OnStage Ogden January Concerts 2023

Thanks for kicking off 2023 by joining us for a performance. While I’m not a huge fan of resolutions, what better plan is there than to attend more concerts and performances in the New Year? Whether you’re seeing the graceful movements of Repertory Dance Theatre, the lively sounds of Mariachi Herencia de Mexico, or the symphonic masterpiece of Carmina Burana, there’s no shortage of inspiration to bring you back for more.

Of course these performances don’t just happen on their own – they rely on the support of generous donors like you. I want to say a special “thank you” to all of you who contributed to our recent year-end donation campaign. By contributing to Onstage Ogden, you’re bringing worldclass talent to our community and ensuring that these cultural experiences are accessible to all.

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So let’s make a resolution to support and engage more closely with the performing arts in the coming year –whether that’s by purchasing your next ticket, making a donation, or even just telling friends, neighbors, or co-workers about an amazing experience you had at the theater. Here’s to a year full of breathtaking performances and the satisfaction of knowing that we all play a part in making them possible.

Fredrick Executive Director, Onstage Ogden

Salt Lake Branch 79 S Main Suite 100 Salt Lake City, UT 84111 385-313-9197

James

ONSTAGE OGDEN

In 1949, Beverly Lund and Ginny Mathei decided they wanted to add even more culture to Weber County. So, for the small fee of $400, they brought the Utah Symphony to Ogden for a single performance. Three hundred people attended the concert.

This 1949 concert was a big success, so the women decided to present even more concerts in Ogden. They organized a committee within the Welfare League (later the Junior League) to raise funds for the Symphony Concerts. Then, in 1957, this committee reformed and incorporated as the Ogden Guild. After a few more name changes and the addition of Ballet West performances in 1982, the organization became the Ogden Symphony Ballet Association.

Under the direction of numerous board members and long-serving Executive Directors like Jean Pell (27 years), and Sharon Macfarlane (14 years), Onstage Ogden has expanded our programming to include internationally renowned classical dance, vocal, and chamber music. Since our inception, we have presented over 800 performances to tens of thousands of Utahns.

In addition, Onstage Ogden actively works to engage and educate younger patrons. For example, our Youth Guild has provided generations of high school students with opportunities to serve. We also offer a variety of education classes, from Masterworks Music Detectives to Music and Dance Explorers. And we are partnering with several local community organizations to expand these programs to reach even more children and students. Onstage Ogden is proud to celebrate 70 years sponsoring only the finest music and dance in the Greater Ogden area. We are honored participate in the enrichment of our community by presenting professional classical performance.

Mills Publishing, Inc.

Dan Miller, President; Cynthia Bell Snow, Office Administrator; Jackie Medina, Art Director; Ken Magleby, Graphic Design; Patrick Witmer, Graphic Design/Web Developer; Paula Bell, Dan Miller, Paul Nicholas Advertising Representatives;

Onstage Ogden 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 2023.

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BOARD & STAFF

BOARD OF DIRECTORS

Jennifer Webb President

Jean Vaniman President-Elect

Dr. Val Johnson Vice President

Roger Christensen Treasurer

FOUNDATION

Russel King Chair Meg Naisbitt Vice Chair

Marti M. Clayson Secretary

STAFF

James Fredrick Executive Director

Andrew Barrett Watson Outreach & Events Manager

Sarah Lorna Bailey Development Coordinator

Christina Myers Secretary

Dr. Ann Ellis, At Large Cirilo Franco, At Large John Fromer

Russel King, Chair of Foundation Board Dr. Rosemary Lesser Wendy Roberts Joyce Stillwell Dr. Deborah Uman, At Large

Dotty Steimke Treasurer Michael S. Malmborg Dr. Judith Mitchell Carolyn N. Rasmussen Sherm Smith Nikki Thon

Camille Washington Marketing & Box Office Manager

Avery Franklin Audience Engagement & Administrative Coordinator

2022–23 SEASON

Patriotic Pops

June 30, 2022 at 8PM

The Goonies in Concert Sept. 22, 2022 at 7:30PM

Jarabe Mexicano Sept. 28, 2022 at 7:30PM

Portland Cello Project Oct. 7, 2022 at 7:30PM

Kittel & Company Oct. 11, 2022 at 7:30PM

Fisk Jubilee Singers Nov. 5, 2022 at 7:30PM

Stephen Hough performs Rachmaninoff Nov. 10, 2022 at 7:30PM

The Nutcracker Nov. 25–26, 2022 at 2PM & 7PM

Here Comes Santa Claus Dec. 12, 2022 at 7PM

The Swingles with Chamber Orchestra Ogden Dec. 14, 2022 at 7:30PM

Repertory Dance Theatre

Jan. 13, 2023 at 7:30PM

Mariachi Herencia de Mexico

Jan. 14, 2023 at 7:30PM

Carmina Burana Jan. 26, 2023 at 7:30PM

Peking Acrobats Feb. 2, 2023 at 7:30PM

Storm Large with the Utah Symphony: Love, Storm Feb. 9, 2023 at 7:30PM

International Guitar Night Feb. 10, 2023 at 7:30PM

Empire Wild Feb. 22, 2023 at 7:30PM

The Queen’s Cartoonists Mar. 1, 2023 at 7:30PM

Dvořák’s Symphony No. 5 Mar. 2, 2023 at 7:30PM

Brooklyn Rider Mar. 7, 2023 at 7:30PM

FLY Dance Company: Breakin’ Classical Mar. 16 at 7PM

BYU International Folk Ensemble Mar. 25, 2023 at 7:30PM

Water Works Friday, Apr. 7 at 7:30PM

Blue Rhapsody: 100 Years of Rhapsody in Blue Apr. 13, 2023 at 7:30PM

Sibelius’ 5th Symphony Apr. 20, 2023 at 7:30PM

Ballt West II Snow White May 5, 2023 at 7PM

Merz Trio May 11, 2023 at 7:30

Arts

The Onstage Ogden’s 2022–2023 season is funded in part by grants from the National Endowment for the Arts, the Utah Division of Arts and Museums, Weber County Recreation, Arts, Museums, and Parks (RAMP) program, and Ogden City Arts.

Preprint Spring Stage Arts

DanceRepertoryTheatre

January 13, 2023 / 7:30PM

PEERY’S EGYPTIAN THEATER

Executive/Artistic Director: Linda C. Smith

Artistic Associates: Nicholas Cendese, Lynne Larson

Lighting: Pilar I.

