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Utah musicians in concert at the
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#
2018/19 UTAH SYMPHONY SEASON
#UTAHSYMPHONY #SYMPHONYROCKSTARS #MUSICEDMATTERS
NOVEMBER/DECEMBER 2018 PERFORMANCES
CONTENTS
Purchase tickets at utahsymphony.org or call 801-533-6683
6 Welcome 8 Music Director
NOVEMBER 16–17 | 7:30 PM
10 Associate Conductor
BACH’S BRANDENBURG CONCERTOS 1 & 2
15 Utah Symphony 16 Board of Trustees 18 Brandenburg Concertos 20 Bach and Boulez 22 USUO Education Report 26 Pre-concert Rituals
NOVEMBER 24–25 | 7:30 PM
30 Season Sponsors
MESSIAH SING-IN
31–38 Tonight’s Concert 39 Support USUO 40 Donors 45 Annual Cultural Festival 52 Legacy Giving 53 Tanner & Crescendo Societies 54 Administration 59 House Rules 64 Acknowledgments Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.
DECEMBER 7–8 | 7:30 PM
BACH’S BRANDENBURG CONCERTOS 3 & 4
DECEMBER 13 | 7:30 PM DECEMBER 14 | 7:30 PM DECEMBER 15 | 5:30 PM
@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
AN EVENING IN SPAIN WITH BOLÉRO & CARMEN
DECEMBER 21–22 | 7:30 PM
PINK MARTINI’S JOY TO THE WORLD
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 2018
UTAHSYMPHONY.ORG
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5
WELCOME
6
Paul Meecham
Thierry Fischer
Kem Gardner
President & CEO
Music Director
Chair, Board of Trustees
Welcome to Abravanel Hall and this performance of the Utah Symphony. We can think of no better way to enjoy the wonder of the holiday season and promise of the New Year than through the magic of great live music experienced together as a community. Whether it is the Baroque music of Handel’s celebrated Messiah and J.S. Bach’s masterful Brandenburg Concertos, the Nordic romanticism of Sibelius and Grieg, or the 20th century exuberant sounds of Copland, Boulez, and Ravel’s Boléro you can hear your Utah Symphony demonstrate their extraordinary versatility and expertise as they deliver moments that will live long in your memory.
In honor of the holiday season, we’d like to express our deep appreciation to all of you for supporting Utah Symphony | Utah Opera. Because of the generosity of friends like you, USUO is able to bring the gift of music year-round to audiences throughout the state and region—with a remarkable one third of that audience comprised of students experiencing one of our many free education performances. If you haven’t yet made a gift this calendar year, please consider doing so. Your support will go further thanks to a generous match by the George S. and Dolores Doré Eccles Foundation (see page 39 for more details). Thank you.
In special holiday concerts, the Utah Symphony welcomes the returns of global music sensations Celtic Woman, bringing a fresh fusion of traditional Irish music with contemporary songcraft, and Pink Martini with Joy to the World, a collection of holiday music from around the globe. And, in what has become a holiday tradition in recent years, we’ll present the next chapter in the magical world of Hogwarts with the Utah Symphony playing the masterful John Williams score live to a screening of Harry Potter and the Prisoner of Azkaban™.
On behalf of all of the musicians, staff, and board members at Utah Symphony | Utah Opera, we wish you the happiest of holiday seasons and a joyful 2019!
UTAH SYMPHONY
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 symphonies and newly commissioned works. 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
DESIGNA-SERIES
CHOOSE ANY 4+ PERFORMANCES SAVE UP TO 20%
CHOPIN’S PIANO CONCERTO NO. 1 JANUARY 11 & 12
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SYMPHONIE FANTASTIQUE
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FEBRUARY 1 & 2
MARCH 29 & 30
LERNER & LOEWE’S
MY FAIR LADY
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APRIL 19 & 20
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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
Elizabeth Beilman Acting Associate Principal
ENGLISH HORN Lissa Stolz
BASS TROMBONE Graeme Mutchler
Barlow Bradford Symphony Chorus Director
Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Whittney Thomas
CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
TUBA Gary Ofenloch Principal
VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton
CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair
Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson† Associate Concertmaster David Porter Acting Associate Concertmaster David Park Assistant Concertmaster
Wen Yuan Gu Associate Principal Second 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
Lee Livengood
Michael Pape Acting Associate Principal
John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang
BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda
PERCUSSION Keith Carrick Principal
Corbin Johnston Associate Principal James Allyn Benjamin Henderson†† Edward Merritt Jens Tenbroek Thomas Zera HARP Louise Vickerman† Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal
VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair
BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair
Jennifer Rhodes
Katie Klich††
CONTRABASSOON Leon Chodos
ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel
HORN Edmund Rollett Acting Principal Alexander Love†† Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser
PICCOLO Caitlyn Valovick Moore
Jeff Luke Associate Principal
OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair
Peter Margulies Gabriel Slesinger††
(801) 533-NOTE
KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal
Caitlyn Valovick Moore
Lissa Stolz
Michael Pape Stephen Kehner††
Leon Chodos Associate Principal
TRUMPET Travis Peterson Principal
Robert Stephenson Associate Principal
/
Eric Hopkins Acting Principal
Matthew Johnson Associate Principal
BASS* David Yavornitzky Principal
Claude Halter Principal Second
Erin Svoboda Associate Principal
TIMPANI George Brown# Principal
TROMBONE Mark Davidson Principal
Andrew Williams Orchestra Personnel Manager STAGE MANAGEMENT Chip Dance Production & Stage Manager Jeff Herbig Properties Manager & Assistant Stage Manager • First Violin •• Second Violin * String Seating Rotates † On Leave # Sabbatical †† Substitute Member
Sam Elliot Associate Principal
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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 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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Brandenburg Concertos
By Renée Huang, Director of Communications
Impeccable timing and opportunity in 18th century Germany created the perfect storm when Johann Sebastian Bach was the Kapellmeister (music director) of the small town of Köthen, where he composed music for the court. It was during this time he wrote a series of chamber works that would later be considered benchmarks of Baroque music. In 1721 Bach conceived of six lively concertos for chamber orchestra. They were compiled from already written, short instrumental sinfonias and concerto movements. He reworked them to create a brilliant collection of interrelated pieces and then presented them in a bound manuscript as a gift to Margrace of Brandenburg—a gift that was utterly dismissed and unacknowledged for more than a century. Meanwhile, the town of Köthen had an unusually robust classical music community, thanks in part to the new Prussian king, Friedrich Wilhelm I (the “Soldier King”). He preferred to focus his efforts on strengthening the military and thus disbanded the prestigious Berlin court orchestra, which he considered a waste of precious resources. This royal act thrust highly trained musicians into the field, hungry for work, which allowed Köthen’s music-loving Prince Leopold to snatch them up for his high court. This concentration of talent inspired Bach to push the bounds of his creative expression, writing six concertos requiring different combinations of instruments while highlighting several virtuosic soloists. A trumpet solo anchors Concerto No. 2, while a solo violin soars in No. 4. Concerto No. 6 omits violins and features a simplistic viola de gamba, a precursor to the cello, on which Prince Leopold himself would likely have performed. By highlighting the harpsichord in Concerto No. 5, Bach laid the groundwork for the modern piano concerto. In fact, the composition style is so advanced in this work that scholars consider it to be the last piece he composed in the set. It wasn’t until a century and a half later that Bach’s biographer Philipp Spitta referred to them collectively as the “Brandenburg Concertos.” The name stuck and the rest is history.
