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CONTENTS

PRESIDENT

Dan Miller

OFFICE ADMINISTRATOR

Cynthia Bell Snow

ART DIRECTOR/ PRODUCTION MANAGER

Jackie Medina

GRAPHIC DESIGNER

Ken Magleby

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Megs Vincent The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801.467.8833, Email: advertising@millspub.com, Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © COPYRIGHT 2024

THE MARRIAGE OF FIGARO 21 PG.

WELCOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 BOARD OF TRUSTEES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 LOVE UNMASKED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 SPONSORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 THE MARRIAGE OF FIGARO . . . . . . . . . . . . . . . . . . . . . . . . . 21 CAST / ARTISTIC TEAM / CHORUS . . . . . . . . . . . . . . . . . . . 22 STORY OF THE OPERA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 DOES THE MARRIAGE OF FIGARO TELL US . . . . . . . . . . . . . 29 UTAH SYMPHONY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 DONORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 ADMINISTRATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 CRESCENDO AND TANNER SOCIETIES . . . . . . . . . . . . . . . . 49

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ACKNOWLEDGMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 5

WELCOME 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 for this presentation of Mozart’s masterpiece The Marriage of Figaro.

STEVEN BROSVIK President & CEO

CHRISTOPHER MCBETH Artistic Director

BRIAN GREEFF Board of Trustees Chairman

There is something about the music, the characters, and the plot of this opera that is immediately accessible, even more than two centuries after its creation. The opera can be experienced as a simple comedy with tuneful melodies and quick twists and turns of plot that eventually resolve in a ‘happily ever after’ way. However, when one looks and listens more closely, there is a wealth of material below the surface that delves into deep truths of the human experience and requires exceptional mastery of technique and musicianship of the performers. The characters are relatable and their stories are not of single-focused revenge, or love, or fear so often found on stage, but the wonderfully and sometimes frustratingly intermingled web of human complexity. Mozart was one of the first composers to reach for this level of expression of the human condition (with the collaboration of his librettist Lorenzo Da Ponte) and their achievement in this opera was perfection. Throughout the school year, we give students across Utah their first opportunities to fall in love with opera and classical music through a variety of in-school programs that comprise one of the most extensive arts education initiatives by a professional musical arts organization in the United States. Our professional musicians provide students with the gift of live classical music and the inspiration to develop their own creative capabilities to enhance their lives. March is an appropriate time to reflect on the importance of this work, as it has been celebrated around the nation for nearly 40 years as Music in Our Schools Month®. Sponsored by the National Association for Music Education, the initiative focuses the nation’s attention on the need for and benefits of quality music education programs in our schools. Bravo to the teachers, schools, and parents who make sure that music is part of the education of our youth! These programs are vital for creating well-rounded students, impart important lessons in discipline, creativity, and teamwork, and encourage higher graduation rates. Sincerely,

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LOVE UNMASKED By Michael Clive

What’s left to be said about the greatness of Mozart’s The Marriage of Figaro? Plenty. This opera has been modern for almost 240 years. Love Unmasked The Marriage of Figaro is often called the perfect opera. Figaro’s profundity and esthetic perfection make it catnip to musicologists; there is no better example of Mozart’s raising an existing classical form, in this case opera buffa, to a new level. Stock characters from the commedia dell’arte tradition—the wily soubrette, the aging lecher—became complex, fully realized human beings. Librettist Lorenzo Da Ponte, perhaps the greatest Italian poet of his time (though he labored in the shadow of the notorious Giacomo Casanova), introduced literary polish and innovations such as the use of dialect to indicate character. Then there is Mozart’s uncanny psychological insight, which captures the most complex nuances of inmost thought in outwardly sublime music. All of these qualities could be ascribed in varying degrees to Mozart’s other operatic masterpieces. In fact, Mozart could never have achieved the greatness of this opera at age thirty without composing an earlier madcap romance in much the same mold, La finta giardiniera, a decade earlier. In this earlier work, based on a popular libretto, lovers chasing each other at crosspurposes not only go mad in their amorous pursuits, but even steal the keys to the madhouse. Compare this to the source of Figaro’s libretto, Beaumarchais’s La folle journée, ou le Mariage de Figaro—“The Mad Day, or the Marriage of Figaro.” What made Figaro unique—and uniquely

