An American in Paris

OGDEN SYMPHONY BALLET

An American in Paris September 27, 2018 | 7:30pm

ASSOCIATION

2018–19 season

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UTAH’S PBS STATION KUED broadcasts the entire PBS schedule, including PBS Kids, NOVA, Nature and MASTERPIECE, as well as locally-produced documentaries and series that focus on Utah.

WELCOME Dear Friends, I want to extend a warm welcome to each of you attending this performance. Thank you for coming! I am honored to serve as Executive Director of Ogden Symphony Ballet Association and wish to express my gratitude for your support as I have become acclimated to this new role. As a life-long musician, administrator, and advocate for the arts I am inspired and motivated by the dedication and commitment I have seen from so many donors, patrons, and volunteers. I am extremely enthusiastic about what we can accomplish together.

Looking ahead, I am excited about the increase in energy surrounding the blossoming arts scene in Ogden, and the strong consortium of cultural leaders we have around us. I believe that OSBA’s value lies in the ability to connect our community through music and dance; and to bring the countless positive benefits of the performing arts to as many in our community as possible. If you haven’t already, I invite you to join our efforts by sharing your passion with others; bring a friend, persuade a coworker to attend, introduce us to someone new in town. I cannot overestimate the impact of these activities. There are many other ways to make a difference, and I encourage you to contact a staff member if you would like to share your time, talents, or resources.

I am eager to get to know each of you, and learn about the facets of OSBA that you enjoy, and where we have room for improvement. I am always open to your feedback—positive or negative.

We can only succeed by working together to protect and grow our cherished organization.

Melissa Klein Executive Director

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OSBA BOARD & STAFF

BOARD OF DIRECTORS Dr. Robert Fudge President Mark Stratford President Elect Paul Kunz Past President Melissa Bennett Vice President Jennifer Webb Secretary Dr. David Malone Treasurer Steven Carter Robbyn Dunn Dr. Ann Ellis Linda Forest John Fromer John Gordon Dr. Val Johnson Russ King (OSBA Foundation) McClain Lindquist Dr. Robert Newman Nancy Pinto-Orton Dr. Carolyn Rich-Denson Dr. Jan Slabaugh

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ADVISORS Marlene Barnett Karen Fairbanks Alan Hall Robert Harris Thomas Moore Suzy Patterson FOUNDATION Russ King Chair Marti M. Clayson Secretary

EXECUTIVE DIRECTOR Melissa Klein DEVELOPMENT DIRECTOR Taylor Knuth BOX OFFICE & MARKETING MANAGER Camille Washington OUTREACH & VOLUNTEER COORDINATOR Andrew Barrett Watson

Richard White Treasurer Paul C. Kunz Andrea Lane Michael S. Malmborg Dr. Judith Mitchell Meg Naisbitt Ellen Opprecht Carolyn N. Rasmussen Sherm Smith Dr. Paul Sonntag

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ABOUT OSBA

Under the direction of numerous dedicated Board Members and long-serving Executive Directors like Jean Pell (27 years) and Sharon Macfarlane (14 years), OSBA has expanded its programming but remains committed to its mission to enrich the lives of people in northern Utah by sponsoring world-class classical music and dance programming in the Greater Ogden Area.

Since its inception, OSBA has presented over 800 performances.

In 1949, Beverly Lund and Ginny Mathei decided they wanted to add even more culture to Weber County, so, with the help of a few friends and their husbands’ checkbooks, they brought the Utah Symphony to Ogden for a single performance. The total cost was $400, and three hundred people attended the concert.

This 1949 concert was a big success, so the women decided to present even more concerts in Ogden. They organized a committee within the Welfare League (later the Junior League) to raise funds for the Symphony Concerts.

Then, in 1957, this committee reformed and incorporated as the Ogden Guild. After a few more name changes and the addition of Ballet West performances in 1982, the organization became the Ogden Symphony Ballet Association.

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In addition, OSBA actively works to engage and educate younger patrons. For example, our Youth Guild has provided generations of high school students with opportunities to serve. We also offer a variety of education classes, from Masterworks Music Detectives to Music and Dance Explorers. And we are partnering with several local community organizations to expand these programs to reach even more children and students. This May, we will present our 3rd Annual Youth Benefit Concert, featuring Young Concert Artist, violinist Bella Hristova. The proceeds from this concert will go to fund music education scholarships for local children. If you would like to know more about any of these programs, please do not hesitate to call our office!

