The Pirates of Penzance

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THE PIRATES OF PENZANCE MAY 7–15, 2022

JANET QUINNEY LAWSON CAPITOL THEATRE

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CONTENTS

PUBLISHER

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THE PIRATES OF PENZANCE 19 PG.

EDITOR

Melissa Robison GILBERT WELCOME . . . . . . . . . . . . & . . . SULLIVAN’S . . . . . . . . . . . . . . . . . . . . . . . . 4

THE PIRATES OF PENZANCE

The UTAH SYMPHONY | UTAH OPERA program is published

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

MOTORMOUTHS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

APPRENTICE TO A WHAT?? . . . . . . . . . . . . . . . . . . . . . . . . 13 SPONSORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

CAST / ARTISTIC STAFF / CHORUS . . . . . . . . . . . . . . . . . . 20 MAY 7–15, 2022

JANET QUINNEY OPERETTA FAQS . . . . .LAWSON . . . . . . . . . .CAPITOL . . . . . . . . . .THEATRE . . . . . . . . 27

THE STORY OF THE PIRATES OF PENZANCE . . . . . . . . . . . 28 #UTAHOPERA

UTAH SYMPHONY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 DONORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 ADMINISTRATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 CRESCENDO AND TANNER SOCIETIES . . . . . . . . . . . . . . . 49 HOUSE RULES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

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ACKNOWLEDGMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 3

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 our opera season finale production of Gilbert and Sullivan’s The Pirates of Penzance.

Steven Brosvik President & CEO

Christopher McBeth Artistic Director

This work, which straddles the line between musical theatre and opera, is beloved by performers and audiences for good reason. The music is melodic and familiar, the lyrics witty, and the conflicts of the plot are happily resolved for all by the final curtain. We hope that you find the performance a delightful means of escape from the demands and distractions of everyday life and the perfect sweet ending to our Utah Opera 2021-22 season.

If you haven’t already, we hope you’ll consider joining our family of subscribers for next season. It will be Utah Opera’s 45th season of providing distinguished quality productions that showcase emerging and established artists, celebrate traditional works, and champion the American operatic tradition. From the most recognizable works about love and loss by opera titans Wagner and Verdi, to a coming-of-age comedy that is perfect entertainment for the whole family, to the “totally userfriendly” (Los Angeles Times) tale of tech genius Steve Jobs that is immediately relatable to anyone who has used a smart device, the season will help us deliver on our mission to connect the community through great live music.

(Please visit UtahOpera.org for more information about the productions and artists.)

Thank you for joining us for today’s performance. Your presence matters and we look forward to seeing you again next year in the Janet Quinney Lawson Capitol Theatre. In the meantime, perhaps we will see you this summer at the Deer Valley Music Festival or one of USUO’s concerts in outdoor venues throughout the Wasatch Mountains!

Thomas M. Love Board of Trustees Chairman

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

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

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

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

Harris Simmons Verl R. Topham David B. Winder

John Bates Howard S. Clark Kristen Fletcher

Richard G. Horne Ron Jibson E. Jeffery Smith

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

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

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

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

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

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

*Executive Committee Member †Deceased UTAHOPERA.ORG

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MOTORMOUTHS

By Jeff Counts

Every modern theatrical discipline has Greek DNA, especially when it comes to comedy. Plays, ballets, movies, operas.

The satirical courage and structural quirks of Aristophanes still inform the best of them. One direct line that can be drawn from then to now is the dramatic technique of Parabasis, in which ancient audiences were directly addressed by the chorus.

With the main actors temporarily offstage and the action of the plot suspended, the unmasked voice of the author could hold forth on various philosophical or moral concerns. A formal feature of these extended non sequiturs was the Pnigos (Greek for “choking”) in which a debater would rattle off a long, literally breathless string of words at breakneck speed. This practice, technically if not thematically, survives today as the patter song.