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UTAH SYMPHONY
ENTERTAINMENT SERIES ZIONS BA NK
A LOVERLY NIGHT FOR LOVERS. LERNER AND LOEWE’S
MY FAIR LADY
WITH THE
UTAH SYMPHONY
FEBRUARY 15 & 16 / 7:30 PM / ABRAVANEL HALL Conner Gray Covington, conductor I could have danced all night! Bring your valentine and enjoy the elegance and enchantment of Lerner and Loewe’s My Fair Lady. Experience the classic Broadway hit with Broadway singers in period costumes and the Utah Symphony performing the breathtaking score.
UTAHSYMPHONY.ORG | 801-533-6683 SEASON SPONSOR
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Bach and Boulez
By Thierry Fischer
THOUGHTS ON SIMILARITIES AND CONTRASTS Besides an obvious contrast of time between the 17th and 20th centuries, there is surprisingly not so much musical contrast between the two composers. Both Bach and Boulez pieces are what we call perfection, in small ensembles. Both are poetry. The Brandenburg Concertos are perfection in German Baroque style: exuberant with contagious energy. Boulez’ Memorial, Dérive, and Initiale are perfection in French melancholy dreamlike worlds, in an absolute irresistible and inviting mixture of sounds. Bach’s audacity makes us feel like it is not old music. Boulez’ warm, inviting novelty makes us feel unexpectedly at home after a few seconds and sustains the feeling. The mixing of the two styles will show us that the notion of beauty and harmony doesn’t correspond to the notion of time. I am convinced that during the performances, we will completely forget which composer we are actually performing and listening to. It should be a revelation: realizing that beauty is eternal, whether it has been written today or a couple of centuries ago.
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UTAH SYMPHONY
R AC
HEL
POR
NIC N& TMA
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WRI LAS
GHT
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THE LITTLE PRINCE RACHEL PORTMAN & NICHOLAS WRIGHT'S
JAN 19 - 27
J. Q. LAWSON CAPITOL THEATRE
UTAHOPERA.ORG
USUO Education Report
USUO is deeply engaged and invested in music education and has been impacting schools, students, and teachers through live orchestra and opera Education performances for more than four decades. Across initiatives of our Education program, which makes up a third of the orchestra’s performances each year, we make it a priority to reach each school district in the state on a 3 to 5 year rotation. WHY MUSIC EDUCATION MATTERS • A third of our state population is children: Utah has the highest percentage of children under the age of 18 in the country at 31 percent of the total state population. • Music matters to Utahns: A 2017 National Endowment for the Arts study shows Utah tops the nation for arts consumption. • A three-year study found Utah rated #1 in the nation at a whopping 51 percent, heads and tails above the national average of 32 percent, for performing arts attendance. • 40 percent of Utah public schools last year (457 schools out of 1,113 total public schools) were served by Utah Symphony. • Music shapes lives and futures: a 2015 study by the National Association for Music Education found graduation and attendance rates increased for schools with music education programs. • Schools with music programs have an estimated 90 percent graduation rate (17 percent higher) and 94 percent attendance rate (9 percent higher) compared to schools without music education programs. #MusicEdMatters
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UTAH SYMPHONY
USUO Education Report
2018/19 UTAH SYMPHONY SEASON
y o J e h t n i e Shar s y a d i l o H of t h e UTAH SYMPHONY with the
MESSIAH SING-IN
NOVEMBER 24 & 25, 2018
PINK MARTINI’S JOY TO THE
WORLD: A HOLIDAY THE UTAH SYMPHONY SPECTACULAR WITH
DECEMBER 21 & 22, 2018
HARRY POTTER AND THE PRISONER OF AZKABAN™ IN CONCERT
DECEMBER 22, 2018
CELTIC WOMAN: THE BEST OF CHRISTMAS
A NEW YEAR’S CELEBRATION
NOV 29, 30 & DEC 1, 2018
WITH THE UTAH SYMPHONY
DECEMBER 18, 2018
FOR TICKETS visit
UTAHSYMPHONY.ORG 801-533–NOTE (6683)
SEASON SPONSOR
HERE COMES SANTA CLAUS!
JANUARY 4 & 5, 2019
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.
Baiba Skride, Violin
“On a typical concert day I would probably have a rehearsal in the morning, so after that I would try to go for a walk, have a light lunch, perhaps salad. I always try to take a nap in the afternoon just to reboot my brain, even if it’s just for five minutes. Getting ready for a concert always involves doing my hair and makeup, which really relaxes me, so I will listen to music or watch a series during my “beauty” hour. Depending on the time in the afternoon, I would probably practice some. I like to get to the concert hall about 30–40 minutes ahead of time to properly warm up and change into concert clothes. I never eat directly before a concert, but maybe have a bite of banana for the sugar and a cup of tea. And that’s about it, nothing terribly exciting about getting ready. :)”
Timothy Nishimoto, Pink Martini singer/percussionist
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“When I first started singing with the band, in 2002, I would get so nervous that I could barely speak 30 minutes prior, and after, the show. I think I just wasn’t comfortable holding a microphone or hearing my voice coming from the speaker over there, or from the back speakers. I had a friend who became a Karaoke DJ on a slow night, so I would do tons of Karaoke songs with just her and me so that I would hopefully become more at ease on stage. I think ‘How Karaoke Saved My Life’ will be the title of my autobiography because often when I feel jitters before going on stage, I imagine that I’m about to sing in a sleazy bar with no one there, or with no one that cares one bit if I mess up.”
UTAH SYMPHONY
With a Sunday Brunch this grand, half the fun is wondering where to begin and why your appetite can’t be endless. 8 01- 2 5 8 - 6 0 0 0 | G R A N DA M E R I CA . C O M
VETERANS
of US Military Armed Forces Service:
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
Enriching excellence in the arts in Utah for more than half a century.
Utah Symphony Season Sponsor | 2018-19
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THE JOANNE SHIEBLER GUEST ARTIST FUND GUEST ARTIST SPONSOR
KEM & CAROLYN GARDNER SYMPHONY CHORUS DIRECTOR SPONSOR
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UTAH SYMPHONY
AN EVENING IN SPAIN WITH BOLÉRO & CARMEN
Program
An Evening in Spain with
Boléro & Carmen DECEMBER 13 DECEMBER 14 DECEMBER 15
/ 2018 / 7:30PM / DE JONG CONCERT HALL (PROVO, UTAH) / 2018 / 7:30PM / ABRAVANEL HALL / 2018 / 5:30PM / ABRAVANEL HALL
JUN MÄRKL, conductor INGRID FLITER, piano
CHABRIER FALLA
España Nights in the Gardens of Spain I. In the Gardens of the Generalife II. A Dance Is Heard in the Distance III. In the Gardens of Sierra de Córdoba Ingrid Fliter, piano
/ INTERMISSION / BIZET (ARR. FRITZ HOFFMAN)
Selections from Carmen Prélude Aragonaise Séguedille Les toréadors Habanera Chanson du Toréador Danse bohème
RIMSKY-KORSAKOV
Capriccio espagnol I. II. III. IV. V.
