The Barber of Seville

ROSSINI’S

THE BARBER OF SEVILLE OCTOBER 9, 11, 13, 15, 17, 2021 JANET QUINNEY LAWSON CAPITOL THEATRE SEASON SPONSOR

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Hello music lovers, friends and associates, I am pleased to announce that a video presentation of my opera, El Curioso Impertinente has been posted for viewing/listening williamcall.net. at www.williamcall.net.

Camila and Lotario This 2 hour 15 minute El Curioso Impertinente performance features a complete cast of characters, chorus and orchestra.

The opera libretto is an adaptation of a captivating story interpolated by Miguel de Cervantes into his famous novel Don Quijote de la Mancha. You will laugh as you cry in response to the emotional impact of this great author’s narrative.

The opera is sung in the original Spanish with English subtitles.

I hope you enjoy it!

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THE BARBER OF SEVILLE

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6 ROSSINI’S WELCOME

THE BARBER OF SEVILLE

REPRESENTATIVES

7 ARTISTIC DIRECTOR’S WELCOME 8 BOARD OF TRUSTEES 10 USELESS PRECAUTIONS EDITOR 12 Melissa Robison THE OLDEST STORY IN THE BOOK 16 The UTAH SYMPHONY | UTAH OCTOBER 9, 11, 13, 15, 17, 2021 SEASON SPONSORS OPERA program is published 20

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WELCOME On behalf of the board, staff, artists, and musicians of Utah Symphony | Utah Opera, it is our pleasure to welcome you back to the Janet Quinney Lawson Capitol Theatre and the opening production of Utah Opera’s 44th season, Gioachino Rossini’s The Barber of Seville. We are thrilled to finally be able to share this production and cast with audiences after being just days away from opening when everything shut down in March 2020.

Steven Brosvik President & CEO

Thomas M. Love Board of Trustees Chairman

For more than 100 years Utahns have been coming together in this historic community gathering place which has been the performance home of Utah Opera since the 1978 renovation funded by the Bicentennial Center for the Arts Commission. The civic leaders of our past recognized the value of experiencing live performances together as a community. Those shared moments where we witness and contemplate with others live theatrical productions set to masterful music which may be humorous, moving, thoughtprovoking, or perhaps just diverting, bond us in a way that is increasingly rare and valuable in this digital age. Our recent history of only being able to access art via digital means has reminded us just how much more profound these types of in-person experiences are.

As leaders, it is our honor and responsibility to steward this wonderful organization so that it can make a difference in the lives of our citizens. With this in mind, and due to the current rise in Covid-19 cases, USUO updated its health guidelines for public performances and will continue to monitor and adapt to recommendations from health experts. These policies enable USUO to fulfill our mission to connect the community through great live music and, in turn, contribute toward artistic vibrancy and economic activity in downtown Salt Lake City. Your presence today is a vote of confidence in our efforts. Thank you for your willingness to participate in these current guidelines. We can only accomplish our vision for ever-greater performance experiences in partnership with you, who recognize how the performing arts contribute to our quality of life.

Thank you for attending today’s performance. We hope you will join us throughout the season for memorable productions of musical storytelling that connect our community through great live music here in the Janet Quinney Lawson Capitol Theatre!

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ARTISTIC DIRECTOR’S WELCOME Dear Utah Opera friends and family, What a joy it is returning to operas that we know and love and, in particular, those which are a celebration of life and love. Rossini’s most famous opera, The Barber of Seville, definitely checks all of those boxes! The opera’s bubbly music and frothy comic story lines are a romp from the first note of the overture to the rousing finale. The music is ubiquitous, being played in concert halls, movie scores, and, yes, even in Bugs Bunny cartoons. However, it all started in the opera house and that is where Rossini’s score shines brightest.

Christopher McBeth Artisticwv Director

Artists who specialize in Rossini’s bel canto style are notoriously difficult to find. Utah Opera has worked at identifying the artists for this presentation for several years and we are proud to present an outstanding cast. Playing the title role is Michael Adams who has performed with Utah Opera multiple occasions and become an audience favorite. As the witty and charming Rosina, Utah Opera Resident Artist alumna Sarah Coit makes a triumphant homecoming and one of the finest singing actors today, Matthew Burns, returns to our stage as Dr. Bartolo. In a notable debut, one of the most sought-after tenors for Rossini roles, Matthew Grills, joins as Count Almaviva.

We’re also happy to have one of our favorite conductors, Maestro Gary Thor Wedow, return for his fifth time to lead this production from the podium. If you’ve seen The Barber of Seville previously, I assure you that you are about to see it as never before. Michael Shell’s colorful mid-20th century stage direction of this classic opera opens our eyes to see it in a wonderfully new way and makes the story as vibrant as ever.

Thank you for joining us and enjoy this performance.

Sincerely,

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BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair Doyle L. Arnold* Brian Greeff* Joanne F. Shiebler* Vice Chairs Annette W. Jarvis* Secretary John D’Arcy* Treasurer Steven Brosvik* President & CEO Austin Bankhead Dr. Stewart E. Barlow Judith M. Billings George Cardon-Bystry

Gary L. Crocker David L. Dee* Senator Luz Escamilla Dr. Julie Aiken Hansen Daniel Hemmert* Stephen Tanner Irish Thomas N. Jacobson Abigail E. Magrane Brad W. Merrill Robin J. Milne Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Jason Price Shari H. Quinney Miguel R. Rovira Stan Sorensen Dr. Shane D. Stowell Naoma Tate Thomas Thatcher

W. James Tozer Dr. Astrid Tuminez David Utrilla Kelly Ward Dr. Richard B. Williams Kim R. Wilson Thomas Wright* Henry C. Wurts

Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen Patricia A. Richards*

Harris Simmons Verl R. Topham David B. Winder

John Bates Howard S. Clark Kristen Fletcher

Richard G. Horne Ron Jibson E. Jeffery Smith

Lisa Eccles Spencer F. Eccles Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler

Stanley B. Parrish Marcia Price Jeffrey W. Shields, Esq. Diana Ellis Smith

MUSICIAN REPRESENTATIVES Kathryn Eberle* EX OFFICIO Doyle Clayburn Utah Symphony Guild Jennifer Webb Onstage Ogden

LIFETIME BOARD William C. Bailey Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones

TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow

HONORARY BOARD Jesselie B. Anderson Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous

*Executive Committee Member † Deceased

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USELESS PRECAUTIONS

By Jeff Counts

Disastrous premieres are a common theme in music history. The story of The Rite of Spring’s Paris premiere is as well known as the music itself these days and no performance is likely mounted without an accompanying essay on the “riot.” Embellished or not, it is one of the most wonderfully outrageous stories in the canon, one so celebrated it seems peerless. But The Rite of Spring was not the only work to quickly rise beyond its tragic impetus for civil unrest and achieve everlasting critical and popular fame. No, something quite similar happened nearly 100 years earlier…

Rossini was concerned from the start, and rightly so. His commission for a comic opera at the Teatro Argentina in Rome included, in addition to a very tight timeframe for completion, an unambiguous stipulation that he work with whatever libretto the company chose, be it “old or new.” They chose “old.”

Rossini himself would not likely have selected the first play from the 18th century “Figaro Trilogy” of Pierre de Beaumarchais, principally because The Barber of Seville had already been given a few operatic treatments at that point, most importantly by Giovanni Paisiello some decades before.

The Paisiello Barber, though no longer in the regular Italian opera rotation in 1815, was still viewed with great reverence in Rome and elsewhere in the country. Rossini worried that his Barber might be read as a direct challenge to the old master’s greatest work.

Not wishing to come off like a disrespectful

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upstart, Rossini supposedly wrote to the aging Paisiello and laid himself at the maestro’s feet, promising to tread lightly with his new version of the story and avoid any direct competition with the beloved “older” Barber. Paisiello supposedly gave Rossini his blessing and wished him every success.

That might have been enough to assuage the fears of some, but Rossini took the further step of calling his new opera by its theatrical sub-title The Useless Precaution in hopes of staving off one-to-one comparisons.

Ironically, these and other such “precautions” would prove useless indeed.

He worked quickly and finished the score in just under three weeks (possibly in as few as 13 days if Rossini’s own boasts on the issue are accepted). Some of the music was borrowed from his earlier operas but even with that head start, it was not at all uncommon for Rossini to produce great art in incredibly short periods. For the initial performance on February 20, 1816 Rossini made one last attempt to calm his nerves and beg preemptive forgiveness from his audience by including an introductory note in the printed libretto. The note makes the case for public understanding by both admitting the precarious position Rossini found himself in and offering a few technical reasons to accept The Useless Precaution as an earnestly new take on the source material. Liberally offered among the stated “differences” that Rossini hoped would distinguish his work as modern and unique are several sincere genuflections to Paisiello’s legacy. Reading the words today

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USELESS PRECAUTIONS with knowledge of what came next makes one’s heart go out to poor Rossini. He tried so hard.

Seated in the opera house on the night of the premiere were many supporters of Paisiello who were spoiling for agitation.

Had he set this demonstration in motion?

Regardless, they didn’t have to wait long.

Rossini, in a rare moment of obliviousness, made his entrance into the pit clad in a gaudy Spanish-style coat. When the traditionalists saw this, the rout was on. Whistles and shouts of disapproval would attend him for the rest of the evening as one inconceivable mishap after another befell his production. It was a string of comical bad luck that defies belief and begs the question, “Why hasn’t anyone written an opera based on the first performance of this opera?”

