Rigoletto

MARCH 11–19, 2023

JANET QUINNEY LAWSON CAPITOL THEATRE

Photo Credit: Jeff Roffman, The Atlanta Opera

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CONTENTS

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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 Verdi’s masterpiece Rigoletto

STEVEN BROSVIK President & CEO

MCBETH Artistic Director

Perhaps Rigoletto was one of the first operas that captured your imagination—it is a favorite for many, with its combination of drama, iconic characters, and tuneful music. Throughout the school year, we give students across Utah their first opportunities to fall in love with opera through a variety of virtual and 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 more than 30 years as Music in Our Schools month. Sponsored by the National Association for Music Education, the initiative focuses the nation’s attention on the powerful role that quality music programs play in the lives of young people. 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.

Looking ahead, our May production of The (R)evolution of Steve Jobs is poised to attract a new demographic to our audience through this 21st century Grammy-winning work about a contemporary icon who relentlessly dedicated himself to creating the perfect device while wrestling with his own imperfections. And there is so much more to fall in love with during our 2023/24 season—be sure to subscribe and reserve the dates in your calendar to return to the Janet Quinney Lawson Capitol Theatre and experience the rich, multi-sensory performances of Utah Opera!

Sincerely,

BRIAN GREEFF Board of Trustees Chairman

P.S. Between now and May 1, 2023, you have an opportunity to double the impact of your contribution to USUO thanks to a generous $500,000 matching challenge grant from our Season Sponsor, the George S. and Dolores Doré Eccles Foundation. Learn more at www.usuo.org/donate.

CHRISTOPHER

BOARD OF TRUSTEES

ELECTED BOARD

Brian Greeff* Chair

Doyle L. Arnold* Vice Chair

Annette W. Jarvis* Vice Chair & Secretary

Joanne F. Shiebler* Vice Chair

Steven Brosvik* President & CEO

Austin Bankhead*

Dr. Stewart E. Barlow

Judith M. Billings

George Cardon-Bystry

Gary L. Crocker

LIFETIME BOARD

William C. Bailey

Kem C. Gardner*

Jon Huntsman, Jr.

G. Frank Joklik

Clark D. Jones

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Dr. J. Richard Baringer

Howard S. Clark

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Kathryn Carter

R. Don Cash

Raymond J. Dardano

Geralyn Dreyfous

John D’Arcy

David L. Dee*

Barry L. Eden*

Senator Luz Escamilla

Theresa A. Foxley

Brandon Fugal

Dr. Julie Aiken Hansen

Daniel Hemmert*

Stephen Tanner Irish

Thomas N. Jacobson

Abigail E. Magrane

Brad W. Merrill

Judy Moreton

Dr. Dinesh C. Patel

Frank R. Pignanelli

Gary B. Porter

Shari H. Quinney

Miguel R. Rovira

Stan Sorensen

Dr. Shane D. Stowell

Naoma Tate

Thomas Thatcher

W. James Tozer

David Utrilla

Kelly Ward

Kim R. Wilson

Thomas Wright*

Henry C. Wurts

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Edward Merritt*

Hugh Palmer*

EX-OFFICIO REPRESENTATIVE

Jennifer Webb

Onstage Ogden

Herbert C. Livsey, Esq.

Thomas M. Love*

David T. Mortensen

Scott S. Parker

David A. Petersen

Patricia A. Richards*

Harris Simmons

David B. Winder

Kristen Fletcher

Richard G. Horne

Ronald W. Jibson

E. Jeffery Smith

Lisa Eccles

Spencer F. Eccles

Dr. Anthony W. Middleton, Jr.

Edward Moreton

Marilyn H. Neilson

Stanley B. Parrish

Marcia Price

Jeffrey W. Shields, Esq.

Diana Ellis Smith

* Executive Committee Member

VERDI’S RIGOLETTO: THE KING AMUSES HIMSELF

By Michael Clive

Dating from 1850, when Giuseppe Verdi was 37, Rigoletto is arguably the opera that announced him as the dominant musical genius of the 19th Century in Italy. It is daringly innovative, departing from the bel canto operatic traditions that informed his earlier operas such as Ernani and Nabucco. And it is so full of gorgeous music— thrilling solo arias, glorious ensembles, and compelling orchestral passages—that it’s tempting to sit back and simply lose ourselves in beautiful sound. If that seems appealing, here’s a word of advice:

Don’t. Instead, enjoy Rigoletto as you would a great movie: Look and think as you listen.

Verdi was, first and foremost, a man of the theater. His bold decision to set Victor Hugo’s shocking play Le roi s’amuse as an opera resulted in a musical drama as timely as this morning’s Twitter feed. It remains relevant to anyone who has ever worked for a corrupt boss or felt frustrated by apparent immorality in government. As we experience the drama unfolding onstage, the beauty of the music intensifies the pathos, horror and revulsion engendered by a very dark story couched in the moral hazards that you and I face every day.

With its forthright treatment of salacious material, its intentionally suggestive title

and its implied critique of a French monarch (François I), Hugo’s Le roi s’amuse was shut down in Paris after just one performance. When Verdi chose it as the subject for a commission for an 1851 carnival production at La Fenice, the principal Venetian opera house, he knew that he might also have trouble with censors—in this case, those working for the Austrian occupation of the city—but he was not to be discouraged. An ardent admirer of Shakespeare’s dramas, he described the jester Triboulet in Hugo’s play as “a creation worthy of Shakespeare,” the highest praise he could give.

Initial signs augured well: Verdi’s librettist Francesco Maria Piave, consulting his own political sources, assured him that the subject matter would be permitted, and the project went forward with the title La maledizione (“The Curse”) in June of 1850. But within a few months, the president of the opera company raised doubts about the production. In December of 1850, a scant three months before the scheduled premiere, news came that the opera would be barred from performance because of “repulsive immorality and obscene triviality of the plot.”

Although Austrian authorities stipulated that this decision was final and that the military governor wanted no further discussion,

VERDI’S RIGOLETTO: THE KING AMUSES HIMSELF

Piave had a backup plan. He produced a bowdlerized libretto for Verdi’s music entitled Duc de Vendome, but Verdi refused even to consider this toothless version. Instead, based on a meeting at Verdi’s home in Busseto, he and Piave drew up a six-point memorandum addressing the objections to the libretto and offering concessions.

In his strategy to appease the authorities, Verdi had to weigh the elements he deemed most crucial to the drama against those he considered expendable. Religious censors in particular objected to the title La maledizione (“The Curse”), which seemed to hold the power of superstition above that of the church. The opera was retitled with the name Rigoletto after its central character—a coinage that suggests the French verb rigoler, to guffaw. Nonetheless, Verdi felt that the curse uttered by the courtier Monterone, whose daughter is publicly deflowered by the Duke, was vital to the plot—especially since Rigoletto, too, has a daughter of his own and is desperate to protect her innocence. By joining in the mockery of Monterone and his daughter, Rigoletto fatefully places himself and Gilda among the accursed. Verdi succeeded not only in preserving this essential plot element, but in making Rigoletto’s anguished outcry “la maledizione!” the last word of Piave’s libretto.