RAVEL
UTAHSYMPHONY.ORG
/
Alborada Variations Alborada Scene and Gypsy Song Fandango asturiano
Boléro
(801) 533-NOTE
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AN EVENING IN SPAIN WITH BOLÉRO & CARMEN
Jun Märkl Conductor C O N D U C TO R S P O N S O R
Artists’ Profiles Conductor Jun Märkl is recognized as a devoted advocate of both symphonic and operatic Germanic repertoire, and as a rare specialist for his idiomatic explorations of the French impressionist composers. His long-standing relationships with the Vienna State Opera, the Bavarian State Opera Munich, and the Semperoper Dresden led to his being offered the Music Director posts of the Orchestre National de Lyon, the MDR Symphony Orchestra Leipzig, and the Basque National Orchestra. He appears as a regular guest with the world’s leading orchestras, having conducted the Czech Philharmonic, the Bavarian Radio Symphony Orchestra, the Tonhalle Orchester Zurich, the Philadelphia Orchestra, the Cleveland Orchestra, the Boston Symphony, the Chicago Symphony, the NHK Symphony Orchestra Tokyo, and many others. This season, Maestro Märkl appears with the Minnesota Orchestra and returns to the St. Louis, Dallas, Atlanta, Indianapolis, Milwaukee, Utah, and Vancouver Symphonies in North America. In Europe, he returns to the Brussels Philharmonic, the Helsinki Philharmonic, the Netherlands Radio Philharmonic, and the Tonküenstler Orchestra Vienna. He also returns to the Hong Kong Philharmonic and the Melbourne Symphony (Australia), and debuts with the Malaysian Philharmonic Orchestra, the Seoul Philharmonic, and the National Symphony Orchestra of Taiwan in Asia. As an opera conductor, Märkl was a regular guest at the state operas of Vienna, Munich, and the Semperoper Dresden, and was permanent conductor of the Bavarian State Opera for many seasons. He made his Royal Opera House debut with Götterdämmerung in 1996 and with Il Trovatore at the Metropolitan Opera in 1998. He conducted complete Ring cycles at the Deutsche Oper Berlin and at the New National Theatre in Tokyo, and toured Japan in 2007. He conducted Fidelio (2016) in Cincinnati, Die Liebe der Danae (2016) in Tokyo, Der fliegende Holländer (2017) in Copenhagen, and Lohengrin in Tokyo (2018).
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UTAH SYMPHONY
AN EVENING IN SPAIN WITH BOLÉRO & CARMEN
Argentine pianist Ingrid Fliter has won the admiration and hearts of audiences around the world for her passionate yet thoughtful and sensitive music-making played with an effortless technique. Winner of the 2006 Gilmore Artist Award, one of only a handful of pianists and the only woman to have received this honor, Ms. Fliter divides her time between North America and Europe. Recent and upcoming performance highlights include her debuts with the Boston, New Jersey, and Quebec Symphonies as well as with the Rochester and Louisiana Philharmonics; reengagements with the Toronto, Dallas, St. Louis, Houston, Vancouver, New World, Oregon, Utah, North Carolina, and Nashville Symphonies; a tour of Spain with the Royal Scottish National Orchestra led by Peter Oundjian; and a fifth tour to Australia.
Ingrid Fliter Piano
UTAHSYMPHONY.ORG
Artists’ Profiles
Born in Buenos Aires in 1973, Ingrid Fliter began her piano studies in Argentina with Elizabeth Westerkamp. In 1992 she moved to Europe where she continued her studies in Freiburg with Vitaly Margulis, in Rome with Carlos Bruno, and with Franco Scala and Boris Petrushansky at the Academy “Incontri col Maestro” in Imola, Italy. Ms. Fliter began playing public recitals at the age of 11 and made her professional orchestra debut at the Teatro Colon in Buenos Aires at the age of 16. Already the winner of several competitions in Argentina, she went on to win prizes at the Cantu International Competition and the Ferruccio Busoni Competition in Italy, and in 2000 was awarded the silver medal at the Frederic Chopin Competition in Warsaw. She has been teaching at the Imola International Academy “Incontri col Maestro” since the fall of 2015.
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AN EVENING IN SPAIN WITH BOLÉRO & CARMEN
Notes on the Program
Emmanuel Chabrier (1841–1894)
Manuel de Falla (1876–1946)
España
Nights in the Gardens of Spain
PERFORMANCE TIME: 6 MINUTES
PERFORMANCE TIME: 23 MINUTES
WHAT TO LISTEN FOR
Like so many French composers of his day, Chabrier was captivated by the sun and sensuality of Spain. España is filled with light, warmth, and the allure of Spanish dance, which seemed to come as a revelation to Chabrier. Describing the dancers he saw at a café, he told a friend, “If you could see them wiggle, unjoint their hips, contort, I believe you would not want to get away! At Malaga I was compelled to take my wife away…” In España, Chabrier unifies dance rhythms including the fiery jota and the slow, sultry malagueña by means of traditional sonata allegro structure. But if the form is familar, the rhythms are not, combining triple and double beats in a spicy mix. The result has been popular since its premiere and has helped form many a listener’s impressions of Spain sight unseen. In the 1950s, the American pop singer and television host Perry Como scored a hit with the single “Hot Diggity” based on a theme from España. You’ll recognize the melody even if you’ve never heard the song; it’s the one that fits the lyric “hot diggity, dog ziggity, boom! what you do to me…”
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WHAT TO LISTEN FOR
A superficial description of this suite—three movements, about 25 minutes or so in duration, virtuosic solo piano part with full orchestra—could fit a concerto. But it is far from that. The piano works its way in and out of the music, and the movements are pictorial rather than formally structured. The effect is of the piano representing our point of view as observers, rather than a primary voice. In works such as The Three-Cornered Hat and Love and the Magician, Falla makes the heat of the Spanish sun seem palpable. But Nights in the Gardens of Spain evokes long, drowsy, sensual nights in a setting where everyone stays up late and the pace slows after dark. Falla called the three movements “nocturnes,” and originally conceived the suite as a group of four nocturnes for solo piano. The three-part form for piano and orchestra emerged as the music developed, a process that took eight years. A question for listeners lucky enough to have visited Spain: Does the sound of this suite bring visions of the Alhambra to mind? Falla may have taken inspiration from a book about the magical city of Granada,
UTAH SYMPHONY
AN EVENING IN SPAIN WITH BOLÉRO & CARMEN
Notes on the Program
with its fanciful Moorish architecture, that he found in a Parisian bookshop. Though Falla never actually visited Granada, he was well aware of its fabled heritage. Art-song enthusiasts can compare the impressions in Nights in the Gardens of Spain with the ardent serenade by Agustín Lara called “Granada,” or “Granada at Night.”
