Spanish Brass by Mills Publishing Inc.

2021–22 SEASON

SPANISH BRASS NOVEMBER 11, 2021 / 7:30 PM

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Onstage Ogden

WELCOME

DEAR FRIENDS, Onstage Ogden is excited to emerge from the challenges of the past year and present a full and fulfilling new season to enrich and enliven Northern Utah! Music and the arts unite, allowing our diverse community to find shared interests and values. Our new season brings back traditional favorites, such as the Utah Symphony and Ballet West, while expanding offerings to introduce world class performers such as Ballet Hispánico and Chanticleer. And we are excited to resume the Thanksgiving weekend tradition of Ballet West’s The Nutcracker at the Browning Center this November! We are confident that our performances will create lasting memories for you and your family. For more than 70 years Onstage Ogden has brought classical music and dance to the greater Ogden community. On behalf of the Board of Directors and staff, I thank you for your continued support. We look forward to many more years of bringing the arts to Ogden. Welcome back! Jennifer Webb President, Onstage Ogden Board of Directors

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Onstage Ogden

BOARD & STAFF BOARD OF DIRECTORS Jennifer Webb President

Nancy Pinto-Orton Chair of Nominating Committee

Russ King Chair of Foundation Board

Susan Shreeve Vice President

Dr. Ann Ellis At Large

Jean Vaniman President-Elect

Christina Myers At Large

Roger Christensen Treasurer

Cirilo Franco John Fromer Dr. Val Johnson Chris Karczewski

Dr. Rosemary Lesser Zach Nelson Wendy Roberts Joyce Stillwell Dr. Deborah Uman Jon Wilson

Dr. Robert Fudge Secretary

FOUNDATION Russel King Chair Marti M. Clayson Secretary Richard White Treasurer

STAFF Alicia Washington Interim Director

Paul C. Kunz Andrea Lane Michael S. Malmborg Dr. Judith Mitchell Meg Naisbitt Carolyn N. Rasmussen Sherm Smith

Dr. Paul Sonntag Dotty Steimke

Andrew Barrett Watson Outreach & Events Manager

Camille Washington Marketing & Box Office Manager

Cover illustration: Nate Williams for Onstage Ogden

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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. 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 2021.

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Onstage Ogden

2021–22 SEASON FAMILY SERIES

MASTERWORKS SERIES Rachmaninoff Symphonic Dances January 27, 2022 at 7:30PM Ravel La Valse February 3, 2022 at 7:30PM Beethoven No. 6 March 24, 2022 at 7:30PM ENTERTAINMENT SERIES Cirque de la Symphonie April 21, 2022 at 7:30PM

DANCE & VOCAL SERIES BYU Ballroom Dance Company October 23, 2021 at 7:30PM Nochebuena December 23, 2021 at 7:30PM Ballet Hispánico February 5, 2022 at 7:30PM Chanticleer April 28, 2022 at 7:30PM

FAMILY SERIES Spanish Brass November 11, 2021 at 7:30PM Here Comes Santa Claus! December 14, 2021 at 7:00PM Carnival of the Animals March 17, 2022 at 7:00PM Youth Benefit Concert May 17, 2022 at 7:00PM

SPECIAL EVENTS The Nutcracker November 26–27, 2021 Friday at 7:00PM Saturday at 2:00PM & 7:00PM

DOWNTOWN SERIES Imani Winds October 12, 2021 at 7:30PM Hot Club of San Francisco October 15, 2021 at 7:30PM Thalea Quartet December 7, 2021 at 7:30PM Eighth Blackbird January 13, 2022 at 7:30PM

Arts

The Onstage Ogden’s 2021–2022 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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FAMILY SERIES

SPANISH BRASS S E A SO N S P O N SO R

November 11, 2021 / 7:30 PM Odgen High School

CARLOS BENETÓ & JUANJO SERNA, trumpets MANUEL PÉREZ, french horn INDA BONET, trombone SERGIO FINCA, tuba

Spanish Brass (a)LIVE A-brass-ada Arnau Bataller Carmen Miniature George Bizet (arr. Thierry Caens) Dance Suite Dancisa for Anthony Waltz for Agnes Bi-Tango for Mischa Two-step for Mr. B MTV for Jerry Leonard Bernstein Chaplin Suite Charles Chaplin (arr. Thierry Caens) INTERMISSION