In this altered version, Francois I morphs into a fictitious 16th-Century Duke of Mantua. The action remains the same, but a sexually explicit scene—in which Gilda ran from the duke, unwittingly locking herself in what turned out to be his bedroom—was excised. Now, as the helpless victim of mistaken identity and an abduction, her innocence becomes a foil emphasizing the depravity of her victimizer, the pathos

of her sacrifice, and the corruption of the Mantuan court. With these plot changes and the altered names of the characters (as in Verdi’s Un ballo en maschera, which absurdly relocates the king of Sweden to a “royal” court in Boston), the grossly fictional setting makes the story more universal.

Though Rigoletto’s premiere in March 1851 was an unqualified success with the public, the critical reception was mixed; one aggrieved reviewer went so far as to accuse Verdi of taking a backward step toward Mozart. What perplexed the Italian operatic orthodoxy was Verdi’s rejection of the recitative-aria-cabaletta tradition of his earlier operas, which had continued along the bel canto trails blazed by Rossini, Bellini, and Donizetti. This opera signaled Verdi’s readiness to adapt musical forms more freely to serve his dramatic ends by composing with greater freedom and less vocal ornament. Writing for the Santa Fe Opera, the noted analyst Ira Siff declares that “with Rigoletto, Verdi turned the entire structure of Italian opera on its ear.” For example, Rigoletto’s first solo, “Pari siamo” (“We are alike”), takes the form of a brooding soliloquy rather than a traditional aria. In Act II, his great scena begins with an outwardly spontaneous exchange with the courtiers as he covertly searches for signs that the duke has entrapped his daughter, pretending to joke until he can no longer bear the pretense. The result, first an angry explosion and then a slow, tender plea for her return, upends the accustomed sequence of aria-cabaletta (dramatically slow principal air followed by up-tempo summation). “No recitative?” writes Siff. “The cabaletta before the aria? And all of it linked without a pause? Unheard of!”

To the late musicologist Piero Weiss, an

VERDI’S RIGOLETTO: THE KING AMUSES HIMSELF

authority on Rigoletto, these and other innovations establish the opera as the gateway to Verdi’s middle period—the most significant breakthrough among the “big three” (with Il trovatore and La traviata).

With Rigoletto, he asserts, Verdi launched Italian opera from evolution to revolution. Even more remarkably, Verdi accomplished this transformation in 1851 with a drama that remains irreducibly modern today.

Rogues’ Gallery: The Dramatis Personae of Rigoletto

Even if you’ve never encountered the expression “Fish stinks from the head down,” you’ve probably heard something like it and can surely surmise what it means: that moral corruption at the top makes its way down through an organization. Some version of this truism exists in many different cultures, and it aptly summarizes the moral lesson of Rigoletto: In Mantua, where the opera takes place, the medieval duke’s personal immorality pervades his entire court. As characters in a drama, they are vivid and surprisingly modern—but it is hard to sympathize with them.

Rigoletto is a single father whose difficult life suggests the trendy term “intersectionality”: He works hard to provide a safe home for himself and his daughter, but as an employee with a disability, he faces discrimination every day in a hostile working environment. As a dad he is overprotective; his efforts to safeguard his daughter make her less safe, not more so. In serving as court jester for a man he hates, Rigoletto has decided to “go along to get along.” The ugliness of his physical deformity can be seen to reflect his moral compromise.

Gilda, Rigoletto’s daughter, seems at first blush to be radiantly lovely and perfectly innocent. Held back from the world,

she knows nothing of it; but even after glimpsing reality, she prefers ignorance to learning about the truths of love, power and betrayal. Her sacrifice of her own life to save the duke can be seen as an act of love, but even after seeing his duplicity firsthand, she becomes his facilitator through a suicidal act. According to one wag, if willful moral ignorance were illegal, Gilda might’ve gone to jail instead of dying.

The Duke of Mantua is a figure of utter hypocrisy and moral dissolution inside a package of power, swagger, and sex appeal His anthemic aria, “La donna è mobile”— nominally about women’s fickleness— actually reflects his own inconstancy.

Sparafucile is a Mephistophelian figure of menace who dwells in shadows—a stock operatic character whose baseness is reflected in his bass voice. The aria in which he introduces himself culminates in a famous, long-held note that is one of the lowest in the operatic literature.

Maddalena is Sparafucile’s sister and quite literally his partner in crime; she works as his “man-bait” to lure potential victims to their roadside inn. In the famous Act III quartet “Bella figlia dell’amore,” with the four principals singing dazzlingly braided vocal lines reflecting their contrasting desires, the “beautiful child of love” addressed by the Duke is not Gilda, but Maddalena.

IMAGINARY INTERVIEW WITH MONSIEUR TRIBOULET – JESTER TO KING FRANCIS I

By Jeff Counts

Research into the source material for RIGOLETTO led me on a relatively uneventful journey. It’s a straight-line road with only a single possible destination— Victor Hugo and his tragic 1832 play Le roi s’amuse. Verdi and his librettist Francesco Maria Piave created such a respectfully faithful operatic recreation of Hugo’s drama in 1851, the parallels, scene to scene and character to character, are essentially one to one and require no special insight to identify. I read through the entire Hugo text anyhow, just to be sure, and right away understood Verdi’s attraction to the antiheroic court jester at the heart of the tale. Verdi considered Triboulet a “creation worthy of Shakespeare” but judiciously renamed him Rigoletto (based on the French rigoler—to laugh) to throw off any Italian censors who might have heard troubling things about Hugo’s play.

With Le roi s’amuse still running through my mind, I listened immediately to the fantastic music of the RIGOLETTO and, as I followed along with the libretto, my mind kept going

back to Triboulet. Not Hugo’s character but the actual historical figure he was based on, the true headwaters of the inspiration for both the playwright and the composer. The sad life of the flesh-and-blood Triboulet (Nicolas Ferrial was his given name) among the nobility of 15th/16th century France must have been a constant whiplash between laughter and scorn. His job, such as it was, included general entertainment, some occasional palace intrigue and, when the courtiers’ whims dictated, provisional and all-too brief membership in the privileged class. He was perfect for it, built for it in fact. His rapier wit made them howl. His finesse in the arts of foul play made him indispensable during political bouts. But his unfortunate physical deformities required them to keep him at arm’s length. He was their fool, their hilarious, spiteful, hunchbacked fool. Never more.

I had so many questions for him, this Nicolas Ferrial. What does it cost a person to suffer such disdain, to know that your actions might eventually make you worthy of it, and to do it all while attempting to

Continued on page 15…

[NOTE: A version of this article originally appeared in the program book for Utah Opera’s 2012 production of RIGOLETTO.]

STAGE ARTS

IMAGINARY INTERVIEW WITH MONSIEUR TRIBOULET

Continued from page 10…

keep your beloved daughter hidden?

