The Daughter of the Regiment

Photo Credit: Ellen Appel, Fort Worth Opera

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CONTENTS

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STEVEN BROSVIK President & CEO

It is our pleasure to welcome you to the Janet Quinney Lawson Capitol Theatre and this performance of a new production of Donizetti’s The Daughter of the Regiment There are several reasons why we are especially proud to present this work: new costumes have been created by Utah Opera’s skilled in-house costume artisans; it is a Utah Opera premiere featuring several artists with Utah connections; and the presentation of this charming comedy supports our goal to attract families and new, younger members of the audience to the magic of opera.

CHRISTOPHER MCBETH Artistic Director

Utah Symphony | Utah Opera is passionate about its extensive offerings for the benefit of students and young audiences. Did you know that in addition to the more than 100 subscription concerts and operas presented in our home venues, USUO performs more than 200 education concerts statewide every year? And that nearly one-third of our total audience is comprised of students? For example, the Utah Opera Resident Artists who are featured in today’s opera also travel the state performing a variety of ageappropriate programs in Utah’s schools and the final dress rehearsal for each Utah Opera production is attended by secondary school students. These events are just two of the many programs we offer free of charge to supplement the core music curriculum for Utah students. Our ability to reach so many students is due, in significant part, to the Utah State Legislature, which provides over one-third of the support towards their cost. The remainder of that credit goes to our many donors who cumulatively match the state’s support. Thank you for your support and advocacy of Utah Symphony | Utah Opera, and please thank your legislators for their support. It is through your involvement that we are able to connect the community through great live music!

With sincere best wishes for a healthy and prosperous new year,

BRIAN GREEFF Board of Trustees Chairman

BOARD OF TRUSTEES

ELECTED BOARD

Brian Greeff* Chair

Doyle L. Arnold* Vice Chair

Annette W. Jarvis* Vice Chair & Secretary

Joanne F. Shiebler* Vice Chair

Steven Brosvik* President & CEO

Austin Bankhead*

Dr. Stewart E. Barlow

Judith M. Billings

George Cardon-Bystry Gary L. Crocker

LIFETIME BOARD

William C. Bailey

Kem C. Gardner*

Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones

John D’Arcy

David L. Dee*

Barry L. Eden*

Senator Luz Escamilla

Theresa A. Foxley

Brandon Fugal Dr. Julie Aiken Hansen

Daniel Hemmert*

Stephen Tanner Irish Thomas N. Jacobson

Abigail E. Magrane

Brad W. Merrill

Judy Moreton

Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney

Miguel R. Rovira Stan Sorensen

Dr. Shane D. Stowell

Naoma Tate

Thomas Thatcher W. James Tozer

David Utrilla

Kelly Ward Kim R. Wilson

Thomas Wright* Henry C. Wurts

MUSICIAN REPRESENTATIVES

Edward Merritt* Hugh Palmer*

EX-OFFICIO REPRESENTATIVE

Jennifer Webb Onstage Ogden

Herbert C. Livsey, Esq.

Thomas M. Love* David T. Mortensen Scott S. Parker David A. Petersen

Patricia A. Richards* Harris Simmons David B. Winder

TRUSTEES EMERITI

Carolyn Abravanel Dr. J. Richard Baringer

John Bates

HONORARY BOARD

Jesselie B. Anderson Kathryn Carter

R. Don Cash

Raymond J. Dardano Geralyn Dreyfous

Howard S. Clark Kristen Fletcher Richard G. Horne

Ronald W. Jibson E. Jeffery Smith

Lisa Eccles

Spencer F. Eccles

Dr. Anthony W. Middleton, Jr. Edward Moreton

Marilyn H. Neilson

Stanley B. Parrish Marcia Price

Jeffrey W. Shields, Esq. Diana Ellis Smith

* Executive Committee Member

OH,

By Michael Clive

MARIE!

Girls who grow up to find love and success in a man’s world are no strangers to American audiences. In Irving Berlin’s Annie Get Your Gun, for example, Annie Oakley informs rival sharpshooter Frank Butler that “anything you can do, I can do better.” Not unlike Elly May Clampett, who could outrassle her strapping cousin Jethro Bodine on television’s classic The Beverly Hillbillies. But while the captivating heroine of The Daughter of the Regiment fits this mold, she and her aristocratic relations are very French—and not the folks we thought we knew.

For Gaetano Donizetti, who composed this tuneful romp, Marie’s French-ness was a high-stakes challenge. Though he had already composed sensationally popular comic operas, La fille du régiment was his first composed expressly in the French style for French audiences. They were already familiar with his Italian-language comedies,

but expected something different this time. And some disgruntled French opera composers were openly hoping for its failure.

Born in the mountain town of Bergamo in 1797, Gaetano Donizetti made his mark in Italian opera at a time when the rules of the game 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 were variations on archetypes handed down through generations of commedia dell’arte tradition. More serious operas required a high moral purpose and characters of noble birth or character.

Though he composed by these rules (and at amazing speed), Donizetti imbued them with a freshness and sensitivity to character

that astonished librettists and audiences alike. Even so, Marie, the heroine of The Daughter of the Regiment, is not someone whom Italian operagoers of the day would have recognized. By 1838 success had brought Donizetti to Paris, Europe’s undisputed cultural capital at that time, to revise his opera Poliuto as Les martyrs for the Paris Opéra. A delay in the production gave Donizetti a chance to squeeze in something new—something that became his first comic opera in the French style, La fille du régiment. His Italian-style comedy The Elixir of Love had aroused an adoring public at the Parisian Théâtre-Italien, but nothing suggests that Donizetti harbored similar ambitions for his “Daughter,” who seemed rather more casually conceived and experimental. “I have written, orchestrated, and delivered a little opera

for the Opéra-Comique which will be given in a month or 40 days,” he wrote of it to a friend, seemingly with no expectation that it would conquer the world’s opera houses so quickly.

Then again, Donizetti’s description may have concealed a bit of coyness. He knew that the speed and skill with which he composed, often rewriting his libretto in the process, could be a sore point with colleagues—and that the tidal wave of his success in Paris was greeted with defensiveness in some quarters of the French musical establishment. Eminences including Hector Berlioz, whose writing as a music critic was often reserved and statesmanlike, were provoked. “Two major scores for the [Paris] Opéra…two others at the Renaissance…two at the

UTAH OPERA

Opéra-Comique, Le Fille du régiment and another whose title is still unknown, and yet another for the Théâtre-Italien, will have been written or transcribed in one year by the same composer,” Berlioz wrote in the Journal des débats. “M. Donizetti seems to treat us like a conquered country; it is a veritable invasion. One can no longer speak of the opera houses of Paris, but only the opera houses of M. Donizetti.”

