Utah Opera Thaïs

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EL CURIOSO IMPERTINENTE An Opera in Three Acts

Although Camila, a new kind of heroine, is caught up in a reckless intrigue, her inherent ingenuity coupled with an undeterred volition allows for her escape.

The residual that clings to the tainted skirts of a fallen woman, discredits her honor in the eyes of him to whom by his pleadings is given.

Las añadiduras que trae consigo la maldad de la mujer mala, hacen perder de ella su honra con el mismo a quien se entrega rogada.

Music and Text

Adapted by

www.williamcall.net/ el-curioso-impertinente

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CONTENTS

THAÏS

UTAHOPERA .ORG / (801) 533-NOTE 5
@UtahOpera
21 PG. WELCOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 BOARD OF TRUSTEES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 THAÏS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 MASSENET AND THE MYSTIQUE OF FRENCH OPERA . . . . .16 SPONSORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 THAÏS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 CAST / ARTISTIC TEAM / CHORUS . . . . . . . . . . . . . . . . . . . .22 COMPOSER AND LIBRETTIST . . . . . . . . . . . . . . . . . . . . . . . . 27 STORY OF THE THAÏS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28 UTAH SYMPHONY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 DONORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32 ADMINISTRATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46 CRESCENDO AND TANNER SOCIETIES . . . . . . . . . . . . . . . . . 47 ACKNOWLEDGMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

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 2023–24 opera season finale production of Massenet’s Thaïs

These performances mark the Utah Opera premiere of this opulent work which, you might remember, was originally scheduled for May 2020. We’re thrilled to now bring this French grand opéra spectacle to Utah with exceptional performers in the demanding lead roles, a large complement of our orchestra and chorus members filling out the lush harmonies of the score, and dancers from Repertory Dance Theatre augmenting the visual opulence of the scenery and costumes to create a full feast for the senses!

If you haven’t already, we hope you’ll consider joining our family of subscribers for the 2024-25 season. From the relentless pursuit of vengeance in Sweeney Todd, to the touching bond of sibling love in a family-friendly Hansel and Gretel, to the tragic consequences of unchecked passion in Pagliacci, to a fresh interpretation of the powerfully emotional Madame Butterfly, each production offers a unique lens through which to examine the complexities of human nature. Please visit UtahOpera.org for more information about the productions, artists, and subscription packages.

Thank you for joining us for today’s performance. Your presence matters and we look forward to seeing you again next season 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!

6 UTAHOPERA .ORG / (801) 533-NOTE

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BOARD OF TRUSTEES

ELECTED BOARD

Brian Greeff* Chair

Annette W. Jarvis* Vice Chair and Secretary

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Steven Brosvik* President & CEO

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Dr. Stewart E. Barlow

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Daniel Hemmert*

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LIFETIME BOARD

William C. Bailey

Kem C. Gardner*

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G. Frank Joklik

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Scott S. Parker

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Don Willie

Kim R. Wilson

Thomas Wright*

Henry C. Wurts*

MUSICIAN REPRESENTATIVES

Claudia Restrepo*

Barbara Ann Scowcroft*

EX-OFFICIO

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Onstage Ogden

David A. Petersen

Patricia A. Richards*

Harris Simmons

David B. Winder

TRUSTEES EMERITI

Carolyn Abravanel

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Howard S. Clark

Kristen Fletcher

Richard G. Horne

Ronald W. Jibson

E. Jeffery Smith

HONORARY BOARD

Jesselie B. Anderson

Kathryn Carter

R. Don Cash

Raymond J. Dardano

Geralyn Dreyfous

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

UTAHOPERA .ORG / (801) 533-NOTE 9

THAÏS

Lyric Opera in Three Acts

Based upon the novel Thaïs by Anatole France

BACKGROUND OF THE OPERA

During the period between the death of Georges Bizet in 1875 and the premiere of Claude Debussy’s revolutionary Pelléas et Melisande in 1902, Jules Massenet was the most esteemed composer of French opera. He remains one of the most popular, and from our modern vantage point, it’s easy to think that he was predestined to fulfill that role in music history. But his path to success was far from assured: Born in 1842, he was the last of twelve children, and though his family was solidly bourgeois, the business operated by his father—a foundry—failed.