Hugo’s Triboulet, like his slightly more modern incarnation Rigoletto, was as much author as victim of his personal tragedy. But what about Nicolas, the real jester? What would he have to say about it? If only I could travel back through the centuries and ask him. It might have gone something like this…

JC:

So, when did you begin…performing for King Francis I?

Triboulet:

It started before him, with King Louis XII. His Majesty heard that his footmen were antagonizing the village idiot—me—and demanded I be presented to him. I suppose I…well, I seized the moment, didn’t I? I impressed him.

JC:

Just like that? He made you his jester on the spot?

Triboulet:

Of course. Look at me.

JC:

Yeah, we should talk about that.

Triboulet:

What’s to discuss? It is my lucky birthright to look as I do. The absurdly small size of my head is due to a condition called microcephaly. The hump is real too but, in truth, I do favor it a bit for effect. I was truly born to this life. This blessed life.

JC:

I…okay. Was it different with Francis I? Your role in the court?

Triboulet:

Role? With Louis, I was a mere buffoon, a curiosity. But Francis, he made me necessary. I was his Iago, more present in court than his chief consort.

JC:

Did you begin to feel like you were one of them? The nobility?

Triboulet:

Of course! I spread their rumors for them. I delivered their insults when they feared to. I was the all-knowing shadow during all their ridiculous jealousies. You don’t trust that sort of role to the fool. That is the function of a colleague.

JC:

You can’t truly believe that.

Triboulet: No?

JC: No. You were a pet to them. They mocked you openly. Come on, why else would you have worked so hard to keep your daughter a secret?

Triboulet: You have me confused with Monsieur Hugo’s and Maestro Verdi’s versions of me. Sadly, I was childless.

JC: Oh…I apologize…

Continued on the next page…

IMAGINARY INTERVIEW WITH MONSIEUR TRIBOULET

Triboulet:

But had I been a father—and of a daughter no less—rest assured that I indeed would have kept her away from the palace at all costs.

JC: Why?

Triboulet:

It would have been no place for her. Too many vipers.

JC:

Exactly, vipers! Including, by all accounts, you by the time King Francis began to tire of you.

Triboulet:

Maybe so, maybe so. But I survived, did I not?

JC:

But at what cost? They treated every aspect of your existence with such smiling disgust. Not even your daughter was out of bounds. It drove you to arrange a murder!

Triboulet: Again, sir, you mistake me for…

JC: Right, sorry. At least please tell me how you survived. What did you have to become to endure it for so long, through two kings and countless other noble men?

Triboulet: Hmm. That question gives me pause.

JC: Take your time.

Triboulet: No, no. Time is something I want no more of. So, I will answer thusly: My tears were no less salty than their spit.

JC: I’m not sure I…

Triboulet: Look, you called my bluff correctly before. I was never their colleague. I was only their jester. But even a jester can make perfect use of himself, if cunning enough and willing enough to employ a certain viciousness on occasion. It is true that in their sport I was merely the ball, but it is just as true that without the ball, the game could not be played. I’ll ask you a question now, even though you have already answered it in your preamble. Who is most remembered today? Did Maestro Verdi name his opera for one of the court lackeys? The monarch himself? Or even my daughter ? Or did he name it for the fool?

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RIGOLETTO

MARCH 2023

JANET QUINNEY LAWSON CAPITOL THEATRE

Composed by Giuseppe Verdi

Libretto by Francesco Maria Piave

Supertitles by Scott F. Heumann

Premiere: 11 March 1851 at La Fenice in Venice.

COMPANY

Rigoletto Scott Hendricks

Gilda Jasmine Habersham

Duke of Mantua ............................................... Matthew White

Sparafucile .................................................. Kevin Thompson

Maddalena Hanna Ludwig

Giovanna Michelle Pedersen

Count Monterone ...........................................Christopher Clayton

Marullo ....................................................... Tshilidzi Ndou*

Matteo Borsa Jehú Otero*

Count Ceprano Daniel Tuutau

Countess Ceprano ............................................. Winona Martin*

A Court Usher .................................................... Marcus Lee

A Page Jasmine Rodriguez*

ARTISTIC TEAM

Conductor Joseph Colaneri Director Stephanie Havey

Chorus Master ................................................ Samuel McCoy

Set Design ..................................................... Steven Kemp

Lighting Design Amith Chandrashaker

Costume Design Susan Memmott-Allred

Wig & Makeup Design ......................................... Amanda Mitchell

Fight Director ..................................................... Zac Curtis

Assistant Director Colter Schoenfish

Stage Manager Kathleen Stakenas

Assistant Stage Manager ........................................... Beth Goodill

Principal Coach ............................................... Carol Anderson

Assistant Coach Laura Bleakley*

Set rented from New Orleans Opera

The supertitles used in this production are owned by Houston Grand Opera: Khori Dastoor, General Director and CEO

Performance runs approximately 2:50 with 2 intermissions

*Utah Opera Resident Artist

COMPANY

Scott Hendricks (Texas)

Rigoletto

Most Recently at Utah Opera: Eugene Onegin

Recently:

Tristan und Isolde, Opéra national de Lorraine; Falstaff, Komische Oper Berlin; Rigoletto, Siberia, Bregenzer Festspiele

Upcoming:

When Lilacs Last in the Dooryard Bloom’d, Kansas City Symphony; The Nose, Das Rheingold, Götterdämmerung, Siegfried, La Monnaie / De Munt

Jasmine Habersham (Georgia)

Gilda

Most Recently at Utah Opera: Moby-Dick

Recently:

Werther, Houston Grand Opera; Edward Tulane, Minnesota Opera

Upcoming:

Le nozze di Figaro, Madison Opera; Rinaldo, Glimmerglass Festival

Matthew White (Virginia)

Duke of Mantua

Utah Opera Debut

Recently:

La traviata, Houston Grand Opera; Carmen, The Santa Fe Opera

Upcoming:

Madama Butterfly, Opéra de Montréal; Carmen, Oper im Steinbruch

Kevin Thompson (Virginia)

Sparafucile

Utah Opera Debut

Recently:

Elektra, Washington National Opera; Troika, Odyssey Opera

Upcoming:

Aïda, Fort Worth Opera; Henry VIII, Bard College

COMPANY

Hannah Ludwig (California)

Maddalena

Utah Opera Debut

Recently:

Das Rheingold, Die Zauberflöte, Dallas Opera;

Maometto II, Il barbiere di Siviglia, La gazza ladra, Teatro Nuovo; L’Italiana in Algeri, Eroica Berlin; Messiah, National Symphony Orchestra

Upcoming:

Messiah, New York Philharmonic

Michelle Pedersen (Utah)

Giovanna

Utah Opera Debut

Recently:

Hello, Dolly! The Ohio Light Opera; Dialogues des Carmélites, University of Utah Opera

Upcoming:

Suor Angelica, University of Utah Opera

Christopher Clayton (Utah)

Count Monterone

Most Recently at Utah Opera, Tosca

Recently:

Carmina Burana, Utah Symphony; Gentleman’s Island, Utah Opera; Pagliacci, Opera Birmingham

Tshilidzi Ndou (South Africa)