Donizetti’s productivity might not have been so remarkable, and so enviable, if it had not come wrapped in a seemingly effortless gift for operatic characterization. His Daughter of the Regiment is unmistakably Italian in its melodic abundance, yet it captures the layered nuances and charm of its Gallic source. It’s almost irresistibly tempting to find a kinship between Donizetti and Marie based on their respective army experiences. Donizetti’s could probably have happened nowhere but Italy. Though

he had demonstrated remarkable promise in early studies with several prominent music teachers, he enlisted in the army rather than support himself as a music teacher, as his father, Andrea, insisted he do; while the life of a composer seemed just too risky to satisfy Andrea’s concerns for his son’s future, Gaetano shuddered at the prospect of a career giving music lessons.

In the army Donizetti found time to compose opera on the side while serving honorably in a military regiment. Not only did his first opera, Enrico, Conte di Borgogna, mark its successful premiere during his army service; his second, Zoraide de Granata, received such favorable notice that he was discharged from the army without further military obligation. He was 25, and earned his chops as a working composer by producing a succession of successful comic operas in the style of Rossini during the next six years. (Rossini

was five years his senior.) But the first major demonstration of his artistic maturity was the opera Anna Bolena, a romanticized treatment of the tale of Anne Boleyn that showed Donizetti’s flair for applying the rich sensuality of Italian compositional style to a story set far from Italian shores. Donizetti’s best-known work, Lucia di Lammermoor, would accomplish the same artistic union with a gothic romance drawn from a Waverly novel by Sir Walter Scott— an opera full of dark Scottish atmosphere and glorious Italian music.

As for Marie’s army experiences, they arise from the French tradition of the vivandières, typically young women attached to a military regiment who worked as canteen keepers. In keeping with their historic function of selling wine to the troops, they become known as cantinières in France, but in other countries in Europe and the Americas, the term vivandière was retained

and the practice behind it was copied. In the U.S., the dramatic possibilities of a woman in the military milieu cropped up in ballads like “Jackaroe,” in movies like Shirley Temple’s The Little Colonel, and in our national fascination with true stories like that of Jennie Hodgers, who marched thousands of miles and fought dozens of battles for the Union disguised as a male soldier during the Civil War. But in the French tradition of The Daughter of the Regiment we see something subtler: an understanding of the complexity beneath the surface of masculine and feminine archetypes. Though Marie is plucky and tomboyish, and is fully at home as one of the boys, she is never less than fully a girl. As a womanly presence in the regiment, she creates comic complications while also giving rise to a certain sexual tension that becomes part of the daily reality of soldierly life: not a matter of resisting the impulse to flirt, but a continual reminder of home and family…of the half of the world

left behind, comprised of sweethearts, wives, mothers and daughters. Perhaps the most famous example of this tension is the stunning moment in Jean Renoir’s great 1937 film La Grande Illusion when prisoners of war watch fellow-soldiers performing in drag in an amateur vaudeville show: Their raucous laughter turns to stunned silence and remembrance.

It is unknown whether the libretto for The Daughter of the Regiment, by Jules-Henri Vernoy de Saint-Georges and Jean-FrançoisAlfred Bayard, was built around an original story line or drawn from an outside literary source. But no matter. In either case, the resulting opera masterfully layers the blunt comedy of Marie’s battlefield predicament with more nuanced comic elements. For example, it affords a natural comparison between the loneliness of military life and the loneliness of Marie’s mother, the Marquise of Birkenfeld, whose once-great love is a distant memory. And Donizetti took to this deeply French libretto with utter aplomb. After a shaky premiere The Daughter of the Regiment became wildly successful in Italy as well as in France, where Marie’s “Salut à la France” was adopted as a patriotic anthem during the Second Empire.

In America, The Daughter of the Regiment’s fascinating performance history began in New Orleans in 1843. There, as elsewhere, it was a showcase for sopranos who possessed both the vocal resources and the personal charm to interpret the demanding title role. It entered the repertory of the Metropolitan Opera in 1901 with the great Marcella Sembrich as Marie, and though it was initially paired either with

Cavalleria Rusticana or Pagliacci, by 1917 it stood on its own with a cast headed by Frieda Hempel, the versatile German soprano who introduced New Yorkers to Strauss’s Marschallin. With World War I still raging, Mme. Hempel interpolated Ivor Novello’s popular war song “Keep the Home Fires Burning (‘Till the Boys Come Home)” as part of Marie’s voice lesson. When Daughter was revived at the Met with the French coloratura Lili Pons as Marie during the Nazi occupation of Paris, the entire cast joined in the Marseillaise as Pons triumphantly displayed the tricolore at the opera’s finale.

More recently, The Daughter of the Regiment rejoined the repertory of the world’s major opera houses as part of the bel canto revival that began with Dame Joan Sutherland’s historic performances of another Donizetti masterpiece, Lucia di Lammermoor, beginning at Covent Garden in 1959. Though most audiences were not particularly interested in Dame Joan’s acting, in her Marie they discovered a gifted comedienne who was a good sport about self-parody in a role that played up her big, robust physique. What’s more, Dame Joan liked to surround herself with new artists she considered her equals, and in February 1972 in the Met’s new production of Daughter she introduced one of her discoveries to New York audiences: an unknown tenor named Luciano Pavarotti, whose galvanic performances restored the importance of Tonio’s role in the opera and earned Pavarotti the epithet “King of the High Cs.” Today, in Utah and around the world, we can expect The Daughter of the Regiment to amuse and to dazzle us thanks to their legacy.

It’s likely you already know something about The Daughter of the Regiment—even if you’ve never seen it.

Luciano Pavarotti rose to prominence singing the famously difficult role of Tonio. At a 1972 performance at the Met, he hit the nine consecutive high C’s in the aria, “Ah, Mes Amis,” earning 17 curtain calls and the moniker “King of the High C’s.”

If you notice similarities between the Disney princess, Mulan, and Marie, you’re not alone.

The opera is Donizetti’s unabashed love letter to France. The country reciprocated the love. For years, The Daughter of the Regiment was performed every year on Bastille Day.