dangerous—was its forthright engagement of the political moment. The progressive ideas of the Enlightenment hide within plain sight in the Beaumarchais plays upon which The Marriage of Figaro and The Barber of Seville are based, and Figaro in particular delivers a potent critique of social inequality and aristocratic entitlement. Three years and two months after its premiere at Vienna’s Burgtheater, French citizens were storming the Bastille in the name of liberté, egalité, fraternité. We see these ideas play out in the relationships of the two couples at the center of The Marriage of Figaro. Romantically, they are Susanna and her fiancé Figaro along with the Countess Almaviva and her husband, the Count. But we also see them configured as employers and employees: the Count and his factotum/valet Figaro, the Countess and her maid/BFF Susanna. The complex mixture of trust, affection and workplace decorum we see between the Countess and Susanna demonstrates the Enlightenment ideals in action; in the Count, who is overbearing and abusive to his employee Figaro and everyone else, we see the corrupting influence of power and privilege. And in Figaro and Susanna, we see the Count’s and Countess’s younger selves. Beaumarchais wrote Mariage as a sequel to his Le barbier de Séville, ou La précaution unutile (“The Barber of Seville, or the Useless Precaution”), a Comédie Française hit from 1775. It proved equally popular when finally presented to the public in 1784, six years after its completion— delayed because of problems with the French censors. Just as many of today’s operagoers know these characters through Continued on page 15…

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the musical Originally Presented by Radio City Entertainment At The Theater At Madison Square Garden

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LOVE UNMASKED Rossini’s The Barber of Seville, those of Mozart’s era knew them through Giovanni Paisiello’s earlier opera of the same name, which was introduced in 1782 and became wildly popular throughout Europe. After opening in Vienna in 1783, Paisiello’s Barber played simultaneously in five major theatres, making performances available in either German or Italian. So Mozart’s and Da Ponte’s audiences were already well-acquainted with a younger, more appealing Count Almaviva. Dashing and energetic, he was willing to go to great lengths—even concealing his wealth and rank—to woo the lovely but wily Rosina, relying heavily upon the resourceful Figaro to help spirit her away from her tenacious guardian Dr. Bartolo. Now, just a few years after this romantic adventure, the Count seems transformed into a snarling, suspicious misanthrope who sees threats and personal injustices everywhere he looks. What’s eating this guy? Could it be a changing social order eroding the aristocratic entitlements he thought would go on forever? Certainly his sense of romance is not what it was. Once an ardent suitor, he has become a wolf on the prowl, ignoring his wife. Until now he was able to temper his appetites via the traditional droit du seigneur, the aristocratic prerogative of bedding young women engaged to be married. But succumbing to pressures of Enlightenment principles, he has recently renounced this privilege—earning a halfhearted choral tribute from the peasants of his estate near the end of Act I. Though the Count is a man who would seem to have everything, he is an overbearing grouch who sees provocation at every turn. We can’t be sure what has made him that way in the years since he ardently wooed his Countess, Rosina, but UTAHOPERA.ORG

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we can see that by now, nothing seems to satisfy him, and the prospect of losing an iota of privilege is taken as a personal assault. Small wonder that the French and Austrian censors were so nervous; this is a story that casts the servants as heroes and the Count as a villain. Since the Count can no longer have his pick of the young girls about to be married on his estate, his pursuit of Susanna becomes all the more urgent. In facing his onslaught while preparing for her wedding, Susanna hardly has time to register her outrage, much less defend herself. But she is allied in friendship and service to the count’s wife—an asset that proves decisive for both. The two couples are thus perfect antagonists and perfect foils for each other: As we meet Susanna and Figaro, he could well be preparing for a trip to Home Depot or Lowe’s as he takes measurements in their assigned bedroom; for her part, Susanna seems caught between “Project Runway” and “Say Yes to the Dress” as she prods Figaro for his opinion on the wedding bonnet she’s sewing. They are the very picture of amorous domestic harmony, while the Count and Countess, who were once the same way, now live out the paradigm of a dysfunctional marriage. The opera’s labyrinthine subplots support its egalitarian theme—for example, the scheming of the Countess’s onetime guardian Dr. Bartolo and his housekeeper, Marcellina. They contend that unless Figaro discharges a debt to Marcellina, he will have to marry her rather than Susanna; but at the last minute it is discovered, through the revelation of an identifying birthmark, that Figaro is actually their long-lost son (oops!). The debt is erased in a tearful reunion—along the chief impediment to Figaro and Susanna’s wedding—and a 15

