SAINT-SAËNS December 7, 2017 — 7:30pm
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WELCOME Last winter, I had the opportunity to see a string quartet play in New York City. Although quite young, these musicians were already brilliant technicians. However, their performance moved me for another reason. They played a challenging piece by Anton Webern. Before doing so, they explained that the piece was composed when Webern was still reeling from the loss of his mother. Having just lost someone close to me, this piece was especially poignant for me. Before that moment, I had been ambivalent towards Webern, but as I listened to the performance, I felt a connection with him. It was also cathartic because, at that concert, sitting among strangers, I was finally able to pause and to grieve. That is the power and the beauty of art. Pablo Picasso once said that “there is only one way to look at things until someone shows us how to look at them with different eyes.” Art can help us explore new perspectives, new worlds, and new pathways. It can help build bridges. It can also inspire goodness, motivate change, and help us better understand ourselves. Ultimately, this is why OSBA exists—to inspire, enrich and uplift our community. OSBA has a sixty-eight year tradition of uplifting our community through world-class performances. This year, we will continue this tradition with twenty stellar concerts. Our season includes elite talent like six-time Tony-award winner Audra McDonald, renowned pianist Louis Lortie, and internationally-acclaimed Parsons Dance. We will also present three Utah treasures—the Utah Symphony, Ballet West, and BYU Ballroom Dance. And for the first time ever, OSBA will present a full dance season, featuring dance companies from New York City, Los Angeles and Memphis, TN. Through it all, we hope you will find entertainment, joy, inspiration, virtuosity, and enchantment. But we also hope there will be moments of reflection, thoughtfulness, and understanding. After all, as Henry Miller said, “art teaches nothing, except the significance of life.”
Emily Jayne Kunz Executive Director 801.399.9214
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OSBA BOARD & STAFF
BOARD OF DIRECTORS Dr. Robert Fudge President
ADVISORS Marlene Barnett Karen Fairbanks Alan Hall Robert Harris Sharon Lewis Thomas Moore Suzy Patterson
EXECUTIVE DIRECTOR Emily Jayne Kunz
Tina Olsen Treasurer
FOUNDATION Russ King Chair
OUTREACH & VOLUNTEER COORDINATOR Andrew Barrett Watson
Paul C. Kunz Past President/Nominating
Marti M. Clayson Secretary
Mark Stratford President Elect Melissa Bennett Vice President Jennifer Webb Secretary
Robbyn Dunn Dr. Ann Ellis Linda Forest John Gordon Dr. Val Johnson Russ King McClain Lindquist Dr. Scott Major Dr. David Malone Stephanie Moore Dr. Robert Newman Dr. Carolyn Rich-Denson Dr. Shane Schvaneveldt Jan Slabaugh
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DEVELOPMENT DIRECTOR Melissa Klein MARKETING MANAGER Abby Payne-Peterson
Richard White Treasurer Paul C. Kunz 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 longserving 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 year, we will also present our second Youth Benefit Concert, featuring Young Concert Artist Xavier Foley and young aspiring musicians from our very own community. 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 2016–17 SEASON ENTERTAINMENT
DANCE
OCTOBER 26 Broadway Divas
OCTOBER 13 BODYTRAFFIC
DECEMBER 14 Broadway Christmas with Brain Stokes Mitchell
NOVEMBER 4 BYU Ballroom Dance JANUARY 25 Collage Dance Collective
FEBRUARY 8 Dancing & Romancing
MARCH 3 Parsons Dance
MARCH 22 Audra McDonald
SPECIAL EVENTS
MASTERWORKS NOVEMBER 2 Rachmaninoff & Ravel
JUNE 30 Utah Symphony - Patriotic Pops at Snowbasin
DECEMBER 7 Saint-Saëns
NOVEMBER 24&25 Ballet West - Nutcracker
FEBRUARY 1 Mozart & Haydn
MARCH 13 Utah Symphony - Dr. Seuss’ Green Eggs & Ham
APRIL 26 Shostakovich
APRIL 12 Utah Symphony - Scheherazade at Peery’s Egyptian Theater MAY 5 Ballet West II - Aladdin MAY 10 Youth Benefit Concert Allred Theater at the Browning Center Arts
The Ogden Symphony Ballet Association 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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PHOTO © IAN SHIVE
MASTERWORKS SERIES
SAINT-SAËNS
DECEMBER 7, 2017 / 7:30PM / VAL A. BROWNING CENTER