When Beverly Sills played Marie—on stage and in a 1974 TV special—she referred to the comic role as “Lucille Ball with high notes.”

Opera buff and Supreme Court Justice Ruth Bader Ginsburg made a cameo appearance as Duchess of Krakenthorp in The Daughter of the Regiment with the Washington National Opera in 2016.

BEFORE THE PX…

Before the PX…there were cantinières— canteen girls like Marie, who survived the privations of war by meeting soldiers’ needs for merchandise and services they could get no other way. Camp-followers of this kind are probably as old as war itself; Bertolt Brecht’s “Mother Courage” is a character based on a historical camp-follower from about 1670. The value of this kind of civilian entrepreneurship to the to the military was officially recognized In France in the 18th Century. The official term vivandière was replaced by cantinière in 1793, giving rise to the Anglicized term “canteen girl”. Such terms were used interchangeably in France as well as in Spain, Italy and the U.S. through the 19th Century.

Photos of French cantinières in the Crimean War from the 1850s show

attractive young women in chic-looking uniforms with fitted bodices and rows of bright buttons. Marie’s English cousin aboard the HMS Pinafore is “Little Buttercup,” usually costumed in a fullskirted dress and apron (and described by her love-interest, Captain Corcoran, as “pleasantly plump”). Despite the innocent winsomeness of both characters, the question of “fraternization” with the soldiers shadowed cantinières, as we see in the final moments of The Daughter of the Regiment—when Marie’s past as a cantinière proves shocking to the guests assembled for her wedding. In the end, love triumphs over snobbishness, in part because the Marquise herself has a past… leaving us to wonder whether she will belatedly find happiness with Marie’s father figure, Sergeant Sulpice!

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Photo Credit: Dana Sohm, Image from Utah Opera’s The Pirates of Penzance

Madison Leonard (Idaho) Marie

Most recently at Utah Opera, The Pirates of Penzance Recently: Rigoletto, The Dallas Opera, Seattle Opera, Austin Opera; Der Rosenkavalier, Garsington Opera Upcoming: Les pêcheurs de perles, Austin Opera; Roméo et Juliette, Central City Opera

Jack Swanson (Minnesota) Tonio Utah Opera Debut Recently: Il barbiere di Siviglia, The Santa Fe Opera, Austin Opera; Edward Tulane, Minnesota Opera Upcoming: Solo Recital, Matinee Musicale, Duluth; Candide, The Atlanta Opera

Matt Burns (Virginia) Sergeant Sulpice Most Recently at Utah Opera, Il barbiere di Siviglia Recently: The Hours, The Metropolitan Opera; Don Pasquale, Inland Northwest Opera; Das Rheingold, Nashville Opera Upcoming: The Pirates of Penzance, Nashville Opera

Elise Quagliata (Florida) The Marquise of Berkenfield Most Recently at Utah Opera: Flight Recently: Edward Tulane, Minnesota Opera; A Thousand Acres, Des Moines Metro Opera Upcoming: Guys and Dolls, Charlottesville Opera

Kevin Nakatni (Utah)

Hortensius

Most Recently at Utah Opera, The Pirates of Penzance Recently: Silent Night, Utah Opera; Le nozze di Figaro, Utah Festival Opera

Tshilidzi Ndou (South Africa) Corporal

Most Recently at Utah Opera, Handel’s Messiah Recently: Current Utah Opera Resident Artist; The Elixir of Love, The Dallas Opera; The Crucible, Così fan tutte, Southern Methodist University Upcoming: La tragédie de Carmen, Intimate Apparel, Chautauqua Opera; Rigoletto, Utah Opera

Jehú Otero (Texas)

The Peasant

Most Recently at Utah Opera, Handel’s Messiah Recently: Current Utah Opera Resident Artist Tenor Soloist Mozart’s Great Mas in C minor, Orquesta Sinfónica de Puerto Rico; Silvain, Lafayette Opera Upcoming: Rigoletto, Utah Opera; L’Orfeo, The Santa Fe Opera

Anne Cullimore Decker (Utah)

The Dutchess of Krackenthorp Most Recently at Utah Opera, A Little Night Music Recently: Master Class, Salt Lake Acting Company Winter, Salt Lake Acting Company Upcoming: Yellowstone with Kevin Costner; Sweepstakes by Stephen Williams

ARTISTIC TEAM

Stephanie Rhodes Russell (Utah) Conductor

Utah Opera Debut Recently: The Barber of Seville, Austin Opera; Susannah, Wolf Trap Opera; La traviata, Opera Orlando Upcoming: Le nozze di Figaro, Madison Opera; The Knock, Cincinnati Opera; Don Giovanni, Wolf Trap Operal

Michael Shell (Indiana) Director

Most Recently at Utah Opera, The Barber of Seville Recently: Il barbiere di Siviglia, The Atlanta Opera; Don Giovanni, Indiana University Opera Theater Upcoming: Candide, La finta giardiniera, IUOT

Sharon Bjorndal Lavery (Texas) Guest Chorus Master

Utah Opera Debut Recently: New York City Opera; San Diego Opera; Opera Company of Philadelphia; Kentucky Opera; Wolf Trap Opera Center

James Schuette (Texas) Set Designer

Utah Opera Debut Recently: Madame Butterfly, The Santa Fe Opera; The Pirates of Penzance, Cincinnati Opera Upcoming: Rigoletto, Utah Opera

ARTISTIC TEAM

Driscoll Otto (Texas)

Lighting Design

Most Recently at Utah Opera, The Pirates of Penzance Recently: Turandot, Oper im Steinbruch; Hansel & Gretel, New Orleans Opera Upcoming: The Factotum, Houston Grand Opera; Der Fliegende Holländer, Teatro Comunale

Linda Pisano (Indiana)

Costume Design

Utah Opera Debut Recently: Christmas Carol, IRT; Candide, Des Moines Metro Opera; Nutcracker, Indiana University Jacobs School of Music Upcoming: Anne Frank (opera), Indiana University Jacobs School of Music;

Samantha M. Wootten (Utah)

Wig and Makeup Design

Utah Opera Debut Recently: Wig and Makeup Designer, The Santa Fe Opera; Wig and Makeup Designer, Washington National Opera Upcoming: Wig and Makeup Designer, Pioneer Theatre Company 22–23 season

