Utah Opera The Flying Dutchman 2022

OCTOBER 8–16, 2022

JANET QUINNEY LAWSON CAPITOL THEATRE

Photo Credit: Jeff Roffman, The Atlanta Opera

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PUBLISHER

Mills Publishing, Inc.

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Ken Magleby

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Patrick Witmer

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Melissa Robison

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CONTENTS

THE FLYING DUTCHMAN

WELCOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

BOARD OF TRUSTEES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

SYNOPSIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

RICHARD WAGNER IN SEARCH OF HIMSELF . . . . . . . . . . . . .8

SPONSORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

COMPANY / ARTISTIC TEAM / CHORUS / SUPERNUMERARIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

COMPOSER & LIBRETTIST . . . . . . . . . . . . . . . . . . . . . . . . . .30

UTAH SYMPHONY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

DONORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

ADMINISTRATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

CRESCENDO & TANNER SOCIETIES . . . . . . . . . . . . . . . . . . .49

PLEASE REMEMBER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

@UtahOpera

ACKNOWLEDGMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

Utah Opera's 2007 production of The Flying Dutchman, photo credit: Kent Miles

WELCOME

Steven Brosvik President & CEO

On behalf of the board, staff, artists, and musicians of Utah Symphony | Utah Opera, it is our pleasure to welcome you to the Janet Quinney Lawson Capitol Theatre and Wagner’s The Flying Dutchman—our epic opening production of Utah Opera’s 45th Season!

What better story for the weeks leading up to Halloween than that of a ghostly sea captain who must find true love to break the spell that doomed him to sail the seas for all eternity. Utah’s favorite dramatic baritone Michael Chioldi partners with Utah native soprano Wendy Bryn Harmer (both Metropolitan Opera regulars) as the fated couple. International operatic artists Kristinn Sigmundsson, Robert Stahley, and Tichina Vaughn all make their Utah Opera debuts in the supporting characters who intensify the drama. The Utah Opera Chorus, prepared by guest chorus master Melanie Malinka (a native of Stuttgart, Germany and Director of Music at The Madeleine Choir School), provide the sense of community and social context for the main characters. And the musicians of our orchestra, led by Ari Pelto, also serve as full-fledged players in the drama— invoking the dramatic background of the sea and signaling the thoughts of the characters through Wagner’s leitmotifs (musical themes that represent characters or ideas and are heard throughout the opera).

Christopher McBeth Artistic Director

Opera is the original multimedia experience, a connector of all the arts—musical, visual, poetic, dramatic, and dance—the combination of which stirs multiple senses. Those shared stirring moments where we witness and contemplate, with others, live theatrical productions set to masterful music which may be moving, thoughtprovoking, or perhaps just diverting, bond us in a way that is increasingly rare and valuable in this digital age.

Thank you for joining us as we connect our community through great live music.

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 John D’Arcy

LIFETIME BOARD

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

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

Dr. Richard B. Williams Kim R. Wilson

Thomas Wright* Henry C. Wurts

MUSICIAN REPRESENTATIVES

Kathryn Eberle* Hugh Palmer*

EX-OFFICIO REPRESENTATIVE Jennifer Webb Onstage Ogden

TRUSTEES EMERITI

Carolyn Abravanel Dr. J. Richard Baringer John Bates

Herbert C. Livsey, Esq. Thomas M. Love* David T. Mortensen Scott S. Parker David A. Petersen

Patricia A. Richards* Harris Simmons David B. Winder

HONORARY BOARD

Jesselie B. Anderson

Kathryn Carter R. Don Cash

Bruce L. Christensen 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 O. Don Ostler

Stanley B. Parrish Marcia Price

Jeffrey W. Shields, Esq. Diana Ellis Smith

*

Committee Member

SYNOPSIS

By Michael Clive

Der fliegende Holländer

(The Flying Dutchman)

Opera in Three Acts

Music and libretto by Richard Wagner (1813–1883)

ACT I

Sailing homeward in the rough waters of the North Sea, Captain Daland is forced to seek safe harbor for his ship and crew near the town of Sandwike in southern Norway. They are all exhausted after fighting the storm and retire to their quarters, leaving a helmsman on deck to keep watch. But after the helmsman nods off, a ghostly vessel comes within range off the ship’s stern, eventually colliding with Daland’s ship. Grappling irons hold the two ships together, and the ghost ship’s sails are furled by a seemingly invisible crew. Then a pale figure appears—black-clad, weary, heavily bearded—and laments his fate: “The time has come, and seven years have again elapsed.” It is the Flying Dutchman, condemned to sail without rest, coming to shore only once every seven years. Only a faithful wife can release him from his curse.

Upon waking, Captain Daland engages the stranger, and the Dutchman, hearing that Daland has an unmarried daughter named Senta, seeks her hand in marriage. Though Daland knows nothing of this mysterious

sailor, he is tempted by the Dutchman’s offer of a treasure-laden chest as a wedding gift. He accepts the proposal, and southerly winds guide both vessels home.