Rossini had apparently allowed his most famous cast member Manuel Garcia to replace the air Count Almaviva sings under Rosina’s window in Act I with a Spanish melody of his own selection, while accompanying himself on the guitar.

While laboriously and torturously tuning his instrument on stage, he broke a string and was treated to a gale of laughter from the audience. The song had no chance after that, and it did not improve their behavior when it finally happened.

Figaro made his first entrance a bit later and, in what must have seemed like a very poor staging decision in retrospect, he too was carrying a guitar. More laughter. More whistling. More derision. If only that was the end of it. An ensuing entrance by Don Basilio was marred by an inadvertently open trapdoor. He tripped, nearly broke his nose and was forced to sing his aria with a bloody handkerchief pressed to his face.

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When the finale of Act I mercifully arrived, a stray cat somehow found its way onto the stage and threatened to send the audience into a collective seizure of morbid delight.

Not one note of the music could be heard over the uproar.

Act II proceeded without disaster but by then it was far too late to save the night. Rossini was calm throughout and simply returned home to sleep when it was finally over. He wisely claimed to be “ill” for the second performance and was surprised to wake that night to find a torch-wielding mob approaching his door.

He had no way of knowing that, absent a predetermined atmosphere of protest, his music was greeted with immense praise and the crowd was coming for him with bravos, not pitchforks. Garcia (Count Almaviva) got to him first and tried to prepare Rossini for the gracious throng and convince him to address them. But the composer refused and sent the singer back out to deal with them instead.

According to Rossini, Garcia got plunked in the eye with an orange for his troubles.

Despite that last piece of rambunctiously thrown fruit, the tide of opinion had turned for good. Like The Rite of Spring, Rossini’s opera was destined for a rare kind of greatness thanks in small part to its origin story. The Useless Precaution soon became rightfully known as The Barber of Seville and none other than Verdi called it the greatest comic opera ever written. He was right when he said it and his opinion holds still.

Jeff Counts is General Manager of the Grand Teton Music Festival. He is program annotator and pre-concert lecture host for the NOVA Chamber Music Series and has been writing articles for Utah Opera for over 10 years. Jeff is also one of the hosts for USUO’s Ghostlight podcast.

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THE OLDEST STORY IN THE BOOK

By Michael Clive

Music by Gioachino Rossini (1792–1868) Libretto by Cesare Sterbini (1784–1831) Based upon the play Le Barbier de Séville by Pierre Beaumarchais (1732–1799) Stop me if you’ve heard this one: a beautiful young girl and a good-looking young guy fall in love. But the girl is living under the care of a much older guardian who also has eyes for her…and for the money she stands to inherit when she marries. Unfortunately, the young girl can’t marry without her guardian’s consent; fortunately, her young suitor is also rich (though he’s disguised himself to conceal his wealth), and he knows just the man to help them thwart the old guardian’s intentions.

That would be Figaro, the barber, jack-of-alltrades, and master manipulator who seems to be everywhere at once in the swinging city of Seville.

If this scenario has the resonance of a romcom, it was no less familiar to the audience members in the premiere season of Rossini’s Il barbiere di Siviglia in Rome in 1816. Not only were all the characters well-established types recognizable from innumerable buffostyle operas; they were also known to the French theatergoers who attended the play that was the opera’s source, Beaumarchais’ Le Barbier de Séville thirty years earlier.

After all, the Comédie-Française had stock characters that paralleled those of the Italian Commedia dell’arte.

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The fact is, these characters know no season or country; you’ll recognize them if you’ve ever watched a romantic comedy on television or at the movies. In strictest opera buffa tradition, each role is identifiable by type in The Barber of Seville. We have our Colombina, in this case named Rosina—pert, attractive, wily, ready to do what it takes to get what she wants; Il Dottore, the doctor (Dr. Bartolo), who is Rosina’s guardian and is greedy, self-deluding, and too old for an ingenue; Rosina’s young suitor, who disguises himself as the typically bumbling soldier Il Capitano but is actually the dashing Count Almaviva; and the Brighella, the shrewd servant-cum-factotum, Figaro.

This form of operatic comedy reached its zenith in the 19th century, and was a staple of bel canto style. Rossini was the foremost composer of bel canto operas; in fact, he and his most prominent rivals in the form, Vincenzo Bellini and Gaetano Donizetti, were all born within seven years of each other (Rossini first, in 1792). Bel canto rules were strict for both composers and librettists: Solo arias and ensembles, which required beautiful melodies and opportunities for vocal display, had to be arrayed in the approved structure.

In comic operas, the characters hewed close to the archetypes handed down through generations of commedia dell’arte tradition— the Dottores, Colombinas, Brighellas and the like. More serious operas required a

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THE OLDEST STORY IN THE BOOK requiring a voice of extreme flexibility and phenomenal breath control.

Utah Opera The Barber of Seville, 2013; photo Dana Sohm

high moral purpose and more individualized characters of noble birth or character, often based on figures in history, legend, or myth.

You’re probably familiar with the spectacularly ornamented vocal lines in these operas, with roulades and flourishes that sound all but impossible to sing. Almost two centuries after Rossini’s success in writing these operas, the American diva Beverly Sills—herself a notable Rosina—quipped that sopranos in such roles would be rich if they were paid by the note.

The very phrase bel canto, which simply means “beautiful singing,” has become synonymous with these vocal pyrotechnics, and understandably so. They are thrilling to hear for their own sake, and technically difficult to master; the notes come thick and fast, and they must all be delineated with accuracy and without apparent strain,

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Though Rossini also wrote many serious operas, including lengthy historical epics such as Semiramide and William Tell, his contemporary audiences clamored for his buffo comedies. To his chagrin, there was far less interest in his weightier music dramas, which required much more effort from both composer and listener. Rossini could toss off a comic opera in a matter of weeks, and over a period of approximately two decades produced an average of two per year, and in some years, as many as four. It was the success of these comedies that financed his luxurious retirement at age 40; a dedicated gourmand, he settled in Paris, where he was known in all the best restaurants. Operas like The Barber of Seville had made him the most famous composer in the world, even when he was no longer composing them.

The premiere of The Barber of Seville, in Rome in 1816, was an unmitigated disaster.

It was subverted by partisans of one of Rossini’s earlier rivals, the Rococo composer Giovanni Paisiello, whose 1782 version of the same Beaumarchais play had become wildly popular throughout Europe. After opening in Vienna in 1783, Paisiello’s Barber played simultaneously in five major theatres, making performances available in either German or Italian. But Rossini’s version soon eclipsed it, and today Paisiello’s work is rarely performed, while Rossini’s has only grown in popularity over the years. Today The Barber of Seville is recognized as one of the greatest of all musical comedies in Western theater, and is sometimes described as the ultimate opera buffa. How could it be otherwise with such delicious music and madcap comedy, irresistible and

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THE OLDEST STORY IN THE BOOK

Utah Opera The Barber of Seville, 2013; photo Dana Sohm

ageless? For those rare singers who are blessed with both comic acting ability and coloratura chops, Barber is a joy to perform, and we come away from the theater feeling that the cast has had as much fun onstage as we had watching and listening.

But there’s more to the success of this landmark comic opera. By taking Beaumarchais’ play as their source, Rossini and his librettist framed a politically provocative scenario within the confines of buffo tradition. Sterbini’s libretto is based on Le barbier de Séville, ou la Précaution inutile (“The Barber of Seville, or the Useless Precaution”). The progressive ideas of the Enlightenment hide within plain sight in Barber—not just in the egalitarian sympathies in the text, but also in Rossini’s brilliant musical rendering of the Brighella, Figaro. He is a true workingman’s hero.

Finally, there is the Mozart connection: Mozart’s The Marriage of Figaro is based on a

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later play by Beaumarchais, La folle journée, ou Le mariage de Figaro (“The Crazy Day, or The Marriage of Figaro”). Politically it is even more daring, with its explicit critique of the aristocracy; in Mozart’s rendering, its balance between psychological character study and slapstick comedy is more complex.

The characters and setting are the same, but our Colombina and her dashing suitor, now the Count and Countess Almaviva, have been married for years and are having marital problems. To keep it all straight, just remember: Rossini, who came later, wrote the “prequel”; Mozart, who came earlier, wrote the “sequel”. Rossini, who venerated Mozart, had Figaro very much in mind when he depicted the characters in Figaro as their younger selves in Barber. And it’s likely he had Mozart’s masterpiece in mind when he expressed one of the greatest tributes any composer has ever offered another—calling Mozart “the inspiration of my youth, the despair of my maturity, and the consolation of my old age.”