Marullo

Most Recently at Utah Opera, The Daughter of the Regiment

Recently:

Current Utah Opera Resident Artist; The Elixir of Love, The Dallas Opera;

The Crucible, Così fan tutte, Southern Methodist University

Upcoming:

La tragédie de Carmen, Intimate Apparel, Chautauqua Opera

COMPANY

Jehú Otero (Puerto Rico)

Matteo Borsa

Most Recently at Utah Opera, The Daughter of the Regiment

Recently:

Current Utah Opera Resident Artist

Mozart’s Great Mass in C minor, Orquesta Sinfónica de Puerto Rico; Silvain, Lafayette Opera

Upcoming:

L’Orfeo, The Santa Fe Opera

Daniel Tuutau (Utah)

Count Ceprano

Most Recently at Utah Opera, The Pirates of Penzance

Recently:

Gianni Schicchi, Lyrical Opera Theater; Messiah, Utah Oratorio Society; Tosca, Lyrical Opera Theater;

Upcoming:

La Bohème, Lyrical Opera Theater

Winona Martin (Texas)

Countess Ceprano

Utah Opera Debut

Recently:

Current Utah Opera Resident Artist

Susannah, Wolf Trap Opera;

Albert Herring, Boston Conservatory Opera

Upcoming:

Don Giovanni, Wolf Trap Opera; Faust, Wolf Trap Opera

Marcus Lee (Minnesota)

Court Usher

Most Recently at Utah Opera, The Daughter of the Regiment

Recently:

The Sound of Music, The Glimmerglass Festival; Carmen, The Glimmerglass Festival

Upcoming:

The (R)evolution of Steve Jobs, Utah Opera

COMPANY / ARTISTIC TEAM

Jasmine Rodriguez (California)

The Page

Utah Opera Debut

Recently:

Current Utah Opera Resident Artist; La Bohème, Chandler Opera Company; Carmen, Arizona Opera;

Once Upon a Mattress, The Old Maid and the Thief, The Seagle Festival

Upcoming:

The (R)evolution of Steve Jobs, Utah Opera

ARTISTIC TEAM

Joseph Colaneri (New Jersey)

Conductor

Utah Opera Debut

Recently:

Falstaff, Maryland Lyric Opera; Carmen, Glimmerglass Festival

Upcoming:

Candide, Roméo et Juliette, Glimmerglass Festival

Stephanie Havey (New York)

Stage Director

Utah Opera Debut

Recently:

Le nozze di Figaro, Pittsburgh Opera; Tosca, Arizona Opera

Upcoming:

Madama Butterfly, Opéra de Montréal

L’Amant Anonyme, Madison Opera

Samuel McCoy (Pennsylvania)

Assistant Conductor & Chorus Master

Most recently at Utah Opera, The Flying Dutchman

Recently:

The Companion, Mostly Modern Festival; Cav+Pag, New Camerata Opera; Looking at You, HERE Arts

Continued on page 28…

ARTISTIC TEAM

Steven C. Kemp (Texas)

Set Design (Provided by the New Orleans Opera Association)

Previously at Utah Opera, The Flying Dutchman

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; Madama Butterfly, New Orleans Opera

Susan Memmott Allred (Utah)

Costume Design

Most Recently at Utah Opera, Tosca

Recently:

PBS Christmas Special with Mormon Tabernacle Choir 2016; Resident Designer, Utah Opera, 1979–2011; Mormon Miracle Pageant; Utah Shakespeare Festival; Southern Utah State College

STORY OF THE OPERA

ACT I

A dark atmosphere of forced gaiety prevails at a party in the court of the Duke of Mantua, a heedless libertine. Rigoletto, physically deformed and costumed for his job as court jester, flits among the guests; it’s his task to keep the courtiers laughing and flatter the duke’s ego. In a jaunty aria like an anthem of lechery, the duke boasts about his sexual prowess: This woman or that one, it really doesn’t matter. He dances with the Countess Cepráno as Rigoletto taunts her enraged husband, who feels helpless to defy his patron the duke. The courtier Marullo enters, gleeful with juicy gossip: It seems that the pathetic Rigoletto has a young mistress at home! We know what the gossipers don’t: This young

woman is actually the jester’s daughter, whose existence he’s kept secret from the court. But Rigoletto, unaware that he’s suddenly become the goat of the latest gossip, continues to taunt Ceprano, who plots with the others to punish him.

Monterone, an elderly nobleman, forces his way into the party, angrily denouncing the duke for seducing his daughter. As he is arrested and ridiculed by Rigoletto, Monterone angrily denounces the partyers and Rigoletto, fatefully cursing them to know a father’s agony like his own. This is the jester’s deepest fear, and as he rushes home, he broods over Monterone’s words. In his secluded neighborhood he encounters Sparafucile, an assassin and maker of

STORY OF THE OPERA

mayhem-for-hire, who offers his services. Though Rigoletto resists, his refusal is less than absolute. He enters his house and warmly greets his daughter, Gilda. Afraid for her safety, he warns her nurse, Giovanna, not to let anyone into the house.

When Rigoletto leaves, the duke appears and bribes Giovanna, who admits him to the garden of Rigoletto’s house. Having heard Gilda secretly admiring him at church—but expressing the wish that he were poor—he tells her he is a humble student. After he leaves, she tenderly reflects on her newfound love in an aria of naïve simplicity, dreamily repeating the “dearest name to her heart”—the false name he has given her. Soon courtiers gather outside the garden intending to abduct Rigoletto’s “mistress.” Coming upon the jester, they cleverly improvise, admitting them into their gang, blindfolding him as part of his supposed disguise, and even tricking him into holding a ladder against his own garden wall so they can abduct Gilda from her bedchamber. Once they are gone, Rigoletto rushes into the house and collapses in despair, remembering Monterone’s curse.

ACT II

Though nothing about the plan to abduct Gilda was particularly unusual, the duke is disturbed about it. But when the courtiers return and tell him the story of how they took the girl from Rigoletto’s house and left her in the duke’s chamber, the duke delightedly hurries off to take advantage. Soon Rigoletto enters to search for her. The plotters are astonished to find out that Gilda is Rigoletto’s daughter rather than his mistress, but still prevent him from

storming into the duke’s chamber. The jester ragefully accuses them of cruelty, but his anger abruptly ebbs away and he almost collapses in grief as he begs them for compassion. Still in her bedclothes, Gilda appears and runs in shame to her father, who orders the others to leave. Alone with Rigoletto, Gilda tells him of the duke’s courtship, then of her abduction. When Monterone passes by on his way to execution, the jester swears that both he and the old man will be avenged. Gilda begs her father to forgive the duke.

