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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
TCHAIKOVSKY’S “PATHÉTIQUE”
Program
Tchaikovsky’s “Pathétique” FEBRUARY 8–9
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THIERRY FISCHER, conductor PHILIPPE QUINT, violin [Artist in Association] UTAH SYMPHONY CHORUS UNIVERSITY OF UTAH CHAMBER CHOIR BARLOW BRADFORD, chorus director
WAGNER
Overture to Tannhäuser
BERLIOZ
Sara la baigneuse, Ballade for Three Choruses and Orchestra, Op. 11
BERLIOZ
“La Mort d’Ophélie” from Tristia
BERLIOZ
Rêverie et caprice for Violin and Orchestra, Op. 8 Philippe Quint, violin
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Symphony No. 6 in B minor, Op. 74, “Pathétique” I. II. III. IV.
Adagio - Allegro non troppo Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso
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TCHAIKOVSKY’S “PATHÉTIQUE”
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Artists’ Profiles See page 8 for Thierry Fischer’s profile. Multi Grammy Award nominee violinist Philippe Quint has established himself as one of the leading violinists of his generation. Constantly in demand, he regularly appears at venues ranging from the Gewandhaus in Leipzig to Carnegie Hall in New York, as well as the most prestigious music festivals including Verbier, Colmar, Hollywood Bowl, and Dresden Festspiele. Philippe is the Utah Symphony’s Artist-in-Association for 2018-19 season, which will include two weeks of performances with the orchestra and a recording for the Hyperion label. Born in Leningrad, Soviet Union (now St. Petersburg, Russia), Philippe studied at Moscow’s Special Music School for the Gifted with the famed Russian violinist Andrei Korsakov. After moving to the United States from Soviet Union in 1991, he earned both bachelor’s and master’s degrees from the Juilliard School. Philippe plays the magnificent 1708 “Ruby” Antonio Stradivari violin on loan to him through the generous efforts of The Stradivari Society®.
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Dr. Bradford was appointed Director of the Utah Symphony Chorus at the start of the 2013–14 season. Over the course of his musical career, Bradford has distinguished himself as a conductor, composer, arranger, pianist, organist, and teacher. As an orchestral and choral conductor, he co-founded the Utah Chamber Artists in 1991 and has led that organization to international acclaim for its impeccable, nuanced performances and award-winning recordings. Dr. Bradford’s focused, energetic conducting style led to his appointment as Music Director of the Orchestra at Temple Square in Salt Lake City and Associate Director of the Mormon Tabernacle Choir. Prior to that, he was Director of Orchestras at the University of Utah. In addition to his post as Director of the Utah Symphony Chorus, Dr. Bradford continues as Artistic Director of Utah Chamber Artists and serves as the Ellen Neilson Barnes Presidential Chair of Choral Studies at the University of Utah.
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UTAH SYMPHONY
TCHAIKOVSKY’S “PATHÉTIQUE”
Chorus
UTAH SYMPHONY CHORUS Alto Rebecca Clarke Melinda Harper April Iund Alla Keoppel Emily Larsen Anna Lucero Misti Moberly Rebecca Nelson Liberty Pierce Brooke Yadon
Soprano Julie Barker Anadine Burrell Kiersten Erickson Stephanie Stiles Alexia Adair Courtney Bergen Gillian Finkelstein Julie Hadlock Julie Petersen Melissa Stettler
Tenor Wes Eldredge John Hayward Mark Hayward Willem Scott King David Layton Garrett Medlock Cecil Sullivan Brian Tanner Connor Thompson Dan White
Bass John Bergquist Skyler Blummel Nathan Curtis Zachary Dickison Jacob Khalil Ben Lobrot Hal Mauchley Ryan Oldroyd Jared Pierce Steve Valenzuela
Tenor Mitchell Andersen Logan Bingham Jonathan Gibson Mason McDermaid Cory Mendenhall Jordan Tolman Dan White Kort Zarbock
Bass Bennett Chew Zach Earl Yu-Feng Huang Tyler Knight Jude Ruelas Tanner Smith Jacob Tryon Cody WeaverCarlson
UNIVERSITY OF UTAH CHAMBER CHOIR Alto Leddy Burdiss Julie Burningham Haylee Markham Alexandra Marsh Michaela Mathis Christina Phillips Kieran Scholes Talia Stivender Emily Voorhees