Georges Bizet (1838–1875)
Selections from Carmen arr. Fritz Hoffman
PERFORMANCE TIME: 14 MINUTES
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bullfighters march into the bullring in all their splendor, and the boastful toreador Escamillo describing his own heroics. But these movements are shadowed by the Prélude that precedes them. The explosive opening bars of Carmen evoke the visceral excitement of the bull ring in Seville. Almost immediately after we hear those cymbalaccented chords, against a foreboding background of tremolo strings, Carmen’s “fate theme” evokes the fatal destiny that looms ever closer for her. It is the reason why she defies authority and does anything it takes to assert her freedom. This preoccupation with free will versus destiny was a recurrent theme in music of the Late Romantic period. In 1888, when Tchaikovsky was writing his Fifth Symphony, Carmen’s five-note “fate theme” was one of two that inspired the Russian composer in developing his own work on this subject. The other was the famous four-note theme of “fate knocking on the door” in Beethoven’s Symphony No. 5.
WHAT TO LISTEN FOR
Despite their familiarity, the melodies of Carmen still have the power to grip us and even to shock. Opera experts refer to the “ABC operas” as the ones we know best: Aida, Bohème, and Carmen. Of these, it is Carmen we are most likely to hear in the schoolyard or as elevator music; the one with the best joke lyrics (“toreador-o, don’t spit on the floor-o…”); the one we feel we know even if we’ve never seen it. Hoffman’s arrangement gives us four of the dances from Carmen: the scene-setting Aragonaise; the Séguedille, in which Carmen tempts the weak-willed Don José to join her at Lillas Pastia’s tavern; the sultry Habanera, in which she compares the elusiveness of love to a bird; and the whirling Danse bohème. We hear the
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Nikolai Rimsky-Korsakov (1844–1908)
Capriccio espagnol, Op. 34 PERFORMANCE TIME: 15 MINUTES
WHAT TO LISTEN FOR
Capriccio espagnol is comprised of five brief sections that form two larger divisions: an Alborada (the Spanish term for a morning love song), and a two-part finale.
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AN EVENING IN SPAIN WITH BOLÉRO & CARMEN
Notes on the Program
Beginning with a theme in the horns, the Alborada is a set of five variations during which the sections of the orchestra exchange sparkling solo lines; for example, a clarinet solo from the first variation is taken over by solo violin, while the clarinet co-opts a violin cadenza. By the end of the Alborada, just about every section of the orchestra has been showcased in exacting, highly exposed play. The second section begins with a Scene and Gypsy Song, a sequence of five cadenzas to balance the five variations in the Alborada. This is followed by the dramatic Fandango of the Asturias (a region of Spain) that integrates themes already heard, braiding them into a finale of fevered intensity. It’s not necessary to follow this complex architecture to hear the unity it provides. Most of all, the Capriccio is a bloodstirring suite full of color, texture, and drama that confirmed Rimsky’s strengths to his contemporary audiences, as it does to us today. Upon reviewing the score, Tchaikovsky wrote to Rimsky that “your [Capriccio espagnol] is a colossal masterpiece of instrumentation, and you may regard yourself as the greatest master of the present day.” Maurice Ravel (1875–1937)
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dynamics. Ravel’s own comments and his role in the musical preparations for the premiere performance make it clear that he wanted the tempo to remain rigid and unvarying throughout Boléro’s performance, with only a steady, closely controlled crescendo and a tempo that would clock in at a performance time of about 17 minutes. It didn’t take long for a clash of wills to arise over these strictures. The most famous of these was occasioned by The New York Philharmonic under Arturo Toscanini, who invented our modern conception of the tyrannically controlling conductor. On tour at the Paris Opéra, their May 4, 1930 performance of Boléro lasted about 13 minutes—a tempo that Toscanini knew was faster than Ravel wanted. According to one account, when Ravel complained, Toscanini said “When I play it at your tempo, it is not effective,” to which Ravel retorted “Then do not play it.” Other accounts of their exchange were even harsher. Today, our ears are more attuned to the sound of Boléro, and rigidly controlled elements of pace and volume make us all the more sensitive to the subtlety of its melodic detail. Most especially, its predictability makes its surprises all the more potent: the astonishing mastery of orchestral color revealed in Ravel’s instrumentation. In Boléro, virtually every member of the extended orchestral family is revealed in a solo passage of unexpected glory.
Boléro PERFORMANCE TIME: 14 MINUTES
WHAT TO LISTEN FOR
Since its inception, Boléro has remained in the standard orchestral repertoire, always attended by controversy over its tempo and
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UTAH SYMPHONY
PINK MARTINI
Program
Pink Martini’s Joy to the World
A Holiday Spectacular with the Utah Symphony DECEMBER 21–22
/ 2018 / 7:30PM / ABRAVANEL HALL
CONNER GRAY COVINGTON, conductor THOMAS M. LAUDERDALE, piano ARI SHAPIRO, guest vocalist EDNA VAZQUEZ, guest vocalist, guitar KATIE HARMON EBNER, guest vocalist THE VON TRAPPS, guest vocals GAVIN BONDY, trumpet ROBERT TAYLOR, trombone NICHOLAS CROSA, violin PHIL BAKER, upright bass DAN FAEHNLE, guitar TIMOTHY NISHIMOTO, vocals and percussion BRIAN DAVIS, congas and percussion MIGUEL BERNAL, congas and percussion REINHARDT MELZ, drums and percussion
Selections to be announced from the stage.
C O N D U C TO R S P O N S O R
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PINK MARTINI
Artists’ Profile See page 10 for Conner Gray Covington’s profile.
“Pink Martini is a rollicking around-the-world musical adventure … if the United Nations had a house band in 1962 hopefully we’d be that band.” – Thomas Lauderdale, bandleader/pianist
Thomas Lauderdale Bandleader/Pianist GUEST ARTISTS SPONSOR
Featuring a dozen musicians, Pink Martini performs its multilingual repertoire on concert stages and with symphony orchestras throughout Europe, Asia, Greece, Turkey, the Middle East, Northern Africa, Australia, New Zealand, South America, and North America. Pink Martini made its European debut at the Cannes Film Festival in 1997 and its orchestral debut with the Oregon Symphony in 1998 under the direction of Norman Leyden. Since then, the band has gone on to play with more than 50 orchestras around the world including multiple engagements with the Los Angeles Philharmonic at the Hollywood Bowl, the Boston Pops, the National Symphony at the Kennedy Center, the San Francisco Symphony, the Cleveland Orchestra, and the BBC Concert Orchestra at Royal Albert Hall in London. Other appearances include the grand opening of the Los Angeles Philharmonic’s Frank Gehrydesigned Walt Disney Concert Hall, with return sold-out engagements for New Year’s Eve 2003, 2004, 2008, and 2011; four sold-out concerts at Carnegie Hall; the opening party of the remodeled Museum of Modern Art in New York City; the Governor’s Ball at the 80th Annual Academy Awards in 2008; the opening of the 2008 Sydney Festival in Australia; multiple sold-out appearances and a festival opening at the Montreal Jazz Festival; two sold-out concerts at Paris’ legendary L’Olympia Theatre in 2011; and Parisian fashion house Lanvin’s 10-year anniversary celebration for designer Alber Elbaz in 2012. In its 20th year, Pink Martini was inducted into both the Hollywood Bowl Hall of Fame and the Oregon Music Hall of Fame.