ACT II

Local girls, Senta’s friends and neighbors, are happily singing and working at their spinning wheels in the house of Captain Daland. But Senta is dreamier and more serious than the others; staring at a painting of the legendary Flying Dutchman, she is obsessed with the idea of redeeming him from his curse. When her nurse, dubious and concerned, refuses to tell the girls his story, Senta recounts the legend herself.

Senta has a longtime and honorable suitor, a huntsman named Erik. But despite his devotion and good intentions, Erik finds it difficult to compete with a legend. Out of concern for Senta, he tells her of a dream in which Captain Daland returns with a mysterious stranger who carries her off to sea; his account, intended as a warning, has the opposite effect—delighting her, and strengthening her sense of a calling to destiny. Despairing, Erik leaves.

When Daland arrives with his unknown guest, the stranger and Senta cannot take their eyes off each other. Even as Daland presents the guest as her betrothed, she scarcely acknowledges her father. Her sole focus is on the Dutchman. In a rapturous duet, she vows to be true to him until death.

ACT III

Celebrating the safe return of Captain Daland and his crew, Senta’s friends bring refreshments to the Daland household and invite the ghost ship’s crew to join the festivities—to no avail, of course. Their mysterious presence causes Daland’s crew to withdraw. When Senta arrives, Erik resumes his romantic pursuit, reminding her that she once vowed fidelity to him;

the Dutchman, hearing this, feels sure that all is lost. Overwhelmed by despair, he confesses his identity to Daland and Senta, and tells them of his curse. He summons his men to resume their endless voyage. But as they set sail, Senta throws herself into the sea, vowing to be faithful to him in death. Redeemed by her sacrifice, the Dutchman ascends to heaven with Senta, and his ghost ship finally disappears.

THE FLYING DUTCHMAN: RICHARD WAGNER IN SEARCH OF HIMSELF

By Michael Clive

Even for confirmed lovers of opera, Richard Wagner’s operas can represent something of a project. Wagner’s later operas, including the four-part Ring of the Nibelungs, Tännhauser, Parsifal, Tristan und Isolde, Die Meistersinger, and Lohengrin, were revolutionary—transforming not just opera as an art form, but the history of art itself. His early operas, including Rienzi and Die Feen, are so traditional that much of their music can be mistaken for the work of other composers. A single opera stands at the fulcrum of Wagner’s early, traditionalist music-dramas and his Wagner his revolutionary later works: Der fliegende Holländer, or The Flying Dutchman. In this opera, Wagner’s contemporary audience heard much of what they had always heard in the opera house: long, beautiful melodic lines, spectacular arias, and pleasing male and female choruses—communal singing that gives us a sense of our characters’ everyday lives, providing social context for the drama. But the seeds of revolution are here. Among them are the use of short, repeated musical motifs to represent characters and philosophical ideas; a flow of music that continues without interruption; and an incredibly intense focus on characters’ inner feelings. No composer before Wagner had found a way to express with such intensity the most deeply held human emotions. After Dutchman, Wagner would begin to explore the use of long, unresolved, ambiguous harmonic progressions to express the

inchoate longings of the human heart; but in Dutchman, our protagonists’ passions are unambiguous, and are there to be heard in clarion phrases.

It’s said that all art is autobiography if we look deeply enough, but in Wagner’s case, we needn’t look all that deeply. He used his operas almost like a diary chronicling his philosophical concerns and the events of his life—in this case a harrowing sea journey, his preoccupation with the redemptive power of a woman’s love, and his fascination with the many accounts of a hapless transgressor condemned to wander aimlessly and eternally by land or sea. You may know such a tale from the Gospels, or from Coleridge’s “The Rhyme of the Ancient Mariner;” Wagner drew his treatment from a satirical version by the great German poet and dramatist Heinrich Heine (whose verses are also the poetry in many of Schubert’s greatest songs). Wagner’s approach is far weightier than in Heine’s humorous From the Memoirs of Herr Schnabelewopski And as we listen to the music, we can hear the turmoil that made Wagner’s life at age twenty-six more intensely melodramatic, more riven by emotional turmoil, than any of his operas.

Wagner was already at work on another opera, Rienzi, when inspiration for The Flying Dutchman began to take shape. The year was 1839, and he was conductor at the Court Theater in Riga (present-day Latvia).

page

RICHARD WAGNER IN SEARCH OF HIMSELF

Always insistent on the entitlements of his self-perceived greatness, Wagner lived in extravagant style, amassing huge debts; at the same time his wife retired from her public career on the opera stage, eliminating his best source of income. In a bid to elude his creditors, he tried to make a run for Paris and London, where he thought staged productions of Rienzi would spell the end of his debts and his troubles.