RDT Dancers: Lauren Curley, Caleb Daly, Trung “Daniel” Do, Lindsey Faber, Elle Johansen, Jonathan Kim, Jacob Lewis, Megan O’Brien, Ursula Perry

NORTH STAR (Premiere 1978)

Choreography: Lar Lubovitch

Music: Phillip Glass (North Star)

By arrangement with DUNVAGEN MUSIC PUBLISHERS

Costumes: Clovis Ruffin

Lighting: Pilar I.

Restaging: Katarzyna Skarpetowska

Cast: Lauren Curley, Caleb Daly, Trung “Daniel” Do, Lindsey Faber, Elle Johansen, Jacob Lewis, Jonathan Kim, Megan O’Brien, Ursula Perry.

North Star “Copyright © 1978 Lar Lubovitch”

MAZURKAS

First performed August 15, 1958, at the American Dance Festival, New London Connecticut by the José Limón Dance Company

Choreography: José Limón Music: Frédéric Chopin

Reconstruction and Direction: Nina Watt Costumes: Eugene Tachini Lighting: Pilar I

Cast: Quartet (Opus 56, No. 1): Lauren Curley, Elle Johansen, Lindsey Faber, Ursula Perry Solo (Opus 41, No. 3): Jonathan Kim Duet (Opus 41, No. 1) : Elle Johansen, Trung “Daniel“ Do Solo (Opus 30, No. 2): Ursula Perry Trio (Opus 33, No. 2): Jacob Lewis, Trung “Daniel” Do Solo (Posthumous A Minor): Lauren Curley Finale (Opus 30, No. 3): Ensemble

The Mazurkas (or as they were first titled Dances in Honor of Poznan, Wroclaw, Katowiez and Warszawa) was created in honor of these cities and their people in Poland. During a trip to Europe after World War II, the choreographer was deeply moved by the courage of the Polish people and created the work as a tribute to their heroic spirit. Mazurkas also stands as a remarkable example of how to translate national and character dance to the stage.

(C) 1996, José Limón Dance Foundation, Inc. This performance of MAZURKAS, a Limón Dance, is presented by arrangement with The José Limón Dance Foundation, Inc. and has been produced in accordance with the Limón Style and Limón Technique service standards established by The José Limón Dance Foundation, Inc. (All rights reserved)

These performances are part of the José Limón Foundation’s 75th Anniversary Celebration

INTERMISSION

CRIPPLED UP BLUES AND OTHER TALES OF DESERET

Dedicated with love to the memory of my brother Mike Evans (1952-2015)

Choreography: Bill Evans Music: written and recorded in 2015 by the 3hattrio, Hal Cannon, Greg Istock and Eli Wrankle

Lighting: Pilar I Costumes: Eugene Tachinni

Cast: Caleb Daly, Trung “Daniel” Do, Lindsey Faber, Elle Johansen, Jonathan Kim, Jacob Lewis, Megan O’Brien, 3Ursula Perry.

Note: This piece was commissioned by RDT to help celebrate its 50th anniversary. It was inspired by the delightfully infectious music and by tales of the pioneer settlement of the Intermountain region as told to me by my grandparents. September 30 marks the seventh anniversary of the passing of my brother Michael Scott Evans, who passionately loved Utah history and the natural wonder of Intermountain wilderness areas.

OUTDOORS (from Shutdown, 2018)

Choreography: Noa Zuk & Ohad Fishof Music: Ohad Fishof Costumes: Noa Zuk, Kima Zuk Fishoff, Ohad Fishoff Cast: Caleb Daly, Trung “Daniel” Do, Lindsey Faber, Elle Johansen, Jonathan Kim, Jacob Lewis, Megan O’Brien, Ursula Perry.

Note: Outdoors is a contemporary, tribalistic, pattern-piece filled with quirky invention and laced with rhythmic humor. Choreographers Noa Zuk and Ohad Fishof are collaborative artists based in Tel Aviv, Israel whose work is inventive and unique. Together, the artists have been commissioned to set choreographic works and participate in artistic residencies in Europe, Israel, Russia, the United States, and Singapore in professional and academic settings. They are both certified instructors of Ohad Naharin’s innovative training method, the Gaga movement language, which has recently gained worldwide recognition as a practice for both dancers and those without previous dance experience.

OnstageOgden.org

ABOUT REPERTORY DANCE THEATRE

ARTISTIC / EXECUTIVE DIRECTOR Linda C. Smith

Repertory Dance Theatre (RDT), founded in 1966 in Salt Lake City, Utah, is a professional modern dance repertory company dedicated to the creation, performance, perpetuation and appreciation of modern dance. For over 54 years, RDT has pushed the boundaries of modern dance, while preserving and celebrating its legacy. Known worldwide for its collection of dance treasures, RDT is both a museum and contemporary gallery representing the scope and diversity of modern dance, past and present. From the early pioneers of the art form to today’s cutting edge choreographers, the company maintains one of the largest collections of modern dance classics in the world. As a repository for this rich heritage, RDT is a resource center and laboratory for contemporary dancers, choreographers, visual artists, writers and composers.

In addition to public performances, RDT produces a variety of community-based programs and has a long-standing commitment to arts-in-education. Outreach activities include lectures, informal performances, teachers’ workshops, open rehearsals, annual summer workshops and year-round classes which all serve to train and ignite the creative voice in people of all ages. At its home in the Rose Wagner Performing Arts Center, the company contributes to the cultural, social, and economic vitality of the community. RDT remains committed to building bridges of understanding that de-mystify the art of dance, making it a meaningful part of the cultural environment regionally, nationally and internationally.

Repertory Dance Theatre PO Box 510427 | Salt Lake City, UT 84151-0427 801-534-1000 | www.rdtutah.org

DANCERS

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ABOUT REPERTORY DANCE THEATRE

STAFF

Linda C. Smith

Nicholas Cendese

Lynne Larson

Stephanie Shiozaki

Artistic/Executive Director

Artistic Associate / Development Director

Artistic Associate / Education Director

PR/Marketing Director

Ricklen Nobis Musical & Booking Director

Laura Smith Bookkeeper

Megan O’Brien Education Associate

Ben Wickham Administrative Assistant

Pilar I. Production Manager

Austin Hardy

Education & Technology Assistant

Kara Komarnitsky Audience Engagement Assistant

Photo Credit: Izzy Arrietta

ARTISTS BIOS

LAR LUBOVITCH is one of America’s most versatile, popular, and widely seen choreographers. Based in New York City, Lubovitch’s company has performed throughout the world, and his dances have also been performed by many other major companies, including American Ballet Theater, Joffrey Ballet, New York City Ballet, Paris Opera Ballet, Royal Danish Ballet, San Francisco Ballet, Alvin Ailey American Dance Theater, and many others. His dances are renowned for their musicality, rhapsodic style and sophisticated formal structures. His radiant, highly technical choreography and deeply humanistic voice have been acclaimed worldwide.

