Shostakovich 2018

SHOSTAKOVICH April 26, 2018 — 7:30pm

2017–18 season

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OSBA’S EDUCATION PROGRAMS Part of OSBA’s mission is to inspire arts lovers of all ages to gain a deeper appreciation of, understanding for, and connection to music & dance. Below are snapshots of a few of our programs. Call our office if you would like to know more!

Masterworks Music Detectives introduces children ages 8-12 to classical music through a fun, educational class and discounted tickets to Utah Symphony concerts.

OSBA also sponsors Masterclasses with professional artists. These are unique and valuable opportunities for young, aspiring musicians & dancers in our community to learn from the very best!

All patrons are invited to attend our free Pre-Concert Lectures in Room 113 before each Masterworks Concert. These lectures are given by knowledgeable Utah Symphony staff and sometimes include the guest artist!

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 Melissa Klein

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DEVELOPMENT DIRECTOR Taylor Knuth MARKETING MANAGER Abby Payne-Peterson

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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 2017–18 SEASON ENTERTAINMENT

DANCE

DECEMBER 14 Broadway Christmas with Brain Stokes Mitchell

NOVEMBER 4 BYU Ballroom Dance

OCTOBER 26 Broadway Divas

OCTOBER 13 BODYTRAFFIC

JANUARY 25 Collage Dance Collective

FEBRUARY 8 Dancing & Romancing

MARCH 3 Parsons Dance

MARCH 22 Audra McDonald

MASTERWORKS

SPECIAL EVENTS

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

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MASTERWORKS SERIES

SHOSTAKOVICH APRIL 26, 2018 / 7:30PM / VAL. A BROWNING CENTER THIERRY FISCHER, conductor BORIS GILTBURG, piano TRAVIS PETERSON, trumpet

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SHOSTAKOVICH

Concerto No. 1 in C minor for Piano and Orchestra, Op. 35

I. Allegro moderato II. Lento III. Moderato IV. Allegro con brio

BORIS GILTBURG, piano TRAVIS PETERSON, trumpet

SHOSTAKOVICH

Concerto No. 2 in F Major for Piano and Orchestra, Op. 102 I. Allegro II. Andante III. Allegro BORIS GILTBURG, piano

/ INTERMISSION /

SHOSTAKOVICH

Symphony No. 10 in E minor, Op. 93

I. Moderato II. Allegro III. Allegretto IV. Andante-Allegro

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ARTISTS’ PROFILES Thierry Fischer, Music Director of the Utah Symphony since 2009, has led the orchestra in annual composer cycles including Mahler, Ives, Tchaikovsky, Saint-Saëns, and Nielsen; toured to Utah's five national parks; and forged Utah Symphony outreach links in Haiti. In celebration of the orchestra’s 75th anniversary season in 2016, the orchestra appeared at Carnegie Hall 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, Fischer and the Utah Symphony recorded Mahler’s 8th Symphony with the world-renowned Mormon Tabernacle Choir, released in autumn 2017. In 2017 he was appointed Principal Conductor of the Seoul Philharmonic which he conducts throughout the season at home and on international tours.

Fischer has guested with many leading orchestras, most recently a 2018 California tour with the Royal Philharmonic Music Director Orchestra along with soloists Jean-Yves Thibaudet and The Maurice Abravanel Chair, Gautier Capuçon. He has also conducted the Boston, endowed by the George S. Atlanta, Cincinnati, and Detroit Symphonies; the Mostly and Dolores Doré Eccles Mozart Festival Orchestra (New York); London Philharmonic; Foundation BBC Symphony; Oslo Philharmonic; Bergen Philharmonic; Rotterdam Philharmonic; Maggio Musicale Firenze; Salzburg Mozarteum Orchestra; and the Orchestre de la Suisse Romande. In the past few years he has also conducted the Scottish, Swedish, and Munich Chamber Orchestras; London Sinfonietta; and Chamber Orchestra of Europe. He is committed to contemporary music and has performed and commissioned many world premieres—this season he conducts the Ensemble Intercontemporain for the first time.