His scheme failed in every way possible, giving rise to a period of personal travails reflected in the events of the Dutchman libretto. Under the stress of trying to evade their creditors, Wagner’s wife, Minna, suffered a miscarriage. Without passports and desperate to dodge the law, Richard and Minna became fugitives, booking passage with an unscrupulous sea captain who was willing to take them on without papers. Their voyage must have been an unmitigated horror of rough seas and onboard privation, but Wagner found inspiration in the experience. In his Autobiographical Sketch (published in 1843, the same year as the opera’s premiere in Dresden), he notes:

The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange colouring that only my sea adventures could have given it.

We can hear the pounding, surging seas in the storm-at-sea passages of the Dutchman. And Wagner, who identified himself with all his heroes, saw in the

Dutchman’s story a man who, like himself, was relentlessly and unfairly hounded for a single transgression. In the heroine Senta, Wagner created one of his idealized women whose goodness redeems their men. Unfortunately, while Senta is a model of womanly devotion, Wagner eventually found Minna lacking as a partner. In matters of his own conduct, Wagner did not demonstrate the kind of self-sacrificing fidelity he expected from his women; for him, love was eternal until it wasn’t.

Wagner was a dramatist before he was a composer, and for The Flying Dutchman, as for all his operas, he wrote his own libretto. He completed a prose draft of the story in 1840; about a year later he had completed the libretto in verse. It went through various iterations, including a relocated scenario (first Scotland, then Norway) and one- and three-act versions to suit the production requirements of prospective producers (his Paris venue had secured a Flying Dutchman scenario for a ballet version and did not want an opera with similar plot points). After conducting the premiere of the threeact version much as we know it today, in January 1843, he had the sense that it was a decisive step forward in his career. “From here begins my career as poet, and my farewell to the mere concoctor of opera texts,” he wrote in an 1851 essay. To this day it remains the earliest Wagner opera performed at the Bayreuth Festival.

Would You Trade Places With Captain Daland’s Daughter Senta?

Our first sense of Senta comes from her friends: the “spinning chorus” that opens

RICHARD WAGNER IN SEARCH OF HIMSELF

Act II, which evokes a stable, happy community with well-defined gender roles. People support each other here, and everyone works hard: The guys go down to the sea in ships while the gals stay home, lending their loyalty and support by practicing domestic arts such as spinning, weaving, and mending sails and nets.

Amid this well-defined social order, it doesn’t take us long to see that Captain Daland’s daughter Senta is different from her friends. She’s moody, serious, and contemplative. Interestingly, it is a work of art that provides the foil for her character: a painting that hangs on the wall of her father’s house. When we first meet her, she can hardly stop staring at and thinking about the exotic figure in the painting: the Flying Dutchman. Wagner invites us to emulate her: He wants us to look deeply into art, as Senta does, to make us think about who we are and perhaps to reflect on the meaning of our own destinies.

Wagner burdens Senta with a dilemma for which there is no easy solution. Her steady boyfriend of long standing, Erik the huntsman, represents true affection

and the promise of domestic stability. Her sense of calling to a different purpose—the redemption of the Flying Dutchman— suggests not only a rejection of traditional social norms, but also a Romantic fascination with death itself. When she meets the mysterious stranger her father brings home, her fixation only becomes stronger as it is transferred from a painting to an actual visitor. What does it say about an attractive, socially desirable young woman when the idea of suicide becomes tempting or even alluring—supplanting the possibility of a traditional marriage and family life?

Willfully transgressing social conventions, even to serve a cause perceived to be higher, was not an idea that Wagner took lightly; in his epic four-part Ring of the Nibelungs, it literally causes the end of the world. But in other operas, such as Tannhäuser, Wagner suggests that this kind of defiant, questing spirit is sometimes a prerequisite for spiritual transcendence and artistic greatness. In this way we can see that Wagner closely identified with many of the principal characters of his operas, both male and female—even in the face of seemingly irreconcilable conflicts.

Utah Opera's 2007 production of The Flying Dutchman, photo credit: Kent Miles

November

Libby Gardner Concert Hall University of Utah

The Utah District round of the competition is open to the public and admission is free.

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

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

Image from The Pirates of Penzance

THE FLYING DUTCHMAN

OCTOBER 8 (7:30 PM), 10 (7 PM), 12 (7 PM), 14 (7:30 PM) & 16 (2 PM), 2022 JANET QUINNEY LAWSON CAPITOL THEATRE

Music & Libretto by Richard Wagner

Premiere in 1843, Königlisches Hoftheater, Dresden

Previously at Utah Opera, 1997, 2007

Sung in German with English Supertitles

Projected titles designed by Kelly Rourke for the Glimmerglass Festival

COMPANY

The Dutchman Michael Chioldi

Senta Wendy Bryn Harmer

Daland

Kristinn Sigmundsson

Robert Stahley Mary Tichina Vaughn Daland’s Steersman Dominic Armstrong

Erik

ARTISTIC TEAM

Conductor Ari Pelto

Director Andreas Hager

Chorus Master

Melanie Malinka

Set Design Steven C. Kemp

Costume Design Erik Teague

Lighting Design Ben Rawson

Projection Designer

Wig & Makeup Design

Ian Wallace

Shannon Hutchins

Assistant Director Colter Schoenfish

Stage Manager Rachel C. Henneberry

Assistant Stage Managers

Supertitle Musician

Hope Griffin, Ben Kulwanoski

Laura Bleakley

Principal Coach Carol Anderson

Guest Coach Willem Van Schalkwyk

Production originally designed and created by Opera San Jose

The Flying Dutchman costumes were build by The Glimmerglass Festival Costume Shop for the 2013 Festival Season