NOA ZUK is a choreographer and a dancer. She was born and raised in Kibutz Sh’ar Ha’amakim in the north of Israel. She began dancing at the age of four, doing folk, modern, ballet, jazz, and improvisation as well as martial arts (she holds a black belt in Shotokan Karate). At the age of eighteen she began her professional life as a dancer with choreographers Inbal Pinto and Yuval Pick and with the Young Kibbutz Dance Company. A year later she joined The Batsheva Ensemble, Batsheva Dance Company’s junior company, where she danced for three years, performing up to 120 shows a year, in Israel and abroad.

In the year 2000 she joined Batsheva Dance Company (BDC), where she danced for nine years. As a company member under the artistic direction of Ohad Naharin, Noa danced in all of his creations for the company during those years. Noa left the company in 2009 to concentrate on her work as a choreographer. Noa is also a renowned teacher. She has been teaching composition, technique, and repertory workshops (both of her own work and of Naharin’s choreographies) worldwide, and is a Gaga teacher since 2007.

OHAD FISHOF is an interdisciplinary artist, working in a diverse range of fields including dance, sound, performance, video and installation. He began his artistic career as lead singer and writer with the pioneering Israeli art-pop band Nosei Hamigbaat. He later moved to compose music for dance, performance and art installations while at the same time, expanding his artistic endeavors to other media. In 1997 he received an MA in Dance from Laban Center London. He spent the following years creating dance and performance pieces as well as sound and video installations in London, where he was then based.

Over the last twenty years, Fishof has been consistently expanding his ever-growing body of work – a difficult-tocategorize continuum of idiosyncratic time-based art, ranging from live music to site-specific performance work, video, installations and dance pieces. His short film Abduction won first prize for Best Experimental Film at the Jerusalem Film Festival 2011.

Around 2011 Fishof began making work in collaboration with his life partner, choreographer and dancer Noa Zuk. Their first work together, the dance video One More Song, was presented in many exhibitions and screenings worldwide. They went on to create numerous works for the screen and for the stage.

BILL EVANS is a Utah native who was a dancer and prolific choreographer with RDT from 1967 through 1974. He has enjoyed an ongoing relationship with the company for which he has created 20 works (one of them an evening-length work). He has returned often as a teacher and guest performer and serves on the RDT national advisory board.

Since 1974, Bill has become an internationally-known choreographer, performer, teacher, administrator, author, movement analyst, adjudicator and speaker. His work has taken him to all 50 states and to 27 different countries. More than 300 of Evans’ works have been performed by professional and pre-professional ballet, modern dance, and tap companies, including his own Bill Evans Dance Company (founded in 1975), RDT, Ballet West, RirieWoodbury, Ruth Page Chicago Ballet, Pacific Northwest Ballet, North Carolina Dance Theater, American Ballet Theatre at Jacob’s Pillow, Winnipeg’s Contemporary Dancers, Chicago Tap Theatre, CODACO of Puebla Mexico and many others.

His major pursuits at this stage of his career include the Bill Evans Summer Institute of Dance, now in its 53rd year, and the associated Somatic Dance Conference and Performance Festival, now in its ninth year. 2023 sessions of both will be held at Fort Worden State Park in Port Townsend, WA, July 20-29. (Visit billevansdance.org after November 1, 2022 for more information,) He celebrated his 82nd birthday with four performances in April and June.

JOSÉ LIMÓN

Modern dance pioneer José Limón was born on January 12, 1908, in Culiacán, Mexico. His family immigrated to the United States when he was a boy, and he grew up in Los Angeles, California. A move to New York in 1928 brought Limón into contact with the modern dance world. He trained as a dancer and became a major performer and choreographer, eventually founding his own dance company in 1947. Internationally celebrated for his powerful and influential style, Limón died in New Jersey in 1972.

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LINDA C. SMITH (Artistic Director), a native of Utah, began her career in dance at the age of three with Virginia Tanner’s Children’s Dance Theatre. In 1966 she became a founding member of Repertory Dance Theatre where she fulfilled her dream of becoming a performer, teacher, choreographer, writer, producer and eventually, in 1983, the Artistic Director for the company. Evidence of her commitment to dance preservation is seen in RDT’s collection of historic dance re-constructions that includes choreography by 100 of America’s most revered choreographers. Linda has dedicated her life to finding ways to make the arts relevant and to communicating the value of dance in the life of a community. Her pursuits have led to the development of the Rose Wagner Performing Arts Center, to the establishment of the RDT Community School, to providing commissions for established and emerging choreographers, and to the creation of multi-disciplinary activities that focus attention on the environment, social issues, multi-ethnic history, sustainability and community. Linda’s performing experience spans over 90 works. She has taught in over 1000 schools bringing the magic of dance to students and teachers with her unique demonstrations, lectures, classes and professional development workshops. She is most at home encouraging audiences of all ages to imagine, create and communicate with the language of movement. Linda is a graduate and an Adjunct Associate Professor of dance at the University of Utah and is a certified Movement Specialist in the Utah Artists-in-Education Program. She has received numerous honors including “Honors in the Arts” awards from the Salt Lake Chamber of Commerce, the “Outstanding Achievement Award in Art” from the YWCA, “Community Builders” Award from Utah Women’s Alliance for Building Community, and recognition by Utah Business Magazine as “A Woman to Watch, one of 30 Utah Visionaries.”

NICHOLAS CENDESE (Artistic Associate) was born and raised in Salt Lake City. He graduated from the University of Utah’s department of modern dance with a BFA in the spring of 2004. Nicholas danced with Children’s Dance Theater until graduation from high school, after which he received the Elizabeth R. Hayes dance scholarship. He was also chosen as the Outstanding Senior in the College of Fine Arts. He performed as a guest for RDT in the Olympic Arts Festival production of With My Red Fires. In 2004, Nicholas started RawMoves with the amazing Natosha Washington, which won a SLAMMY in 2005. He is the owner and director of South Valley Creative Dance. Nicholas danced with RDT for 11 years before transitioning to Artistic Associate in 2013.

LAUREN CURLEY began her training in Lowell, Massachusetts at Walker’s Dance. She was a scholarship recipient at the University of Hartford’s The Hartt School, graduating Summa Cum Laude with her BFA in Dance Performance. In her time at Hartt, Lauren furthered her training at the Jose Limon Dance Foundation, Martha Graham School, Paul Taylor’s American Modern Dance, and Henny Jurrien Stichting (NL). Upon graduation she was offered a contract with Repertory Dance Theatre, where she has performed works by world-renowned choreographers such as Jose Limon, Elisa Monte, Molissa Fenley, Danielle Agami, and Zvi Gotheiner. Lauren is a faculty member at Creative Arts Academy and South Valley Creative Dance and teaches master classes at studios and University programs throughout the country. She has been a member of the Company since 2014.

