2019–20 SEASON
RACHMANINOFF PIANO CONCERTO NO. 3 November 7, 2019 | 7:30PM
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WELCOME Dear Friends, Welcome to our 70th Anniversary Season! I am delighted to celebrate our rich history while looking forward to another exceptional season of only the finest music and dance. It has been an honor to be a part of creating this exciting collection of performances. As always, Utah Symphony has presented us with a slate of world-class performers and expertly crafted programming. We have worked hard to bring together a mix of beloved and soon-to-be favorites including everything from Beethoven to Wagner! Reflecting on our roots showcasing classical ballet, we can’t wait to experience the Moscow Ballet and the Russian National Ballet here in Ogden, as well as the more contemporary approach brought to us by Dance Theatre of Harlem. There is truly something for everyone. I hope that you have had the opportunity to learn about our new offerings this year. I would like to invite you to consider attending our new Downtown Series at The Monarch. Each concert is a unique fusion of styles presented in a relaxed atmosphere, performed by awardwinning musicians. We have also expanded our Family Series, and moved those concerts to Peery’s Egyptian Theater which will be an exciting experience for children of all ages. And finally, I want to thank each of you for supporting Onstage Ogden by purchasing tickets, donating, volunteering, and spreading the word about our mission. I am confident that our longevity is due to the support we receive from this community. I cannot overstate my gratitude and admiration for those who help us bring the best to Ogden each year! With thanks,
Melissa Klein, Executive Director
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Onstage Ogden
BOARD & STAFF
BOARD OF DIRECTORS Mark Stratford President
Linda Forest Secretary
Russ King Onstage Ogden Foundation
Robert Fudge Past President
David Malone Treasurer
Nancy Pinto-Orton President Elect
Steven Carter Robbyn Dunn John Fromer Steven Hendricks Val Johnson
McClain Lindquist Zachary Nelson Robert Newman Carolyn Rich-Denson Susan Shreeve Joyce Stillwell Jon Wilson
Alan Hall Robert Harris
Thomas Moore Suzy Patterson
Paul C. Kunz Andrea Lane Michael S. Malmborg Dr. Judith Mitchell Meg Naisbitt Ellen Opprecht
Carolyn N. Rasmussen Sherm Smith Dr. Paul Sonntag Dotty Steimke
Dr. Ann Ellis Vice President ADVISORS Marlene Barnett Karen Fairbanks FOUNDATION Russ King Chair Marti M. Clayson Secretary Richard White Treasurer EXECUTIVE DIRECTOR Melissa Klein
AUDIENCE ENGAGEMENT COORDINATOR Ginger Bess Simons
BOX OFFICE & MARKETING MANAGER Camille Washington
DEVELOPMENT COORDINATOR Lindy Callahan
EVENTS & OUTREACH MANAGER Andrew Barrett Watson
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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.
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Onstage Ogden
2019–20 SEASON
MASTERWORKS SERIES The Planets September 12
DANCE & VOCAL SERIES Dance Theatre of Harlem November 9
Rachmaninoff’s Rhapsody on a Theme of Paganini October 24
Russian National Ballet January 20
Rachmaninoff’s Piano Concerto No. 3 November 7
BYU Vocal Point February 15
Tchaikovsky’s Violin Concerto January 30 Brahms’ Piano Concerto No. 2 April 9 ENTERTAINMENT SERIES The Music of John Williams September 19 A Broadway Christmas with Ashley Brown December 5 Women Rock February 13 The Temptations with the Utah Symphony April 16
Flamenco Vivo February 4
Chanticleer April 27 FAMILY SERIES Here Comes Santa Claus December 23 Sphinx Virtuosi March 11
SPECIAL EVENTS Patriotic Celebration at Snowbasin July 3 Great Russian Nutcracker November 29–30 DOWNTOWN SERIES Third Coast Percussion March 3 PUBLIQuartet March 31 Quarteto Nuevo April 2 Eighth Blackbird April 22
Carnival of the Animals March 17 Spanish Brass March 23 Snow White May 2 Youth Benefit Concert May 7
Arts
The Onstage Ogden’s 2019–2020 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.