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UTAH SYMPHONY
“We hope this match will encourage current and new contributors to be as generous as possible in their support. Widespread, grassroots support for USUO is key to ensuring its strong and vibrant future! Every gift–no matter what the size–makes a tremendous difference in furthering the remarkable excellence of our state’s treasured symphony and opera.”
GEORGE S. AND DOLORES DORÉ ECCLES FOUNDATION Every gift to Utah Symphony | Utah Opera is vital to the cultivation of music, live performance, and educational outreach in our community, and for a short time, your contribution can instantly triple its impact! Thanks to a $500,000 challenge grant from the George S. and Dolores Doré Eccles Foundation, every gift from new donors and increases in gifts from existing donors will be matched 2:1 now through March 15, 2019. As a 501(c)(3) non-profit organization, your generosity helps sustain our artistic excellence and is the foundation for all that we do. VISIT OUR WEBSITE
USUO.ORG/GIVE
CALL US
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MAIL A CHECK
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MILLENNIUM DONORS As a 501(c)(3) non-profit, Utah Symphony | Utah Opera is grateful to our Millennium donors, each of whom has furthered our mission with extraordinary gifts over the past several years in the form of annual, endowment, or special project support. Anonymous
O.C. Tanner
B.W. Bastian Foundation
Jim† & Marilyn Parke
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Perkins-Prothro Foundation
Hal & Diane Brierley
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Mark & Dianne Prothro
The Church of Jesus Christ of Latter-day Saints Foundation John & Flora D’Arcy Lawrence T. & Janet T. Dee Foundation Dominion Energy The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation Kem & Carolyn Gardner Marty & Jane† Greenberg Elaine & Burton L. Gordon Richard K. & Shirley S. Hemingway Foundation Huntsman Corporation
S.J. & Jessie E. Quinney Foundation Kenneth† & Jerrie Randall Patricia A. Richards & William K. Nichols Rocky Mountain Power Foundation Joseph & Evelyn Rosenblatt Charitable Fund Salt Lake County Salt Lake County Zoo Arts & Parks Shiebler Family Foundation Harris H. & Amanda P. Simmons Foundation Sorenson Legacy Foundation James R. & Susan Swartz Naoma Tate & the Family of Hal Tate Union Pacific Foundation Utah Division of Arts & Museums / National Endowment for the Arts
The Right Reverend Carolyn Tanner Irish
Utah State Legislature / Utah State Board of Education
Emma Eccles Jones Foundation
Wells Fargo
Frederick Q. Lawson Foundation
Jacqueline Wentz
Janet Quinney Lawson Foundation
Jack Wheatley
Anthony & Renee Marlon
Zions Bank
Larry H. & Gail Miller Family Foundation
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UTAH SYMPHONY
INDIVIDUAL DONORS We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from October 2, 2017 to October 2, 2018. * in-kind donation
** in-kind & cash donations
† deceased
Patricia A. Richards & William K. Nichols Anthony & Renee Marlon
Jacquelyn Wentz
Michael & Vickie Callen John & Flora D’Arcy
Jim† & Marilyn Parke Jack Wheatley
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Harris H. & Amanda Simmons Jonathan & Anne Symonds Zibby & Jim Tozer Jack Wheatley Edward & Marelynn Zipser
Robert & Elisha Finney Thierry & Catherine Fischer** Brian & Detgen Greeff Susan & Tom Hodgson G. Frank & Pamela Joklik Robert & Debra Kasirer Mr. & Mrs. Charles McEvoy Carol & Anthony W. Middleton, Jr., M.D. Harold W. & Lois Milner Terrell & Leah Nagata Leslie Peterson & Kevin Higgins J. Patrick Prothro Mark & Dianne Prothro Alice & Frank Puleo Stephen & Cydney Quinn James & Gail Riepe
Dr. Wallace Ring Albert J. Roberts IV Richard & Carmen Rogers Lori & Theodore Samuels George & Tamie† Speciale Mr. & Mrs. G.B. Stringfellow Steve & Betty Suellentrop Thomas & Marilyn Sutton James R. & Susan Swartz Norman C.† & Barbara Tanner Beth Thornton Kathleen Digre & Michael Varner Howard & Barbara Wallack John & Jean Yablonski
ENCORE Anonymous AHE/CI Trust Kem & Carolyn Gardner
BRAVO Scott & Kathie Amann Diane & Hal Brierley
OVERTURE Doyle Arnold & Anne Glarner Dr. J.R. Baringer & Dr. Jeannette J. Townsend Berenice J. Bradshaw Trust Kristen Fletcher & Dan McPhun Elaine & Burton L. Gordon
MAESTRO Anonymous A. Scott & Jesselie Anderson Edward Ashwood & Candice Johnson David & Sylvia Batchelder Thomas Billings & Judge Judith Billings Judy Brady & Drew W. Browning Po & Beatrice Chang & Family Howard & Betty Clark Joseph & Cathy Cleary Pat & Sherry Duncan Dr. & Mrs. Ralph Earle Spencer & Cleone† Eccles Sue Ellis Thomas & Lynn Fey
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INDIVIDUAL DONORS ALLEGRO Anonymous (3) Carol & Alan P. Agle Mr. & Mrs. William C. Bailey Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair David Brown Carol, Rete & Celine Browning Chris Canale Mary Ciminelli Marc & Kathryn Cohen Mr. & Mrs. Kenneth R. Cutler Patricia Dougall Eager Trust Jack & Marianne Ferraro Blake & Linda Fisher John F. Foley, M.D. & Dorene Sombado, M.D.* Diana George David & SandyLee Griswold**
Ray & Howard Grossman James & Penny Keras Susan Keyes Ashley Kirk Allison Kitching Harold† & Katherine Lamb Mr. & Mrs. Christopher J. Lansing Harrison & Elaine Levy Paul Meecham & Laura Leach Michael Liess Daniel & Deena Lofgren Beatrice Lufkin Christopher & Julie McBeth Mr. & Mrs. Richard Mithoff Dr. Louis A. Moench & Deborah Moench Charles & Amy Newhall
Dr. Thomas Parks & Dr. Patricia Legant Mr. David A. Petersen Brooks & Lenna Quinn Joyce Rice Peggy & Ben Schapiro Brent & Lisa Shafer Thomas & Gayle Sherry Drs. John & Ann O’Neill† Shigeoka Gibbs† & Catherine W. Smith Elizabeth Solomon Janice K. Story Thomas† & Caroline Tucker E. Woolston & Connie Jo Hepworth-Woolston Chris & Lisa Young Kathie & Hugh Zumbro
ABRAVANEL & PETERSON SOCIETY Anonymous (6) Craig & Joanna Adamson Fran Akita Robert & Cherry Anderson Robert Baker Robert & Melisse Barrett E. Wayne & Barbara Baumgardner Mary Beckerle & David Murrell Melissa J. Bentley, MD Charlotte & Hal Browning Judy & Larry Brownstein Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Mark & Marcy Casp Hannalorre Chahine Robert Chamberlain Hal & Cecile Christiansen Amalia Cochran George Coleman Tracy Collett Raymond & Diana Compton