Thierry Fischer

While Principal Conductor of the BBC National Orchestra of Wales from 2006–2012, Fischer appeared every year at the BBC Proms and toured with the orchestra internationally. He also made many recordings, notably for Hyperion (Honegger, d’Indy, Florent Schmitt) but also Stravinsky for Signum and Orfeo. His Hyperion recording of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus won the International Classical Music 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 2001–2006. He was Chief Conductor of the Nagoya Philharmonic 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

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ARTISTS’ PROFILES Born in 1984 in Moscow, Boris Giltburg moved to Tel Aviv at an early age, studying with his mother and then with Arie Vardi. He went on to win numerous awards, most notably the Second Prize and Audience Prize at the Rubinstein Competition in 2011. In 2013 he won First Prize at the Queen Elisabeth Competition, catapulting his career to a new level. In 2015 he began a long-term recording plan with Naxos Records.

Boris Giltburg piano

Giltburg has appeared with many leading orchestras such as the Philharmonia Orchestra, Israel Philharmonic, DSO Berlin, Frankfurt Radio Symphony, London Philharmonic Orchestra, Swedish Radio Symphony, Danish Radio Symphony, St. Petersburg Philharmonic, and Baltimore Symphony. He made his BBC Proms debut in 2010 and frequently tours to South America and China, and has also toured Germany with the Orchestre National du Capitole de Toulouse. He has played recitals in leading venues such as Leipzig Gewandhaus, Carnegie Hall, London Southbank Centre, Louvre, and Amsterdam Concertgebouw.

In the 2017–18 season Giltburg begins a year-long residency in Brussels at both Flagey and Palais des Beaux-Arts, performing in recital and with the Deutsche Kammerphilharmonie and Paavo Järvi as well as Brussels Philharmonic and Stéphane Denève. He is also Artist-inResidence in The Hague with the Residentie Orkest under Nicholas Collon, with whom he appears at the Amsterdam Concertgebouw. In North America he plays for the first time with the Pacific Symphony and Ben Gernon; Utah Symphony and Thierry Fischer; and National Arts Centre Ottawa Orchestra and Alexander Shelley. Engagements in the UK include his debut with the Hallé Orchestra and returns to the Royal Liverpool Philharmonic, City of Birmingham Symphony Orchestra, and Bournemouth Symphony. Recital appearances this season include Southbank’s International Piano Series, Radio France, Bilbao Philharmonic Society, and Liszt Festival Raiding. He also tours Europe with the Pavel Haas Quartet.

Boris is an avid amateur photographer and blogger, writing about classical music for a non-specialist audience.

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ARTISTS’ PROFILES

Travis Peterson trumpet

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Travis Peterson joined the Utah Symphony as Principal Trumpet in 2013. He grew up on a dairy farm outside of the central Minnesota town of Milaca. He started playing trumpet at the age of ten and joined the school band and jazz band. While in high school and during his first years in college, he was also a member of the drum and bugle corps The Madison Scouts. After high school, he studied music education at the Jacobs School of Music at Indiana University, where he studied with Edmund Cord. After finishing his degree at IU, he went on to receive his Graduate Diploma in performance from New England Conservatory in Boston, M.A. He studied with Ben Wright and Tom Rolfs, both of the Boston Symphony Orchestra. He played with the New World Symphony in Miami Beach for three years under the direction of Michael Tilson Thomas. Travis has performed with the Tanglewood Music Center Orchestra, National Repertory Orchestra, Spoleto USA Festival Orchestra, Artosphere Festival Orchestra, and Opera North. He has also played as guest assistant principal in the Grant Park orchestra in Chicago. He can regularly be seen performing with the Strings Festival in Steamboat Springs during the summer under the direction of Michael Sachs, principal trumpet of the Cleveland Orchestra. Travis has performed several times with the Boston Symphony Orchestra, including their 2015 European Tour and the Boston Pops. He has also performed as guest Principal Trumpet with the San Francisco Symphony. Mr. Peterson is happily married to the love of his life.

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PROGRAM NOTES Notes by Michael Clive WHAT TO LISTEN FOR

Dmitri Shostakovich (1906–1975)

Ironically, this concerto has every outward appearance of flattering Soviet social ideals.

Technical proficiency in performance was considered of particular value in the Soviet state, which saw the arts as a way to compete for prestige on the world’s stages—especially in piano, violin, and ballet. The young Shostakovich not only created the solo part, but according to contemporary accounts, he performed it with heroic flair and technical brilliance.