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MASTERWORKS SERIES
Rachmaninoff Piano Concerto No. 3 November 7
Piano Concert No. 3 November 7, 2019 | 7:30PM
VAL A. BROWNING CENTER FOR THE PERFORMING ARTS CARLOS MIGUEL PRIETO, conductor BORIS GILTBURG, piano KIRSTIN CHÁVEZ, mezzo-soprano
REVUELTAS: Sensemayá RACHMANINOFF: Concerto No. 3 in D minor for Piano and Orchestra, Op. 30 I. Allegro ma non tanto II. Intermezzo III. Finale Boris Giltburg, piano
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FALLA: The Three-Cornered Hat
S E R I E S S P O N SO R
NORMAN C. & BARBARA L. TANNER CHARITABLE TRUST
Introduction Part I: Afternoon Dance of the Miller’s Wife (Fandango) The Grapes Part II: The Neighbor’s Dance (Seguidillas) The Miller’s Dance The Corregidor’s Dance The Final Dance Kirstin Chávez, mezzo-soprano
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ARTISTS’ PROFILES
Carlos Miguel Prieto Conductor
Boris Giltburg Piano
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Carlos Miguel Prieto—Musical America’s 2019 Conductor of the Year—was born into a musical family of Spanish and French descent in Mexico City. His charismatic conducting is characterized by its dynamism and the expressivity of his interpretations. Prieto is recognized as a highly influential cultural leader and is the foremost Mexican conductor of his generation. He has been the Music Director of the Orquesta Sinfónica Nacional de México, the country’s most important orchestra, since 2007. Prieto has also been Music Director of the Louisiana Philharmonic Orchestra (LPO) since 2006, where he has led the cultural renewal of New Orleans following Hurricane Katrina. In 2008 he was appointed Music Director of the Orquesta Sinfónica de Minería, a hand-picked orchestra which performs a two-month long series of summer programs in Mexico City. Prieto is renowned for championing Latin American music and has conducted over 100 world premieres of works by Mexican and American composers, many of which were commissioned by him. A graduate of Princeton and Harvard universities, Carlos Miguel Prieto studied conducting with Jorge Mester, Enrique Diemecke, Charles Bruck, and Michael Jinbo. Born in 1984 in Moscow, Boris Giltburg moved to Tel Aviv at an early age, studying with his mother and then with Arie Vardi. He went on to win numerous awards, most recently the second (and audience) prize at the Rubinstein in 2011, and in 2013 he won first prize at the Queen Elisabeth Competition, catapulting his career to a new level. Giltburg has appeared with many leading orchestras. He made his BBC Proms debut in 2010, his Australia debut in 2017 (with the Adelaide and Tasmanian Symphony orchestras) and has frequently toured to South America and China, also touring Germany with the Orchestre National du Capitole de Toulouse. He has played recitals in leading venues such as Hamburg Elbphilharmonie, Carnegie Hall, London Southbank Centre, Louvre, and Amsterdam Concertgebouw. In 2018 he also won Best Soloist Recording (20/21st century) at the inaugural Opus Klassik Awards for his Naxos recording of Rachmaninoff’s 2nd Piano Concerto with the Royal Scottish National Orchestra and Carlos Miguel Prieto, coupled with the Études-Tableaux.
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ARTISTS’ PROFILES
Kirstin Chávez Mezzo-soprano
Kirstin Chávez is considered one of the most riveting and significant mezzo-sopranos performing today. Recently, she appeared on a duo recital of music by Bach, Schubert, and others with organist Marc Baumann at Himmerod Abbey and then at St. Martin’s Cathedral in Germany. She has also appeared as a soloist with Ocean City Pops, on a gala concert with Long Bay Symphony Orchestra; with Florence Symphony; in multiple concerts with Carolina Master Chorale; and with New Mexico State University, Orquesta Filarmónica Sonora in Mexico, and Musica Sacra di Monreale, among numerous others. Chávez earned a Bachelor of Music degree, with honors, from New Mexico State University, and a Master of Music degree in Voice Performance and Performance Certificate from the Eastman School of Music. After beginning an Artistic Residency with the Orlando Opera, Ms. Chávez won several major international competitions, including The Sullivan Foundation, The George London Foundation, the Licia Albanese-Puccini Foundation, the Opera Index Foundation, The Gerda Lissner Foundation, the Jensen Foundation, and the Metropolitan Opera National Council Auditions (National Finalist).
