Marc Albrecht conducts Mahler & R. Strauss by Mills Publishing Inc.

MARC ALBRECHT CONDUCTS MAHLER & R. STRAUSS MARCH 25–27, 2021

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CONTENTS

TONIGHT’S CONCERT

Welcome

Utah Symphony

Board of Trustees

Season Sponsors

Donors

Administration

Planned Giving

Tanner & Crescendo Societies

MARC ALBRECHT CONDUCTS MAHLER & R. STRAUSS

Utah Symphony Guild

MARCH 25–27, 2021

Education

Acknowledgments

ARTIST’S PROFILE

18 Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.

NOTES ON THE PROGRAM

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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

Barlow Bradford Symphony Chorus Director

VIOLIN* Madeline Adkins

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Yuan Qi

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Elizabeth Beilman† Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas CELLO* Matthew Johnson

Ralph Matson†

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Laura Ha

Andrew Larson

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Claude Halter

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Wen Yuan Gu

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Evgenia Zharzhavskaya

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John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal

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TRUMPET Travis Peterson

OBOE James Hall

Jeff Luke

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Robert Stephenson Associate Principal

Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara

Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda-Scott BASSOON Lori Wike

Caitlyn Valovick Moore

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

• First Violin •• Second Violin

* String Seating Rotates † On Leave

# Sabbatical †† Substitute Member

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Associate Principal

Principal

Sam Elliot

Associate Principal

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PERCUSSION Keith Carrick

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James Allyn Andrew Keller Edward Merritt Jens Tenbroek Thomas Zera

FLUTE Mercedes Smith

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Karen Wyatt•• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson 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• Ju Hyung Shin• Bonnie Terry• Julie Wunderle

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TIMPANI George Brown

Corbin Johnston

HARP Louise Vickerman

Associate Principal

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

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Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Edmund Rollett

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Eric Hopkins

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Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal

LIBRARIANS Clovis Lark Principal

Katie Klich ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel

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

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MASTERWORK SERIES

MARC ALBRECHT CONDUCTS MAHLER & R. STRAUSS

MARCH 25, 2021 / 7:30 / ABRAVANEL HALL (FINISHING TOUCHES) MARCH 25–26, 2021 / 7:30 / ABRAVANEL HALL MARCH 27, 2021 / 5:30 / ABRAVANEL HALL

Marc Albrecht, conductor (Utah Symphony debut)

MAHLER: Adagietto from Symphony No. 5 in C-sharp minor R. STRAUSS: Suite from Le Bourgeois gentilhomme, op. 60

I. Overture to Act I II. Minuet III. The Fencing-Master IV. The Entrance and Dance of the Tailors V. The Minuet of Lully VI. Courant VII. Entrance of Cléonte (after Lully) VIII. Prelude to Act II IX. The Dinner

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ARTIST’S PROFILE

Marc Albrecht is one of the most exciting conductors on the current opera and concert scene. He is in great demand internationally as a conductor of the GermanAustrian late romantic repertoire, reaching from Wagner and Strauss to Zemlinsky, Schreker and Korngold. He also cultivates with conviction the whole range from Mozart to contemporary music.

Marc Albrecht Conductor

Albrecht’s work with orchestras originates from a chamber music approach, which he transfers to the large orchestra with great empathy: he has a passion for symphony orchestras and knows how to exploit their almost infinite sound possibilities, however at the same time, trying to make the symphonic blend emulate a sound reminiscent of the intimacy of a chamber ensemble. In an astonishing way he succeeds, even in the densely woven symphonies of Bruckner and Mahler, to make the structure clear and let the music breathe, despite all the sound opulence. Albrecht’s approach to music making is a perfect balance of both the analytical and the emotional. His artistic work has been honoured prolifically in recent years. Under his Music Directorship, the Dutch National Opera was named Europe’s “Opera House of the Year” in 2016. In 2019, Marc Albrecht was named “Conductor of the Year” at the International Opera Awards and one year later was awarded Knight of the Order of the Dutch Lion for his extensive oeuvre. He also received the Prix d’Amis 2020 which is awarded annually by the Friends of Dutch National Opera. Furthermore, the 2017 production of Alban Berg’s “Wozzeck” at the Dutch National Opera was nominated for a Grammy Award in the category “Best Opera Recording” in 2019. Marc Albrecht has also recorded to great acclaim. His highly-praised recording of “Die Seejungfrau” with the Netherlands Philharmonic Orchestra (Pentatone, 2020) has been chosen as Recording of the Week by BBC Radio 3 and The Sunday Times comments “Albrecht