Production is 3:10 hours with 2 intermissions

Michael Chioldi (New York) The Dutchman

Most Recently at Utah Opera, La traviata

Recently: Rigoletto, The Metropolitan Opera; Luisa Miller, Gran Teatre del Liceu, Barcelona, Spain

Upcoming: Rigoletto, The Metropolitan Opera; La traviata, Seattle Opera

Wendy Bryn Harmer (Utah) Senta

Most Recently at Utah Opera, La voix humaine

Recently: Elektra, The Metropolitan Opera; Die Walküre, Detroit Opera; The Mother of Us All, Chautauqua Opera

Upcoming: Iphigénie en Tauride, Boston Baroque; Lohengrin, The Metropolitan Opera

Kristinn Sigmundsson (Iceland) Daland

Utah Opera Debut Recently: Capriccio, Bayerische Staatsoper; Don Giovanni, La clemenza di Tito, Ravinia Festival®

Upcoming: Le nozze di Figaro, LA Opera; Das Rheingold, The Atlanta Opera

Robert Stahley (Massachusetts)

Erik Utah Opera Debut

Recently: Semele, Opera Santa Barbara; Der Freischütz, Wolf Trap Opera

Upcoming: Das Rheingold, The Dallas Opera; Tosca, Opera Theatre of St. Louis

Tichina Vaughn (North Carolina)

Mary Utah Opera Debut

Recently: Aïda, Cincinnati Opera; Porgy and Bess, The Metropolitan Opera Upcoming: Candide, Opéra de Lyon; Treemonisha, Opera Theatre of Saint Louis Dominic Armstrong (Missouri)

Daland’s Steerman

Utah Opera Debut

Recently: Finding Wright, Dayton Opera; Carmen, Kentucky Opera Upcoming: La traviata, Opera Carolina; Beethoven’s 9th Symphony, Bangor Symphony

ARTISTIC TEAM

Ari Pelto (New York) Conductor

Most Recently at Utah Opera, La tragédie de Carmen

Recently: William Davidson Neighborhood Concert Series, Detroit Symphony Orchestra; Carmen, Opera Colorado

Upcoming: Rigoletto, Opera Colorado; Mozart Mass in C minor, Sacramento Philharmonic & Opera

Andreas Hager (Wisconsin)

Stage Director

Utah Opera Debut Recently: La traviata, Opera North; Eugene Onegin, Opera in the Heights

Upcoming: Alcina, Opera in Person Melanie Malinka (Germany)

Chorus Master

Most Recently at Utah Opera, Tosca

Recently: Symphony No. 3 by Mahler, Grand Teton Music Festival; The Little Prince, Utah Opera

Upcoming: Magnificat, The Cathedral of the Madeleine; Carmina Burana, Utah Symphony

ARTISTIC TEAM

Ian Wallace (California)

Projection Designer

Utah Opera Debut

Recently:

Smart People, Capital Stage; The Last Match, B Street Theatre

Upcoming: Puffs, Falcon’s Eye Theatre

Steven C. Kemp (Texas)

Set Design

Utah Opera Debut

Recently: Hansel and Gretel, New Orleans Opera; Amahl and the Night Visitors, Lyric Opera of Kansas City

Upcoming: Così fan tutte, Opera Theatre of St. Louis; Madame Butterfly, New Orleans Opera; Rigoletto, Utah Opera

Ben Rawson (Georgia)

Lighting Designer

Most Recently at Utah Opera, Silent Night

Recently: Frida, Detroit Opera; The Incredible Book Eating Boy, Alliance Theatre

Upcoming:

Something Rotten!, Florida Studio Theatre; The Many Wondrous Realities of Jasmine Starr-Kidd, Alliance Theatre

Shannon Hutchins (Texas)

Wig and Makeup Designer

Utah Opera Debut

Recently:

Passion, Boston Court Pasadena; The Winter’s Tale, A Noise Within Upcoming: Shucked!, Pioneer Theatre Company