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Image from The Barber of Seville

THE BARBER OF SEVILLE ROSSINI’S

OCTOBER 9–17, 2021

JANET QUINNEY LAWSON CAPITOL THEATRE

Music by Gioachino Rossini (1792–1868) Libretto by Cesare Sterbini (1784–1831) Based upon the play Le Barbier de Séville by Pierre Beaumarchais (1732–1799) Sung in Italian Premiere: 1816 Previously at Utah Opera in 1980, 1987, 1996, 2006, 2013 CAST

Rosina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sarah Coit** Count Almaviva . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matthew Grills Figaro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Adams Doctor Bartolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matthew Burns Don Basilio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adam Lau Fiorello/Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Evan Hammond* Berta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julia Gershkoff* ARTISTIC STAFF

Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Shell Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gary Thor Wedow Chorus Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michaella Calzaretta Set Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Shoko Kambara Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amanda Seymour Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Driscoll Otto Assistant Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Abigail Hoke-Brady Wigs and Make-up Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amanda Mitchell Principal Coach and Continuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lindsay Woodward** Assistant Stage Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gregory Boyle Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Nictakis Assistant Stage Managers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Leslie Sears, Gavin Yehle Title Musician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Natasha Talukdar Elam*

Original Production by Michael Shell Scenery and Costumes produced by Opera Philadelphia and Opera Theatre of St. Louis Owned by Utah Opera and Austin Opera *Current Utah Opera Resident Artist **Former Utah Opera Resident Artist

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CAST Sarah Coit (Florida)

Rosina

Most Recently at Utah Opera, Don Giovanni Former Utah Opera Resident Artist Recently: Carmen, Seattle Opera, Opera Tampa; Threepenny Opera, West Edge Opera; Le nozze di Figaro, Michigan Opera Theatre Káťa Kabanová, West Edge Opera; The Copper Queen, Arizona Opera Matthew Grills (Connecticut)

Count Almaviva

Utah Opera Debut Recently: Il barbiere di Siviglia, La Cenerentola, Seattle Opera; Der Rosenkavalier, Metropolitan Opera; Don Pasquale, Berkshire Opera Festival Upcoming: L’elisir d’amore, Seattle Opera; La Cenerentola, Nashville Opera Michael Adams (Texas)

Figaro

Most recently at Utah Opera, Pagliacci/Gianni Schicchi Recently: Eugene Onegin, Così fan tutte, La Cenerentola, Seattle Opera; Die Zauberflöte, Silent Night, Washington National Opera; Les pêcheurs de perles, Gran Teatre del Liceu Upcoming: L’elisir d’amore, Seattle Opera; Candide, Grand Théâtre de Genève

PRELUDE LECTURES Prelude lectures by principal coach Carol Anderson offer insights before each Utah Opera performance.

This introduction includes historical context, musical highlights, and a behind-the-scenes perspective.

Preludes are free with your opera ticket and begin one hour before curtain in the Capitol Room. If you can't attend a live Prelude, watch Carol's introduction on our website, UtahOpera.org.

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CAST Matthew Burns (Virginia)

Doctor Bartolo

Most Recently at Utah Opera, Così fan tutte Recently: Tosca, Seattle Opera; La traviata, Victory Hall Opera; Don Giovanni, Michigan Opera Theater Upcoming: La Cenerentola, Annapolis Opera, Magic Flute, Metropolitan Opera, Rigoletto, Metropolitan Opera Adam Lau (California)

Don Basilio

Most Recently at Utah Opera, Romeo & Juliet Recently: Un Ballo in Maschera, Pentatone and the Orchestre Philharmonique de Monte-Carlo Upcoming: The Magic Flute, Tosca, The Metropolitan Opera; La bohème, North Carolina Opera; Il barbiere di Siviglia, The Dallas Opera; The (R)evolution of Steve Jobs, Atlanta Opera Evan Hammond (Alabama)

Fiorello/Officer

Utah Opera Debut Recently: Il barbiere di Siviglia, Opera Louisiana; Man of La Mancha, Shreveport Opera; Candide, Des Moines Metro Opera Upcoming: Flight, Tosca, The Pirates of Penzance, Utah Opera Julia Gershkoff (Rhode Island)

Berta

Most Recently at Utah Opera, La tragédie de Carmen Recently: Hänsel und Gretel, Così fan tutte, Ariodante, Wolf Trap Opera; La Calisto, Le nozze di Figaro, USC The Maid of Orleans, Russian Opera Workshop Upcoming: The Pirates of Penzance, Utah Opera UTAHOPERA.ORG

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ARTISTIC STAFF Michael Shell (Indiana)

Director

Utah Opera Debut Recently: Xerxes, The Turn of the Screw, La bohème, Die Zauberflöte, Indiana University Opera Theater Upcoming: Falstaff, Indiana University Opera Theater; The Barber of Seville, Atlanta Opera Gary Thor Wedow (Indiana)

Conductor

Most Recently at Utah Opera, Die Fledermaus Recently: Semele, Opera Philadelphia; La Cenerentola, Seattle Opera; The Abduction from the Seraglio, Opera Omaha Platée, Des Moines Metro Opera Upcoming: Giulio Cesare, Boston Lyric Opera; Michaella Calzaretta (Iowa)

Chorus Master

Most recently at Utah Opera, Messiah: On Demand, The Human Voice & Gentleman’s Island Recently: Orpheus in the Underworld, Utah Vocal Arts Academy; 2020–21 season, Utah Opera Upcoming: 2021–22 season, Utah Opera; Messiah Sing-In, Utah Symphony; Rodgers & Hammerstein Celebration, Utah Symphony Shoko Kambara (New York)

Set Design

Utah Opera Debut Recently: The Prince of Players, Houston Grand Opera; The Little Mermaid, Arkansas Repertory Theatre; The Barber of Seville, Opera Philadelphia, Opera Theatre of St. Louis; Don Pasquale, Juilliard School

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ARTISTIC STAFF / CHORUS / SUPERNUMERARIES Amanda Seymour (New York)

Costume Design

Utah Opera Debut Recently: Candide, Tanglewood Music Festival; Roméo et Juliette, Idomeneo, Wolf Trap Opera; Giulio Cesare, Boston Baroque Opera; The Barber of Seville, Virginia Opera; Ariadne auf Naxos, Opera Theatre of St. Louis Driscoll Otto (Texas)

Lighting Designer

Most Recently at Utah Opera, Die Fledermaus Recently: The Golden Cockerel, The Santa Fe Opera; Lucia di Lammermoor, Virginia Opera; La donna del lago, Metropolitan Opera Amanda Mitchell (Texas)

Wig & Make-up Design

Utah Opera Debut Recently: Wig & Makeup assistant, Houston Grand Opera; Wig Master, Houston Ballet; Stages Theatre; Alley Theatre CHORUS

Geoffrey Beckstrand Victor Castillo Chad DeMaris Buddy Eyre Dyson Ford Elijah Hancock

Rodrigo Hernandez-Vazquez Thomas Klassen Gary Later Edward Lopez Nelson LeDuc Dale Nielsen

Lucas Henry Proctor Alan Palmer Smith Scott Tarbet Daniel Tuutau

Special thanks to Thomas Klassen and Carolyn Talboys-Klassen for their support of the Utah Opera Chorus.

SUPERNUMERARIES

Chase Dickerson, Ambrogio Kristen Bailey, Stilt Walker Dominic Barsi Michael Drebot Jenny Evans

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Jared Hale Stacey Hutchings Xendria Childs Hutchings Charlotte King Tanner McDaniel

Giovanni Nuvan Sam Stuart Jack Tingey Dawn Veree

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THE STORY OF THE BARBER OF SEVILLE

Utah Opera The Barber of Seville, 2013; photo Dana Sohm

Act I: 90 minutes Intermission: 20 minutes Act II: 50 minutes Total: 2 hours 40 minutes ACT I

Seville. Count Almaviva comes in disguise to the house of Doctor Bartolo and serenades Rosina, whom Bartolo keeps confined to the house, beneath her balcony window. Figaro the barber, who knows all the town’s secrets and scandals, arrives.

He explains to Almaviva that Rosina is Bartolo’s ward, not his daughter, and that the doctor intends to marry her. Figaro devises a plan: the count will disguise himself as a drunken soldier with orders to be quartered at Bartolo’s house so that he may gain access to the girl. Almaviva is excited and Figaro looks forward to a nice cash pay-off.

Rosina reflects on the voice that has enchanted her and resolves to use her considerable wiles to meet its owner,

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whom the Count leads her to believe is a poor student named Lindoro. Bartolo appears with Rosina’s music master, Don Basilio. Basilio warns Bartolo that Count Almaviva, who has made known his admiration for Rosina, has been seen in Seville. Bartolo decides to marry Rosina immediately. Figaro, who has overheard the plot, warns Rosina and promises to deliver a note from her to Lindoro. Bartolo suspects that Rosina has indeed written a letter, but she outwits him at every turn.

Angry at her defiance, Bartolo warns her not to trifle with him.

Almaviva arrives, creating a ruckus in his disguise as a drunken soldier, and secretly passes Rosina his own note. Bartolo is infuriated by the stranger’s behavior and noisily claims that he has an official exemption from billeting soldiers. Figaro announces that a crowd has gathered in the street, curious about the argument they hear coming from inside the house. The civil guard bursts in to arrest Almaviva but

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CAST

WHO WANTS TO BE AN OPERA STAR

Enjoy an INTERACTIVE virtual assembly from your classroom.

Students Can • Participate in the interactive presentation •

Learn music and drama terminology, and see them demonstrated

•

Hear amazing, live opera singing by Utah Opera’s Resident Artists

Teachers Can •

Use Utah Opera’s preparatory 10 minute narrated PowerPoint prior to the assembly

•

Sign up for a live, virtual Q&A with an artist for after the assembly

Principals can register at: utahopera.org/who-wants-to-be-an-opera-star-form Secondary school programs are also available. Choir teachers register at: utahopera.org/opera-up-close-form

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THE STORY OF THE BARBER OF SEVILLE when he secretly reveals his true identity to the captain he is instantly released.

