Utah Opera Tosca March 2022

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TOSCA PUCCINI’S

MARCH 12–20, 2022

JANET QUINNEY LAWSON CAPITOL THEATRE

#UTAHOPERA

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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CONTENTS

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TOSCA 19 PG.

EDITOR

4 WELCOME 5 The UTAH SYMPHONY | UTAH BOARD OF TRUSTEES OPERA program is published 6

by Mills Publishing, Inc.,772 LEAP LORE East 3300 South, Suite 200, Salt 13 Lake City, Utah 84106. Phone: BACKGROUND ON THE OPERA 801.467.8833, Email: advertising@ 16 millspub.com, Website: millspub.

SPONSORS com. Mills Publishing produces 20 playbills for many performing CAST / ARTISTIC STAFF / CHORUS arts groups. Advertisers do not 27 necessarily agree or disagree TOSCA TALES with content or views expressed PUCCINI’S 28 on stage. Please contact us for THE STORY OF TOSCA playbill advertising opportunities.

31 © COPYRIGHT 2022 COMPOSER AND LIBRETTISTS 32 UTAH SYMPHONY 34 DONORS 44 MARCH 12–20, 2022 ADMINISTRATION 49 JANET QUINNEY LAWSON CAPITOL THEATR CRESCENDO & TANNER SOCIETIES Please scan this QR code with your 50 phone’s camera if you would like to PLANNED GIVING view the digital publication.

52 Please recycle HOUSE RULES 54 #UTAHOPERA ACKNOWLEDGMENTS @UtahOpera Melissa Robison

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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 Puccini’s masterpiece Tosca.

Steven Brosvik President & CEO

Christopher McBeth Artistic Director

Perhaps Tosca was one of the first operas you fell in love with—it is a favorite for many, with its perfect combination of drama, spectacle, and lush Romantic era 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. 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! If you are in contact with your local and state elected officials, please advocate for continued and enhanced music and arts experiences in our schools. These programs are vital for creating well-rounded students, impart important lessons in learning and teamwork, and encourage higher graduation rates.

Looking ahead, our family-friendly May production of The Pirates of Penzance will provide a delightful means of escape from the demands and distractions of everyday life for the young and the young-at-heart. And there is so much more to fall in love with during our 2022/23 season—be sure to subscribe soon to 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,

Thomas M. Love Board of Trustees Chairman 4

P.S. Between now and May 1, 2022, 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.

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

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

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

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

Harris Simmons Verl R. Topham David B. Winder

John Bates Howard S. Clark Kristen Fletcher

Richard G. Horne Ron Jibson E. Jeffery Smith

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

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

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

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

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

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

*Executive Committee Member †Deceased UTAHOPERA.ORG

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LEAP LORE

By Jeff Counts

[Editor’s Note: A version of this article appeared previously in the playbill for the 2015 production of TOSCA] THE LEAP IS THE THING

Spend a few moments online in search of information about Tosca and you will quickly find yourself in a world of endless, torturous writerly riffs on the word “leap.”

The headlines will cover everything from the innocent (“Celebrated Soprano Takes First Leap into TOSCA”) to the slightly lame (“[Insert city name] Opera Takes Leap of Faith with New TOSCA Production”) to some real eye-rollers (“Company Celebrates Leap Year with a Perennial Favorite”). You will, I promise, start looking for your own parapet before long. The legendary leap scene at the end of Act III is legendary with good reason and it’s no great shock that opera lovers are kind of obsessed with it. We love all our various stage legends. Disastrous opening night mishaps, unscripted pratfalls, onstage temper tantrums. There is a secret history behind what we see from our seats and, as the most dedicated observers, we feel like we’ve earned the right to peek behind the curtain. It thrills us because it colors the suspension of our disbelief with a touch of actual dramatic truth. We know why Tosca must leap at the end of the show, as she has for over a century now, but the technical how of her leap is an uncertainty we can savor.

TO LEAP IS HUMAN

Before we explore the how, let’s further

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discuss that why for a moment. The history of the leap as a stunt may have entered the realm of complex myth, but the reason for it is fairly simple, story-wise. Tosca has murdered Scarpia but learns that he tricked her before dying by making sure her beloved Cavaradossi would die as well. Faced with this stunning realization and the threat of her own firing squad, she jumps. We all might have. It is one of the most exciting closing moments in opera, this leap by Tosca, and that’s due not only to the dramatic efficacy of the scene in a fictional sense but also the physical act of the leap as it happens in real time on stage.

We are fully invested in the plight of the character Tosca, but we are also constantly aware that the singer/actor Tosca has a big trick coming up. It fascinates us to think about the planning required to make the trick both safe and compelling. Safety, in this case, has never been guaranteed as the venerable Sarah Bernhardt might be quick to report. “Divine Sarah” was THE leading stage actor of the Belle Époque.

Her participation in the original theater version of La Tosca eventually cost her a leg when she suffered a knee injury during a poorly executed leap scene and was forced to amputate some years later in 1915. Back in 1899, Verdi had already decided to keep the leap for his operatic version despite his librettist’s attempt to convince him that a “mad scene” would be preferable. Nothing as serious as a lost limb exists in the record since poor Ms. Bernhardt, but the opera Tosca has had its own share of noteworthy leap moments.

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LEAP LORE

Which brings us back to the how. This was no second story apartment building Tosca throws herself from. If you’ve been to Rome, you’ve seen the Castel Sant’Angelo there on the Tiber River near Vatican City.

It’s a huge, imposing 2nd century fortress.

Pope Clement VII clearly knew what he was doing when he sought refuge there during the Sack of Rome in 1527. To leap from this massive structure would be a grand statement indeed, one that cannot be approximated with a simple flop behind some phony three-foot prop wall. To be remotely believable, our Toscas must fall, and I mean really fall, to give the impression

of verticality and consequence. The distance, of course, can be faked through assorted theatrical means. You can do it with lighting and shadow play if you like.