La Boda de Luis Alonso Gerónimo Giménez (arr. F. Zacarés) Asturias Isaac Albéniz (arr. Maxi Santos) Farruca (El Sombrero de Tres Picos) Manuel de Falla (arr. Pascual Llorens) Mon amant de Saint Jean Emile Carrara (arr. T. Thibault) Mediterráneo oan Manuel Serrat (arr. Ramon Cardo) J Oblivión Ástor Piazzolla (arr. Thierry Caens) Libertango Ástor Piazzolla (arr. Thierry Caens)

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ARTISTS’ PROFILES SPANISH BRASS (www.spanishbrass.com) was created in 1989 by five Spanish musicians as an innovative project that quickly gained world renown for its performances, educational activities and creative collaborations. After they won the First Prize in the 1996 Narbonne (France) International Brass Quintet Competition, the most prestigious event of its kind in the world, trumpeter Bernard Soustrot said, “Of all the First Prize winners of the Narbonne Competition, the Spanish Brass is the best since the competition was founded in 1986.” In 2017 the group received the I Bankia Music Talent Award in Spain, for the most influential musical artists. SPANISH BRASS has given hundreds of concerts across the globe, in such prestigious events and venues as the Great American Brass Band Festival; the New York Brass Conference; the Juilliard School of Music, the National Gallery in Washington, DC; Festival de Musique de Radio-France; Granada International Festival; Lucerne Festival; Cheju Summer Festival (Korea); Schleswig-Holstein Musik Festival (Germany); National Auditorium (Madrid); Palau de la Música (Barcelona); Kalavrita Festival (Greece); International Horn Society, Merano Brass Festival and Trento Philharmonic (Italy); Barcelona Auditorium; Festival de Inverno de Brasília, and countless others. SPANISH BRASS has been in the forefront of international music education, giving courses and master-classes with the Spanish National Youth Orchestra. the Youth Orchestras of Catalonia, Valencia, Andalucía and Madrid, the Hong Kong Academy for Performing Arts, Trumpet Lounge (Japan), the Showa School for Performing Arts (Japan), Lieksa Brass Week (Finland), the Eastman School of Music, University of Georgia, Venezuelan Youth Orchestra, Dartington International Summer School (England), International Winter Music

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Festival of Brasilia (Brazil), Ibero-American Cultural Festival (Puerto Rico), etc. SPANISH BRASS also runs two major brass festivals in Spain: the SBALZ Festival in Alzira (www.sbalz. com) and Brassurround (www.brassurround. com). They currently teach at the Berklee College of Music campus in Valencia and at the Universidad Europea in Madrid. A sampling of their international accolades includes: “They are one of the world´s finest brass quintets ranking up there with Empire Brass, Canadian Brass and American Brass” (Greg Alley); “One of the most exciting and artistic brass quintets to come on the scene in recent years … a gloriously brilliant performance” (International Trumpet Guild Journal); “They play with amazing cohesion, and set the highest standard for brass chamber music” (Maurice André, trumpeter); and “I cannot think of a better brass quintet in the whole world” (Christian Lindberg, trombonist). They have recorded 28 CDs, including the double CD “The Best of Spanish Brass,” a disc of Christmas music, and their latest release, “Puro de Oliva,” with flamenco-jazz pianist Chano Domínguez. INDIVIDUAL BIOS Carlos Benetó: Born in Castelló, Valencia in 1969, Carlos began his musical training at the Lira Castellonense Music Society’s Music School in Vilanova de Castelló, Valencia. He graduated from Madrid’s Royal Conservatory of Music, where he studied with José María Ortí. In 1988 he joined the Gran Canaria Philharmonic Orchestra as well as the Spanish National Youth Orchestra, of which he was a member until 1992. He was trumpet player of the City of Granada Orchestra as well as being one of its founding members. A founding member of SPANISH BRASS, Carlos enjoys cooking, reading and watching movies with his family. He has an 18-year-old son.