Everyone except Figaro is amazed by this turn of events.

ACT II

Bartolo suspects that the “soldier” was a spy planted by Almaviva. The Count returns, this time disguised as Don Alonso, a music teacher and student of Don Basilio. He announces he will give Rosina her music lesson in place of Basilio, who, he says, is ill at home. “Don Alonso” tells Bartolo that he is staying at the same inn as Almaviva and has found a letter from Rosina. He offers to tell her that it was given to him by another woman, seemingly to prove that Lindoro is toying with Rosina on Almaviva’s behalf. This convinces Bartolo that “Don Alonso” is indeed a student of the scheming Basilio, and he allows him to give Rosina her music lesson. She sings an aria, and, with Bartolo dozing off, Almaviva and Rosina express their love.

Figaro arrives to give Bartolo his shave and manages to snatch the key that opens the doors to Rosina’s balcony. Suddenly Basilio shows up looking perfectly healthy.

Almaviva, Rosina, and Figaro convince him with a quick bribe that he is sick with scarlet fever and must go home at once. While Bartolo gets his shave, Almaviva plots with Rosina to elope that night. But the doctor overhears them and furiously realizes he has been tricked again. Everyone disperses.

Bartolo summons Basilio, telling him to bring a notary so Bartolo can marry Rosina that very night. Bartolo then shows Rosina her letter to Lindoro, as proof that he is in league with Almaviva. Heartbroken and convinced that she has been deceived, she agrees to marry Bartolo. A thunderstorm rages. Figaro and the Count climb a ladder to Rosina’s balcony and let themselves in with the key. Rosina appears and confronts Lindoro, who finally reveals his true identity as Almaviva. Basilio shows up with the notary. Bribed and threatened, he agrees to be a witness to the marriage of Rosina and Almaviva. Bartolo arrives with soldiers, but it is too late. Almaviva explains to Bartolo that it is useless to protest and Bartolo accepts that he has been beaten. Figaro, Rosina, and the Count celebrate their good fortune.

Thank you to the state of Utah and the CARES Act for supporting Utah’s cultural community.

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INTRODUCING THE 2021-22 UTAH OPERA RESIDENT ARTISTS

Daniel O’Hearn

Julia Gershkoff

Evan Hammond

Edith Grossman

tenor

baritone

soprano

mezzo-soprano

New resident artists Evan Hammond and Natasha Talukdar Elam join returning artists Julia Gershkoff, Edith Grossman, and Daniel O’Hearn for Utah Opera’s 2021-22 season.

Natasha Talukdar Elam pianist

Nearly every day of the school year Utah Opera Resident Artists perform age-appropriate programs designed to introduce students to the art form of opera.

MORE INFORMATION ABOUT THE RESIDENT ARTISTS AND UTAH OPERA EDUCATION PROGRAMS AT UTAHOPERA.ORG

COMPOSER AND LIBRETTIST GIOACHINO ROSSINI (1792–1868)

Known as Italian Opera’s Comic Genius and the leading opera composer of the first half of the 19th century, Gioachino Rossini was the master of simple melody and clear rhythm. Born in 1792 to a musical family—his father a trumpet player, his mother an opera singer—Rossini mastered the trade at an early age, writing his first opera at age 8 and becoming a national celebrity by the time he was 21-years-old. From Venice to Milan, from Rome to Naples, Rossini gained a reputation for his notable style and his uncanny speed at producing operas.

Gioachino Rossini Composer

Between 1808 and 1829, Rossini composed no fewer than 40 operas. Among his operatic successes are The Barber of Seville (1816), La Cenerentola (1817), La Gazza Ladra (1817), Semiramide (1823), and William Tell (1829).

In 1822, Rossini settled in Paris and became the Royal Composer and Inspector General of Singing in France.

Despite his enormous success—even the great Beethoven congratulated him on The Barber of Seville—Rossini stopped composing at the age of 37. Living off the wealth of his achievements, Rossini lived lavishly until his death on November 13, 1868. He was buried in Paris but 19 years later his remains were taken to be re-interred in the church of Santa Croce in Florence.

CESARE STERBINI (1784–1831)

Sterbini was an Italian writer and librettist with a deep knowledge of classical and contemporary culture, philosophy, linguistics, and was fluent in Greek, Latin, Italian, French and German. He is most known as the librettist for two operas by Gioachino Rossini: Torvaldo e Dorliska (1815) and The Barber of Seville (1816). An official in the Pontifical Administration, he also set poetry to music as an amateur. He died in Rome on 19 January 1831.

PIERRE-AUGUSTIN CARON DE BEAUMARCHAIS (1732–1799)

Cesare Sterbini Librettist

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Beaumarchais is the French author of The Barber of Seville and The Marriage of Figaro. Although Beaumarchais did not invent the type character of the scheming valet, his Figaro, hero of both plays, became the highest expression of the type. The son of a watchmaker, he invented an escapement mechanism.

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UTAH SYMPHONY Thierry Fischer, Music Director

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

VIOLA* Brant Bayless

Principal The Sue & Walker Wallace Chair

OBOE James Hall

Yuan Qi

Brooks Fisher††

Elizabeth Beilman† Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas

Lissa Stolz

Associate Principal

Jeff Luke

Principal The Gerald B. & Barbara F. Stringfellow Chair

Principal

ENGLISH HORN Lissa Stolz CLARINET Tad Calcara

Acting Principal The J. Ryan Selberg Memorial Chair

David Park

Andrew Larson

Erin Svoboda-Scott

Claude Halter

John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah ThomasHollands†† Pegsoon Whang

Lee Livengood

Assistant Concertmaster Principal Second

Wen Yuan Gu

Associate Principal Second

Evgenia Zharzhavskaya Assistant Principal Second

Karen Wyatt•• Sara Bauman†† Joseph Evans LoiAnne Eyring Laura Ha•† Lun Jiang# Rebekah Johnson Tina Johnson†† Jennifer Kozbial Posadas†† Veronica Kulig David Langr Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Bonnie Terry• Julie Wunderle

Acting Associate Principal

BASS* David Yavornitzky Principal

Corbin Johnston Associate Principal

James Allyn Andrew Keller Edward Merritt Jens Tenbroek Thomas Zera

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BASS CLARINET Lee Livengood

PERCUSSION Keith Carrick Principal

Eric Hopkins Michael Pape

BASSOON Lori Wike

KEYBOARD Jason Hardink

Principal The Edward & Barbara Moreton Chair

Leon Chodos

Principal

LIBRARIANS Clovis Lark Principal

Associate Principal

Katie Klich† Claudia Restrepo††

Jennifer Rhodes CONTRABASSOON Leon Chodos

Llewellyn B. Humphreys Brian Blanchard† Julia Pilant†† Stephen Proser

* String Seating Rotates † On Leave

Eric Hopkins

E-FLAT CLARINET Erin Svoboda-Scott

Lisa Byrnes

PICCOLO Caitlyn Valovick Moore

Principal

Associate Principal

Edmund Rollett

Caitlyn Valovick Moore

• First Violin •• Second Violin

Associate Principal

FLUTE Mercedes Smith

Associate Principal

BASS TROMBONE Graeme Mutchler

TIMPANI George Brown

HORN Jessica Elder

Principal The Val A. Browning Chair

Associate Principal

Vacant Principal

HARP Louise Vickerman Principal

Sam Elliot

TUBA

Acting Associate Concertmaster

Hugh Palmer

CELLO* Matthew Johnson

Peter Margulies Paul Torrisi TROMBONE Mark Davidson

Associate Principal

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

Associate Concertmaster

Associate Principal

ORCHESTRA PERSONNEL Walt Zeschin

Director of Orchestra Personnel

Principal

Andrew Williams

Orchestra Personnel Manager

Associate Principal

TRUMPET Travis Peterson Principal

# Sabbatical †† Substitute Member

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GT L AW.COM

Celebrating the

Gift of Music Greenberg Traurig is proud to support the Deer Valley Music Festival

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Greenberg Traurig, LLP

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35643

WORLDWIDE LOCATIONS

United States, Europe, Middle East, Asia, Latin America

INDIVIDUAL DONORS Utah Symphony | Utah Opera is grateful to our generous donors who, through annual cash gifts and multi-year commitments, help us bring great live music to our community.

