmaster of the Juilliard Orchestra, including the ensemble’s tour of China as well as performances in Avery Fisher, Alice Tully, and Carnegie Halls. Kathryn Eberle
Mercedes Smith is Principal Flute of the Utah Symphony. A Texas native, she served as Principal Flute of the Houston Grand Opera and Houston Ballet Orchestras for nearly a decade. She has performed with the Seattle Symphony, San Diego Symphony, Houston Symphony, and served as Principal Flute of the Pacific Symphony during the 2010–2011 season. Ms. Smith has performed multiple times in Carnegie Hall, Europe, and Asia, and performed as guest Principal Flute for the Seoul Philharmonic Orchestra’s 2018 European Tour.
Violin
Jeannette Sorrell is an American conductor and harpsichordist and the founder and musical director of Apollo’s Fire, the Cleveland Baroque Orchestra. She is recognized internationally as a leading creative voice among early-music conductors. She has guest conducted the Pittsburgh Symphony, Los Angeles Chamber Orchestra, Seattle Symphony, Opera Theatre of St. Louis with the St. Louis Symphony, Handel & Haydn Society (Boston), Jacksonville Symphony, Omaha Symphony, North Carolina Symphony, and Grand Rapids Symphony. Passionate about guiding the next generation of performers, Ms. Sorrell has led many baroque projects for students at Oberlin Conservatory.
Mercedes Smith Flute
Jeannette Sorrell
Roberta Zalkind, recent Associate Principal Viola of the Utah Symphony, began her studies on the piano at the age of eight. While in the Vuilluame String Quartet, Zalkind attended the Yale School of Music Chamber Music Seminar in Norfolk Connecticut, where she studied chamber music with the Tokyo String Quartet and studied viola with Rafael Hillyer. She has participated in the Colorado Music Festival and The Elkhorn Music Festival. For the past 20 years, she has been a regular member of the Grand Teton Music Festival in Jackson, Wyoming. She is also a very active viola teacher, soloist, and chamber musician in Salt Lake City.
Harpsichord
Roberta Zalkind Viola
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SYMPHONIE FANTASTIQUE
Notes on the Program by Michael Clive
WHAT TO LISTEN FOR IN THE BRANDENBURG CONCERTOS NOS. 5 AND 6 Bach’s Brandenburg concertos are, with Handel’s dozen concerti grossi, the prime exemplars of the concerto grosso form. These precursors of the solo concerto have an appeal both visual and aural: two small groups of players, one larger and arrayed just behind the smaller group, play a suite typically comprised of three to five movements of alternating tempi, most often fast-slow-fast. Though the Brandenburgs are not intended primarily to feature solo instruments, No. 5 sounds for all the world like a harpsichord concerto. It is actually composed in concerto grosso form, for solo instruments including flute and violin as well as harpsichord. But while Bach adored the violin, the Brandenburg Concerto No. 5 does seem to showcase the harpsichord in preference to the flute and violin. The themes are written for speed and sparkle, and sound less spectacular when they are handed off. Even in slower, more lyrical sections, they are well-suited to the keyboard. But together, the three solo voices blend beautifully, and one can readily hear why this combination was so popular in Bach’s day. In contrast with No. 5, No. 6 lacks violins in its original scoring; instead, two viole da braccio (conventional violas) and viole da gamba (played, like a cello, between the legs) are called for. One can only wonder why Bach, who kept up with all the latest developments in musical instruments, specified one that was already old-fashioned by then. Whatever the reason the result is a glorious tapestry of string textures culminating in a lively gigue. WHAT TO LISTEN FOR IN INITIALE Initiale, scored for a brass ensemble, begins with the energy and the gleam of a fanfare. But as its helixes of notes eddy and swirl, a sense of timelessness and depth engulfs us. Like many of Boulez’ most successful compositions Initiale combines traditional instrumentation and modern sound. Some critics find irony here, since Boulez was probably the most important single figure in fostering electronic and digital media in classical music, yet was more successful in composing for orchestral instruments. But we can chalk this up to his insistence on being true to one’s own compositional voice. In listening to any Boulez composition, it is useful to focus on textures and contours. In Initiale, the textures have