CALEB DALY, originally from Cheyenne, WY, began his dance training at the age of eight at En Avant Dance Studio. In his earlier years of dancing he was exposed to a wide variety of dance styles and techniques. After graduating in 2018, he attended the University of Wyoming where he will be receiving his BFA in Dance Performance, spring 2022. Throughout his time in college, Caleb has studied with faculty such as Jen Deckert, Juliana Freude, Cat Kamrath. Marsha Knight, André Megerdichian, and Margaret Wilson. Throughout his studies, he trained in techniques including José Limón, Martha Graham, Merce Cunningham, Lester Horton and Laban/Barteneiff Fundamentals. He has performed repertory by José Limón and Paul Taylor and original works by world-renowned artists. Caleb is very enthusiastic about joining Repertory Dance Theatre in 2022 and continuing to develop his artistry with the company.

TRUNG “DANIEL” DO was born and raised in Salt Lake City, Utah and received his BFA in Modern Dance from the University of Utah. During his time there he has had the pleasure to perform works by choreographers including Shaun Boyle, Juan Carlos Claudio, Katie Faulkner, Molly Heller, Satu Hummasti, Stephen Koester, Sharee Lane, Stephen Petronio, and Lesley Telford. While in college, he was selected as a supplemental dancer for Repertory Dance Theatre and Ririe Woodbury Dance Company for various works. He has performed at various festivals such as ACDA, Breaking Ground: Dance and Film Festival, Fringe Festival, RAW Artists, and Women in Dance Leadership Conference. He is also a member of Cat + Fish Dances based in Salt Lake City. Most recently, he relocated to Oregon where he collaborated and performed with Polaris Dance Theatre, Shaun Keylock Company and presented his choreography at the Fertile Ground Festival of New Work. Additionally, he was selected as a guest dancer with Ririe Woodbury Dance Company for their Alwin Nikolais France tour.

LINDSEY FABER was born and raised in Salt Lake City and started dancing at the age of two with Mary Anne Lee and Joni Wilson at Tanner Dance at the University of Utah. She followed her passion for dance and continued her training at Salt Lake School for The Performing Arts under the direction of Bethany Hansen until 2016. Lindsey then went on to graduate Summa Cum Laude from The Boston Conservatory at Berklee with a BFA in contemporary dance performance in the spring of 2020. During her time at The Conservatory Lindsey trained under professionals such as Joy Davis, Marcus Schulkind, Mario Alberto Zambrano, Kurt Douglas, and other esteemed faculty. Also in her time at The Conservatory she performed in works by José Limón, Juel D. Lane, Yuri Yanowsky, and experienced repertory from many world-renowned artists. Lindsey also has had the opportunity to attend intensives and workshops with artists and companies such as Ririe-Woodbury Dance Company, The Henny Jurriëns Studio, Repertory Dance Theatre, Yin Yue, and The Graham School. She has a deep interest in choreography and showcased two works at The Conservatory, Persona and My House Blew Into The Ocean. This is Lindsey’s second season with RDT and she is so excited to be a part of this incredible community.

ELLE JOHANSEN, originally from Salt Lake City Utah, began her dance training at the age of 9 with the Janet Gray School in Salt Lake City Utah. There she was disciplined in Ballet, Modern, and Jazz. Elle received her BFA in Modern Dance from the University of Utah in 2015 where she was awarded both “The Outstanding Senior Award” and “The Student Service Award.” Elle has always had a passion for dance education and initially began her career with RDT as a teacher in their Arts in Education Program. She currently has her teaching certification in Progressing Ballet Technique (PBT) and in 2021 she was a participant in Anne Green Gilbers’ Brain-Compatible Dance Education (BCDE) workshop. She continues to teach master classes and workshops throughout the Salt Lake Valley. Elle was initially a guest dancer with RDT in 2015 and officially joined the company in 2017. Since joining the company she performed works of renowned choreographers such as José Limón, Doris Humphrey, Daniel Nagrin, Lar Lubovitch, and Elizabeth Waters. When not working with RDT, Elle is a dedicated Realtor® and loves to help people, “dance their way into a new home.”

JONATHAN KIM graduated in 2017 from California State University, Fullerton with a Bachelor’s in Dance. He performed “august,” a piece by Colin Connor and Debra Noble, at the 2016 American College Dance Association National Festival and the inaugural Jacob’s Pillow American College Dance Association Gala Highlights at the 2016 Inside/Out Festival. He worked with Lineage Dance Company, SJDanceCo, Kelly Alvarez and Artists, Embark Dance Theatre, and most recently performed with SALT Contemporary Dance for their 6th season while directing the SALT Pro Training Program. He performed works by Doris Humphrey, Donald McKayle, Gustavo Ramirez-Sansano, Brendan Duggan, Penny Saunders, Nicholas Palmquist, Hilary Thomas, and Joni McDonald. After guesting in Repertory Dance Theatre’s 2018 fall concert SPIRIT, he became a company member in 2019.

JACOB LEWIS is a native of St. Louis, Missouri and received his dance training at the Center of Creative Arts (COCA) led by Lee Nolting. In 2010, he was inducted into the National Honor Society for Dance Arts and was a finalist for the NDEO Artistic Merit, Leadership and Artistic Award. He attended the Ailey/Fordham BFA Program and during his time in school performed in Alvin Ailey’s “Memoria” during the Alvin Ailey American Dance Theater’s NY City Center Season. Upon graduation, he joined Ailey II where he performed both classical and contemporary works, both nationally and internationally. In 2017 he joined TU Dance and participated in the collaboration with Bon Iver’s ‘Come Through,’ which was performed at the Palace Theater (St. Paul, MN,) Hollywood Bowl and The Kennedy Center. As of 2021, Lewis has been dancing with the historic ballet company, Minnesota Dance Theater in Minneapolis where he has performed works by both Loyce and Lise Holton.

MEGAN MARY O’BRIEN is a dancer/artist from Salt Lake City, Utah. At a young age, she fell in love with dancing and performing when she began to create impromptu shows to classic rock songs for her mom and dad. For 15 years she trained at The Winner School extensively in ballet, jazz, hip-hop, tap, contemporary, modern, and ballroom, as well as competing at National and International competitions. She continued her training at the University of Utah School of Dance with a scholarship and in Spring 2017 she graduated with a BFA in Modern Dance. Throughout her training Megan has had the privilege to learn from and work with Hubbard Street Dance Chicago, Company 605 (Vancouver), Danielle Agami, and the Staatliche Ballettschule School located in Berlin, Germany. She has performed in works by artists LajaMartin, Lesley Telford, Stephen Koester, Nick Blaylock, Sharee Lane, Pamela Handman and Lar Lubovitch. She is compelled to share her art and passion with the community by nurturing the growth of young artists by teaching at local elementary schools and dance studios The Winner School and South Valley Creative Dance, as well as the Education Associate alongside RDT’s Education Director, Lynne Larson.