TRANSLATIONS The Three-Cornered Hat Introduction Ole! Little wife, little wife bolt and bar your door; for though the devil may be asleep now he’s likely to wake up! Part 2 The Miller’s Dance At night the cuckoo sings, warning married men to lock up well, for the devil is on the prowl! Cuckoo!
El Sombrero de tres picos Introducción ¡Ole! Casadita, casadita ¡Cierra con tranca la puerta! Que aunque el diablo esté dormido, ¡a lo mejor se despierta! Parte 2 Danza del molinero Por la noche canta el cuco, advirtiendo a los casados que cerran bien los cerrojos, ¡que el diable está desvelado! ¡Cucú!
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NOTES ON THE PROGRAM Silvestre Revueltas (1899–1940)
Sensemayá PERFORMANCE TIME: 7 MINUTES
Critical evaluations of Revueltas’s work invariably cite its “rhythmic complexity.” To us as listeners, this means the irresistible energy and intricate layering of dance beats that are viscerally thrilling to hear. With other composers including Carlos Chávez, Revueltas was a major figure in the Indianist cultural movement in Latin America, and the dance rhythms in works such as Sensemayá evolved from sources including the Maya, as well as from Africa. Composed in 1935, Sensemayá is one of Revueltas’s most popular works. It is based on a poem of that title by Nicolás Guillén, a Cuban poet, and evokes the chant of a solemn Afro-Caribbean religious ceremony in which an adept known as the mayombero offers up a snake in ritual sacrifice. The musical effect combines historic resonance and overwhelming immediacy. Sergei Rachmaninoff (1873–1943)
Concerto No. 3 in D minor for Piano and Orchestra, Op. 30 PERFORMANCE TIME: 41 MINUTES
Sergei Rachmaninoff, the last of the great Russian Romantic composers, was also one of history’s great pianists—perhaps the
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by Michael Clive
greatest of all, according to some current re-evaluations. With Frederic Chopin, Franz Liszt, and the great Baroque organists like Bach and Telemann, he was one of classical music’s legendary masters of the keyboard who were also great composers. As a conservatory student in Moscow and St. Petersburg, he focused intensively on both piano technique and composition, and he was recognized as a great pianist throughout his career; just before his death, he was touring the U.S. as a piano soloist. Despite his latter-day moodiness and a bit of harmonic adventurism, you can hear that his style was rooted in the 1800s and in Russia as deeply as his predecessors’. Listening to Rachmaninoff’s long, brooding lines—their sweetness tinged with melancholy—it is surprising to learn that he died at his home in sunny Beverly Hills as recently as 1943. Another Russian expatriate composer, Igor Stravinsky, had come to the United States in 1939, became a naturalized U.S. citizen, and spent time living in Los Angeles. But as a composer, Stravinsky already inhabited a very different, more modern era. Rachmaninoff’s hallmarks are dazzling virtuosity and plush melody. Big intervals and big sound were natural parts of his musical vocabulary, and seemed to come naturally to his huge hands and long limbs; in fact, it is now believed that he had Marfan’s Syndrome, a congenital condition associated with these skeletal proportions. But if Marfan’s contributed to his heroic sound, there was a more delicate aspect to the Rachmaninoff style— fleet passagework, rhythmic pliancy, and long, singing lines. His third piano concerto
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NOTES ON THE PROGRAM is known to many pianists as Rach 3, or— thanks to Sylvester Stallone—as Rocky III because it is so formidable a heavyweight. The difficulties lie in Rachmaninoff’s unique combination of power, poetry, and speed. Those huge, complex chords, thundering octaves, cascading phrases, and purling legatos might be nearly impossible to play, but should sound effortless as they hold you in their thrall. It’s only afterwards, when you are released from their spell, that you might wonder how in the world the pianist played them with only two hands. Rachmaninoff’s music asks much of a pianist: power, speed, the ability to spin out a deeply sculpted legato line, and sometimes all three at once. Not surprisingly, his third concerto is associated with some of the greatest pianists of the early 20th century. Its dedicatee was the revered Josef Hoffmann. Though he never played it, 11 years later it would help launch the career of an astounding newcomer named Vladimir Horowitz, who chose it for his graduation recital at the Kiev Conservatory and was soloist in the premiere recording. Written in the three-movement form typical of Romantic concertos, the Piano Concerto No. 3 is replete with Rachmaninoff’s stylistic hallmarks: dazzling virtuosity and plush melody. It begins with an allegro movement in D minor in which the opening statement, a simple melody, is juxtaposed against a slower theme. They frame a characteristic Rachmaninoff development section, with brilliant passagework and thundering climaxes that create intense drama before the original theme reappears in relative tranquility.