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a radiant aura and the contours seem to churn. The result is almost hypnotic. As the phrases spiral outward, the repetition of certain pitches gives them a sort of gravitational pull that orients us in musical space. Eventually a shimmering pattern of motivic statement takes shape. Is Boulez inviting us to hear Initiale as a fanfare? Its all-brass scoring and its title may provide a clue. WHAT TO LISTEN FOR IN SYMPHONIE FANTASTIQUE We can listen to the movements as if they were chapters in an artist’s life. They begin with his idle dreams and passionate thoughts, then meander through a series of intricate modulations. In their midst he glimpses his romantic ideal, and we are introduced to the yearning motif of the idée fixe. The second movement, glittering with elegance, is titled simply “Un bal”—a ball. A gorgeously alluring waltz swirls through the movement, but the beloved seems tantalizingly out of reach. As the movement progresses, the sensuality of dancing merges with the breathlessness of pursuit. The artist’s quickening steps are never quite fast enough. Berlioz described the third movement as an evening in the countryside during which the artist broods on his loneliness. It is slow and melancholy, with the artist musing on the faithlessness of a beloved who is not even his to begin with. Amid the silence, we hear ominous hints of distant thunder. In the fourth movement the artist, unable to bear his loneliness, attempts to poison himself with opium. But instead of dying, he is plunged into a fever-dream in which he has killed his beloved and is condemned to death by hanging. With its nightmarish “march to the scaffold,” this movement is one of the most famous passages in Berlioz’ catalog. And it may well be a case of life imitating art: It was composed during the period when Berlioz himself was taking opium, and he is said to have written it like a man possessed, finishing it in a single night. In the fifth movement, the artist’s downward slide reaches its end—not with his death, but with his funeral, a witches’ sabbath evoking demons and monsters of all sorts. The mood is jubilant yet ghoulish, like a diabolical orgy incorporating (shockingly, for observant Catholics of Berlioz’ era) parodies of the Dies irae chant as well as the idée fixe. The love story is complete.
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FREE Utah Symphony | Utah Opera tickets for veterans January - April 2019 Utah Symphony | Utah Opera invites veterans to attend several performances FREE OF CHARGE: Mon or Wed, January 21 or 23, 7:00 pm at Capitol Theatre – Utah Opera performances of Rachel Portman’s The Little Prince. Sat, March 16, 12:30 pm at Abravanel Hall, Peter and the Wolf performed by Utah Symphony and Ballet West II dancers. Fri or Sat, April 12 or 13, 7:30 pm at Abravanel Hall with Guest Conductor Vassily Sinaisky — with the Utah Symphony and guest pianist Simon Trpčeski — in Rachmaninoff’s Piano Concerto No. 4 and Shostakovich’s Symphony No. 12, “The Year 1917.”
tickets are limited. Get your tickets through VetTix.org
INDIVIDUAL DONORS FRIEND ($1,000 TO $1,499) Anonymous (4) Christine A. Allred Dr. & Mrs. Jeffrey L. Anderson David Bailin Mr. & Mrs. Lawrence R. Barusch David & Rebecca Bateman Leslie Bender C. Kim & Jane Blair Shauna Bona Rodney† & Carolyn Brady Diane Banks & Dr. Mark Bromberg Dana Carroll & Jeannine Marlowe Michael & Beth Chardack Dr. & Mrs. David Coppin Dorothy B. Cromer Elisabeth B. Dean James & Rula Dickson Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Alice Edvalson Eric & Shellie Eide John H. & Joan B. Firmage Margo & Harry† Franta James & Barbara T. Gaddis Quinn & Julie Gardner Dave Garside
Robert & Mary Gilchrist Ralph & Rose Gochnour Mr. & Mrs. Richard R. Graham Dr. & Mrs. David Guidry The James S. Gulbrandsen, Sr. Family John Gurr Geraldine Hanni Jonathan Hart John Edward Henderson Courtney Henley Dr. & Mrs. John Howarth Scott Huntsman Todd & Tatiana James Eldon Jenkins & Amy Calara Chester & Marilyn Johnson Paulette Katzenbach Umur Kavlakoglu Thomas H. Klassen & Carolyn Talboys-Klassen Robert & Karla Knox Mr. & Mrs. Bruce M. Lake Guttorm & Claudio Landro Tim & Angela Laros Allan & Kay Lipman Clifton & Terri McIntosh Lex Hemphill & Nancy Melich Hal & Tonya Miller Mary Muir