Soprano Madeline Ashton Lexie Davis Emily Hansen Mikaela Holbrook Jacquelyn Musig Bethany Pehrson Brynn Staker Julia Thomas Jordyn Updyke
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TCHAIKOVSKY’S “PATHÉTIQUE”
Translations
Sara la baigneuse In a swinging hammock lying, Lightly flying, Sara, lovely indolent, O’er a fountain’s crystal wave There to lave Her young beauty—see her bent. As she leans, so sweet and soft, Flitting oft, O’er the mirror to and fro, Seems that airy floating bat, Like a feather From some sea-gull’s wing of snow. Every time the frail boat laden With the maiden Skims the water in its flight, Starting from its trembling sheen, Swift are seen A white foot and neck so white. As that lithe foot’s timid tips Quick she dips, Passing, in the rippling pool, (Blush, oh! snowiest ivory!) Frolic, she Laughs to feel the pleasant cool. Here displayed, but half concealed— Half revealed, Each bright charm shall you behold, In her innocence emerging, As a-verging On the wave her hands grow cold. For no star howe’er divine Has the shine Of a maid’s pure loveliness, Frightened if a leaf but quivers As she shivers, Veiled with naught but dripping trees. By the happy breezes fanned See her stand,—
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Blushing like a living rose, On her bosom swelling high If a fly dare to seek a sweet repose. In those eyes which maiden pride Fain would hide, Mark how passion’s lightnings sleep! And their glance is brighter far Than the star Brightest in heaven’s bluest deep. O’er her limbs the glittering current In soft torrent Rains adown the gentle girl, As if, drop by drop, should fall, One and all From her necklace every pearl. Lengthening still the reckless pleasure At her leisure, Care-free Sara ever slow As the hammock floats and swings Smiles and sings, To herself, so sweet and low. “Oh, were I a capitana, Or sultana, Amber should be always mixt In my bath of jewelled stone, Near my throne, Griffins twain of gold betwixt. “Then my hammock should be silk, White as milk; And, more soft than down of dove, Velvet cushions where I sit Should emit Perfumes that inspire love. “Then should I, no danger near, Free from fear, Revel in my garden’s stream; Nor amid the shadows deep Dread the peep, Of two dark eyes’ kindling gleam.
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TCHAIKOVSKY’S “PATHÉTIQUE”
Translations
“He who thus would play the spy, On the die For such sight his head must throw; In his blood the sabre naked Would be slaked, Of my slaves of ebony brow. “Then my rich robes trailing show As I go, None to chide should be so bold; And upon my sandals fine How should shine Rubies worked in cloth-of-gold!” Fancying herself a queen, All unseen, Thus vibrating in delight; In her indolent coquetting Quite forgetting How the hours wing their flight. As she lists the showery tinkling Of the sprinkling By her wanton curvets made; Never pauses she to think Of the brink Where her wrapper white is laid. To the harvest-fields the while, In long file, Speed her sisters’ lively band, Like a flock of birds in flight Streaming light, Dancing onward hand in hand. And they’re singing, every one, As they run This the burden of their lay: “Fie upon such idleness! Not to dress Earlier on harvest-day!” Translations by John L. O’Sullivan
The death of Ophelia Beside a brook, Ophelia Gathered along the water’s bank, In her sweet and gentle madness, Periwinkles, crow-flowers, Opal-tinted irises, And those pale purples Called dead men’s fingers. Then, raising up in her white hands The morning’s laughing trophies, She hung them on the branches, The branches of a nearby willow. But the bough, too fragile, bends, Breaks, and poor Ophelia Falls, the garland in her hand. Her dress, spread wide, Bore her on the water awhile, And like an outstretched sail She floated, still singing, Singing some ancient lay, Singing like a water-sprite Born amidst the waves. But this strange melody died, Fleeting as a snatch of sound. Her garment, heavy with water, Soon into the depths Dragged the poor distracted girl, Leaving her melodious lay Hardly yet begun. Translations by Richard Stokes, author of The Book of Lieder (Faber, 2005)