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THIERRY FISCHER, conductor LOUIS LORTIE, piano
SAINT-SAËNS
Symphony in F Major “Urbs Roma”
Largo - Allegro Molto vivace Moderato assai serioso Poco allegretto – Andante con moto
/ INTERMISSION / SAINT-SAËNS
Concerto No. 2 in G minor for Piano and Orchestra, Op. 22 I. Andante sostenuto II. Allegro scherzando III. Presto LOUIS LORTIE, piano
SAINT-SAËNS
Carnival of the Animals
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I. Introduction and Royal March of the Lion II. Hens and Roosters III. Wild Donkeys (Quick Animals) IV. Tortoises V. The Elephant VI. Kangaroos VII. Aquarium VIII. People With Long Ears IX. The Cuckoo in the Depths of the Forest X. Aviary XI. Pianists XII. Fossils XIII. The Swan XIV. Finale
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ARTISTS’ PROFILES Music Director of the Utah Symphony since 2009 and currently extended to 2022, Thierry Fischer has revitalized the orchestra with creative programming, critically acclaimed performances, and new recordings. Highlights of his tenure include a multi-season Haydn symphony cycle; Mahler, Beethoven, and Nielsen cycles; and a tour of Utah’s five national parks. In celebration of its 75th anniversary season, the orchestra appeared at Carnegie Hall in April 2016 to critical acclaim and released an album of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas on Reference Recordings. Following a well-reviewed recording of Mahler’s 1st Symphony, they recorded Mahler’s 8th Symphony in Utah with the world-renowned Mormon Tabernacle Choir, due for release later this season. Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
In September 2016 Fischer was appointed Principal Guest Conductor of the Seoul Philharmonic Orchestra, starting January 2017 and running concurrently with his Utah position for an initial three years. He will visit Seoul at least four times a season and will play an important role in the artistic planning. In summer 2016, Fischer toured with the Chamber Orchestra of Europe, and debuted at the Mostly Mozart Festival in New York and at the Maggio Musicale Festival in Florence. Guesting in the past couple of years has also included the Boston, Atlanta, Cincinnati, and Detroit Symphonies, Oslo Philharmonic, Rotterdam Philharmonic, Salzburg Mozarteumorchester, Munich Chamber, Swedish Chamber, and the Orchestre de la Suisse Romande, as well as the BBC Symphony at the Barbican and the London Sinfonietta. In autumn 2016 he conducted the Sao Paulo Philharmonic—his first visit to South America. 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 2001–06. He was Chief Conductor of the Nagoya Philharmonic 2008–11, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.
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ARTISTS’ PROFILES
Louis Lortie piano
Mr. Lortie is in high demand internationally. In 2017–18, he is Artist in Residence of the Shanghai Symphony and performs four different programs with them throughout the season. He performs with the OSESP Sao Paulo and the complete Liszt Années de Pèlerinage in recital for them. In Australia, Mr. Lortie performs with WASO/Perth and with the Adelaide Symphony. He performs Liszt’s Années for the Chicago Symphony and for the annual Liszt Festival in Raiding, Hungary. There will be two Lortie recitals at London’s Wigmore Hall and an extensive recital tour in Italy. He performs and records with Sir Andrew Davis and the BBC Symphony, and was also selected by Jaap Van Zweden to play Mozart K466 for one of Mr. Van Zweden’s final Dallas Symphony concerts as Music Director. He returns to the National Symphony Taipei, the Philadelphia Orchestra with Nézet-Séguin, the Toronto Symphony, Budapest Philharmonic, Detroit Symphony, and the New York Philharmonic this season. He also has play/conduct engagements with great orchestras world-wide. Louis Lortie’s long-awaited LacMus International Festival on Lake Como, Italy, made its debut July 9–16, 2017. Mr. Lortie is the Master in Residence at The Queen Elisabeth Music Chapel of Brussels. He studied in Montréal with Yvonne Hubert (a pupil of the legendary Alfred Cortot), in Vienna with Beethoven specialist Dieter Weber, and subsequently with Schnabel disciple Leon Fleisher. In 1984, he won First Prize in the Busoni Competition and was also prizewinner at the Leeds Competition. He has lived in Berlin since 1997 and also has homes in Canada and Italy.