ACT III

Rigoletto arrives with Gilda at the inn where the inn where the sinister Sparafucile lives with his sister, the alluring Maddalena, who serves as bait for his entrapments. As the duke sits inside laughing at the fickleness of women and amusing himself with Maddalena, Gilda and Rigoletto watch from outside. The jester sends Gilda off to Verona disguised as a boy and pays Sparafucile to murder the duke, but Gilda returns and overhears Maddalena urging her brother to spare the handsome stranger and kill the hunchback instead. Sparafucile refuses to murder Rigoletto, but agrees to kill the next stranger who comes to the inn so that he will be able to produce a dead body; Gilda decides to sacrifice herself for the duke. She knocks at the door and is stabbed. Rigoletto returns to claim the duke’s body; as he gloats over the sack Sparafucile has given him, he hears his supposed victim reprising his signature aria, “La donna e mobile,” in the distance. Frantically tearing open the sack, he finds his daughter, who dies asking his forgiveness. Rigoletto collapses in grief with Monterone’s curse on his lips.

UTAH SYMPHONY

Thierry Fischer, Music Director

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

Benjamin Manis

Associate Conductor

Barlow Bradford Symphony Chorus Director

VIOLIN*

Madeline Adkins

Concertmaster

The Jon M. & Karen

Huntsman Chair, in honor of Wendell J. & Belva B. Ashton

Kathryn Eberle

Associate Concertmaster

The Richard K. & Shirley S. Hemingway Chair

Laura Ha

2nd Associate Concertmaster

Claude Halter Principal Second

Wen Yuan Gu#

Associate Principal Second

Evgenia Zharzhavskaya Assistant Principal Second

Karen Wyatt••

Sara Bauman~

Erin David

Joseph Evans

Lun Jiang

Rebekah Johnson••v

Tina Johnson~

Amanda Kofoed~

Jennifer Kozbial Posadas~

Veronica Kulig

David Langr

Shengnan Li

Hannah Linz••

Yuki MacQueen

Alexander Martin

Rebecca Moench

Hugh Palmer•

David Porter

Lynn Maxine Rosen

Barbara Ann Scowcroft**

Ju Hyung Shin•

Bonnie Terry

Julie Wunderle

VIOLA*

Brant Bayless Principal

The Sue & Walker

Wallace Chair

Yuan Qi

Associate Principal

Julie Edwards

Joel Gibbs

Carl Johansen

Scott Lewis

John Posadas

Whittney Sjogren

Leslie Richards~

CELLO*

Matthew Johnson Acting Principal

The J. Ryan Selberg Memorial Chair

Andrew Larson Acting Associate Principal

John Eckstein

Walter Haman

Anne Lee

Louis-Philippe Robillard

Kevin Shumway

Hannah Thomas-Hollands~

Pegsoon Whang

BASS*

David Yavornitzky Principal

Corbin Johnston Associate Principal

James Allyn

Andrew Keller

Edward Merritt

Jens Tenbroek

Thomas Zera

HARP

Louise Vickerman Principal

FLUTE

Mercedes Smith

Principal

The Val A. Browning Chair

Lisa Byrnes

Associate Principal

Caitlyn Valovick Moore

PICCOLO

Caitlyn Valovick Moore

OBOE

Zachary Hammond

Principal

The Gerald B. & Barbara F. Stringfellow Chair

James Hall

Associate Principal

Lissa Stolz

ENGLISH HORN

Lissa Stolz

CLARINET

Tad Calcara

Principal

The Norman C. & Barbara Lindquist

Tanner Chair, in memory of Jean Lindquist Pell

Erin Svoboda-Scott Associate Principal

Lee Livengood

BASS CLARINET

Lee Livengood

E-FLAT CLARINET

Erin Svoboda-Scott

BASSOON

Lori Wike Principal

The Edward & Barbara Moreton Chair

Leon Chodos Associate Principal

Jennifer Rhodes

CONTRABASSOON

Leon Chodos

HORN

Jessica Danz Principal

Edmund Rollett

Associate Principal

Nate Basinger~ Julia Pilant~

Stephen Proser

TRUMPET

Travis Peterson Principal

Jeff Luke

Associate Principal

Peter Margulies

Paul Torrisi

TROMBONE

Mark Davidson Principal

Sam Elliot

Associate Principal

BASS TROMBONE

Graeme Mutchler

TUBA

Alexander Purdy

Principal

TIMPANI

George Brown

Principal

Eric Hopkins

Associate Principal

PERCUSSION

Keith Carrick Principal

Eric Hopkins

Michael Pape

KEYBOARD

Jason Hardink Principal

LIBRARIANS

Clovis Lark Principal

Claudia Restrepo

ORCHESTRA PERSONNEL

Walt Zeschin

Director of Orchestra Personnel

Hannah Thomas-Hollands Orchestra Personnel Manager

• First Violin

•• Second Violin

* String Seating Rotates ** On Leave

# Sabbatical ~ Substitute Member

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 January 23, 2023

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

MILLENNIUM ($250,000+)

Anonymous Kem & Carolyn Gardner

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

Lawrence T. & Janet

T. Dee Foundation

Anthony & Renee Marlon

John & Marcia Price Family Foundation

Shiebler Family Foundation

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

Judy Brady & Drew

W. Browning

Larry Clemmensen

John & Flora D’Arcy

John & Carol Firmage

John H. † & Joan Firmage

Brian & Detgen Greeff

Edward Moreton

Estate of Linda & Donald Price

Mark & Dianne Prothro

Patricia A. Richards & William K. Nichols

Harris H. & Amanda Simmons

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

Fran Akita

Doyle Arnold & Anne Glarner

Thomas Billings & Judge

Judith Billings

Kristen Fletcher & Dan McPhun

David & Angela Glenn

Intuitive Funding

Tom & Lorie Jacobson

Gary† & Sandra K.†

Lindstrom

Thomas M. & Jamie Love

Mr. & Mrs. Charles McEvoy

Fred & Lucy Moreton

James & Ann Neal

Peggy & Ben Schapiro

Theodore & Elizabeth Schmidt Foundation

Elizabeth Solomon

George Speciale

Naoma Tate & the Family of Hal Tate

Jim & Zibby Tozer

Jacquelyn Wentz

Wheatley Family

Charitable Fund

Dewelynn & J.

Ryan† Selberg

Steve & Betty Suellentrop

Taft & Anne Symonds

Paul Taylor

John & Jean Yablonski

Edward & Marelynn† Zipser

INDIVIDUAL DONORS

MAESTRO ($10,000 TO $24,999)

Anonymous

Austin & Kristi Bankhead

Dr. J.R. Baringer & Dr.

