LA TRAGÉDIE DE CARMEN by Mills Publishing Inc.

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LA TRAGÉDIE DE CARMEN MAY 8–16, 2021 JANET QUINNEY LAWSON CAPITOL THEATRE

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CONTENTS

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Mills Publishing, Inc. PRESIDENT

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Cynthia Bell Snow ART DIRECTOR/ PRODUCTION MANAGER

Jackie Medina

LA TRAGÉDIE DE CARMEN

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Ken Magleby GRAPHIC DESIGNER/ WEB DEVELOPMENT

Patrick Witmer

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Paula Bell Dan Miller Paul Nicholas ADMINISTRATIVE ASSISTANT

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LA TRAGÉDIE DE CARMEN

The UTAH SYMPHONY | UTAH OPERA program 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 @UtahOpera

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6 WELCOME 7 PETER BROOK’S ARTISTIC DIRECTOR’S WELCOME 8 BOARD OF TRUSTEES 10 SO, YOU THINK YOU KNOW CARMEN 17 THE TRAGEDY OF CARMEN 18 MAY SEASON 8–16, SPONSORS2021 22 JANET QUINNEY LAWSON CAPITOL THEATRE CAST / ARTISTIC STAFF 37 SYNOPSIS 38 #UTAHOPERA UTAH SYMPHONY 40 PLANNED GIVING 41 CRESCENDO & TANNER SOCIETIES 42 DONORS 49 ADMINISTRATION 50 HOUSE RULES 52 ACKNOWLEDGMENTS

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WELCOME Throughout history, the arts have helped humanity translate experiences when words alone do not suffice. The arts have been, and continue to be, present when we need them the most. Orchestral music and Opera hold a moment in time and tell rich and moving stories that resonate with new and long-time listeners alike. Music is in our collective past, present, and future.

Steven Brosvik President & CEO

During this unique time in our history, Utah Symphony | Utah Opera has found creative ways to continue connecting our community through great music. Your support helped us initiate safely distanced live performances from September through November, pivot to streamed performances when our venues were closed to live audiences in December, and create new online music education offerings distributed throughout our state in collaboration with the Utah Education Network. This moment will reaffirm that, even (perhaps especially) in times of turmoil, we all recognize the importance of preserving our access to the arts. This season would not have been possible without the incredible generosity of the community leaders and donors recognized in the donor pages of this program. Another important pillar of our community has stepped forward to help us deepen and broaden our support to ensure that USUO can continue to create great music well into the future. All new and increased contributions received through May 1, 2021, were matched 1:1 by the George S. and Dolores Doré Eccles Foundation. With this announcement, the Foundation Trustees express optimism for a bright future filled with uplifting musical experiences, and encourage the community at large to participate with them in supporting Utah Symphony | Utah Opera. We are grateful to everyone who helped us achieve the full amount of the offered match. While our world has changed, the power of music and its vital place in our lives has not. Thank you for joining us today to demonstrate the importance of USUO in your life.

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ARTISTIC DIRECTOR’S WELCOME Dear Utah Opera friends and family, Welcome back to the historic Janet Quinney Lawson Capitol Theatre! I hope that you are as happy to return as we are. The cast and crew arrived for rehearsals a few weeks ago and the feeling of preparing to perform live for you has been indescribable. We’re truly back where we belong. I’ve long had an attraction to Brook’s La tragédie de Carmen. It uses music from Bizet’s Carmen as well as additional parts of the Prosper Mérimée source text of the same name to take a different look at the principal characters and their relationships to one another. The new perspective this version provides to this often-told story is nothing short of fascinating. The music will be familiar to anyone who knows Carmen (and even to some who don’t think they do, thanks to its use in settings outside the actual opera), but it may seem in a different place or have different context than one remembers. Notice those Christopher McBeth differences and how it gives the well-known melodies and Artisitc Director words a breath of fresh air and new perspective. I find the characters and their relationships to each other sharper and enjoy how the orchestral instrumentation makes each and every instrumentalist a soloist and character in the story. For this presentation, I felt it proper to feature a cast of artists who were already close to the company and our audience in one form or another. Utah based artist Kirstin Chávez has performed the title role of Bizet’s opera in multiple productions throughout the world and makes her debut in the Brook’s version with us, returning to our stage for the first time since Florencia en el Amazonas. Likewise, Utah native Isaac Hurtado has performed Don José in Bizet’s version, but makes his debut in this version and with Utah Opera. Most recently in Silent Night, Efraín Solís returns for his third production as the suave Escamillo. The balance of our cast is made up of our very own Utah Opera Resident Artists who have been the backbone of the company and its streamed and in-person performances this season. Director Omer Ben Seadia brings the opera to life in this new and updated production along with video and lighting designer Tláloc López-Waterman and costume coordinator Verona Green. Maestro Ari Pelto takes the podium for his fourth production with Utah Opera, the first of those being Bizet’s Carmen in 2010. Thank you for supporting YOUR Utah Opera over this last year. It certainly has been the most mercurial one in my two decades with the company. Due to your care and backing, we are not only back but looking forward to a bigger and brighter future. For that, I am humbled and grateful. Yours,

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BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair

Gary L. Crocker David L. Dee* 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 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

Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler

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

Joanne F. Shiebler Chair (Utah)

Susan H. Carlyle (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

Anthon S. Cannon, Jr. (S. California)

Senator Orrin G. Hatch (Washington D.C.)

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

MUSICIAN REPRESENTATIVES Kathryn Eberle* Julie Edwards* 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 Lisa Eccles NATIONAL ADVISORY COUNCIL

*Executive Committee Member † Deceased UTAHOPERA.ORG

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SO, YOU THOUGHT YOU KNEW CARMEN? By Michael Clive

The visionary theatrical conception of director Peter Brook will make you think again. When Peter Brook’s radical production of Shakespeare’s A Midsummer Night’s Dream astounded the theater world in 1970, The New York Times sent critic Clive Barnes to London to see what all the buzz was about. Barnes’ review called Brook “the world’s most imaginative and inventive director. If Brook had done nothing else but this ‘Dream’ he would have deserved a place in theater history.” But Brook went on to do much more, following his landmark ‘Dream’ with a reconceptualized Carmen a decade later. Brook’s Carmen not only proved to be an electrifying theatrical experience; it deepened every opera lover’s perceptions of a character we thought we knew.

COMPOSER GEORGES BIZET (1837– 1875) AND HIS CARMEN Bizet composed Carmen in 1875, when he was 37 and had a decent reputation as a composer, but was not classed as one of the most important in France; in fact, considering the high expectations of him in musical circles, his career so far had been something of a disappointment. He was one of the youngest pupils ever admitted to the famously rigorous Paris Conservatoire and, as one critic wrote, quickly learned

everything the professors could teach. He also won most of the prizes available to be won, including the fabled Prix de Rome—the Conservatoire’s highest award for composition—at age 19. And though his early operas did not hint at the boldness of inspiration in Carmen, they did reveal the freshness of his melodic inspiration and his gift for evoking the vividly detailed, richly textured scenes in music. Eugène Cormon and Michel Carré, the librettists for his opera The Pearl Fishers (12 years earlier than Carmen), reportedly said “if we had known Bizet would write such beautiful music, we would have written a better libretto.” And just three years before Carmen, when Bizet composed the incidental music for the play L’Arlésienne, playwright Alphonse Daudet supposedly described his own play as “a glittering flop with the loveliest music in the world.” Tragically, Carmen would prove to be Bizet’s final masterpiece. In Mérimée’s novella Carmen we learn more about Carmen’s doomed lover Don José than we see in the opera. He is depicted as a rather ordinary man with a troubled past who undergoes a rather extraordinary disintegration. This kind of story, representing female sexuality as a corrupting influence and southern peoples as dangerous, was common in pulp novels

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SO, YOU THOUGHT YOU KNEW CARMEN?