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ARTIST’S PROFILE

inspires his orchestra in this late-Romantic score, intoxicated with the chromatic ecstasy of Schoenberg’s Transfigured Night.” The DVD of the lauded production of Korngold’s “Das Wunder der Heliane” at the Deutsche Oper Berlin under Albrecht’s musical direction, released on NAXOS in June 2019, won the 2020 Opus Klassik in the category “Best Opera Recording 20th/21st Century.” In a review about the production, the Berliner Morgenpost concluded that, “The real miracle of the evening happens in the pit. Marc Albrecht savours Korngold’s sound intoxication for a good three hours. With great pleasure he devotes himself to the details that emerge from the waves of

sound, exposing layers, only to let them melt together again immediately”. Together with Christine Goerke, Stephen Gould and the Royal Philharmonic Orchestra, Marc Albrecht returned to the BBC Proms in 2019 with a spectacular “Wagner Night” which earned him a raving review on Bachtrack: “Albrecht lifted this listener out of the concert hall and deposited me in a baleful landscape the like of which I’d never previously encountered in this music. By the careful highlighting of specific solos or sections, then allowing balance to follow naturally, he did more than conquer the Royal Albert Hall’s exuberant acoustic: he exploited it.”

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NOTES ON THE PROGRAM By Michael Clive

Gustav Mahler (1860–1911)

Adagietto from Symphony No. 5 Performance time: 9 minutes

The fourth movement of Gustav Mahler’s hugely scaled fifth symphony, marked adagietto, is probably performed as a stand-alone work more often than any other single symphonic movement. Time seems to stop when we hear it. It is an exquisitely poetic meditation on the deepest sensations of feeling alive in the universe, of having a place in the boundlessness and beauty of divine creation. It is also, quite possibly, a love song without words. And within the larger musical context of the symphony itself, it is an expression of infinite serenity surrounded by fevered searching. In his biography of Gustav Mahler, Henri-Louis de la Grange writes with painterly detail about the summer and fall of 1904, when Mahler was preparing to conduct a new production of Beethoven’s opera Fidelio while also preparing for the premiere of this symphony. The account reveals a side of Mahler we tend to forget, as well as confirming our popular image of him as an obsessive artist ardently committed to big ideas and uncompromising in his esthetic principles. Today we know Mahler primarily as a symphonist—some would say the preeminent symphonist since Beethoven. But during his lifetime, Mahler’s reputation rested mainly on his conducting.

Appreciation of his symphonies was hard-won, barely hinting at the acclaim these masterworks would receive later. His cycles of art songs placed him within in the lineage of the foremost German-language art-song composers, but somehow did not establish him as a composer of greatness. But as a conductor of opera he was a penetrating musical analyst with a tremendous sense of theater. All of these factors helped shape Mahler’s Symphony No. 5 and helped make it a turning point in his symphonic composition. The composer’s simultaneous focus on his Symphony No. 5 and on Beethoven’s Fidelio seems fateful. He considered it the greatest of all operas, the “opera of operas” that most fully realized the form’s potential for exploring humanity’s highest concerns. These are the concerns that pervade Mahler’s music: His symphonies and songs explore the fragility of beauty, the brevity of life, the mystery of death and the purpose of corporeal existence. In his first four symphonies, these subjects were not just embedded in the notes, but expressed verbally through the inclusion of vocal elements based on folk songs, or on Mahler’s own. Even his simplest songs contain these layers of meaning. Mahler’s fifth symphony was his first purely instrumental work in this form. It progresses from an opening funeral march to a triumphant fifth movement—a finale that is his most emphatic affirmation of life. Is the ghost of Beethoven’s Leonore, the heroine of Fidelio, lurking in this symphony? Leonore’s faithfulness to her