Fortunately, Jules’s mother was an accomplished musician and gave piano lessons to supplement her household’s income. With young Jules among her pupils, his talents were quickly evident, and he was admitted to the Paris Conservatory at age 11. By then he was already so determined to find a vocation in music that when his family relocated from Paris the following year, he ran away from home to get back there; thanks to an aunt who intercepted him by chance at the railway station in Lyon, he was able to return to his studies at the Conservatory. There his instructors included two of the most illustrious French opera composers of the day, Ambroise Thomas and Charles Gounod.

Like many of France’s leading composers (including Bizet just six years earlier),

Massenet won the Prix du Rome as a new Conservatory graduate. The award, France’s highest honor for young composers, provided a two-year stipend for travel and study, and was specifically intended to nurture future star-quality composers. But his early works for the lyric stage—operas such as La grand’tante, La coupe du roi du Thulé, Esmeralda (based on Victor Hugo’s The Hunchback of NotreDame), and Manfred (based on Byron’s narrative poem), were less than impressive. Arguably, Massenet’s period of operatic greatness began in 1884, when he was in his early forties, with Manon—although in recent years, the 1881 Herodiade has earned renewed appreciation.

Thaïs, too, has won reconsideration lately. It fell into obscurity after Massenet’s lifetime, in part because the prodigious title role is so difficult to cast, and in part because a casual production can come off as a kitschy costume drama. New York’s Metropolitan Opera mounted it in 1978 as a vehicle for Beverly Sills, and again thirty years later for Renée Fleming. Even then, New York Times critic Anthony Tommasini asserted that “The only reason to produce this ultimate star vehicle today is that a company has a genuine star who wants to sing it.”

Many of Massenet’s contemporaries—and many of ours—would disagree. Massenet’s source for his opera, the Anatole France novel Thaïs (1890), is far from naïve;

Continued on page 15…

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it is a blistering parable of religious hypocrisy. (In fact, France won the Nobel Prize for literature in 1921.) Massenet’s adaptation presents us with a compellingly stageworthy study of two strong, complex individuals who are destined to shape each other’s fate. Each is on a spiritual journey, but they are headed in opposite directions, and Thaïs’s redemption ultimately becomes the monk Athanaël’s undoing. The opera is replete with Massenet’s long, flowing melodic lines, often with his characteristic 9/8 and 12/8 time signatures.

We find the forebears of the courtesan Thaïs throughout literature as “convertites,” prostitutes who undergo religious conversion and withdraw into a “house of convertites,” finishing their lives in seclusion and extreme piety. We meet Thaïs in fourth-century Alexandria at the height of her fame and success as a courtesan, but also at a moment when she foresees the eventual decline of her powers. Despite all manner of vocal splendor in her singing,

the most famous music in Thaïs is not sung; it is the ravishing Meditation, a violin solo in which we hear her contemplation of her life’s meaning along with hints of Athanaël’s conflict between religious devotion and carnal desire. As we listen to the Meditation, we, like Thaïs herself, look back on her past, and we know that she will probably change her ways.

We can trace the story of Thaïs and Athanaël as far back as the Gospel of John and the parable of Jesus’s meeting with the Samaritan woman at the well. More recently, Somerset Maugham’s 1921 treatment of the story, set on a Pacific island, gave us the notorious Sadie Thompson, who made her way to the screen in 1932, portrayed by Joan Crawford. In this bitingly ironic retelling, Walter Huston plays Alfred Davidson, the preacher who converts her—and assaults her; Davidson commits suicide, and Thompson reverts to her former ways.

Join hosts Jeff Counts and Carol Anderson as they look behind the curtain into the world of classical music and the artists who make it.

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THAÏS

MASSENET AND THE MYSTIQUE OF FRENCH OPERA

Evolving operatic tastes in Massenet’s day left French opera composers in a kind of limbo. No venue for opera was grander than Paris, but the conventions of grand opera ran counter to French musical traditions, which exalted elegance, restraint and orchestral expressiveness achieved without bombast. Meanwhile, Wagner’s operas had taken hold, giving German opera a new emphasis in the world’s opera houses, while the shockingly explicit Verismo school was changing the face of Italian opera.

In the U.S., New York was the center of operatic influence and taste, and the Metropolitan Opera opened its doors in 1883, just nine years after the Paris premiere of Thaïs. Attendance at “the Met” was a must for A-list New Yorkers. But it was not merely a matter of seeing and being seen; repertory was hotly contended along nationalistic lines—German versus Italian— with French operas caught in the middle.