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OSBA 2018–19 SEASON

ENTERTAINMENT SERIES

DANCE SERIES

Bernstein on Broadway September 13

BalletX October 6

Pink Martini December 20

Stars of American Ballet November 2

My Fair Lady in Concert February 14

Jessica Lang Dance February 2

Troupe Vertigo April 18

BYU Living Legends February 28 FAMILY SERIES Here Comes Santa Claus December 17 Peter and the Wolf March 14 Story Pirates April 16

MASTERWORKS SERIES

SPECIAL EVENTS

An American in Paris September 27

Patriotic Pops June 29

Bach’s Brandenburg Concertos 3 & 4 December 6

Frank & Ella August 7

Rachmaninoff’s Piano Concerto No. 2 March 21

The Nutcracker November 23 & 24

Villegas plays Concierto de Aranjuez April 25

The Queen’s Six February 19 Youth Benefit Concert May 8

Arts

The Ogden Symphony Ballet Association’s 2018–2019 season is funded in part by grants from the National Endowment for the Arts, the Utah Division of Arts and Museums, Weber County Recreation, Arts, Museums, and Parks (RAMP) program, and Ogden City Arts.

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MASTERWORKS SERIES

AN AMERICAN IN PARIS SEPTEMBER 27, 2018 / 7:30PM / VAL A. BROWNING CENTER THIERRY FISCHER, conductor ALEXANDRE THARAUD, piano

CONCERT SPONSORED BY

ROBERT & MARCIA HARRIS

Arts

The Ogden Symphony Ballet Association’s 2018–2019 is funded in part by grants from the National Endowment for the Arts, the Utah Division of Arts and Museums, Weber County Recreation, Arts, Museums, and Parks (RAMP) program, and Ogden City Arts.

GERSHWIN RAVEL

An American in Paris Concerto in G Major for Piano and Orchestra I. Allegramente

II. Adagio assai III. Presto ALEXANDRE THARAUD, piano

/ INTERMISSION /

SCHUBERT

Symphony No. 9 in C Major, D. 944 “The Great”

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I. II. III. IV.

Andante - Allegro ma non troppo Andante con moto Scherzo: Allegro vivace Allegro vivace

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ARTISTS’ PROFILES Music Director of the Utah Symphony since 2009 and recently extended to 2022, Thierry Fischer has revitalized the orchestra with creative programming, critically acclaimed performances, and new recordings. In April 2016 he took the orchestra to Carnegie Hall for the first time in 40 years, and together they have released CDs of Mahler symphonies and newly commissioned works. Since January 2017 Fischer has been Principal Guest Conductor of the Seoul Philharmonic Orchestra.

Recent guesting has included Boston Symphony, London Philharmonic, Royal Philharmonic, Bergen Philharmonic, Rotterdam Philharmonic, BBC Symphony, Maggio Musicale Firenze, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande, and Sao Paulo Philharmonic, as well as Chamber Orchestra of Europe, Mostly Mozart New York, Scottish Chamber Orchestra, and London Sinfonietta.

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

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While Principal Conductor of the BBC National Orchestra of Wales from 2006–2012 Fischer appeared every year at the BBC Proms, toured internationally, and recorded for Hyperion, Signum, and Orfeo. His recording of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus won the ICMA Award in 2012 (opera category).

In 2014 he released a Beethoven disc with the London Philharmonic on the Aparte label.

Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra from 2001–2006.

He was Chief Conductor of the Nagoya Philharmonic from 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

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ARTISTS’ PROFILES Alexandre Tharaud has distinguished himself as one of France’s leading pianists. Recognized on the international stage as an artist of unique vision and originality, Alexandre is heralded for his brilliantly-conceived programs and bestselling recordings that range from Bach, Chopin, Rameau, and Ravel to music inspired by Paris cabaret of the 1920s.

Alexandre Tharaud

This season, his recital tour of North America includes a return to Carnegie Hall and recitals in Washington, D.C., and Montreal.