Photo credit: Utah Opera production of Carmen, 2016, Kent Miles

of Mérimée’s day; he wrote at a time when Gypsies were seen by most Europeans as a mysterious, filthy, dangerous people. But it’s possible that his view of this subject was more complex, since he had visited Spain and had a relationship with a Gypsy girl. When he returned home and wrote about his experiences, he described the girl as “savage and unsociable,” but his attraction to her was clear, and she may well have been the model for his Carmen. Another source contemporaneous with Bizet was George Henry Borrow, a British writer and translator who explored Madrid, Granada, Seville and Cordoba. In The Gypsies of Spain, Borrow called them the Zincali, Gitános, or Bohemians, “wild and sybilline,” frequently beautiful but never vulgar. And, he added, they

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despised Christians. His down-to-earth characterization of the Gypsy woman is sympathetic in its fascination, if also patronizing: The Gitána is “addicted to and famous for fortune-telling,” he said; she is the one woman in the world who “deserves the title of sorceress.… Mention to me a point of deviltry with which that woman is not acquainted, for she is a prophetess…a procuress…and a singer of obscene songs.…Tenacious of the little she possesses, she is a cutpurse and a shoplifter whenever the opportunity shall offer.” In 1875, the year Carmen was first produced, such characters were simply not seen on the operatic stage. Queen Victoria was still on the throne, and the moralists of her generation were in full cry. Nor were they alone in fighting a

SO, YOU THOUGHT YOU KNEW CARMEN? decency crusade; the Empress Eugénie had left a mark on Bizet’s France by imposing her rigid, Spanish-Catholic code on it. If such shocking material was to be introduced in opera, the Opéra-Comique was perhaps the last venue where it might have been expected; this venue, after all, was where respectable bourgeoisie could expect reliably inoffensive entertainment. But change was in the air, and it came with Realism. It reached French art and literature through painters including Degas and Courbet, who depicted common laborers and scenes of everyday life, and writers including Balzac and Flaubert, who populated their novels with startlingly real people. Opera had already taken important steps toward Realism in the 1850s with Giuseppe Verdi’s La traviata and Un ballo in maschera. Many of that era’s elegant operagoers thought of the elegant courtesan Violetta Valéry as a virtual prostitute and were shocked by Verdi’s frank, sympathetic depiction of her. In the last act of Traviata he thrust Realism on the audience by showing Violetta on her deathbed suffering the ravages of tuberculosis, a ghastly killer. As for Un ballo, the scene of the king’s assassination was so realistic (and politically unflattering) that when Verdi was about to mount the first production, the Neapolitan censors refused to let him produce the opera as he had written it. They forced him to find another setting for it, and so the action was somewhat incongruously transferred to colonial Boston. For years after the opera’s premiere, censors still insisted on changing the opera’s title, setting, plot and

characters. Though these were signs of a trend toward Realism two decades before Carmen arrived on the scene, Bizet’s opera forced it to a level for which the public was not yet prepared. Controversy erupted over Carmen even before the first rehearsals began. By the time of its premiere at the Opéra-Comique in Paris on March 3, 1875, arguments over the scandalous plot were raging in cafés and in the theater itself. Bizet was also criticized for producing it at the OpéraComique, which was considered a venue where middle-class families could count on wholesome entertainment…”A place where a man can take his wife and daughters.” The first performance of the opera brought the critics out in force, with some attacking the composer for imitating Wagner’s leitmotif technique. Others claimed that he, like Verdi and Wagner, was ruining singers’ voices by drowning them out with “dissonant” and “heavy” orchestral sound. But there were dissenters, including the writer Blaze de Bury, who praised Bizet and said he had “no doubt” about the composer’s future. Another critic praised the “huge talent in this musical score.” The supposedly calamitous first-season failure of Carmen has entered the canon of music lore. Are the stories true? Probably not. The opera was performed 37 times at the Comique during its first run (though often to a half-empty house), and successfully revived during the next season. A real fiasco would have closed after just one performance, as Verdi’s Un giorno di regno and Puccini’s Madama Butterfly did. Or, in the worst possible scenario, the audience would have forced

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SO, YOU THOUGHT YOU KNEW CARMEN? the curtain down in the middle of the show and made the impresario refund the ticket money, as sometimes happened in Paris. When Bizet died, three months after the premiere of his wildly revolutionary opera, he knew it would survive. But could he have dreamed that it would become one of the most popular and influential works in the history of the theater, setting the parameters for a new structure and style in opera? Public and critical enthusiasm for Carmen only grows with time. Perhaps the first “daughter” of Carmen was Jules Massenet’s Manon (1884), whose amoral heroine seduces a young seminarian just as he is about to become a priest. From there, the raw brutality of Italian verismo was already within reach. Today, Carmen’s irresistibly passionate music and stark drama have transcended style and geography, and are embraced throughout the world.

STAGE DIRECTOR PETER BROOK (B. 1925) AND HIS FILM 1983 FILM ADAPTATION LA TRAGÉDIE DE CARMEN Nearly two centuries after its composition, Carmen is often called the world’s most popular opera even though, in the numbers race for productions and performances, it seems to lag slightly behind a few other hits such as Puccini’s La bohème. Statistics notwithstanding, there is something about this opera that puts it ahead of all others in its familiarity and fascination; it’s the opera we’ve all grown up with, the one whose melodies we’re most likely to hear in the schoolyard or as elevator music. Its arias

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have the best joke lyrics (“Toreador-o, don’t spit on the floor-o…”). Most of all there is Carmen herself, the essential femme fatale, alluring and dangerous. But in looking more deeply within the story, Brook saw something more compelling, more urgent in Carmen’s character: her preoccupations with the imperative to be free and her sense of the nearness of death. Carmen’s sense of fate and fatalism give a resonance to her Romani identity and the tradition of fortune-telling. This makes her story much more than a romance gone wrong: In Brook’s conception her willfulness, her seeming capriciousness, her almost feral nature make sense. In finding and illuminating these aspects of Carmen, Brook takes his cue from Bizet himself— from the ferocious intensity of the music’s “fate” theme and from Carmen’s reading of the Tarot cards that foretell her death, the moment of her greatest musical intensity in a role full of intense moments. Bizet was ahead of his time in endowing the character of Carmen with this kind of emotional complexity. In 1875, when he was composing Carmen, the phrase “Gypsy girl” alone was sufficient to conjure a whole world of wanton sensuality and danger, and this world was the focus of the Bizet’s source for his music drama: Prosper Mérimée’s novella Carmen, a first-person account of life in Spain among the culture we now know as Romani and an early example of fatal attraction. Brook adds substance to the superficial allure of Spain that fascinated French

SO, YOU THOUGHT YOU KNEW CARMEN?