CHORUS / SUPERNUMERARIES

CHORUS SUPERNUMERARIES

SOPRANO

Jessica Benson

Anadine Burrell

Lauren Cartwright Emma-Clair Polich Genevieve Gannon Kristen Lenth

Julie McBeth Camree McKenna Carolyn Talboys-Klassen

Katie Sullivan

ALTO Kyra Furman

Melissa James ShaRee Larsen

Paula Fowler Val Tholen Sammie Tollestrup

Will Turner Dawn Veree Lindsay Whitney Lennika Wright

TENOR

Keanu Aiono-Netzler

Ryan Francis Brynnen Green Edward Lopez

Dale Nielsen Lucas Henry Proctor Brian Rowe Mitch Sturges-Kershisnik Luke Stager

BASS Buddy Eyre Dyson Ford Tom Klassen Gary Later Nelson LeDuc

Ricky Parkinson Mark Sorensen Sam Thomas Seth Sturges-Kershisnik Giovanni Nuvan

Chris Chan Jenny Evans Claire Sophie Malinka-Thompson Tanner McDaniel Jack Tingey Isabella Zini

Utah Opera's 2007 production of The Flying Dutchman, photo credit: Kent Miles

Prelude lectures by principal coach, Carol Anderson offer insights before each Utah Opera production.

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

P Preludes are free with your opera ticket and begin one hour before curtain in the Capitol Room.

Q&A

Do you have any questions or comments about tonight’s performance or Utah Opera which you would like to ask or share?

Please join Artist Director, Christopher McBeth in the Capitol Room after each performance for a Q & A session.

The

Mountain

Symphony

Caricatures of an

Track 01: At Work

Track 02: At Home

Track 03: Atravelin’

Track 04: The Circus

COMPOSER & LIBRETTIST

In the concert hall, we are never far from the influence of Richard Wagner. But we are often far from his music. Wagner’s revolutionary works are his operas—indeed, with just a few exceptions, operas comprise his entire output as a composer— and they are difficult to excerpt. Though they contain gorgeous orchestral passages aplenty, the music is “durchkomponiert” (through-composed), flowing without convenient interruptions. Free-standing arias and orchestral interludes are rare. That leaves us with the Siegfried Idyll, a chamber composition not originally intended for public performance, and the magnificent overtures and preludes that precede his operas.

Richard Wagner Composer & Librettist

Wagner had not yet completed his third opera, Rienzi, when he was inspired to compose Dutchman. These are considered early works, when the aesthetic concept that underpins his operas— the Gesamtkunstwerk, or total work of art that seamlessly unifies the visual arts, poetry, drama, dance movement, and music— was still taking shape. But Wagner was already writing his own librettos. He based Rienzi on the kind of turgid, complex, Italian-based historical novel that was typical of grand-opera plots of the day. But Dutchman shows him moving toward his more mature artistic concerns, taking a traditional Germanic folk tale and raising it to a high level of artistic refinement. What was once a haunting, atmospheric yarn that might have been spun around a campfire was transmuted to a compelling, fully wrought music-drama of redemption through love.

Wagner was seeking to transform classical music generally and German opera in particular, and viewed himself—not without justification—as the genius chosen for this task. He had adopted the grandiose lifestyle he deemed appropriate for himself and his wife Minna, but the public and the artistic establishment had not yet caught up with his own view of his greatness. This left his personal affairs in turmoil while he composed Rienzi, with creditors on his heels and artistic projects in collapse. It was during this period that the idea for Dutchman came to him on a trip through the Norwegian fjords. As he described it,

The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.

Fueled by these accounts and by a somewhat satirical version rendered by Heinrich Heine, Wagner produced a full draft of the story on May 1840. Originally envisioned as a one-act opera, The Flying Dutchman premiered in 1843 in a form more closely resembling full-blown grand opera, in three acts.

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 Tina Johnson~ Jennfier 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 September 11, 2022.

* in-kind donation ** in-kind & cash donations † deceased

MILLENNIUM ($250,000+)

Anonymous Kem & Carolyn Gardner Shiebler Family Foundation

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

John & Flora D’Arcy

Anthony & Renee Marlon

John & Marcia Price Family Foundation

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

Judy Brady & Drew W. Browning

Larry Clemmensen

John & Carol Firmage John H.† & Joan B. Firmage

Brian & Detgen Greeff

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

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

Fran Akita

Scott & Kathie Amann

Doyle Arnold & Anne Glarner

David & Angela Glenn

Kristen Fletcher & Dan McPhun Fred & Lucy Moreton Peggy & Ben Schapiro Theodore & Elizabeth Schmidt Foundation

Steve & Betty Suellentrop Jonathan & Anne Symonds John & Jean Yablonski Edward & Marelynn† Zipser

INDIVIDUAL DONORS

MAESTRO ($10,000

Austin & Kristi Bankhead

Dr. & Mrs. Clisto Beaty

Thomas Billings & Judge

Judith Billings

Diane & Hal Brierley

Judy & Larry Brownstein Joseph & Cathy Cleary

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

Carolyn & Craig Enenstein Midge & Tom Farkas

Thomas & Lynn Fey

Robert & Elisha Finney

Brandon & Kristen Fugal

Douglas & Connie Hayes

Susan & Tom Hodgson

Mary P.† & Jerald H. Jacobs Family

Stephen C.† & Lynda M. Jacobsen

Tom & Lorie Jacobson

G. Frank & Pamela Joklik

Rick & Paulette Katzenbach

Jeanne Kimball

Kulynych Family Foundation II, Inc.