Maybe she can step into the darkness of a perceived open space and then remain still while the technicians project her form on a screen that artfully transports it down into a presumed oblivion. You can do something even more technologically sophisticated and cinematic if you want to, but nothing sells the scene like a real leap from the highest place on the set. It’s that genuine submission to gravity that adds a flicker of no-nonsense peril into the mix and it’s right

LEAP LORE

there, in that willingness to embrace the practical effect over the special effect, that things can become really exciting.

The tried-and-true method for catching sopranos involves the careful placement of crash pads or mattresses. She merely has to see her mark and jump to it and if the set allows for it, she can really bring a lot of personal flair to the moment. There’s a wonderful article by Bob Bernard on the Opera League of Los Angeles website that compiles (mostly) eyewitness accounts of how various famous divas have handled this challenge over the years. Some really went for broke, launching spread-eagle into the void without a trace of fear, while others were more nervous, bracing for impact well before they left the sightlines of the audience. Still more refused the ruse outright. Montserrat Caballe apparently just walked offstage as if she was looking for her dressing room and a great debate raged among the quoted commenters about whether Renata Tebaldi ever leaped either. Some said always, others never but a few were certain they saw it at least once. Who knows? In a 2011 interview with the Washington Post, Stage Director David Kneuss recalled the many Tosca’s he’d worked with during his career. A few, Patricia Racette being the most recent example for Kneuss at the time, were daredevils that he feared might enthusiastically over-leap the pads.

Eva Marton was another who displayed considerable commitment and courage and once broke the pads with the force

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of her landing. Though not quoted in the Bernard piece, Kneuss had worked once with Caballe too and confirmed that it had been necessary to create an illusion that allowed her to disappear behind a curtain.

Kneuss’ experience also included Tebaldi.

He worked with her in New York, in her last ever Tosca appearance apparently, and remembered her having to be pushed at the last moment! Does that even count as a leap?

LEAP, MEMORY

One part of the leap lore that won’t die no matter how much we might protest is the legend of the bouncing Tosca. As the story goes, the crash pads in a particular production were replaced with a trampoline (you know, for extra safety) and the soprano in question (there are many names associated with this, but none validated) forgot to roll on impact and bounced back up into view a few times before finally settling into her demise. It’s a hilarious if harrowing anecdote but the desire for it to be true seems to outpace the evidence.

Such is the abiding resilience of the Tosca leap in our collective consciousness. It is proof that, on occasion, the production of a thing becomes as important to us as its meaning. But lest we lose sight of caution entirely, we must remember “Divine” Sarah Bernhardt. Her leg was re-discovered in a Bordeaux University storeroom back in 2009 and, much more than a historical curiosity, that famous relic is a grisly remark on risk and reward to which even we in the performing arts should pay heed.

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BACKGROUND ON THE OPERA

By Michael Clive

Photo by Kent Miles, Utah Opera 2008

Few operas can match the sheer pace and momentum of Tosca. It opens with an ascending progression of three ominous, fortissimo chords that are the motif of the villainous Baron Scarpia, the Roman chief of police. With those three chords, we are pitched headlong into Scarpia’s web of power, and into the action before it even begins. The pace only quickens from there, fuelled by sex, jealousy and high-octane political intrigue. None of Puccini’s other operas are so streamlined in their construction; only Tosca flows with the natural pulse of a taut police drama, consistently ratcheting up the tension.

In its use of motifs to express character and action, Tosca is Puccini’s most

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modern work. Scarpia’s motif is a perfect example—quick, intense, and unmistakable. Small wonder we feel we know these characters so intimately; then again, they may have been on the way to broad popularity before Puccini even started to compose. Sarah Bernhardt had already established the tempestuous, charismatic Tosca as an indelible character in Sardou’s five-act play La Tosca. Looking back further, we can see the suavely sinister Scarpia’s forebears in characters at least as early as Shakespeare’s Iago and Richard III, whose sheer evil becomes strangely erotic; Henry Kissinger might well have been describing Scarpia when he called power the ultimate aphrodisiac. And sources as diverse as Vasari and Berlioz

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BACKGROUND ON THE OPERA have given us the hunky artist: Strong yet sensitive, he’s both a lover and a fighter.

But without Puccini’s swoon-inducing evocation of Cavaradossi’s character in his arias “Recondita armonia” and “E lucevan le stelle,” this archetype might never have become the ubiquitous modern hero that he is.

Tosca has been popular since its premiere, and remains near the top of most every list of favorite operas. Yet its success has not come without controversy. The first complaints from critics and fans sounded much like the discussions surrounding certain video games and television shows these days: too much sex and violence.

Are they necessary or gratuitous, or even harmful? Are they artistically valid, or do they demean Puccini and opera as a whole?

Most famous among the naysayers was the eminent American music critic Joseph Kerman, whose objections are famously associated with just three words: “shabby little shocker.” This was Kerman’s snide epithet for Tosca in his landmark book of 1956, Opera as Theater. And yet, though public opinion has repudiated Kerman’s, we can well understand his reaction. This opera, combining glorious music with political backstabbing and undisguised lust, has far more in common with a modern drama like HBO’s Succession than with the noble allegories that comprised earlier operas.

In characterizing Tosca’s subject as inappropriate and too undignified for opera, Kerman added new energy to a debate that was already decades old: Were Puccini and his collaeagues—as exponents of Verismo opera—legitimate heirs of Italy’s great operatic tradition? Verismo, or “real-life” operas, focus on common people rather than

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gods and aristocrats, and often explicitly include sex, gore and death. As a prime example of Verismo opera, Tosca had the power to shock and offend listeners more accustomed to the traditional operatic fare of centuries past. Puccini’s earlier operas, while they could be classed as Verismo works, were less violent; even some of his admirers were unprepared for the intensity of Tosca, in which all three principals, along with the hero’s noble friend, die violent deaths. But today, objections such as Kerman’s seem quaint. Most other contemporary critics fell into line with one of Puccini’s earliest and strongest advocates, George Bernard Shaw—among the first outside Italy to identify Puccini as Verdi’s successor.