LOVE UNMASKED moment of delicious farce casts serious light on Figaro’s social status, which is suddenly elevated. Remarkably, though the Countess reigns over this opera buffa, she is not herself a comic character. Even with hilarity swirling around her, she remains a figure of dignity; her grace and sense of justice in the face of a tortured home life beguile us. She does not even appear in the opera’s first act, though her presence is felt every moment. By the time of her Act III monologue, culminating in the great aria “Dove sono,” all of the principals’ fates are in her hands: She has devised a long-shot plan to reform her husband by ensnaring him in an incriminating tryst with Susanna—though without actually imperiling her devoted maid and best friend. Simply stated, the two women will disguise themselves as each other and then confront the Count in the act of seduction, forcing the him to discover that his quarry is not Susanna, but his wife; in unmasking themselves, they unmask his nature. In the Countess’s monologue we see not just the agony of her predicament but her strength of character in determining to resolve it. As her scheme takes shape, we

are reminded how the Countess has grown into her position in the world—an aristocrat by nature rather than by birth (in contrast with her abusive husband). No wonder the censors were worried. It all works out as planned, in strict accord with the rules of romantic comedy. But does the Countess really regain her husband’s love? We know that she succeeds in publicly exposing him and that he responds by begging her forgiveness, which she bestows with tender composure, and the entire cast concludes that through her act, joy prevails for all. Do they mean it? Do we believe them? Most listeners surely do. Textual commentary might suggest doubts, but when Mozart’s magically empathic music takes over, it seems certain that no one is beyond the reach of love’s redemptive power. The miracles of this opera are many: its unexcelled ensembles, its melodic richness, the brilliant interweaving of its voices and instruments, the heightening of its superbly plotted drama through Mozart’s unending abundance of musical means. But what ultimately sets The Marriage of Figaro apart from even Mozart’s other masterpieces is its intimate depiction of the human soul.

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THE MARRIAGE OF FIGARO MARCH 9 (7:30PM), 11 (7:00PM), 13 (7:00PM), 15 (7:30PM), 17 (2:00PM) JANET QUINNEY LAWSON CAPITOL THEATRE Music by Wolfgang Amadeus Mozart Libretto by Lorenzo da Ponte Premiere – December 1786, Vienna Previously at Utah Opera – 1989, 1999, 2009, 2016 Performed in Italian with English Supertitles CAST

Figaro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adam Lau Susanna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Madison Leonard Doctor Bartolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matthew Burns Marcellina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nina Yoshida Nelsen Cherubino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mary Beth Nelson Count Almaviva . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Adams Don Basilio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Thomas Glenn Countess Almaviva . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Katherine Whyte Antonio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tshilidzi Ndou* Don Curzio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jeremiah Tyson* Barbarina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jasmine Rodriguez* Bridesmaids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Charity Cooper & Kiersten Honaker ARTISTIC TEAM

Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Conner Gray Covington Stage Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tara Faircloth Chorus Director & Assistant Conductor . . . . . . . . . . . . . . . . . . . . . . Sharon Bjorndal Lavery Scenic Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cameron Porteous Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Susan Memmott Allred Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ben Rawson Wig & Makeup Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amanda Mitchell Principal Coach & Harpsichord Continuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Taylor Burkhardt** Chorus Pianist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Laura Bleakley* Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Colter Schoenfish Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kathleen Stakenas Assistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Caitlyn Yvette Sandoval Supertitle Musician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mitchell Atencio Scenery & properties provided by Arizona Opera, with original stage direction by Henry Akina Original Lighting Design by Robert Thomson Supertitle translation by Tara Faircloth The performance run time is approximately 3:15 hours with one intermission *Current Resident Artist **Former Resident Artist UTAHOPERA.ORG

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CAST / ARTISTIC TEAM Michael Adams (Texas)