Many opera, operetta and Broadway composers have made use of these deathdefying verbal fireworks to inject energy into key moments in their stories. When it’s done well by a capable singer / wordslinger on stage, it’s very impressive. And very funny. The word itself, “patter,” comes not from anything Aristophanes wrote, but from Christian ritual. The Pater Noster (Lord’s Prayer) is a common part of any congregant’s weekly experience and has been for centuries. It’s so common, in fact, reciters are known to rush through it by rote and the “patter” of modern patter song is a winking (and conveniently onomatopoeic) reference to this sort of hasty, monotone text delivery.

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Patter singing came into operatic vogue in the early 1700s but didn’t settle into its timelessly recognizable form until the latter decades of that century. In the comic works of Mozart and a few of his European contemporaries, “rapid recitative in syllabic prosody,” as Nicolas Slonimsky put it, was masterfully deployed in showpieces for hapless villains and bumbling comrades alike. Rossini and Donizetti picked up where Mozart left off when they came to power in the early 19th century and the tongue-twisty rhymes and rhythmic land mines of their patter arias challenged every singer who faced them, even the native Italian speakers. Prime examples from these formative periods occur in La nozze di Figaro, Il barbiere di Siviglia, La Cenerentola, Don Pasquale, L’elisir d’amore and many others. Golden age Broadway composers made good use of the tradition as well (recall “Ya Got Trouble” from The Music Man) but perhaps the fullest realization of patter song potential was in operetta, that delightfully uninhibited fishand-fowl space between grand opera and the musical. This is where the true kings of the form made their mark.

W. S. Gilbert and Arthur Sullivan had a 25-year partnership that began in 1871.

Sullivan, the son of a military bandmaster, wrote the music. Gilbert, the son of a naval surgeon who wrote fiction on the side, handled the words. That these two chips off the old block became the first power duo in theatrical music might seem fated now, but we can thank Richard D’Oyly Carte, a

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MOTORMOUTHS

London theater manager who considered it his life’s work to establish a comic opera tradition in England. Forget the fact that Carte’s name seems like something Gilbert made up, he was an opportunistic visionary.

The Savoy Theatre he built in 1881 to better serve and develop his cash cows featured innovations such as numbered seating, free programs and, most daring of all, electricity.

But profits and quarrels often go hand in hand in such arrangements and an eventual dispute over who should pay for a new lobby carpet broke the spell for good.

If parts of the brief joint-history above sound themselves like the plot points

in a Gilbert and Sullivan operetta, it is because of how brilliant the team was at lampooning the foibles of man. Before Gilbert’s withering gaze, specifically, the comic possibilities of human absurdity manifested iconic characters whose self-important puffery is as recognizable today as then. Enter Major General Stanley from The Pirates of Penzance. He’s more eccentric than hostile, a fussy and peculiar anachronism. Easy to laugh at, but impossible not to love, Stanley’s most famous moment comes near the end of Act I with the introductory number that swiftly reads out prominent features of his resume, while glossing over his more notable

MOTORMOUTHS

shortcomings. It’s funny, cerebrally dazzling and quite possibly the greatest patter song of all time.

One of the measurements of success for any piece of art, admittedly sometimes a dubious one, is an accounting of its pop culture progeny. “I Am the Very Model of a Modern Major-General,” by this standard, is evergreen. Tributes and parodies abound and continue to be written. They include references to the periodic table, Presidents Obama and Trump, characters in episodes of Dr. Who, Star Trek: The Next Generation and Frasier. Lin-Manuel Miranda tipped his hat to the song in Hamilton and the minions of Despicable Me 3 did a loose version of it in their own indecipherable language (there’s a wonderful article in the Financial Times by Helen Brown from 2021 if you want to read more about the “Major General Song’s” continuing life).

Interestingly, the model for the “Model” was widely thought to be General Sir Garnet Wolseley, though others believe it was an uncle of Gilbert’s wife, one General Henry Turner. Either way, Wolseley reportedly thought he was the inspiration and took no offense. He even sang the song himself occasionally. Or tried to.

essay). Vocabular acuity still matters, as does making fun of our most cherished twin weaknesses—self-awareness and its complete lack. Add in Olympic-level speed and the trip hazards of high-risk rhyming schemes, and the legacy of Aristophanes’ original “choking” speeches is confirmed.