Besides, does Tosca really represent so profound a shift from the seemingly gentler scenario of La bohème, with its starving artists leading a carefree existence, charmingly entangled with their hardworking girlfriends? “…[B]oth are about the failure, or irrelevancy of art, in the face of greater power,” notes Philip Kennecott in a 1994 essay for The Santa Fe Opera in which he delineates how broad social forces trump personal aspirations in both operas. In both, after all, death or the threat of death is a constant presence.

In bohème, Kennecott notes, the violent social force is the natural destruction wrought by human illness and human nature; in Tosca we see power politics overcome human decency. Yet in Tosca, Puccini seems almost eager to confront us with art’s inability to change outcomes in the modern world. More than in any of his other scenarios, this opera brings us to locations and even architectural settings that we know—places full of art, where we see its pathetic irrelevance in the face of

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BACKGROUND ON THE OPERA war and political manipulation. Tosca’s and Cavaradossi’s lives are all about art, as is his death (“behold the artist,” Tosca says, admiring his dramatic fall in the execution she thought was faked).

The qualified failure of his first two operas had taught Puccini that even a good story with a competent score could be foiled by a bad libretto. In his third attempt, the maestro’s obsessiveness showed itself in both music and story, requiring no fewer than seven different writers (including himself) to finish the libretto. The result was a sensational success (Manon Lescaut), and two of that opera’s writers—Giuseppe Giacosa and Luigi Illica—became the longtime collaborators who worked with him on Tosca. Like Verdi’s Otello, its libretto is a masterpiece of concision based on a longer play with about five times as many lines of text as the opera.

We can hear Puccini’s obsessiveness and dramatic flair in superlative, subtly layered craftsmanship that is often concealed beneath a surface of utter naturalness. The feelings of romantic ardor are convincingly real, but so are the sounds of the Roman Catholic church—the lonely church bells of Act III and the holy Te Deum in Act I. Puccini never forgot the lessons he had learned as the precocious child-organist at his local church (including how to improvise around the missing organ pipes he had sold for cigarette money). His treatment of these evocative details combines affection and anti-clerical sentiment; one of the most shocking moments in Tosca for contemporary audiences was the vile Scarpia soliloquizing about his sexual fantasies in church with a sacred procession making its way behind him.

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A surprising point of controversy among some Tosca partisans arises from one of its principal strengths: its electric pace. Throughout the opera it ebbs only momentarily, and only to gather even more strength. The sole exception: Tosca’s great aria, “Vissi d’arte.” Inserted at a moment of tense confrontation between Tosca and Scarpia, it stops the action in Act II in a way that, according to doubters, breaks the opera’s momentum. Even Puccini himself is said to have regretted including it. But for those who feel it belongs right where it is, this lament is more than just a radiantly beautiful aria that is the opera’s single most performed excerpt; it is also indispensable as character development. With “Vissi d’arte,” time stops at the climactic moment of Tosca’s life, providing a window on our heroine’s soul. And some listeners even hear her heart and respiration in the hushed, breathless orchestral introduction that precedes it.

For those who see Puccini drawing lessons for Tosca from Verdi’s Otello, this aria is prime evidence. Like Desdemona’s Ave Maria, it is a prayer that reveals the supplicant, sung just moments before a crucial death. Indeed, the final words of Tosca’s appeal to God—literally, “why do You repay me this way”—have often been rendered as “why hast Thou forsaken me.”

Ultimately, the challenge of making the aria comfortably integral to Act II may lie with the director, who must credibly occupy Scarpia while Tosca is figuratively on her knees before him and before the Lord, with the stage action frozen in time. Does Scarpia hear her lament, or is he oblivious to it? Ultimately, the answer lies in your ears and your imagination.

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TOSCA MARCH 12–20, 2022 JANET QUINNEY LAWSON CAPITOL THEATRE

by GIACOMO PUCCINI (1858-1924) Opera sung in Italian with English supertitles Libretto by LUIGI ILLICA & GIUSEPPE GIACOSA World Premiere: Teatro Costanzi in Rome on January 14, 1900 Previous Utah Opera Production: 2015, 2008, 1999, 1992, 1984, 1978

CAST (IN ORDER OF APPEARANCE)

Floria Tosca . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Katie Van Kooten Mario Cavaradossi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dimitri Pittas Baron Scarpia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephen Powell Angelotti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scott Conner Sacristan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Clayton Spoletta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel O’Hearn* Sciarrone/Jailer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Evan Hammond* Shepherd Boy . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chorister of The Madeleine Choir School ARTISTIC STAFF

Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steven White Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Omer Ben Seadia Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eboni Adams Set Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ercole Sormani Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Susan Memmott Allred Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joe Beumer Wigs/Make-up Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kate Casalino Chorus Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michaella Calzaretta Children’s Chorus Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Melanie Malinka Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Elam Fight Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher DuVal Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephanie L. Canada Assistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sarah Ackerman 2nd Assistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alexandra Bowden Supertitle Musician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Natasha Talukdar Elam* The performance will last approximately two hours 30 minutes with two intermissions.

Scenery provided by Seattle Opera. *Current Utah Opera Resident Artist

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CAST Katie Van Kooten (London)

Tosca Utah Opera Debut Recently: The Sound of Music, Houston Grand Opera; Der Rosenkavalier, Metropolitan Opera Upcoming: Die Walküre, Opernhaus Zürich; Beethoven’s Symphony No. 9, Bellingham Music Festival Dimitri Pittas (New York)

Mario Cavaradossi Utah Opera Debut Recently: Carmen, Welsh National Opera; Madama Butterfly, English National Opera; Salome, La traviata, Houston Grand Opera; Werther, Florida Grand Opera Upcoming: Tosca, Irish National Opera Stephen Powell (Pennsylvania)

Baron Scarpia Most Recently at Utah Opera, La traviata (2014) Recently: Hansel and Gretel, Atlanta Symphony Orchestra; Sweeney Todd, Michigan Opera Theatre Upcoming: La traviata, Opera Hong Kong Scott Conner (Kansas)