Gifts as of July 31, 2021 * in-kind donation

** in-kind & cash donations

† deceased

Alex & Debbie Dunn

Kem & Carolyn Gardner

MILLENNIUM ($250,000+) Anonymous

ENCORE ($100,000 TO $249,999) Anthony & Renee Marlon Elizabeth Solomon

George Speciale Jacquelyn Wentz

Edward & Marelynn† Zipser

BRAVO ($50,000 TO $99,999) Judy Brady & Drew W. Browning Diane & Hal Brierley

John & Flora D’Arcy Harris H. & Amanda Simmons

Norman C.† & Barbara L.† Tanner Second Charitable Trust Wheatley Family Charitable Fund

OVERTURE ($25,000 TO $49,999) Scott & Kathie Amann Doyle Arnold & Anne Glarner Intuitive Funding John & Joan Firmage Kristen Fletcher & Dan McPhun Brian & Detgen Greeff

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Doug & Connie Hayes Susan & Tom Hodgson Tom & Lorie Jacobson Edward Moreton Fred & Lucy Moreton Stephen & Melina Nicolatus

Mark & Dianne Prothro Alice & Frank Puleo Jonathan & Anne Symonds Naoma Tate & the Family of Hal Tate Jim & Zibby Tozer John & Jean Yablonski

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INDIVIDUAL DONORS MAESTRO ($10,000 TO $24,999) Anonymous Fran Akita Austin Bankhead Dr. J.R. Baringer & Dr. Jeannette J. Townsend Thomas Billings & Judge Judith Billings Mr. & Mrs. Jim Blair Judy & Larry Brownstein Rebecca Marriott Champion Howard & Betty Clark Joseph & Cathy Cleary Larry Clemmensen Shelly Coburn Marian Davis & David Parker Kathleen Digre & Michael Varner Pat & Sherry Duncan Dr. & Mrs. Ralph Earle

Matthew B. Ellis Foundation Robert & Elisha Finney Mike Gatewood Diana George G. Frank & Pamela Joklik Kulynych Family Foundation II, Inc. Mr. & Mrs. Christopher J. Lansing Tom & Jamie Love Dorothy E. McBride Mr. & Mrs. Charles McEvoy Carol & Anthony W. Middleton, Jr., M.D. Amanda Millerberg Harold W. & Lois Milner Terrell & Leah Nagata James & Ann Neal Ashton Newhall

Leslie Peterson & Kevin Higgins Stephen & Cydney Quinn David & Shari Quinney Patricia A. Richards & William K. Nichols Albert J. Roberts IV Richard & Carmen Rogers Ted & Lori Samuels Peggy & Ben Schapiro Sandefur Schmidt Barbara & Paul Schwartz Mr. & Mrs. G. B. Stringfellow Steve & Betty Suellentrop Thomas & Marilyn Sutton James R. & Susan Swartz Drs. Cornelia and Rasmus Wegener Kathie & Hugh Zumbro

INDIVIDUAL DONORS ALLEGRO ($5,000 TO $9,999) Anonymous [7] Craig & Joanna Adamson A. Scott & Jesselie Anderson Dr. & Mrs. Clisto Beaty Alice & Bill Bierer David Brown Carol, Rete & Celine Browning Mark & Marcy Casp** William & Patricia Child John Clukey Marc & Kathryn Cohen John D. Doppelheuer & Kirsten A. Hanson Patricia Dougall Eager Trust Janet Ellison Midge Farkas Jack & Marianne Ferraro Thomas & Lynn Fey Nash Foster Joseph F. Furlong III Robert & Annie-Lewis Garda Jeffrey L. Giese, M.D. & Mary E. Giese David & SandyLee Griswold** Ray & Howard Grossman

Reed & Chris Halladay Don Hendricks Chuck & Kathie Horman Sunny & Wes Howell The Right Reverend Carolyn Tanner Irish† & Mr. Frederick Quinn Mary P.† & Jerald H. Jacobs Family Allison Kitching Thomas Klassen & Carolyn Talboys-Klassen George Klopfer & Joy Simeonova Howard & Merele Kosowsky Gary & Suzanne Larsen Harrison & Elaine Levy Bill Ligety & Cyndi Sharp Daniel & Deena Lofgren Dennis & Pat Lombardi Nick Markosian Christopher & Julie McBeth Hallie & Ted McFetridge Karen & Mike McMenomy Michal & Maureen Mekjian Dr. Thomas Parks & Dr. Patricia Legant

Stanley B. & Joyce M. Parrish Dr. Dinesh & Kalpana Patel Frank R. Pignanelli & D’Arcy Dixon Brooks & Lenna Quinn Dr. & Mrs.† Marvin L. Rallison James & Gail Riepe Dewelynn & J. Ryan† Selberg Mary & Doug Sinclair Spitzberg-Rothman Foundation Christine St. Andre & Cliff Hardesty Glen Traylor Dr. Albert & Yvette Ungricht The V. Foundation, Inc. Howard & Barbara Wallack Brad E. & Linda P. Walton Susan Warshaw Douglas & Rebecca Wood The Christian V. and Lisa D. Young Family Foundation

Thomas D. Dee III & Dr. Candace Dee Elizabeth deForest Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Margarita Donnelly Bonnie Donohue Carol & Greg Easton Carolyn Enenstein Muffy Ferro Blake & Linda Fisher Adele & James Forman Joann Geer David & Lisa Genecov Andrea Golding Kenneth & Amy Goodman Geraldine Hanni Dr. Bradford D. Hare & Dr. Akiko Okifuji Mary Haskins

Jeff & Peggy Hatch Marian & Matt Hicks Matthew Higgins Dixie S. & Robert P. Huefner Michael Huerta & Ann Sowder Mr. & Mrs. Jerry Huffman Annette & Joseph Jarvis Diane Jenkins Maxine & Bruce Johnson Neone F. Jones Family Dr. & Mrs. Michael A. Kalm Dr. James & Carolyn Katsikas Rick & Paulette Katzenbach Marguerite Kaupp Michael Kennedy Susan Keyes & Jim Sulat Jeanne Kimball Spencer & Christy Knight

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) Anonymous James & Christiane Adams Pam & Paul Apel Ian Arnold Charles Beckham Roger & Karen Blaylock Bill & Susan Bloomfield Charlotte & Hal Browning Mr. & Mrs. Neill Brownstein Mr. & Mrs. John Brubaker Michael & Vickie Callen Dr.† & Mrs. Anthony Carter Mr. & Mrs. Lee Forrest Carter Brad & Mary Ann Cassell Robert Chamberlain The Chung Family George Coleman Debbi & Gary Cook Helen Cooper Sandra & David Cope 34

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November 20, 2021 beginning at 11:00am Libby Gardner Concert Hall University of Utah The Utah District round of the competition is open to the public and admission is free.

Visit UtahMONCAuditions.org after November 1st to view a complete schedule of singers, updated times, and health and safety policies.

The MONC Utah District Auditions are supported in part by the residents of Salt Lake County through the Zoo, Arts & Parks (ZAP) Program, the Salt Lake City Arts Council, the Arts, Culture, and Events (ACE) Fund administered by the Salt Lake City Mayor’s office, and the University of Utah School of Music.

INDIVIDUAL DONORS ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Donald L. & Alice A. Lappe Herbert† & Helga Lloyd Patricia & Mark Lucas David & Donna Lyon Chuck & Crystal Maggelet Abigail Magrane Keith & Vicki Maio Brian Mann Peter Margulies & Louise Vickerman Kathryn & Jed Marti Miriam Mason & Greg Glynnis David & Nickie McDowell George & Nancy Melling Richard & Robin Milne Mr. & Mrs. Richard Mithoff Dr. Louis A. Moench & Deborah Moench

David Mortensen & RoseMarie Brittner Mahyera Glenn & Dav Mosby Michael & Katie Mueller Marie Nelson Bennett Thomas & Barbara O’Byrne Ruth & William Ohlsen Dr. S. Keith & Barbara Petersen W.E. & Harriet R. Rasmussen Kenneth Roach & Cindy Powell Mr. & Mrs. Robert Rollo Rebecca Roof & Gary Smith Mark & Loulu Saltzman Margaret P. Sargent Dru Schmitt Shirley & Eric Schoenholz William G. Schwartz & Jo Ann Givan

Lisa & Joel Shine Sheryl & James Snarr Jeffrey Starr Ray & Ann Steben Paul Taylor Richard & Janet Thompson Sal & Denise Torrisi Thomas† & Caroline Tucker John & Susan Walker Gerard & Sheila Walsh Kelly Whitcomb Cindy Williams Barry & Fran Wilson E. Woolston & Connie Jo Hepworth-Woolston Gayle & Sam Youngblood** Laurie Zeller & Matthew Kaiser

Jennifer Beckham Karen Bennett Francine R. Bennion Richard & Suzanne Burbidge Michael S. Butler Michael Carnes Po & Beatrice Chang & Family Michael & Beth Chardack Jay D. & Patricia Clark Jeremiah Clawson James & Elizabeth Cobb Kenneth Colen Dr. & Mrs. David Coppin David & Carol Coulter Dorothy B. Cromer James Dashner

Michael and Sheila Deputy Paul Dorgan Alice Edvalson Eric & Shellie Eide Eugene & Charlotte England William Fickling Thomas Fuller Heidi Gardner Mr. & Mrs. Eric Garen** Traci & Scott Garmon Dave Garside Bob & Mary Gilchrist Ralph & Rose Gochnour John & Ilauna Gurr Emily & Chauncey Hall Dr. Elizabeth Hammond Kenneth & Kate Handley

FRIEND ($1,000 TO $2,499) Anonymous [6] Alan, Carol, & Annie Agle Ryan Aller & Natasja Keys Christine A. Allred Robert & Cherry Anderson Drs. Crystal & Dustin Armstrong Curtis Atkisson, Jr. Mr. Dennis D. Austin & Dr. Ann Berghout-Austin Fred & Linda Babcock David Bailey Marlene Barnett Tom & Carolee Baron Tina and John Barry Mr. & Mrs. Lawrence R. Barusch David Bateman