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TCHAIKOVSKY’S “PATHÉTIQUE”
Notes on the Program by Michael Clive
Richard Wagner (1813–1883)
Hector Berlioz (1803–1869)
Overture to Tannhäuser PERFORMANCE TIME: 14 MINUTES
Sara la baigneuse, Ballade for Three Choruses and Orchestra
WHAT TO LISTEN FOR
PERFORMANCE TIME: 7 MINUTES
To realize his conception of opera as Gesamtkunstwerk—as a totally integrated work of art—Wagner wrote his own librettos. These were generally reinterpretations of German medieval history or myth. The holiness of pure love and its transfiguring power are recurring themes in his dramas, and they are the overriding themes in the story of Tannhäuser, which combines an actual figure from German history—a Minnesänger named Tannhäuser—with a virtuous maiden and a goddess who vie for his love against a backdrop of myth, magic, and a singing contest. Much like Wagner (who was destructively promiscuous in his personal life), Tannhäuser is a gifted troubadour but fatally attracted to the profane. The opera limns the progress of his initial downfall and his miraculous redemption. We hear the entire course of Tannhäuser’s journey in the opera’s overture, which opens with a thrillingly sustained crescendo: a passage representing pilgrims approaching ever louder on their journey of devotion to Rome. But as their majestic chorale fades into the distance, we hear the skittering, orgiastic music of “Venusberg,” the mythic realm where Tannhäuser is lured into temptation. Tannhäuser’s story is one of sin and repentance; at its end, he, too, sings the pilgrims’ hymn, and is redeemed in death.
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According to universally accepted music lore, the marriage between Harriet Smithson and Hector Berlioz was a disaster of seismic proportions based solely on his infatuation, her admiration, and mutual misunderstanding of each other’s language. Amusing, but probably exaggerated. At the very least, Harriet succeeded in making a family man of Hector in 1834, when she bore him a son. The volatile Hector faced up to fatherhood by stepping up his workload, writing criticism for steady income while seeking to maximize his success as a composer. Accordingly, he cast his eye toward the poetry of Victor Hugo. Berlioz knew what the public liked. He had done well with an earlier setting of verse by Victor Hugo, La captive, and with Sara la baigneuse he sought to leverage that success with a work that is similar in mood. Drawn from Hugo’s Les Orientales, Sara la baigneuse is imbued with an exotic, drowsy sensuality that is sexy without being overtly sexual. Early arrangements of the ballade were for individual voices: soprano, two tenors, and baritone. Surprisingly, assigning parts to three choruses creates an even more intimate effect, and the three-chorus scoring is the definitive performing edition. In it the solo female voice is luxuriously ensconced amid her choral background, like an odalisque on a chaise.
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TCHAIKOVSKY’S “PATHÉTIQUE”
Notes on the Program
“La Mort d’Ophélie” from Tristia PERFORMANCE TIME: 7 MINUTES
The three relatively brief pieces for chorus and orchestra that comprise the suite Tristia were not composed together, but Berlioz found it convenient to group them for publication in 1852. Two of the three are related to events in Shakespeare’s Hamlet— the death of Ophelia in Act IV, and the funeral march in the final scene. All three are deeply melancholy. (Tristia is a Latin word for “sad things.”) “La Mort d’Ophélie” was composed in 1842. The text of “La Mort d’Ophélie” is a ballade by the French poet Ernest Legouvé, which is based in turn on Queen Gertrude’s description of Ophelia’s drowning. Berlioz, of course, was nearly obsessed by Shakespearean dramas and especially by Hamlet. Gertrude’s account has fascinated other composers as well, including Berlioz’ countryman Ambroise Thomas, who set Hamlet as an opera in 1868. A large part of the attraction is its cinematic quality: the visual drama of Ophelia’s lifeless body floating with the current, strewn with weeds. In Berlioz’ setting, the gently rippling water seems almost palpable.