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NOTES ON THE PROGRAM

imprisoned husband Florestan delivers him from false imprisonment, vanquishes a tyrant, and strikes a blow for human freedom; identifying with her story, Mahler produced a work of music-theater that transformed the way we see Fidelio. And De la Grange reveals that 1904, when Mahler was working on this opera and his Symphony No. 5, was a period of joyful closeness between Mahler and his wife, whom he idolized—the formidable, captivating Alma. We know from contemporary reports by Alma herself and by Mahler’s good friend Willem Mengelberg, the brilliant Dutch conductor, that the symphony’s achingly lovely adagietto was a very personal message to Alma, delivered wordlessly to her as a gift. While Leonard Bernstein

cemented the tradition of playing it as an elegy—first in tribute to his mentor Serge Koussevitzky and later at a memorial for Robert F. Kennedy—it was likely an expression of Mahler’s undying love for his wife. For many listeners, including this one, a sense of timeless ardor pervades this movement. When you listen to the adagietto, what will you hear? A dirge, or a love letter? A rumination on the universality of death, or an expression of the beauty of human love? Initially, cavils about Mahler’s symphonies were usually related to scope, with critics citing expansive developments that seemed disproportionate to their relatively simple themes. When advocates such as the conductor Sir Thomas Beecham

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NOTES ON THE PROGRAM

championed the symphonies, their merits gained recognition. But their reputation for monumentality only increased, reinforced by a sense of the composer’s insistence upon profundity, eternal themes and, yes, death. The symphonies abound in funeral marches and chorales that suggest religious concerns (both occur in the fifth), reinforcing the idea that Mahler was death-obsessed and unremittingly profound—an obsessive composer for obsessed listeners. It’s more realistic to view his awareness of death as the philosopher’s memento mori, intended as a reminder to keep what’s important in view—a reminder that life is finite and precious, its mysteries and its brevity worth pondering.

ultimate triumph possible, moving with a quality of ecstatic timelessness until it diminishes to a single, poetic note—an “A”—in the horn. In full performances (which last almost an hour and a half), the symphony’s final movement unfolds from this note without a pause, and leads to one of the most tumultuous expressions of triumph in music: a deliriously energetic rondo.

Mahler’s Symphony No. 5 makes a breathtaking transition in the course of its five movements. It opens with a funeral march that captures us with an arresting trumpet call and a fanfare of trumpets expressed in quick, urgent triplets. The textures are brilliant, but the mood is one of frightening portent that gives way to despair as the brass-heavy march subsides into elegiac contemplation dominated by strings. Mahler’s expansive development, with each element repeated, leads the movement to a mysterious close that suggests something different is coming—as indeed it is.

Performance time: 36 minutes

Though another movement follows it, the adagietto provides the symphony with a resolution fpr all of these elements. Its long, singing lines provide a sense of serenity. Heard as an expression of love, the adagietto makes the symphony’s

Richard Strauss (1864–1949)

Der Bürger als Edelmann Orchestral Suite (1920) Don’t worry: This essay will not be followed by a short quiz on the long, twisting road that gave rise to Richard Strauss’s orchestral suite Der Bürger aus Edelmann. We’d never suspect it just from listening, but after almost two decades of false starts, acclaim and scandal, the title Der Bürger als Edelmann was associated with four contrasting musical treatments designed to fit markedly different opera and ballet scenarios. Happily, they came together in a 1920 orchestral version that is sheer delight, without a hint of the confused history that preceded it. Orchestral music partisans know Richard Strauss mainly as the composer of the brilliant symphonic showpieces he wrote until he was in his forties—pieces such as Also sprach Zarathustra, Till Eulenspiegel