But for professionals only, please. Don’t try this at home.

As I said before, an expertly executed patter song is as awe-inspiring as any high note and as hilarious as the most committed pratfall. It may feel like we live in a post-intellectual world today, but we also live in a world of Wordle (there it is, the unbreakable 2022 timestamp on this

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APPRENTICE TO A WHAT??

By Michael Clive

Nobody really knows who first said “dying is easy, comedy is hard.” But it’s apt for the comic world of Gilbert and Sullivan, which pokes fun at social conventions with a seeming effortlessness that only comes with enormous skill and hard work. Among English-language satires of manners and mores, nothing comes close to the series of musically rich, satirically witty operettas of librettist William Schwenk Gilbert and composer Sir Arthur Sullivan.

Sullivan was one of the most gifted English composers of the 19th century, and was certainly the most successful of his generation. W.S. Gilbert was a brilliant writer whose satirical librettos are not just pleasing rom-coms in which lovers triumph

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over practical obstacles in appropriate pairs, but also razor-sharp satires that critique the social hypocrisies of Victorian England—and, by extension, any smug ruling class.

The Pirates of Penzance, like all Gilbert and Sullivan operettas, is a frothy romp that kept Gilbert and Sullivan’s contemporary audiences too delightfully amused to notice that those witty satirical barbs were sometimes tipped with venom.

The comedy is breezy and the music unfailingly melodic, but make no mistake: The music and the writing are both nuanced, and when the surface is utterly nonsensical, there is an inner logic that makes perfect sense.

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APPRENTICE TO A WHAT??

Thus it should not surprise us that for both W.S. Gilbert and Arthur Sullivan, making good comedy was hard. Still, when the English film director Mike Leigh made his remarkable 1999 biopic Topsy-Turvy about Gilbert and Sullivan, it did surprise us by revealing a mismatched creative team—two enormously talented men who were often in conflict, felt artistically frustrated, and were troubled by the demands of their success.

Extravagant critical acclaim and boffo boxoffice tethered them to the operetta form; the public always wanted something new and even wittier. Sullivan longed to write a more serious opera, but few among us will ever have a chance to hear his lone (failed) attempt, a trite romantic comedy called The Rose of Persia. Gilbert, a born worrier, fretted with each hit show that he would not be able to come up with another topsyturvy idea for the next one.

In fact, the phrase “topsy-turvy” provides a key to the unique humor in operettas

by Gilbert and Sullivan. First, they turn a familiar but exotically foreign art form upside-down—usually Italian opera.

Then, they portray the alien culture as outlandishly goofy and eccentric, but with English manners and mores rather than foreign ones. In the most famous and most extreme example, The Mikado, Gilbert was at pains to produce authentically Japanese-looking costumes, settings, and stage movements, but his characters’ speech and actions are as English as they could possibly be. In this layering of familiar behavior on top of foreignness, it’s the familiar that’s the butt of the joke—a daring comic conceit during the Victorian

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era, when the British Empire ruled a quarter of the world’s population. In the arts, as in politics, the Empire was more inclined to judge than to be judged.

The Pirates of Penzance was Gilbert and Sullivan’s second smash hit, proving that their first, HMS Pinafore (1878), was no fluke. Pirates premiered during the winter holiday season in December 1879 with a single performance that was mounted for the purpose of international copyright protection. (Unauthorized productions of Pinafore had already cropped up throughout the U.S.) Though Pirates is nominally a love story, with the young lovers Mabel and Frederic triumphing over the obstacles that separate them, the intentionally ridiculous plot is really about class divisions rather than romance. In Pinafore, Gilbert and Sullivan broached this subject by having Sir Joseph Porter, the navy admiral who never went to sea, set his plumed cap at the lovely Josephine, whom he presumes to be a captain’s daughter—beneath his station, but as he reminds the audience, “love levels all ranks.” When she is revealed as the daughter of a common seaman, the chorus reminds him that love levels all ranks; he responds, “It does to an extent, but not as much as that.” Here, as in Pirates, the idea of babies’ futures shaped by a nursemaid’s momentary error is borrowed from Italian operas such as Il trovatore, familiar among English operagoers. (In 1895, Oscar Wilde borrowed the device again for The Importance of Being Earnest.)