He also continues to appear frequently with Les Violons du Roy—with whom he has recorded Bach and Mozart for Warner Classics—on tour and in Canada, and in recent seasons made his debuts with the Philadelphia Orchestra and the Atlanta Symphony and returned to the Toronto Symphony. Other recent highlights in North America include appearances at Boston Symphony Hall and at Walt Disney Hall, as well as recitals in Boston, New York, and at Chicago Symphony Hall. Upcoming highlights include performances with the Cleveland Orchestra, Utah Symphony, and Montréal Symphony. Alexandre has enjoyed working with such conductors as Peter Oundjian, Bernard Labadie, Daniele Gatti, Lionel Bringuier, Stéphane Denève, Vladimir Jurowski, Rafael Frühbeck de Burgos, and Yannick Nézet-Séguin, among others.

Piano

In Europe, Alexandre performs extensively in Germany (Essen and Cologne Philharmonies; Alte Oper Frankfurt; Ludwigsburg Festival), France (Théâtre des Champs-Elysées; Opéra de Versailles), as well as at the Warsaw Philharmonie; Victoria Hall, Geneva; Muziekgebouw and Concertgebouw, Amsterdam; BOZAR, Brussels; Wigmore Hall and Queen Elizabeth Hall, London; Auditorio Nacional, Madrid; Santa Cecilia, Roma; Tonhalle, Zürich; Casino, Bern; Rudolfinum, Prague; and Musikverein, Vienna. His festival appearances include the BBC Proms, Edinburgh International Festival, Gergiev Festival in Rotterdam, Aix-en-Provence, La Roque d’Anthéron, Schleswig-Holstein, Rheingau, Ruhr Piano Festival, Nuits de Décembre de Moscou, Rimini, Domaine Forget, and Lanaudière.

Among the performing highlights of the next two seasons: a European tour with the Metropolitan Orchestra and its chief-conductor Yannick Nézet-Séguin (Ravel’s Piano Concerto for the Left Hand); a tour of Japan including a concert with the Tokyo Metropolitan Orchestra (Shostakovich Piano Concerto No. 2). Further tours will take place across France, Germany, Austria, Italy, and Switzerland together with NDR Radio Philharmonie, Orchestre de la Suisse-Romande, Münchener Kammerorchester, Junge Deutsche Philharmonie, Bayerische Kammerphilharmonie, and Orchestra Verdi.

In 2014 he published his first book, Piano Intime, which was followed in early 2017 by a more personal narrative view on his career: Montrez-moi vos mains. Alexandre Tharaud is also featured in a film directed by Michael Haneke (Amour), and Swiss filmmaker Raphaëlle Aellig-Régnier, Le temps dérobé, and has completed a new edition of Maurice Ravel’s complete solo piano works for the German publisher Bärenreiter.

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NOTES ON THE PROGRAM

by Michael Clive

George Gershwin (1898–1937)

An American in Paris PERFORMANCE TIME: 17 minutes

BACKGROUND Gershwin composed An American in Paris in 1928, when he was not quite 30, on commission from the New York Philharmonic. For those of us who know his songs best, this sparkling ballet score-cum-tone poem is one of the best gateways to his skill as a composer in the classical mold.

No composition by Gershwin or anyone else can beat it for its energetic, exuberant expression of love for a city and for life itself.

Gershwin’s infatuation with Paris was shared with many American artists between the world wars. The writers Ernest Hemingway, Gertrude Stein, and the Fitzgeralds were there; so were the composers Aaron Copland and Virgil Thomson. Gershwin, like Copland, sought instruction from the great Parisian composition teacher Nadia Boulanger. Both she and Maurice Ravel, whom Gershwin met when Ravel was touring the U.S., gave him the same advice: go compose. He had already found his voice as a composer, and they had little to teach him.

WHAT TO LISTEN FOR An American in Paris is rhapsodic and buoyant, a combination of characteristically French textures and can-can rhythms, a traditional tune or two, and Gershwin’s usual melodic and harmonic inventiveness. It’s not surprising that Gershwin manages to make American blues scales sound Gallic, as French composers were already using the flatted third and seventh notes of the scale in their own works. Besides, remember—this is an American in Paris, so we hear the Parisian scene through Yankee ears.

