A New Year's Celebration | Chopin's Piano Concerto No. 1

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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

SYMPHONIE FANTASTIQUE

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(801) 533-NOTE

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

TM

IN CONCERT

JUNE 20, 21 & 22 / 7 PM

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UTAHSYMPHONY.ORG | 801-355-NOTE (6683)

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.”

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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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801-533-6683

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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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A NEW YEAR’S CELEBRATION

Program

A New Year’s Celebration JANUARY 4–5

/ 2019 / 7:30PM / ABRAVANEL HALL

XIAN ZHANG, conductor MADELINE ADKINS, violin

JOAN TOWER

Fanfare for the Uncommon Woman No. 1

TCHAIKOVSKY

Suite from The Sleeping Beauty, Op. 66a I. II. III. IV. V.

SZYMANOWSKI

Introduction: The Lilac Fairy Adagio: Pas d’action Characteristic Dance Panorama Waltz

Concerto No. 1 for Violin and Orchestra, Op. 35 Madeline Adkins, Violin

/ INTERMISSION / J. STRAUSS JR.

Overture to The Gypsy Baron

J. STRAUSS JR.

Bitte schön!, Polka française, Op. 372

R. STRAUSS

Suite from Der Rosenkavalier, Op. 59 I. II. III. IV. V. VI.

Attire of the Rose Cavalier and Duet Ochs-Walzes Tenor Aria Breakfast Scene Terzett Closing Duet

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A NEW YEAR’S CELEBRATION

Xian Zhang Conductor C O N D U C TO R S P O N S O R

Madeline Adkins Violin GUEST ARTIST SPONSOR

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Artists’ Profiles Following an acclaimed second season as Music Director of the New Jersey Symphony Orchestra, Xian Zhang continues her tenure. In September 2016 she assumed the position of Principal Guest Conductor of the BBC National Orchestra & Chorus of Wales, becoming the first female conductor to hold a titled role with a BBC orchestra. A regular conductor of the London Symphony and Royal Concertgebouw orchestras, in March 2017 Zhang made her debut with The Cleveland Orchestra, stepping in for an indisposed Semyon Bychkov. Born in Dandong, China, Xian Zhang made her professional debut conducting Le nozze di Figaro at the Central Opera House in Beijing at the age of 20. She trained at Beijing’s Central Conservatory, earning both her Bachelor and Master of Music degrees, and served one year on its conducting faculty before moving to the United States in 1998. She was appointed as the New York Philharmonic’s Assistant Conductor in 2002, subsequently becoming their Associate Conductor and the first holder of the Arturo Toscanini Chair.

Madeline Adkins joined the Utah Symphony as Concertmaster in 2016. She previously served as Associate Concertmaster of the Baltimore Symphony Orchestra for 11 years, as well as Concertmaster of the Baltimore Chamber Orchestra from 2008–16. Adkins has performed as a soloist in Europe, Asia, Africa, and 20 U.S. states. She has served as guest concertmaster of the Hong Kong Philharmonic, the Indianapolis Symphony Orchestra, and the Grant Park Symphony Orchestra. She has also been a guest artist at numerous summer festivals including the Stellenbosch International Chamber Music Festival in South Africa, the Sarasota Music Festival, Music in the Mountains, the Grand Teton Music Festival, and the Sewanee Summer Music Festival, as well as a faculty member at the National Orchestral Institute and the National Youth Orchestra at Carnegie Hall.

She performs on the “ex-Chardon” Guadagnini of 1782, graciously loaned by Gabrielle Israelievitch to perpetuate the legacy of her late husband, former Toronto Symphony concertmaster, Jacques Israelievitch. Currently, she serves as the Music Director of the NOVA Chamber Music Series, in its 41st season in Salt Lake City.

UTAH SYMPHONY

A NEW YEAR’S CELEBRATION

Notes on the Program

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by Michael Clive

hours of music, extending the performance time (with intermissions) to over four hours— perhaps the defining standard for the term “full-evening ballet.” Its many character roles—fairies, suitors, members of Princess Aurora’s royal family, fairy-tale characters who appear as party guests—provide PERFORMANCE TIME: 3 MINUTES a musical showcase for Tchaikovsky’s

melodic inventiveness as they make their In the sound of Tower’s compositions and even solo presentations, each with a tuneful in their titles, we can discern a legacy from number uniquely keyed to character and her father, who was a mineralogist, as Tower circumstance. But the score is also a prime explores subjects inspired by all aspects of the example of Tchaikovsky’s use of leitmotif as natural world—the trees and forests, the skies and waters, and, yes, the earth and its minerals. a structuring device. Recurring themes are developed and reintroduced in the ongoing She brings us close to their details and steps back to provide perspective on their vastnesses, struggle between the forces of good, represented by the Lilac Fairy, against the capturing them in the contrasts of soft and forces of evil as embodied by the lurking, hard textures, large and small scale, calmness vengeful fairy Carabosse. In the end, thanks and forcefulness. We hear their juxtapositions to the ingenious Lilac Fairy, good triumphs in the poetic tension Tower conveys between as Aurora and her family awaken to her instrumental textures, loud and soft passages, engagement and a brighter future after a and complex, energetic rhythms. hundred years of suspended animation.