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Dr. Akiko Okifuji David & Judi Harris Jeff & Peggy Hatch Don & Lisanne Hendricks Debbie Horton Dixie S. & Robert P. Huefner Sunny & Wes Howell Mr. & Mrs. Jerry Huffman Adam Jackson Jay & Julie Jacobson Drs. Randy & Elizabeth Jensen M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Maxine & Bruce Johnson Bryce & Karen† Johnson Neone F. Jones Family Jeanne Kimball Howard & Merele Kosowsky Val E. & Dominique C. Lambson Donald L. & Alice A. Lappe Victoria McNeil LeVine
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INDIVIDUAL DONORS ABRAVANEL & PETERSON SOCIETY CONT. Bill Ligety & Cyndi Sharp Dennis & Pat Lombardi Jeramy Lopez David & Donna Lyon Keith & Vicki Maio Jed & Kathryn Marti Daniel & Noemi P. Mattis David & Nickie McDowell Michael & Julie McFadden Elinor S. McLaren & George M. Klopfer George & Nancy Melling George & Linda Mendelson Glenn Mosby Dale Moses Sir David Murrell IV & Mary Beckerle Marilyn H. Neilson Thomas & Barbara O’Byrne O. Don & Barbara Ostler
Dr. S. Keith & Barbara Petersen Robert Petkun Ray Pickup Victor & Elizabeth Pollak Dr. & Mrs. Marvin L. Rallison W.E. & Harriet R. Rasmussen Kenneth Roach & Cindy Powell James & Anna Romano Lousje & Keith Rooker Thomas Safran Mark & Loulu Saltzman Margaret P. Sargent Grant H. Schettler Shirley & Eric Schoenholz Barbara & Paul Schwartz William G. Schwartz & Jo Ann Givan Dr. Nicole L. Mihalopoulos & Joshua Scoville Dewelynn H. & J. Ryan† Selberg
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Thomas Fuller Heidi Gardner Dave Garside Catherine Gorrell Dr. & Mrs. John Greenlee The James S. Gulbrandsen, Sr. Family Kenneth & Kate Handley Christine St. Andre & Cliff Hardesty Robert & Marcia Harris John Edward Henderson Drs. Carolyn & Joshua Hickman Caroline & David Hundley Gordon Irving W. Carroll Jackson Laurie Zeller & Matthew Kaiser Carl & Gillean Kjeldsberg Mel & Wendy Lavitt James Lether Peter† & Susan Loffler Bill & Sharon Macey
John & Kristine Maclay Peter Margulies & Louise Vickerman Edward & Grace McDonough Warren K. & Virginia G. McOmber Richard & Robin Milne Nancy Nichols Stephen & Mary Nichols Ruth & William Ohlsen Ann G. Petersen Dr. Richard & Frances Reiser David & Lois Salisbury James Schnitz Whittney Thomas Ann & Steven Tyler Jamie Weeks Jeremy & Hila Wenokur Mary & Scott Wieler Caroline & Thomas Wright Patrick Zimmerman
PATRON Anonymous Cynthia Adams Madeline Adkins & John Forrest Dr. & Mrs. Jeffrey L. Anderson Tina Barry Kathy Becker Mr. & Mrs. William Bierer Harvey & Donna Birsner C. Kim & Jane Blair Roger & Karen Blaylock Patricia Bragg Jeff Brown Kelly Burt Mr. & Mrs. William D. Callister, Jr. Mr. & Mrs. Lee Forrest Carter Donald Dalton Drs. Pilar & Christopher Dechet Ashby & Anne Cullimore Decker Margaret Dreyfous Robert S. Felt, M.D.
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UTAH SYMPHONY
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
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INDIVIDUAL DONORS FRIEND Anonymous (7) Christine A. Allred Drs. Crystal & Dustin Armstrong David Bailin Mr. & Mrs. Lawrence R. Barusch Leslie Bender Rodney & Carolyn Brady Diane Banks & Dr. Mark Bromberg Mr. & Mrs. Neill Brownstein Dana Carroll & Jeannine Marlowe Michael & Beth Chardack Dr. & Mrs. Hal S. Cole Dr. & Mrs. David Coppin Dorothy B. Cromer Elisabeth B. Dean David & Karen Gardner Dee James & Rula Dickson Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Alice Edvalson Eric & Shellie Eide Tom & Carolyn Fey Margo Franta James & Barbara T. Gaddis Robert & Mary Gilchrist
Ralph & Rose Gochnour Mr. & Mrs. Richard R. Graham Dr. & Mrs. David Guidry John Gurr Geraldine Hanni Jonathan Hart Courtney Henley Connie C. Holbrook 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 David & Sandra†Lamb Guttorm & Claudio Landro Tim & Angela Laros Allan & Kay Lipman Julie & John Lund Susan R. Marquardt Clifton & Terri McIntosh Lex Hemphill & Nancy Melich Hal & Tonya Miller Mary Muir
Joe Mulvehill Dan & Janet Myers Oren & Liz Nelson Dr. & Mrs. Richard T. O’Brien Linda S. Pembroke David Porter Dr. Barbara S. Reid Gina Grossman Mr. & Mrs. Robert Rollo Debra Saunders Janet Schaap Mr. August L. Schultz Frances & Ron Schwarz Gerald & Sharon Seiner Dennis & Annabelle Shrieve Barbara Slaymaker Mercedes Smith Michael & Linda Sossenheimer Dr. & Mrs. Michael H. Stevens Larry R. & Sheila F. Stevens Mitch & Dawn Taubin Douglas & Susan Terry Gail Tomlinson Judith Warner Mark Webber Margaret & Gary Wirth Marsha & Richard Workman Michael & Olga Zhdanov
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 M. Walker & Sue Wallace
GIFTS MADE IN HONOR Neill & Linda Brownstein Classical Movements Peggy Chase Dreyfous The Emily Company
Burton & Elaine Gordon Neeta Helms Mrs. Barbara Nellestein Abigail Rethwisch Paulson
Joanne & Bill Shiebler Constance & Marcus Theodore
GIFTS MADE IN MEMORY Anita Alcabes Jay T. Ball Dr. Ray Beckham Janet Bennett Winifred Bradley Loraine L. Felton Harry E. Franta Crawford Gates Lowell P. Hicks Muriel Lindquist
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Panos Johnson Sharon R. Lewis Marilyn Lindsay Clyde Dennis Meadows Frank & Maxine McIntyre Jo McIntyre Mrs. Karen Severs Nourallah Glade & Mardean Peterson Frank & Shirley Russell J. Ryan Selberg
Ann O’Neill Shigeoka, M.D. Phyllis Sims Rebecca “Becky” Sharp Sorensen Shirl Swenson Marie Watkins Ardean Watts Sarah Maxine Winn Lawrence Young Dr. I. Zelitt
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 AHE/CI Trust The Church of Jesus Christ of Latter-day Saints George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation Dominion Energy The Florence J. Gillmor Foundation
Emma Eccles Jones Foundation O.C. Tanner 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 Grand America Hotel & Little America Hotel* 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
St. Regis / Deer Crest Club** Simmons Family Foundation Stein Eriksen Lodge** Summit Sotheby’s Nora Eccles Treadwell Foundation Vivint.SmartHome WCF Mutual Insurance Company
$50,000 TO $99,999 C. Comstock Clayton Foundation
$25,000 TO $49,999 Anonymous Arnold Machinery B.M.W. of Murray | B.M.W. of Pleasant Grove Cache Valley Electric Chevron Corporation Deer Valley Resort* Janet Q. Lawson Foundation
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INSTITUTIONAL DONORS $10,000 TO $24,999 Adobe HJ & BR Barlow Foundation B.W. Bastian Foundation Brent & Bonnie Jean Beesley Foundation R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine Foundation-Russell Family The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation
Every Blooming Thing* Goldman Sachs & Co. LLC The Val A. Green & Edith D. Green Foundation Richard K. & Shirley S. Hemingway Foundation Hyatt Centric Park City** National Endowment for the Arts Ogden Opera Guild Park City Chamber Bureau Promontory Foundation