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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 Assistant Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Amanda Kofoed†† Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Lynnette Stewart Bonnie Terry• Julie Wunderle Karen Wyatt••
VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair
PICCOLO Caitlyn Valovick Moore
Peter Margulies Gabriel Slesinger††
Roberta Zalkind# Associate Principal
OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair
TROMBONE Mark Davidson Principal
Elizabeth Beilman Acting Associate Principal
Robert Stephenson Associate Principal
Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Leslie Richards†† Whittney Thomas
Lissa Stolz
CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn# Antonio Escobedo†† Benjamin Henderson†† Lee Philip†† 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
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ENGLISH HORN Lissa Stolz CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell Erin Svoboda Associate Principal Lee Livengood BASS CLARINET Lee Livengood
Sam Elliot Associate Principal BASS TROMBONE Graeme Mutchler† David Hagee†† TUBA Gary Ofenloch Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape
E-FLAT CLARINET Erin Svoboda
KEYBOARD Jason Hardink Principal
BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair
LIBRARIANS Clovis Lark Principal Maureen Conroy† Katie Klich††
Leon Chodos Associate Principal
ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel
Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Edmund Rollett Acting Principal Alexander Love†† Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal Jeff Luke Associate Principal
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Andrew Williams Orchestra Personnel Manager STAGE MANAGEMENT Chip Dance Production & Stage Manager Jeff Herbig Properties Manager & Assistant Stage Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member
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NOTES ON THE PROGRAM Notes by Michael Clive Camille Saint-Saëns (1835–1921)
Symphony in F Major, “Urbs Roma” 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets; timpani; strings. INSTRUMENTATION:
PERFORMANCE TIME:
40 minutes.
BACKGROUND
The fact that four of Saint-Saëns’ five symphonies were written when he was in his teens or twenties does not tell us much about them. They are not youthful works; like Mozart, Saint-Saëns was beyond precocious, and was writing fully mature compositions in his late teens. His Symphony in F Major, which he titled “Urbs Roma” (“The City of Rome”), dates from 1856, when he was all of 21. Its relative obscurity says more about SaintSaëns’ reticence as a composer than about the work’s merit; although it was enthusiastically received at its premiere and went on to critical acclaim, he withdrew it from public performance and did not intend to publish it. Surprisingly, it is actually his longest symphonic work, though No. 3 mobilizes larger orchestral forces, including both organ and piano. Saint-Saëns did not base the symphony on direct experience of Rome, though a lost opportunity to travel there might well have piqued his creativity: Only a few years earlier, when he was 17, he competed for the Paris Conservatory’s prestigious Prix du Rome, which was awarded with a stipend for two years’ travel and musical study in and around Italy. He was widely expected 18
to win, but did not, and did not compete again (as Bizet did, winning on his second attempt). Having acquired an encyclopedic knowledge of European musical styles at an early age, Saint-Saëns was able to create a musical meditation on the richness of Roman culture without actually going there, and prepared “Urbs Roma” as his entry for another competition sponsored by the Bordeaux Société Sainte Cécile. Unusually, his two awards from that society drew more attention than the Prix du Rome that he never achieved. The student who beat him for the Prix du Rome went on to near-total oblivion. WHAT TO LISTEN FOR
This ambitious, expressive symphony evokes its Roman subject without a specific program or narrative line. In its first movement we encounter an unusual plan of development with alternating tempi: a stately opening largo followed by a more energetic allegro. This pattern is repeated in full before the movement reverts to its introductory theme, creating a sense of elegant symmetry. The second movement brings us the contrasting feeling of a country dance in a lively scherzo rhythm; it is the symphony’s shortest movement, and the most exuberant. The symphony’s third movement is traditionally slow (marked moderato, assai serioso), and a common critical assessment—”funeral march for the death of an empire”—confirms that SaintSaëns looked back to classical antiquity in creating this work. Its final movement brings us a sense of summation and reflection, reflecting a broad backward glance at the grandeur that was Rome.