Photo credit: Utah Opera production of Carmen, 2016, Kent Miles

composers. For them, the Iberian peninsula’s sun and warmth represented something dangerously erotic—a place of impulsive sensuality that presented a challenge to the elegance and discipline of French music. The heady fascination with Spain shows in compositions such as Chabrier’s España, Lalo’s Symphonie espagnole and Ravel’s Rhapsodie espagnole, and it suited Bizet’s extraordinary ability to create a sense of place in his music. We hear this in the explosive opening bars of Carmen, which evoke the visceral excitement of the bull ring in Seville that will be the scene of Escamillo’s triumph and Carmen’s demise. But almost immediately after we hear those smashing, cymbal-accented chords, we hear a second theme that takes Bizet’s drama beyond its source: Carmen’s preoccupation with fate. Against a

foreboding background of tremolo strings, Carmen’s “fate theme” evokes the fatal destiny that looms ever closer for her. Brook makes this motif the opera’s musical centerpiece—the reason why Carmen defies authority and ignores bourgeois convention to assert her freedom. With these chords, before the action of the opera even begins, we can sense that Carmen will do anything it takes to get what she wants. But in the end, nothing will be enough. This preoccupation with free will versus destiny was a recurrent theme in music of the Late Romantic period, and in 1888—when Tchaikovsky was writing his fifth symphony—Carmen’s five-note “fate theme” was one of two that inspired the Russian composer in developing his own work on this subject. The other was the famous four-note theme of “fate knocking on the door” in Beethoven’s Symphony No. 5.

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THE TRAGEDY OF CARMEN A Note from the Director Photo credit: Utah Opera production of Carmen, 2016, Kent Miles

nature of grand opera, Brook’s version forces us to reconcile with the violent and brutalist aspects of the circumstances of the story. Drawing heavily from the novella by Mérimée, Brook doesn’t shy away from the complicated layers that these characters exemplify. In this production, we have chosen to highlight the relationship of the characters to their individual fates and to explore the balance of freewill versus predetermined structure in human nature. Does fate control us, or do we have opportunities to break away and forge new paths, even if that path leads to violence or death?

The opera Carmen is perhaps one of the most famous and beloved pieces in the operatic canon, performed hundreds of times a year at opera companies all over the world. Its catchy tunes and intoxicating characters prove to be irresistible to artists and audiences alike. Peter Brook, in his adaptation, offers us an exciting opportunity to re-examine this story and its complex characters from a new perspective. Stripped from the opulent

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Our relationship with the beloved Carmen continues to evolve through our expanding social understanding of domestic violence. This adaptation offers a chance to reconsider our own biases and personal discomfort, leaving room for further exploration. By updating the time and place of the opera to present-day Spanish Harlem in New York, we hope to preserve the essence of the environment while being respectful of the culture from which it hails. After this past year, presenting live theater is a commitment that we do not take lightly. I’d like to thank Utah Opera and all of the artists involved for their trust and dedication, with a special thanks to our audience for your continued support and patience. It’s good to be back. Omer Ben Seadia

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George S. and Dolores Doré Eccles Foundation Board of Directors (l to r): Robert M. Graham , Spencer F. Eccles, Lisa Eccles

MAY 8–16, 2021 JANET QUINNEY LAWSON CAPITOL THEATRE

Peter Brook’s

La tragédie de Carmen Adapted from Georges Bizet’s opera by Marius Constant, Jean-Claude Carriére, and Peter Brook Sung in French with English supertitles

CAST

Carmen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kirstin Chávez Don José . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Isaac Hurtado Escamillo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Efraín Solís Micaëla . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julia Gershkoff* Zuniga/Garcia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brandon Bell* Lillas Pastia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel O’Hearn* Fate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edith Grossman*

ARTISTIC STAFF

Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ari Pelto Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Omer Ben Seadia Assistant Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michaella Calzaretta Lighting/ Video Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tláloc López-Watermann Costume Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Verona Green Wig/Makeup Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marneé Porter Fight Choreographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zac Curtis Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gina Hays Assistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alexandra Bowden Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Taylor Burkhardt*

*Utah Opera Resident Artist Set & Costumes built and designed by Utah Opera Production is 90 minutes long with no intermission.

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CAST

Kirstin Chávez is considered one of the most riveting and significant performing mezzo-sopranos today. Her powerful voice with its expansive range, the dramatic intensity of her acting, and her natural sensuality combine to make her an arresting and unique presence on the operatic and concert stages.

Kirstin Chávez Carmen

Ms. Chávez has captured attention and acclaim in her signature roles and is recognized as one of the definitive Carmens of today; Opera News reported that her Carmen in Graz, Austria was “the Carmen of a lifetime. With her dark, generous mezzo, earthy eroticism, volcanic spontaneity and smoldering charisma, Chávez has it all, including a superb command of French and a sense of humor.” Ms Chávez’ Carmen has taken her all around globe and into such celebrated venues as Lincoln Center in New York, the Sydney Opera House in Australia, and the Arena di Verona, in Italy. Kirstin Chávez has earned praise for her performances in modern operas, as well, with Jo in Adamo’s Little Women (Opera Pacific), Thérèse, in Tobias Picker’s Thérèse Raquin (San Diego Opera) and Sondra Finchley in Picker’s An American Tragedy, which was her Metropolitan Opera principal debut in 2005. She then added Sister Helen Prejean in Dead Man Walking, and Sharon Falconer in Aldridge’s Elmer Gantry.

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CAST

“Money-notes worth every penny,” “wonderful acting,” “movie star good looks,”and “passionate elegance” are just a few of the phrases used by critics to describe tenor Isaac Hurtado. Critically acclaimed for portrayals of Rodolfo in La bohème, Edgardo in Lucia di Lammermoor, Pinkerton in Madama Butterfly, Werther in Werther, the Duke in Rigoletto, Tamino in Die Zauberflöte, Alfredo in La traviata, and Roméo in Roméo et Juliette, Mr. Hurtado is “the complete package.” In 2021–22 Mr. Hurtado will make his Utah Opera Debut as Don José in La tragédie de Carmen, and revisit the role of Rodolfo in La bohème at the Noorda Center for the Performing Arts. He will also sing the tenor solos in a new work for choir, orchestra and soloists entitled ‘A Mosaic for Earth’ at Virginia Tech University. Mr. Hurtado has previously appeared with Opera San José, Phoenix Opera, Utah Festival Opera, Opera North, Opera Circle of Cleveland, Festival Opera at Walnut Creek (CA), Central City Opera, the Bay Area’s Midsummer Mozart Festival, Utah Lyric Opera, Sun Valley Opera, Opera at the Acorn (MI), Harbor Country Opera, and Opera Theatre of Lucca, Italy.

Isaac Hurtado Don José

Mr. Hurtado was trained as a young artist with Central City Opera, Opera North and Utah Festival Opera. He holds DM, MM, and BM degrees in voice performance from Florida State University, Cincinnati College-Conservatory of Music, and Brigham Young University respectively.

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CAST Hailed by the San Francisco Chronicle for his “theatrical charisma and musical bravado,” baritone Efraín Solís returns to Utah Opera to debut the role of Escamillo in these performances of La tragedie de Carmen. Earlier this season, he joined Opera San José in as Charlie in the company’s hit digital production of Three Decembers and Il segreto di Susanna and made his company debut with a reprisal of his critically-acclaimed performance of Charlie. He also sang his first performances of Malatesta in Don Pasquale with Opera Santa Barbera. Next this season, he sings on a digital recital of works by Latina composers for Los Angeles Opera.