Jeannette J. Townsend

Dr. & Mrs. Clisto Beaty

Berenice J. Bradshaw Trust

Diane & Hal Brierley

Judy & Larry Brownstein

Shelly Coburn

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

Kathleen Digre & Michael Varner

Pat & Sherry Duncan

Dr. & Mrs. Ralph Earle

Barry & Traci Eden

Mrs. Sarah Ehrlich

Matthew B. Ellis Foundation

Carolyn & Craig Enenstein

Midge & Tom Farkas

Thomas & Lynn Fey

Robert & Elisha Finney

Kristen & Brandon Fugal

Susan & Tom Hodgson

Mary P.† & Jerald H. Jacobs Family

Annette & Joseph Jarvis

G. Frank & Pamela Joklik

Jeanne Kimball

Mr. & Mrs. Christopher J. Lansing

Bill Ligety & Cyndi Sharp

Tom & Janet McDougal

Jed Millburn

The Millerberg Family Giving Fund

Harold W. & Lois Milner

Terrell & Leah Nagata

Metta Nelson Driscoll

Leslie Peterson & Kevin Higgins

Frank R. Pignanelli & D’Arcy Dixon Pignanelli

Walter J. & Peggy Plumb

Stephen & Cydney Quinn

David & Shari Quinney

Albert J. Roberts IV

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

Mr. & Mrs. G. B. Stringfellow

Chris Akita Sulser

Thomas & Marilyn Sutton

The Christian V. & Lisa D. Young Family Foundation

Kathie Zumbro

INDIVIDUAL DONORS

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

Anonymous [10]

4Girls Foundation

Alan, Carol, & Annie Agle

Douglas Anderson

Kyle & Melissa Barnett

H. Brent & Bonnie Jean

Beesley

Bill & Susan Bloomfield

David Brown

Hannalorre Chahine

William & Patricia Child

John Clukey

Marc & Kathryn Cohen

LJJ Fund at the Community Foundation of Utah

Mr. & Mrs. Kenneth R. Cutler

Anne Daigle & Rich Heyman

Marian Davis & David Parker

Jack & Marianne Ferraro

Rulon Gardner

Sarah Garrison

Diana George

Elaine Gordon

Barbara Greenlee

David & SandyLee Griswold**

Ray & Howard Grossman

Brian & Emma Casper

Tresa Hamson

Diane & Michael Hardink

Chuck & Kathie Horman

Sunny & Wes Howell

Ronald & Janet Jibson

Jill Johnson

Allison Kitching

Howard & Merele Kosowsky

Michael & Peg Kramer

Gary & Suzanne Larsen

Daniel & Deena Lofgren

Dennis & Pat Lombardi

Robert Marling

Christopher & Julie McBeth

Michal & Maureen Mekjian

W. C. Moeller & Joanne

Moeller

Sir David Murrell IV & Mary

Beckerle

Patricia Legant & Thomas

Parks

Dr. Dinesh & Kalpana Patel

Brooks & Lenna Quinn

Joyce Rice

Kenneth Roach & Cindy Powell

Richard & Carmen Rogers

James & Anna Romano

Sandefur Schmidt

Barbara & Paul Schwartz

Brent & Lisa Shafer

Scott & Karen Smith

Sidney Stern Memorial Trust

Shane & Stacey Stowell

Craig Stuart

David O. Tanner

Tim & Judy Terrell

Brad E. & Linda P. Walton

Jaelee Watanabe

Douglas Wood

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

Anonymous

Craig & Joanna Adamson

Dr. & Mrs. Jeffrey L.

Anderson

Pam & Paul Apel

Drs. Crystal & Dustin

Armstrong

Dr. Ann Berghout & Dennis

Austin

Tina & John Barry

Charles & Jennifer Beckham

Lowell Bennion

Dr. Melissa Bentley

Celine Browning

Michael & Vickie Callen

Mr. & Mrs. William D.

Callister

Vincent Cannella

Geoffrey Carrizosa

Dr.† & Mrs. Anthony Carter

Mark & Marcy Casp

Po & Beatrice Chang & Family

Blair Childs & Erin Shaffer

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.

Karey Dye

Carol & Greg Easton

Hans & Nanci Fastre

James Finch

Adele & James Forman

Linda Francis

Thomas Fuller

Mr. Joseph F. Furlong III

Robert & Annie-Lewis Garda

Dave Garside

Larry Gerlach

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

Bob & Mary Gilchrist

Andrea Golding Legacy Foundation

Shari Gottlieb

Susan Graves

Dr. & Mrs. John Greenlee

INDIVIDUAL DONORS

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

Ronald & Kaye Gunnell

Kenneth & Kate Handley

Jonathan Hart

Jeff & Peggy Hatch

Nancy Ann Heaps

John Edward Henderson

Don Hendricks

Marian & Matt Hicks

Richard & Ruth Ann Hills

Dixie S. & Robert P. Huefner

Michael Huerta & Ann

Sowder

Jay & Julie Jacobson

Drs. Randy & Elizabeth Jensen

M. Craig & Rebecca Johns

Maxine & Bruce Johnson

James R. Jones & Family

Neone F. Jones Family

Dr. Michael A. Kalm

Dr. James & Carolyn

Katsikas

Michael & Amy Kennedy

Spencer & Christy Knight

Les Kratter

Jeffrey LaMora

Dr. Donald & Alice Lappe

Tim & Angela Laros

Linda & Bret Laughlin

Harrison & Elaine Levy

Michael Liess

Abbot B & Joan M Lipsky

Fund

John & Kristine Maclay

Abigail Magrane

Heidi & Edward D. Makowski

Shasha & Brian Mann

Peter Margulies & Louise

Vickerman

Kathryn & Jed Marti

Dale & Carol Matuska

David & Nickie McDowell

Ted A. McKay

Karen & Mike McMenomy

George & Nancy Melling

David B. & Colleen A. Merrill

John & Bria Mertens

Carol & Anthony W.

Middleton, Jr., M.D.

Cyrus & Roseann Mirsaidi

MJZR Charitable Trust

Dr. Louis A. Moench & Deborah Moench

Barry & Kathy Mower

Ashton Newhall

Vincent & Elizabeth Novack

Pat & Charlotte O’Connell

Stanley B. & Joyce M. Parrish

Ray Pickup

Mr. & Mrs. James S. Pignatelli

Lisa Poppleton & Jim

Stringfellow

W.E. & Harriet R. Rasmussen

Glenn Ricart

Gina Rieke

Mr. & Mrs. Robert Rollo

Rebecca Roof & Gary Smith

Nathan Royall

Mark & Loulu Saltzman

Margaret P. Sargent

Nathan & Shannon Savage

Diana Scardilli

Dr. S. Brent & Janet

Scharman

James & Janet Schnitz

William G. Schwartz & Jo

Ann Givan

Lisa & Joel Shine

Gibbs† & Catherine W. Smith

Sheryl & James Snarr

Spitzberg-Rothman Foundation

Ray & Ann Steben

Toni Stein

Douglas & Susan Terry

Sal & Denise Torrisi

Dr. Albert & Yvette Ungricht

Richard Valliere

Susan & David† Wagstaff

Gerard & Sheila Walsh

Susan Warshaw

Renee & Dale Waters

Betsey & Scott Wertheimer

Kelly Whitcomb

Dan & Amy Wilcox

Cindy Williams

Barry & Fran Wilson

Bruce Woollen

E. Woolston† & Connie Jo

Hepworth-Woolston

Caroline & Thomas Wright

Peter Zutty

INDIVIDUAL DONORS

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

Anonymous [5]

Carolyn Abravanel

Christine A. Allred

Margaret Anderson

Ian Arnold

Fred & Linda Babcock

Marlene Abbott Barber

Marlene Barnett

Tom & Carolee Baron

Sue Barsamian

Victoria Bennion

Sarah Bienvenue

Harvey & Donna Birsner

C. Kim & Jane Blair

Diane Banks Bromberg & Dr. Mark Bromberg

Dana Carroll & Jeannine Marlowe Carroll

Mr. & Mrs. Fred L. Carter, Jr.