Concerto No. 1 in C minor for Piano and Orchestra, Op. 35 PERFORMANCE TIME:

21 minutes

BACKGROUND

Dmitri Shostakovich spent most of his adult life living and composing in the shadow of Joseph Stalin, the General Secretary of the Communist Party and murderous dictator of Soviet Russia. All human activity, especially any kind of productive work, was subject to government scrutiny and control under Stalin, and his displeasure with Shostakovich’s 1904 opera Lady Macbeth of the Mtsensk District turned the young Shostakovich from a rising star to a marked man overnight. With Stalin’s disapproval, the composer rightly assumed that his life, his family and his music were gravely threatened from then on.

Shostakovich composed his Piano Concerto No. 1 during a kind of golden moment just before the onset of his bleak, undeclared state of house arrest. Praised as a pianist and as a potentially great composer, he performed the premiere of his Piano Concerto No. 1 in 1933.

According to contemporary accounts, the concerto was enthusiastically received. Just a year later, Pravda published the famous editorial under Stalin’s byline denouncing Shostakovich’s satirical melodrama Lady Macbeth—already winning rave reviews in foreign productions— for a musical style that the Kremlin’s cultural apparatchiks deemed decadent, cosmopolitan, and detrimental to the revolutionary cause. Thus the Piano Concerto No. 1 may be Shostakovich’s last and freest musical utterance before his long, agonized period of composing with one eye on his music and the other over his shoulder.

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The concerto is structured in four movements rather than the traditional three, but the moderato third movement clocks in at less than two minutes, and functions more as an introduction to the rousing allegro con brio finale than as a separate musical statement.

Shostakovich’s later works have been reinterpreted in the light of history as incorporating irony and sarcasm as a means of skirting his government critics. But we also hear these elements in this early work, composed before he incurred the wrath of the censors.

We can consider this unusual work as a double concerto, with the solo piano stating musical subjects and the solo trumpet commenting on them; in later years, Shostakovich said that he originally intended to write it as a trumpet concerto, then switched to a double-concerto format, and finally executed a piano concerto with a featured part for solo trumpet.

The concerto’s prevailing characteristics are wit, humor, and youthful energy, with mercurial shifts in mood. Its first allegretto movement, full of twists, opens onto a stately waltz; the brief third movement leads us to a brilliant close with a hectic piano part and an increasingly insistent trumpet.

The many musical quotations in this movement include Haydn, Beethoven, Mahler, and even a traditional Yiddish folk song. It is said that only Shostakovich could have knit these disparate sources so comfortably into a unified whole.

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PROGRAM NOTES Dmitri Shostakovich (1906–1975)

Concerto No. 2 in F Major for Piano and Orchestra, Op. 102 PERFORMANCE TIME:

20 minutes

BACKGROUND

Since the publication of the English translation of Shostakovich’s controversial memoir Testimony in 1979, musicologists have reinterpreted and argued about Shostakovich’s music and his relations with the Soviet regime, especially during Stalin’s reign of terror. Shostakovich filled his music with ironic meanings he hoped would elude bureaucrats.

It might seem obvious that the composer and his family could breathe a little easier after the death of the tyrant who had denounced his music as harmful to the interests of the people, but his second piano concerto and its performance history suggest otherwise. Scholars and critics hear the irony and sarcasm of Shostakovich’s big symphonies in this work, even though it is more intimate and personal in expression, and was written four years after Stalin’s death.

Given Shostakovich’s own proficiency as a pianist, it is surprising that he did not write more than just two piano concertos; the gap between this one and his first was more than 20 years.

In concert, his son Maxim played the work at a breakneck pace, and his recording of it, with Dmitri conducting, gives us some idea of what this must have sounded like in the concert hall. The impression is one of virtuosic speed achieved at the expense of intimacy of expression; modern interpretations give us both qualities.

In light of Shostakovich’s troubled relationship with the Soviet authorities, it’s not surprising that his remarks about his own music tend to be exercises in misdirection. In a letter written shortly after he finished composing this concerto, he described it as having “no redeeming artistic merits.” That was four years after Stalin’s death, when Shostakovich may still have been lying to protect his family from the murderous Soviet regime that first threatened their lives 27 years earlier. But it is also possible that he was trying to deflect public scrutiny from a composition that was highly personal to him.