Efraín Solís Escamillo

Solís is a recent graduate of the San Francisco Opera Adler Fellowship and, while with the company, sang Papageno in Die Zauberflöte, Dandini in La cenerentola, Schaunard in La bohème, Silvano in Un ballo in maschera, Sciarrone in Tosca, and Prince Yamadori in Madama Butterfly. Other performances include Lieutenant Audeberet in Puts’ Silent Night previously at Utah Opera; Mark in Martinez’s Cruzar la cara de la luna with Houston Grand Opera; New York City Opera, and El Paso Opera; Mercutio in Gounod’s Roméo et Juliette with Utah Opera, Virginia Opera, Opera Carolina, Toledo and Opera; Figaro in Mozart’s Le nozze di Figaro with Opera Memphis and Livermore Valley Opera; and El Payador in Piazzolla’s Maria de Buenos Aires at Opera Southwest.

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CAST Julia Gershkoff is an American soprano from little Rhode Island. She is a Resident Artist with Utah Opera and will return for the 2021–22 season. With Utah Opera, she will be singing Micaëla in La tregédie de Carmen arranged by Peter Brook, Tina in Flight by Jonathan Dove, and Kate in The Pirates of Penzance as well as covering Mabel. Julia has had the opportunity to perform with the Utah Symphony as the soprano soloist in filmed concerts such as Pergolesi’s Stabat Mater and Handel’s Messiah. In the summer of 2020, Julia attended the bubble version of Wolf Trap Opera as a Studio Artist where she performed in scenes as Gretel in Hänsel und Gretel, Despina in Così fan tutte, and Ginevra in Ariodante. She will be returning to Wolf Trap this summer to cover La Fée in Cendrillon by Pauline Viardot, Johanna in Sweeney Todd as well as singing in the chorus of Sweeney Todd and Savitri by Holst. Other roles Julia has performed include Diana/Giove as Diana in La Calisto by Cavalli* and Susanna in Le nozze di Figaro at USC, Joan of Arc in The Maid of Orleans at the Russian Opera Workshop, and Pamina in Die Zauberflöte at Mark Oswald’s Summer Program. She sang her first operatic role as Servilia in La clemenza di Tito at Ithaca College.

Julia Gershkoff Micaëla

Recently Julia has been recognized as a Finalist in the Scholarship Division of the National Opera Association’s 2021 Carolyn Bailey and Dominick Argento Vocal Competition, a Semi-Finalist in Tri-Cities Opera’s “Next” Competition, The SAS Performing Arts Competition, and received an Encouragement Award from the Metropolitan Opera National Council Auditions- Utah District. Julia received her M.M. in Vocal Arts and Opera while working with Elizabeth Hynes at the University of Southern California ‘20, and her B.M. in Vocal Performance while working with Marc Webster at Ithaca College ‘18. *Canceled due to COVID-19 pandemic

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CAST

Brandon Bell is a baritone hailing from Suffolk, Virginia. Mr. Bell returns to Utah Opera as a Resident Artist for the 2020–21 season. He most recently appeared with Utah Opera as Montague Somers in Gentleman’s Island, the British Major in Silent Night, and Dr. Grenvil in La traviata. He was a featured soloist in concerts of Messiah and Utah Opera’s Light on the Horizon with the Utah Symphony.

Brandon Bell Zuniga/Garcia

Mr. Bell anticipates numerous exciting engagements throughout Summer 2021, including performances as an Apprentice Artist with Des Moines Metro Opera. There, Mr. Bell will be covering the role of Hawkins Fuller in Fellow Travelers, as well as singing the roles of General Arlie and the Bartender. Mr. Bell is similarly thrilled to be an upcoming Vocal Fellow at Ravinia’s Steans Music Institute in their Program for Singers. These engagements were both postponed from their 2020 seasons, due to the ongoing COVID-19 pandemic. Additional recent engagements also include Mr. Bell’s portrayal of Terry in West Edge Opera’s production of Missy Mazzoli’s Breaking the Waves, and his role and house debut as the Corporal in La fille du régiment, as a Festival Artist with Opera Saratoga. Mr. Bell is also a proud alumnus of the Wolf Trap Opera and Chautauqua Opera studio artist programs, and has appeared as a guest soloist with the California and Oakland Symphonies. Mr. Bell is a 2020 Encouragement Award recipient from the Utah District of the Metropolitan Opera National Council Auditions, and has received similar awards and recognition from the Mondavi Center Young Artist Competition, the Orpheus National Music Competition for Vocalists, and the East Bay Opera League Young Artist Competition.

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CAST

Join hosts Jeff Counts and Carol Anderson as they look behind the curtain into 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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CAST

Daniel O’Hearn is an emerging operatic tenor from Tinley Park, Illinois, a suburb of Chicago. He is currently a Resident Artist with Utah Opera where his 2020/21 season roles have included Mr. Gray in Horovitz’s Gentleman’s Island, Lillas Pastia in Peter Brooks’ La tragédie de Carmen. In the summer of 2021, Mr. O’Hearn will be a first year apprentice artist for Santa Fe Opera, where he will cover Snout in Britten’s A Midsummer Night’s Dream and the peasant in Tchaikovsky’s Eugene Onegin. There, he’ll also be singing in the chorus for Mozart’s Le nozze di Figaro, Corigliano’s Lord of Cries, and Tchaikovsky’s Eugene Onegin.

Daniel O’Hearn Lillas Pastia

In June of 2020, he graduated with a Master of Music in vocal performance from DePaul University’s School of Music in Chicago, Illinois, where he studied with tenor, Scott Ramsay. He most recently appeared in the university’s operatic productions of Britten’s arrangement of Gay’s The Beggar’s Opera as Captain Macheath, and Cavalli’s L’Egisto as Egisto. In addition to his operatic work, Mr. O’Hearn has also performed as a soloist in a number of classical concert works. Recently, he’s been a featured soloist in streamed concerts of Handel’s Messiah, Stravinsky’s Pulcinella, and Utah Opera’s Light on the Horizon, all with the Utah Symphony. He also has performed solos in Handel’s Messiah with the Chicago Bar Association Symphony Orchestra & Chorus and in Beethoven’s Symphony No. 9 with the DePaul Community Chorus. Mr. O’Hearn has also competed in several singing competitions, most recently earning an encouragement award at the Metropolitan Opera National Council’s 2020-21 Rocky Mountain and 2019–20 Central regionals, winning the MONC’s 2020–21 Utah and 2019–20 Illinois districts, winning the 2019 American Prize from Oratorio Society of Chicago, and placing first in DePaul University’s School of Music’s 2019 Kleinman Competition.

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CAST

Opera, operetta, musical theater; mezzo-soprano Edith Grossman does it all. She joins the Utah Opera this season as a Resident Artist and made her debut as Elle in a modern English translation of Poulenc’s La Voix Humaine. Shortly following her success in La Voix Humaine, Edith made her Utah Symphony debut as the alto soloist in the Virtual Messiah Sing-In. This spring she can be seen as a featured soloist with Utah Opera and Utah Symphony in Light on the Horizon, Stravinsky’s Pulcinella, Pergolesi’s Stabat Mater, and Peter Brooks’ La tragédie de Carmen.