“The sauerkraut opera cannot last,” declared Col. J.H. Mapleson, an influential impresario, in a New York Times interview on April 21, 1885. “Italian opera is the only opera that can depend upon fashionable support.” A response the next day from “A Born American of German Descent” calls the Italian works “ash barrel operas.” “It cannot be said that either of these rival epithets is accurate or exhaustive,” notes the Times editor. “The word ‘sauerkraut’ does not convey a vivid sense of the dignity and grandeur of Wagner’s music-dramas; neither does the word ‘ash barrel’ convey in its fullness the tunefulness, the vocal art, and the sensual charm that belong to the works of Verdi and Donizetti. Perhaps it would be better to refer to the rival schools of dramatic music simply as ‘German’ and ‘Italian’ opera respectively.”

Perhaps, but not much. A contemporary cartoon by Thomas Nast depicts ferocious opera patrons squaring off on two sides: the Germanic, with their Wagnerian horned helmets and breastplates, ready to do battle with the Italian partisans wielding the spears and royal trappings of a Verdian historical drama. Devotees of French opera cowered on the sidelines under the protection of their exquisite sensibilities. During this period, Gounod’s utterly French Faust was presented far more frequently than any other opera in New York, and the Metropolitan Opera became known as the ‘Faustspielhaus‘—a pun on the ‘Festspielhaus’ where German opera festivals are traditionally performed. Bizet’s 1875 Carmen, too was gaining popularity, making sex and violence less taboo in French operas. But at the Met during its early years, even Faust was performed in Italian, rather than the original French.

Small wonder that the full appreciation of French opera became something akin to a secret society. Yes, masterworks by composers such as Gounod, Massenet, and Ambroise Thomas—not to mention Bizet—eventually gained their place in America’s standard opera repertory, sung in the original French. But their most devoted admirers insisted that elusive qualities set these operas apart: elegance, delicacy, lightness of touch, economy of musical gesture, shimmering orchestral color. Societies such as the Friends of French Opera, led by the conductor and scholar Robert Lawrence, discreetly promoted this belief among those already converted. They were especially active from the 1950s into the 1970s, advocating for French opera in the face of a public that they felt had adopted French repertory without truly appreciating its special beauty.

16 UTAHOPERA .ORG / (801) 533-NOTE

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THAÏS

MAY 4 (7:30PM), 6 (7:00PM), 8 (7:00PM), 10 (7:30PM), 12 (2:00PM)

JANET QUINNEY LAWSON CAPITOL THEATRE

Opera in Three Acts

Music by Jules Massenet

Libretto by Louis Gallet

Based on the novel by Anatole France

Premiere – March 16, 1894, Paris Opera

Utah Opera Premiere

Performed in French with English Supertitles (Captions) [This is an accessibility choice]

CAST

Palémon Seth Keeton

Athanaël ......................................................... Troy Cook

A Servant Tshilidzi Ndou*

Crobyle Jasmine Rodriguez*

Myrtale ...................................................... Sarah Scofield*

Nicias Dominick Valdés-Chenes**

Thaïs ........................................................ Nicole Heaston

La Charmeuse Katrina Galka

Albine ................................................ Aubrey Adams-McMillan

ARTISTIC TEAM

Conductor ..................................................... Steven White

Stage Director Andrea Cigni

Chorus Director & Assistant Conductor Sharon Bjorndal Lavery

Scenic & Costume Designer....................................... Lorenzo Cutùli

Lighting Designer Marcus Dilliard

Choreographer ............................................ Heidi Spesard-Noble

Wig & Makeup Designer Kate Casalino

Assistant Wig & Makeup Designer ................................... Juliette Lewis

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

Guest Coach Willem van Schalkwyk**

Chorus Pianist ................................................ Laura Bleakley*

Assistant Director David Toro

Stage Manager .............................................. Kathleen Edwards

Assistant Stage Manager Úna Rafferty

2nd Assistant Stage Manager Ben Kulwanoski

Supertitle Musician ............................................. Mitchell Atencio

Original Production & Staging by Andrea Cigni

Scenery and Costumes designed by Lorenzo Cutùli

Scenery, properties, and costumes for the production were constructed by Minnesota Opera Shops and are owned by Minnesota Opera.