Joe Mulvehill Oren & Liz Nelson Dr. & Mrs. Richard T. O’Brien Linda S. Pembroke Rori & Nancy Piggott David Porter Dr. Barbara S. Reid Mr. & Mrs. Robert Rollo Debra Saunders Janet Schaap Mr. August L. Schultz Dr. Nicole L. Mihalopoulos & Joshua Scoville Gerald & Sharon Seiner Dennis & Annabelle Shrieve Barbara Slaymaker Mercedes Smith Michael & Linda Sossenheimer Larry R. & Sheila F. Stevens Dr. & Mrs. Michael H. Stevens Douglas & Susan Terry Gerard & Sheila Walsh Judith Warner Renee Waters Frank & Janell Weinstock Margaret & Gary Wirth Marsha & Richard Workman Michael & Olga Zhdanov Patrick Zimmerman
Arrive early and enjoy a fun, behind the music lecture for each of our Masterworks concerts. 6:45 PM in prior the First Tier Room,Abravanel AbravanelHall Hall 45 minutes to start-time,
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THANK YOU ENDOWMENT Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being and stability of USUO, and through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9015. Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation Thomas & Candace Dee
Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation Kenneth† & Jerrie Randall
The Evelyn Rosenblatt Young Artist Award Bill & Joanne Shiebler James R. & Susan Swartz Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner Company M. Walker & Sue Wallace
GIFTS MADE IN HONOR Classical Movements Burton & Elaine Gordon
Mrs. Barbara Nellestein Abigail Rethwisch Paulson
Constance Theodore
GIFTS MADE IN MEMORY Anita Alcabes Jay T. Ball Dr. Ray Beckham Loraine L. Felton Harry E. Franta
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Crawford Gates Lowell P. Hicks Harry Lakin Frank & Maxine McIntyre Glade & Mardean Peterson
“Philly” J. Ryan Selberg Ann O’Neill Shigeoka, M.D. Phyllis Sims
UTAH SYMPHONY
INSTITUTIONAL DONORS We thank these generous organizations for their support of Utah Symphony | Utah Opera. This list includes donations received from October 2, 2017 through October 2, 2018. * in-kind donation
** in-kind & cash donation
$100,000 OR MORE The Church of Jesus Christ of Latter-day Saints Lawrence T. & Janet Dee Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation Dominion Energy The Florence J. Gillmor Foundation
Emma Eccles Jones Foundation O.C. Tanner Company John & Marcia Price Foundation Salt Lake County Salt Lake County Zoo, Arts & Parks Shiebler Family Foundation Sorenson Legacy Foundation
State of Utah Summit County Restaurant Tax / RAP Tax Utah Division of Arts & Museums / National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank
The Huntsman Foundation Frederick Q. Lawson Foundation
Utah Symphony Guild
LOVE Communications** McCarthey Family Foundation Montage Deer Valley** Moreton Family Foundation Charles Maxfield & Gloria F. Parrish Foundation Perkins-Prothro Foundation S.J. & Jessie E. Quinney Foundation Simmons Family Foundation
Stein Eriksen Lodge** STRUCK* Summit Sotheby’s Norman C.† & Barbara L. Tanner Second Charitable Trust Nora Eccles Treadwell Foundation Vivint.SmartHome WCF Mutual Insurance Company
$50,000 TO $99,999 The Grand America Hotel & Little America Hotel*
$25,000 TO $49,999 Anonymous Arnold Machinery B.M.W. of Murray | B.M.W. of Pleasant Grove Cache Valley Electric Chevron Corporation C. Comstock Clayton Foundation Deer Valley Resort* Janet Q. Lawson Foundation
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INSTITUTIONAL DONORS $10,000 TO $24,999 Adobe HJ & BR Barlow Foundation B.W. Bastian Foundation Brent & Bonnie Jean Beesley Foundation R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine Foundation-Russell Family Daynes Music Company* The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation
Goldman Sachs & Co. LLC Grandeur Peak Global Advisors The Val A. Green & Edith D. Green Foundation Richard K. & Shirley S. Hemingway Foundation Hyatt Centric Park City** Johnson Foundation of the Rockies National Endowment for the Arts Ogden Opera Guild