Commissioned by the Houston Symphony, this Karol Szymanowski (1882—1937) first Fanfare for the Uncommon Woman has traditional, brass-heavy scoring, as in Copland’s Fanfare for the Common Man. But to this Tower adds extended and highly expressive percussion, including glockenspiel, marimba and chimes. It is the first in a six-part suite that Tower revised and unified in 1997. In 2014 the PERFORMANCE TIME: 23 MINUTES entirety of Fanfare for the Uncommon Woman

was recognized for inclusion in the National Szymanowski’s first violin concerto, which Recording Registry as “culturally, historically or he composed in 1916 in the Polish town aesthetically important.” of Zarudzie, is credited as the first modern violin concerto. (Alban Berg wrote his violin Pyotr Ilyich Tchaikovsky (1840–1893) concerto in 1935.) In place of harmonies and scales in traditional major and minor modes, Szymanowski gives us a poetic statement that relies upon the singing quality of the violin sound. He also employs unfamiliar sonorities PERFORMANCE TIME: 20 MINUTES from Eastern cultures interwoven with minor thirds and semitones, cultural discoveries Encompassing three acts and a prelude, he made while in Sicily and with the writer the uncut score contains more than three

Joan Tower (b. 1938)

Fanfare for the Uncommon Woman No. 1

Concerto No. 1 for Violin and Orchestra, Op. 35

Suite from Sleeping Beauty, Op. 66a

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A NEW YEAR’S CELEBRATION

Notes on the Program

Witkacy, and which also enrich the concerto.

Melodic lines emerge without necessarily resolving on a traditional tonic note; musical lines take shape through tension and relaxation. The concerto proceeds without pauses to define movements. Szymanowski’s musical language builds a sense of narrative without referencing specific events: the moods are not suggestive of romance or human tragedy, but they are intense. If we give ourselves to this music, it becomes a highly personal experience for each listener, seeming to reach the feelings that are most important to us as individuals.

Johann Strauss, Jr. (1824–1899)

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Richard Strauss (1864–1949)

Suite from Der Rosenkavalier, Op. 59 PERFORMANCE TIME: 21 MINUTES

If Richard Strauss has a musical trademark, it is the construction of densely chromatic chords and their dizzying changes.

Der Rosenkavalier is a case in point.

Musicologists sometimes analyze a symphony in terms of how a composer “gets out of” each movement; as Strauss leads us through exotic modulations, half the fun is marveling at how he gets where he’s going, leading us back to his tonic key. Der Rosenkavalier is filled with gorgeous waltzes and versatile leitmotifs, enough to provide two orchestral suites that don’t quite manage to crowd in everyone’s favorite moments from the opera.

PERFORMANCE TIME: 12 MINUTES The most famous of Der Rosenkavalier’s

waltzes has a melody so perfect that it Both The Gypsy Baron and Die Fledermaus seems always to have been there—indeed, have popular overtures with contagious the lecherous Baron Ochs sings it as if it dance rhythms, but in The Gypsy Baron, were a traditional (if bawdy) song. (“With the Magyar influence is more prominent. me, no night will be too long for you…

In it, we hear hints of the “Brautschau” and no room too small for you.”) It sounds “Kriegsabenteuer” polkas that are featured later in the operetta, along with one waltz, the lush and singable when voiced by an “Schatz-Walzer.” For enjoyable listening to the operatically trained bass-baritone, but don’t try humming this melody at home. With its Strausses’ dance music, your annotator offers deceptively tricky stepwise modulations in this unique rule of thumb: the waltzes lilt; the minor thirds, it will defy your best efforts in polkas bounce. The waltzes, with their stately the shower. Another melody really is based triple rhythms, have an elusive, coy hesitation on an Austrian folk song, but in Strauss’ that is almost like a mini-swoon in each bar.

This unique musical feature has been patented hands it is totally transformed—rendered in two parts as the culminating duet of by the city of Vienna. The polkas, by contrast, two young lovers, then surrounded by have double-rhythms that are far more breathtaking, densely chromatic chords in energetic, but perhaps a tad less romantic. the high woodwinds. “It’s a dream,” they It’s not surprising that waltzes were once considered indecent. Polkas are less sensual as sing, and indeed it is, as Strauss’ inimitable harmonies evoke twinkling stars. dances, but more spirited and celebratory to hear. They are also a better workout on the dance floor.

