Rachmaninoff Rhapsody on a Theme of Paganini

2019–20 SEASON

RACHMANINOFF RHAPSODY ON A THEME OF PAGANINI October 24, 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

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Russ King Onstage Ogden Foundation

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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

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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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Rachmaninoff Rhapsody on a Theme of Paganini October 24 S E A SO N S P O N SO R

WEBER COUNTY RAMP

Rhapsody on a Theme of Paganini October 24, 2019 | 7:30PM

VAL A. BROWNING CENTER FOR THE PERFORMING ARTS AZIZ SHOKHAKIMOV, conductor LUKÁŠ VONDRÁČEK, piano

S E R I E S S P O N SO R

NORMAN C. & BARBARA L. TANNER CHARITABLE TRUST

MUSSORGSKY: Night on Bald Mountain ORCH. RIMSKY-KORSAKOV RACHMANINOFF: Rhapsody on a Theme of Paganini, Op. 43 / INTERMISSION /

PROKOFIEV: Symphony No. 5 in B-flat major, Op. 100

I. Andante II. Allegro moderato III. Adagio IV. Allegro giocoso

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ARTISTS’ PROFILES Newly appointed as the Kapellmeister at the Deutsche Oper am Rhein and Principal Guest Conductor at La Verdi Orchestra in Milan, the remarkable young conductor Aziz Shokhakimov continues his rise on the international symphonic and opera scene. Aziz won the Nestlé and Salzburg Festival Young Conductors Award at the 2016 Salzburg Festival, chosen from a field of 65 applicants overall. Each of the three finalists conducted the Salzburg Camerata during the Award Concert Weekend, and a jury led by Chairman Dennis Russell Davies and Honorary President Plácido Domingo selected Aziz Shokhakimov as the winner. In addition to the cash prize, Shokhakimov will conduct the Vienna Radio Symphony Orchestra in a Salzburg Festival concert at the Felsenreitschule concert hall next August.

Aziz Shokhakimov Conductor

Shokhakimov has enjoyed fruitful collaborations with the Folles Journey Festival in Warsaw, as well as engagements leading the Dusseldorf Symphoniker in Tokyo.

Shokhakimov studied conducting at the Uzbek State Conservatory in Tashkent under the tutelage of Professor V. Neymer. In 2005 he was awarded the State ‘Nikhol’ Prize for talented young musicians. After conducting the National Symphony Orchestra of Uzbekistan for the first time, he was named Assistant Conductor in 2001 and has since led the orchestra in numerous concerts. In 2002 he made his operatic debut at Uzbekistan’s main State Academic Theatre in performances of Bizet’s Carmen.

Since 2003 Shokhakimov has worked regularly with the Russian Youth Symphony Orchestra, based in Togliatti, and has led the orchestra on tours throughout Russia, as well as in France and the Ukraine.

From 2005 to 2009 Shokhakimov was a participant in the trainee program of the National Philharmonic Orchestra of Russia, under the patronage of Maestro Vladimir Spivakov.

In November 2010 he conducted the orchestra in his first full subscription concert, featuring works of Haydn, Brahms, and Mendelssohn.

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ARTISTS’ PROFILES The indisputable winner of the International Queen Elisabeth Piano Competition 2016, Lukáš Vondráček, recently finished an exciting 2018–19 season. It saw him work with the hr-Sinfonieorchester, Pittsburgh Symphony Orchestra under the baton of Juraj Valčuha, BBC National Orchestra of Wales with Xian Zhang, and Orchestre national de Lorraine. He returned to the Royal Scottish National Orchestra, Prague Radio Symphony Orchestra, Janáček Philharmonic Orchestra, and Orquestra Sinfônica do Estado de São Paulo. Recitals took him to the Flagey in Brussels, Società Filarmonica de Trento, Vancouver Chopin Society, Philharmonie Haarlem, Casa da Música in Porto, and to Deutschlandfunk Cologne.