Edith Grossman Fate

Before joining Utah Opera, she created the role of Rachel in the world premiere of Jake Heggie and Gene Scheer’s If I Were You with the Merola Opera Program. In Merola’s Grand Finale, she shined as Hélène in an excerpt from La belle Hélène at the San Francisco War Memorial Opera House. Her opera experiences include Falstaff (Meg) with Crested Butte Music Festival, La Cenerentola (Tisbe) with Merola Opera Company, Le nozze di Figaro (Cover: Marcellina) with Opera Saratoga, Suor Angelica (The Abbess/Monitor) and the world premiere performance of In a Mirror, Darkly (Elaine) both with the Crane Opera Ensemble. With an expertise in the annals of classical musical theatre, her roles have ranged from Eliza Doolittle to Julie Jordan. Edith is equally adept at contemporary material, including Cats (Grizabella) and most recently, Ordinary Days (Claire). Edith is managed by Emcompass Arts LLC.

For the safety of our performers and patrons, our artists are tested regularly and are fully vaccinated.

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ARTISTIC STAFF With performances that have been called poetic, earthy, vigorous and highly individual, conductor Ari Pelto is in demand at elite opera houses, ballets, symphonies and conservatories throughout the United States. Since his 2004 début at New York City Opera with Verdi’s La Traviata, Mr. Pelto has been engaged as a regular guest there, returning for Madama Butterfly (“to die for” according to the New York Sun), Jennifer Griffith’s The Dream President, La Bohème, and Carmen. Recent highlights and upcoming opera house engagements include La Bohème with the Opera Theatre of St. Louis and the St. Louis Symphony, The Cunning Little Vixen at Chautauqua (where he “led a taut, rakish, and, at the right times, sentimental reading of this tricky score,” according to Opera Today), Rusalka and Bohème at Boston Lyric, Romeo et Juliet at Minnesota Opera, The Magic Flute, Figaro, and Hansel and Gretel at Portland Opera, as well as Carmen and Hansel and Gretel at Utah Opera. He has also been a regular guest conductor of the Atlanta Ballet. Of a performance of Prokofiev’s Cinderella, the Atlanta Journal Constitution wrote, “Under Ari Pelto’s baton, the orchestra has never sounded better, nor the chemistry between pit and stage been quite so palpable.” In 2012, he collaborated with Twyla Tharp on the premiere of her new ballet, The Princess and the Goblin. Mr. Pelto has conducted operas of Mozart and Stravinsky at Curtis, Gluck and Mozart at Juilliard, Puccini and Massenet at San Francisco Conservatory, and Stephen Paulus and Raffaello de Banfield at the Manhattan School of Music. At the Oberlin Conservatory, he has led works of Mahler, Mozart and Poulenc, and at New York University, works of Sibelius and Brahms.

Ari Pelto Conductor

Mr. Pelto studied violin performance at Oberlin, and conducting at Indiana University.

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ARTISTIC STAFF Israeli director Omer Ben Seadia is known for her inventive, thoughtful, and socially conscious productions. While garnering a name for herself in the classic repertoire, she has also won praise for developing and promoting new opera all over the world. Ms. Ben Seadia’s upcoming projects include a world premiere production of The Snowy Day (Joel Thompson, Andrea Davis Pinkney) at Houston Grand Opera, Carmen at Cincinnati Opera, The Merry Widow at Calgary Opera, Thumbprint (Kamala Sankaram, Susan Yankowitz) at Chautauqua Opera, Tosca at Utah Opera, Le nozze di Figaro at Madison Opera, and Rigoletto at Florentine Opera. Ms. Ben Seadia is set to return to the Aspen Music Festival to teach and direct in the summer of 2021. At the onset of the pandemic, Ms. Ben Seadia was in the process of developing a world premiere production of The Cut Glass Bowl (Hana Ajiashvili). Omer Ben Seadia Director

Ms. Ben Seadia began working extensively in the United States in 2012 after over a decade with the Israeli Opera. She grew up in the theater and fell in love with opera when she performed in her first production at the age of 15. She is deeply committed to the development and training of young artists, and has worked with young artists at the Houston Grand Opera Studio, Young Artist Vocal Academy (YAVA), the Ryan Opera Center (Lyric Opera of Chicago), Santa Fe Opera, the Merola Opera Program, Rice University, the International Vocal Arts Institute (IVAI), the Canadian Vocal Academy Institute (CVAC), the Aspen Music Festival, and the Dandelion Opera Institute. She completed the prestigious opera directing program at the Cincinnati College-Conservatory of Music and was an Apprentice Stage Director at the Merola Opera Program. Ms. Ben Seadia is also a graduate of Seminar Ha’kibutzim, School of Performing Arts, with a degree in theater directing, as well as a teaching degree in theater education.

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ARTISTIC STAFF

Michaella Calzaretta Assistant Conductor

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Michaella Calzaretta is in her fourth season as Chorus Master and Assistant Conductor at Utah Opera. Under her leadership, the opera chorus has garnered more and more recognition with each production. Of her work in Moby-Dick, Opera Today extolled her “superb choral preparation. Her large chorus was flawless in tonal beauty, dramatic engagement, and clarity of diction, even when performing busy stage movement.” In a review of Roméo et Juliette, Opera News praised “the strong performance of the Utah Opera Chorus, setting a reliably high standard under the direction of Chorus Master Michaella Calzaretta.” Partnership with the Utah Symphony has also been successful, as the opera chorus performed in a semistaged presentation of Candide and provided vocals for live film concerts of Pirates of the Caribbean and Harry Potter and the Prisoner of Azkaban and for a streamed Messiah in December 2020. This past October, Ms. Calzaretta made her mainstage conducting debut with select performances of The Human Voice and Gentleman’s Island. Ms. Calzaretta is completing a Doctorate in Choral Conducting at Indiana University in Bloomington, Indiana, where she studied with Walter Huff, Betsy Burleigh, and Dominick DiOrio. She was the Music Director for the University Gilbert and Sullivan Society of Bloomington, as well as the Music Director for New Voices Opera, a student-run organization that commissions and produces operas by student composers. Ms. Calzaretta holds a Bachelor of Music in Vocal Performance from Simpson College and a Master of Music in Choral Conducting from the University of Missouri- Kansas City.

ARTISTIC STAFF Zac is a Professor of Theatre at Salt Lake Community College where he teaches text and performance courses. He has his MFA in directing from The University of Idaho and is an Associate Instructor of Stage Combat with Dueling Arts International. Most recently, he has staged fights for Colorado Shakespeare Festival, University of Utah, Westminster College, and Pinnacle Acting Company. This is Zac’s second production with Utah Opera, after recently working on Silent Night. He spends all of his free moments with his talented wife, his future director daughter, and his future fight director son.