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The concerto’s second movement, marked intermezzo, reveals what many listeners value most in Rachmaninoff: a melody of intense, swooning romanticism that goes wherever its organic, spontaneous development seems to lead it. Introspective in character, it builds gradually from quiet nostalgia to dramatic fortissimos that showcase the soloist’s power. This development is mediated by the reintroduction of the main melody from the first movement. Solo flourishes from the piano lead directly from its close. In a work that is both a sprint and a marathon, this movement provides the few moments of respite for the soloist. Grace and speed are on order for the final movement, which builds toward a powerful climax by weaving together contrasting materials: accented march rhythms alternating with flowing, lyrical phrases. The movement reprises melodic materials from the concerto’s opening, concluding with a coda of thrilling power. Manuel de Falla (1876–1946)
El Sombrero de tres picos (The Three-Cornered Hat), complete ballet PERFORMANCE TIME: 38 MINUTES
Falla was one of the late-Romantic composers who emerged in the outpouring of nationalist cultural expression before the Spanish Civil War. With his compatriots Albéniz, Granados, and Joaquín Rodrigo—latter-day champion of the concerto and revivifier of Spain’s love-affair with the guitar—he captured the very soul of Spain in his music. How much of Falla’s unique sound can be
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NOTES ON THE PROGRAM attributed to his own genius, and how much to the influence of Spain-besotted Ravel and Debussy, whose work he knew and admired? It’s difficult to guess. Falla’s unexpected modulations and chromatic inventiveness, which invoke close, complex chords and diminished intervals in fantastically expressive ways, can be inferred from the harmonic vocabulary of the French Impressionist composers. But Falla’s sound! Where Impressionist music shimmers with elegant translucency, Falla’s burns with intensity, bright colors, and the brilliance of the Iberian sun. And we can hear it all in El Sombrero de tres picos, “The Three-Cornered Hat.” In fact, the genesis of this ballet score is as romantic as the love story upon which it is based, unfolding at a time when collaborations of genius in the arts seemed as intimate and collegial as friends meeting for drinks and tapas. The original story, which Falla set as El corregidor y la molinera (“The Governor and the Miller’s Wife”), incorporates staples of Spanish storytelling: a corrupt, lying magistrate; an honest, resourceful miller; his beautiful, faithful wife, whom the magistrate tries to entrap romantically through the dishonest use of his power; and a happy ending in which honest folk triumph over the powerful.
we hear is the Dance of the Miller’s Wife, an alluring fandango; small wonder she spurs the rest of the action. Part II begins with The Neighbors’ Dance, a seguidilla (a dance rhythm familiar to lovers of Bizet’s Carmen), and in its opening fanfare we can hear centuries of Spanish guitar music, Flamenco dancing and bullfighting. The intensity only builds through the Miller’s Dance, in which the miller portrays both bull and bullfighter in a fury of athleticism, and into a Flamenco farruca, an almost ferociously intense dance in 4/4 time. In the final dance, a traditional Spanish jota, the time signature vacillates between 3/4 and 6/8, but the triumphant mood of the music leaves no doubt as to the ballet’s celebratory outcome. We can hear the fierce pride of the miller and his wife in the notes, and it’s all we can do to keep from stamping our feet along with them.