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INDIVIDUAL DONORS FRIEND ($1,000 TO $2,499) CONTINUED Scott W. Hansen Jonathan Hart Lex Hemphill & Nancy Melich Richard & Ruth Ann Hills Thomas Hogan Connie C. Holbrook Caroline & David Hundley Stephen Tanner Irish Gordon Irving Eldon Jenkins & Amy Calara Nick Johnson Bryce & Karen† Johnson Chester & Marilyn Johnson Jill Johnson James R. Jones & Family Catherine Kanter Randy King Carl & Gillean Kjeldsberg Mr. & Mrs. Bruce M. Lake Jeffrey LaMora Tim & Angela Laros Larry Gerlach Susan Loffler Heidi & Edward D. Makowski Neylan McBaine & Elliot Smith Aragon McCarthey Charitable Trust Mary Pat McCurdie

Michael & Julie McFadden Jerilyn McIntyre & David Smith Warren K. & Virginia G. McOmber David Merrill Brad & Trish Merrill David B. & Colleen A. Merrill Joanne Mitchell Dale Moses Barry & Kathy Mower Dan & Janet Myers Dr. & Mrs. Richard T. O’Brien Timothy & Lisa O’Brien Lee K. Osborne O. Don & Barbara Ostler Stephanie Pappas Rori & Nancy Piggott Arthur & Susan Ralph Dr. Barbara S. Reid Frances Reiser Gina Rieke Marie Rosol F. Jayne Roth Rachel Sabin Philina Saltas James & Janet Schnitz Gerald† & Sharon Seiner Daniel & Angela Shaeffer Dennis & Annabelle Shrieve

Allen & Karen Sims Barbara Slaymaker Gibbs† & Catherine W. Smith Dr. & Mrs. Michael H. Stevens Shane & Stacey Stowell Richard & Shannon Straight Tim & Judy Terrell Jeff Tolk & Astrid Tuminez David H. & Barbara S. Viskochil Kerry Vogt Susan & David† Wagstaff Sharon Walkington Dr. James C. Warenski Rochelle Warner Renee Waters Erik Watts Frank & Janell Weinstock Charles & Ellen Wells Betsey & Scott Wertheimer Dan & Amy Wilcox Glenn & Connie Wimer David & Jerre Winder Margaret & Gary Wirth Paul Wright Dean & Jean† Zobell

INDIVIDUAL DONORS ANDANTE ($500 - $999) Anonymous [7] John C. Abercrombie Marco & Christine Andrei Nancy Baker Laurie & Matt Barnson David & Rebecca Bateman Richard N. Beckstrand Mr. & Mrs. Jay Bjorklund Reverend James Blaine C. Kim & Jane Blair Michael Blum & Abigail Rose Jed Boal Carolyn Bransford MacDonald James & Marilyn Brezovec Kenneth N. & Karen Buchi Marjorie Budd John Burger & Mary Lou Jones-Burger Kirsten Butcher Susan Cashman Laura Certain Paul & Ruth Cherecwich John & Patricia Clay Phillip & Gail Coleman William J. Coles & Joan L. Coles Martin & Elinor Colman Ralph M. & Sheryl L. Costanzo James Cottrell Sina Dalley David & Donna Dalton Darrell & Sharon Child Jennifer Dawson & Phillip Purdom Patrick De Freitas Drs. Pilar & Christopher Dechet Ashby & Anne Cullimore Decker Carleton Detar & Laurel Casjens Mary Dillon

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M.G. Durrant Robert P.† & Mary H. Evans Drs. Norman L. & Carol M. Foster Margo & Harry† Franta Wayne & Aileen Freckleton Carolyn C. Fredin Candace Garcia Dennis & Sherrie Gardner Dr. Martin I. & Sheila G. Gelman David & Ann George Richard & Carolyn Greene Paul & Janet Griffin Keith Guernsey Mr. & Mrs. Theodore Gurney, Jr. Loree and Scott Hagen Sarah Stevens Hammond Joseph Henry Barbara Higgins Laurie A. Hofmann & David Classen Steve Hogan & Michelle Wright Ron and Marsha Houston Jonathan Jensen Dr. Joseph & Karen Jensen Robert Johnson Dale & Beverly Johnson Umur Kavlakoglu John Kidd Robert & Karla Knox George Koch Michael & Peg Kramer Guttorm & Claudia Landro Ted & Carol Levy Franklin Lewis Grace Lin Bill & Sarah Lindsay Jennifer Majersik James & Kate Marshall Sumiko Martinez David McDaniel

Clifton & Terri McIntosh Dan McKnight & Deanna Donaldson Heather McMaster Jeffrey McNeal Sanford & Lynn Meek John & Marjorie Meikle Robert & Dianne Miner Ashley Spatafore Mirabelli Bill & Jane Moore Kaye D. Murdock Sara Lee Neill Nicola Nelson Dr. John C. & Karen Nelson President Russell M. & Wendy Nelson Phillip & Alice Newberry Dr. & Mrs. John H. Newton Jonathan Niedfeldt Kevin and Lisa Ninow Ruzena Novak William C. & Jan M. Olpin June Anne Olsen Maura & Serge Olszanskyj Mr.† & Mrs. James Patterson David & Elodie Payne Michelle Peterson & Richard Scott Jerry & Nancy Pitstick Renee Y. Plumb Glen† & Dorothy Purdie Vedran Radocjic Jana Ramacher Michael & Alexandria Range Jean Rapaport Hildegard & Angela Rayner Carolyn Rich-Denson Dr. Robert Fudge Theresa Rollins James & Anna Romano Gerry & Ginny Rothstein Nathan Royer

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INDIVIDUAL DONORS ANDANTE ($500 - $999) CONTINUED Edwin & Carolyn Rutan Mr. August L. Schultz Sebastian Schunert Kent & LaRae Scott Brent Sessions Mr. Jeffrey W. Shields & Ms. Mary Ross Shirley Wood Mary Siciliano Margaret M. Simmons Cynthia Sinclair

Scott & Karen Smith Diana Major Spencer Gordon Steyaert William & Lori Stratton Annie & Cory Strupp Briant Summerhays JoAnn Svikhart Steven Taylor Ronald W. Tharp & Kate F. Little Janet Theiss

Brent & Lissa Thompson Kara & Sean Vansted Amy Wadsworth Patrice Wagman Lee Walker Carl & Martha Wankier Bruce & Leigh Washburn Frederik Weller Elizabeth Whitney Floyd C. Williams Gregory Williams

Vicki & Robert Bourns Thomas Bowen & Martha Brace Jeremy Boyd Shane Brogan Eric Brown Susan Burdett Marianne Burgoyne Christopher J. Burke and Diane Forster-Burke John & Kathryn Burnham Fred & Debbie Burr Dale Caldwell Dr. & Mrs. George H. Cannon Carlos Cardon Angie Carter Margaret & Dale Chapman Elizabeth Chicado Clark & Gwen Christian Nathan Christian Aloysius Church Zack Clark Mary & Perry Clausen Janet Coit Dr. & Mrs. Hal S. Cole Sarah Collins John Conner Charles A. & Carla Coonradt

Dr. Thomas D. & Joanne A. Coppin Susan Cox Frank & Joyce Crandall Coleen Cronin Dr. Christopher & Cindy Cutler Kevin Damon & Kathy Calhoun-Damon Mr. & Mrs. John Davison Peter & Suzanne Dawson Paul & Kitty Bons Robert & Gaye DeLange Karen DelPriore Charles Deneris Tim Dick Angela Doyle Paul A. Driggs Abby Duran Judith A. Eagan Tamar & James Economides John D. Emmett Chandler Evans Gina Fabbro Parker & Laurelle Fillmore James Fire Gene & Kathy Fitzgerald Beth Foley John Forsberg

CHORALE ($150 - $499) Anonymous [16] Lila Abersold Drew J. Adams Nancy Y. Aird Maureen Aitken Carol Anderson Christopher & Elizabeth Apgar Bryce Ashdown Kenneth C. Ashton Mr. Gaylen Atkinson Petras & Liuda Avizonis Amy Bach Sandra Ball Amy Baron Greg Barrus Jean Barton George E. & Marghi Barton Julianne Basinger Maxine Beckstead Michael Behring & Debra Marin Heather B. Belnap Patricia Bender Barry Bergquist Stephanie Bertin Cynthia & Mladen Bestvina Sue Bhanos Brent Bogden David E. & Ursula M. Bohn UTAHOPERA.ORG

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INDIVIDUAL DONORS CHORALE ($150 - $499) CONTINUED Luce Forte Purjes Foundation John & Leslie Francis Dr. Elizabeth L. Frank Anne Froerer Julianne Galligan Ashley Gardner Smith Katharina Gerstenberger Raymond & Harriett Gesteland Pete Giacoma William Giauque Calvin J. Gibbs Dr. & Mrs. William R. Gray Mr. & Mrs. Lawrence Green Warren Gregory Paul R. Gustafson Lou Hamill Harlan & Julia Hammond David Hampshire Barbara Hanson Michael Harris Dixie L. Harris Virginia Harris Doug Hattery Charles & Annette Haws Peter W. Hayward Rebekah Heath Barta Heiner Susan Hendry Robert Hessler Frank Heyman Ned C. Hill Patricia Hinkle Linette Hlavaty Derek S. Hoff Eric Holley Elizabeth Holyoak Callie Hood Nancy Huntsman Barbara Huppe Mary T. Hurley Nina Ivanova Pam L. Iwasaki Colin Jackson Eric & Becky Jacobson Dr. Richard & Helene Jaffe 40