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The work is structured in five rough sections that form a loosely arched structure, A-B-A in form. But it is best heard without an awareness of these formal elements. Gershwin’s music takes us through time and space, bringing Paris to life in a way that is as real as being there— perhaps more so. It takes us to jazz joints and dance clubs, and it begins with one of the most vivid streetscapes in all of music, an evocation of a Parisian traffic jam that is simultaneously beautiful and hilarious in its verisimilitude.

Listeners who are old enough, and who grew up in the right neighborhood, may remember the lyrics “my mother gave me a nickel to buy a pickle,” inspired by one of the can-can melodies that Gershwin quotes.

Though he was already doing well as a songwriter, the young Gershwin had so far experienced only mixed success with his serious compositions, and critics were less than enthusiastic about An American in Paris. But its joy and piquant realism enthralled listeners.

Gershwin had even brought a passel of authentic Parisian car horns for the premiere.

In his own program note for the occasion, a collaboration with the distinguished critic Deems Taylor, he wrote: The opening gay section is followed by a rich blues with a strong rhythmic undercurrent. Our American… perhaps after strolling into a café and having a couple of drinks, has succumbed to a spasm of homesickness. The harmony here is both more intense and simpler than in the preceding pages. This blues rises to a climax, followed by a coda in which the spirit of the music returns to the vivacity and bubbling exuberance of the opening part with its impression of Paris.

Apparently the homesick American, having left the café and reached the open air, has

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NOTES ON THE PROGRAM disowned his spell of the blues and once again is an alert spectator of Parisian life.

At the conclusion, the street noises and French atmosphere are triumphant.

Maurice Ravel (1875–1937)

Concerto in G Major for Piano and Orchestra PERFORMANCE TIME: 21 minutes

BACKGROUND The close of the year 2013 added a sad footnote to the distinguished history of Ravel’s Piano Concerto in G Major: The piano maker most closely associated with it, Pleyel, closed its doors at year’s end after two centuries in business. Generations of French pianists preferred Pleyel pianos, especially for works by Ravel and Debussy. The Concerto in G Major received its premiere on a Pleyel grand in the company’s legendary concert hall, the Salle Pleyel, in January of 1932.

Had things gone as planned, Ravel himself would have been at the keyboard; he intended the concerto to serve as the showpiece of an international tour that could have secured his retirement. An extensive itinerary was mapped out for destinations as distant as Japan, but his failing health forced its cancellation. Instead, Ravel conducted the orchestra and chose Mme. Marguerite Long as soloist.

WHAT TO LISTEN FOR The Concerto in G’s abundance of musical invention mixes traditional and innovative elements. It presents in the Classical concerto’s three-movement form, with recognizable melodies in Ravel’s characteristically beautiful harmonizations. From the first movement

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onward we hear his typical elegance of construction combined with international references: an opening theme that mimics a Basque folk tune is followed by a Spanishsounding second theme, then by jazzy syncopations reminiscent of Gershwin. There are echoes of Prokofiev, Satie, and Stravinsky here, and the movement closes with trombone licks that could not have been written without knowledge of jazz.

Such diversity borders on the raucous. But in the second movement we have brilliant contrast: here is the slow, beautiful central section that Ravel seems to have meant when he cited Mozart and Saint-Saëns as his models. It was written, Ravel notes, “under the spell” of the larghetto movement of Mozart’s gorgeous Clarinet Quintet, but worked and reworked with typical thoroughness and skill until only Ravel’s artisanship—not the Mozartean source—is apparent.

The Concerto in G ends with a brilliant Presto—quick and energetic, with the exciting virtuosic display that Ravel felt a concerto should afford. The textures are iridescent and the pulse is polyrhythmic. In the space of three traditional movements, Ravel takes us from the serenity of a lullaby the splendor of fireworks, leaving us breathless.