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and Don Quixote—while opera fans know him as the greatest 20th-century composer of German operas, including Der Rosenkavalier and Die Frau ohne Schatten. Strauss’s two compositional worlds come together in works such as the two orchestral suites based on Der Rosenkavalier and Der Bürger als Edelmann, which began with an unsuccessful opera based on Moliere’s Le Bourgeois Gentilhomme. But the strange tale of Bürger’s composition starts even earlier, and it tells us much about Strauss’s place in classical music. Born at the end of Western classical music’s Romantic era, Strauss had a long, productive life (1864 – 1949). In his twenties, he established himself as a dazzling musical technician with superb keyboard technique. His mastery of complex, inventive harmonies gave hope to listeners in the post-Brahmsian, post-Wagnerian world that there were still musical frontiers to explore without abandoning tonality altogether, as the Second Viennese School was doing under the leadership of Arnold Schoenberg and Alban Berg. Strauss established his early reputation as a composer with lushly entertaining, highly programmatic tone poems. It’s possible to surmise the plot points that underlie various musical passages in each, and to hear the innate theatricality that would lead Strauss to write more than two dozen operas. His entry to the ranks of major opera composers came in 1905 with his opera Salome, based on a German translation of Oscar Wilde’s play.

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As if the play’s lurid treatment of sexual obsession, necrophilia and incest weren’t enough, the music was heard to be even more shocking: cacophonous and atonal. (It’s far from either.) Salome made Strauss notorious, rich, and internationally famous; more importantly, it established his position among the intellectuals of his era (in this case Wilde and a young, obscure physician named Sigmund Freud, whose ideas permeate Salome). For his 1909 opera Elektra, which is even more Freudian and more shocking, Strauss began an artistic alliance with one of the greatest Germanlanguage writers of the day, Hugo von Hoffmansthal. It is this remarkable partnership that led to Der Bürger als Edelmann. To many listeners, Strauss had gone from traditional composer to modernist rebel. But for his own artistic reasons—and not by way of public “apology”—he had long been nurturing the idea of writing a lighter work in the manner of Mozart’s The Marriage of Figaro. As their work on it continued, Strauss and Hoffmansthal found the opera taking on ever-greater significance and artistic heft. The result, the 1911 masterpiece Der Rosenkavalier, was like an irresistible valentine to old Vienna and to the public that felt Strauss had abandoned them. All was forgiven. Inspired by the success of Der Rosenkavalier, and by their continuing interest in the themes of bourgeois pretentiousness and aristocratic snobbery, Strauss and Hoffmansthal

NOTES ON THE PROGRAM

created the 1912 version of the opera Ariadne auf Naxos, a reshuffled and redealt version of Moliere’s Le Bourgeois Gentilhomme. Like Rosenkavalier, Ariadne escalated during development; by the time it reached the stage, it required full complements of singers, ballet dancers and stage actors. There were plenty of opportunities for things to go wrong, and according to contemporary the premiere production, plenty did. To initial audiences, Ariadne seemed interminable, and to producers it seemed impractical except as a festival work. Undaunted, Strauss and Hoffmansthal reconceived a pared-down version with a markedly different plotline that operalovers everywhere know as Ariadne auf Naxos—a strange, delicious brew combining burlesque and sublime elements. This Ariadne has been in the standard opera repertory since its premiere in 1916. But its creators were not yet done with Moliere, whose original story, a comedy of manners complete with mistaken identities and lovers disguised as foreign visitors, was lost along the way. Hoffmansthal persuaded Strauss to produce still another version

the following year: the 1917 version of Der Bürger als Edelmann. This simpler, three-act musical comedy with dance hews closer to the plot of Le Bourgeois Gentilhomme, combining some of the music from their 1912 collaboration with additional material. The 1912 version was unenthusiastically received. But even after three full-blown attempts, Hoffmansthal had not satisfied his hankering for a musical adaptation of Le Bourgeois Gentilhomme, and tried to persuade Strauss to adapt the 1917 version of Der Bürger as an opera. And though Strauss demurred, Hoffmansthal’s request led to Strauss’s distillation of the popular Der Bürger aus Edelmann orchestral suite, which is not only cherished in the concert hall, but as a ballet score. The other versions, too, live on: Ariadne auf Naxos in the opera house, and the full 1917 version, which Strauss regarded so highly that he chose it as the culminating work for his 85th birthday celebrations. As for the original, 1912 version of Ariadne— mounting a successful staging of that ambitious creation is the stuff of producers’ dreams.