On stage, the two acts of El sombrero de tres picos last about half an hour and are performed by a mezzo-soprano as well as full orchestra and dancers. From this full complement, two suites for orchestra have been derived. The Suite No. 2 is by far the more popular, but the full ballet score works marvelously in the concert hall as well as in staged versions. The first dance
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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
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
Ralph Matson†
Associate Concertmaster
David Porter
Acting Associate Concertmaster
David Park
Assistant Concertmaster
Claude Halter
Principal Second
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
• First Violin •• Second Violin
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VIOLA* Brant Bayless
Principal The Sue & Walker Wallace Chair
Elizabeth Beilman
Acting Associate Principal
Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Leslie Richards†† Whittney Thomas CELLO* Rainer Eudeikis†
Principal The J. Ryan Selberg Memorial Chair
Matthew Johnson Acting Principal
Andrew Larson
Acting Associate Principal
John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah ThomasHollands†† Pegsoon Whang BASS* David Yavornitzky 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
PICCOLO Caitlyn Valovick Moore
TRUMPET Travis Peterson
OBOE James Hall
Jeff Luke
Principal The Gerald B. & Barbara F. Stringfellow Chair
Robert Stephenson Associate Principal
Lissa Stolz
Associate Principal
Peter Margulies# Paul Torrisi Alexander Pride†† TROMBONE Mark Davidson Principal
ENGLISH HORN Lissa Stolz
Sam Elliot
CLARINET Tad Calcara
BASS TROMBONE Graeme Mutchler
Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
Erin Svoboda-Scott Associate Principal
Lee Livengood
Associate Principal
TIMPANI George Brown Principal
Eric Hopkins
Associate Principal
PERCUSSION Keith Carrick Principal
BASS CLARINET Lee Livengood
Eric Hopkins Michael Pape
E-FLAT CLARINET Erin Svoboda-Scott
KEYBOARD Jason Hardink
BASSOON Lori Wike
Principal The Edward & Barbara Moreton Chair
Leon Chodos
Associate Principal
Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Edmund Rollett Acting Principal
Llewellyn B. Humphreys Brian Blanchard Stephen Proser
Associate Principal
Caitlyn Valovick Moore
* String Seating Rotates † On Leave
Principal
# Sabbatical †† Substitute Member
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LIBRARIANS Clovis Lark Principal
Katie Klich ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel
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FRIENDS OF ONSTAGE OGDEN Onstage Ogden thanks the following individuals, corporations, foundations, and public funding sources for their generous donations! Onstage Ogden is an exempt organization as described in section 501(c)(3) of the Internal Revenue Code. The following is a list of contributors from June 2019 through August 2019. Please contact Onstage Ogden’s Executive Director, Melissa Klein, at 801-399-9214 if you would like to make a donation or if your name has been inadvertently left off the following list or is misspelled. Thank you again for your generous support!