In Pirates, the mix-up in infancy and the

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APPRENTICE TO A WHAT??

arbitrariness of class divisions are even more absurd than in Pinafore, based upon Frederic’s (presumably deaf) nursemaid thinking that the boy’s father wished him to be apprenticed to a pirate, rather than to a ship’s pilot. As a result, we encounter him in the flush of hunky maturity in the company of the most courteous, considerate, teadrinking pirates you’re ever likely to meet.

Feel free to keep track of Frederic and his romantic tribulations or to ignore them as you choose; this is romantic comedy, and we know that he will be happily united with his beloved Mabel in the end. But it is almost

mandatory to pay careful attention to the individual songs, which have been comic staples for more than a century and are still quoted in television shows and commercials.

And do listen carefully; the jokes are rapid-fire.

Examples include “I am the very model of a modern major-general,” a classic G&S patter song voiced by Mabel’s father, Major-General Stanley; and the policemen who express their sympathies for unemployed criminals in “When a felon’s not engaged in his employment.” Notable for its expressive color and lyrical beauty is “Sighing softly to the river,” a ballad that could take pride of place in a serious opera with a maritime setting.

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THE 2022–2023 SEASON WATCH IT HAPPEN LIVE

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THE PIRATES OF PENZANCE MAY 7–15, 2022 JANET QUINNEY LAWSON CAPITOL THEATRE

By Arthur Sullivan Libretto by W.S. Gilbert Sung in English with English Supertitle Captions by Opera Theatre of St. Louis World Premiere: New York City, December 1879 Previous Utah Opera Production: 2006 CAST

Major-General Stanley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hugh Russell The Pirate King . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Craig Irvin Frederic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Riesen Mabel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Madison Leonard Ruth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Meredith Arwady Sergeant of Police . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Nakatani Samuel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Shea Owens** Edith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edith Grossman* Kate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julia Gershkoff* Isabel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anna Atkinson ARTISTIC STAFF

Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gary Thor Wedow Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kyle Lang Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matt Haney Set & Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . James Schuette Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Driscoll Otto Wigs/Make-up Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lesli Mozaffari Chorus Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michaella Calzaretta Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tim Accurso** Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Nictakis Assistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Laurel McIntyre Stage Management Intern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Val Tholen Supertitle Musician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Natasha Talukdar Elam* The performance lasts approximately two hours 25 minutes with one intermission.

This production of The Pirates of Penzance is an original production of Opera Theatre of St. Louis.

Costumes are the property of Opera Theatre of St. Louis.

Scenery owned by The Atlanta Opera and Palm Beach Opera. *Current Utah Opera Resident Artist **Former Utah Opera Resident Artist UTAHOPERA.ORG

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CAST Hugh Russell (Canada)

Major General Stanley Utah Opera Debut Recently: Die Zauberflöte, North Carolina Opera Upcoming: Carmina Burana, New Mexico Philharmonic Craig Irvin (Iowa)

Pirate King Most Recently at Utah Opera: Silent Night Recently: The Shining, Opera Colorado The Pirates of Penzance, The Atlanta Opera Upcoming: Glory Denied, Knoxville Opera; Salome, Madison Opera John Riesen (Michigan)

Frederick Utah Opera Debut Recently: Gianni Schicchi, On Site Opera; Favorite Son, Nashville Opera Upcoming: Glory Denied, Knoxville Opera

Madison Leonard (Idaho)

Mabel Utah Opera Debut Recently: Rigoletto, Seattle Opera, Austin Opera; The [R]evolution of Steve Jobs, Seattle Opera, Lyric Opera of Kansas City, Austin Opera Upcoming: Rigoletto, The Dallas Opera; La fille du régiment, Utah Opera

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CAST Meredith Arwady (Michigan)