Nikolai Volkov, who translated Shostakovich’s disputed memoir Testimony, has argued poignantly of Shostakovich’s creation of this concerto as both a gift for his son Maxim and a kind of scrapbook-depiction of his years as a piano student. Maxim introduced the concerto to the public as a final exam in conservatory.

The concerto opens with a merry theme in the winds, with the piano almost sneaking into the melodic discussion. As new thematic material is introduced, the movement opens into a boisterous tumult that culminates in climactic silence, after which the piano is showcased on its own. The second movement, a romantic andante, is more introspective in mood. The concerto closes with an exuberant allegro, full of dance rhythms and a folk-like mood. This movement is almost an in-joke for piano students who have labored over “Hanon” exercises.

Dmitri Shostakovich (1906–1975)

Symphony No. 10 in E minor, Op. 93 PERFORMANCE TIME:

20 minutes

WHAT TO LISTEN FOR

This concerto radiates energy and cheer. Its buoyancy strikes an unusual balance with the virtuosity it demands of the soloist; the music requires a combination of youthful spirit and mature, sometimes blistering technique.

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BACKGROUND

When Stalin attacked the music of the 26-yearold Dimitri Shostakovich, denouncing the most highly acclaimed Russian opera since Tchaikovsky’s Queen of Spades, the young

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PROGRAM NOTES composer knew that his bad review in Pravda wasn’t just about art; it was a potential death sentence from a mass murderer. As a family man who had seen fellow-artists terrorized and sent to the gulags, Shostakovich knew he was in danger. During the following two decades, until Stalin’s death in 1953, he became known as an ardent apologist, producing evidence of his “reform” in public statements, written testimony, and in his symphonies. But was his apology sincere, or is there—as many now believe—a bitter critique beneath the surface?

Shostakovich’s Symphony No. 10 is at the center of this debate. He worked on this symphony during the summer of 1953, the year of Stalin’s death, though he may have begun composing it two years earlier. It was his first symphony in five years, since a 1948 denunciation renewed the government’s oppressive scrutiny of his life and work. According to a friend and colleague of the composer, the pianist Tatiana Nikolayeva, Shostakovich worked on the symphony while also composing his 24 Preludes and Fugues for the piano. This would date his initial sketches for the work as early as 1951. Musicologists confirm that the symphony’s opening movements incorporate thematic material recycled from an unfinished violin sonata dating back to 1946.

Such details of chronology are not important in themselves, but they indicate that Shostakovich began drafting this symphony perhaps a couple of years before Stalin died, then continued to work after the dictator’s death—perhaps reimagining the symphony’s meaning and scope. At a time when many composers were questioning the symphonic form’s continued relevance, Shostakovich produced a symphony of monumental gravity. Was it, in fact, composed as a comprehensive critique of Soviet rule? Many analysts believe that it was, and that it expresses the horrors of life under Stalin as only a great work of art can.

WHAT TO LISTEN FOR

In Testimony, Shostakovich’s disputed memoir, and in lectures on this subject, the translator and

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editor Nikolai Volkov has strongly supported the idea that Shostakovich used his art to reveal the brutal truth about Stalin’s reign at great personal risk. According to Volkov, the composer wrote that “…I did depict Stalin in my next [s]ymphony, the Tenth. I wrote it right after Stalin’s death, and no one has yet guessed what the [s]ymphony is about. It’s about Stalin and the Stalin years.”

While there is continuing controversy surrounding Testimony, the music supports its words: In the extended moderato that comprises the symphony’s opening, we seem to experience the Russian people’s misery, despair and desperate struggle to survive under Stalin. Twenty years of atrocities are depicted in twenty minutes. The music is almost cinematic—graphic, dramatic, and riveting.

By turning to waltzes and marches to construct the symphony’s second and third movements, Shostakovich reanimated Russian symphonic tradition in a way that the cultural apparatus would not find suspicious, but that would resonate with contemporary listeners’ nostalgia for their cultural heritage. The waltz in the third movement is notable for the motif based on the German transliteration of Shostakovich’s name into musical notes—D-S-C-H— in a technique familiar since Bach.

This symphony has been described as 48 minutes of eloquent despair and 2 minutes of human triumph. Those triumphant moments come at the very end, in a depiction of endurance and hope redeemed. As in so much of Russian history, the strength to survive prevails over suffering and affirms the human spirit.