Zac Curtis Fight Choreographer

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ARTISTIC STAFF

Tláloc López-Watermann Lighting & Video Designer

Tláloc’s designs have been seen at Ballet Virginia International, Lakes Area Festival, Pittsburg Opera, North Carolina Opera, Utah Opera, Opera Delaware, Opera On the James, Opera Naples, Castleton Festival, Brevard Music Center, Toledo Opera, Utah Festival Opera, Opera Roanoke, Shreveport Opera, Crested Butte Music Festival among many others. Some of these include: The Long Walk, Hydrogen Jukebox, The Ballad of Baby Doe, Sondheim on Sondheim, Cenerentola, Carmen, Street Scene, Die Zauberflöte, Amadeus, 9 to 5, A Midsummer Night’s Dream, Sweeney Todd, South Pacific, Roméo et Juliette, Scalia/Ginsburg (world premier) Ulysses, Pirates of Penzance, Così fan tutte, Bovinus Rex (world premiere), Man of La Mancha, Salome, La bohème, The Marriage of Figaro, Madame Butterfly, The Crucible, Eugene Onegin, Il trovatore, La traviata, Falstaff, The Magic Flute, Tosca, Don Giovanni, among many others. He has an MFA in Design from NYU/Tisch.

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ARTISTIC STAFF Marneé Porter is a professional wig and makeup artisan specializing in theatrical and operatic work. Based in Utah, Marneé polished her expertise through productions at Utah Festival Opera, the Cincinnati College-Conservatory of Music, and Hale Centre Theatre in Sandy. She is also interested in creating makeup looks for print, fashion, and editorial. She has passion for all aspects of her field, especially in stylized and special effect makeup. Starting her path as a makeup artist took its roots in an unlikely place—the Math Lab. After being introduced to this medium through a Stage Makeup Class, her creativity and interest helped make the important shift in her education. Marneé has a passion for working with performers and projects that are larger than life. She thrives on being a part of visual storytelling, through the transformative power of makeup and character creation. Marneé Porter Wig/Makeup Design

Marneé completed her MFA in Wig Making and Makeup Design at the Cincinnati College-Conservatory of Music and also has a degree in Theatre Art Studies from Brigham Young University.

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SYNOPSIS THE TRAGEDY OF CARMEN (La tragédie de Carmen) Peter Brook’s La tragédie de Carmen is an adaptation that includes elements of the Georges Bizet opera as well as the original Prosper Mérimée novella on which Bizet’s opera was based. Micaëla, a young country girl, arrives in the city looking for her childhood sweetheart, Don José. She brings him a letter from his mother. While on a break from work, Carmen sings a love song that strikes José’s interest. A commotion breaks out, and José and his commanding officer, Zuniga, are tasked with getting to the bottom of it. Suspecting that Carmen is the instigator, Zuniga orders José to take her to jail. Carmen then promises José that if he lets her escape, she will meet him at the club of her friend Lillas Pastia. José lets Carmen go, whereupon Zuniga demotes him and locks him up. Lillas Pastia, the club owner, describes his childhood and the state of his usual customers. Carmen arrives at the club with stolen goods. Zuniga shows up and attempts to blackmail Carmen and Lillas Pastia, but they are able to appease him. José finally arrives and Carmen performs for him. When all of a sudden José is called back to work, Carmen is furious, and José

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acquiesces to her demands that he stay with her. Zuniga returns and a fight breaks out between him and José. In a violent rage, José kills Zuniga. Carmen and José quickly hide the dead body as Escamillo, a famous entertainer, enters. Carmen is immediately taken with him, so José, inflamed with jealousy, picks a fight with Escamillo. Carmen separates them, and Escamillo stands down. He invites them to join him at his next performance and leaves. José, who has now killed for Carmen, sings of his love for her. They come together in a ceremony uniting them. The joyful occasion is interrupted by Garcia, Carmen’s husband, whom she has failed to mention. The two men challenge each other and the ensuing fight results in Garcia’s death. Carmen, contemplating her own fate, reads her tragic trajectory in the cards. Micaëla appears, again searching for José, and this time the two women find mutual ground. They sing together while José, now twice a murderer, flees. Carmen rejects the fugitive José and joins Escamillo. José returns to persuade her to leave with him to start a new life. She knows she is putting her life in jeopardy by saying no, but Carmen refuses José’s offer, determined to the very end to control her own fate. Synopsis adapted from San Diego Opera

UTAH SYMPHONY Thierry Fischer, Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Associate Conductor

Barlow Bradford Symphony Chorus Director

VIOLIN* Madeline Adkins

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

Kathryn Eberle

Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair

VIOLA* Brant Bayless

Principal The Sue & Walker Wallace Chair

Yuan Qi

Associate Principal

Elizabeth Beilman† Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas CELLO* Matthew Johnson

Ralph Matson†

Associate Concertmaster

Acting Principal The J. Ryan Selberg Memorial Chair

Laura Ha

Andrew Larson

Acting Associate Concertmaster

David Park

Assistant Concertmaster

Claude Halter

Principal Second

Wen Yuan Gu

Associate Principal Second

Evgenia Zharzhavskaya

Acting Associate Principal

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

PICCOLO Caitlyn Valovick Moore

TRUMPET Travis Peterson

OBOE James Hall

Jeff Luke

Principal The Gerald B. & Barbara F. Stringfellow Chair

Robert Stephenson Associate Principal

BASS TROMBONE Graeme Mutchler

CLARINET Tad Calcara

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

TIMPANI George Brown

Erin Svoboda-Scott

PERCUSSION Keith Carrick

Principal

Eric Hopkins

Associate Principal

Principal

Lee Livengood

Eric Hopkins Michael Pape

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

James Allyn Andrew Keller Edward Merritt Jens Tenbroek Thomas Zera

Caitlyn Valovick Moore

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

• First Violin •• Second Violin

* String Seating Rotates † On Leave

# Sabbatical †† Substitute Member

FLUTE Mercedes Smith

Principal The Val A. Browning Chair

Lisa Byrnes

Associate Principal

TROMBONE Mark Davidson

Associate Principal

Karen Wyatt•• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Bonnie Terry• Julie Wunderle

Principal

Peter Margulies Paul Torrisi

Sam Elliot

ENGLISH HORN Lissa Stolz

Corbin Johnston

HARP Louise Vickerman

Associate Principal

Principal

Lissa Stolz

Assistant Principal Second

Associate Principal

Principal

Principal The Edward & Barbara Moreton Chair

KEYBOARD Jason Hardink Principal

LIBRARIANS Clovis Lark Principal

Katie Klich ORCHESTRA PERSONNEL Walt Zeschin

Leon Chodos

Associate Principal

Director of Orchestra Personnel

Jennifer Rhodes CONTRABASSOON Leon Chodos

Andrew Williams

Orchestra Personnel Manager

HORN Edmund Rollett Acting Principal

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David & SandyLee Griswold** Ray & Howard Grossman Reed & Chris Halladay Chuck & Kathie Horman The Right Reverend Carolyn Tanner Irish & Mr. Frederick Quinn Margo & Ken Jacobs Mary P.† & Jerald H. Jacobs Family M. Craig & Rebecca Johns Donald L. & Alice A. Lappe Gary & Suzanne Larsen Daniel & Deena Lofgren Beatrice Lufkin Nick Markosian Christopher & Julie McBeth Hallie & Ted McFetridge Karen & Mike McMenomy Michal & Maureen Mekjian O. Don & Barbara Ostler Dr. Thomas Parks & Dr. Patricia Legant Dr. Dinesh & Kalpana Patel Patricia Dougall Eager Trust

Frank R. Pignanelli & D'Arcy Dixon Brooks & Lenna Quinn Dr. & Mrs.† Marvin L. Rallison Joyce Rice James & Gail Riepe Dr. Kenneth Roach & Cindy Powell Ted & Lori Samuels Peggy & Ben Schapiro Barbara & Paul Schwartz Gerald† & Sharon Seiner Dewelynn & J. Ryan† Selberg Gibbs† & Catherine W. Smith Dr. & Mrs. Charles W. Sorenson, Jr. Sidney Stern Memorial Trust Janice K. Story Thomas & Marilyn Sutton Douglas & Rebecca Wood Kathie & Hugh Zumbro