James Riepe Family Foundation The Joseph & Evelyn Rosenblatt Charitable Fund The Swartz Foundation Wells Fargo
Holland & Hart** J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Norman C.† & Barbara L. Tanner Second Charitable Trust
Raymond James & Associates Ruth’s Chris Steak House Salt Lake City Arts Council U.S. Bank Foundation Union Pacific Foundation Utah Autism Foundation
InvitedHome* Millcreek Coffee Roasters* George Q. Morris Foundation Prime Steakhouse Peczuh Printing* Rocky Mountain Power Foundation
Snell & Wilmer Spitzberg-Rothman Foundation Stay Park City Summerhays Music Center* The Victory Foundation Zurchers*
$5,000 TO $9,999 Anonymous (2) Deluxe Corporation Foundation The Dorsey & Whitney Foundation Grandeur Peak Global Advisors
$2,500 TO $4,999 Blume Haiti Robert S. Carter Foundation CBRE Ditta Caffè* Victor Herbert Foundation Intuitive Funding
Proud Supporters of the Utah Symphony
Grandeur Peak Funds are distributed by ALPS Distributors, Inc.
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UTAH SYMPHONY
INSTITUTIONAL DONORS $1,500 TO $2,499 Blue Lemon* 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 Ray, Quinney & Nebeker Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Salt Lake Comic Con* Snow, Christensen & Martineau Foundation The Empress Theatre
Young Presidents’ Organization Zions Management Services Co.
Summerhays Music Center Swire Coca-Cola, USA*
Thomas Family Foundation Wrona, Gordon & Dubois
$1,000 TO $1,499 Five Penny Floral* Huntsman International LLC The Kanter Family Foundation
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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.
Stream Classical KUER 24/7 on your desktop. Read the latest from NPR Classical. See and search the full playlist.
classicalkuer.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
UTAHSYMPHONY.ORG
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(801) 533-NOTE
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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
Director of Individual Giving
Grants Manager
Heather Weinstock
Manager of Special Events & DVMF Donor Relations
Alina Osika
Payroll & Benefits Manager Patron Information Systems Manager Accounts Payable Accountant
Director of Education & Community Outreach
Kyleene Johnson
Symphony Education Manager
Development Operations Manager
Paul Hill
MARKETING & COMMUNICATIONS Jon Miles
Annie Farnbach
Associate Conductor
Vice President of Marketing & Public Relations
Barlow Bradford
RenĂŠe Huang
OPERA TECHNICAL Jared Porter
Anthony Tolokan
Vice President of Symphony Artistic Planning
Conner Gray Covington Symphony Chorus Director
Walt Zeschin
Director of Orchestra Personnel
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 Communications & Digital Media
Chad Call
Jeff F. Herbig
Kathleen Sykes
Digital Content Producer
Nina Starling
Website Content Coordinator
Director of Patron Engagement Marketing Manager - Patron Loyalty
Andrew J. Wilson
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
Group Sales Associate
Sales Associates
Nicholas Barker Gavin Benedict Lorraine Fry Jodie Gressman Ellen Lewis Ananda Spike Ticket Agents
Opera Chorus Master
Brooke Yadon
Opera Production Coordinator
DEVELOPMENT Leslie Peterson
Vice President of Development
Rachel McNassor
Director of Major Gifts
54
Technical Director
Lane Latimer
Graphic & Digital Media Designer
Merry Magee
Production & Stage Manager
Kyle Coyer
Kelly Nickle
Melissa Robison Chip Dance
Senior Technical Director
Mike Call
Cassandra Dozet
Program Publication & Front of House Director
Symphony Education Assistant
Marketing Manager - Audience Development
PATRON SERVICES Faith Myers
Director of Operations
Opera Education Assistant
ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan
Vice President of Finance & CFO
Mike Lund
Director of Information Technologies
Karyn Cunliffe Controller
Properties Master Assistant Props
Travis Stevens Carpenter
Dusty Terrell
Scenic Charge Artist
COSTUMES Verona Green
Costume Director
Jessica Cetrone
Costume Rentals Supervisor
Kierstin Gibbs LisaAnn DeLapp
Rentals Assistants
Amanda Reiser Meyer Wardrobe Supervisor
Milivoj Poletan Tailor
Tiffany Lent
Cutter/Draper
Donna Thomas
Milliner & Craftsperson
Chris Chadwick Yoojean Song Connie Warner Stitchers
Hope Bird Shelley Carpenter Krissa Lent Katie Satot
Wigs/Make-up Crew 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
STAGE ARTS
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STAGE ARTS
LORE
Sometimes the truth is more frightening than fiction. Join storyteller Aaron Mahnke and musical guest Chad Lawson for an unforgettable evening of dark, spine-tingling tales—the perfect way to celebrate All Hallows’ Eve. Lore is an award-winning, critically acclaimed podcast that exposes the darker side of history, exploring the people, places, and things we fear the most. October 31, 2018 | 7:30 pm de Jong Concert Hall ON SALE NOW
THE MOUSETRAP by agatha christie
directed by david morgan
Trapped in a local bed and breakfast by a snowstorm, a group of strangers is horrified to learn there is a murderer in their midst. Join us for the longest-running play of the modern era, a tale of suspense and terror that ends as shockingly today as it did in 1952. “The Mousetrap” is presented by special arrangement with SAMUEL FRENCH, INC. October 26–November 10, 2018 Pardoe Theatre ON SALE NOW
ETHEL with ROBERT MIRABAL, FLUTE: THE RIVER
Recognized as one of America’s most adventurous string quartets, ETHEL strives for common creative expression forged in the celebration of community. ETHEL is joined by Grammy Award-winning Robert Mirabal, a Taos Pueblo composer and songwriter known especially for his work with the Native American flute. December 7, 2018 | 7:30 pm de Jong Concert Hall ON SALE NOW
WONDERLAND
music by frank wildhorn lyrics by jack murphy original book by gregory boyd and jack murphy
uk adaptation by robert hudson directed by tim threlfall choreographed by nathan balsar music direction by gayle lockwood
From the team that brought you the BYU smash hit The Count of Monte Cristo, this new musical takes Lewis Carroll’s classic story and sets it in present day New York. Jump down the rabbit hole to discover this inspirational story of love, redemption, and the power of imagination. January 24–February 2, 2019 de Jong Concert Hall On sale November 19, 2018
801-422-2981 BYUARTS.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.