Angelotti Utah Opera Debut Recently: Platée, Des Moines Metro Opera; Die Meistersinger von Nürnberg, Metropolitan Opera Upcoming: Falstaff, The Santa Fe Opera

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CAST / ARTISTIC STAFF Christopher Clayton (Utah)

Sacristan Most Recently at Utah Opera, Gentleman’s Island Recently: Pagliacci/Cavalleria rusticana, Cedar Rapids Opera Theatre; Il trovatore, St. Petersburg Opera Upcoming: Carmina Burana, Ballet West, Nevada Ballet Theatre Daniel O’Hearn (Illinois)

Spoletta Most Recently at Utah Opera, Flight Utah Opera Resident Artist Recently: A Midsummer Night’s Dream, Eugene Onegin, The Santa Fe Opera Upcoming: The Pirates of Penzance, Utah Opera

Evan Hammond (Alabama)

Sciarrone/Jailer Most Recently at Utah Opera, Flight Utah Opera Resident Artist Recently: Il barbiere di Siviglia, Opera Louisiane; Man of La Mancha, Shreveport Opera; Candide, Des Moines Metro Opera Upcoming: The Pirates of Penzance, Utah Opera ARTISTIC STAFF Steven White (Virginia)

Conductor Most recently at Utah Opera, La traviata Recently: Bluebeard’s Castle, Opera Roanoke; Postcard from Morocco, Peabody Institute Upcoming: Eugene Onegin, Opera Omaha; Verdi’s Requiem, Opera Roanoke

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ARTISTIC STAFF Omer Ben Seadia (Israel)

Director Most Recently at Utah Opera, La tragédie de Carmen Recently: The Snowy Day, Houston Grand Opera; The Magic Flute, Opera Theater St. Louis; The Merry Widow, Calgary Opera; Carmen, Cincinnati Opera; Rigoletto, Florentine Opera Eboni Adams (California)

Assistant Director Utah Opera Debut Recently: Carmen, Cincinnati Opera; Porgy and Bess, Atlanta Opera Upcoming: The Pearl Fishers, Dallas Opera; Castor and Patience (World Premiere), Cincinnati Opera Susan Memmott Allred (Utah)

Costume Design Most Recently at Utah Opera, La traviata 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 Joe Beumer (New York)

Lighting Designer Utah Opera Debut Recently: The Barber of Seville, Opera Colorado; Yardbird, Atlanta Opera; The Elixir of Love, Permian Basin Opera; Peter and the Starcatcher, Playhouse on Park; What We Wanted, Clurman Theatre; Piece by Piece, Dixon Place

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ARTISTIC STAFF Kate Casalino (New York City)

Hair and Make-up Designer Most Recently at Utah Opera, Silent Night Recently: Company, Broadway; The White House Pumbers, HBO; The Marvelous Mrs. Maisel, Netflix Upcoming: The Pirates of Penzance, Utah Opera; On Your Feet, Riverside Theater Michaella Calzaretta (Iowa)

Chorus Master Most recently at Utah Opera, Flight Recently: Rodgers & Hammerstein Celebration, Utah Symphony; Messiah, Utah Symphony; The Barber of Seville, Utah Opera; Orpheus in the Underworld, Utah Vocal Arts Academy Summer Opera Festival Upcoming: The Pirates of Penzance, Utah Opera Melanie Malinka (Germany)

Children’s Chorus Director Recently at Utah Opera, The Little Prince Recently: Concert Tour to Washington D.C., Madeleine Choir School Britten’s A Ceremony of Carols, The Cathedral of the Madeleine; International Performance Tour to Venice, Florence, Assisi, Rome, MCS; La bohème, Pagliacci, Utah Opera Chris DuVal (Utah)

Fight Director Most Recently at Utah Opera, Silent Night Recently: The Play That Goes Wrong, Pioneer Theatre Company; Romeo and Juliet, Colorado Shakespeare Festival Upcoming: A Midsummer Night’s Dream, Montana Shakespeare in the Parks

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CHORUS/SUPERNUMERARIES

Photo by Kent Miles, Utah Opera 2008

CHORUS

Anadine Burrell Lauren Cartwright Victor Castillo Charity Cooper Chad DeMaris Buddy Eyre Dyson Ford Ryan Francis Genevieve Gannon Brynnen Green Elijah Hancock Rodrigo Hernandez-Vazquez

Melissa James Karllen Johnson Tom Klassen Hilary Koolhooven ShaRee Larsen Nelson LeDuc Kristen Lenth Edward Lopez Julie McBeth Camree McKenna Dale Nielsen Ricky Parkinson

Lucas Henry Proctor Brian Rowe Lauren Slagowski Carolyn Talboys-Klassen Scott Tarbet Kathryn Thompson Sammie Tollestrup Jen Turner Daniel Tuutau Dawn Veree Lennika Wright

Robert Payne Jim Thornton Sam Stuart

Tanner McDaniel

SUPERNUMERARIES

Bradley Christensen Jack Tingey James Ohman

UTAH OPERA

UTAH OPERA ACKNOWLEDGES OUR GENEROUS COMMUNITY PARTNERS

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CHORISTERS OF THE MADELEINE CHOIR SCHOOL Martin Cabrera Tillie Coudreaut William Cutshall Ellie Fluchel Nitai Fluchel Charles Holl Ella Johnson Miles Keeton Ethan Molina Noah Nix Helena Nordhoff Meg Nuvan Georgia Ohman Jude Payne Joshua Peterson Ronak Tathireddy

Located in downtown Salt Lake City, The Madeleine Choir School provides strong character formation and a holistic approach to exceptional age-appropriate learning. The music curriculum at MCS is unmatched and students are provided outstanding academic instruction in the humanities, mathematics and the sciences, foreign languages, visual arts, theology, and athletics.