CHORUS / SUPERNUMERARIES

SOPRANO

Kahli Dalbow

Lauren Cartwright

Bohannan

Julie McBeth

Heather Hillstead

Carolyn TalboysKlassen

Genevieve Gannon

Anadine Burrell

Kathryn Thompson

ALTO

Paula Fowler

Kyra Furman

Melissa James

ShaRee Larsen

Deborah Johnson

Sammie Tollestrup

Will Turner

Dawn Veree

Keanu Aiono-Netzler

Ryan Francis

Brynnen Green

Lehi Moran

Marcus Lee

Benjamin Jacobs

BASS

Buddy Eyre

Dyson Ford

TENOR

Tom Klassen

Nelson LeDuc Zachary Smith

Sam Stuart Harold Moreno

CHORUS SUPERNUMERARIES

STORY OF THE OPERA

ACT I

As The Daughter of the Regiment opens, we see the Tyrol region’s Francophone citizens rebelling against centuries of AustroHungarian domination. The time is early in the 19th century, and the military skirmishes are localized, day-to-day, back-and-forth; Napoleon of France was keeping an eye on the conflict, mulling his options, while the local citizens were caught in the crossfire, fretting for their safety—like the Marquise of Berkenfield, whom we find traveling in the area and alarmed to the point of needing smelling salts to be administered by her faithful steward, Hortensius.

With the French moving away, the populace express feelings of relief until the French regiment’s Sergeant Sulpice arrives, provoking new fears; but he assures everyone that the regiment will restore order. Then, with the entrance of Marie, the regiment’s popular vivandière (canteen girl), everyone cheers up again. Sergeant Sulpice questions her with fatherly concern about a certain young man seen with her recently. Just as she identifies him as Tonio, he is brought in as a prisoner, taken into custody while prowling around the camp. The soldiers demand his execution, but Marie saves him by explaining that he

saved her life when she nearly fell while mountain-climbing. All toast Tonio, who pledges allegiance to France, and Marie is encouraged to sing the regimental song.

Sulpice leads the soldiers off, taking Tonio with them, but he runs back to join her. She quickly tells him that he must gain the approval of her “fathers”—the soldiers of the Regiment, who found her as an infant and adopted her. They declare their mutual love.

Sulpice returns, surprising the young couple, who leave; the Marquise arrives with Hortensius, who is initially afraid of the soldier, then calmed by him. The Marquise explains that they are trying to return to her castle and asks for an escort. Upon hearing the name Berkenfield, Sulpice remembers it from a letter found with Marie as an infant— leading to the discovery that Marie is the Marquise’s long-lost niece. Marie returns and is surprised to be introduced to her aunt. The Marquise commands that Marie accompany her to live and learn the social graces befitting her new station in life. Marie bids farewell to her beloved regiment just as Tonio enters and dramatically announces that he has enlisted in their ranks. When he proclaims his love for Marie, the soldiers are resistant, and though

STORY OF THE OPERA

his pleading eventually wins them over, they must tell him that Marie’s aunt is taking her from the regiment. The act ends with a choral finale as Marie tearfully leaves with the Marquise, leaving Tonio enraged.

ACT II

For months, Marie has been unhappily confined in the Marquise’s castle, taking lessons in the refinements required of a young lady of the nobility. The Marquise’s mission is to obliterate all vestiges of regimental life and transform Marie into a suitable match for her nephew, the Duke of Krakenthorp. Marie has reluctantly agreed, and Sulpice is asked to encourage her; when Marie enters and is asked to play the piano, her musical demonstration veers off into the regimental song, which she and Sulpice sing with gusto despite the Marquise’s attempts to discipline her.

Left alone, the despondent Marie ponders her fate. But then, hearing martial music, she is overjoyed to greet the regiment. The soldiers, too, express their joy at seeing Marie, and Marie, Tonio and Sulpice are happily reunited. Amid the excitement, Tonio mentions he has just learned a secret, via his uncle the burgermeister, that he cannot reveal.

The Marquise enters, horrified to see soldiers. Tonio asks for Marie’s hand, explaining that he risked his life for her, but the Marquise scornfully dismisses him. Tonio reveals that he knows that the Marquise never had a niece. Agitated, she orders him to leave and Marie to return to her chambers; after they leave, the Marquise confesses the truth to Sulpice: Marie is her own illegitimate daughter. In view of these circumstances, Sulpice promises that Marie will agree to her mother’s wishes.

The Duchess of Krakenthorp, her son the groom-to-be, and the wedding entourage arrive at the Marquise’s castle. Marie enters with Sulpice, who has given her the news that the Marquise is her mother. Marie embraces her and decides she must obey. But at the crucial moment, the soldiers of the regiment storm in and reveal that Marie was a canteen girl. Initially, this revelation shocks the wedding guests. But when Marie sings of her debt to the soldiers, the guests are deeply moved—as is the Marquise, who openly admits she is Marie’s mother. She gives her consent to Marie and Tonio’s marriage amid universal rejoicing.

COMPOSER & LIBRETTISTS

Gaetano Donizetti was an Italian composer of the bel canto style. During the span of his life he wrote about 70 operas. His two most popular operas today are L’elisir d’amore and Lucia di Lammermoor.

Donizetti didn’t come from a musical family, but started taking music lessons at an early age. In 1822, after his ninth opera, the impresario of Teatro di San Carlo in Naples offered him a residency. For the next 22 years he wrote 51 operas that were performed at the theatre.

Donizetti married Virginia Vasselli in 1828. She gave birth to three children but none of them survived. In 1837 Virgina died, and within a year of her death, both of Donizetti’s parents also died. He never completely recovered from his grief. At the end of his life he lived at an institution for the mentally ill and just before his death he was moved back to Bergamo where he was born.

Although mainly an opera composer, Donizetti also wrote symphonies, songs, sacred music, string quartets and other chamber music. Together with Rossini and Bellini he shaped the bel canto style during the first part of the 19th century. After Bellini’s death, Donizetti was the major Italian composer until Verdi.

The libretto was written by Jules-Henri Vernoy de SaintGeorges and Jean-François Bayard.

Jules-Henri Vernoy de Saint-Georges was a French playwright who was born and died in Paris. He was one of the most prolific librettists of the 19th century, often working in collaboration with others.

Jean-François Alfred Bayard was a French playwright and librettist. He was the nephew of fellow playwright Eugène Scribe.