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Elizabeth deForest John D. Doppelheuer & Kirsten A. Hanson Blake & Linda Fisher Mr. Joseph F. Furlong III Robert & AnnieLewis Garda Heidi Gardner David & Sherrie Gee Jeffrey L. Giese, M.D. & Mary E. Giese Andrea Golding Sue & Gary Grant Arlen Hale Kenneth & Kate Handley Dr. Bradford D. Hare & Dr. Akiko Okifuji Mary Haskins Jeff & Peggy Hatch John Edward Henderson Deborah & Steve Horton Sunny & Wes Howell Dixie S. & Robert P. Huefner

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Michael Huerta & Ann Sowder Jay & Julie Jacobson Drs. Randy & Elizabeth Jensen Maxine & Bruce Johnson Dale & Beverly Johnson Dan & Jane Jones Dr. & Mrs. Michael A. Kalm Rick & Paulette Katzenbach Susan Keyes & Jim Sulat Jeanne Kimball Allison Kitching Howard & Merele Kosowsky Donald L. & Alice A. Lappe Gary & Suzanne Larsen Ms. Susan Loffler Dennis & Pat Lombardi David & Donna Lyon Steve Mahas Keith & Vicki Maio Brian & Shasha Mann Jed & Kathryn Marti 27

INDIVIDUAL DONORS

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Daniel & Noemi P. Mattis Tom & Janet McDougal David & Nickie McDowell George & Nancy Melling Brad Merrill John Mertens Mr. & Mrs. Richard Mithoff Ruth & William Ohlsen Dr. S. Keith & Barbara Petersen Ray Pickup

Gregory & Ann Robison Marilynn Roskelley & Paul Dorius Mark & Loulu Saltzman Margaret P. Sargent Shirley & Eric Schoenholz Dewelynn & J. Ryan† Selberg Mary & Doug Sinclair Jeffrey Starr Paul Taylor

Denise Torrisi Thomas† & Caroline Tucker Peter Margulies & Louise Vickerman Susan & David† Wagstaff Susan Warshaw Robert R. & Sue A. Webb Dan & Amy Wilcox David & Jerre Winder

PATRON ($1,500 TO $2,499) Anonymous (3) Fran Akita C. Kim & Jane Blair Mr. & Mrs. Lee Forrest Carter Mr. & Mrs. Fred L. Carter, Jr. William J. Coles & Joan L. Coles David & Karen Gardner Dee Michael Deputy Lawrence Dickerson & Marcela Donadio Margarita Donnelly Dr. Paul Dorgan

Thomas Fuller Dr. & Mrs. John Greenlee C. Chauncey & Emily Hall Christine St. Andre & Cliff Hardesty E. Art Woolston & Connie Jo Hepworth-Woolston Connie C. Holbrook Gordon Irving Bryce & Karen† Johnson Carl & Gillean Kjeldsberg Heidi & Edward Makowski Clifton & Terri McIntosh Warren K†. & Virginia G. McOmber

Joe Mulvehill Kenneth Roach & Cindy Powell Dr. Barbara S. Reid Frances Reiser Susan Rothman Janet Schaap Mr. August L. Schultz Thomas & Gayle Sherry Douglas & Susan Terry Astrid S. Tuminez Dr. Ralph & Judith Vander Heide John & Susan Walker Frank & Janell Weinstock

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INDIVIDUAL DONORS

FRIEND ($1,000 TO $1,499) Anonymous (5) Madeline Adkins & John Forest Jim Alexander Christine A. Allred Clayton Anderson Dr. & Mrs. Jeffrey L. Anderson Pj Aniello Drs. Crystal & Dustin Armstrong Ian Arnold Curtis Atkisson, Jr. Mr. & Mrs. Lawrence R. Barusch Diane Banks Bromberg & Dr. Mark Bromberg Kevin Burdette Michael Carnes Dana Carroll & Jeannine Marlowe Carroll Michael & Beth Chardack William & Patricia Child Dr. & Mrs. David Coppin David & Carol Coulter Sandra Covey† Dorothy B. Cromer David & Donna Dalton James Dashner Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Alice Edvalson Eric & Shellie Eide Larry Gerlach Bob & Mary Gilchrist Ralph & Rose Gochnour Kenneth & Amy Goodman Mr. Keith Guernsey John & Ilauna Gurr Dr. Elizabeth Hammond