Count Almaviva Most Recently at Utah Opera, The Barber of Seville Recently: The Marriage of Figaro, Austin Opera, Opera Omaha, Madison Opera Madame Butterfly, Dallas Opera Eugene Onegin, Così fan tutte, Seattle Opera Silent Night, The Magic Flute, Alcina, Washington National Opera The Pearl Fishers, Gran Teatre del Liceu Upcoming: Carmen, The Metropolitan Opera Susan Memmott Allred (Utah)

Costume Designer Most Recently at Utah Opera, La bohème Recently: Gianni Schicchi, On Site Opera Tosca, Utah Opera Upcoming: La traviata, Pittsburgh Opera Matthew Burns (Tennessee)

Doctor Bartolo Most Recently at Utah Opera, The Daughter of the Regiment Recently: Le nozze di Figaro, Portland Opera The Pirates of Penzance, Nashville Opera Upcoming: The Hours, The Metropolitan Opera La bohème, Opera Colorado Conner Gray Covington (Massachusetts)

Conductor Utah Opera Debut Recently: Strauss’ Don Juan, Utah Symphony Utah Symphony Associate Conductor Upcoming: Star Wars: Return of the Jedi, North Carolina Symphony Tara Faircloth (Texas)

Stage Director Most Recently at Utah Opera, The Little Prince Recently: Pagliacci, Austin Opera Semele, Wolf Trap Opera Upcoming: Don Giovanni, Arizona Opera

CAST / ARTISTIC TEAM Thomas Glenn (Utah)

Don Basilio Utah Opera Debut Recently: American Apollo, Des Moines Metro Opera Hadrian, Canadian Opera Company Manon, Opera Idaho Our Town, Utah Festival Opera Upcoming: Canticle III, NOVA Chamber Music Series Adam Lau (California)

Figaro Most Recently at Utah Opera, The Barber of Seville Recently: La bohème, Opera Philadelphia La traviata, The Metropolitan Opera Upcoming: Un ballo in maschera, San Francisco Opera Sharon Bjorndal Lavery (New Jersey)

Chorus Director & Assistant Conductor Most Recently at Utah Opera, The Little Prince Recently: Beethoven Symphony No. 9, Utah Symphony La bohème, Utah Opera Upcoming: Utah Symphony | Utah Opera 2024–2025 Season Madison Leonard (Utah)

Susanna Most Recently at Utah Opera, The Daughter of the Regiment Recently: Rigoletto, Dallas Opera, Seattle Opera, Austin Opera Der Rosenkavalier, Garsington Opera Eugene Onegin, Così fan tutte, Seattle Opera The Pearl Fishers, Austin Opera Roméo et Juliette, Central City Opera Upcoming: Un giorno di regno, Garsington Opera Rigoletto, English National Opera Amanda Mitchell (Texas)

Wig & Makeup Designer Most Recently at Utah Opera, The Barber of Seville Recently: Parsifal, Houston Grand Opera Intelligence, Houston Grand Opera Upcoming: Don Giovanni, Houston Grand Opera

CAST / ARTISTIC TEAM Tshilidzi Ndou (South Africa)

Antonio Most Recently at Utah Opera, The Little Prince Recently: La bohème, Utah Opera La tragédie de Carmen, Chautauqua Opera Upcoming: Thaïs, Utah Opera Nina Yoshida Nelsen (Indiana)

Marcellina Most Recently at Utah Opera, Madame Butterfly Recently: Carmen, Indianapolis Opera Alcina, Seattle Opera Upcoming: An American Soldier, Perelman Arts Center Mary Beth Nelson (New York)

Cherubino Utah Opera Debut Recently: The Amazing Adventures of Kavalier and Clay Workshop, The Metropolitan Opera Faust, Wolf Trap Opera Upcoming: Samson, Oratorio Society of New York Cameron Porteous (Saskatchewan)

Scenic Designer Utah Opera Debut Recently: Le nozze di Figaro, Portland Opera Le nozze di Figaro, Calgary Opera

Ben Rawson (Georgia)

Lighting Designer Most Recently at Utah Opera, The Flying Dutchman Recently: La Sylphide, Atlanta Ballet The Moment is Imminent, BalletCollective, NYC The Lehman Trilogy, Florida Studio Theatre Upcoming: Zelda in the Backyard, Alabama Shakespeare Festival