Gaetano Donizetti Composer

Librettists

UTAH SYMPHONY

Thierry Fischer, Music Director

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

Benjamin Manis 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

Laura Ha 2nd Associate Concertmaster

Claude Halter Principal Second

Wen Yuan Gu# Associate Principal Second

Evgenia Zharzhavskaya Assistant Principal Second

Karen Wyatt•• Sara Bauman~ Erin David Joseph Evans Lun Jiang

Rebekah Johnson••v Tina Johnson~ Amanda Kofoed~ Jennifer Kozbial Posadas~ Veronica Kulig David Langr Shengnan Li 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

VIOLA*

Brant Bayless Principal

The Sue & Walker Wallace Chair

Yuan Qi Associate Principal

Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Sjogren Leslie Richards~

CELLO* Matthew Johnson Acting Principal

The J. Ryan Selberg Memorial Chair

Andrew Larson Acting Associate Principal John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah Thomas-Hollands~ Pegsoon Whang

BASS* David Yavornitzky Principal

Corbin Johnston Associate Principal

James Allyn Andrew Keller Edward Merritt Jens Tenbroek Thomas Zera

HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair

Lisa Byrnes Associate Principal

Caitlyn Valovick Moore

PICCOLO Caitlyn Valovick Moore

OBOE Zachary Hammond Principal

The Gerald B. & Barbara F. Stringfellow Chair

James Hall Associate Principal Lissa Stolz

ENGLISH HORN Lissa Stolz

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

Erin Svoboda-Scott Associate Principal Lee Livengood

BASS CLARINET Lee Livengood

E-FLAT CLARINET Erin Svoboda-Scott

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

Leon Chodos Associate Principal

Jennifer Rhodes

CONTRABASSOON Leon Chodos

HORN Jessica Danz Principal

Edmund Rollett Associate Principal

Nate Basinger~ Julia Pilant~ Stephen Proser

TRUMPET Travis Peterson Principal

Jeff Luke Associate Principal

Peter Margulies Paul Torrisi

TROMBONE Mark Davidson Principal Sam Elliot Associate Principal BASS TROMBONE Graeme Mutchler

TUBA Alexander Purdy Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal

PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal

Claudia Restrepo

ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel

Hannah Thomas-Hollands Orchestra Personnel Manager

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 November 29, 2022

* in-kind donation

MILLENNIUM ($250,000+)

** in-kind & cash donations † deceased

Anonymous Kem & Carolyn Gardner

Shiebler Family Foundation

ENCORE ($100,000 TO $249,999)

Lawrence T. & Janet T. Dee Foundation

Anthony & Renee Marlon

John & Marcia Price Family Foundation Shiebler Family Foundation

BRAVO ($50,000 TO $99,999)

Judy Brady & Drew W. Browning

Larry Clemmensen

John & Flora D’Arcy

John & Carol Firmage

John H. † & Joan Firmage

Brian & Detgen Greeff

Estate of Linda & Donald Price

Mark & Dianne Prothro Patricia A. Richards & William K. Nichols

Harris H. & Amanda P. Simmons Foundation

George Speciale

Norman C. & Barbara L. Tanner Second Charitable Trust

OVERTURE ($25,000 TO $49,999)

Fran Akita

Doyle Arnold & Anne Glarner

Thomas Billings & Judge Judith Billings

Kristen Fletcher & Dan McPhun

David & Angela Glenn

Intuitive Funding

Tom & Lorie Jacobson

Gary† & Sandra K.† Lindstrom

Mr. & Mrs. Charles McEvoy

Fred & Lucy Moreton James & Ann Neal

Elizabeth Solomon

Naoma Tate & the Family of Hal Tate Jim & Zibby Tozer Jacquelyn Wentz Wheatley Family Charitable Fund

Peggy & Ben Schapiro Theodore & Elizabeth Schmidt Foundation

Steve & Betty Suellentrop

Taft & Anne Symonds

John & Jean Yablonski

Edward & Marelynn† Zipser

INDIVIDUAL DONORS

Austin & Kristi Bankhead

Dr. J.R. Baringer & Dr. Jeannette J. Townsend

Dr. & Mrs. Clisto Beaty

Berenice J. Bradshaw Trust

Diane & Hal Brierley

Judy & Larry Brownstein

Shelly Coburn

Dr. Kent C. DiFiore & Dr. Martha R. Humphrey

Kathleen Digre & Michael Varner

Metta Nelson Driscoll

Pat & Sherry Duncan

Dr. & Mrs. Ralph Earle

Barry & Traci Eden

Mrs. Sarah Ehrlich

Matthew B. Ellis Foundation

Carolyn & Craig Enenstein

Midge & Tom Farkas

Thomas & Lynn Fey

Robert & Elisha Finney

Brandon & Kristen Fugal

Susan & Tom Hodgson

Mary P.† & Jerald H. Jacobs Family

Stephen C.† & Lynda M. Jacobsen

G. Frank & Pamela Joklik

Jeanne Kimball

Mr. & Mrs. Christopher J. Lansing

Bill Ligety & Cyndi Sharp

Tom & Jamie Love

Tom & Janet McDougal

Jed Millburn

The Millerberg Family Giving Fund

Harold W. & Lois Milner

Edward Moreton

Terrell & Leah Nagata

Leslie Peterson & Kevin Higgins

Frank R. Pignanelli & D’Arcy Dixon

Walter J. & Peggy Plumb

Stephen & Cydney Quinn

David & Shari Quinney

Albert J. Roberts IV

Richard & Carmen Rogers

John F. Foley, M.D. & Dorene Sambado, M.D. Sandefur Schmidt

Mr. & Mrs. G. B. Stringfellow

Chris Akita Sulser

Thomas & Marilyn Sutton

The Christian V. and Lisa D. Young Family Foundation

Kathie Zumbro

INDIVIDUAL DONORS

ALLEGRO ($5,000 TO $9,999)

Anonymous [9]

4Girls Foundation

Alan, Carol, & Annie Agle

Douglas Anderson Kyle & Melissa Barnett

H. Brent & Bonnie Jean Beesley

Bill & Susan Bloomfield

David Brown

Hannalorre Chahine William & Patricia Child

John Clukey

Marc & Kathryn Cohen

LJJ Fund at the Community Foundation of Utah

Mr. & Mrs. Kenneth R. Cutler

Anne Daigle & Rich Heyman

Marian Davis & David Parker

Barbara & Melvin Echols Jack & Marianne Ferraro

Rulon Gardner

Diana George

Jeffrey L. Giese, M.D. & Mary E. Giese

Elaine Gordon

Barbara Greenlee

David & SandyLee Griswold**

Ray & Howard Grossman

Brian & Emma Casper

Tresa Hamson

Diane & Michael Hardink Chuck & Kathie Horman Sunny & Wes Howell Lynda M. Jacobsen