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) Anonymous (5) James & Christiane Adams Tom & Carolee Baron Jennifer Beckham Dr. Melissa Bentley Bill & Susan Bloomfield Carol, Rete & Celine Browning Mr. & Mrs. Neill Brownstein John & Caryl Brubaker Richard & Suzanne Burbidge Vincent Cannella Brad & Mary Ann Cassell Hal & Cecile Christiansen The Chung Family William J. Coles & Joan L. Coles Debbi & Gary Cook Dr. Thomas D. &

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Joanne A. Coppin Thomas D. Dee III & Dr. Candace Dee Elizabeth deForest Dr. Kent C. DiFiore & Dr. Martha R. Humphrey John D. Doppelheuer & Kirsten A. Hanson John & Leslie Francis Mr. Joseph F. Furlong III Robert & AnnieLewis Garda Joann Geer Larry Gerlach Andrea Golding Sue & Gary Grant Kenneth & Kate Handley Dr. Bradford D. Hare & Dr. Akiko Okifuji Mary Haskins

Jeff & Peggy Hatch Dixie S. & Robert P. Huefner John Edward Henderson Sunny & Wes Howell Michael Huerta & Ann Sowder Annette Jarvis Drs. Randy & Elizabeth Jensen Maxine & Bruce Johnson Dan & Jane Jones Dr. & Mrs. Michael A. Kalm Marguerite D. Kaupp Susan Keyes & Jim Sulat Jeanne Kimball Allison Kitching Spencer & Christy Knight Howard & Merele Kosowsky 43

INDIVIDUAL DONORS

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Donald & Susan Lewon Bill Ligety & Cyndi Sharp Herbert† & Helga Lloyd Dennis & Pat Lombardi David & Donna Lyon Abigail Magrane Steve Mahas Keith & Vicki Maio Brian & Shasha Mann Peter Margulies & Louise Vickerman Kathryn & Jed Marti Daniel & Noemi P. Mattis Tom & Janet McDougal David & Nickie McDowell

George & Nancy Melling Dr. Louis A. Moench & Deborah Moench David Mortensen & RoseMarie Brittner Mahyera Dr. Stephen H. & Mary Nichols Ruth & William Ohlsen Dr. S. Keith & Barbara Petersen Ray Pickup W.E. & Harriet R. Rasmussen Frances Reiser

Gregory & Ann Robison James & Anna Romano Thomas Safran Mark & Loulu Saltzman Margaret P. Sargent James & Janet Schnitz Shirley & Eric Schoenholz Mary & Doug Sinclair Jeffrey Starr Paul Taylor Sal & Denise Torrisi Thomas† & Caroline Tucker Dr. Albert & Yvette Ungricht Susan Warshaw Dan & Amy Wilcox

PATRON ($1,500 TO $2,499) Anonymous (3) Fran Akita Ryan Aller & Natasja Keys Fred & Linda Babcock Donna Birsner C. Kim & Jane Blair Mr. & Mrs. Lee Forrest Carter Po & Beatrice Chang & Family Michael & Beth Chardack Darrell & Sharon Child Kenneth Colen David & Carol Coulter Michael & Sheila Deputy Margarita Donnelly Dr. Paul Dorgan Jack & Marianne Ferraro

Heidi Gardner Mr. & Mrs. Eric Garen** Kenneth & Amy Goodman Gordon Irving Jill Johnson James R. Jones & Family Carl & Gillean Kjeldsberg Jeffrey & Elizabeth LaMora Mr. & Mrs. Bruce M. Lake Ms. Susan Loffler Heidi & Edward D. Makowski Joanne Mitchell & Douglas L. Weed Barry & Kathy Mower Dan & Janet Myers Susan & Glenn Rothman Janet Schaap

Mr. August L. Schultz Thomas & Gayle Sherry Sheryl & James Snarr Elana Spitzberg & Avi Markowitz Christine St. Andre & Cliff Hardesty Jeff Tolk & Astrid Tuminez Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff John & Susan Walker Sharon Walkington Frank & Janell Weinstock David & Jerre Winder E. Art Woolston & Connie Jo Hepworth-Woolston

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INDIVIDUAL DONORS

FRIEND ($1,000 TO $1,499) Anonymous (4) Jim Alexander Ryan Aller Christine A. Allred Dr. & Mrs. Jeffrey L. Anderson Pj Aniello Ian Arnold Drs. Crystal & Dustin Armstrong Curtis Atkisson, Jr. David Bailey Mr. & Mrs. Lawrence R. Barusch David Bateman Alice & Bill Bierer Kevin Burdette Michael & Frances Carnes Dana Carroll & Jeannine Marlowe Carroll Mr. & Mrs. Fred L. Carter, Jr. William & Patricia Child Jeremiah Clawson Dorothy B. Cromer James Dashner Alice Edvalson Eric & Shellie Eide Eugene & Charlotte England Sheila & David Gardner Tracy & Scott Garmon Ralph & Rose Gochnour Mr. Keith Guernsey John & Ilauna Gurr Emily & Chauncey Hall Dr. Elizabeth Hammond Jonathan Hart Barbara E Higgins

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Connie C. Holbrook Stephen Irish Bryce & Karen† Johnson Chester & Marilyn Johnson Nicholas Johnson Gary Lambert Guttorm & Claudia Landro Tim & Angela Laros Harrison & Elaine Levy MS. Mary Pat McCurdie MR. Jeffrey McNeal Clifton & Terri McIntosh Warren K†. & Virginia G. McOmber Lex Hemphill & Nancy Melich David B. & Colleen A. Merrill Brad Merrill David Merrill Glenn & Dav Mosby Henriette Mohebbizadeh Dr. John C. & Karen Nelson Dr. & Mrs. Richard T. O'Brien Lee K. Osborne Dr. Marzia Pasquali & Ms. Nicola Longo Mr.† & Mrs. James Patterson Linda S. Pembroke Rori & Nancy Piggott Arthur & Susan Ralph Gina Rieke Marie Rosol Miguel Rovira Rachel Sabin David & Lois Salisbury Brent & Jan Scharman

Dennis & Annabelle Shrieve Stuart & Mary Silloway Barbara Slaymaker Kenneth Uy Barbara Viskochil Brad & Linda Walton Dr. James C. Warenski Rochelle Warner Cindy Williams Margaret & Gary Wirth Marsha & Richard Workman Paul Wright

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. Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation Thomas & Candace Dee

Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation Kenneth† & Jerrie Randall

The Evelyn Rosenblatt Young Artist Award Bill & Joanne Shiebler James R. & Susan Swartz Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner Company M. Walker & Sue Wallace

GIFTS MADE IN HONOR Jan Bennett Marie Nelson Bennett Neill & Linda Brownstein Adrienne Coombs Anne & Ashby Decker Peggy Chase Dreyfous Paula Fowler

Kem Gardner Burton & Elaine Gordon Barbara Scowcroft & Ralph Matson Mary Muir Mrs. Barbara Nellestein Matthew & Maria Proser Pat Richards