Mr. & Mrs. Christopher J. Lansing

Bill Ligety & Cyndi Sharp

Tom & Jamie Love

Tom & Janet McDougal

Mr. & Mrs. Charles McEvoy

Jed Millburn

Harold W. & Lois Milner

Edward Moreton

Terrell & Leah Nagata

James & Ann Neal

Leslie Peterson & Kevin Higgins

Walter J. & Peggy Plumb

Stephen & Cydney Quinn

David & Shari Quinney

Albert J. Roberts IV Richard & Carmen Rogers

Sandefur Schmidt

Mr. & Mrs. G. B. Stringfellow Thomas & Marilyn Sutton

James R. & Susan Swartz Kathie Zumbro

INDIVIDUAL DONORS

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

Anonymous [9]

Alan, Carol, & Annie Agle

Douglas Anderson Margaret & Grant Bagley

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

Kyle & Melissa Barnett H. Brent & Bonnie Jean Beesley

Bill & Susan Bloomfield

David Brown Hannalorre Chahine

John Clukey

Marc & Kathryn Cohen

Mr. & Mrs. Kenneth R. Cutler Anne Daigle & Rich Heyman

Marian Davis & David Parker

Barbara & Melvin Echols

Mrs. Sarah Ehrlich

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 Dr. Bradford D. Hare & Dr. Akiko Okifuji John Henkels† Chuck & Kathie Horman

Sunny & Wes Howell Ronald & Janet Jibson

Allison Kitching Howard & Merele Kosowsky

Michael & Peg Kramer

Gary & Suzanne Larsen Daniel & Deena Lofgren Dennis & Pat Lombardi

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

Patricia Legant & Thomas Parks

Dr. Dinesh & Kalpana Patel Frank R. Pignanelli & D’Arcy Dixon

Brooks & Lenna Quinn

Joyce Rice

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

Mr. & Mrs. Glen R. Traylor Brad E. & Linda P. Walton

Jaelee Watanabe

Douglas & Rebecca Wood

The Christian V. & Lisa D. Young Family Foundation

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

Anonymous [3]

Craig & Joanna Adamson

Dr. & Mrs. Jeffrey L. Anderson

Pam & Paul Apel

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

Tina & John Barry Charles & Jennifer Beckham

Dr. Melissa Bentley

Céline 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

John D Doppelheuer M.D. & Kirsten A. Hanson M.D.

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

Kenneth & Amy Goodman Shari Gottlieb

Susan Graves

Ronald & Kaye Gunnell

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

Michael Huerta & Ann Sowder

Mr. & Mrs. Jerry Huffman Caroline & David Hundley Jay & Julie Jacobson Drs. Randy & Elizabeth Jensen

M. Craig & Rebecca Johns Chloe Johnson

Maxine & Bruce Johnson Neone F. Jones Family

Dr. Michael A. Kalm Dr. James & Carolyn Katsikas

Michael & Amy Kennedy Spencer & Christy Knight Les Kratter

Jeffrey LaMora

Donald L. & Alice A. Lappe

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

Ted A. McKay

Karen & Mike McMenomy George & Nancy Melling John & Bria Mertens Cyrus & Roseann Mirsaidi MJZR Charitable Trust

Dr. Louis A. Moench & Deborah Moench Michael & Katie Mueller Ashton Newhall Vincent & Elizabeth Novack Patrick O’Connell

Stanley B. & Joyce M. Parrish

Ray Pickup

Mr. & Mrs. James S. Pignatelli W.E. & Harriet R. Rasmussen Dr. Barbara S. Reid Glenn Ricart

Dr. Wallace Ring Kenneth Roach & Cindy Powell

Mr. & Mrs. Robert Rollo Rebecca Roof & Gary Smith Nathan Royall Mark & Loulu Saltzman Margaret P. Sargent Nathan & Shannon Savage

CONTINUED

Dr. S. Brent & Janet Scharman

James & Janet Schnitz Shirley & Eric Schoenholz 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 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

Anonymous [6]

4Girls Foundation

Marlene Abbott Barber

Carolyn Abravanel

Christine A. Allred

Margaret Anderson

Drs. Crystal & Dustin Armstrong

Ian Arnold

Fred & Linda Babcock

Marlene Barnett

Tom & Carolee Baron

Sue Barsamian

Sarah Bienvenue

Harvey & Donna Birsner

C. Kim & Jane Blair

Diane Banks Bromberg & Dr. Mark Bromberg

Dana Carroll & Jeannine Marlowe Carroll Linda Jo Carron Mr. & Mrs. Fred L. Carter, Jr. Wan P. Chang Michael & Beth Chardack William J. Coles & Joan L. Coles