Park City Chamber / Visitors Bureau Promontory Foundation Regence BlueCross BlueShield of Utah James Riepe Family Foundation The Joseph & Evelyn Rosenblatt Charitable Fund The Swartz Foundation Wells Fargo The Christian V. and Lisa D. Young Family Foundation
J. Wong’s Thai & Chinese Bistro* John Williams Foundation Jones Waldo Park City Kulynych Family Foundation II, Inc. Martine* Raymond James & Associates Rocky Mountain Power
Foundation Ruth’s Chris Steak House* Salt Lake City Arts Council St. Regis / Deer Crest Club** U.S. Bank Foundation Union Pacific Foundation Utah Autism Foundation
Inwest Title Service, Inc. George Q. Morris Foundation M Lazy M Foundation Prime Steakhouse* Peczuh Printing* Snell & Wilmer
Spitzberg-Rothman Foundation Stay Park City Squatters Pub* Wilmington Trust Company Zurchers*
$5,000 TO $9,999 Anonymous (3) Bertin Family Foundation Deluxe Corporation Foundation Ditta Caffè* The Dorsey & Whitney Foundation Every Blooming Thing* Holland & Hart**
$2,500 TO $4,999 Blume Haiti Robert S. Carter Foundation CBRE Victor Herbert Foundation Intuitive Funding InvitedHome*
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UTAH SYMPHONY
INSTITUTIONAL DONORS $1,500 TO $2,499 Blue Lemon* Rodney H. & Carolyn Hansen Brady Charitable Foundation Castle Foundation City Creek Center D’Addario Foundation
Henry W. & Leslie M. Eskuche Charitable Foundation The George B. and Oma E. Wilcox & Gibbs M. and Catherine W. Smith Foundation
Constellation Brands Millcreek Coffee Roasters* Ray, Quinney & Nebeker Foundation Snow, Christensen & Martineau Foundation
The Kanter Family Foundation Swire Coca-Cola, USA*
Thomas Family Foundation Wrona, Gordon & Dubois
$1,000 TO $1,499 The Fanwood Foundation Western Office
Monday–Saturday 7am–9pm Sundays 9:30am–4pm
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Locally owned and operated, serving “made from scratch” PASTRIES • SOUPS • SALADS • SANDWICHES • BAGELS
LEGACY GIVING
Leave a lasting legacy of excellent music. When you make a gift through your estate, either now or at the end of your life, you provide invaluable support to Utah Symphony | Utah Opera. Your financial advisor or estate planning attorney can help you build a gift that can meet goals for you or your heirs, and provide USUO with the resources that create incredible music. Help USUO preserve our future of performing favorite symphonic and operatic works and new works for years to come.
To learn more about how estate planning can benefit both you and USUO, please call Rachel McNassor at 801-869-9010 or visit us online at usuo.giftplans.org.
TANNER & CRESCENDO SOCIETIES
“You are the music while the music lasts.”~T.S. Eliot
Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact Rachel McNassor at rmcnassor@usuo.org or 801-869-9010 for more information, or visit our website at usuo.giftplans.org.
TANNER SOCIETY OF UTAH SYMPHONY
Beethoven Circle (gifts valued at more than $100,000) Anonymous (3) Doyle Arnold & Anne Glarner Edward R. Ashwood & Candice A. Johnson Dr. J. Richard Baringer Haven J. Barlow Marcy & Mark Casp Shelly Coburn Captain Raymond & Diana Compton
Anne C. Ewers Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane Miner Glenn Prestwich Kenneth A.† & Jeraldine S. Randall Mr.† & Mrs. Alvin Richer
Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffery & Joyce Smith G.B. & B.F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace
Herbert C. & Wilma Livsey Dianne May Dr. & Mrs. Louis A. Moench Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson
Thomas A. & Sally† Quinn Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart Frederic & Marilyn† Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser
Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Virginia A. Hughes Ms. Marilyn Lindsay† Turid V. Lipman
CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage
Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean Henkels Edward R. Ashwood & Candice A. Johnson Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Constance Lundberg† Richard W. & Frances P. Muir
Marilyn H. Neilson Carol & Ted Newlin Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Jeffrey W. Shields G.B. & B.F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser †Deceased
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ADMINISTRATION ADMINISTRATION Paul Meecham
Olivia Custodio
Alison Mockli
David Green
Chelsea Kauffman
Annual Fund Coordinator