Jim & Gail Riepe Joanne & Bill Shiebler Grant Gill Smith Dale Strobel Whittney Thomas Jim & Zibby Tozer J. Brian Whitesides

GIFTS MADE IN MEMORY Dennis Austin Jay T. Ball Dawn Ann Bailey Donald Basinger Betty Bristow Robert H. Burgoyne, M.D. Doris Macfarlane Corry Kathie Dalton Dr. James Drake Robert Ehrlich William K. Evans Jr. Leah Burrows Felt Loraine L. Felton Crawford Gates 46

Lowell P. Hicks Jamila Janata Dr. Gary B. Kitching M.D. Harry Lakin Andrea Lane Julia Lawrence Frank & Maxine McIntyre Warren K. (Sandy) McOmber Clyde Dennis Meadows Dr. Richard George Middleton Mary Muir Mary E. Nelson Jack Newton

Richard Perkins Glade & Mardean Peterson Rhoda Ramsey Richard Reiser Norman B. Ross Shirley Corbett Russell J. Ryan Selberg Venice Shields Ann O'Neill Shigeoka, M.D. Phillis "Philly" Sims Robert C. Sloan Dorotha Smart Barbara Tanner Maxine Winn

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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 Crocker Catalyst Fund The Church of Jesus Christ of Latter-day Saints Lawrence T. & Janet T. Dee Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation

The Florence J. Gillmtor Foundation Emma Eccles Jones Foundation LOVE Communications** Larry H. Miller Family Foundation O.C. Tanner Company Salt Lake County / Zoo, Arts, & Parks Program Shiebler Family Foundation

Sorenson Legacy Foundation State of Utah Utah Board of Education (Professional Outreach Programs in the Schools) William Randolph Hearst Foundation Zions Bank

Frederick Q. Lawson Foundation League of American Orchestras

Summit County Restaurant Tax / RAP Tax John & Marcia Price Foundation

Moreton Family Foundation Nora Eccles Treadwell Foundation Charles Maxfield & Gloria F. Parrish Foundation Theodore & Elizabeth Schmidt Family Foundation S.J. & Jessie E. Quinney Foundation

JoAnne L. Shrontz Family Foundation Simmons Family Foundation Utah Education Network Utah Symphony Guild

$50,000 TO $99,999 Anonymous Dominion Energy Janet Q. Lawson Foundation

$25,000 TO $49,999 Arnold Machinery Brent & Bonnie Jean Beesley Foundation Cache Valley Electric C. Comstock Clayton Foundation Goldman Sachs & Co. LLC JKS Legacy Foundation McCarthey Family Foundation

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INSTITUTIONAL DONORS $10,000 TO $24,999 Anonymous HJ & BR Barlow Foundation B.W. Bastian Foundation BMW of Murray R. Harold Burton Foundation Marie Eccles Caine FoundationRussell Family Cultural Vision Fund

Matthew B. Ellis Foundation Grandeur Peak Global Advisors Governor’s Office of Economic Development Richard K. & Shirley S. Hemingway Foundation Promontory Foundation Regence BlueCross BlueShield of Utah

The Joseph & Evelyn Rosenblatt Charitable Fund Salt Lake City Arts Council Summit Sotheby's The Swartz Foundation Utah Office of Tourism W. Mack & Julia S. Watkins Foundation The Christian V. & Lisa D. Young Family Foundation

Holland & Hart Kulynych Family Foundation II, Inc. M Lazy M Foundation Onstage Ogden Orem City CARE Tax Park City Community Foundation Raymond James & Associates Ray, Quinney & Nebeker Foundation

Rocky Mountain Power Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Rotary Club of Salt Lake Snow, Christensen & Martineau Foundation Victor Herbert Foundation U.S. Bank Foundation Utah Autism Foundation

$1,000 TO $9,999 Anonymous Altabank Bertin Family Foundation Chinese Railroad Workers Descendants Association City Creek Center Corning Incorporated Foundation CBRE Fang Family Foundation The Val A. Green & Edith D. Green Foundation

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ADMINISTRATION ADMINISTRATION Steven Brosvik

DEVELOPMENT Leslie Peterson

PATRON SERVICES Faith Myers

David Green

Jessica Proctor

Merry Magee

Olivia Custodio

Mara Lefler

Heather Weinstock

Andrew J. Wilson

President & CEO

Vice President of Development

Senior Vice President & COO

Julie McBeth

Executive Assistant to the CEO

Collette Cook

Executive Assistant to the Sr. VP and COO & Office Manager

Director of Institutional Giving Director of Individual Giving Director of Special Events & DVMF Donor Relations

SYMPHONY ARTISTIC Thierry Fischer

Lisa Poppleton

Anthony Tolokan

Development Assistant

Grants Manager

Symphony Music Director

Ellesse Hargreaves

Vice President of Symphony Artistic Planning

OPERA ARTISTIC Christopher McBeth

Conner Gray Covington

Associate Conductor & Principal Conductor of the Deer Valley® Music Festival

Opera Artistic Director

Carol Anderson Principal Coach

Director of Patron Engagement Marketing Manager - Patron Loyalty Sales Manager

Patron Services Manager

Hallie Wilmes

Patron Services Assistant

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

Barlow Bradford

Michelle Peterson

Walt Zeschin

Michaella Calzaretta

Andrew Williams

Orchestra Personnel Manager

OPERA TECHNICAL Jared Porter

Executive Assistant to the Music Director & Symphony Chorus Manager

Kelly Nickle

Vice President of Finance & CFO

Dusty Terrell

Director of Information Technologies

Symphony Chorus Director

Director of Production

Director of Orchestra Personnel

Opera Chorus Master

Lance Jensen

SYMPHONY OPERATIONS Cassandra Dozet

Director of Orchestra Operations

Melissa Robison

Program Publication & Front of House Director

Chip Dance

Production & Stage Manager

Kate Henry

Senior Technical Director

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Properties Master

Mike Lund

Scenic Charge Artist

Alison Mockli

COSTUMES Verona Green

Kyle Siedschlag

Costume Director

Amanda Reiser Meyer Wardrobe Supervisor

Milivoj Poletan Tailor

Operations Manager Properties Manager & Assistant Stage Manager

Lyndsay Keith

Artist Logistics Coordinator

Robyne Anderson

2 Assistant Stage Manager nd

Payroll & Benefits Manager Accounts Payable Specialist

Jared Mollenkopf

Patron Information Systems Manager

EDUCATION Paula Fowler

Cutter/Draper

Director of Education & Community Outreach

Milliner & Craftsperson

Symphony Education Manager

MARKETING & COMMUNICATIONS Jon Miles

Symphony Education Assistant

Tiffany Lent

Jeff F. Herbig

Ticket Agents

Donna Thomas

Kyleene Johnson Annie Jones

Vice President of Marketing & Public Relations

Kathleen Sykes

Content & Social Media Manager

Robert Bedont

Marketing Manager - Audience Development

Nina Starling

Website Content Coordinator

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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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

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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THANK YOU! During the time when concerts in Abravanel Hall, Capitol Theater, and the Deer Valley Music Festival were cancelled, the Excellence Concert Series featured Utah Symphony and Utah Opera musicians in live streamed concerts from the Gallivan Center. Thank you for featuring our musicians and giving us quality performance opportunities during this difficult time.

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 Dorsey & Whitney, 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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