Ruth Utah Opera Debut Recently: Eugene Onegin, The Metropolitan Opera; Giulio Cesare, The Atlanta Opera Upcoming: Elektra, Washington National Opera; Falstaff, The Metropolitan Opera Kevin Nakatani (Utah)

Sergeant of Police Most Recently at Utah Opera: Silent Night Recently: Le nozze di Figaro, Il barbiere di Siviglia, Utah Festival Opera

Shea Owens (Arizona)

Samuel Most Recently at Utah Opera: The Merry Widow Recently: Florencia en el Amazonas, Theater St. Gallen; Mahler’s Lieder eines fahrenden Gesellen, Symphony Orchestra of St. Gallen; Cendrillon, Theater St. Gallen Upcoming: Mendelssohn’s Elijah, Cathedral of the Madeleine and BYU Choirs; Joan of Arc, Theater St. Gallen Edith Grossman (New York)

Edith Most Recently at Utah Opera: Flight Recently: If I Were You, Merola Opera; The Human Voice, Light on the Horizon, Utah Opera; Pergolesi’s Stabat Mater, Stravinsky’s Pulcinella, Utah Symphony Upcoming: Il barbiere di Siviglia, Kenosha Opera Festival; Teatro Nuovo Young Artist Program

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CAST / ARTISTIC STAFF Julia Gershkoff (Rhode Island)

Kate Most Recently at Utah Opera: Flight Recently: The Tragedy of Carmen, The Barber of Seville, Utah Opera; Pergolesi’s Stabat Mater, Utah Symphony; Lute Songs of John Dowland, NOVA Chamber Music Series; Sweeney Todd, Viardot’s Cendrillon, Wolf Trap Opera Anna Atkinson (Indiana)

Isabel Utah Opera Debut Recently: The Turn of the Screw, Opera McGill; The Limit of the Sun, Opera McGill

ARTISTIC STAFF Gary Thor Wedow (New York)

Conductor Most Recently at Utah Opera: The Barber of Seville Recently: Julius Caesar, The Atlanta Opera; Mendelssohn’s Library, Portland Baroque Orchestra Upcoming: Judas Maccabaeus, Berkshire Choral International; Alcina, Berkshire Opera Kyle Lang

Stage Director/Choreographer Most Recently at Utah Opera: Die Fledermaus Recently: Le nozze di Figaro, Virginia Opera; Becoming Santa Claus, Chicago Opera Theater Upcoming: Sweeney Todd, Opera Saratoga; The Pirates of Penzance, Virginia Opera

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ARTISTIC STAFF James Schuette (Wisconsin)

Set & Costume Designer Utah Opera Debut Recently: Tristan und Isolde, Croatia; Norma, Los Angeles Opera; The Pirates of Penzance, The Atlanta Opera Upcoming: The Pirates of Penzance, Cincinnati Opera Driscoll Otto (Texas)

Lighting Designer Most Recently at Utah Opera: The Barber of Seville Recently: The Life, Encores! at New York City Centers; Sanctuary Road, North Carolina Opera Upcoming: Trouble in Mind, Dallas Theatre Center; Hansel & Gretel, New Orleans & San Antonio Opera Lesli Mozaffari (Utah)

Wig and Makeup Designer Most Recently at Utah Opera, Tosca Recently: Hair Stylist, Hamilton Broadway Tour; Props Designer, Lyric Opera, Kingsbury Hall; Wig and Makeup Designer, Utah Lyric Opera Upcoming: Hair Stylist, Hamilton Broadway Tour Michaella Calzaretta (Iowa)

Chorus Master Most Recently at Utah Opera: Tosca Recently: Rodgers & Hammerstein Celebration: Utah Symphony; Messiah, Utah Symphony; Flight, Utah Opera; Orpheus in the Underworld, Utah Vocal Arts Academy Summer Opera Festival Upcoming: 2022–23 season, Utah Opera

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CHORUS Jenny Andrus Victor Castillo-Ludbrook Charity Cooper Kahli Dalbow Chad DeMaris Buddy Eyre Dyson Ford

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Elijah Hancock Karllen Johnson Tom Klassen Hilary Koolhoven Rae Luebbert Camree McKenna Lance Reed Merrell

Ricky Parkinson Rachel Peterson Lucas Henry Proctor Brian Rowe Shalese Sedgwick Murphy Alan Smith Daniel Tuutau

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OPERETTA FAQS Here are some facts to help you enjoy operetta whenever you get the chance.