The choristers in Grades Five through Eight regularly assist with the worship life at the Cathedral of the Madeleine and participate in their Annual Concert Series. During the academic year they can be heard at the Cathedral’s 5:15 p.m. Mass Monday through Thursday, and on Sundays at the 11:00 a.m. Mass. The Choristers of the Madeleine Choir School travel on international and national performance tours and regularly collaborate with the Utah Symphony | Utah Opera and other major arts organizations, including the Grand Teton Music Festival.

Please visit utmcs.org for a list of scheduled admissions events, or contact our Director of Admissions at admissions@utmcs.org or 801-323-9850 ext. 103.

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TOSCA TALES BOUNCING TOSCA

WELL MADE OR WELL

It has been said that a trampoline was used to catch the falling Tosca in the final scene of Act III in one production.

Rather than experiencing a final fall, the audience experienced Tosca’s initial plunge and then several more appearances and disappearances of the soprano.

REMEMBERED?

“BREAK A LEG”

Tosca has brought its own curse into various opera companies—some performers even avoid saying its name in the theater. Some unfortunate events surrounding the show include wigs being set on fire, misfiring prop guns, elbows to the face resulting in broken jaws, and jumping off parapets and missing the safety pads, ending in two broken legs.

While Tosca is one of the most popular operas to date, it is based on a forgotten melodrama entitled La Tosca by Vitorien Sardou written in the style of “well-made” theater.

BOMBS AWAY

The premiere performance of Tosca took place in Rome at the Teatro Costanzi.

Despite possible bomb threats arising due to political discrepancies, the show went on without a hitch.

WHERE IN THE WORLD?

The opera takes place in actual locations in Rome, all of which remain standing today: the Church of Sant’Andrea della Valle, the Palazzo Farnese, and the Castel Sant’Angelo.

HAPPY ACCIDENTS

CHURCH BELLS ARE RINGING

The tradition of Tosca performing the iconic “Vissi d’arte” lying down originated from an onstage mishap. In the role of Tosca, Maria Jeritza had fallen during a fight with Scarpia and ended up singing the aria from the floor.

While the story of Tosca is fiction, there are many historical accuracies. Even the pitch of the church bell is true to the actual church bell at the Church of Sant’Andrea della Valle.

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THE STORY OF TOSCA Act I. The Church of Sant’Andrea della Valle. Cesare Angelotti, an escaped political prisoner, rushes in breathlessly; he is looking for a hiding place and ducks into his family chapel. An old sacristan and the painter Mario Cavaradossi enter, both unaware of Angelotti’s presence.

Cavaradossi contemplates a miniature of his lover, the dark-haired Floria Tosca, comparing her beauty to that of the model for his blonde Magdalene—Angelotti’s sister, the Marchesa Attavanti. (“Recondita armonia.”) After the sacristan grumblingly finishes his chores, Angelotti emerges.

Mario provides food and hurries Angelotti back into the chapel as Tosca calls from outside and then enters the church, her jealousies aroused. No sooner has Cavaradossi calmed her and she completed her prayers than she recognizes the Marchesa in the painting and renews her accusations, but he again reassures her. (“Qual’ occhio al mondo.”) She leaves, and Cavaradossi signals his friend to leave the chapel. A cannon signals the alarm for Angelotti’s escape, prompting the two to leave for Cavaradossi’s villa.

Children choristers, adult church staff, and the sacristan enter the church, excitedly preparing for a Te Deum to be performed later that day, but their gaiety is suddenly squelched by the entrance of the terrifying Baron Scarpia, the chief of police, looking for Angelotti. When Tosca returns looking for Cavaradossi, Scarpia—who secretly desires her—inflames her jealousy by showing her the Marchesa’s fan. She departs in a fury, leaving Scarpia to mull his scheme for entrapping both Tosca and Angelotti by exploiting the diva’s jealous nature. Oblivious to the Te Deum now

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in progress, he becomes increasingly excited, ignoring the choristers chanting in God’s name (“Va, Tosca”); suddenly he remembers he is in church, exclaiming “Tosca, you have made me forget God!” Act II. In his elegant offices in the Farnese Palace, Scarpia muses on his pleasure in dominating Tosca. (“Ha più forte sapore.”)

His lieutenant Spoletta arrives after unsuccessfully searching for Angelotti, and brings Cavaradossi instead. As Cavaradossi is interrogated about Angelotti’s whereabouts, Tosca sings in distant counterpoint at a royal gala downstairs.

Afterward she arrives at Scarpia’s offices still in full dress; her lover, already beaten, is removed for more extreme questioning.

Tormented by the sound of his screams, she reveals Angelotti’s hiding place.

Cavaradossi is carried back in and understands that Tosca has informed on him and Angelotti, but his anger turns to exultation when an officer rushes in to announce that Napoleon has won the Battle of Marengo, a defeat for Scarpia’s allies.

Defiantly shouting “Vittoria!”, Cavaradossi is dragged to prison and Tosca is suddenly alone with her nemesis, Scarpia. He calmly resumes his interrupted supper, suggesting to Tosca that she possesses the power to save her lover’s life—if she will give herself to Scarpia first. In despair, Tosca turns to God, asking why her piety and dedication to art have been repaid in this way. Spoletta enters with news that Angelotti, faced with capture, has killed himself. Cornered and desperate, Tosca accepts Scarpia’s terms. Scarpia pretends to order a mockexecution for Cavaradossi and writes a safe-conduct for him and Tosca. As he

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THE STORY OF TOSCA shouts “Tosca, finally mine!” she grabs a letter-knife from his desk and stabs him, countering “This is Tosca’s kiss!”. She wrests the safe-conduct from his stiffening hand, places candles at his head and a crucifix on his chest, and leaves.

Act III. As dawn breaks over the Castel Sant’Angelo, a shepherd boy sings a morning song and church bells toll.

Cavaradossi is awaiting his execution and bribes a guard to convey a farewell note to Tosca. As he writes, feelings of love and despair overwhelm him. (“E lucevan le stelle.”) Suddenly Tosca runs in, excitedly

recounting the details of her presumed triumph over Scarpia. Mario caresses the hands that committed murder for his sake (“O dolci mani”), and the two hail their future.