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Geraldine Hanni Jonathan Hart Lex Hemphill & Nancy Melich Craig & Tiffany Hess Peggy Hudson Stephen Irish Thomas Jacobson Eldon Jenkins & Amy Calara Chester & Marilyn Johnson Jill Johnson James R. Jones & Family Mr. & Mrs. Bruce M. Lake Gary Lambert Guttorm & Claudia Landro Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Harrison & Elaine Levy Julie & John Lund Miriam Mason & Greg Glynis MS. Mary Pat McCurdie Edward J. & Grace Mary McDonough MR. Jeffrey McNeal David Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville Hal & JeNeal Miller Drs. Jean & Richard R. Miller Henriette Mohebbizadeh Glenn & Dav Mosby Sir David Murrell IV & Mary Beckerle Renate B. Nebeker Ruzena Novak Dr. & Mrs. Richard

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T. O’Brien Lee K. Osborne Joseph J.† & Dorothy Moyle Palmer Dr. Marzia Pasquali & Ms. Nicola Longo Linda S. Pembroke Rori & Nancy Piggott Charles R. Pikler Arthur & Susan Ralph W.E. & Harriet R. Rasmussen Gina Rieke Lousje & Keith Rooker Miguel Rovira David & Lois Salisbury Brent & Jan Scharman James & Janet Schnitz Barbara Slaymaker Jerilyn McIntyre & David Smith Sheryl & James Snarr Dr. & Mrs. Michael H. Stevens Richard and Shannon Straight Richard & Janet Thompson Kenneth Uy David H. & Barbara S. Viskochil Dr. James C. Warenski Renee Waters Cindy Williams Mary Ann & Charles Williams Margaret & Gary Wirth David B. & Anne Wirthlin Marsha & Richard Workman Paul Wright

ENDOWMENT DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being & stability of USUO, & through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9015. Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation Thomas & Candace Dee

Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation Kenneth† & Jerrie Randall

The Evelyn Rosenblatt Young Artist Award Bill & Joanne Shiebler James R. & Susan Swartz Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner Company M. Walker & Sue Wallace

GIFTS MADE IN HONOR Marie Nelson Bennett Neill & Linda Brownstein Peggy Chase Dreyfous Paula Fowler Kem Gardner

Burton & Elaine Gordon Barbara Scowcroft & Ralph Matson Matthew & Maria Proser Pat Richards

Bill & Joanne Shiebler Grant Gill Smith Dale Strobel Whittney Thomas J. Brian Whitesides

GIFTS MADE IN MEMORY Dennis Austin Jay T. Ball Dawn Ann Bailey Betty Bristow Robert H. Burgoyne, M.D. Doris Macfarlane Corry Kathie Dalton Dr. James Drake Robert Ehrlich William K. Evans, Jr. Crawford Gates Lowell P. Hicks Jamila Janata 30

Dr. Gary B. Kitching M.D. Harry Lakin Julia Lawrence Frank & Maxine McIntyre Warren K. (Sandy) McOmber Clyde Dennis Meadows Dr. Richard George Middleton Mary Muir Mary E. Nelson Jack Newton Richard Perkins

Glade & Mardean Peterson Rhoda Ramsey Richard Reiser Norman B. Ross Shirley Corbett Russell J. Ryan Selberg Venice Shields Ann O’Neill Shigeoka, M.D. Robert C. Sloan Dorotha Smart Barbara Tanner Maxine Winn

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INSTITUTIONAL DONORS We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from July 1, 2019 to September 29, 2020. USUO’s 2020–21 season is funded in part by the CARES Act and the Utah State Legislature through Utah Arts & Museums. * in-kind donation