Franz Schubert (1797–1828)

Symphony No. 9 in C Major, D. 944 “The Great” PERFORMANCE TIME: 50 minutes

BACKGROUND Perhaps great genius is always unique and often wayward, but Schubert’s genius

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NOTES ON THE PROGRAM has tended to separate him from other mavericks in the pantheon of “greatest” composers. Like Mozart he displayed prodigious musical gifts in early childhood and composed at an incredibly prolific rate, leaving a legacy of masterpieces in most major musical genres and dying in his 30s (in Schubert’s case, only 31). But with Mozart’s example, aficionados tend to agree on the hallmarks of greatness. Ask two fans about Schubert and they might well describe two seemingly different composers.

This symphony’s link to Beethoven is more than just a matter of music history. The German Beethoven, who forever changed the scope of symphonic expression, was at the height of his creative powers when Schubert was born in Vienna in 1797. His music and reputation loomed large throughout Europe.

When the very precocious Schubert was acquiring his musical tastes during his preteen years, Beethoven became a chief and enduring influence. The two geniuses died just a year apart.

WHAT TO LISTEN FOR We can hear Beethoven’s influence immediately in the architectural framework that Schubert establishes for the Great C Major. This is not the Schubert of achingly beautiful, singing melodies that capture the essence of Romantic verse in song, but rather the Schubert who was awed by Beethoven’s profundity and sought to emulate it in his own highly structured melodic development. While we wouldn’t mistake Schubert’s thematic materials for Beethoven’s, we sense what Schubert learned from Beethoven’s imaginative thoroughness in carrying a symphonic movement forward through a long-sustained arc.

Both composers were influenced by the great

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Enlightenment thinkers who came to view the universe as subject to laws of science and thus available to human understanding through scientific inquiry—in a sense, a giant clockwork. This line of thought was the digital revolution of its day. It made automata and robotic devices all the rage in Beethoven’s and Schubert’s era. And it is reflected in their symphonic movements, which combine thoroughness and precision with the gleam of ingenuity and innovation.

Schubert’s Great C Major goes far beyond the conventions of Classical symphonies, giving us musical worlds to experience through his disassembly, observation, and reassembly of thematic materials. By the time we’re done listening, we have a different perspective on God’s creation—a perspective informed by the symphonist’s inspired creativity.

Of course, none of this can happen in a hurry or without technical challenges, and these obstacles are the subject of much mythology surrounding the Great C Major. It is expansive, with performance times usually running about 50 minutes, though recent interpretations on the leaner, brisker side sometimes cut this down a bit. Even so, the sound is stately, with an undeniable sense of its own grandeur. Robert Schumann, who received the manuscript from Schubert’s brother and called it the greatest instrumental work since the death of Beethoven, described it as of “heavenly length,” a phrase that has proved as durable as the symphony itself.

The objections of overtaxed musicians, some of whom complained it made their arms tired, are cited as the main reason why the Great C Major did not receive its premiere until 1839, more than a decade after Schubert’s death, in a performance conducted by Felix Mendelssohn.

An oft-told tale claims that a hornist turned

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NOTES ON THE PROGRAM to a colleague late in a rehearsal of the first movement to ask if he had managed to hear a tune yet. His balkiness seems especially unlikely given the symphony’s innovative use of non-string players. It provided just what they wanted: more interesting parts that did not just double or repeat lines in the strings. This is the symphony that alerted later composers to the gravity and portent that could be added through bolder use of the brasses, especially trombones—one area in which Schubert departed radically from his idol Beethoven.

Schumann describes the supreme expressiveness of one such groundbreaking section in the symphony’s opening: “There is in it a passage where a horn, as though calling from afar, seems to come from another world. The instruments stop to listen, a heavenly spirit is passing through the orchestra.” The popular music historian Alfred Einstein summarizes the transition from the symphony’s introduction (actually the two lengthy introductory movements) to the third and fourth movements in exciting terms: “…

[T]he theme which first expresses itself in such mystical language on the trombone…how simple and direct it all is—the transition to the second subject, the quiet passage leading to the recapitulation, the contrast between thematic and ‘lyrical’ treatment in the Scherzo and the Trio, the sauntering gait and the daemonic flight of the Finale! Scherzo and Finale are clearly linked by the four-note figure which later achieves its apotheosis in the Finale, where it transforms the sauntering gait into a grandiose climax.”