As the firing squad marches in, Tosca—ever the performer—coaches Cavaradossi on how to fake his death convincingly; the soldiers fire and depart. Tosca urges her lover to hurry, but when he fails to move, she discovers that Scarpia’s treachery has transcended the grave: the bullets were real.

When Spoletta rushes in to arrest Tosca for Scarpia’s murder, she cries out to Scarpia that she will meet him before God—then leaps from the parapet to her death.

Photo by Kent Miles, Utah Opera 2008

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COMPOSER AND LIBRETTISTS

Giacomo Puccini Composer

Giacomo Puccini was born in Lucca in Tuscany, Italy, into a family with five generations of musical history behind them.

His father died when he was five years old, and he was sent to study with his uncle Fortunato Magi. Later, Puccini took the position of church organist and choir master in Lucca, but it was not until he saw a performance of Verdi’s Aida that he became inspired to be an opera composer. After his education at Milan Conservatory, Puccini composed Manon Lescaut (1893), his third opera, and his first great success. It launched his remarkable relationship with the librettists Luigi Illica and Giuseppe Giacosa, who collaborated with him on his next three operas, which became his most famous and often-performed operas: La bohème, Tosca, and Madama Butterfly. Puccini died on November 29, 1924; news of his death reached Rome during a performance of La bohème.

The opera was immediately stopped, and the orchestra played Chopin’s Funeral March for the stunned audience.

Luigi Illica Librettist

Luigi Illica wrote for libretti for composers including Giacomo Puccini (usually with Giuseppe Giacosa), Alfredo Catalani, and Umberto Giordano. His most famous opera libretti were those for La bohème, Tosca, Madama Butterfly, and Andrea Chénier. Illica’s personal life often imitated his libretti. He was always photographed with his head slightly turned because he lost his right ear in a duel over a woman. As a playwright of considerable quality, he is today remembered through one of Italy’s oldest awards, the Luigi Illica International Prize founded in 1961, which goes to world famous opera singers, opera conductors, directors, and authors. The Award is now awarded every two years and alternates with the Illica Opera Stage International Competition, which offers prizes and debut opportunities to young singers.

Giuseppe Giacosa Librettist

Giuseppe Giacosa was an Italian poet, playwright, and librettist. His father was a magistrate, and Giacosa went to the University of Turin to earn a degree in law, but did not pursue this career. Giacosa gained initial fame for writing the poems in A Game of Chess in 1871. His focus was playwriting, which he accomplished with both insight and simplicity, using subjects set in Piedmont and themes addressing contemporary bourgeois values. He wrote La Dame de Challant for noted French actress Sarah Bernhardt, which she produced in New York in 1891. Giacosa wrote the librettos used by Giacomo Puccini in La bohème, Tosca, and Madama Butterfly in conjunction with Luigi Illica.

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UTAH SYMPHONY Thierry Fischer, Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Barlow Bradford Symphony Chorus Director VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Alexander Martin Acting Associate Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt•• Sara Bauman†† Erin David Joseph Evans LoiAnne Eyring Laura Ha• Lun Jiang# Rebekah Johnson Tina Johnson†† Jennifer Kozbial Posadas†† Veronica Kulig David Langr Hannah Linz•• Yuki MacQueen Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Bonnie Terry Julie Wunderle

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Yuan Qi Associate Principal Elizabeth Beilman† Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas CELLO* Matthew Johnson Acting Principal The J. Ryan Selberg Memorial Chair Andrew Larson Acting Associate Principal John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah Thomas-Hollands†† Pegsoon Whang BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn Andrew Keller Edward Merritt James Stroup†† Jens Tenbroek Thomas Zera† HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore

• First Violin •• Second Violin

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* String Seating Rotates † On Leave

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

TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Paul Torrisi TROMBONE Mark Davidson Principal Sam Elliot Associate Principal

ENGLISH HORN Lissa Stolz

BASS TROMBONE Graeme Mutchler

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

TUBA Vacant Principal

Erin Svoboda-Scott Associate Principal Lee Livengood

TIMPANI George Brown Principal Eric Hopkins Associate Principal

BASS CLARINET Lee Livengood

PERCUSSION Keith Carrick Principal

E-FLAT CLARINET Erin Svoboda-Scott

Eric Hopkins Michael Pape

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

KEYBOARD Jason Hardink Principal

Leon Chodos Associate Principal

LIBRARIANS Clovis Lark Principal Claudia Restrepo

Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Jessica Danz Principal

ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager

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

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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.

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OVERTURE ($25,000 TO $49,999) Scott & Kathie Amann Doyle Arnold & Anne Glarner John H. † & Joan B. Firmage Kristen Fletcher & Dan McPhun Brian & Detgen Greeff Douglas & Connie Hayes

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INDIVIDUAL DONORS MAESTRO ($10,000 TO $24,999) Fran Akita Austin & Kristi Bankhead Thomas Billings & Judge Judith Billings Mr. & Mrs. Jim Blair Judy & Larry Brownstein Rebecca Marriott Champion Joseph & Cathy Cleary Larry Clemmensen Shelly Coburn Kathleen Digre & Michael Varner Pat & Sherry Duncan Dr. & Mrs. Ralph Earle Barry & Traci Eden Midge & Tom Farkas Robert & Elisha Finney Mike & Cindy Gatewood

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

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

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

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

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

INDIVIDUAL DONORS ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Diane Jenkins Drs. Randy & Elizabeth Jensen Chloe Johnson Maxine & Bruce Johnson Neone F. Jones Family Dr. Michael A. Kalm Dr. James and Carolyn Katsikas Marguerite Kaupp Michael Kennedy Susan Keyes & Jim Sulat Jeanne Kimball Spencer & Christy Knight Howard & Merele Kosowsky Jeffrey LaMora Donald L. & Alice A. Lappe Tim & Angela Laros Linda & Bret Laughlin Patricia & Mark Lucas Chuck & Crystal Maggelet Keith & Vicki Maio Kathryn & Jed Marti Miriam Mason & Greg Glynnis Tom & Janet McDougal