Ronald & Janet Jibson

Allison Kitching

Howard & Merele Kosowsky

Michael & Peg Kramer Gary & Suzanne Larsen

Daniel & Deena Lofgren Dennis & Pat Lombardi

Robert Marling Christopher & Julie McBeth Michal & Maureen Mekjian Carol & Anthony W. Middleton, Jr., M.D. Sir David Murrell IV & Mary Beckerle

Patricia Legant & Thomas

Parks

Dr. Dinesh & Kalpana Patel

Brooks & Lenna Quinn

Joyce Rice

Kenneth Roach & Cindy Powell

James & Anna Romano

Barbara & Paul Schwartz

Gerald† & Sharon Seiner

Dewelynn & J. Ryan†

Selberg

Brent & Lisa Shafer

Scott & Karen Smith

Shane & Stacey Stowell

Craig Stuart

David O. Tanner

Paul Taylor Tim & Judy Terrell Brad E. & Linda P. Walton Jaelee Watanabe Douglas & Rebecca Wood

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999)

Anonymous [2]

Craig & Joanna Adamson

Dr. & Mrs. Jeffrey L. Anderson

Pam & Paul Apel

Drs. Crystal & Dustin

Armstrong

Mr. Dennis D. Austin & Dr. Ann Berghout-Austin

Tina & John Barry Charles & Jennifer Beckham

Dr. Melissa Bentley

Celine Browning

Kristin LaMarr Bunn

Michael & Vickie Callen

Vincent Cannella

Geoffrey Carrizosa

Dr.† & Mrs. Anthony Carter Mark & Marcy Casp

Po & Beatrice Chang & Family

Hal & Cecile Christiansen Doug Clark Howard & Betty Clark George & Katie Coleman

Debbi & Gary Cook

Dr. Thomas D. & Joanne A. Coppin

Cindy Corbin

Ruth Davidson

Thomas D. Dee III & Dr. Candace Dee Michael & Sheila Deputy Margarita Donnelly

Kathleen & Frank Dougherty Karey Dye

Carol & Greg Easton Hans & Nanci Fastre

Adele & James Forman

Thomas Fuller

Mr. Joseph F. Furlong III

Robert & Annie-Lewis Garda

Dave Garside

Larry Gerlach

Andrea Golding Legacy Foundation

Shari Gottlieb

Susan Graves

Ronald & Kaye Gunnell

Kenneth & Kate Handley

Jonathan Hart

Jeff & Peggy Hatch

Nancy Ann Heaps

John Edward Henderson

Don Hendricks Richard & Ruth Ann Hills

Dixie S. & Robert P. Huefner

INDIVIDUAL DONORS

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED

Michael Huerta & Ann Sowder

Jay & Julie Jacobson Drs. Randy & Elizabeth Jensen

M. Craig & Rebecca Johns

Chloe Johnson

Maxine & Bruce Johnson

James R. Jones & Family

Neone F. Jones Family

Dr. Michael A. Kalm

Dr. James & Carolyn Katsikas

Michael & Amy Kennedy Spencer & Christy Knight

Les Kratter

Jeffrey & Elizabeth LaMora Tim & Angela Laros

Linda & Bret Laughlin

Harrison & Elaine Levy Michael Liess

John & Kristine Maclay

Heidi & Edward D. Makowski Shasha & Brian Mann

Peter Margulies & Louise Vickerman

Kathryn & Jed Marti Daniel & Noemi P. Mattis Dale & Carol Matuska

David & Nickie McDowell

Ted A. McKay

FRIEND

Anonymous [6]

Carolyn Abravanel

Christine A. Allred

Margaret Anderson

Ian Arnold

Fred & Linda Babcock

Marlene Abbott Barber

Marlene Barnett

Tom & Carolee Baron

Sue Barsamian

Victoria Bennion

Sarah Bienvenue

Harvey & Donna Birsner

C. Kim & Jane Blair

Diane Banks Bromberg & Dr. Mark Bromberg Dana Carroll & Jeannine Marlowe Carroll

Karen & Mike McMenomy

George & Nancy Melling

John & Bria Mertens

Cyrus & Roseann Mirsaidi MJZR Charitable Trust

Dr. Louis A. Moench & Deborah Moench Barry & Kathy Mower

Ashton Newhall Vincent & Elizabeth Novack

Patrick O’Connell

Stanley B. & Joyce M. Parrish

Ray Pickup

Mr. & Mrs. James S. Pignatelli Lisa Poppleton & Jim Stringfellow

W.E.† & Harriet R. Rasmussen

Glenn Ricart

Gina Rieke

Mr. & Mrs. Robert Rollo Rebecca Roof & Gary Smith

Nathan Royall Mark & Loulu Saltzman

Margaret P. Sargent Nathan & Shannon Savage Diana Scardilli

Dr. S. Brent & Janet Scharman James & Janet Schnitz

William G. Schwartz & Jo Ann Givan Lisa & Joel Shine Gibbs† & Catherine W. Smith

Sheryl & James Snarr Spitzberg-Rothman Foundation

Ray & Ann Steben

Toni Stein

Douglas & Susan Terry Sal & Denise Torrisi

Richard Valliere

Susan & David† Wagstaff

Gerard & Sheila Walsh

Susan Warshaw

Renee & Dale Waters

Betsey & Scott Wertheimer

Kelly Whitcomb

Dan & Amy Wilcox

Cindy Williams Barry & Fran Wilson Bruce Woollen

E. Woolston† & Connie Jo Hepworth-Woolston Caroline & Thomas Wright Peter Zutty

Linda Jo Carron

Mr. & Mrs. Fred L. Carter, Jr. Wan P. Chang Michael & Beth Chardack William J. Coles & Joan L. Coles

Community Trust of Utah

Dr. & Mrs. David Coppin David & Carol Coulter David & Donna Dalton James Dashner David & Karen Gardner Dee Charles Deneris Klancy & Noel† DeNevers Karen Fletcher Shawn Fojtik

Dr. Robert Fudge & Sylvia Newman

Heidi Gardner

Theresa Georgi

Bob & Mary Gilchrist

Keith Guernsey John & Ilauna Gurr

Emily & Chauncey Hall

Dr. Elizabeth Hammond

Travis W. Hancock

Dr. Bradford D. Hare & Dr. Akiko Okifuji Mark O. Haroldsen R. Glenn & Virginia Harris LeeAnn Havner