Jared Mollenkopf
Jessica Proctor
Director of Government & Foundation Giving
Bobbie Williams
Executive Assistant to the CEO
Ali Snow
Lisa Poppleton
EDUCATION Paula Fowler
President & CEO Senior Vice President & COO
Julie McBeth
Executive Assistant to the COO & Office Manager
SYMPHONY ARTISTIC Thierry Fischer
Symphony Music Director
Anthony Tolokan
Vice President of Symphony Artistic Planning
Conner Gray Covington
Director of Individual Giving
Grants Manager
Heather Weinstock
Manager of Special Events & DVMF Donor Relations
Alina Osika
Development Operations Manager
MARKETING & COMMUNICATIONS Jon Miles
Associate Conductor
Vice President of Marketing & Public Relations
Barlow Bradford
RenĂŠe Huang
Symphony Chorus Director
Walt Zeschin
Director of Orchestra Personnel
Payroll & Benefits Manager Patron Information Systems Manager Accounts Payable Accountant
Director of Education & Community Outreach
Kyleene Johnson
Symphony Education Manager
Paul Hill
Opera Education Assistant
Annie Farnbach
Symphony Education Assistant
OPERA TECHNICAL Jared Porter
Director of Communications & Digital Media
Senior Technical Director
Chad Call
Technical Director
Kyle Coyer
Marketing Manager - Audience Development
Kelly Nickle
Mike Call
JR Orr
Kathleen Sykes
Travis Stevens
Nina Starling
Dusty Terrell
Cassandra Dozet
PATRON SERVICES Faith Myers
COSTUMES Verona Green
Melissa Robison
Merry Magee
Jessica Cetrone
Andrew J. Wilson
Kierstin Gibbs LisaAnn DeLapp
Andrew Williams
Orchestra Personnel Manager
Lance Jensen
Executive Assistant to the Music Director Symphony Chorus Manager
SYMPHONY OPERATIONS Jeff Counts
Vice President of Operations & General Manager Director of Operations Program Publication & Front of House Director
Chip Dance
Production & Stage Manager
Jeff F. Herbig
Graphic & Digital Media Designer Digital Content Producer Website Content Coordinator
Director of Patron Engagement Marketing Manager - Patron Loyalty Patron Services Manager
Ellesse Hargreaves
Patron Services Assistant
Properties Manager & Assistant Stage Manager
Genevieve Gannon
Lyndsay Wygant
Sarah Pehrson Jackie Seethaler Powell Smith
Artist Logistics Coordinator
0PERA ARTISTIC Christopher McBeth
Opera Artistic Director
Carol Anderson Principal Coach
Michelle Peterson
Opera Company Manager
Michaella Calzaretta Opera Chorus Master
Brooke Yadon
Opera Production Coordinator
DEVELOPMENT Leslie Peterson
Vice President of Development
Rachel McNassor
Director of Major Gifts
Group Sales Associate
Sales Associates
Nicholas Barker Gavin Benedict Lorraine Fry Jodie Gressman Ellen Lewis Ananda Spike Hallie Wilmes Ticket Agents
Assistant Props Head Carpenter Scenic Charge Artist
Costume Director Costume Rentals Supervisor
Rentals Assistants
Amanda Reiser Meyer Wardrobe Supervisor
Milivoj Poletan Tailor
Tiffany Lent
Cutter/Draper
Donna Thomas
Milliner & Craftsperson
Yoojean Song Connie Warner Stitchers
Daniel Hill Juliette Lewis Lesli Spencer
Wigs/Make-up Crew
ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan
Vice President of Finance & CFO
Mike Lund
Director of Information Technologies
Karyn Cunliffe Controller
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Properties Master
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
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(801) 467-2701 2970 Highland Dr.
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(435) 645-7072 1890 Bonanza Dr.
Salt Lake (801) 467-2701 2970 Highland Dr.
Park City (435) 645-7072 1890 Bonanza Dr.
Mon.-Sat. 10-6. Sunday and evenings by appointment.
www.sanfrandesign.com
HOUSE RULES
ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Abravanel Hall. Ask at the Coat Check for details.
WHEELCHAIR SEATING Ample wheelchair seating is available. Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager.
LATECOMERS In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating will be used. During some productions late seating may not occur until an intermission after which time you may be seated by an usher in an alternate section. When traveling to performances, please allow ample time for traffic delays, road construction, and parking.
for a list of these special performances. All children, regardless of age, must have their own tickets for all performances. No babes-in-arms are allowed unless specifically indicated.