Réverie et caprice for Violin and Orchestra, Op. 8 PERFORMANCE TIME: 7 MINUTES
A wag might say that Berlioz’s symphonies are operatic and his operas are symphonic. While that’s an oversimplification, his Réverie et caprice has the liveliness of his rollicking opera Benvenuto Cellini, on which it is based. Benvenuto Cellini may be the
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only romantic comedy in the repertory in which the heroine is wooed and won with a spectacular feat of bronze casting. Full of fire and romance, not to mention molten metal, Benvenuto Cellini offered plenty of material for recycling as a virtuoso violin piece. And that is just what Berlioz did in 1841, creating one of his most popular works. It was performed by virtually every big-name violin virtuoso of the mid19th century, including Ferdinand David, Heinrich Wilhelm Ernst, Henri Wieniawski, and Joseph Joachim. The instrumental demands are, of course, spectacular. In creating the Réverie et caprice, Berlioz surely remembered the ur-virtuoso, Niccolo Paganini, who had died the previous year; Paganini was an early supporter of Berlioz’ music and career. Piotr Ilyich Tchaikovsky (1840–1893)
Symphony No. 6 in B minor, Op. 74, “Pathétique” PERFORMANCE TIME: 45 MINUTES
BACKGROUND
Tchaikovsky was acutely aware—perhaps unrealistically so—of his image, both as a composer whose reputation would survive him, and as a public figure in Russian society. He knew that since Beethoven, the symphony was a form that serious composers reserved for big ideas and “programmatic” music that might have a narrative line or an intellectual agenda connected with the philosophical ideas of greatest concern to them. His fourth symphony, which predates the Pathétique by about 15 years, hews close to this model of symphonic writing. Impressed with the
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TCHAIKOVSKY’S “PATHÉTIQUE”
Notes on the Program
musical representations of fate that he had heard in Beethoven’s Symphony No. 5 and Bizet’s Carmen, he made his fourth symphony an account of a fateful struggle for his own destiny and his yearning to live a life of mature respectability. By 1892, when he was working on early sections of a sixth symphony in E-flat major, Tchaikovsky was one of the most famous composers in the world — a man whose fame redounded to the glory of his homeland, as he had hoped it would. However, Tchaikovsky halted work on the E-flat major draft in December 1892. It was a decision that felt not like surrender, but liberation. He intended to avoid writing what he called “pure music” — that is, symphonic or chamber music — but this determination was short-lived. Within two months he began an entirely new approach to his sixth symphony, and the ideas came pouring forth. He drafted its first section in only four days and could clearly imagine the rest. Six months later, his work on the symphony was complete. WHAT TO LISTEN FOR
The dramatically simple escape route that led Tchaikovsky out of his creative stasis seems designed to intrigue the generations of listeners who have cherished his music, and it still does. Not only is his Symphony No. 6 a programmatic work, but listening to it convinces us that the program is specific and detailed. Yet the details are unknown. He wrote his nephew that its subtext would “remain a mystery—let them guess.” Today we are still guessing. The sound of this symphony gives us a sense of inchoate longing. It is somber, melancholy, and yearning by turns. The
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ovation that greeted Tchaikovsky when he took the podium in October 1893 to lead the premiere performance was not matched once the symphony ended, when the audience was left to reflect on the secrets of this moody masterpiece. Today it is esteemed as one of Tchaikovsky’s most eloquent expressions of disappointed hopes and the ache for personal fulfillment, recurrent themes in earlier works such as his opera Eugene Onegin. The symphony’s forte passages suggest the gravity of judgment rather than triumph, while the softer passages—which dwindle down to a Guinness-record-worthy marking of “pppppp”—communicate agonized introspection. These dynamics left Tchaikovsky’s audience with a very different listening experience than they expected, and prompted the composer’s brother Modest to propose “Pathétique” as a name for the symphony. If the symphony offers respite, it is in its interior movements: the lilt of the second movement, labeled a waltz, but actually rendered in a tricky 5/4 rhythm; and the third movement, which includes a blaring march that gleams with brass. This movement has all the ingredients for a sense of triumph…except for triumph itself. It leaves an impression of ironic disappointment, as if it were a critique of the finale that resolves Tchaikovsky’s Fourth Symphony stated from a vantage point of greater experience. Tchaikovsky said that he had put his “whole soul” into the “Pathétique.” We may never know the demons that inhabited that soul, but we can hear the tortured sincerity of his feelings. Those feelings ended with his tragic death, just nine days after he conducted the symphony’s premiere.
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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
801-410-4696 • 1560 E 3300 S, SLC • dittacaffe.com
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
LOVE YOUR HOME STAGE ARTS
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STAGE ARTS
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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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