Supertitle Translation by Christopher Bergen

Production is 3 hours with two intermissions

*Current Resident Artist

**Former Resident Artist

UTAHOPERA .ORG / (801) 533-NOTE 21
MASSENET’S

CAST / ARTISTIC TEAM

Kate Casalino (New York)

Wig & Makeup Designer

Most Recently at Utah Opera, The Little Prince

Recently:

The Rape of Lucretia, Academy of Vocal Arts

A Comedy of Tenors, Florida Repertory Theatre

Andrea Cigni (Italy)

Stage Director

Utah Opera Debut

Recently:

Nabucco, Teatro Massimo di Palermo

Macbeth, Teatro Municipale di Sassari

Upcoming:

Andrea Chénier, OperaLombardia

Troy Cook (Kentucky)

Athanaël

Most Recently at Utah Opera, Silent Night

Recently:

The Pirates of Penzance, Kentucky Opera

La traviata, Florida Grand Opera

Upcoming:

The Pirates of Penzance, Glimmerglass Festival

Pagliacci, Glimmerglass Festival

Lorenzo Cutùli (Italy)

Scenic & Costume Designer

Utah Opera Debut

Recently:

L’Orfeo, Festival Claudio Monteverdi 2021

Upcoming:

Marco Polo, Teatro La Fenice

Marcus Dilliard (Minnesota)

Lighting Designer

Most Recently at Utah Opera, Moby-Dick

Recently:

La traviata, Pittsburgh Opera

Man of La Mancha, Asolo Theater

Upcoming:

Don Giovanni, Opera Omaha

22 UTAHOPERA .ORG / (801) 533-NOTE

CAST / ARTISTIC TEAM

Katrina Galka (Wisconsin)

La Charmeuse

Utah Opera Debut

Recently:

Die Entführung aus dem Serail, Bayerische Staatsoper, Opernhaus Zürich, Staatsoper Hamburg

Die Fledermaus, Staatsoper Hamburg

Lucia di Lammermoor, New Orleans Opera

Upcoming:

Les contes d’Hoffmann, Opernhaus Zürich

The Handmaid’s Tale, San Francisco Opera

La fille du régiment, Opera Colorado

Peter Grimes, Teatro alla Scala

Nicole Heaston (Texas)

Thaïs

Most Recently at Utah Opera, The Marriage of Figaro, 2016 Recently:

Highway 1, USA, Los Angeles Opera

Falstaff, Houston Grand Opera

Upcoming:

The Listeners, Opera Philadelphia, Lyric Opera of Chicago

Seth Keeton (Utah)

Palémon

Most Recently at Utah Opera, Flight

Recently:

Die Zauberflöte, Utah Opera

Roméo et Juliette, Utah Opera

Sharon Bjorndal Lavery (New Jersey)

Chorus Director

Most Recently at Utah Opera, The Marriage of Figaro

Recently:

La bohème, Utah Opera

Beethoven’s 9th Symphony, Utah Symphony

Upcoming:

Utah Symphony | Utah Opera 2024-2025 Season

UTAHOPERA .ORG / (801) 533-NOTE 23

CAST / ARTISTIC TEAM

Aubrey Adams-McMillan (Utah)

Albine

Most Recently at Utah Opera, Lucia di Lammermoor

Recently:

A.L.I.C.E., University of Utah

Santa Fe Songs, NOVA Chamber Music

Upcoming:

Duruflé’s Requiem commemorating the 80th anniversary of D-Day, Paris

Tshilidzi Ndou (South Africa)

Servant

Most Recently at Utah Opera, The Marriage of Figaro

Recently:

The Little Prince, Utah Opera

La bohème, Utah Opera

Upcoming:

The Pirates of Penzance, Glimmerglass Festival

Heidi Spesard-Noble (Minnesota)

Choreographer

Most Recently at Utah Opera, The Grapes of Wrath

Recently:

The Elixir of Love, Minnesota Opera

Edward Tulane, Minnesota Opera

Upcoming:

The Adventures of Tom Sawyer, Cedar Summerstock Theater

Scrooge In Rouge, Open Eye Theater

Jasmine Rodriguez (California)

Crobyle

Most Recently at Utah Opera, The Marriage of Figaro

Recently:

The Little Prince, Utah Opera

Madama Butterfly, Grand Teton Music Festival

Sarah Scofield (France)

Myrtale

Most Recently at Utah Opera, The Little Prince

Recently:

Messiah, Utah Symphony

Robeson in Moscow, Cincinnati Opera Fusion New Works

Upcoming:

Hansel and Gretel, Utah Opera

24 UTAHOPERA .ORG / (801) 533-NOTE

CAST / ARTISTIC TEAM / CHORUS

CHORUS

Soprano

Lauren Cartwright Bohannan*

Anadine Burrell*

Karllen Johnson

Alyssa Liu*

April Meservy

Heather Perry

Emma-Claire Polich

Jennifer Riley

Carolyn TalboysKlassen*

Kathryn Thompson

SUPERNUMERARIES

HeidiLyn Butterfly, stilt walker

Dominick Valdés-Chenes (Nevada)

Nicias

Most Recently at Utah Opera, Carmen

Recently:

Les contes d’Hoffmann, Palm Beach Opera

Norma, Boston Youth Symphony

Madama Butterfly, Boston Lyric Opera

La traviata, Seattle Opera

Tosca (cover), The Metropolitan Opera

Pagliacci, Sacramento Opera

Don Carlos (cover), Chicago Lyric Opera

Upcoming:

Tosca, Opera New Orleans

Norma, Oper Leipzig

Steven White (Virginia)

Conductor

Most Recently at Utah Opera, Tosca

Recently:

Ariadne auf Naxos, Arizona Opera

Britten’s War Requiem, Opera Roanoke

Le nozze di Figaro, Opera Roanoke

Upcoming:

The Rake’s Progress, Opera Omaha

Alto

Paula Fowler*

Kyra Furman

Genevieve Gannon

Jennifer Hancock

Melissa James

Becca Keel*

Angela Keeton*

Julie McBeth*

Dawn Veree*

Lindsay Whitney

Tenor

George Burdick

Dyson Ford+

Ryan Francis

Orion Gray

Brynnen Green

Marcus Lee+

Edward Lopez

Lucas Henry

Proctor+

Esteban Senzig

Carl Wadsworth

Bass

Buddy Eyre+

Charles Hamilton

Thomas Klassen+

Jordon LeBaron+

Nelson LeDuc

Carson Smith+

Mark Sorensen

Scott Tarbet+

Daniel Tuutau+

Chase White

* Nun + Cenobite

Maxwell Caloca

Christian Hernandez

Meredith Kimball

Laing

Robert Payne

Samuel Stuart

UTAHOPERA .ORG / (801) 533-NOTE 25

REPERTORY DANCE THEATRE

REPERTORY DANCE THEATRE

Executive/Artistic Director: Linda C. Smith

Artistic Associates: Nicholas Cendese, Lynne Larson

RDT Dancers

Caleb Daly, Trung “Daniel” Do, Lindsey Faber, Jonathan Kim, Jacob Lewis, Megan O’Brien, Ursula Perry, Caitlyn Richter

About Repertory Dance Theatre

REPERTORY DANCE THEATRE (RDT), founded in 1966 in Salt Lake City, Utah, is a professional modem dance repertory company dedicated to the creation, performance, perpetuation and appreciation of dance.

The first successful modern dance repertory company in the nation, RDT is both a museum and contemporary gallery representing the scope and diversity of modem dance, past and present. From the early pioneers of the art form to today’s cutting edge choreographers, the company maintains one of the largest collections of modem dance classics in the world. As a repository for this rich heritage, RDT

is a resource center and laboratory for contemporary dancers, choreographers, visual artists, writers and composers.

In addition to public performances, RDT produces a variety of community-based programs and has a long-standing commitment to arts-in-education. Outreach activities include lectures, informal performances, teachers’ workshops, open rehearsals, annual summer workshops and year-round classes which all serve to train and ignite the creative voice in people of all ages. At its home in the Rose Wagner Performing Arts Center, the company contributes to the cultural, social and economic vitality of the community.

26 UTAHOPERA .ORG / (801) 533-NOTE
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THE STORY OF THAÏS

ACT I

In fourth-century Egypt, a group of Cenobite monks attend to their daily rituals. Athanaël, an especially observant member of the monastic community, confesses to brother Palémon his recent visions of the famous courtesan Thaïs, who has consecrated her life to Venus and worldly pleasure. Believing his visions to be divinely inspired, he resolves—despite Palémon’s warnings—to return to Alexandria, where he had known Thaïs in his youth. He resolves to convert her to Christianity and persuade her to enter a convent. In Alexandria, Athanaël visits an old friend, the wealthy and hedonistic Nicias, who welcomes him. Nicias is Thaïs’s current lover, and he has planned a feast in tribute to her that very evening; once he learns of Athanaël’s plan, his hospitality becomes mixed with skepticism and mockery. As the feast begins, Thaïs makes her entrance in sensual splendor and joins Nicias in a bittersweet duet; it will be their final night together. Athanaël confronts her, saying he will teach her to reject the pleasures of the flesh, but she rebuffs him with a song of seduction. As the act ends, she taunts him and defiantly begins to disrobe.