URSULA PERRY was born in Houston, Texas where she began her training at the Houston Ballet Academy. Since then she has studied under various schools including those at the Boston Ballet, Joffery Ballet, Alvin Ailey, and the Edge Performing Arts Center. She then made the journey to Utah and attended the University of Utah’s Ballet Department. Since graduation, she has performed with Bodiography Contemporary Ballet, Prism Dance Theatre, and River North. Since her return to Salt Lake she is proud to have performed with RawMoves, Movement Forum, and Influx Dance. Ursula joined RDT in 2013.

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ARTISTS’ PROFILES

¡Viva el Mariachi! Latin Grammy-nominated Mariachi Herencia de México presents one night of vibrant mariachi music in HEREDEROS.

Simultaneously honoring the past, celebrating the present, and creating the future of regional Mexican music, Mariachi Herencia de México is paving the way for a new generation of mariachi performers. Together they honor their legacy with a colorful and unforgettable experience of Mexican music and culture.

MARIACHI HERENCIA DE MÉXICO

The historic tradition of mariachi music has roots in cities like Guadalajara and Mexico City. Today, the future of the evolving genre rests in the hands of a dynamic ensemble from the capital of the American Midwest: Chicago’s Mariachi Herencia de México. The Latin GRAMMY-nominated group of young musicians have released four highly acclaimed studio albums with chart-topping debuts on both the Billboard and the iTunes Latin Albums charts, defying a music industry trend and pointing to a revival in recorded mariachi music.

Mariachi Herencia de México is set to release the band’s fifth studio album titled HEREDEROS, which includes a stunning collection of 12 tracks, with arrangements by the band’s legendary musical director Rigoberto Alfaro. “It’s a masterpiece,” says Jonathan Clark, a mariachi expert and historian. “This is mariachi music at its most sophisticated and most modernistic. It’s almost the antithesis of folklore, almost futuristic. Maybe 20 or 30 years from now, all groups will sound like this, I don’t know. But it is state-of-the-art.” HEREDEROS offers a fresh and crisp sound, demonstrating why Mariachi Herencia de México leads the way in captivating a new generation of listeners. The album includes two powerful collaborations with Grammy–nominated singers Lupita Infante and La Marisoul.

In 2017, Mariachi Herencia de México received a Latin GRAMMY nomination in the “Best Ranchero/Mariachi Album” category for the group’s debut album titled Nuestra Herencia. The band has toured throughout the U.S., México and Canada performing in some of the most prestigious venues across the continent, including The Kennedy Center, Millennium Park and Guadalajara’s Teatro Degollado.

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Carmina Burana

January 26, 2023 / 7:30PM BROWING CENTER AT WSU

FAWZI HAIMOR, conductor

LIV REDPATH, soprano

BRIAN STUCKI, tenor CHRISTOPHER CLAYTON, baritone UTAH SYMPHONY CHORUS

JOSHUA CERDENIA Feuertrunken (Fire-Drunk)

STRAVINSKY Firebird Suite (1919)

I. Introduction and Dance of the Firebird

II. Dance of the Princesses

III. Infernal Dance of King Kastchei IV. Berceuse

V. Finale

INTERMISSION

UNIVERSITY OF UTAH CHOIRS BARLOW BRADFORD, symphony chorus director CHORISTERS OF THE MADELEINE CHOIR SCHOOL MELANIE MALINKA, chorus director (The Madeleine Choir School)

ORFF

Carmina Burana

Fortuna imperatrix mundi [Fortune, Empress of the World] I. Primo vere [In Springtime] Uf dem Anger [On the Green] II. In taberna [In the Tavern] III. Cour d’amours [The Court of Love] Blanziflor et Helena [Blanziflor and Helena]

Fortuna imperatrix mundi

CONCERT SPONSOR

Val A. Browning Foundation

SEASON SPONSOR

ARTISTS’ PROFILES

FAWZI HAIMOR Conductor

Fawzi Haimor was General Music Director of the Württembergische Philharmonie Reutlingen from September 2017 until the end of 2020. Highlights of the 2022–23 season include concerts with The Florida Orchestra with works by Cerdenia, Marsalis, Ellington, and Gershwin and his debut with Utah Symphony. Fawzi Haimor has conducted many orchestras including the Orchestre

LIV REDPATH Soprano

Liv Redpath is a leading soprano leggero on the opera and concert stages across the globe. She will open her 2022–23 calendar season singing the title role in the new Simon Stone production of Lucia di Lammermoor at Los Angeles Opera. Redpath will make debuts at Komische Oper Berlin as Ophélie in a new production of Hamlet by Nadja Loschky; the

BRIAN STUCKI Tenor

Quickly distinguishing himself with a voice that The Salt Lake Tribune declares is “heaven sent,” Brian Stucki’s recent engagements include performances of Gentleman’s Island with Utah Opera, Don Ottavio in Don Giovanni with Florentine Opera, Mozart’s Requiem with the Phoenix Symphony, and Beethoven’s Christus am Ölberge with the Tabernacle Choir at Temple Square. An

Philharmonique du Luxembourg, BBC Philharmonic, Orchestre de chambre de Paris, NDR Radiophilharmonie Hannover, WDR Funkhausorchester in Cologne, Deutsche Radiophilharmonie Saarbrücken Kaiserslautern, Orquesta Sinfónica do Porto Casa da Música, the Oulu Sinfonia, and Orchestra Sinfonica di Milano Giuseppe Verdi. In the US, he has worked with The Florida Orchestra, Indianapolis Symphony Orchestra, New West Symphony, and the New Mexico Philharmonic, among others.

Glyndebourne Festival where she essays the role of Tytania in Britten’s A Midsummer Night’s Dream; and La Monnaie/De Munt in Brussels where she returns to the role of Sophie in Der Rosenkavalier. Concert appearances include Handel’s Messiah with National Symphony Orchestra; Nielsen’s Symphony No. 3 “Sinfonia espansiva” with The Cleveland Orchestra; Nielsen’s Hymnus amoris, and Symphony No. 3 with Danish National Symphony Orchestra; and Beethoven’s Missa Solemnis at Aix en Provence with Balthazar Neumann Ensemble and Choir.

accomplished oratorio soloist as well, Stucki’s recent performances on the concert stage include Haydn’s Creation with Boston Baroque and Utah Symphony, Mozart’s Mass in C, Requiem, and Mass in C minor with the Jerusalem Symphony Orchestra. Stucki holds a Master of Music from Indiana University and a Bachelor of Music from Brigham Young University. He is also a former member of the Glimmerglass Opera Young American Artists Program.