Lex Hemphill & Nancy Melich Connie C. Holbrook

INDIVIDUAL DONORS

FRIEND ($1,000 TO $2,499) CONTINUED

Jennifer Horne-Huntsman

& Scott Huntsman

Stephen Tanner Irish

Eldon Jenkins & Amy Calara

Bryce & Karen† Johnson

Chester & Marilyn Johnson

John S. Karls

Umur Kavlakoglu

Susan Keyes & Jim Sulat

Lucinda L. Kindred

Mary Koch

Gary Lambert

Robert & Rochelle Light

Ms. Susan Loffler

Nicholas Markosian

Edward J. & Grace

Mary McDonough

Jeffrey McNeal

Warren K† & Virginia G. McOmber

David B. & Colleen A. Merrill

James & Nannette Michie

Dr. Nicole L. Mihalopoulos & Joshua Scoville

Richard & Robin Milne

Dan & Janet Myers

Marilyn H. Neilson

Dr. Stephen H. & Mary Nichols

Ruzena Novak

Maura & Serge Olszanskyj

Lee K. Osborne

Perry Patterson

Elodie Payne

Dr. S. Keith & Barbara Petersen

Stefan Pulst

Megan A. Rasmussen

Diane & Dr. Robert Rolfs, Jr. Gail T. Rushing

Leona Sadacca

Janet Schaap

August L. Schultz

Sheri Shepherd

Dennis & Annabelle Shrieve Silver Fox

Barbara Slaymaker

Janette Smith

Dr. & Mrs. Michael H. Stevens

Jim Swayze

Dr. Ralph & Judith Vander Heide

Donna Walsh

Dr. James C. Warenski

Stephen Watson

Emily Weingeist

Frank & Janell Weinstock

David & Jerre Winder

David B. & Anne Wirthlin

Michael & Judith W. Wolfe

Gayle & Sam Youngblood**

Laurie Zeller & Matthew Kaiser

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 and stability of USUO, and 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

C. Comstock Clayton Foundation

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

John Henkels† Roger & Susan Horn

Carolyn T. Irish Revocable Trust

Marilyn Lindsay

The Linda & Don Price Guest Artist Fund

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

GIFTS MADE IN HONOR

Barbara Scowcroft

Alex Martin

Carol Anderson

Anne & Ashby Decker Thierry Fischer Joanne Shiebler

GIFTS MADE IN MEMORY

Julie Lee Lawrence

Joan Coles

Burton Gordon Kathy Hall

John Husband

Karen Johnson

Scott Landvatter Glade & Mardean Peterson

Bill & Joanne Shiebler

Steven P. Sondrop

Family Trust

James R. & Susan Swartz

Clark L. Tanner Foundation

Norman C. & Barbara L. Tanner Charitable Trust

Norman C. & Barbara L. Tanner Second Charitable Trust

O.C. Tanner Company

Frederic† & Marilyn† Wagner

M. Walker & Sue Wallace

Jack & Mary Lois Wheatley Family Trust

Edward & Marelynn† Zipser

Leslie Peterson

Robert C. Sloan

Laurie W. Thornton

INSTITUTIONAL DONORS

We thank our generous donors for their annual support of Utah Symphony | Utah Opera.

* in-kind donation

$100,000 OR MORE

AHE/CI Trust

The Church of Jesus Christ of Latter-day Saints Foundation

C. Comstock Clayton Foundation

Lawrence T. & Janet T. Dee Foundation

Marriner S. Eccles Foundation

** in-kind & cash donation

$50,000 TO $99,999

Anonymous

BMW of Murray/BMW of Pleasant Grove Dominion Energy

George S. & Dolores Doré Eccles Foundation

Emma Eccles Jones Foundation

Frederick Q. Lawson Foundation

LOVE Communications**

Larry H. & Gail Miller Family Foundation

O.C. Tanner Company

S.J. & Jessie E. Quinney Foundation

Sorenson Legacy Foundation

Stowell Leadership Group, LLC* Zions Bank

$25,000 TO $49,999

Arnold Machinery

Carol Franc Buck Foundation

Cache Valley Electric

Deer Valley Resort*

Joseph & Kathleen Sorenson Legacy Foundation

The Florence J. Gillmor Foundation

The Grand America Hotel & Little America Hotel*

The John C. Kish Foundation Janet Q. Lawson Foundation

The Kahlert Foundation

McCarthey Family Foundation

Microsoft Corporation*

Charles Maxfield & Gloria F. Parrish Foundation

Joanne L. Shrontz Family Foundation

Simmons Family Foundation Summit Sotheby’s Nora Eccles Treadwell Foundation

INSTITUTIONAL DONORS

$10,000 TO $24,999

Altabank

HJ & BR Barlow Foundation

B.W. Bastian Foundation

Brent & Bonnie Jean Beesley Foundation Bertin Family Foundation R. Harold Burton Foundation

Caffé Molise*

Marie Eccles Caine FoundationRussell Family Cranshaw Corporation

$1,000 TO $9,999

Anonymous [2] Amazon Rodney H. & Carolyn Hansen Brady Charitable Foundation

The Capital Group Chevron Matching Employee Fund David Dee Fine Arts

Spencer F. & Cleone P. Eccles Family Foundation

Henry W. & Leslie M. Eskuche Foundation

The Fanwood Foundation Western Office Grandeur Peak Global Advisors

The Val A. Green & Edith D. Green Foundation

Cultural Vision Fund

Gardner Company Goldman Sachs & Co., LLC Gorjana*

Greenberg Traurig Richard K. & Shirley S. Hemingway Foundation Johnson Foundation of the Rockies Parr Brown Gee & Loveless Raymond James & Associates

Regence BlueCross BlueShield of Utah

The Joseph & Evelyn Rosenblatt Charitable Fund Semnani Family Foundation

St. Regis Deer Valley** Stay Park City The Swartz Foundation Teoma Corporate Llc W. Mack and Julia S. Watkins Foundation WCF Insurance

Victor Herbert Foundation Holland & Hart Hotel Park City / Ruth’s Chris Restaurant* Hyatt Centric Park City J. Wong’s Thai & Chinese Bistro* Lee’s Marketplace*

The Marion D. & Maxine C. Hanks Foundation Millcreek Coffee Roasters* Pago on Main* Ray, Quinney & Nebeker Foundation

Red Rock Brewing Company* Reliable Controls Rocky Mountain Power Foundation

Ruth’s Chris Steak House* Sea to Ski Premier Home Management Snell & Wilmer Snow, Christensen & Martineau Squatters Pub Brewery* Sidney Stern Memorial Trust Summerhays Music Center* Summit Energy Swire Coca-Cola, USA* Utah Autism Foundation Victory Ranch & Conservancy Young Electric Sign Co.*

Utah Symphony | Utah Opera would like to especially thank our major sources of public funding that help us to fulfill our mission and serve our community.