David & Nickie McDowell Ted A. McKay George & Nancy Melling Brad & Trish Merrill Richard & Robin Milne Mr. & Mrs. Richard Mithoff MJZR Charitable Trust Dr. Louis A. Moench & Deborah Moench Glenn & Dav Mosby Michael and Katie Mueller Sir David Murrell IV & Mary Beckerle Metta Nelson Driscoll Stephen & Mary Nichols Thomas & Barbara O’Byrne Ruth† & William Ohlsen W.E. & Harriet R. Rasmussen Glenn Ricart Mr. & Mrs. Robert Rollo Rebecca Roof & Gary Smith Rachel Sabin Mark & Loulu Saltzman Margaret P. Sargent Dru Schmitt James & Janet Schnitz

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FRIEND ($1,000 TO $2,499) Anonymous (5) Christine A. Allred Margaret Anderson Robert & Cherry Anderson Drs. Crystal & Dustin Armstrong Mr. Dennis D. Austin & Dr. Ann Berghout-Austin Fred & Linda Babcock David Bailey Marlene Barnett Tom & Carolee Baron Tina and John Barry Mr. & Mrs. Lawrence R. Barusch David Bateman

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INDIVIDUAL DONORS FRIEND ($1,000 TO $2,499) CONTINUED Mr. & Mrs. Eric Garen** Traci & Scott Garmon Larry Gerlach Bob & Mary Gilchrist Ralph & Rose Gochnour Mr. Keith Guernsey John and Ilauna Gurr Emily & Chauncey Hall Dr. Elizabeth Hammond Kenneth & Kate Handley Scott W. Hansen Jonathan Hart Lex Hemphill & Nancy Melich Barbara Higgins Richard & Ruth Ann Hills Thomas Hogan Connie C. Holbrook Caroline & David Hundley Stephen Tanner Irish Eldon Jenkins & Amy Calara M. Craig & Rebecca Johns Nicholas Johnson Bryce & Karen† Johnson Chester & Marilyn Johnson Josh & Catherine Kanter Umur Kavlakoglu Randy King Carl & Gillean Kjeldsberg Robert & Karla Knox Les Kratter Grace Lin Ms. Susan Loffler

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For further information, please contact 801-869-9015.

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

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Harris H. & Amanda P. Simmons Foundation Sorenson Legacy Foundation

Joseph & Kathleen Sorenson Legacy Foundation The Kahlert Foundation The John C. Kish Foundation McCarthey Family Foundation Charles Maxfield & Gloria F. Parrish Foundation Perkins-Prothro Foundation

Promontory Foundation Theodore & Elizabeth Schmidt Family Foundation Joanne L. Shrontz Family Foundation Simmons Family Foundation Struck* Summit Sotheby’s Nora Eccles Treadwell Foundation Utah Office of Tourism

$50,000 TO $99,999 Anonymous The Grand America Hotel & Little America Hotel* Janet Q. Lawson Foundation

$25,000 TO $49,999 Arnold Machinery BMW of Murray/BMW of Pleasant Grove Carol Franc Buck Foundation Cache Valley Electric C. Comstock Clayton Foundation William Randolph Hearst Foundation

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

Cultural Vision Fund Discover Matthew B. Ellis Foundation Goldman Sachs & Co. LLC Greenberg Traurig Richard K. & Shirley S. Hemingway Foundation Johnson Foundation of the Rockies Kulynych Family Foundation II, Inc. Marriott International, Inc. Microsoft Corporation*

Park City Chamber/Bureau Regence BlueCross BlueShield of Utah The Joseph & Evelyn Rosenblatt Charitable Fund Salt Lake City Arts Council St. Regis / Deer Crest Club** The Swartz Foundation Teoma Corporate Llc WCF Insurance W. Mack and Julia S. Watkins Foundation

Grandeur Peak Global Advisors The Val A. Green & Edith D. Green Foundation Victor Herbert Foundation Holland & Hart** Hotel Park City / Ruth’s Chris Restaurant Hyatt Centric Park City** J. Wong’s Thai & Chinese Bistro* Lee’s Marketplace* Millcreek Coffee Roasters* Lee’s Marketplace* Millcreek Coffee Roasters* Abbott B & Joan M Lipsky Fund The Marion D. & Maxine C. Hanks Foundation

Ray, Quinney & Nebeker Foundation Raymond James & Associates Red Rock Brewing Company* Reliable Controls Rocky Mountain Power Foundation Snell & Wilmer Snow, Christensen & Martineau Foundation Swire Coca-Cola* Squatters Pub Brewery* The Fang Family Foundation U.S. Bank Foundation Utah Autism Foundation Vanguard Charitable Endowment Y2 Analytics*

$1,000 TO $9,999 Anonymous [3] 4Girls Foundation Berkshire Hathaway Home Services Rodney H. & Carolyn Hansen Brady Charitable Foundation Castle Foundation CBRE City of Orem Deer Valley Resort* Spencer F. & Cleone P. Eccles Family Foundation Every Blooming Thing* Henry W. & Leslie M. Eskuche Charitable Foundation The Fanwood Foundation Western Office

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DOUBLE YOUR IMPACT BEFORE MAY 1!

Want you r gi f t t o go e ve n f u r t h e r?

Now i s t he t i m e t o gi ve !

Thanks to a generous matching challenge grant from the George S. and Dolores Doré Eccles Foundation, all new or increased contributions received through May 1, 2022 will be matched dollar for dollar, up to $500,000. $378,000 We are more than halfway to our goal - help us rise to the challenge with a gift today!

The Foundation's leadership acknowledged USUO's thoughtful strategies "to remain active and viable during such an unprecedented year."

We are so grateful to the Foundation and to you our loyal supporters - for allowing us to look to the future with optimism.