801-399-9214

ARTISTS’ PROFILES

CHRISTOPHER CLAYTON Baritone

Baritone Christopher Clayton is quickly establishing himself as a rising talent on the operatic stage. He has appeared with companies such as Utah Opera, Portland Opera, Opera Birmingham, Chautauqua Opera, Sarasota Opera, and Opera Idaho. Recent Engagements have included Alvaro in Florencia en el Amazonas, Friedrich Bhaer in Adamo’s Little Women with Utah Opera, and Tonio in Pagliacci with Opera

DR. BARLOW BRADFORD Symphony Chorus Director

Over the course of his extraordinary musical career, Dr. Barlow 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 including an INDIE from NAIRD (National Association of Independent Record Distributors & Manufacturers) for the CD Welcome All Wonders, released in 1996 on the BWE label.

Birmingham. Christopher received a Professional Studies Certificate and Master’s degree from Manhattan School of Music. At Manhattan School he studied with Maitland Peters and worked closely with Warren Jones and Dona Vaughn. He has received prizes and grants from the Gerda Lissner Foundation, the Violetta Pollara DuPont Vocal Competition the Marian Anderson Vocal Competition, the Irene Dalis Vocal Competition, the Chautauqua Opera Guild and the Oratorio Society of New York.

Utah Chamber Artists was featured on NPR’s “The First Art,” a program dedicated to choral music and performed as a featured ensemble with the Boston Pops and Utah Symphony. Under his baton, Utah Chamber Artists also toured Israel with the Israel Chamber Orchestra, performed as the guest choir at the American Choral Directors Association national convention, and joined the Mormon Tabernacle Choir on their national television broadcast. 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.

ARTISTS’ PROFILES

MELANIE MALINKA Chorus Director (The Madeleine Choir School)

Melanie Malinka is a native of Stuttgart, Germany and has served as Director of Music at The Madeleine Choir School in Salt Lake City, UT since 2001. In this position she oversees the school’s rigorous choral program and leads preparations of the choristers for their extensive concert season, regular service commitments, international tours, and

engagements with leading local arts organizations including Utah Symphony | Utah Opera. She regularly conducts the Cathedral Choir of The Cathedral of the Madeleine and has served as interim chorus master for several opera productions of the Utah Opera. Melanie received a Bachelor of Music in Voice Performance from Westminster Choir College of Rider University in Princeton, New Jersey and a Master of Music in Choral Conducting from the University of Utah where she studied with Dr. Barlow Bradford.

UTAH SYMPHONY CHORUS

Rich Adams

Sara Baylor

Nate Benincosa

Grace Bingham Skyler Blummel

Emma Chambers

Lexie Davis

Jake Fowkes

Dacia Gray

Julie Hadlock Maren Hansen Dave Hansen

Emily Hansen

John Hayward Mika Holbrooks

Yu-Feng Huang Brandon Huegley Leslie Jenkins Ashley Judd Scott King Emily Larson David Layton Anna Lucero April Lund

Hal Mauchley

Nathan McKeller

William Mollenkamp

Ryan Oldroyd

Matt Robertson

Melissa Settler Michelle Skylar Talia Stivener

Mitch Sturges-Kershisnik

Seth Sturges-Kershisnik

Julia Thomas Connor Thompson

THE MADELEINE CHOIR SCHOOL

Anaya Alt

Elena Cabrera

Martin Cabrera

Renzo Foster

Lucy Fowler

Rhys Golley

Vanessa Gomez Amelia Hanley

Arina Ispolatova

Elliott Jeppsen

Ella Johnson Miles Keeton

Anders Millican Madison McGinley Samantha McGinley Ethan Molina

Noah Nix

Meg Nuvan

Joshua Peterson Daniel Quinlan

Mateo Sigala Ailano Soriano Vargas Pavlos Tsoutsounakis Alexandra Young

Located in downtown Salt Lake City, The Madeleine Choir School is far more than a music school. MCS offers students strong character formation and a holistic approach to exceptional age appropriate learning. MCS music curriculum is unmatched and also provides outstanding instruction in the humanities, mathematics and the sciences, as well as foreign languages, visual arts, theology, and athletics.

The choristers in Grades Five through Eight regularly assist with the worship life at the Cathedral of the Madeleine and participate in the Annual Concert Series. During the academic year they

can be heard at the Cathedral’s 5:15 p.m. Mass Monday through Thursday, and on Sundays at the 11:00 a.m. Mass. The students travel on international and national performance tours to Italy every four years, and just returned from Rome, Assisi, Florence and Milan. The Choristers of the Madeleine Choir School regularly collaborate with the Utah Symphony and Utah Opera and other arts organizations, including the Grand Teton Music Festival.

Please visit utmcs.org for a list of scheduled admissions events, or contact our Director of Admissions at admissions@utmcs.org or 801-323-9850 ext. 103.

Musical preparation: Melanie Malinka, Director of Music, The Madeleine Choir School

HISTORY OF THE MUSIC

By Jeff Counts

Feuertrunken

Duration: 10 minutes.

THE COMPOSER – JOSHUA CERDENIA (b. 1989) – According to his bio, Filipino composer Joshua Cerdenia’s music is “often full of extramusical references”, which, in the words of one reviewer, “might send you looking for footnotes.” Cerdenia, an artist who composes for both the concert hall and the theater stage, is a devotee of world music with a specific interest in the traditional sounds of Bali, Indonesia and his native Philippine Islands. His work as a collaborative pianist and composer has taken him around the world, with performances in Beijing, Bangkok, Shanghai, and various US venues to his credit. Cerdenia lives in Manila, a software engineer by day and incredibly versatile musician by night.