Recollections by listeners who attended this symphony’s premiere, on a bleak day in Leningrad in December 1953, suggest one of the strangest and most dramatic events in musical history: An auditorium full of listeners overcome with emotion, weeping and cheering, having encountered their own lives in a great symphony, while the government officials whom it condemned looked on in smug satisfaction at the supposed rehabilitation of the composer.

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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 Porter Acrting Assistant 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 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• Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Lynnette Stewart Bonnie Terry• Julie Wunderle

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VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair

Roberta Zalkind Associate Principal

Robert Stephenson Associate Principal

Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar 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 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

ENGLISH HORN Lissa Stolz

Peter Margulies Gabriel Slesinger†† TROMBONE Mark Davidson Principal Sam Elliot Associate Principal BASS TROMBONE Graeme Mutchler† David Hagee††

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

TUBA Gary Ofenloch Principal

Erin Svoboda Associate Principal

Eric Hopkins Associate Principal

Lee Livengood

PERCUSSION Keith Carrick Principal

BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes

TIMPANI George Brown Principal

Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy† Katie Klich††

CONTRABASSOON Leon Chodos

ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel

HORN Edmund Rollett Acting Principal

Andrew Williams Orchestra Personnel Manager

Alexander Love†† Acting Associate Principal

STAGE MANAGEMENT Chip Dance Production & Stage Manager

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

Caitlyn Valovick Moore

TRUMPET Travis Peterson Principal

PICCOLO Caitlyn Valovick Moore

Jeff Luke Associate Principal

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

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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+) Val A. Browning Foundation Lawrence T. & Janet T. Dee Foundation Matthew B. Ellis Foundation

Alan & Jeanne Hall Foundation OSBA Board of Directors Robert & Marcia Harris The Pinto Foundation Richard K. & Shirley Norman & Barbara Tanner Hemingway Foundation Charitable Trust

Concert Sponsors ($5,000+) George S. & Dolores Doré Marriner S. Eccles Foundation Eccles Foundation Sorenson Legacy Mrs. Paul T. Kunz Foundation

Utah Division of Arts & Museums

Guest Artist Sponsors ($2,500+) Beaver Creek Foundation Sharon R. Lewis Michael & Cindy Palumbo Dr. William & Barbara Hughes Bank of America Merrill Lynch Marty & Carolyn Rasmussen Walter & Karen Kunz Ogden City Arts Benefactors ($1,000–$2,499) Dwight & Cindy Baldwin Mr. & Mrs. Kelly Goddard Dr. Glen & Genette Biddulph John & Heather Gordon Bean Family Foundation Dr. Val Johnson Evan & Geraldine Paul C. & Cindy Kunz Christensen Dr. & Mrs. Seth Lewis Dr. & Mrs. Fred Clayson Lindquist Memorial Parks Dr. Rosemary Conover & Shirley Mack Luckey Heath Jean & Richard Miller Rick & Karen Fairbanks Dr. Judith Mitchell Dr. Doug & Shelley Felt Robert & Jelean Montgomery Ralph & Donna Friz Keith & Ellen Opprecht Supporters ($500–$999) Barbara Anderson Sally Arway Kay Ballif Marlene Barnett Bill & Melissa Bennett Russ Carruth Mary & Lee Forrest Carter Allen & Janis Christensen Dr. Douglas Deis Drs. Ann & Peter Ellis Dr. Robert Fudge & Sylvia Newman 26

George & Mary Hall Dean Hurst Kier Construction Suzanne Lindquist Val & Karen Lofgreen Jerome & Jan Luger David Malone & Madonne Miner Rand & Cynthia Mattson McKay Dee Foundation Thomas & Stephanie Moore Mark & Meg Naisbitt symphonyballet.org

Dr. Harry & Becky Senekjian Dr. Paul & Carol Sonntag Ralph Nye Charitable Foundation Val A. & Edith Dee Green Foundation E. K. & Grace Walling Dr. Michael & Jennifer Webb Glenn & Connie Wimer