Lukáš Vondráček Piano

Lukáš Vondráček made his first public appearance at the age of four. His debut as a fifteen-year-old in 2002 with the Czech Philharmonic Orchestra and Vladimir Ashkenazy was followed by a major US tour in 2003. His natural and assured musicality and remarkable technique have long marked him as a gifted and mature musician. He has worked with conductors including Paavo Järvi, Gianandrea Noseda, Yannick NézetSéguin, Marin Alsop, Christoph Eschenbach, Pietari Inkinen, Vasily Petrenko, Jakub Hrůša, Anu Tali, Xian Zhang, Krzysztof Urbański, Stéphane Denève, and Elim Chan.

Previous highlights include concerts with The Philadelphia Orchestra, St. Petersburg Philharmonic, the Philharmonia, and New Jersey Symphony orchestras as well as recitals at the Mariinsky Theatre, in Mumbai, Singapore, Leipzig’s Gewandhaus, at Brussel’s Flagey, and the Menuhin Festival Gstaad.

International awards include first prizes at the Hilton Head and San Marino International Piano Competitions and Unisa International Piano Competition in Pretoria, South Africa, as well as the Raymond E. Buck Jury Discretionary Award at the 2009 International Van Cliburn Piano Competition.

Following studies at the Academy of Music in Katowice and the Vienna Conservatoire, Lukáš Vondráček obtained an Artist Diploma from Boston’s New England Conservatory under the tutelage of Hung-Kuan Chen, graduating with Honors in 2012.

His first commercial recording, a solo album for Octavia Records, was released in 2004 followed by another recital disc in 2012. His most recent CD, a recording of works by Brahms was released in autumn 2013 on the ORF label.

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EVELYN ROSENBLATT ARTIST AWARD This weekend’s Masterworks concerts mark the annual Evelyn Rosenblatt Artist recognition created to honor a young soloist or conductor of exceptional promise who has an emerging national reputation.

The 2019–20 Artist of Distinction is Lukáš Vondráček, this evening’s talented pianist. This annual recognition is endowed in perpetuity by Evelyn Rosenblatt and her family, who personally selected Mr. Vondráček as this year’s honored artist. Previous Rosenblatt tributes have been awarded to pianists Joyce Yang, Olga Kern, Yu Kosuge, Denis Matsuev, Cédric Pescia, and Denis Kozhukhin; violinists Stephan Jackiw, Viviane Hagner, Scott St. John, Baiba Skride, Veronika Eberle, and Will Hagen; cellists Narek Hakhnazaryan, Julie Albers and Matthew Zalkind; and conductors KeriLynn Wilson, Andrew Grams, and Karina Canellakis.

The love of great music always played an important role in the life of Evelyn Rosenblatt. As a high school student, Evelyn took the train from Ogden to Salt Lake City every Saturday to study piano. Following her marriage to Joseph Rosenblatt in 1930, she hosted many of Utah Symphony’s musicians and guest artists in her home over the years.

These include Leonard Bernstein, Jascha Heifetz, Gregor Piatigorsky, Arthur Rubinstein, Beverly Sills, Glenn Gould, and Isaac Stern. The Rosenblatt sculptural plaque, designed to honor Evelyn Rosenblatt for her care and love of the Utah Symphony, is located in the lobby outside the First Tier Reception Room in Abravanel Hall. In 1997–98, Mr. and Mrs. Rosenblatt served as the first chairs of the Symphony’s Annual Fund Committee. In January 2000, the Rosenblatt family created the Evelyn Rosenblatt Young Artists Endowment to honor Mrs. Rosenblatt on the occasion of her 90th birthday. Mr. Rosenblatt passed away in May 1999, and Mrs. Rosenblatt in April 2004. Utah Symphony | Utah Opera gratefully thanks and recognizes Evelyn Rosenblatt.

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NOTES ON THE PROGRAM Modest Mussorgsky (1839–1881) (orch. Rimsky-Korsakov)

Night on Bald Mountain PERFORMANCE TIME: 12 MINUTES

Over time, Modest Mussorgsky has acquired a reputation as the wild man of Russian music—a notion that is understandable if not entirely deserved. It is certainly reinforced by the thundering climaxes and raw emotion we hear in his music. If his compositions are moody and steeped in Russian folk tradition, that description could fit the music of many of his peers. Still, Mussorgsky’s voice is well-nigh unmistakable, especially in the brooding, innovative harmonies we hear in Night on Bald Mountain and his other major compositions, such as his opera Boris Godunov.