THE HISTORY – In Cerdenia’s own words, Feuertrunken is “a loud mediation (if one can meditate loudly) on joy.” “In the months that I spent composing the piece, between March-June 2017,” he continues, “I found little cause for celebration in the many goings-on both locally and abroad; perhaps this was the reason I thought the subject of joy had so much urgency. During this time I also found myself absorbed in the Divine Comedy, especially the Purgatorio. Dante’s vision of purgatory is a giant mountain partitioned into seven terraces, each devoted to purification from one of the deadly sins.” With such a deeply literary reference in play, we might indeed find ourselves searching for the footnotes mentioned above. Not to worry. Cerdenia

supplies one by adding, “Dante ascends the mountain terrace by terrace, until at last he finds a great wall of fire between himself and paradise. An angel of God encourages him to make the plunge into his final trial. Though my piece as a whole is not programmatic (meaning musical events generally do not correspond to anything in Dante’s story), there is a brief interlude in which I imagine Dante in devoted silence before he submits to the fire.” The wealth of intellectual and artistic influences don’t stop there. Cerdenia also writes that, “The title, meaning ‘fire-drunk’ or ‘drunk with fire’, comes from Friedrich Schiller’s famous ‘Ode to Joy’ (‘We enter, drunk with fire, Heavenly One, your sanctuary’).” Cerdenia, to his credit, chose to avoid the obvious musical quotation this poetic passage suggests (perhaps even insists upon) by opting to pass over Beethoven to focus on another composer whose music he believes also “conveys joy so adeptly”. “Feuertrunken,” Cerdenia’s excellent program note concludes, “briefly quotes the opening of Mahler’s First Symphony before veering off into various episodes of supplication, blasphemy, and finally, praise.”

THE WORLD – Elsewhere in 2017, the Woman’s March on Washington occurred in America, as did a total solar eclipse from coast to coast, Robert Mugabe was ousted in Zimbabwe, and Harry and Meghan got engaged.

THE CONNECTION – These performances represent the Utah Symphony premiere of Joshua Cerdenia’s Feuertrunken

HISTORY OF THE MUSIC

The Firebird Suite (1919)

Duration: 23 minutes in five movements.

THE COMPOSER – IGOR STRAVINSKY (1882–1971) – With the Great War finally over, Stravinsky probably expected his fortunes to rise with the peace tides. They did not, at least not right away. Many of the compositions he had written during the conflagration were done for little or no payment, which meant Stravinsky’s financial circumstances were quite dire in 1919. In an attempt to raise some much-needed cash, he made a new orchestral suite from his ballet The Firebird. It would not be the last time the ever-savvy Stravinsky resorted to such a measure. The practice of reconstituting and reorchestrating older works into marketable suites was one he exploited often during his career.

THE HISTORY – The Firebird, based on the captured mythical beast with flaming feathers from Russian folklore, was the piece that put Stravinsky on the international musical map back in 1910. It was a fabulously successful moment in his career that almost didn’t happen. Had not Anatol Liadov been unable to meet the deadline of his Ballets Russes commission, the opportunity to fill in would not have fallen to Stravinsky. And had he not been gifted with such a chance, it is nearly certain the road to The Rite of Spring would not have been so open. Serge Diaghilev, the famous kingmaker and Ballets Russes impresario, knew what he was witnessing. “Mark him well,” he reportedly said at the time, “He is a man on the eve of celebrity.” He was, but as formative experiences go, The Firebird was a lifelong source of mixed emotions for

the composer (he even had to sue Warner Brothers for referencing it without permission in a 1936 film, receiving a paltry three cents in victory damages). Stravinsky claimed to have been displeased with his ballet from the start and was known to refer to it in later life as “that audience lollipop.” Despite its success, he was immediately anxious to move beyond the elements of the score that so pleased everyone else—the assimilative “Russianness” of the orchestration first among them. He cursed the music as hopelessly derivative of his training and heritage and in truth it was, but not at all to its detriment. Stravinsky masterfully synthesized the best of his forbears (Tchaikovsky, RimskyKorsakov, et al) into something that, despite his own brutal assessments, was wholly fresh and unique. Part of him must have known this deep down. He made three attempts to “rescue” the ballet as a concert suite—right away in 1911, again in 1919, and one final time in 1945. Was Stravinsky happy with it in the end? Probably not, but fortunately our adoration of this great masterpiece depends little on that, and there can be little doubt about how happy he was to be paid more than three cents for it.

THE WORLD – Elsewhere in 1919, Theodore Roosevelt died, the first Silesian Uprising occurred in Poland, as did a revolution in Egypt, and both the rise and fall of the extremely short-lived Hungarian Soviet Republic.

THE CONNECTION – Music from The Firebird is performed often by Utah Symphony on various programs. The most recent presentation of the 1919 Suite was in 2000. Joseph Silverstein conducted.

BY WILLIAM SHAKESPEARE

BY LORRAINE HANSBERRY

BY WILLIAM SHAKESPEARE

CORIOLANUS

BY WILLIAM SHAKESPEARE

Photo: A scene from The Sound of Music, 2022.

HISTORY OF THE MUSIC

Carmina Burana

Duration: 60 minutes in three sections.

THE COMPOSER – CARL ORFF (1882–1971)

– With or without the bombastic medieval oratorio that made him famous in the concert hall, Carl Orff would have been well known for his work in the classroom. His five-volume Musik für Kinder and expanded Schulwerk system, which originated in the 1920s as an “elemental method” for childhood education that included music, dance, and improvisation, are still in use around the world. Anyone who has seen an primary school concert featuring an array of floormounted marimbas and other purpose-built toy percussion has witnessed the popular “Orff Approach” in practice. Fittingly, the three Schulwerk pillars of sound, movement, and spontaneity were guiding principles in his professional composing life too.

THE HISTORY – Equal to Orff’s enthusiasm for the young music of the Germany’s kinder was his fascination for the old music of the Baroque and before. His keen attention to the sacred stage works of musical antiquity convinced him that the most effective concert (and educational) experiences were those that combined various artistic elements into a unified theatrical whole. He was on to something, but the only successful embodiment of this theory he would ever make was in 1936 with Carmina Burana. The title comes from a collection of 13th century Latin and German poems that translates roughly to “Songs from Beuern”, “Beuern” being the site of a Bavarian monastery of the Benedictine Order. Orff came across a set of modernized translations of the literary Carmina Burana

in the catalogue of a Würzburg bookshop and when he got his hands on the illustrated volume in 1934, he was instantly “assailed by images and words.” So intense was the experience, the composer began sketching out a framework for his grand interpretation of the texts before he fully understood them. O Fortuna was the opening poem of the book, and the colorful depiction of the Wheel of Fortune that complimented it was particularly inspiring for Orff. As a mighty frame for the other 23 numbers of the oratorio, Orff’s orchestrated O Fortuna is among the most recognizable three minutes in music history, limitless in its pop culture applicability. Carmina Burana entire is a primitivist marvel, full of infectious rhythm and plainspoken secular pleasures, with songs that are grouped into three large parts: “Spring”, “In the Tavern” and “The Court of Love”. The premiere was a huge success, but the real life of this score wouldn’t begin until after the War, when the where and when of its creation could be perhaps forgiven, if not forgotten. Orff, no fool, knew he had struck gold and told his publisher that all his previously published work could be destroyed.