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NOTES ON THE PROGRAM Camille Saint-Saëns (1835–1921)
Concerto No. 2 in G minor for Piano and Orchestra, Op. 22 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets; percussion; solo piano.
master, whom Saint-Saëns studied and admired. Saint-Saëns intertwines the theme of this introduction with another borrowed from his student Gabriel Fauré. He combines these elements in a development section of spectacular contrapuntal skill. A coda ends the movement with formal Baroque symmetry.
INSTRUMENTATION:
PERFORMANCE TIME:
23 minutes.
BACKGROUND
When it comes to piano virtuosity, there could be no stronger endorsement than that of Franz Liszt, the composer and superstar pianist whose piano recitals drove his audiences to a frenzy. Camille Saint-Saëns’ manner of performance was far more reserved, but Liszt recognized in him a kindred greatness. Although he was better known as an organ soloist, Saint-Saëns possessed a blistering piano technique. His Concerto No. 2 is probably his greatest and most popular piano concerto, a work that showcases traditional technical brilliance in some rather untraditional ways. Although Liszt did not hear this work in live performance, he read the score and praised it lavishly.
The second movement defies concerto tradition by adopting a lively, scherzo-like pace (rather than the slower adagio we expect in a concerto’s central movement). As in the first movement, two themes spiral around each other, but they are sprightly and informal, taking us from the opening movement’s G minor into a jaunty E-flat Major. In the final movement we move back to G minor, but the pace is even faster: a fiery tarantella that is fleet and fabulous in its appeal. The effect of the pianist’s rapid passagework in this movement has been compared to mice scampering up and down the keyboard, but they would have to be turbocharged mice. The concerto ends with a thrilling torrent of G minor arpeggios, full speed ahead. Camille Saint-Saëns (1835–1921)
Carnival of the Animals flute doubling piccolo, clarinet; percussion; 2 pianos; strings. INSTRUMENTATION:
WHAT TO LISTEN FOR
The Polish pianist Zygmunt Stojowski, famously quipped that the concerto “begins with Bach and ends with Offenbach.” Stojowski’s deft turn of phrase frames the concerto in just a few words. His Bach reference is a nod to the concerto’s extended introduction, which is reminiscent of a fantasia by the Baroque 801.399.9214
PERFORMANCE TIME:
22 minutes.