City of Orem CARE Tax

National Endowment for the Arts

Salt Lake City Arts Council

Salt Lake County Zoo, Arts and Parks

Summit County Restaurant Tax / RAP Tax

Utah Department of Cultural & Community Engagement

Utah Division of Arts & Museums

Utah State Legislature Utah State Board of Education Utah Office of Tourism

BY WILLIAM SHAKESPEARE

BY LORRAINE HANSBERRY

BY WILLIAM SHAKESPEARE

CORIOLANUS

BY WILLIAM SHAKESPEARE

Photo: A scene from The Sound of Music, 2022.

ADMINISTRATION

ADMINISTRATION

Steven Brosvik

President & CEO

David Green Senior Vice President & COO

Micah Luce Director of Human Resources & Organizational Culture

Julie McBeth Executive Assistant to the CEO

Marcus Lee Assistant to the COO & Office Manager

OPERA ARTISTIC

Christopher McBeth

Opera Artistic Director

Carol Anderson

Principal Coach

Michelle Peterson Director of Production

Ashley Tingey Production Coordinator

OPERA TECHNICAL

Sam Miller Technical Director

Kelly Nickle Properties Master

Dave G. Orr, Jr. Head Carpenter & Shop Foreman Dusty Terrell Scenic Charge Artist

COSTUMES

Cee-Cee Swalling

Costume Director

Verona Green Costume Rentals & Stock Manager

Milivoj Poletan Master Tailor

Tiffany Lent Cutter/Draper & Costume Shop Foreman

Amanda Meyer First Hand

Maxwell Paris Wardrobe Supervisor & Rentals

Assistant

Liz Wiand Rentals Assistant

Lauryn Nebeker Sophie Thoms Stitchers

SYMPHONY ARTISTIC

Thierry Fischer

Symphony Music Director

Anthony Tolokan Artistic Consultant

Barlow Bradford Symphony Chorus Director

Walt Zeschin

Director of Orchestra Personnel

Hannah Thomas-Hollands Orchestra Personnel Manager

Morgan Moulton Artistic Planning Manager Isabella Zini Artistic Planning Coordinator & Assistant to the Music Director

SYMPHONY OPERATIONS

Cassandra Dozet

Senior Director of Operations

Melissa Robison Program Publication & Front of House Director

Chip Dance Director of Production Jen Shark Operations Manager

DEVELOPMENT

Leslie Peterson

Vice President of Development

Jessica Proctor

Director of Institutional Giving

Stephanie Ogden Director of Individual Giving

Katie Swainston

Individual Giving Manager

Lisa Poppleton Grants Manager

Dallin Mills

Development Database Manager Ellesse Hargreaves

Stewardship & Event Coordinator

Erin Marr

Donor Engagement (DVMF) & Special Events Coordinator

MARKETING & COMMUNICATIONS

Meredith Kimball Laing

Vice President of Marketing & Communications

Robert Bedont Marketing Manager

Megs Vincent

Communications Manager

Nina Starling

Website Content Coordinator

Ellen Lewis

Marketing & Communications Coordinator

PATRON SERVICES

Faith Myers

Director of Patron Engagement

Jaron Hatch

Patron Services Manager

Janae Graham

Patron Services Operations Assistant

Genevieve Gannon

Group Sales Associate

Amber Bartlett

Lorraine Fry

Jodie Gressman

Michael Gibson

Sean Leonard

Naomi Newton

Ian Painter

Toby Simmons Ananda Spike Val Tholen Josh West

Patron Services Associates

ACCOUNTING & INFORMATION TECHNOLOGY

Steve Hogan

Vice President of Finance & CFO

Mike Lund

Director of Information Technologies Melanie Giles Controller

Jared Mollenkopf

Patron Information Systems Manager

Zac Cameron Payroll Clerk Bobby Alger Accounts Payable Specialist

EDUCATION

Paula Fowler

Director of Education & Community Outreach

Beth Foley

Opera Education Assistant

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

CRESCENDO AND TANNER SOCIETIES

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.

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

Joseph & Pat Gartman

Paul (Hap) & Ann† Green

Annette W. & Joseph Q. Jarvis

Edward R. Ashwood & Candice A. Johnson Clark D. Jones

Turid V. Lipman

Herbert C. & Wilma Livsey Richard W. & Frances P. Muir

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

Turid V. Lipman

Anne C. Ewers

Annette W. & Joseph Q. Jarvis Flemming & Lana Jensen James Read Lether

Daniel & Noemi P. Mattis

Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane Miner Glenn Prestwich

Marilyn H. Neilson

Carol & Ted Newlin

Patricia A. Richards & William K. Nichols

Mr.† & Mrs. Alvin Richer

Jeffrey W. Shields

G.B. & B.F. Stringfellow

Dr. Ralph & Judith Vander Heide Edward J. & Marelynn† Zipser

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

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

Mr.† & Mrs. M. Walker Wallace

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

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

“YOU

Leave a Legacy Ensure the Future

“We took stock of what gifts we have in our power to grant to future Utahns and concluded that great live classical music will be one of the legacies we will support. We are grateful to the many generous donors who through thoughtful estate planning over the years have made it possible for us to be blessed by performances of the Utah Symphony | Utah Opera today. We are planning to help make this beautiful music a part of Utah forever.”

Annette W. Jarvis Vice Chair and Secretary USUO Board of Trustees Shareholder, Greenberg Traurig, LLP

Joseph Q. Jarvis M.D., M.S.P.H

Utah Opera

PLEASE REMEMBER

ASSISTIVE LISTENING DEVICES

Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Janet Quinney Lawson Theatre. 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.

Photo Credit: Austen Diamond

ACKNOWLEDGMENTS

UTAH SYMPHONY | UTAH OPERA

123 West South Temple Salt Lake City, UT 84101 801-533-5626

EDITOR Megs Vincent 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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