For all its depth and innovation, the Great C Major follows the standard four-movement symphonic form of the day, opening with an Andante of stately pace that leads to a brisker tempo marked Allegro ma non troppo (but

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not too much). From the outset, unusual elements are brought together here, with the opening theme stated in the horns. The second movement is an Andante con moto (with motion, i.e. with a sense of pace); it is cited by the esteemed musicologist Maurice J. E. Brown as Schubert’s “loveliest slow movement: in the duet for the cellos and oboe, after the big climax; in the soft, repeated notes of the horn…which lead to the recapitulation; in the varied string accompaniments to the melody of the A-Major section: all these have poetry and imagination which he never surpassed and never more ardently expressed.”

Yet in a symphony marked by such poetry and ardor, Brown asserts that the dominant aesthetic characteristic of the Great C Major— and of its greatness—is its “tremendous rhythmic vitality.” Evident throughout the symphony, this quality is ascendant in the symphony’s final two movements: a Scherzo leading to an Allegro vivace trio in the third, and the Finale marked Allegro vivace. “The Scherzo and Finale, the former in full sonata form, have a lively rhythmic energy which sweeps all before it,” says Brown—the moment when Einstein’s “sauntering gait” metamorphoses into a thrillingly emphatic resolution.

The final movement also offers further evidence of the Schubert-Beethoven connection: a suggestion of the “Ode to Joy” melody. It is brief but definite, occurring just as the movement’s development section opens. As I listened and talked with my brother Dave about all these musical riches, he called the Great C Major’s dramatically truncated climax perhaps the most satisfying of any symphony, a finale that sums up a huge symphonic statement with astonishing brevity. Another great listener’s opinion.

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UTAH SYMPHONY Thierry Fischer, Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Associate Conductor

Elizabeth Beilman Acting Associate Principal

ENGLISH HORN Lissa Stolz

BASS TROMBONE Graeme Mutchler

Barlow Bradford Symphony Chorus Director

Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Whittney Thomas

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

TUBA Gary Ofenloch Principal

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 Ralph Matson† Associate Concertmaster David Porter Acting Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt•• Joseph Evans LoiAnne Eyring Laura Ha• Lun Jiang Rebekah Johnson Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Ju Hyung Shin• Lynnette Stewart Bonnie Terry• Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

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CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair

Erin Svoboda Associate Principal

TIMPANI George Brown# Principal Eric Hopkins Acting Principal

Matthew Johnson Associate Principal

Lee Livengood

Michael Pape Acting Associate Principal

John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang

BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda

PERCUSSION Keith Carrick Principal

BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn Benjamin Henderson†† Edward Merritt Jens Tenbroek Thomas Zera HARP Louise Vickerman† Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair Robert Stephenson Associate Principal

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

Michael Pape Stephen Kehner†† KEYBOARD Jason Hardink Principal

Leon Chodos Associate Principal

LIBRARIANS Clovis Lark Principal

Jennifer Rhodes

Katie Klich††

CONTRABASSOON Leon Chodos

ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel

HORN Edmund Rollett Acting Principal Alexander Love†† Acting Associate Principal

Andrew Williams Orchestra Personnel Manager

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

STAGE MANAGEMENT Chip Dance Production & Stage Manager

TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Gabriel Slesinger†† TROMBONE Mark Davidson Principal

Jeff Herbig Properties Manager & Assistant Stage Manager • First Violin •• Second Violin * String Seating Rotates † On Leave # Sabbatical †† Substitute Member

Sam Elliot Associate Principal

Lissa Stolz

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THE MOUSETRAP by agatha christie

directed by david morgan

Trapped in a local bed and breakfast by a snowstorm, a group of strangers is horrified to learn there is a murderer in their midst. Join us for the longest-running play of the modern era, a tale of suspense and terror that ends as shockingly today as it did in 1952. “The Mousetrap” is presented by special arrangement with SAMUEL FRENCH, INC. October 26–November 10, 2018 Pardoe Theatre ON SALE NOW

ETHEL with ROBERT MIRABAL, FLUTE: THE RIVER

Recognized as one of America’s most adventurous string quartets, ETHEL strives for common creative expression forged in the celebration of community. ETHEL is joined

by Grammy Award-winning Robert Mirabal, a Taos Pueblo composer and songwriter known especially for his work with the Native American flute.