Dr. & Mrs. David Coppin David & Carol Coulter David & Donna Dalton 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 Ralph & Rose Gochnour John & Ilauna Gurr

Emily & Chauncey Hall

Dr. Elizabeth Hammond

Travis W. Hancock Kenneth & Kate Handley

Mark O. Haroldsen

Virginia & R. Glenn Harris

Leeann Havner Lex Hemphill & Nancy Melich

Connie C. Holbrook Stephen Tanner Irish Eldon Jenkins & Amy Calara

INDIVIDUAL DONORS

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

Bryce & Karen† Johnson Chester & Marilyn Johnson

John S. Karls Umur Kavlakoglu Susan Keyes & Jim Sulat Lucinda L. Kindred

Gary Lambert Robert & Rochelle Light Ms. Susan Loffler Nicholas Markosian Christopher & Julie McBeth Aragon McCarthey Charitable Trust Mary Pat McCurdie Edward J. & Grace Mary McDonough

David & Nickie McDowell Warren K.† & Virginia G. McOmber

Brad & Trish Merrill David B. & Colleen A. Merrill James & Nannette Michie

Richard & Robin Milne Barry & Kathy Mower

Dan & Janet Myers Marilyn H. Neilson

Dr. Stephen H. & Mary Nichols Ruzena Novak

Maura & Serge Olszanskyj Lee K. Osborne

Perry Patterson

David & Elodie Payne Leslie Peterson & Kevin Higgins Stefan Pulst Megan A. Rasmussen Gina Rieke

Diane & Dr. Robert Rolfs, Jr. Miguel Rovira Gail T. Rushing Leona Sadacca Janet Schaap

Electricity is in the

Mr. August L. Schultz

William G. Schwartz & Jo Ann Givan Sheri Shepherd Dennis & Annabelle Shrieve Barbara Slaymaker Janette Smith

Dr. & Mrs. Michael H. Stevens Kerry Vogt

John & Susan Walker

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

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

Linda & Don Price Kenneth† & Jerrie Randall

The Evelyn Rosenblatt Young Artist Award 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

GIFTS MADE IN HONOR

Barbara Scowcroft

Alex Martin

Carol Anderson Anne & Ashby Decker

Joanne Shiebler Leslie Peterson

GIFTS MADE IN MEMORY

Julie Lee Lawrence

Burton Gordon Kathy Hall

Scott Landvatter

Dr. Harold Little Glade & Mardean 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

** in-kind & cash donation

$100,000 OR MORE

C. Comstock Clayton Foundation

The Church of Jesus Christ of Latter-day Saints Foundation

George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation

The Florence J. Gillmor Foundation

Emma Eccles Jones Foundation

Frederick Q. Lawson Foundation

LOVE Communications** Larry H. & Gail Miller Family Foundation O.C. Tanner Company Sorenson Legacy Foundation State of Utah

Stowell Leadership Group, LLC*

Summit County Restaurant Tax / RAP Tax

Utah Division of Arts & Museums / National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank

$50,000 TO $99,999

Anonymous Dominion Energy

The Grand America Hotel & Little America Hotel* John C. Kish Foundation

Janet Q. Lawson Foundation

$25,000 TO $49,999

Arnold Machinery BMW of Murray/BMW of Pleasant Grove

Carol Franc Buck Foundation Cache Valley Electric Deer Valley Resort* Joseph & Kathleen Sorenson Legacy Foundation

The Kahlert Foundation McCarthey Family Foundation

Microsoft Corporation* Charles Maxfield & Gloria F. Parrish Foundation Joanne L. Shrontz Family Foundation

Simmons Family Foundation Struck* Summit Sotheby’s Nora Eccles Treadwell Foundation Utah Office of Tourism

INSTITUTIONAL DONORS

$10,000 TO $24,999

Altabank

Y2 Analytics* HJ & BR Barlow Foundation

Brent & Bonnie Jean Beesley Foundation

Bertin Family Foundation R. Harold Burton Foundation

Caffé Molise*

Marie Eccles Caine FoundationRussell Family Cranshaw Corporation Cultural Vision Fund

$1,000 TO $9,999

Anonymous [2]

Amazon Berkshire Hathaway Home Services

Berenice J. Bradshaw Trust Rodney H. & Carolyn Hansen Brady Charitable Foundation

The Capital Group CBRE City Creek Center

LJJ Fund at the Community Foundation of Utah Community Trust of Utah Cyrus

The Dallas Foundation Spencer F. & Cleone P. Eccles Family Foundation Henry W. & Leslie M. Eskuche Charitable Foundation

Matthew B. Ellis Foundation

Gardner Company Goldman Sachs & Co. LLC Gorjana*

Greenberg Traurig Richard K. & Shirley S. Hemingway Foundation Johnson Foundation of the Rockies