Composed in 1867, when Mussorgsky was still in his 20s, Night on Bald Mountain is early Mussorgsky and vintage subject matter: a tone poem depicting a witches’ Sabbath occurring on St. John’s Eve, the very night (June 23) when he completed the work to his evident satisfaction. It received its concert premiere in St. Petersburg in 1886, five years after Mussorgsky’s death, and achieved immediate success. In the West, our indelible images of the windswept Bald Mountain are derived from the vivid collaboration between Leopold Stokowski and the Disney studios in the animated classic Fantasia (1940).

There is much more to the eerie content of this tone poem than just Mussorgsky’s characteristically vivid tone-painting of a craggy peak at night in bad weather. He larded his score with bone chilling elements, including the sinister roll of the bass drum and scary descending phrases that slither like serpents. One critic deftly described this

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by Michael Clive

witches’ brew as a “hatful of horrors.” In fact, the composer’s four-part structure for this tone poem begins with [1] “an underground noise of inhuman voices. Appearance of the Spirits of Darkness followed by an appearance of Satan and [2] his adoration.

[3] A Black Mass. [4] Joyful dancing of the Witches’ Sabbath.” With the tolling of a church bell, the darkness is finally dispersed.

Sergei Rachmaninoff (1873–1943)

Rhapsody on a Theme of Paganini, Op. 43.

PERFORMANCE TIME: 23 MINUTES

Rachmaninoff composed Rhapsody in 1934, when he had already written four full-length concertos. Not just a collection of variations on a theme, it is a concertante that is formally constructed, with the 24 variations dividing themselves into 3 movements in which most of the variations, like Paganini’s original theme, are stated and developed in A minor. The result closely resembles a concerto: It has traditional fast, slow and faster movements, and it incorporates additional thematic materials to develop musical ideas in a formal way.

Listeners who cannot quite place the formal title of the Rhapsody will immediately recognize Paganini’s familiar main subject, which is the best-known and -loved of his set of 24 violin caprices. It’s built upon a pair of peppery A-minor phrases that sound vaguely demonic, especially on the violin. The melody starts with an emphatic A, and then, after a quick four-note figure, jumps up to E—then drops an octave to a lower E, repeats the four-note figure starting on E rather than A to arrive back where it began. This basic progression—start on the tonic, jump up a

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NOTES ON THE PROGRAM fifth, drop an octave and jump up a fourth to the tonic again—is often called “circular,” and it could be repeated in an endless loop if a counterbalancing phrase didn’t intervene… eventually resolving it on the same tonic note.

In Rachmaninoff’s treatment of this theme, the first ten variations form an opening movement, with another theme—a quotation of the Dies irae theme of the Latin mass—arising in variations 7, 10, 22, and 24. Variation 11 consists of a slow, poetic transition that leads us into a slow movement that moves gradually from D minor to D-flat minor, culminating in the most famous musical interlude in the entire Rhapsody, variation 18. You’ll be lost in the beauties of Rachmaninoff’s lush romanticism when this variation, vernal and ecstatic, soars forth, literally turning the original theme on its head—a direct inversion of Paganini’s original A-minor subject. Understanding its potential popularity, Rachmaninoff is reported to have quipped “this [variation] is for my agent.” It is often played as a stand-alone work.

Sergei Prokofiev (1891–1953)

Symphony No. 5 in B-flat Major, Op. 100 PERFORMANCE TIME: 46 MINUTES

Prokofiev would compose seven symphonies in all. His fifth took shape while World War II was still raging, fourteen years after he published his Symphony No. 4, and in its ardent expression of idealism and humanistic affirmation, it may be heard as a statement of patriotism and a vision of a more peaceful world. Freshness and energy are characteristic of all Prokofiev scores; but where some of his major works—for example, his five great piano concertos—thrill with

their power and percussiveness, others are written in a more lyrical style. The latter group includes his popular ballet scores, which shine with narrative expressiveness and singing melodies. His Symphony No. 5 combines all of these qualities.