December 7, 2018 | 7:30 pm de Jong Concert Hall ON SALE NOW

WONDERLAND

music by frank wildhorn lyrics by jack murphy original book by gregory boyd and jack murphy

uk adaptation by robert hudson directed by tim threlfall choreographed by nathan balsar music direction by gayle lockwood

From the team that brought you the BYU smash hit The Count of Monte Cristo, this new musical takes Lewis Carroll’s classic story and sets it in present day New York. Jump down the rabbit hole to discover this inspirational story of love, redemption, and the power of imagination.

January 24–February 2, 2019 de Jong Concert Hall On sale November 19, 2018

801-422-2981 BYUARTS.COM

801.399.9214

symphonyballet.org

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FRIENDS OF OSBA OSBA thanks the following individuals, corporations, foundations, and public funding sources for their generous donations! Ogden Symphony Ballet Association is an exempt organization as described in section 501(c)(3) of the Internal Revenue Code. The following is a list of contributors from June 2018 through May 2019. Please contact OSBA's Development Director, Taylor Knuth, at 801-399-9214 if you would like to make a donation or if your name has been inadvertently left off the following list or is misspelled. Thank you again for your generous support!

Season Sponsor ($100,000+) Stewart Education Foundation

Weber County RAMP

Series Sponsor ($25,000+) Alan & Jeanne Hall Foundation OSBA Foundation

The Standard-Examiner

Concert Sponsor ($10,000+) Norman C. & Barbara L. Tanner Charitable Trust The Pinto Foundation Robert & Marcia Harris

Richard K. & Shirley S. Hemingway Foundation Utah Division of Arts & Museums

Diamond ($5,000 – $9,999) George S. & Dolores Doré Eccles Foundation

Ogden City Arts

Platinum ($2,500 – $4,999) Dr. Robert Fudge & Sylvia Newman

Gold ($1,000 – $2,499) Dr. Glen & Genette Biddulph Evan & Geraldine Christensen Dr. & Mrs. Fred Clayson Dr. Rosemary Conover & Luckey Heath

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Brent & Vicki Cox Foundation Donna & Ralph Friz George & Mary Hall Dr. Jean & Richard Miller Dr. Judith Mitchell

symphonyballet.org

Keith & Ellen Opprecht Dr. Carolyn Rich-Denson Harry & Becky Senekjian E. K. & Grace Walling Glenn & Connie Wimer

801.399.9214

FRIENDS OF OSBA Silver ($500 – $999) Kay Ballif Marlene Barnett Mary & Lee Forrest Carter Lynne & Steven W. Carter Dr. Allen & Janis Christensen

Dr. Douglas Deis Dr. Ann Ellis Rick & Karen Fairbanks Doug & Shelley Felt

Willis McCree & John Fromer Dean Hurst Mr. & Mrs. Marlin Jensen Melissa & Jon Klein Taylor Knuth & Sean Bishop Paul C. & Cindy Kunz Val & Karen Lofgreen Dr. David Malone & Madonne Miner

Rand & Cynthia Mattson Scott & Pam Parkinson Suzy Patterson Patrick Poce Eloise Runolfson Dr. Jan & Mike Slabaugh Jonathan & Beverly Souder Dr. Michael & Jennifer Webb Hal Wheelwright

Carol Jackson Dr. Michael & Lori Jacobazzi Steve Johnston William & Jackie Jones Melba & Denis Kirby Paul & Terry Kriekard Andrea Lane Kent & Sandee Lindquist Jeanette Long Eugene & Pat Low Jan & Jerome Luger Ivaloo Lund Verlene Lund Mr. & Mrs. Dwayne Manful Debra Marin Frank & Sharon Markos Sandy & Phillip Maxwell Evalyn McBurnie Andy & Susan Mccrady James & Jennifer Mcgregor Arturo & Sarah Mendoza Wayne & Nada Miller Maurine Naisbitt Mark & Meg Naisbitt Dr. & Mrs. Noel Nellis Gary & Marilyn Newman Arthur & Ruth Nielsen Mr. & Mrs. Claude Nix Cheryl Orme Donald Pantone Val & Marlene Parrish Jeff Paulson