ACT II

Alone after the feast, Thaïs is more contemplative. Feeling the emptiness of her existence, she reflects on the fact that age will eventually sap her beauty. Then, fatefully, Athanaël enters, praying that God will conceal her allure from him. He challenges her to accept his kind of love, a love of the spirit that lasts not for one night, but forever. Both Thaïs and Athanaël struggle with temptation, and then—in a moment reminiscent of Violetta’s renunciation of Alfredo in Act I of La traviata (1853)—she sends him away, rejecting his entreaties in favor of her nihilistic lifestyle. But once alone, she reconsiders. We hear her change of heart in the strains of the Meditation.

Thaïs has now resolved to follow Athanaël into the desert. He orders her to burn her house and its contents to eradicate all vestiges of her past life. She asks to keep a single artifact, a statuette of Eros, explaining that she sinned against love, not through it. But Athanaël, upon hearing that the keepsake was a gift from Nicias, angrily insists that she destroy it as well. Reveling Alexandrians are enraged when they see Athanaël leading the legendary Thaïs away, and attack him; Nicias, despite his astonishment at his friends’ course, defends them by tossing handfuls of money into the crowd as a diversion. Thaïs and Athanaël escape together.

ACT III

In a final act setting similar to that of Puccini’s Manon Lescaut (composed one year earlier), Thaïs and Athanaël make their way through the desert on foot. Though Thaïs is nearly collapsing from exhaustion, Athanaël forces her to continue as a religious mortification. As they rest by a spring, his attitude begins to soften and they speak as friends. Then they continue their journey, eventually reaching the convent where Athanaël entrusts Thaïs to Mother Albine. Taking his leave, he realizes that he will never see Thaïs again. Having rejoined the Cenobite community, Athanaël is taciturn and withdrawn, causing worry among his brother monks. He confesses to his friend Palémon that he is tormented by sexual longing for Thaïs. Palémon rebukes him, and even in sleep, Athanaël finds no relief. Instead, he sees Thaïs—first in an erotic dream, and then in a vision that reveals she is dying. Distraught, Athanaël repudiates his holy vows and sets off to find Thaïs. At the convent, he finds her on her deathbed and confesses his feelings, insisting that “Nothing is true but life and the love of human beings.” But Thaïs, near death and in the grip of religious ecstasy, is oblivious to words. She dies in bliss, describing the heavens opening to her, as Athanaël collapses in despair.

28 UTAHOPERA .ORG / (801) 533-NOTE

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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

Steven P. Sondrop

Family Trust

James R. & Susan Swartz

GIFTS MADE IN HONOR

Nancy & Eric Garen

Carol Zimmerman

Georgia Gates

Alan. W. Stout

GIFTS MADE IN MEMORY

Fred Andersen

Jay T. Ball

John Bates

Janice Ione Berghout

Earle Robert Bevins III

Danny Boy

Mariah Bradfield

Judy Watts Brady

Carol Browning

Robert H. Burgoyne, M.D.

Orson Clay

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

Esther Markey Davenport

Marlene Dazley

Jack G. Edwards

Carolyn Hanks

Carl & LeAnn Hoyal

Gary B Kitching, M.D.