Season Sponsor ($90,000+) Stewart Education Foundation
Series Sponsor ($20,000+) Alan & Jeanne Hall Foundation Norman C. & Barbara L. Tanner Charitable Trust Val A. Browning Foundation
Concert Sponsor ($10,000+) George S. & Dolores Doré Eccles Foundation
Robert & Marcia Harris Ogden City Arts MSL Foundation
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Dr. Robert Fudge & Sylvia Newman
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Michael Palumbo Donald Pantone Jeff Paulson Paul & Sandra Perkin Juergen Sass Leland Sather Heath Satow Mary & Howard Schuyler Shane & Pamela Schvaneveldt Sempre Musical Society Darin & Jo Sjoblom Denise Sly Keith & Marlys Sorbo Edward & Mari Lou Steffen Ned & Sheila Stephens Darlene Stoddard Edna Stratford Jeneile Tams Jeane Taylor Patti Van Aarle Lucinda & Phillip Wagner Bruce & Kay Wallace Andrew & Suzanne Wall Brent & Gloria Wallis Gerald & Ann Walters Sheldon & Janice Ward Barbara & Gerald West Kent & Trudy Whiteman Jon & Dawnene Wilson Carl & Helgard Wolfram Harry & Marilyn Woodbury Larry Zaugg
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FRIENDS OF ONSTAGE OGDEN 70th Anniversary Club ($70–$99) Marsha Ashby Russell Ashment Paul & Georgia Bennion Evelyn Bertilson Renee Bohman & Jolene Kobe Laura & Randy Browne Kathleen Price Browning Child Culture Club Ray & Betty Christian Stephen & Judy Farr Gerry & Dixie Funk
Memorial Donations
Phyllis Combe in Memory of Charles Combe Zana Anderson in Memory of Mary Irvine Beverly Heslop & Family Donation in Memory of G. Val Lofgreen
Janice Grajek David & Joan Hadley Mary Hargis William & Jackie Jones Steve Kier Taylor Knuth & Sean Bishop Jody & Blake Leatham James & Deborah Lindstrom Roy & Barbara McKechnie Dr. Rand & Cynthia Mattson Mary Mcmillen
Debra Nielson Claude & Barbara Nix Marsha Ohlwiler Camille Pollard Myrth Priest Sherman Smith Lynne Starley Roberta & Kent West Jan Zehner
Evaline McBurnie in Memory of Ronald L. Wooden & Joseph B. Terry
Gerald & Ann Walters in Memory of Pat Parkinson
Barbara Mayhew In Memory of Pat Parkinson
Sharon Macfarlane in Memory of Verna Egbert & Val Lofgreen
ADD YOUR NAME TO OUR LIST OF AMAZING DONORS! Support Onstage Ogden with Donations of: Cash in the form of . . . . . . . . . . . . . . . . . . . . . . . . Cash, Check, Credit Cards, Money Orders, Etc. Securities in the form of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stocks, Bonds, Mutual Funds, Etc. Planned gifts in the form of . . . . . . . . . . . . . . . . . . . . . . . . . Wills, Bequests, Trusts, Annuities, Etc. Gifts-in-kind . . . . . . . . . . . . . . . . . . . . . . . . Services and tangible items to offset budgeted items Matching gifts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Inquire with your Company’s HR department
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801.399.9214
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2020 Season June 1 - October 10
RICHARD III THE COMEDY OF ERRORS PERICLES THE PIRATES OF PENZANCE ONE MAN, TWO GUVNORS INTO THE BREECHES! DESPERATE MEASURES CYMBELINE SHAKESPEARE’S WORST!
800-PLAYTIX bard.org #utahshakes René Thornton Jr. as Henry Condell in The Book of Will, 2019
U TA H ’ S PREPRINT W E E K LY P O L I T I C A L R O U N D U P
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With specialty service for all ages, we’ve got you covered. At Ogden Clinic, patient needs are met through consistent, quality healthcare. With over 20 locations in Davis and Weber County, and 24 specialties ranging from urology to women’s health, to dermatology, our doctors do their best to keep you feeling your best. And since we accept nearly all insurance plans, you have the freedom to choose the doctor that’s right for you.
S P E C I A LT Y S E R V I C E S • Allergy
• Hand & Upper Extremity
• Physical Therapy
• Audiology
• Hip & Knee
• Podiatry
• Dermatology
• Medical Weight Loss
• Radiology
• Ear, Nose & Throat
• Neurology
• Speech Pathology
• Family Medicine
• Neurosurgery
• Sports Medicine
• Foot & Ankle
• Orthopedics
• Urgent Care
• Gastroenterology
• Pain Management
• Urology
• General Surgery
• Pediatrics
• Women’s Health
801.475.3000 ogdenclinic.com