ARTISTS’ PROFILES Juanjo Serna: Juanjo was born in Albuixec, Valencia in 1970. He trained with José Ortí at Madrid’s Royal Advanced Music Conservatory, where he received the advanced level Honor Award. He regularly performs with such symphony ensembles as the Spanish National Orchestra, the Spanish Radio and Television Orchestra, the Madrid Symphony Orchestra, and the Euskadi (Basque), Canarias and Cadaqués Symphony Orchestras. He was Principal Trumpet of the City of Granada Orchestra. A founding member of SPANISH BRASS, Juanjo loves football, especially the matches of the Levante Team. He also likes to listen to salsa and jazz, and is a specialist in jazz music. He has a 15-year-old son. Inda Bonet: Born in Vila-real, Castellón in 1971, Inda began his musical training with his father. He continued his training at the Valencia Advanced Music Conservatory, where he won the Honor Awards at the elementary, intermediate and advanced levels Conservatory. He then went to study in Paris at the Conservatoire National Supérieur de Musique, where he won First Prize. Inda was Principal Trombone of the Spanish National Orchestra from 1993 to 1998. He sat on the juries of the International Chamber Music Competition of Lyon, France in 2005 and the Philip Jones de Guebwiller International Competition, also in France, in both 2005 and 2007. A founding member of SPANISH BRASS, Inda lives in the mountains with his wife and his three children, ages 18, 13 and 8, and various animals. Manuel Pérez: Manolo was born in 1971 and began his musical studies at the age of eight at school in his home town of Guadassuar, Valencia. His studies were concluded at the Joaquin Rodrigo Higher Conservatory of Music in Valencia under the tutelage of Joaquin Vidal, Encara Grau and Jose Rosell, where he was awarded the Prize of Honor at the completion of his studies. From 1990 to 1993 he perfected

his technique under Daniel Bourgue at the Conservatoire National de Région in Versailles (France), where he won the First Prize and Gold Medal. Manolo was a member of the Spanish National Youth Orchestra and performed with the City of Granada Orchestra, Gran Canaria Philharmonic Orchestra, Madrid Symphony Orchestra, National Orchestra of Spain, among others. From 1989 to 1998 he taught at the professional conservatories of Cáceres, Gijón and Albacete. A founding member of SPANISH BRASS, Manolo has two sons, ages 13 and 10. Sergio Finca: Born in 1979, Sergio comes from Pola de Siero, a small town in northern Spain. He began his musical studies at the age of eleven and later studied at the Conservatory of Music in Oviedo, Spain and in France at the Conservatoire National de Région in Perpignan and Bordeaux, where he was awarded the city’s Medal of Honor. He earned the Superior Diploma from the National Higher Music Conservatory in Lyon with a mention “Très Bien a l’Unanimité” in a competition between that school and the Paris Conservatory. Sergio won First Prize at the Brno (Czech Republic) Competition and the Young Performers Competition of Spain. He was also a prize winner at the International Competition of Sydney, Australia. His outstanding performance at the National Auditorium in Madrid was broadcast on Spanish TV. He has taught in France and given masterclasses across Europe. Sergio often plays with major orchestras in Spain and France. He was Principal Tuba of the Lyon National Opera Orchestra and has worked under such conductors as Zubin Mehta, James Levine, Bernard Haitink, Yuri Temirkanov, Jesús López Cobos, Paavo Jarvi and Ivan Fischer. The youngest (and newest) member of SPANISH BRASS, Sergio joined the group in 2006. He is a gourmet and enjoys fine dining and gardening. Sergio has a 4-year-old son.

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FAMILY SERIES PROGRAM NOTES BATALLER: The award-winning Spanish film composer Arnau Bataller was born in 1977 and graduated from the University of Southern California, where he studied in the prestigious program for Scoring for Motion Pictures and Television. Always striving for the ideal synergy between visual imagery and musical color, Bataller has recorded with most of the film music orchestras in Europe. He uses a wide range of sounds, from ethnic instruments to synthesizers. In 2012 Bataller won the International Film Music Critics Association Prize for best music for the historical TV miniseries “Ermessenda,” competing against the music for “Game of Thrones,” “Downton Abbey,” “Doctor Who” and “Sherlock Holmes.” In 2011, he won the Spanish Film Music Critics Award for Best Composer. The title, “A-Brass-Ada,” is a three-way play on words. In addition to “brass,” the title suggests “abrazada” (embrace), since, as the composer explains, he embraced the challenge of composing for brass quintet for the first time; and thirdly, “brasas” (embers), refering to the fact that the musicians may feel like they have burned up all their energy after performing this demanding piece. The playful name also reflects aspects of the music itself: it is meant to be a diversion for the audience; its three-movement structure mirrors the graphic division of the title; and above all, the repeated vowel, which is echoed in the short, simple motif of groups of ascending sixteenth notes that can be heard throughout the three movements. With a language that mixes jazz influences, colored harmonies, modal scales and a touch of dissonance, this piece sets out obvious motifs which are