ISN’T IT JUST “OPERA LITE”?

Definitely not. Joan Sutherland, Beverly Sills, Frederica von Stade, Fritz Wunderlich, Thomas Hampson—these are just a few of the opera megastars who were famous for performing and loving operetta. These deceptively lighthearted dramas are musically demanding. They require not only star-quality vocalism, but also a sporting willingness to relax onstage and even clown around when the moment calls for it.

HAVEN’T YOU SEEN THIS ONE BEFORE?

Definitely not. With operetta as with opera, if you’ve seen it once, you’ve seen it once. The staging and the humorous details of a given operetta are apt to vary from one production to the next; with their abundance of spoken dialogue, they virtually beg to be freely adapted to current events and specific locales. Ad-lib emoting is also fair game. On the other hand, the music is almost always performed strictly as written—lushly melodic and suited to opulent vocal display.

KNOWING YOUR GEOGRAPHY CAN HELP.

Keep Vienna, Paris and London in mind: Viennese operettas, bookended by Johann Strauss Jr.’s Die Fledermaus (1874) and Franz Lehár’s The Merry Widow (1905), are framed around idealized versions of aristocratic high life in the Austro-Hungarian empire. Waltzes, parties, elegance, pranks and romantic misunderstandings abound; children and family life are nowhere in sight.

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The Parisian operetta tradition is personified by the German-born Jacques Offenbach, who made his career in France and composed almost a hundred endlessly tuneful operettas. His gift for melody was so cherished in Paris that he could dare to satirize the court of Napoleon III’s Second Empire, which patronized him. His delicious music was a prime influence on Johann Strauss Jr. and Sir Arthur Sullivan; his humor, which sometimes lampooned society bigwigs in the audience, gave rise to the practice of locally oriented staging.

The operettas themselves are spoofy mashups of highbrow opera tropes and lowbrow farce (such as Helen of Troy and Orpheus in the Underworld.)

London, of course, means the topsy turvy world of Gilbert and Sullivan. Don’t worry, you needn’t drink tea or wear a lorgnette to enjoy G&S operettas.

ARE THERE AMERICAN OPERETTAS?

Yes. During the early decades of the 20th century, composers including Reginald De Koven, Victor Herbert, Sigmund Romberg, John Phillip Sousa, and Franz Lehár had hits on Broadway. Operettas also made their way to Hollywood by way of movies such as Sigmund Romberg’s The Student Prince (first filmed in 1927) and Lehár’s The Merry Widow, which Ernst Lubitsch directed with Jeanette MacDonald and Maurice Chevalier in 1934. Hollywood megastars Jeanette MacDonald and Nelson Eddy built their careers on filmed operettas, which were the precursors of the great age of movie musicals.

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THE STORY OF THE PIRATES OF PENZANCE Synopsis by Michaella Calzaretta

Act I: A rocky seashore on the coast of Cornwall A group of pirates celebrate and toast Frederic, who is turning 21 and thus ending his apprenticeship with the pirate band. Ruth, his nursery maid turned piratical maid-ofall-work, confesses that she accidentally apprenticed Frederic to a pirate, instead of a pilot as instructed by Frederic’s father. All is forgiven, but then Frederic informs the group that since he’s no longer indentured to them, he feels bound to see their extermination.

The sympathetic pirates accept this fate, and admit they cannot make piracy pay. Frederic explains that they are too tender-hearted and, because they’ve decreed to never attack orphans, word has spread and everyone they come up against claims they themselves are orphans! Still, even with this revelation, the pirates agree that their way of life suits them.

Ruth begs Frederic to take her with him as he leaves, hoping to become his wife.