Wan P. Chang

Michael & Beth Chardack

William J. Coles & Joan L. Coles

Community Trust of Utah

Dr. & Mrs. David Coppin

David & Carol Coulter

David† & Donna Dalton

James Dashner

David & Karen

Gardner Dee

Charles Deneris

Klancy & Noel† DeNevers

Dr. Paul Dorgan

Frank & Kathleen Dougherty

Eric & Shellie Eide

Karen Fletcher

Shawn Fojtik

Dr. Robert Fudge & Sylvia Newman

Heidi Gardner

Theresa Georgi

Mr. Keith Guernsey

John & Ilauna Gurr

Emily & Chauncey Hall

Dr. Elizabeth Hammond

Travis W. Hancock

Brad Hare MD & Akiko Okifuji PhD

Mark O. Haroldsen

R. Glenn & Virginia Harris

LeeAnn Havner

Lex Hemphill & Nancy Melich

Barbara Higgins

Connie C. Holbrook

Jennifer Horne-Huntsman

Stephen Tanner Irish

Gordon Irving

Eldon Jenkins & Amy Calara

Bryce & Karen† Johnson

Chester & Marilyn Johnson

John S. Karls

Umur Kavlakoglu

Susan Keyes & Jim Sulat

Lucinda L. Kindred

Mary Koch

Gary Lambert

Robert & Rochelle Light

Ms. Susan Loffler

Shannon & Kirk Magelby

Jerilyn McIntyre & David Smith

Gary McNally

Jeffrey McNeal

Warren K.† & Virginia G. McOmber

Brad & Trish Merrill

James & Nannette Michie

Dr. Nicole L. Mihalopoulos & Joshua Scoville

Richard & Robin Milne

Dan & Janet Myers

Marilyn H. Neilson

Dr. Stephen H. & Mary Nichols

Maura & Serge Olszanskyj

Lee K. Osborne

Perry Patterson

Elodie Payne

Dr. S. Keith & Barbara Petersen

Stefan Pulst

Megan A. Rasmussen

Frances Reiser

Diane & Dr. Robert Rolfs, Jr.

Gail T. Rushing

Leona Sadacca

Janet Schaap

Grant H. Schettler

Theodore & Elizabeth Schmidt Family Foundation

Mr. August L. Schultz

Gerald† & Sharon Seiner

Dennis & Annabelle Shrieve

Silver Fox

Barbara Slaymaker

Jan H. Smith

Dr. & Mrs. Michael

H. Stevens

Jim Swayze

Brent & Lissa Thompson

Dr. Ralph & Judith

Vander Heide

Donna Walsh

Dr. James C. Warenski

Stephen Watson

Emily Weingeist

Frank & Janell Weinstock

David & Jerre Winder

David B. & Anne Wirthlin

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

Estate of John Henkels

Roger & Susan Horn

Carolyn T. Irish Revocable Trust

Estate of Marilyn Lindsay

The Right Reverend

Carolyn Tanner Irish† and Mr. Frederick Quinn

Loretta M. Kearns†

Vicki McGregor

Edward Moreton

Estate of Pauline C. Pace

The Linda & Don Price Guest Artist Fund

Perkins-Prothro Foundation

Kenneth† & Jerrie Randall

The Evelyn Rosenblatt

Young Artist Award

Bill & Joanne Shiebler

GIFTS MADE IN HONOR

Alex Martin

Carol Anderson

Anne & Ashby Decker

Thierry Fischer

Heather Weinstock

Leslie Peterson

GIFTS MADE IN MEMORY

Danny Boy

Julie Lee Lawrence

Joan Coles

Jack Golden Edwards

Kathy Hall

John Husband

Karen Johnson

Scott Landvatter

Maxine & Frank McIntyre

Glade & Mardean Peterson

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

Estate of Frederic & Marilyn Wagner

M. Walker† & Sue Wallace

Jack & Mary Lois

Wheatley Family Trust

Edward & Marelynn†

Zipser

Doyle Clayburn

Carol Zimmerman

Maria A. Proser

Dan Ragan

Robert C. Sloan

Laurie W. Thornton

INSTITUTIONAL DONORS

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

* in-kind donation

$100,000 OR MORE

AHE/CI Trust

HJ & BR Barlow Foundation

C. Comstock Clayton Foundation

The Church of Jesus Christ of Latter-day Saints Foundation

Lawrence T. and Janet T. Dee Foundation

$50,000 TO $99,999

Anonymous BMW of Murray/BMW of Pleasant Grove Dominion Energy

$25,000 TO $49,999

Arnold Machinery

Carol Franc Buck Foundation

Cache Valley Electric Deer Valley Resort*

** in-kind & cash donation

Marriner S. Eccles Foundation

George S. & Dolores Doré Eccles Foundation

Emma Eccles Jones Foundation

Frederick Q. Lawson Foundation

LOVE Communications**

Larry H. & Gail Miller Family Foundation

O.C. Tanner Company

S.J. & Jessie E. Quinney Foundation

Sorenson Legacy Foundation

Stowell Leadership Group, LLC* Zions Bank

The Florence J. Gillmor Foundation

The Grand America Hotel & Little America Hotel*

The John C. Kish Foundation

Janet Q. Lawson Foundation

The Kahlert Foundation

McCarthey Family Foundation

Charles Maxfield & Gloria F. Parrish Foundation

Joanne L. Shrontz Family Foundation

Simmons Family Foundation

Summit Sotheby’s

Nora Eccles Treadwell Foundation

INSTITUTIONAL DONORS

$10,000 TO $24,999

Altabank

B.W. Bastian Foundation

Brent & Bonnie Jean Beesley Foundation

Bertin Family Foundation

R. Harold Burton Foundation

Caffé Molise*

Marie Eccles Caine FoundationRussell Family

Cultural Vision Fund

Gardner Company

$1,000 TO $9,999

Anonymous [2]

Amazon Black Physicians of Utah

Rodney H. & Carolyn Hansen Brady Charitable Foundation

The Capital Group

David Dee Fine Arts

Spencer F. & Cleone P. Eccles Family Foundation

Henry W. and Leslie M. Eskuche Charitable Foundation

The Fanwood Foundation Western Office

Grandeur Peak Global Advisors

Goldman Sachs & Co. LLC

Gorjana*

Greenberg Traurig

Richard K. & Shirley S. Hemingway Foundation

Johnson Foundation of the Rockies

Parr Brown Gee & Loveless

Raymond James & Associates

Regence BlueCross

BlueShield of Utah

The Val A. Green & Edith D. Green Foundation

The Helper Project

Victor Herbert Foundation

Holland & Hart**

Hotel Park City / Ruth’s Chris Restaurant

Hyatt Centric Park City**

The Marion D. & Maxine C. Hanks Foundation

Millcreek Coffee Roasters*

Pago on Main*

Parsons Behle & Latimer

Ray, Quinney & Nebeker Foundation

Red Rock Brewing Company*

The Joseph & Evelyn Rosenblatt Charitable Fund

Semnani Family Foundation

St Regis Deer Valley

Stay Park City

The Swartz Foundation

W. Mack and Julia S. Watkins Foundation

WCF Insurance

Rocky Mountain Power Foundation

Ruth’s Chris Steak House*

Sea to Ski Premier

Home Management

Squatters Pub Brewery*

Snell & Wilmer

Summerhays Music Center

Summit Energy

Swire Coca-Cola, USA*

Victory Ranch & Conservancy

Young Electric Sign Co.