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modified, deconstructed and varied with timbral and rhythmic games and vertiginous dialogues between the performers. The composer writes: “I hope you enjoy listening to it as much as I enjoyed composing it.” BIZET/CAENS: The plot of the opera Carmen tells of a beautiful Gypsy girl, Carmen, who seduces the soldier Don José, stealing him away from his fiancée Micaëla. Don José is besotted by the beguiling Gypsy and, pledging his love, deserts the army to be with her. Carmen’s love is more fickle, and she soon tires of him, transferring her attentions to the famed bullfighter Escamillo. On the day of the bullfight Don José begs Carmen to come back to him. When she refuses, he stabs her in the heart, and while the crowds cheer the Escamillo’s victory in the ring, Carmen dies. The plot’s perceived immorality and exploration of sexual desire met with fierce disapproval from critics and audiences alike at its premiere in Paris. This may seem hard to believe given the affection with which Bizet’s opera is now regarded. Despite encouragement and praise from both Saint-Saëns and Massenet, Bizet lamented his “definite and hopeless flop” and quickly fell ill. Tragically, he was never to see the eventual triumph of his opera; three months after its disastrous premiere, he died of a heart attack. Tchaikovsky rightly predicted Carmen’s meteoric rise, writing, “I am convinced that in ten years time, Carmen will be the most popular opera in the world.” Carmen Miniature is a wonderful arrangement by Thierry Caens, in which he takes us on a tour through the opera’s main themes.

PROGRAM NOTES BERNSTEIN: Composed mostly in late 1989, Dance Suite was Bernstein’s last work. It was premiered as part of the 50th Anniversary Gala of American Ballet Theater at the Metropolitan Opera House, New York City, on January 14, 1990. This light-hearted divertissement was not danced, however, even though that was the original intention. A choreographer began work on it, but apparently felt that the movements were too short for danceable development. It was presented instead on stage, in front of the traveller curtain, as an independent instrumental work. The performers were the Empire Brass Quintet, to whom the Suite is dedicated “with affection.” Each movement is dedicated to a choregrapherfriend: Antony Tudor, Agnes DeMille, Mikhail Baryshnikov, George Balenchine and Jerome Robbins. More than a piéce d’occasion, there are other layers of meaning in the work since each movement had its origin in other formats. These are mostly anniversary pieces composed for family and friends. I. Dancisca, for Antony (Antony Tudor) The portmanteau word “Dancisca” is the title for what was originally a piano piece. Written for the composer’s granddaughter, Francisca Anne Maria Thomas, “For my Rhymy Girl, with thanxgiving and love, Tata.” II. Waltz, for Agnes (Agnes de Mille) The ironic Waltz, which sometimes is in 3/4 time (alternating with common time) has wry overtones. It was conceived as “The NEA Forever March,” after the composer refused the National Medal of Arts from President Bush. A grant from the National Endowment for the Arts to Artists Space, a nonprofit gallery in New York City, had been revoked because of its AIDS

exhibit, “Witnesses: Against Our Vanishing.” This was unacceptable to Mr. Bernstein, whose lyrics for the March were: Everyone got a medal but Bernstein, The President gave twelve medals, Not to Bernstein. Well, actually there showed up only ten to toast, ‘Cause one of the dozen couldn’t make it, And the other was just a ghost. But ten out of twelve is better than most, And the President was a very lovely host. So everyone had a great time but Bernstein. The Lord be praised! III. Bi-Tango, for Mischa (Mikhail Baryshnikov) The bi-tonal Bi-Tango is based on a “Birthday Serenata” composed for a violinist friend, Paul Woodiel, with words in Spanglish for “Señorito Pablito.” IV. Two-Step, for Mr. B (George Balanchine) The Two-Step was at first “A Spiky Song,” written for the composer’s grandson, Evan Samuel Thomas: “Two weeks old, from his loving Granddaddy, 28 Oct. ‘89.” (“Spike” was the name given to Evan prior to his birth by his father, David Thomas.) Its words include: Hooray, ni-hao, Little Spike. So glad, thank God, Didn’t call you Mike(ae)l, Stephen, Paul,... Hip, hip, loud cheers, little tyke. Welcome, warning: Livin’ ain’t a bike ride,... Hooray. Thank heaven for Evan. V. MTV, for Jerry (Jerome Robbins) MTV is in part a tribute to the ubiquitous Music Television. The middle section was also a song, written for the mother of the Bernstein grandchildren, Jamie Bernstein Thomas: “7.II.86, for Jamie, to be continued... Love, LB.” This one was inspired (if that is the appropriate word) when Mr. Bernstein watched an episode of “Miami Vice” on TV. The composer’s lyrics