THE WORLD – Elsewhere in 1936, construction on the Hoover Dam was completed, Jesse Owens won four gold medals at the Berlin Summer Olympics, Syria signed a treaty of independence with France, and Federico Garciá Lorca was murdered by Spanish Fascists.

THE CONNECTION – Carmina Burana has been performed many times by Utah Symphony. The most recent presentation was in 2015. Jun Märkl conducted.

UTAH SYMPHONY

Thierry Fischer, Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation

Benjamin Manis

Associate Conductor

Barlow Bradford Symphony Chorus Director

VIOLIN* Madeline Adkins Concertmaster

The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton

Kathryn Eberle

Associate Concertmaster

The Richard K. & Shirley S. Hemingway Chair

Laura Ha 2nd Associate Concertmaster

Claude Halter Principal Second

Wen Yuan Gu# Associate Principal Second

Evgenia Zharzhavskaya Assistant Principal Second

Karen Wyatt•• Sara Bauman~ Erin David Joseph Evans Lun Jiang

Rebekah Johnson••v Tina Johnson~ Amanda Kofoed~ Jennifer Kozbial Posadas~ Veronica Kulig David Langr Shengnan Li Hannah Linz•• Yuki MacQueen

Alexander Martin Rebecca Moench Hugh Palmer• David Porter

Lynn Maxine Rosen

Barbara Ann Scowcroft** Ju Hyung Shin• Bonnie Terry Julie Wunderle

VIOLA*

Brant Bayless Principal

The Sue & Walker Wallace Chair

Yuan Qi Associate Principal

Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Sjogren Leslie Richards~

CELLO* Matthew Johnson Acting Principal

The J. Ryan Selberg Memorial Chair

Andrew Larson Acting Associate Principal

John Eckstein Walter Haman Anne Lee

Louis-Philippe Robillard Kevin Shumway Hannah Thomas-Hollands~ Pegsoon Whang

BASS*

David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn Andrew Keller Edward Merritt Jens Tenbroek Thomas Zera

HARP Louise Vickerman Principal

FLUTE Mercedes Smith Principal The Val A. Browning Chair

Lisa Byrnes Associate Principal

Caitlyn Valovick Moore

PICCOLO

Caitlyn Valovick Moore

OBOE

Zachary Hammond Principal

The Gerald B. & Barbara F. Stringfellow Chair

James Hall Associate Principal Lissa Stolz

ENGLISH HORN Lissa Stolz

CLARINET

Tad Calcara Principal

The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell

Erin Svoboda-Scott Associate Principal Lee Livengood

BASS CLARINET Lee Livengood

E-FLAT CLARINET Erin Svoboda-Scott

BASSOON

Lori Wike Principal The Edward & Barbara Moreton Chair

Leon Chodos Associate Principal Jennifer Rhodes

CONTRABASSOON Leon Chodos

HORN Jessica Danz Principal

Edmund Rollett Associate Principal

Nate Basinger~ Julia Pilant~ Stephen Proser

Substitute Member

TRUMPET

Travis Peterson Principal

Jeff Luke Associate Principal Peter Margulies Paul Torrisi

TROMBONE Mark Davidson Principal Sam Elliot Associate Principal

BASS TROMBONE Graeme Mutchler

TUBA Alexander Purdy Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal

PERCUSSION

Keith Carrick Principal Eric Hopkins Michael Pape

KEYBOARD Jason Hardink Principal

LIBRARIANS Clovis Lark Principal

Claudia Restrepo

ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel

Hannah Thomas-Hollands Orchestra Personnel Manager

FRIENDS OF ONSTAGE OGDEN

Onstage Ogden is grateful for the individuals, corporations, foundations, and government agencies who have made a charitable contribution in support of the performing arts in our community. Includes gifts made prior to December 20, 2022.

Season Sponsor ($90,000+)

Stewart Education Foundation Weber County RAMP

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Bill & Barbara Hughes

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State of Utah, Utah Division of Arts and Museums

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Paul and Cindy Kunz

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*Board of Directors, Foundation, or Staff member

FRIENDS OF ONSTAGE OGDEN

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Cathay Christiansen

Phillip & Gail Coleman

Julie and Stephen Coley Dean & Karen Cooper

Doris D’Asto

Dessa Dal Porto & Victor Dumas

Ludene Dallimore

Lynn and Natalie Dearden

Carolyn B. Deru

DeLoris and Dale Dorius

Dr. Ann Ellis*

Stephen and Judy Farr

Jill Flamm

William and Anita Ford Gerry and Dixie Funk

Karen Gall

Livleen Gill

David and Ruth Ann Gladwell

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Janice Grajek

Josh Grimaud

Katherine Grunert

William and Deborah Hackett

Donna and Ralph Friz Pat Fuller

Kay Hoogland Household Marlin & Kathleen Jensen Jan and Jerome Luger Robert and Sally Neil Scott and Pam Parkinson

David and Joan Hadley

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Kimberly and Christian Hearn Tina and Robert Herman Anthony Hirst Amy Huntington Eric & Becky Jacobson

Patsy Johnson Household Dr. Val Johnson*

William & Jackie Jones Melba and Denis Kirby Melissa Klein Betsy Oppenheim Leve Charles Lindquist William and Sarah Lindsay James & Deborah Lindstrom David and Linda Lundstrom Estella Malayika

Frank and Sharon Markos Erika Martin

Mary L Mathewson

Sandy and Phillip Maxwell Andy and Susan Mccrady James and Jennifer McGregor Mary & Kent McMillen

George Muller

Gary and Marilyn Newman Ruth Nielsen

Ogden Chapter of MacDowell Ensemble

Cheryl Orme Michael & Cindy Palumbo Donald Pantone

Janet A. Petersen

Joyce and Robert Stillwell*

Dr. Deborah and Mr. Michael Uman*

Jennifer & Dr. Michael Webb* Jon & Dawnene Wilson

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Jeff Paulson

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Wendy and Cary Roberts* Tamara Robinette

Juergen Sass Mary and Howard Schuyler

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Sempre Musical Society

Denise Sly Carol and Paul Sonntag

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Edward and Mari Lou Steffen

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Edna Stratford

Jeane Taylor Michael Taylor

Lucinda and Phillip Wagner Jack and Bonnie Wahlen Andrew and Suzanne Wall

Bruce and Kay Wallace

Linda Watson

Paula Weick and Carl Stuart

Barbara and Gerald West Kent and Trudy Whiteman

Aloha Whitney

Carl and Helgard Wolfram Marilyn Woodbury Larry Zaugg

*Board Member

Please contact Onstage Ogden Development Coordinator, Sarah Bailey, at 801.612.0757 or sarah@onstageogden. org, if you would like to make a donation or if your name has inadvertently been left off or is misspelled.

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