Adrienne W. Larson

Lona Mae Stratford

Hyde Lauritzen

Morris Lee

Polly Lehwalder

Steven S. McDonald

Julie Palfreyman

Nancy & Gene Parry

Glade & Mardean Peterson

Nedra S. Robison

Rodney Rougelot

Robert Sedgewick

Linda Twitchell

Sheila Van Frank

James Edward Wright

UTAHOPERA .ORG / (801) 533-NOTE 43

INSTITUTIONAL DONORS

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

* in-kind donation

$100,000 OR MORE

The Church of Jesus Christ of Latter-day Saints Foundation

Lawrence T. & Janet T. Dee Foundation

Marriner S. Eccles Foundation

$50,000 TO $99,999

Anonymous

The Florence J. Gillmor Foundation

$25,000 TO $49,999

Arnold Machinery

Associated Food Stores

BMW of Murray/BMW of Pleasant Grove

Carol Franc Buck Foundation

Cache Valley Electric Deer Valley Resort* Dominion Energy

$10,000 TO $24,999

Altabank

HJ & BR Barlow Foundation

B.W. Bastian Foundation

Brent & Bonnie Jean Beesley Foundation

Bertin Family Foundation

R. Harold Burton Foundation

Marie Eccles Caine FoundationRussell Family

** in-kind & cash donation

George S. & Dolores Doré Eccles Foundation

Emma Eccles Jones Foundation

Frederick Q. Lawson Foundation

LOVE Communications**

Marriott Residence Inn*

The Grand America Hotel & Little America Hotel*

Janet Q. Lawson Foundation

Miller Family Philanthropy

O.C. Tanner Company

Sorenson Legacy Foundation

Stowell Leadership Group, LLC*

Zions Bank

Moreton & Company

Goldman Sachs & Co. LLC

Richard K. & Shirley S. Hemingway Foundation

The John C. Kish Foundation

Moreton Family Foundation

Charles Maxfield & Gloria F. Parrish Foundation

Joanne L. Shrontz Family Foundation

Simmons Family Foundation

Summit Sotheby’s

Nora Eccles Treadwell Foundation

Joseph & Kathleen Sorenson Legacy Foundation

McCarthey Family Foundation

Perkins-Prothro Foundation

S.J. & Jessie E. Quinney Foundation

Raymond James & Associates

Regence Blue Cross Blue Shield

The Joseph & Evelyn Rosenblatt Charitable Fund

St. Regis / Deer Crest Club**

Stay Park City

W. Mack and Julia S. Watkins Foundation

44 UTAHOPERA .ORG / (801) 533-NOTE

INSTITUTIONAL DONORS

$1,000 TO $9,999

Anonymous

Black Physicians of Utah

Rodney H. & Carolyn Hansen Brady Charitable Foundation

Caffé Molise*

Spencer F. & Cleone P. Eccles Family Foundation

The Fanwood Foundation Western Office

Grandeur Peak Global Advisors

Holland & Hart**

Homewood Suites by Hilton*

Intermountain Healthcare

J. Wong’s Thai & Chinese Bistro*

Kennecott Utah Copper LLC

KKC Foundation

Kum & Go Charitable Fund

Lee’s Marketplace

Merit Medical Systems, Inc.

Ray, Quinney & Nebeker Foundation

Rocky Mountain Power Foundation

Snow, Christensen & Martineau Foundation

Summerhays Music Center

Utah Autism Foundation

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.
UTAHOPERA .ORG / (801) 533-NOTE 45