She assures him that she is a fine woman in spite of her age, although Frederic has never seen another woman and cannot compare. Just as he agrees to their union, he spies a group of young women in the distance. Remarking at their beauty, he rejects Ruth for deceiving him.

The young women, all of whom are sisters, are shocked to encounter Frederic and horrified to learn that he is a pirate. His attempts to express his love and devotion to them are shunned, except by Mabel, whose sympathy quickly turns into romance.

Frederic warns the sisters about the approaching pirates, but it’s all too late as the pirates appear and anticipate taking them as wives. Their father, the Major-General Stanley, arrives, introduces himself, and objects to his daughters marrying pirates. He fends them off by claiming he is an orphan, so the tender28

hearted pirates release his daughters. Ruth tries in vain to reconcile with Frederic, while he and Mabel look forward to their wedding.

Act II: On Major-General Stanley’s estate: a ruined chapel by moonlight The Major-General is upset that he lied about being an orphan, and worries that he has shamed the family ancestors. In an attempt to cheer him up, Frederic shares that he will lead a group of police against the pirates. The daughters give the police a hero’s send-off. Just as Frederic is about to follow them to the pirates’ lair, the Pirate King and Ruth arrive with surprising news: it turns out that Frederic was born on February 29th in a leap year, and therefore has only had five birthdays and is still indentured to the pirates. Frederic has no choice but to respect his sense of duty and, now that he’s back to the life of piracy, shares that MajorGeneral Stanley lied about being an orphan.

The Pirate King and Ruth swear revenge.

Frederic tearfully tells Mabel of his predicament but she supports him and swears her faithfulness. When he leaves, she calls upon the police and explains they will no longer be led by Frederic.

They are understandably confused, and express the difficulties of life in the force.

The pirates begin their not-so-stealthy infiltration of the estate, observed by the hidden police. The Major-General appears, afflicted with insomnia, which arouses suspicion from his daughters. Suddenly, the pirates attack, seize the Major-General, and overcome the police. The Police Sergeant implores the pirates cease in the name of Queen Victoria, and all swear devotion to their beloved sovereign. Ruth reveals that the pirates are really noblemengone-wrong and, as they are all peers, the Major-General pardons them and grants permission to marry his daughters.

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Photo Credit: Jeff Roffman for The Atlanta Opera

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UTAH SYMPHONY Thierry Fischer, Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Barlow Bradford Symphony Chorus Director VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Alexander Martin Acting 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 LoiAnne Eyring Laura Ha• Lun Jiang# Rebekah Johnson Tina Johnson†† Jennifer Kozbial Posadas†† Veronica Kulig David Langr Hannah Linz•• Yuki MacQueen 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 Elizabeth Beilman† Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas 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 James Stroup†† Jens Tenbroek Thomas Zera† HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore

• First Violin •• Second Violin

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* String Seating Rotates † On Leave

PICCOLO Caitlyn Valovick Moore OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair Brooks Fisher†† Acting Associate Principal Lissa Stolz

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

TUBA Vacant Principal

Erin Svoboda-Scott Associate Principal Lee Livengood

TIMPANI George Brown Principal Eric Hopkins Associate Principal

BASS CLARINET Lee Livengood

PERCUSSION Keith Carrick Principal

E-FLAT CLARINET Erin Svoboda-Scott

Eric Hopkins Michael Pape

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

KEYBOARD Jason Hardink Principal

Leon Chodos Associate Principal

LIBRARIANS Clovis Lark Principal Claudia Restrepo

Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Jessica Danz Principal

ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel

Edmund Rollett Associate Principal Llewellyn B. Humphreys Brian Blanchard† Julia Pilant†† Stephen Proser # Sabbatical †† Substitute Member

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UTAH OPERA PRESENTATIONS FOR SCHOOLS Utah Opera’s live presentations for schools are offered on a 3-5 year rotating schedule to every Utah public school. Currently, live presentations are available online.