Paul & Sandra Perkin Janet Petersen Camille Pollard Juergen Sass Mr. & Mrs. Howard Schuyler Lawanna Shurtliff Paul & Carol Sonntag Keith & Marlys Sorbo Forrest & Rolayne Staffanson Ned & Sheila Stephens Darlene Stoddard Jeneile Tams Jeane Taylor Patti Van Aarle Harold & Emily Vonk Lucinda & Phillip Wagner Steve Waldrip Melvin Walker Andrew & Suzanne Wall Brent & Gloria Wallis Sheldon & Janice Ward Barbara West Kent & Trudy Whiteman Carl & Helgard Wolfram Larry Zaugg Knights of Columbus #14399 Anonymous Weber State University Office of Diversity & Inclusion

Bronze ($100 – $499) Lyle & Lavon Allen Vickie Anderson Paul & Georgia Bennion Phil & Melanee Berger Lisa Brasher Kathleen P. Browning Arthur & Marian Budge Janice Burk Jeffry Burton Brad & Lynn Carroll Kitty Chatelain `Cathay Christiansen Mrs. Ellie Cole Kim & Becky Crumbo Lynn & Natalie Dearden Carolyn Deru Allan & Kellie Diersman DeLoris & Dale Dorius Kathy Douglas Diana Dunkley Janet Evans Mr. & Mrs. Thomas Fearn Jill Flamm Christopher Ford Linda Forest Pat Fuller Mrs. Nancy Green David & Joan Hadley Mardee Hagen Kim & Becky Hale Robert & Rula Hunter Robert Irvine

801.399.9214

symphonyballet.org

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FRIENDS OF OSBA In-Kind Donors Alamexo ALSCO Attention to Detail Bella Muse Bhav Yoga Den Bigelow Hotel CenterPoint Legacy Theatre Color Me Mine Corn Belly's Maze at Thanksgiving Point Costa Vida at the Junction Eccles Art Center Egan Auto Farr Better Ice Cream Hale Centre Theatre

I Fly I Float The Front Industrial Art & Design Dr. Michael & Jennifer Webb Julie Johnson Kaffe Mercantille Klymit Linda Forest Mount Ogden Golf Course Northrop Grumman Conference Center Ogden Athletic Club Ogden School Foundation Ogden's Own Distillery

Play Like a Pro Tennis Academy REAL Salt Lake Red Butte Gardens Red Pine Adventures Schneiter's Golf Course Sean Slatter Social Axe Sylvia Newman Taggart's Talisman Brewing Company Utah Museum of Natural History Utah Royals Wendy Roberts WSU Lindquist College

In Memory of Charles Combe Phyllis Combe

In Memory of Marie Irvine Zana Anderson

In Memory of Hetty Hammon Sly Denise Sly

In Memory of Joseph Dixon Karen Miner

In Memory of Roseanne Peery King Keith & Ellen Opprecht

In Memory of Bruce E. & Rella Wallace Bruce Wallace

In Memory of Joseph Draper Sharon Macfarlane

In Memory of Nyla Petersen Sharon Macfarlane Jan Thurston

MEMORIAL DONATIONS

ADD YOUR NAME TO OUR LIST OF AMAZING DONORS! Support OSBA with Donations of: Cash in the form of . . . . . . . . . . . Cash, Check, Credit Cards, Money Orders, Etc. Securities in the form of . . . . . . . . . . . . . . . . . . Stocks, Bonds, Mutual Funds, Etc. Planned gifts in the form of . . . . . . . . . . . Wills, Bequests, Trusts, Annuities, Etc. Gifts-in-kind . . . . . . . . . . . . Services and tangible items to offset budgeted items Matching gifts . . . . . . . . . . . . . . . . Inquire with your Company’s HR department

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symphonyballet.org

801.399.9214

Joseph and the Amazing Technicolor Dreamcoat

Life Happens Here 2019 Season June 27 to October 12 HAMLET MACBETH JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT TWELFTH NIGHT THE BOOK OF WILL EVERY BRILLIANT THING THE PRICE THE CONCLUSION OF HENRY VI: PARTS TWO AND THREE

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