Despite the horrors and privations suffered by Soviet citizens during the war, music historians tell us that Prokofiev produced the Symphony No. 5 at one of the most optimistic moments of his life. He wrote it in an impassioned burst of creativity during the summer of 1944, reportedly in a single month. In a note on the score, he wrote that he intended the symphony as “a hymn to free and happy Man, to his mighty powers, his pure and noble spirit…I cannot say that I deliberately chose this theme.

It was born in me and clamored for expression.

The music matured within me. It filled my soul.”

Like many of Shostakovich’s political symphonies, Prokofiev’s Fifth was intended to console and uplift the listener, a testament to art’s ability to inspire us at times of desolation. We hear this most clearly as the first movement draws to a close; following a long and formally constructed development, the recapitulation and coda come to us with sounds of triumph expressed through the brasses and percussion that seem to confirm what is most noble in the human spirit. In the second movement, Prokofiev’s characteristically driving rhythms— composed at a time when Soviet citizens were exhausted nearly beyond human endurance—seem to energize us as we listen. While the eloquent third movement can be heard as an unflinching depiction of war’s brutal realities, the final movement’s gathering energy gives rise to a profusion of orchestral color that blazes with excitement for the future. In its totality, the work is a towering symphonic assertion of humanism and of triumph over despair.

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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

VIOLA* Brant Bayless

Principal The Sue & Walker Wallace Chair

Elizabeth Beilman

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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

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John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah ThomasHollands†† Pegsoon Whang BASS* David Yavornitzky Principal

TRUMPET Travis Peterson

OBOE James Hall

Jeff Luke

Principal The Gerald B. & Barbara F. Stringfellow Chair

Robert Stephenson Associate Principal

Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara

Corbin Johnston

• First Violin •• Second Violin

* String Seating Rotates † On Leave

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James Allyn Benjamin Henderson†† Edward Merritt Jens Tenbroek Thomas Zera HARP Louise Vickerman Principal

FLUTE Mercedes Smith

Lisa Byrnes

Associate Principal

Peter Margulies# Paul Torrisi TROMBONE Mark Davidson Principal

Sam Elliot

Associate Principal

BASS TROMBONE Graeme Mutchler TIMPANI George Brown

Erin Svoboda-Scott

PERCUSSION Keith Carrick

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Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda-Scott BASSOON Lori Wike

Leon Chodos

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Jennifer Rhodes CONTRA-BASSOON Leon Chodos HORN Edmund Rollett Acting Principal

Principal The Val A. Browning Chair

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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

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PICCOLO Caitlyn Valovick Moore

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

Associate Principal

Caitlyn Valovick Moore # Sabbatical †† Substitute Member

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Eric Hopkins

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Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal

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Jonathan & Beverly Souder Joyce & Robert Stillwell Richard & Judy Webber Dr. Michael & Jennifer Webb Hal Wheelwright

Jeff Gyllenskog Kim & Becky Hale Terry Hartman-Smith Deborah Heaney Dr. William & Barbara Hughes Dr. Michael & Lori Jacobazzi Melba & Denis Kirby Knights of Colombus #14399 Andrea Lane Sarah Lindsay Val & Karen Lofgreen Jeanette Long Eugene & Pat Low Sharon Macfarlane David Malone and Madonne Miner Dwayne Manful Frank & Sharon Markos Erika Martin Sandy & Phillip Maxwell Evalyn McBurnie Andy & Susan Mccrady James & Jennifer McGregor Kathryn Miano Wayne & Nada Miller Dr. Mark & Meg Naisbitt Dr. & Mrs. Noel Nellis Gary & Marilyn Newman Arthur & Ruth Nielsen Audra Norby Ogden Chapter of MacDowell Ensemble

Tina Olsen Cheryl Orme Michael Palumbo Donald Pantone Jeff Paulson Paul & Sandra Perkin Juergen Sass Leland Sather Heath Satow Mary & Howard Schuyler Shane & Pamela Schvaneveldt 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 Carl & Helgard Wolfram Harry & Marilyn Woodbury Larry Zaugg

OnstageOgden.org

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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

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

Gerry & Dixie Funk Janice Grajek David & Joan Hadley Mary Hargis William & Jackie Jones Steve Kier Mr. Taylor Knuth Jody & Blake Leatham James & Deborah Lindstrom 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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Utah’s PBS Station

“ my inspiration , my friend , my piano ”

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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