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PROGRAM NOTES for it were loosely based on actual dialogue. The words are found partly in the manuscript, and have been in part recalled by a family friend, the conductor Michael Barrett, as: He said: You wash my back and I’ll wash yours. With the baby lyin’ in a shoe-bag on the floor So she stabbed that rapist crime for crime. He was a small-time stand-up comic anyway, Very small-time. Now ain’t that nice? Miami Vice. —Note by Jack Gottlieb CHAPLIN/CAENS: In this medley, the French trumpet player and arranger Thierry Caens used the following music from films by Charlie Chaplin: “Titine” and “Smile” from Modern Times, “The Flower Girl” from City Lights; “Deux petits chaussons” (Two little slippers) from Limelight; and “Ballet of the Bread Rolls” from The Gold Rush. GIMÉNEZ: Gerónimo Giménez was a child prodigy violinist who went on to become a leading composer and conductor. He took a special interest in the zarzuela, a form of Spanish opera, and as such his music is noticeably influenced by Spanish folk songs and dances. Giménez wrote La Boda de Luis Alonso (Luis Alonso’s Wedding) as a sequel to his previous zarzuela, El baile de Luis Alonso. Both are about the celebrated Spanish dancer and teacher, Luis Alonso. They are among Gimenez’s most famous compositions (and among Spain’s most popular zarzuelas). ALBENIZ: Asturias is the 5th piece from Albeniz’s Suite Española. It is most famous these days as a classical guitar piece, even though it was

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originally composed for piano. Asturias is a region on the northern coast of Spain. FALLA: Manuel de Falla was the most distinguished Spanish composer of the early 20th century. His music achieved a fusion of poetry, asceticism, and ardor that represents the spirit of Spain at its purest. Farruca, or The Miller’s Dance, is from The Three-Cornered Hat, originally written for a ballet. The story breathes the warm atmosphere of Andalusia, and tells of a miller and his beautiful young wife, their flirtations and intrigues, and the trickery that ensues when the couple is visited one day by the magistrate (whose three-cornered hat symbolizes his authority). The magistrate quickly develops an eye for the beautiful young wife. He orders the miller arrested to clear his own path to the wife, but his flirtation ends in humiliation when he falls into a stream. The magistrate lays out his clothes to dry, and the returning miller discovers them and puts them on, then sets out in pursuit of the magistrate’s wife. It all ends happily: the police rush in and accidentally arrest their own magistrate, the miller and his wife swear their mutual devotion, and the ballet concludes as the happy townspeople toss an effigy of the magistrate in a blanket. CARRARA: The son of Italian immigrants to France, Emile Carrara was the music director of the Moulin Rouge, and toured worldwide as an accordeonist. He composed the chanson “Mon Amant de St. Jean” in 1936. It was performed by many singers, including Edith Piaf, but it was Patrick Bruel’s 2002 recording that made it Carrara’s greatest hit.

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PROGRAM NOTES SERRAT: Born in 1943 in Barcelona, Joan Manuel Serrat is a Spanish musician, singer-songwriter, recording artist, and performer. He is considered one of the country’s most important figures of contemporary popular music. Serrat lived through the first consolidation of power by the dictator Francisco and the final purge of academics and “rabble-rousers” during the late 40s. His struggling working class family background would inform his musical life. When he first picked up a guitar, Serrat fell in love with the music of the Beatles and Bob Dylan, but as he became increasingly more liberal, and combative in his views, he started to fall in love with his own Catalan language and the music of artists like George Brassens, Leo Ferre, and Jacques Brel who spoke in even more roundabout ways about personal and public rebellion. Rock music couldn’t convey the swings of emotion quite like the new breed of chanson singers would. As his career began, Serrat devoted himself to singing only in Catalan, a language Franco tried to suppress by making Spanish the official language of Spain. But this only endeared it more to Serrat and other musicians in the Nova Cançó movement, who purposely sang and wrote in this language in order to sway people to their cause.