Brian & Michele Jahne Matthew & Paige Janzen James & Jeanne Jardine Brent & Maren Jensen Bryan Johnson Kimberly Johnson Rodney Johnson Jones & Associates Kimberli Jones Zara H. Juillerat Stacey Justice Richard Kanner Kristin Karner Sylvia Katzman Stephanie Kawamura Andrew Keller Lisa Keller Peggy Kerby Judy Kiefer Karin Kirchhoff Louise Knauer Kathy & Joseph† Knowlton Heidi Kunzler Christian Lalor Gary Lambert Val E. & Dominique C. Lambson Paolo & Patricia Lamponi Lloyd & Christina Larsen Annmarie Last Frank & Barbara Layden James Lether Marilyn Levitt Lisa & James Levy Gina Lewis Lisa & Sean Lindberg Thomas Lindley Gary & Sandra K.† Lindstrom Bryan Lloyd Mira Locher & Takauki Murakami James Lockey Uri Loewenstein & Elizabeth Tashjian Richard & Connie† Loomis Shane & Jennifer Lowe

Gregg & Karen Lund Dennis Luxion Ralph R. & Sylvia S. Mabey Mira Blue & Mark Machlis S. Reid & Kathryn B. Madsen Melanie Malinka Michael Manfull Brenda Mann Jan Manning Sarah Marshall Penelope Mathews & David Horner Tom & Mary Mathewson Dianne May Bea Mayes Jennifer Mazur Christine McDonough Jean & Bruce McMullin Jack & Patsy McNamara Steve & Shelli Mecham Erika Messenger Joel Millard Elizabeth Miller Scott & Megan Miller Robert L. Miller Kenny Mizel Gerald R. Moffit Christine Monnat Donald Monson Brittany Montrone Stephen & Sandra Morgan Pat & Jim Morgan William & Janice Mosby James Moyer Janene Muller Jenny Nicholas Kathleen Nielsen Paola Nix Craig Sparrow Ogan Patti O’Keefe Clive Oliver & Norma French-Oliver Fredrick and K. Kristine Olsen Vicki Olsen Michael & Lauren O’Malley

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INDIVIDUAL DONORS CHORALE ($150 - $499) CONTINUED John Steven Ott Kathy Pachucki Mike Padovich Brent Palfreyman Adrian S. Palmer Jeffrey G. Paris Nettie & Charles Pendley Scott Peppler Dale Ann Petersen Janis Peterson Joan C. Peterson Kelvin Peterson & Liqin Qiu Kristina B. Pierce Thomas B. Pilger Keith & Linda Poelman James A. Potter Dr. Glenn Prestwich Matthew & Maria Proser Angelica Putnam James Quan Jeff & Melissa Quigley Craig Reece Delia & Craig Reece Ronald Rencher Mistyamber Reynolds Alison Richman Dr. & Mrs. Delbert G. Ririe Michael Risley Jim & Bonita Robertson Lousje & Keith Rooker Robert Rosenberg Brent Rowland Haley Rowland Dean Rudy Gail T. Rushing Troy A. Salley Dan & Kris Sampson Xiomara Sanchez Bill & Beth Sanders Michael Sanders Juergen & Cheryl Sass Laura Scholl Krista Schonrock John Schumacher Ellen Schwede Leslie Scopes-Anderson Howard & Audrey Seares UTAHOPERA.ORG

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Ross Seely Steve & Sonni Senkfor Karen F. Shepherd Erik Sherwood James Sherwood Jim Short Glenda & Robert† Shrader Kathleen Siegfried Randy Silverman Jordan Sim Dr. Bernard J. Simbari Jennifer Simons Stuart & Suzanne Slingerland Linda Smith Julia M. Smith Allison Smoot John & Geraldine Snow Benjamin Sokolow John D Sonnenberg Kathy Sorensen Diane Soule Robert & Darlea Stack Stephanie & Brian Stagg Michael Stahulak & Shannon Mullins Stephen Stanczyk Joseph & Kathleen Stanford Edward & Marilou Steffen Suzanne S. Stensaas Laura Stetler Ronald W. Strahan Samuel C. Straight William Strickler Sharon Strong David Suehsdorf Catherine Sullivan Barbara & Jim Svoboda Mrs. Gaylia Tanner George S. Tate Ranae S. Taylor Isabella Tcaciuc & Thomas Bosteels Susannah Thomas Susan Thompson Nye Thuesen

Sam Todd Renae Trask Schwartz William & Patricia Tueting Nancy Umemura Marilyn Valentine Shirley Van Wagenen Mark E. Vernon Steven Vigil Rosalie & David Kimball Bonnie Walsh Amanda N. Walter Perry & Margie Walters Nolan W. Warby Nicholas & Nancy Ward Evy Warmbier Ardean† & Elna Watts Kathleen Allen-Weber Werner & Dorothy Weixler John Welch Ryan J. Welch Wayne Wells Paul Wetzel Elizabeth H. Wheeler Elizabeth Whitaker Henry O. Whiteside Van P. Whitfield Reatha & Charles M. Whiting Judy Whittlesey Olivia Wilkinson Charles W. Williams Brook & Mel Williams Jody L. Williams Steven Winitzky Robert Wolfarth Michael and Judith W. Wolfe Dr. and Mrs. Harry C. Wong Mrs. Barbara Wood Nancy Wood Janet Wyatt Hilary Coon and Jim Yehle Matthew Young Tolford Young Pamela M. Zeberlein Laura Zemp Kevin Ziperstein 41

ENDOWMENT

DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being & stability of USUO, & through its annual earnings, supports our Annual Fund.

For further information, please contact 801-869-9015.

Anonymous Edward R. Ashwood & Candice A. Johnson Gael Benson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation Thomas D. Dee III & Dr. Candace Dee Hearst Foundation Roger & Susan Horn

The Right Reverend Carolyn Tanner Irish† and Mr. Frederick Quinn Loretta M. Kearns Vicki McGregor Edward Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation Kenneth† & Jerrie Randall The Evelyn Rosenblatt Young Artist Award Bill & Joanne Shiebler

Steven P. Sondrop Family Trust James R. & Susan Swartz Norman C. and Barbara L. Tanner Charitable Trust O.C. Tanner Company Frederic and Marilyn Wagner M. Walker & Sue Wallace Jack & Mary Lois Wheatley Family Trust Edward & Marelynn† Zipser

GIFTS MADE IN HONOR Frances Darger

Anne & Ashby Decker

GIFTS MADE IN MEMORY Jay Ball Donald A. Basinger Jan Bennett Robert H. Burgoyne, M.D. Adrienne Coombs

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Andrea Lane Jamila Janatova Maxine & Frank McIntyre Glade & Mardean Peterson J. Ryan Selberg

Dorotha Smart Barbara Tanner Rachel Varat-Navarro

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INSTITUTIONAL DONORS We thank our generous donors for their annual support of Utah Symphony | Utah Opera. * in-kind donation

** in-kind & cash donation

$100,000 OR MORE Alternative Visions Fund The Church of Jesus Christ of Latter-day Saints Foundation George S. & Dolores Doré Eccles Foundation Crocker Catalyst Foundation Lawrence T. & Janet T. Dee Foundation Marriner S. Eccles Foundation The Florence J. Gillmor Foundation

Emma Eccles Jones Foundation Love Communications** The Tony & Renee Marlon Charitable Foundation O.C. Tanner Company Salt Lake Redevelopment Agency Salt Lake County Salt Lake County Zoo, Arts, and Parks Shiebler Family Foundation

Sorenson Legacy Foundation Summit County Restaurant Tax / RAP Tax Utah Department of Cultural and Community Engagement Utah State Division of Arts & Museums/ National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank

Frederick Q. Lawson Foundation Janet Q. Lawson Foundation

League of American Orchestras’ Futures Fund John & Marcia Price Foundation

The John C. Kish Foundation Moreton Family Foundation Charles Maxfield & Gloria F. Parrish Foundation Perkins-Prothro Foundation Promontory Foundation S.J. & Jessie E. Quinney Foundation Theodore and Elizabeth Schmidt Family Foundation JoAnne L. Shrontz Family Foundation

Simmons Family Foundation James & Kathleen Sorenson Legacy Foundation Struck* Summit Sotheby’s Nora Eccles Treadwell Foundation Utah Education Network Utah Office of Tourism

$50,000 TO $99,999 Anonymous Dominion Energy The Grand America Hotel & Little America Hotel* Hearst Foundation

$25,000 TO $49,999 Arnold Machinery Brent & Bonnie Jean Beesley Foundation BMW of Murray/ BMW of Pleasant Grove Cache Valley Electric Carol Franc Buck Foundation C. Comstock Clayton Foundation Deer Valley Resort The Kahlert Foundation McCarthey Family Foundation UTAHOPERA.ORG

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ENDOWMENT $10,000 TO $24,999 HJ & BR Barlow Foundation B.W. Bastian Foundation R. Harold Burton Foundation Marie Eccles Caine FoundationRussell Family Caffè Molise* Cultural Vision Fund Daynes Music Company*

Discover Governor’s Office of Economic Development Greenberg Traurig Richard K. & Shirley S. Hemingway Foundation Kulynych Family Foundation II, Inc. Park City Chamber/Bureau Regence BlueCross BlueShield of Utah

The Joseph & Evelyn Rosenblatt Charitable Fund Salt Lake City Arts Council St. Regis / Deer Crest Club** The Clark L. Tanner Foundation W. Mack and Julia S. Watkins Foundation WCF Insurance