BACKGROUND
Music history, like politics, makes strange bedfellows. In considering the evergreen charm and popularity of Camille SaintSaëns’ suite Carnival of the Animals, it’s
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NOTES ON THE PROGRAM instructive to compare it to an equally familiar work from the Great American Songbook: Broadway composer Frank Loesser’s sophisticated standard “Baby It’s Cold Outside.” Though they inhabited very different musical worlds, Frank Loesser and Camille Saint-Saëns were both revered as versatile musical geniuses by their colleagues. Loesser gave us the words and lyrics for the classic musical Guys and Dolls and the nearly operatic Most Happy Fella. But the strange history of his song “Baby It’s Cold Outside” uncannily resembles that of Carnival of the Animals. Both were composed as private entertainments to be performed exclusively for friends. As both works became unexpectedly popular—the respective equivalents of “going viral”— their composers resisted pressures to capitalize on their success by publishing. In the end, Saint-Saëns held out, while Loesser did not. But in the end, it didn’t make much difference; both works entered the standard repertory. They are now widely programmed and enjoyed. WHAT TO LISTEN FOR
The Carnival is actually a succession of witty movements introduced with a two-piano statement that is somehow portentous, stately and ungainly all at once. Scales diverge, then reconverge. We are put off balance and put on notice: Something dramatic and strange is coming. But what? In a word, fun—in the form of 14 movements that parade before our ears and seemingly before our eyes. There are always more musical jokes to be discovered in Carnival of the Animals. But this music rises above mere amusement, and its humor does not diminish its descriptive powers, which make us gasp as 20
well as laugh. No composer excelled SaintSaëns in the creation of vivid atmosphere and, in this case, mimicry. The sketches are vivid, deft, atmospheric and funny. And the wit is in their selection as well as their uncanny accuracy of aural description. We all have our favorites: the otherworldly aquarium for anyone who has ever owned or seen one; the doleful solitary cuckoo in the woods, for anyone who has ever heard one. Personnages á longues oreilles, or characters with long ears, are braying donkeys. Or are they braying music critics? But neither does Saint-Saëns spare himself and his colleagues: the Pianistes movement depicts pianists at their interminable scales. The most famous movement of the Carnival is number XIII, Le cygne (“The Swan”), a moment of poetry that comes just before the raucous finale. This purling cello solo, with its extended legato phrases, was immediately co-opted as a separate concert work, and was the sole movement of the Carnival that SaintSaëns consented to publish during his lifetime. (To resist would have been like trying to push back the tide.) With this movement as musical accompaniment, the Russian prima ballerina Anna Pavlova moved audiences to tears in one of the most celebrated dance interpretations of the 20th century, “The Dying Swan.” The poet Ogden Nash created verses for the Carnival in the 1940s, including this stanza, which successfully captures the performance tradition of the both ballerina and composer: The swan can swim while sitting down. For sheer conceit he takes the crown. He looks in the mirror over and over, And claims to have never heard of Pavlova.
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FRIENDS OF OSBA Thank you to all our donors! This concert would not have been possible without you. Includes Donations Received April 1, 2017–March 31, 2018
Sustaining Donors ($50,000+) OSBA Foundation Stewart Education Foundation Weber County RAMP Season Sponsors ($10,000+) Alan & Jeanne Hall Foundation Robert & Marcia Harris Matthew B. Ellis Foundation Norman & Barbara Tanner Charitable Trust Richard K. & Shirley Hemingway Foundation Val A. Browning Foundation Concert Sponsors ($5,000+) George S. & Dolores Dore Eccles Foundation Mrs. Paul T. Kunz Lawrence T. & Janet T. Dee Foundation Marriner S. Eccles Foundation Utah Division of Arts & Museums Guest Artist Sponsors ($2,500+) Beaver Creek Foundation Walter & Karen Kunz Sharon R. Lewis Ogden City Arts Michael & Cindy Palumbo Ralph Nye Charitable Foundation Marty & Carolyn Rasmussen Benefactors ($1,000–$2,499) Dr. Glen & Genette Biddulph 26
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TOURS, TASTINGS & RETAIL SALES SITE-DISTILLED AGAVE SPIRITS, GIN, VODKA, WASATCH BLOSSOM TART CHERRY LIQUEUR AND SPECIAL RELEASES AVAILABLE IN STATE LIQUOR STORES AND AT THE DISTILLERY.
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2018 Plays
– June 28 to Oct. 20
Henry VI Part One The Merchant of Venice The Merry Wives of Windsor Big River The Foreigner The Liar Othello Pearl’s in the House The
Greater Escape.
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For whatever and wherever you play. No matter your sport or activity, we can help you get back to doing it at your highest level. With our skilled experts, you can have confidence in the treatments you receive as we get you back to doing whatever it is you do, wherever it is you do it. Call 801.38.SPORT to make an appointment today.
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