QUIET PLEASE As a courtesy to performers on stage and to other audience members, please turn off cell phones, pagers, beeping watches, or any other noisemaking device. Also, please refrain from allowing concession items such as candy wrappers and water bottles to become noisy during the performance.
CLEANLINESS Thank you for placing all refuse in trash receptacles as you exit the theatre.
COPYRIGHT ADHERENCE In compliance with copyright laws, it is strictly prohibited to take any photographs or any audio or video recordings of the performance.
NEED EXTRA LEG ROOM? Let us know when making reservations; we can help.
YOUNG CHILDREN
EMERGENCY INFORMATION
Utah Symphony | Utah Opera welcomes children five years of age and older. Some concerts, including Family Matinees and special programs, are open to children of all ages. Please call 801-533-6683
In the event of an emergency, please remain seated and wait for instructions. Emergency exits are located on both sides of the house. Please identify the exit closest to your location.
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B-Breakfast B-BreakfastL-Lunch L-Lunch D-Dinner D-Dinner S-Open S-Open SundayDL-Delivery DL-DeliveryT-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre Top: Image licensed by Ingram ImageSunday LL-Liquor LL-LiquorLicensee LicenseeRR-Reservations RR-ReservationsRequired RequiredRA-Reservations RA-ReservationsAccepted AcceptedCC-Credit CC-CreditCards CardsAccepted AcceptedVS-Vegetarian VS-VegetarianSelections Selections B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections
THANK OUR ADVERTISERS YOU TO America First Credit Union Bambara Caffè Molise Challenger Schools Children’s Hour City Creek Living Ditta Caffè Every Blooming Thing Excellence Concert Series Gifted Music School Grand America Hamilton Park Jerry Seiner Cadillac Kayenta
If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833
KUED KUER Little America Martine Millcreek Coffee Roasters Ogden’s Own Distillery Parsons Behle & Latimer RC Willey Ruth’s Chris Steak House San Francisco Design Tuacahn University Credit Union Utah Food Services Utah Museum of Fine Art
utahfoodservices.com
801.531.0226 Book us for your next event!
Utah’s Catering Company Proud Partner of the UTAH SYMPHONY | UTAH OPERA
Stream Classical KUER 24/7 on your desktop. Read the latest from NPR Classical. See and search the full playlist.
classicalkuer.org
Symphony Pro-Am 2019 ONE NIGHT ONLY! MARCH 12 | 7 PM Side by Side on Abravanel Hall Stage, Utah Symphony professionals and adult community amateurs rehearse and perform orchestral classics! Applications due by January 25th 2019.
Application materials and further information are available online. visit UTAHSYMPHONY.ORG/PRO-AM or call 801-869-9092
Annual 5th Grade Concerts The tradition continues! Each year 5th graders in the Wasatch Front ride yellow school buses to hear the Utah Symphony perform in the acoustic splendor of Abravanel Hall. FOR THE 2018–19 CONCERTS, Assistant Conductor Conner Gray Covington will take students on a musical journey through the immigration waves of the United States, featuring works by William Grant-Still, Florence Price, Wei Dai, John Williams and JosÊ Pablo Moncayo. Prior to the concert, students will be visited in their classrooms by a Utah Symphony Docent who introduces them to the music and excites them for their upcoming fieldtrip!
Available online at UTAHSYMPHONY.ORG/5THGRADECONCERTS
ACKNOWLEDGEMENTS UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR
Melissa Robison HUDSON PRINTING COMPANY www.hudsonprinting.com 241 West 1700 South Salt Lake City, UT 84115 801-486-4611 AUDITING AND ACCOUNTING SERVICES PROVIDED BY
Tanner, llc LEGAL REPRESENTATION PROVIDED BY
Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo NATIONAL PR SERVICES PROVIDED BY
Shuman Associates, New York City ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY
Love Communications, Salt Lake City ADVERTISING CREATIVE & BRANDING SERVICES PROVIDED BY
Struck, Salt Lake City / Portland The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief. Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.
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UTAH SYMPHONY
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MA K E A REGUL AR NIGHT OUT
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Salt Lake City • 801.363.2000 275 S. West Temple
VOLUNTEERING WITH UTAH SYMPHONY | UTAH OPERA
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