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Donald Pantone Scott & Pam Parkinson Val & Marlene Parrish Jeff Paulson Paul & Sandra Perkin Kent & Nyla Peterson Jim & Kay Philpott Matt & Cami Pollard Sanford Poulson Myrth Priest Juergen Sass Harlan Schmitt Mr. & Mrs. Howard Schuyler Greg & Susan Shreeve Sempre Musical Society Lawanna & Robert Shurtliff Joann Smith Mr. & Mrs. Sherman H. Smith Forrest & Rolyane Staffanson Dr. John & Colleen Starley Edward & Mari Lou Steffen Dan & Dotty Steimke Ned & Sheila Stephens Shelley Stevens Joyce & Robert Stillwell Darlene Stoddard Edna Stratford Cobalt Stromberg Jeneile Tams Jeane Taylor Joann Taylor Darcie Trimble Michael Ulrich Craig & Emilyn Umbrell Karen Vanden Bosch Brad & Linda Waddoups Melvin Walker Andrew & Suzanne Wall Bruce Wallace Brent & Gloria Wallis Sheldon & Janice Ward Wasatch Peaks Credit Union Suzanne Wayment Lee & Carol Welch Linda Weiskopf Barbara & Gerald West Kent & Roberta West Carolyn & James Wold Carl & Helgard Wolfram Larry Zaugg Jan Zehner Jolene & Chad Zito 27

FRIENDS OF OSBA In-Kind Donors Jon Adams Ailulio ALSCO Marsha Ashby Ballet West Beehive Cheese Dr. Glen & Genette Biddulph Chris Bolieau Bigelow Hotel Bill & Kathie Bone Charlene Burnett CenterPoint Legacy Theatre Sandy Crosland CrossAction Computers Eccles Community Art Center Dr. Peter Ellis Dr. Ann Ellis Estate of Dan & Margaret Hunter Lou Jean Flint Linda Forest Allison Francis Sarah Francis Dr. Robert Fudge & Sylvia Newman Hale Center Theater

George & Mary Hall Betty-Jo Handy Terry Hartman-Smith Deborah Heaney Dr. William & Barbara Hughes Craig & Justine Hazen Industrial Art & Design Kaffe Mercantile Kappels & Premium Creamies Emily Jayne Kunz Paul C. & Cindy Kunz Walter & Karen Kunz Maria’s Mexican Restaurant Bud Mitchell Thomas & Stephanie Moore Merrill Lynch Meg Naisbitt Natural Grocers Dr. Robert & Eleanor Newman Sally Neill Ogden Nature Center Ogden School Foundation Ogden’s Own Distillery Olive & Dahlia Tina Olsen Ben Pintaric & Symetra

Pioneer Theater Company Marty & Carolyn Rasmussen Repertory Dance Theater Carolyn Rich-Denson Carey & Wendy Roberts Rooster’s Brewing Jan & Mike Slabaugh Dr. Paul & Carol Sonntag Mark & Elizabeth Stratford Talisman Brewery Uinta Golf Utah Symphony | Utah Opera Andrew Wall Watson Chevrolet Utah Jazz UtahPresents at Kingsbury Hall Val A. Browning Center Valley Office Systems Walmart Michael & Jennifer Webb Michael & Cynthia Webb Weber State University Wiggins & Co. Ye Olde Cupcake Shoppe Tom Zampedri Jan Zehner

MEMORIAL DONATIONS Dot Bolieau Jan Thurston

Suzan Johnson Val Johnson

Sharyl Moyes Sharon Macfarlane

Charles A. Combe Phyllis & Charles Combe

Paul T. Kunz Rachel Kunz Lingmann

Jim Patterson Dr. & Mrs. Fred Clayson

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Sharon Rich Lewis Arthur & Marian Budge Dr. & Mrs. Fred Clayson Peter Ellis Bob Fudge & Sylvia Newman Carol Jackson Russ & Jane King Greg & Caitlin Gochnour Val Johnson Val Johnson Sharon Macfarlane Joseph H. Florence Dr. Judith Mitchell Arthur & Marian Budge Mark & Meg Naisbitt Marty & Carolyn Rasmussen John Hinchman Jan Thurston

Hetty Hammon Sly Denise Sly Katie Stratford Sharon Macfarlane Edna Stratford Valeen Wood William & Anita Ford Val Johnson Jean & Richard Miller Jan Meikle Zabriskie Sharon Macfarlane

IN HONOR OF DONATIONS Dr. Robert Fudge Frank & Kathleen Newman 28

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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

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For whatever and wherever you play.

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