UTAHSYMPHONY.ORG
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(801) 533-NOTE
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OUT OUT ON ON THE THE TOWN TOWN OUT ON THE TOWN
dining guide diningdining guide guide THE THENEW NEWYORKER YORKER60 60West WestMarket MarketStreet. Street.SLC’s SLC’s premier premierdining diningestablishment. establishment.Modern ModernAmerican American MARTINE 22 East 100 South. Exceptional ambience, MARTINE 22 Eastin100 South. Exceptional ambience, located in cuisine cuisineisisfeatured featured inrefined refined dishes dishesand and approachable approachable located infood. a historic brownstone. Martine Salt comfort From From classic classic totoinnovative, innovative, from acomfort historic food. brownstone. Martine offers Salt Lake Cityoffers afrom sophisticated Lake City a sophisticated dining experience kept contemporary contemporary seafood seafood toConveniently toAngus AngusBeef Beef steaks steaks – simple. –the the dining experience kept simple. located on First South Conveniently located onfor First South around the corner menu menuprovides provides options options forevery every taste. taste. Served Served ininaa around the corner from the Eccles Theater. Extensive bar and wine from the Eccles Theater. Extensive bar and wine service. casually casuallyelegant elegantsetting settingwith withimpeccable impeccableservice. service. service. martinecafe.com L,for T,corporate LL, RA,CC, CC,and VS. 801-363-9328 martinecafe.com L, D, T,D,corporate LL, RA, VS. 801-363-9328 Private Privatedining diningrooms rooms for and social socialevents. events. Lunch Lunch&&Dinner. Dinner.No Nomembership membershiprequired. required.L,L,D,D,LL, LL,AT, AT, RR, RR,CC, CC,VS. VS.801.363.0166 801.363.0166 MARKET MARKETSTREET STREETGRILL GRILLDOWNTOWN DOWNTOWN48 48 SPENCER’S 255 South West Temple, SLC. Whether it’s West WestMarket MarketStreet. Street. Unanimous Unanimous favorites favorites for forseafood seafood before orproviding after the exceptional show or an evening dinner with friendswinning. and dining, dining,providing exceptional service service and and award award winning. The Thecontemporary contemporary menu menu features features the thehighest highest quality quality family—enjoy hand cut steaks, fresh seafood, locally-crafted beers, available. available.inspired Select Selectfrom froman an abundant abundant offeringof offresh fresh classically cocktails and an awardoffering winning wine list. seafood flown indaily, daily, Angus AngusBeef Beefsteaks, steaks,and andaavariety variety L,seafood D, ST, C,flown LL, RA,inCC, VS. 801-238-4748 ofofnon-seafood non-seafooddishes. dishes.Open Open7 7days daysaaweek weekserving serving breakfast, breakfast,lunch, lunch,dinner, dinner,Sunday SundayBrunch. Brunch.B,B,L,L,D,D,C,C,AT, AT,S,S, LL, LL,CC, CC,VS. VS.801.322.4668 801.322.4668
MARTINE MARTINE22 22East East 100 100 South. South.Award Award winning winning ambience, ambience, SQUATTERS PUB BREWERY 147 West Broadway located located ahistoric historic brownstone. Martine Martine offers Salt SaltLake Lake SLC. Joininusinabefore and brownstone. after the show for eclecticoffers daily specials and City Cityaasophisticated sophisticated dining experience experience kept kept simple. simple. Locally Locally traditional pub favoritesdining such as bacon topped meatloaf, pizzas and sourced sourcedingredients, ingredients,pre-event pre-event$25 $25three threecourse courseprix prixfixe. fixe. aExtensive deliciousbar array of burgers, all pairedmartinecafe.com with our world-class beer and Extensive barand and wine wineservice. service. martinecafe.com atmosphere. L,801-363-9328 S, AT, LL, D, CC, VS. 801-363-2739 L,welcoming L,D,D,T,T,LL, LL,RA, RA,CC, CC,VS. VS.801-363-9328
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22 East 100 South Phone • 801.363.9328 www.martinecafe.com
Salt SaltLake LakeCity’s City’s#1 #1 Most MostPopular PopularRestaurant Restaurant –Zagat –Zagat
4848W.W.Market MarketStreet Street(340 (340South) South) COMPLIMENTARY VALET AND SELF-PARKING FOR ALL GUESTS 801.322.4668 801.322.4668 801.238.4748 255 S WEST TEMPLE RESERVATIONS AT OPENTABLE.COM
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Phone Phone• •801.363.9328 801.363.9328 www.martinecafe.com www.martinecafe.com Top TopPhoto: Photo:Image Imagelicensed licensedbybyIngram IngramImage Image
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 BYU Arts Caffè Molise Challenger School City Creek Living Daynes Music Diita Caffè Excellence in the Community Gifted Music School The Grand America Hotel Grandeur Peak Funds Hamilton Parks Interiors Jerry Seiner Cadillac Kayenta Ken Garff Volvo Cars
If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833
KUED KUER Larry H. Miller Lexus Little America Hotel Lumen Lighting Millcreek Coffee Roasters The Nature Conservancy Parsons Behle & Latimer RC Willey Rowland Hall Ruby’s Inn Summit Sotheby’s University Federal Credit Union Utah Food Services
utahfoodservices.com
801.531.0226 Book us for your next event!
Utah’s Catering Company Proud Partner of the UTAH SYMPHONY | UTAH OPERA
Millcreek Coffee Roasters has been delivering freshly roasted coffee to restaurants, businesses, and homes in Utah since 1992. Visit us at
www.millcreekcoffee.com
for premium coffee delivered to your doorstep.
UTAH SYMPHONY VOLUNTEER OPPORTUNITIES
Do you love music and kids? VOLUNTEER WITH UTAH SYMPHONY IN THE CLASSROOM OR AFTER SCHOOL! UTAH SYMPHONY 5TH GRADE CONCERTS Volunteer to be a docent who visits 5th grade classrooms along the Wasatch Front to prepare students for a special concert in Abravanel Hall. We teach you how to do it and give you all the tools to succeed! Contact Ky Johnson at kjohnson@usuo.org. THE MUSIC OUTREACH PROGRAM Volunteer to set up and facilitate free group violin lessons at an after-school program in Rose Park. Contact Doyle Clayburn at dcsunset13@gmail.com.
ALL LIVES CAN BE ENRICHED BY THE ARTS. SHARE YOUR LOVE OF MUSIC WITH OUR YOUNG PEOPLE.
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.
Music Begins Here Now Accepting Music Students PreK–12 Call 801.300.1199, or visit GiftedMusicSchool.org
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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