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Mediterraneo, from the 1971 masterpiece album of the same name, takes its inspiration from the bittersweet view Serrat during his stay along the Mediterranean sea. The lyrics of the song contain an ode to the sea and sand that forever shaped his life, and quite possibly, hold some of the most beautiful humanist thinking you’ll hear in any language, and are rightfully treasured by all Spaniards. PIAZZOLLA: Ástor Piazzolla was without question Argentina’s greatest cultural export, both as a composer and as an unprecedented virtuoso on his chosen instrument, the bandoneon—a large button accordion that is a common folk instrument in Latin American countries. Most notably, he single-handedly took the tango, an earthy, sensual, often disreputable folk music that he enjoyed as a child, and elevated it into a sophisticated form of high art. Oblivión, from a score Piazzolla composed for a film version of Pirandello’s play Enrico IV, is a haunting piece that exudes isolation and impassioned eloquence in a most gripping way. Libertango, composed in 1974, is one of Piazzolla’s greatest hits. The previous year, Piazzolla moved to Italy, and his European agent pressured him to compose “airplayfriendly” pieces. The title is a portmanteau of the words “libertad” (“freedom,” in Spanish) and “tango,” and represents his break from classical tango.

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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 January 2021 through October 2021. Please contact us 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 Utah Division Of Arts & Museums

Concert Sponsor ($10,000+) Ogden City Arts Pinto Family Foundation Weber State University Lindquist College of Arts & Humanities

Diamond ($5,000–$9,999) Marriner S. Eccles Foundation Beaver Creek Foundation

Platinum ($2,500–$4,999)

Richard K. & Shirley S. Hemingway Foundation

Gold ($1,000–$2,499) Bank of Utah Marti M. Clayson Rick & Karen Fairbanks Donna & Ralph Friz

Silver ($500-$999)

Dr. Judith Mitchell Robert & Sally Neill Rich & Kristin Bauter Harry & Becky Senekjian Dr. Val Johnson Marlin & Kathleen Jensen 18

Weber County RAMP

Val A. Browning Charitable Foundation

Norman C. & Barbara L Tanner Charitable Support Trust

George S. & Dolores Dore Eccles Foundation

Dr. Robert Fudge & Sylvia Newman

Paul C. & Cindy Kunz Jonathan & Beverly Souder Suzanne Patterson WESTAF Ralph Nye Charitable Foundation Glenn & Connie Wimer Dr. Carolyn Rich-Denson

Douglas & Shelley Felt Family Foundation Greg & Susan Shreeve Lindquist Memorial Parks Jan & Jerome Luger Mary & Lee Forrest Carter

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Shaun & Christina Myers Lynn & Steven Carter Greg & Susan Shreeve Willis McCree & John Fromer Dr. Michael & Jennifer Webb

FRIENDS OF ONSTAGE OGDEN Bronze ($100-$499) Anonymous (4) Paul & Georgia Bennion Aloha & Larry Whitney Jane Brewer Jeff & Pam Paulson Julie & Stephen Coley Dixie Vandyke Phyllis D. Combe David Suehsdorf & Janet Muir Mary Hargis Mardee Hagen Carolyn Yaworsky in Memory of Ellen Opprecht Jeanne Hinchman Greg & Caitlin Gochnour Paul & Sandra Perkin Brad & Lynn Carroll Donald Pantone

Bruce & Kay Wallace Jeff & Pam Paulson Meg Naisbitt Paul & Georgia Bennion Cirilo Franco Sandy & Phillip Maxwell Sempre Musical Society William & Anita Ford Ogden Chapter of MacDowell Ensemble Edward & Mari Lou Steffen Royce E. Dye & Delores K. Taylor Lynn & Natalie Dearden Dorothy Steimke Claude & Barbara Nix Erika Martin Larry Zaugg Dr. Ann Ellis

Zana Anderson in Memory of Marie Irvine Jeffry & Linda Burton Dr. Michael & Jennifer Webb Andrew & Suzanne Wall Harlan Schmitt Sheldon & Janice Ward James & Deborah Lindstrom John & Colleen Starley Jeane Taylor Roger Christensen Marlene Barnett Bonnie & Jack Wahlen Dr. Deborah Uman Dr. Rosemary Lesser Jean Vaniman Jeanne Hinchman in Memory of Ellen Opprecht

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