Spencer F. & Cleone P. Eccles Family Foundation Henry W. & Leslie M. Eskuche Charitable Foundation The Fang Family Foundation Goldman Sachs & Co. Grandeur Peak Global Advisors The Val A. Green & Edith D. Green Foundation Holland & Hart Hotel Park City / Ruth’s Chris Restaurant Hyatt Centric Park City** Onstage Ogden City of Orem CARE Tax

Ray, Quinney & Nebeker Foundation Raymond James & Associates Rocky Mountain Power Foundation Snell & Wilmer Snow, Christensen & Martineau Foundation Sidney Stern Memorial Trust U.S. Bank Foundation Utah Autism Foundation Utah Symphony Guild Y2 Analytics*

$1,000 TO $9,999 Anonymous [2] Altabank Bertin Family Foundation Berkshire Hathaway Home Services Berenice J. Bradshaw Trust Rodney H. & Carolyn Hansen Brady Charitable Foundation CBRE Castle Foundation Chinese Railroad Workers Descendants Association City Creek Center Corning Incorporated Foundation The Dallas Foundation David Dee Fine Arts

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ADMINISTRATION ADMINISTRATION Steven Brosvik

Walt Zeschin

David Green

Orchestra Personnel Manager

President & CEO

Senior Vice President & COO

Thomas Paden

Director of Human Resources & Organizational Culture

Julie McBeth

Executive Assistant to the CEO

Ellen Lewis

Executive Assistant to the Senior V.P. & COO & Office Manager

OPERA ARTISTIC Christopher McBeth Opera Artistic Director

Carol Anderson

Director of Orchestra Personnel

Andrew Williams

Marketing Manager - Audience Development

Lance Jensen

Website Content Coordinator

Executive Assistant to the Music Director & Symphony Chorus Manager

SYMPHONY OPERATIONS Cassandra Dozet Director of Orchestra Operations

Melissa Robison

Program Publication & Front of House Director

Chip Dance

Production & Stage Manager

Kate Henry

Operations Manager

Principal Coach

Jeff F. Herbig

Michelle Peterson

Director of Production

Properties Manager & Assistant Stage Manager

Opera Chorus Master

Artist Logistics Coordinator

Michaella Calzaretta Ashley Tingey

Production Coordinator

Lyndsay Keith

Robyne Anderson

2 Assistant Stage Manager nd

OPERA TECHNICAL Ben Ramos

DEVELOPMENT Leslie Peterson

Kelly Nickle

Jessica Proctor

Opera Technical Director Properties Master

Vice President of Development Director of Institutional Giving

Dusty Terrell

Heather Weinstock

Scenic Charge Artist

Director of Special Events & DVMF Donor Relations

COSTUMES Cee Cee Swalling

Katie Swainston

Individual Giving Manager

Costume Director

Verona Green

Lisa Poppleton

Amanda Reiser Meyer

Dallin Mills

Milivoj Poletan

Erin Marr

Costume Stock & Rentals Manager First Hand

Grants Manager

Development Database Manager Donor Engagement (DVMF) & Special Events Coordinator

Tailor

Tiffany Lent

Ellesse Hargreaves

Cutter/Draper

Stewardship & Event Coordinator

Donna Thomas

Milliner & Crafts Artisan

MARKETING & COMMUNICATIONS Jon Miles

Nyssa Startup

Wardrobe Supervisor & Rentals Assistant

Vice President of Marketing & Public Relations

LisaAnn DeLapp

Meredith Kimball Laing

Rentals Assistant

SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director

Robert Bedont

Director of Communications

Kathleen Sykes

Nina Starling

PATRON SERVICES Faith Myers

Director of Patron Engagement

Merry Magee

Marketing Manager - Patron Loyalty

Mara Lefler

Sales Manager

Andrew J. Wilson

Patron Services Manager

Janae Graham

Patron Services Assistant Manager

Genevieve Gannon

Group Sales Associate

Alicia Ross Val Tholen

Sales Associates

Nicholas Barker Lorraine Fry Ellen Lewis Naomi Newton Ian Painter Talia Ricci Ananda Spike Ticket Agents

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Melanie Giles Controller

Alison Mockli

Payroll & Benefits Manager

Jared Mollenkopf

Patron Information Systems Manager

Kyle Siedschlag

Accounts Payable Specialist

EDUCATION Paula Fowler

Director of Education & Community Outreach

Kyleene Johnson

Symphony Education Manager

Anna Atkinson

Opera Education Assistant

Content & Social Media Manager

Barlow Bradford

Symphony Chorus Director

We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.

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PLANNED GIVING

CONTRIBUTE TO UTAH SYMPHONY | UTAH OPERA

DID YOU KNOW THAT TICKET SALES ONLY SUPPORT 33% OF OUR ANNUAL OPERATING COSTS?

As a 501c(3) non-profit, Utah Symphony | Utah Opera relies on a combination of private and public support to fulfill our mission to connect the community through great live music. Now more than ever we are witness to the power of music to help lift our communal spirit and bring us joy. A contribution in any amount supports USUO in providing music education in every school district in Utah, achieving artistic excellence on stage, and making music accessible to all to ensure that the power of music will continue to play a vital role in our community.

MAKE A DONATION ONLINE AT USUO.ORG/GIVE OR BY CALLING 801-869-9001

JOIN ABRAVANEL AND PETERSON SOCIETIES With a $2,500 tax-deductible contribution, you can enjoy the benefits of our exclusive Utah Symphony Abravanel Society or Utah Opera Peterson Society.

A $5,000 contribution provides access to both societies.

FIND OUT MORE 801-869-9001 | USUO.ORG/SUPPORT-LIVE-MUSIC/DONOR-BENEFITS

CRESCENDO AND TANNER SOCIETIES “YOU ARE THE MUSIC WHILE THE MUSIC LASTS.”~T.S. Eliot

Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning.

Please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012 for more information, or visit our website at usuo.giftplans.org.

TANNER SOCIETY OF UTAH SYMPHONY

Beethoven Circle (gifts valued at more than $100,000) Anonymous (3) Doyle Arnold & Anne Glarner Edward R. Ashwood & Candice A. Johnson Dr. J. Richard Baringer Haven J. Barlow Dr. Melissa J. Bentley Marcy & Mark Casp Shelly Coburn Raymond & Diana Compton

Mahler Circle

Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Virginia A. Hughes Ms. Marilyn Lindsay†

Anne C. Ewers Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane Miner Glenn Prestwich Kenneth A.† & Jeraldine S. Randall

Mr.† & Mrs. Alvin Richer Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffery & Joyce Smith G.B. & B.F. Stringfellow Norman† & Barbara† Tanner Mr. & Mrs. M. Walker Wallace

Turid V. Lipman Herbert C. & Wilma Livsey Dianne May Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson

Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart Edward J. & Marelynn† Zipser

CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage

Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean† Henkels Edward R. Ashwood & Candice A. Johnson Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Richard W. & Frances P. Muir Marilyn H. Neilson

Carol & Ted Newlin Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Jeffrey W. Shields G.B. & B.F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn† Zipser †Deceased

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Leave a Legacy.

Ensure the future.

MAKE A PLANNED GIFT TODAY Utah Symphony | Utah Opera is grateful to all those who help provide for the future of great live music in our community by including USUO in their financial and estate planning. If the pandemic has caused you to think about your legacy and instilled a desire to share what you love with generations to come, please join USUO’s Tanner and Crescendo Societies. Contact our development department or go online for more information about how to quickly and easily designate USUO as a beneficiary of your will, retirement account, life insurance policy, or if you have any other questions.

Find out more: 48 801-869-9012 | usuo.giftplans.org

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HOUSE RULES

Photo Credit: Austen Diamond

ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Abravanel Hall. Ask at the Coat Check for details.

WHEELCHAIR SEATING Ample wheelchair seating is available.

Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager.

LATECOMERS In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating

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will be used. During some productions late seating may not occur until an intermission after which time you may be seated by an usher in an alternate section.

When traveling to performances, please allow ample time for traffic delays, road construction, and parking.

COPYRIGHT ADHERENCE In compliance with copyright laws, it is strictly prohibited to take any photographs or any audio or video recordings of the performance.

EMERGENCY INFORMATION In the event of an emergency, please remain seated and wait for instructions.

Emergency exits are located on both sides of the house. Please identify the exit closest to your location.

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ACKNOWLEDGMENTS UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR

Melissa Robison HUDSON PRINTING COMPANY www.hudsonprinting.com 241 West 1700 South Salt Lake City, UT 84115 801-486-4611 AUDITING AND ACCOUNTING SERVICES PROVIDED BY

Tanner, llc LEGAL REPRESENTATION PROVIDED BY

Ballard Spahr Andrews & Ingersoll, llp Holland & Hart, LLP Jones Waldo ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY

Love Communications, Salt Lake City

ADVERTISING CREATIVE & BRANDING SERVICES PROVIDED BY

Struck, Salt Lake City / Portland

The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief.

Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts.

By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.

Photo Credit: Austen Diamond

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Join hosts Jeff Counts and Carol Anderson as they look behind the curtain at the world of classical music and the artists who make it.

LISTEN AND SUBSCRIBE ON THE USUO APP OR WHEREVER YOU GET YOUR PODCASTS.

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