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

City of Orem CARE Tax

National Endowment for the Arts

Salt Lake City Arts Council

Salt Lake County Zoo, Arts and Parks

Summit County Restaurant Tax / RAP Tax

Utah Department of Cultural & Community Engagement

Utah Division of Arts & Museums

Utah State Legislature

Utah State Board of Education

Utah Office of Tourism

BY WILLIAM SHAKESPEARE

ADMINISTRATION

ADMINISTRATION

Steven Brosvik

President & CEO

David Green

Senior Vice President & COO

Micah Luce

Director of Human Resources & Organizational Culture

Julie McBeth

Executive Assistant to the CEO

Marcus Lee

Assistant to the COO & Office Manager

OPERA ARTISTIC

Christopher McBeth

Opera Artistic Director

Carol Anderson

Principal Coach

Michelle Peterson

Director of Production

Ashley Tingey

Production Coordinator

OPERA TECHNICAL

Sam Miller

Technical Director

Kelly Nickle

Properties Master

Dusty Terrell

Scenic Charge Artist

JR Orr

Head Carpenter & Ship Foreman

COSTUMES

Cee-Cee Swalling

Costume Director

Verona Green

Costume Rentals & Stock Manager

Milivoj Poletan

Master Tailor

Tiffany Lent

Cutter/Draper & Costume Shop Foreman

Sophie Thoms

First Hand

Maxwell Paris

Wardrobe Supervisor & Rentals

Assistant

Liz Wiand

Rentals Assistant

Nyssa Sara Lee

Stitcher

SYMPHONY ARTISTIC

Thierry Fischer

Symphony Music Director

Anthony Tolokan

Artistic Consultant

Barlow Bradford

Symphony Chorus Director

Walt Zeschin

Director of Orchestra Personnel

Hannah Thomas-Hollands

Orchestra Personnel Manager

Morgan Moulton

Artistic Planning Manager

Isabella Zini

Artistic Planning Coordinator & Assistant to the Music Director

SYMPHONY OPERATIONS

Cassandra Dozet Senior Director of Operations

Melissa Robison Program Publication & Front of House Director

Chip Dance Director of Production

Jen Shark Operations Manager

DEVELOPMENT

Leslie Peterson Vice President of Development

Jessica Proctor

Director of Institutional Giving

Katie Swainston

Individual Giving Manager

Lisa Poppleton

Grants Manager

Dallin Mills

Development Database Manager

Ellesse Hargreaves

Stewardship & Event Coordinator

MARKETING & COMMUNICATIONS

Meredith Kimball Laing

Vice President of Marketing & Communications

Adia Thornton

Director of Marketing

Robert Bedont

Marketing Manager

Megs Vincent

Communications Manager

Nina Starling

Website Content Coordinator

Ellen Lewis

Marketing & Communications Coordinator

PATRON SERVICES

Faith Myers

Director of Patron Engagement

Jaron Hatch

Patron Services Manager

Toby Simmons

Patron Services Assistant Manager

Genevieve Gannon

Group Sales Associate

Amber Bartlett

Lorraine Fry

Jodie Gressman

Michael Gibson

Sean Leonard

Naomi Newton

Ian Painter

Ananda Spike

Val Tholen

Patron Services Associates

ACCOUNTING & INFORMATION TECHNOLOGY

Steve Hogan

Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Melanie Giles

Controller

Jared Mollenkopf

Patron Information Systems Manager

Bobby Alger

Accounts Payable Specialist

EDUCATION

Ben Kipp

Director of Education & Community Engagement

Beth Foley

Opera Education Assistant

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

ENJOY GREAT PERFORMANCES AT A LOW PRICE WITH YOUR FRIENDS AND CLASSMATES

HIGH SCHOOL MUSIC CLUBS

WITNESS FOUR UTAH SYMPHONY PERFORMANCES FOR JUST $20 AND UTAHOPERA FINAL DRESS REHEARSALS FOR FREE.

VISIT USUO.ORG/HSCLUBS FOR MORE INFORMATION

CRESCENDO AND TANNER SOCIETIES

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

Joseph & Pat Gartman

Paul (Hap) & Ann† Green

Annette W. & Joseph Q. Jarvis

Edward R. Ashwood & Candice A. Johnson

Clark D. Jones

Turid V. Lipman

Herbert C. & Wilma Livsey

Richard W. & Frances P. Muir

TANNER SOCIETY OF UTAH SYMPHONY

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

Anonymous (3)

Doyle Arnold & Anne Glarner

Edward R. Ashwood & Candice A. Johnson

Dr. J. Richard Baringer

Haven J. Barlow†

Dr. Melissa J. Bentley

Marcy & Mark Casp

Shelly Coburn

Raymond & Diana Compton

Mahler Circle

Anonymous (3)

Eva-Maria Adolphi

Dr. Robert H.† & Marianne

Harding Burgoyne

Mr. & Mrs. Kenneth E. Coombs

Paul (Hap) & Ann† Green

Robert & Carolee Harmon

Richard G. & Shauna† Horne

Virginia A. Hughes

Turid V. Lipman

Anne C. Ewers

Annette W. & Joseph Q. Jarvis

Flemming & Lana Jensen

James Read Lether

Daniel & Noemi P. Mattis

Anthony & Carol W. Middleton, Jr., M.D.

Robert & Diane Miner

Glenn Prestwich

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

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

Kenneth A.† & Jeraldine S. Randall

Mr.† & Mrs. Alvin Richer

Patricia A. Richards & William K. Nichols

Sharon & David† Richards

Harris H. & Amanda P. Simmons

E. Jeffery & Joyce Smith

G.B. & B.F. Stringfellow

Mr.† & Mrs. M. Walker Wallace

Thomas A. & Sally† Quinn

Dan† & June Ragan

Mr. Grant Schettler

Glenda & Robert† Shrader

Mr. Robert C. Steiner & Dr. Jacquelyn Erbin†

JoLynda Stillman

Joann Svikhart

Edward J. & Marelynn† Zipser

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THIERRY FISCHER’S FINAL PERFORMANCES AS MUSIC DIRECTOR

MESSIAEN’S TURANGALÎLA SYMPHONY

MAY 19-20 / 7:30PM

JASON HARDINK, PIANO

MAHLER’S SYMPHONY NO. 3

MAY 26-27 / 7:30PM

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