Overture to The Gypsy Baron Bitte schön!, Polka française, Op. 372

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UTAH SYMPHONY

CHOPIN’S PIANO CONCERTO NO. 1

Program

Chopin’s Piano Concerto No. 1 JANUARY 11 / 2019 JANUARY 11–12 /

/ 10AM / ABRAVANEL HALL (OPEN REHEARSAL) 2019 / 7:30PM / ABRAVANEL HALL

PETER OUNDJIAN, conductor JAN LISIECKI, piano

VIVIAN FUNG CHOPIN

Dust Devils Concerto No. 1 in E minor for Piano and Orchestra, Op. 11 I. Allegro maestoso II. Romanze III. Rondo Jan Lisiecki, Piano

/ INTERMISSION / DVOŘÁK

Symphony No. 7 in D minor, Op. 70 I. II. III. IV.

Allegro maestoso Poco adagio Scherzo: Vivace Finale: Allegro

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CHOPIN’S PIANO CONCERTO NO. 1

Peter Oundjian Conductor C O N D U C TO R S P O N S O R

Jan Lisiecki Piano GUEST ARTIST SPONSOR

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Artists’ Profiles A dynamic presence in the conducting world, Peter Oundjian is renowned for his probing musicality, collaborative spirit, and engaging personality. 2017–18 marked Oundjian’s 14th and final season as Music Director of the Toronto Symphony Orchestra (TSO). His appointment in 2004 reinvigorated the Orchestra with recordings, tours, and acclaimed innovative programming, as well as extensive audience growth, significantly strengthening the ensemble’s presence in the world.

From 2012 to 2018, Oundjian was Music Director of the Royal Scottish National Orchestra (RSNO). Under his baton, the orchestra has enjoyed several successful tours including one to China, and has continued its relationship with Chandos Records.

His 2018–19 season includes debuts with the Indianapolis and New Zealand Symphony Orchestras, and return engagements with the St. Louis, Baltimore, Atlanta, Utah, Colorado, and New World Symphonies as well as the Los Angeles Chamber Orchestra and Orchestre de la Suisse Romande. He also completes his second season as Artistic Advisor of the Colorado Music Festival. Since 1981, he has been a visiting professor at the Yale School of Music, and was awarded the university’s Sanford Medal for distinguished service to music in 2013.

Just 23 years old, Canadian pianist Jan Lisiecki has won acclaim for his extraordinary interpretive maturity, distinctive sound, and poetic sensibility. The New York Times has called him “a pianist who makes every note count.” Lisiecki’s insightful interpretations, refined technique, and natural affinity for art give him a musical voice that belies his age.

Jan Lisiecki began piano lessons at the age of five and made his concerto debut four years later, while always rebuffing the label of “child prodigy.” His approach to music is a refreshing combination of dedication, skill, enthusiasm, and a realistic perspective on the career of a musician. “I might be lucky to have talent, but it is also about dedication and hard work,” says Jan. The remarkable musician made his debut in the main auditorium at New York’s Carnegie Hall in January 2016 at the age of 20 with the Philadelphia Orchestra and Yannick Nézet-Séguin. In its rave review, The New York Times noted that it was an “uncommonly sensitive performance”.

Jan is involved in charity work, donating his time and performance to such organizations as the David Foster Foundation, the Polish Humanitarian Organization, and the Wish Upon a Star Foundation. In 2012 he was named UNICEF Ambassador to Canada having been a National Youth Representative since 2008.

UTAH SYMPHONY

CHOPIN’S PIANO CONCERTO NO. 1

Notes on the Program

by Michael Clive

Vivian Fung (b. 1975)

Dust Devils PERFORMANCE TIME: 10 MINUTES

Scored for full orchestra, Dust Devils received its world premiere in Greensboro, N.C. in 2011 with the Eastern Festival Orchestra directed by Gerard Schwarz.

On her website, Fung notes: “Dust Devils is the journey of emotional swirls in my mind, sometimes calm, but more often than not, full of raw and intense energy. The opening starts quite forcefully and darts back and forth, culminating in a fiery pounding of the timpani, which wanes and brings this section to mere silent breaths in the brass. A slow section ensues, filled with upward cascades of arpeggios that interrupt the ethereal atmosphere. An ominous eerie string section follows leading to a powerful chorale in the brass, which overtakes the music and brings the ten-minute work to an emphatic close.”