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CAST / ARTISTIC TEAM / CHORUS Jasmine Rodriguez (California)

Barbarina Most Recently at Utah Opera, The Little Prince Recently: Current Utah Opera Resident Artist Upcoming: Thaïs, Utah Opera Jeremiah Tyson (Texas)

Don Curzio Most Recently at Utah Opera, The Little Prince Recently: Current Utah Opera Resident Artist La bohème, Utah Opera

Katherine Whyte (New York)

Countess Almaviva Utah Opera Debut Recently: Carmina Burana, Symphoria Il re pastore, OrpheusPDX Upcoming: Poulenc’s Gloria, Greensboro Symphony

CHORUS Soprano Jenny Andrus Kiersten Honaker Julie McBeth Carolyn TalboysKlassen

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Alto Charity Cooper Natalie Easter Paula Fowler Melissa James

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Tenor Dyson Ford Brynnen Green Marcus Lee Carl Wadsworth

Bass Buddy Eyre Thomas Klassen Michael Moyes Carson Smith

Miguel de

El Curioso I

Some 400 years ago in Renaissan proclaimed

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But in a man’s world with nowhere to turn except to herself, how did she manage? Won’t you be surprised!

Cervantes

Impertinente

nce Spain Cervantes’ heroine, Camila, for all to hear...

eToo!

An Opera in three acts. Music and text adaptation by

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STORY OF THE OPERA ACT I Figaro and Susanna, the servants of Count and Countess Almaviva, are preparing for their imminent wedding. As Figaro measures their assigned quarters for a bed, Susanna reveals that she is being pursued by the Count despite her engagement to Figaro. Dr. Bartolo and Marcellina enter, conspiring to hold Figaro to a contract he made to marry Marcellina if he failed to pay back a loan. Next comes the pageboy Cherubino; he tells Susanna of his desire for all women, especially the Countess, just as the Count arrives. Cherubino hides and overhears Almaviva’s attempted seduction of Susanna. Don Basilio’s arrival forces the Count into hiding as well. The indiscreet Basilio talks of the Count’s love for Susanna and Cherubino’s love for the Countess. Enraged, the Count emerges from hiding, discovers Cherubino, and attempts to end the boy’s flirtatious ways with an army commission to be effective immediately.

by Cherubino’s leap. Figaro quickly claims that it was he who leapt from the window, but the Count is suspicious when Antonio produces Cherubino’s dropped army commission. Marcellina, Bartolo and Basilio burst in, demanding that Figaro honor the contract for marriage.

ACT II The Countess plots with Susanna to expose her husband’s philandering: Susanna will write the Count agreeing to a rendezvous, but they will send Cherubino in her place, dressed in women’s clothes. As they work together to disguise Cherubino in drag, the Count arrives and Cherubino hides in a nearby closet. The Count, hearing noises, suspects their ruse and leaves to fetch tools with which to break open the door. To escape, Cherubino leaps out the window while Susanna takes his place. When the Count returns and finds Susanna in the closet, he is forced to apologize. Figaro arrives, then the irate gardener Antonio, whose flowerbed was destroyed

ACT IV Figaro encounters Barbarina, the gardener’s daughter, who inadvertently reveals that Susanna has received a message from the Count. Figaro assumes the worst, and decides to catch his errant wife when she arrives for her tryst in the garden. The Countess and Susanna appear in each other’s clothes, and a series of mistaken identities ensues. The Count attempts to seduce “Susanna,” who is actually the Countess in disguise. Figaro eventually realizes his wife is faithful and the Count is publicly embarrassed when he accuses Figaro of romancing his wife, only to find out it is Susanna. Chastened, he begs for the Countess’s forgiveness, which she bestows.

ACT III Figaro stalls Marcellina by telling her that he is of noble birth and cannot marry without his parents’ consent. As proof he reveals a birthmark on his arm—whereupon Marcellina realizes that she and Bartolo have found their long-lost son. With the Count still intending to bed Susanna on her wedding night, she and the Countess come up with a plan to thwart him. To bait their trap, the Countess dictates a note for Susanna to pass the Count after the double-wedding of Susanna to Figaro and Marcellina to Bartolo.