Make a donation online at USUO.ORG/GIVE or by calling 801-869-9001

$500,000

ADMINISTRATION ADMINISTRATION Steven Brosvik

Robert Neu

David Green

Symphony Chorus Director

President & CEO

Senior Vice President & COO

Julie McBeth

Executive Assistant to the CEO

Ellen Lewis

Executive Assistant to the Senior V.P. & COO & Office Manager

Vice President of Artistic Planning

Barlow Bradford Walt Zeschin

Director of Orchestra Personnel

Andrew Williams

Orchestra Personnel Manager

Morgan Moulton

Artistic Planning Coordinator

OPERA ARTISTIC Christopher McBeth

Lance Jensen

Carol Anderson Principal Coach

SYMPHONY OPERATIONS Cassandra Dozet

Director of Production

Melissa Robison

Opera Artistic Director

Michelle Peterson

Michaella Calzaretta

Executive Assistant to the Music Director & Symphony Chorus Manager

Director of Orchestra Operations

Opera Chorus Master

Program Publication & Front of House Director

Production Coordinator

Production & Stage Manager

Ashley Tingey

OPERA TECHNICAL Kelly Nickle Properties Master

Dusty Terrell

Scenic Charge Artist

Glenn Linder

Interim Technical Director

Thomas Cowdery

Production Technical Director

COSTUMES Cee-Cee Swalling Costume Director

Verona Green

Costume Rentals & Stock Manager

Milivoj Poletan Master Tailor

Tiffany Lent

Cutter/Draper & Costume Shop Foreman

Amanda Meyer First Hand

Chip Dance

Jeff F. Herbig

Properties Manager & Assistant Stage Manager

Lyndsay Keith

Operations Manager

Robyne Anderson

2nd Assistant Stage Manager

Aoibheann Herrmann

Rentals Assistant & Stitcher

Lauryn Nebeker Sally McEntire Stitchers

SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director

PATRON SERVICES Faith Myers

Director of Patron Engagement

Merry Magee

Marketing Manager - Patron Loyalty

Mara Lefler

Sales Manager

Janae Graham

Patron Services Manager

Genevieve Gannon

Group Sales Associate

Alicia Ross Val Tholen

Sales Associates

Lorraine Fry Naomi Newton Ian Painter Ananda Spike Ticket Agents

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO

Jessica Proctor

Controller

Heather Weinstock

Payroll & Benefits Manager

Director of Information Technologies

Melanie Giles

Director of Institutional Giving

Alison Mockli

Director of Special Events & DVMF Donor Relations

Jared Mollenkopf

Patron Information Systems Manager

Stephanie Ogden

Kyle Siedschlag

Katie Swainston

Zac Cameron

Lisa Poppleton

EDUCATION Paula Fowler

Director of Individual Giving Individual Giving Manager Grants Manager

Nyssa Startup

Rentals Assistant

Website Content Coordinator

Vice President of Development

Erin Marr

Lisa Ann De Lapp

Nina Starling

Mike Lund

Donna Thomas

Wardrobe Supervisor & Rentals Assistant

Marketing Manager - Audience Development

DEVELOPMENT Leslie Peterson

Dallin Mills

Crafts & Millinery Artisan

Robert Bedont

Accounts Payable Specialist Payroll Clerk

Development Database Manager

Director of Education & Community Outreach

Donor Engagement (DVMF) & Special Events Coordinator

Symphony Education Manager

Ellesse Hargreaves

Stewardship & Event Coordinator

MARKETING & COMMUNICATIONS Jon Miles

Kyleene Johnson Anna Atkinson

Opera Education Assistant

Paul Murphy

Symphony Education Assistant

Vice President of Marketing & Public Relations

Meredith Kimball Laing

Director of Communications

Kathleen Sykes

Content & Social Media Manager

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

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Our 2022 Season June 20 – October 8

THE ENGELSTAD SHAKESPEARE THEATRE

THE RANDALL L. JONES THEATRE

ALL’S WELL THAT ENDS WELL

THE SOUND OF MUSIC

By William Shakespeare

By William Shakespeare

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

By George Stevens Jr.

KING LEAR

THE EILEEN AND ALLEN ANES STUDIO THEATRE THE TEMPEST THURGOOD

By William Shakespeare

SWEENEY TODD

TROUBLE IN MIND

By Stephen Sondheim and Hugh Wheeler

By Alice Childress

CLUE Based on the Screenplay by Jonathan Lynn Written by Sandy Rustin Additional Material by Hunter Foster and Eric Price Left to right: Emelie O’Hara as Richard in The Conclusion of Henry VI: Parts Two and Three, 2019; Quinn Mattfeld as Nathan Detroit in Guys and Dolls, 2017; Betsy Mugavero as Nerissa in The Merchant of Venice, 2018; Wayne T. Carr as Macbeth in Macbeth, 2019; Michael Elich as Long John Silver in Treasure Island, 2017; and Sarah Hollis as a Witch in Macbeth, 2019.

800-PLAYTIX bard.org #utahshakes

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AT THE HISTORIC VILLA THEATRE

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

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

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

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

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

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

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

TANNER SOCIETY OF UTAH SYMPHONY

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

Mahler Circle

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

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

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

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

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

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Leave a Legacy.

Ensure the future.

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

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

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HOUSE RULES

Photo Credit: Austen Diamond

ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Janet Quinney Lawson Theatre. Ask at the Coat Check for details.

WHEELCHAIR SEATING Ample wheelchair seating is available.

Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager.

LATECOMERS In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating 52

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

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

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

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

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

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

Gerda Saunders embarks on a journey of self-discovery and inquiry as the effects of dementia slowly unravel her identity.

PREMIERES FEB. 17, 7PM pbsutah.org/gerda

Visit Utah’s premier Chinese & Thai Restaurant

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

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

Tanner, llc LEGAL REPRESENTATION PROVIDED BY

Ballard Spahr Andrews & Ingersoll, llp Holland & Hart, LLP Jones Waldo ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY

Love Communications, Salt Lake City

ADVERTISING CREATIVE & BRANDING SERVICES PROVIDED BY

Struck, Salt Lake City / Portland

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

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

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

Photo Credit: Austen Diamond

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