Marriott International, Inc. Parr Brown Gee & Loveless

Raymond James & Associates

Regence BlueCross BlueShield of Utah

The Joseph & Evelyn Rosenblatt Charitable Fund

Semnani Family Foundation

St. Regis / Deer Crest Club**

Stay Park City The Swartz Foundation

Teoma Corporate Llc W. Mack & Julia S. Watkins Foundation WCF Insurance

Every Blooming Thing*

The Fanwood Foundation Western Office Grandeur Peak Global Advisors

The Val A. Green & Edith D. Green Foundation 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* City of Orem Ray, Quinney & Nebeker Foundation

Red Rock Brewing Company*

Reliable Controls

Rocky Mountain Power Foundation

Salt Lake City Arts Council Salt Lake County

Sea to Ski Premier Home Management Snell & Wilmer

Snow, Christensen & Martineau Foundation Squatters Pub Brewery* 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.

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

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

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

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 Kelen Wright 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

Director of Orchestra Operations

Melissa Robison

Program Publication & Front of House Director

Chip Dance

Production & Stage Manager

Jeff F. Herbig Properties Manager & Assistant Stage Manager

Lyndsay Keith Operations Manager

Robyne Anderson 2nd Assistant Stage Manager

DEVELOPMENT

Leslie Peterson

Vice President of Development Jessica Proctor

Director of Institutional Giving Heather Weinstock

Director of Special Events & DVMF Donor Relations

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

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 Alison Mockli Payroll & Benefits Manager

Jared Mollenkopf

Patron Information Systems Manager Zac Cameron Payroll Clerk

Bobby Alger Accounts Payable Specialist

EDUCATION

Paula Fowler

Director of Education & Community Outreach Kyleene Johnson Symphony Education Manager

Beth Foley Opera Education Assistant

Paul Murphy Symphony 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

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

~T.S. Eliot

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

TANNER SOCIETY OF UTAH SYMPHONY

Beethoven Circle (gifts valued at more than $100,000)

Anonymous (3)

Doyle Arnold & Anne Glarner

Edward R. Ashwood & Candice

A. Johnson

Dr. J. Richard Baringer Haven J. Barlow†

Dr. Melissa J. Bentley Marcy & Mark Casp Shelly Coburn Raymond & Diana Compton

Mahler Circle

Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne

Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Virginia A. Hughes

Ms. Marilyn Lindsay†

Anne C. Ewers

Flemming & Lana Jensen

James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane Miner

Glenn Prestwich Kenneth A.† & Jeraldine S. Randall

Turid V. Lipman

Herbert C. & Wilma Livsey

Dianne May

Jerry & Marcia McClain Jim & Andrea Naccarato

Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker

Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson

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

CRESCENDO SOCIETY OF UTAH OPERA

Anonymous

Mr. & Mrs. William C. Bailey

Judy Brady & Drew W. Browning

Dr. Robert H.† & Marianne

Harding Burgoyne

Shelly Coburn

Dr. Richard J.† & Mrs. Barbara N.† Eliason

Anne C. Ewers

Edwin B. Firmage

Joseph & Pat Gartman Paul (Hap) & Ann† Green John† & Jean† Henkels

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

Turid V. Lipman

Herbert C. & Wilma Livsey

Richard W. & Frances P. Muir

Marilyn H. Neilson

Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn Dan & June Ragan

Mr. Grant Schettler

Glenda & Robert† Shrader

Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart

Edward J. & Marelynn† Zipser

Carol & Ted Newlin

Patricia A. Richards & William K. Nichols

Mr.† & Mrs. Alvin Richer

Jeffrey W. Shields

G.B. & B.F. Stringfellow Norman† & Barbara† Tanner

Dr. Ralph & Judith Vander Heide

Edward J. & Marelynn† Zipser

†Deceased

“YOU ARE THE MUSIC WHILE THE MUSIC LASTS.”

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

CONTRIBUTE TO UTAH SYMPHONY | UTAH OPERA

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

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

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

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

OUT MORE 801-869-9001

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

Ruth had a certain way of doing things, like preparing the best prime steak of your life and serving it on a 500° sizzling plate. Come in tonight and experience Ruth’s timeless recipe for yourself.

ACKNOWLEDGMENTS

UTAH SYMPHONY | UTAH OPERA

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

EDITOR Melissa Robison HUDSON PRINTING COMPANY www.hudsonprinting.com

241 West 1700 South Salt Lake City, UT 84115 801-486-4611

AUDITING AND ACCOUNTING SERVICES PROVIDED BY Tanner, llc

LEGAL REPRESENTATION PROVIDED BY Ballard Spahr Andrews & Ingersoll, llp Holland & Hart, LLP Jones Waldo

ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY Love Communications, Salt Lake City

ADVERTISING CREATIVE & BRANDING SERVICES PROVIDED BY Struck, Salt Lake City / Portland

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

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

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

Photo Credit: Austen Diamond