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DOES THE MARRIAGE OF FIGARO TELL US THAT WOMEN ARE BETTER THAN MEN? By Michael Clive

What a question! Your intrepid annotator wouldn’t dare pose it if a prominent Mozartean hadn’t already answered it. Peter Sellars, an avant-garde director of operas and films, received widespread attention for his updated productions of the Mozart-Da Ponte operas in the late 1980s. Of his 1988 production of The Marriage of Figaro, set in a 52nd-floor apartment in Trump Tower, The New York Times (December 14, 1990) noted that performances were “accompanied by the sounds of gnashing teeth among some music critics…” But Sellars, always an insightful observer of operatic drama, drew a laser-accurate bead on the characters in Figaro: for example, Cherubino as a sexcrazed adolescent who leaves his hockey gear lying around the penthouse; Antonio, Mozart’s and Da Ponte’s gardener, as a surly New York building superintendent; Dr. Bartolo as a professor at Columbia University; Marcellina as manager of an ultra-chic boutique. I had a chance to ask Sellars about all this in 1995, when he set an equally flamboyant production of The Magic Flute in an underground garage at Los Angeles International Airport. “Of course,” he told me—as if stating the obvious—“Mozart and Shakespeare are constantly telling us that women are superior to men.” In conversation, as well as on stage, Sellars shocks us into thinking. And in the case of Figaro, he makes a powerful argument: The Countess Almaviva is clearly framed as nobler and wiser than her husband, the count, and Figaro, though clever, is bested at every turn by his fiancée, Susanna. Indeed, the opera might well have been UTAHOPERA.ORG

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called “The Marriage of Susanna;” she barely has a chance to leave the stage during the opera’s four musically demanding acts, and though constantly besieged on all sides, she never loses her aplomb. In 21st-Century America we immediately recognize Count Almaviva for what he is: the bad boss, always grouchy, seemingly irritated by everyone and everything around him. In the days when the eventual countess first caught his eye and he resolved to woo her, Figaro was not just his employee but also his friend and cunning wingman, helping him work around Rosina’s guardian-cum-jailer, Dr. Bartolo. Now these former allies are rivals circling each other suspiciously, and somewhat angrily. Mozart, too, had direct experience with bad bosses—particularly with his sometime patron Colleredo, the Archbishop of Salzburg. By contrast, Mozart gives the Countess two radiantly beautiful and psychologically penetrating arias, and in so doing he creates a portrait of a wonderful boss who is also a wise and deeply moral human being. Rosina and Susanna enact one of the most extraordinary sisterly relationships in opera, acting as both employer and employee while remaining the closest of friends. Note the depth of mutual understanding and sheer guts shared by these two women in Act III as the Countess dictates to Susanna the note upon which both their fates depend. Bosses don’t come any better than that. This is the beauty of spirit that moved author James M. Keller to say of Rosina that “…she fully lives up to her name: Almaviva—‘living soul.’” 29

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TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Seretta Hart~ Peter Margulies# Paul Torrisi TROMBONE Mark Davidson** Principal Sam Elliot Acting Principal Andrew Zaharis~ Acting Second Trombone 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 * String Seating Rotates ** On Leave # Sabbatical ~ Substitute Member

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“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 & Joe Jarvis

Find out more:

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

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

801-869-9012 | usuo.org/planned-giving

UTAHOPERA.ORG

(801) 533-NOTE

Support Utah Symphony Utah Opera JOIN OUR COMMUNITY OF DONORS Utah Symphony | Utah Opera relies on donations from music lovers like you to fulfill our mission to connect the community through great live music. Your contribution supports extensive education programs, artistic excellence, and accessible musical experiences for all.

MAKE A DONATION ONLINE AT USUO.ORG/GIVE OR BY CALLING 801-869-9200

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

Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. For more information, please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012, or visit usuo.org/ planned-giving.

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

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

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

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

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

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

†Deceased

UTAHOPERA.ORG

(801) 533-NOTE

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

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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.

UTAHOPERA.ORG

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U of U Continuing Education

A CLASSIC GETS BETTER WITH AGE: JUST LIKE YOU! Join a life-enhancing intellectual community designed especially for “ages 50 and better!” Enjoy classes in History, Politics, Literature, Music, and more.

osher.utah.edu 801-585-5442

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