Elementary school principals can sign up for a virtual or live episode of Who Wants To Be An Opera Star? utahopera.org/who-wants-to-bean-opera-star-form

Secondary school principals or choir teachers can sign up for a virtual or live Freeze-Frame: The Elixir of Love. utahopera.org/education/teachers/ freeze-frame-the-elixir-of-love-form/

Secondary school choir teachers can sign up for an interactive virtual or live Opera Up Close, for presentation during a choir class period. utahopera.org/opera-up-close-form

Call 801-869-9091 or email aatkinson@usuo.org for more information.

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FRIEND ($1,000 TO $2,499) Anonymous [5] Christine A. Allred Margaret Anderson Drs. Crystal & Dustin Armstrong Mr. Dennis D. Austin & Dr. Ann Berghout-Austin Fred & Linda Babcock Marlene Abbott Barber Marlene Barnett Tom & Carolee Baron Mr. & Mrs. Lawrence R. Barusch David Bateman Karen Bennett Sarah Bienvenue

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

** in-kind & cash donation

$100,000 OR MORE 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

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INSTITUTIONAL DONORS $10,000 TO $24,999 Altabank HJ & BR Barlow Foundation B.W. Bastian Foundation Brent & Bonnie Jean Beesley Foundation Bertin Family Foundation Berenice J. Bradshaw Trust R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine FoundationRussell Family

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ADMINISTRATION ADMINISTRATION Steven Brosvik

SYMPHONY ARTISTIC Thierry Fischer

David Green

Robert Neu

President & CEO

Senior Vice President & COO

Micah Luce

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Julie McBeth

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Symphony Music Director

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Barlow Bradford

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Walt Zeschin

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2 Assistant Stage Manager nd

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Stitchers

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

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STAGE ARTS

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UTAH FESTIVAL OPERA

SCENE CHANGE

JANUARY 2022

UNIVERSITY CREDIT UNION

New name, same great service

STAGE ARTS

Federally Insured by NCUA.

Our 2022 Season June 20 – October 8

SHAKESPEARE FESTIVAL

THE ENGELSTAD SHAKESPEARE THEATRE

THE RANDALL L. JONES THEATRE

ALL’S WELL THAT ENDS WELL

THE SOUND OF MUSIC

By William Shakespeare

By William Shakespeare

Music by Richard Rodgers Lyrics by Oscar Hammerstein II Book by Howard Lindsay and Russel Crouse

By George Stevens Jr.

KING LEAR

THE EILEEN AND ALLEN ANES STUDIO THEATRE THE TEMPEST THURGOOD

By William Shakespeare

SWEENEY TODD

TROUBLE IN MIND

By Stephen Sondheim and Hugh Wheeler

By Alice Childress

CLUE Based on the Screenplay by Jonathan Lynn Written by Sandy Rustin Additional Material by Hunter Foster and Eric Price

STAGE ARTS

Left to right: Emelie O’Hara as Richard in The Conclusion of Henry VI: Parts Two and Three, 2019; Quinn Mattfeld as Nathan Detroit in Guys and Dolls, 2017; Betsy Mugavero as Nerissa in The Merchant of Venice, 2018; Wayne T. Carr as Macbeth in Macbeth, 2019; Michael Elich as Long John Silver in Treasure Island, 2017; and Sarah Hollis as a Witch in Macbeth, 2019.

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STAGE ARTS 3092 South Highland Drive • Salt Lake City, Utah 84106 (801) 484-6364 • ADIBS.COM

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

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

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

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

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

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

TANNER SOCIETY OF UTAH SYMPHONY

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

Mahler Circle

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

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

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

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

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

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Leave a Legacy.

Ensure the future.

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

Find out more: 50 801-869-9012 | usuo.giftplans.org

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HOUSE RULES

Photo Credit: Austen Diamond

ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at 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

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

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

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

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

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

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A N E W P B S U TA H S E R I E S | WAT C H L I V E . S T R E A M A N Y T I M E .

THE GOVERNOR’S MANSION ARTIST AWARDS

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

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

Tanner, llc LEGAL REPRESENTATION PROVIDED BY

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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.

Photo Credit: Austen Diamond

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