Frédéric Chopin (1810–1849)

Concerto No. 1 in E minor for Piano and Orchestra, Op. 11 PERFORMANCE TIME: 39 MINUTES

Even during his lifetime, some listeners noted that Chopin’s handling of musical materials lacked the complexity and the formal innovations of experimenters such as Liszt, or the structural mastery of large forms and orchestrations. But these quibbles miss the point: Chopin was unparalleled in his ability to make the piano sing in a way that more closely resembled the heartfelt melodies of bel canto operas than other piano compositions. In fact, his ability to bend bittersweet harmonies

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surpassed that of the opera composers who inspired him. It has been said that time and Chopin are the only known remedies for the wounds of first love—such is the affinity between Chopin’s music and the heart’s most inexpressible feelings. His piano concertos can seem grudging or perfunctory in their use of the orchestra, setting up an accompanying line rather than a dialogue between equals.

But this creates a closer identification between the listener and the pianist that makes the solo voice all the more thrilling.

Besides, the charge of minimally engaging the orchestra hardly stands up to the first concerto’s long, formal introduction, which follows all the rules of orchestration and structure Chopin learned in his years studying composition with Józef Elsner at the Warsaw Conservatory. At over four minutes in length, this first-movement opening seems highly formal and almost Beethovenian, building suspense and duly introducing thematic material in the orchestra before the piano plays a note. But once the piano enters, it is clearly dominant, and suddenly the melodies that sounded merely felicitous in the orchestra have the indescribably expressive sweetness of Chopin. What follows is an allegro maestoso movement that does not follow a highly elaborated development of key modulations, but that continually alternates between E minor and E major until it finally modulates upward to G major as the movement ends.

We do not have to know the rules of sonata allegro form to intuit the structural rightness of this key change and the sense of expectant resolution it brings to the concerto’s opening. But then in the second movement, marked “Romanze,” Chopin brings us back to the original key and to a mood of lyrical contemplation. He described this as a movement that “rests on a beloved landscape

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CHOPIN’S PIANO CONCERTO NO. 1

Notes on the Program

that calls up in one’s soul beautiful memories— for instance, …a fine, moonlit spring night.”

The effect is not unlike one of Chopin’s beautiful unaccompanied nocturnes. He seems to have been wary of audience reaction to his orchestration: “I have written [it] for violins with mutes as an accompaniment…I wonder whether it will have a good effect. Well, time will show.”

The finale of this concerto, like that of his second, takes the form of one of Chopin’s beloved Polish dances—in this case a Krakowiak, a high-energy two-step performed in quick dotted rhythms. Its complex syncopations and shifts of tempo afford Chopin the opportunity to alter the mood from foot-stamping intensity to tender lyricism.

By this time the entire concerto has unfolded without providing the soloist a chance to play a cadenza—a showy, unaccompanied solo passage designed for climactic virtuosity—yet the overall effect is of spectacular athleticism and beauty in which the piano is dominant from beginning to end.

Antonín Dvořák (1841—1904)

Symphony No. 7 in D minor, Op. 70 (former No. 2) PERFORMANCE TIME: 38 MINUTES

BACKGROUND

Dvořák’s advocate Johannes Brahms worked off and on for two decades before unveiling his first symphony when he was 43. By the time Dvořák was that age, he was working on what we now know as his Symphony No. 7 in 1885. But those facts conceal a reticence on Dvořák’s part that was apparently on par with Brahms’: He never published his first

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four symphonies during his lifetime, and they remained unknown until they surfaced in the 1950s. Until then, the numeration of Dvořák’s symphonies remained muddled, and this one bore the number that Dvořák had inexplicably assigned it: six. He conducted the premiere for the Royal Philharmonic Society in April 1885.

WHAT TO LISTEN FOR

Buoyancy, and swing and dance rhythms are characteristic of Dvořák’s music. He incorporates these elements in a work that many listeners consider his finest symphony.

It opens with a gathering of forces that seems to grow closer as we listen: Rumbling strings combine with percussion to convey the mechanical energy of a steam engine or an approaching train. (Dvořák was a train fancier, and professed to find inspiration in them.)

The second movement, by contrast, seems to withdraw into the serenity of a gentle adagio that is one of Dvořák’s loveliest.

Much as Mozart’s publisher wished he would churn out entertainments such as Eine kleine Nachtmusik, Dvořák’s publisher, Fritz Simrock, thought they would both be better off if he stuck to his crowd-pleasing Slavonic Dances.

We hear them in the third movement of this symphony, a scherzo rewards us with Dvořák’s inimitable sense of swing. We often say that Dvořák’s music makes us want to “get up and dance”—a description that certainly holds true here.

In the final movement, the gathering darkness of the symphony’s opening movement combines with the brightness of its lyricism and its dance rhythms. In the end, the two are reconciled, and—as in so many symphonies, including Beethoven’s—the composer has taken us on a journey from darkness to light.

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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

UTAHSYMPHONY.ORG

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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

54

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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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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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

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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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