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

Natty Taylor

Human Resources Coordinator

OPERA ARTISTIC

Christopher McBeth

Opera Artistic Director

Sharon Bjorndal Lavery

Chorus Director & Opera Assistant

Conductor

Carol Anderson

Principal Coach

Michelle Peterson

Director of Production

Ashley Tingey

Production Coordinator

Sarah Scofield

Resident Artist, Mezzo - soprano, Sponsored by Charles Boynton

Jeremiah Tyson

Resident Artist, Tenor

Tshilidzi Ndou

Resident Artist, Baritone

Jasmine Rodriguez

Resident Artist, Soprano

Laura Bleakley

Resident Artist, Pianist

OPERA TECHNICAL

Sam Miller

Technical Director

Kelly Nickle

Properties Master

Dusty Terrell

Scenic Charge Artist

JR Orr

Head Carpenter/Shop Foreman

COSTUMES

Carol Wood

Costume Director

Marcos Ambriz

Costume Rentals & Stock Manager

Madi Halverstadt

Costume Rentals & Stock Assistant Manager

Milivoj Poletan

Master Tailor

Melanie Lamb-Delgado

Assistant Tailor

Dawnette Dryer

Cutter/Draper

Molly Hartvigsen

First Hand

Julie Porter

Crafts Artisan/Milliner

Mallory Goodman

Kathryn Wieland

Costume Stitcher

SYMPHONY ARTISTIC

Anthony Tolokan

Artistic Consultant

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

Matthew Straw

Assistant Conductor

SYMPHONY OPERATIONS

Jen Shark

Director of Orchestra Operations

Melissa Robison

Front of House Director

Chip Dance

Director of Production

Marcus Lee

Operations Manager

Sarah Madany

Stage Manager

Christopher Danz

Assistant Stage Manager

DEVELOPMENT

Leslie Peterson

Vice President of Development

Garrett Murphy

Director of Development

David Hodges

Director of Institutional Giving

Calli Forsyth

Assistant Director of Institutional Giving

Katie Swainston

Individual Giving Manager

Lisa Poppleton

Grants Manager

Dallin Mills

Development Database Manager

Maren Holmes

Manager of Special Events

Ellesse Hargreaves

Corporate Engagement Manager

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

Emma Price

Marketing & Communications Coordinator

PATRON SERVICES

Faith Myers

Director of Patron Engagement

Jaron Hatch

Patron Services Manager

Toby Simmons

Patron Services Assistant Manager

Caitlin Marshall

Sales & Engagement Manager

Genevieve Gannon

Group Sales Associate

Lorraine Fry

Michael Gibson

Ian Painter

Ananda Spike

Val Tholen

Rocky Porter

Salem Rogers

Chloe Toyn

Crystal Pryor

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

Karine Mnatsakanyan Payroll Specialist

EDUCATION

Ben Kipp

Vice President of Education & Community Engagement

Jessica Wiley Symphony Education Manager

Kevin Nakatani

Opera Education Manager

Beth Foley

Education Coordinator

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 .

46 UTAHOPERA .ORG / (801) 533-NOTE

CRESCENDO AND TANNER SOCIETIES

“YOU ARE THE MUSIC WHILE THE MUSIC LASTS.”~T.S. Eliot

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

For more information, please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012, or visit usuo.org/ planned-giving.

CRESCENDO SOCIETY OF UTAH OPERA

Anonymous

Mr. & Mrs. William C. Bailey

Judy Brady & Drew W. Browning

Dr. Robert H.† & Marianne

Harding Burgoyne

Shelly Coburn

Travis & Jamie Donio

Dr. Richard J.† & Mrs.

Barbara N.† Eliason

Anne C. Ewers

Joseph & Pat Gartman

Paul (Hap) & Ann† Green

Annette W. & Joseph Q. Jarvis

Edward R. Ashwood & Candice A. Johnson

Clark D. Jones

Turid V. Lipman

Herbert C. & Wilma Livsey

Richard W. & Frances P. Muir

Marilyn H. Neilson

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

Richard Clegg

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

Carol & Ted Newlin

Patricia A. Richards & William K. Nichols

Mr.† & Mrs. Alvin Richer

Jeffrey W. Shields

G.B. & B.F. Stringfellow

Dr. Ralph & Judith Vander Heide

Edward J. & Marelynn† Zipser

Herbert C. & Wilma Livsey

Dianne May

Jerry & Marcia McClain

Jim & Andrea Naccarato

Stephen H. & Mary Nichols

Craig S. Ogan

Mr. & Mrs. Scott Parker

Mr. & Mrs.† Michael A. Pazzi

Richard Q. Perry

Chase† & Grethe Peterson

Glenn H. & Karen F. Peterson

Kenneth A.† & Jeraldine S. Randall

Mr.† & Mrs. Alvin Richer

Patricia A. Richards & William K. Nichols

Sharon & David† Richards

Harris H. & Amanda P. Simmons

E. Jeffery & Joyce Smith

G.B. & B.F. Stringfellow

Mr.† & Mrs. M. Walker Wallace

Thomas A. & Sally† Quinn

Dan† & June Ragan

Mr. Grant Schettler

Glenda & Robert† Shrader

Mr. Robert C. Steiner & Dr.

Jacquelyn Erbin†

JoLynda Stillman

Joann Svikhart

Edward J. & Marelynn† Zipser

†Deceased
UTAHOPERA .ORG / (801) 533-NOTE 47

Leave a Legacy Ensure the Future

MAKE A PLANNED GIFT TODAY

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

Find out more: 801-869-9012 | usuo.org/planned-giving

48 UTAHOPERA .ORG / (801) 533-NOTE

Support Utah Symphony Utah Opera

JOIN OUR COMMUNITY OF DONORS

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

MAKE A DONATION ONLINE AT USUO.ORG/GIVE OR BY

801-869-9200
CALLING

ACKNOWLEDGMENTS

UTAH SYMPHONY | UTAH OPERA

123 West South Temple

Salt Lake City, UT 84101

801-533-5626

EDITOR

Megs Vincent

HUDSON PRINTING COMPANY

www.hudsonprinting.com

241 West 1700 South Salt Lake City, UT 84115

801-486-4611

AUDITING AND ACCOUNTING SERVICES PROVIDED BY

Tanner, llc

LEGAL REPRESENTATION PROVIDED BY

Ballard Spahr Andrews & Ingersoll, llp Holland & Hart, LLP

Jones Waldo

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

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

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

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

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

50 UTAHOPERA .ORG / (801) 533-NOTE
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