** in-kind & cash donation

$100,000 OR MORE The Church of Jesus Christ of Latter-Day Saints Foundation Lawrence T. & Janet T. Dee Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation The Florence J. Gillmor Foundation

Emma Eccles Jones Foundation Larry H. & Gail Miller Family Foundation John & Marcia Price Foundation O.C. Tanner Company Salt Lake County Shiebler Family Foundation Sorenson Legacy Foundation

State of Utah Summit County Restaurant Tax / RAP Tax Utah Division of Arts & Museums / National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank

Kahlert Foundation League of American Orchestras

Grand America Hotel* William Randolph Hearst Foundation

Goldman Sachs Janet Q. Lawson Foundation Frederick Q. Lawson Foundation Love Communications* McCarthey Family Foundation Nora Eccles Treadwell

Foundation Charles Maxfield & Gloria F. Parrish Foundation Moreton Family Foundation Schmidt Family Foundation Simmons Family Foundation Struck* Utah Office of Tourism

$50,000 TO $99,999 Anonymous AHE/CI Trust Dominion Energy

$25,000 TO $49,999 Arnold Machinery Brent & Bonnie Jean Beesley Foundation Carol Franc Buck Foundation Cache Valley Electric Chevron Corporation C. Comstock Clayton Foundation

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INSTITUTIONAL DONORS

$10,000 TO $24,999 Anonymous B.W. Bastian Foundation Bank of America Caffé Molise* HJ & BR Barlow Foundation Johnson Foundation of the Rockies Marie Eccles Caine FoundationRussell Family Matthew B. Ellis Foundation

Onstage Ogden Orange County Community Foundation Park City Chamber / Visitors Bureau Promontory R. Harold Burton Foundation Regence Blue Cross Blue Shield Richard K. & Shirley S. Hemingway Foundation

S.J. & Jessie E. Quinney Foundation The Christian V. & Lisa D. Young Family Foundation The Joseph & Evelyn Rosenblatt Charitable Fund Summit Sotheby’s WCF Insurance W. Mack & Julia S. Watkins Foundation

M Lazy M Foundation Microsoft Corporation Millcreek Coffee Roasters* Morris Murdock Travel Orem City CARE Tax Park City Community Foundation Rancho Market Ray, Quinney & Nebeker Foundation Raymond James & Associates Robert S. Carter Foundation Rocky Mountain Power Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Rotary Club of Salt Lake Salt Lake City Arts Council

Snow, Christensen & Martineau Foundation Spitzberg-Rothman Foundation Summerhays Music Center Tesoro Petroleum Corporation Texas de Brazil* The Fanwood Foundation Western Office The Val A. Green & Edith D. Green Foundation US Bank Utah Autism Foundation Victor Herbert Foundation

$1,000 TO $9,999 AC Hotel Salt Lake City/Downtown* Adib’s Rug Gallery Bambara* Bertin Family Foundation Better Days CBRE City Creek Center Corning Incorporated Foundation D’Addario Foundation David Dee Fine Arts Grandeur Peak Global Advisors Henry W. & Leslie M. Eskuche Charitable Foundation Holland & Hart J. Wong’s Thai & Chinese Bistro*

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ADMINISTRATION ADMINISTRATION Steven Brosvik

DEVELOPMENT Leslie Peterson

PATRON SERVICES Faith Myers

David Green

Jessica Proctor

Merry Magee

Olivia Custodio

Mara Lefler

Heather Weinstock

Andrew J. Wilson

President & CEO

Vice President of Development

Senior Vice President & COO

Julie McBeth

Executive Assistant to the CEO

Collette Cook

Executive Assistant to the Sr. VP and COO & Office Manager

Director of Institutional Giving Director of Individual Giving Director of Special Events & DVMF Donor Relations

SYMPHONY ARTISTIC Thierry Fischer

Lisa Poppleton

Anthony Tolokan

Development Operations Manager

Grants Manager

Symphony Music Director

Nikki Orlando

Vice President of Symphony Artistic Planning

Ellesse Hargreaves

Development Assistant

Conner Gray Covington

Associate Conductor & Principal Conductor of the Deer Valley® Music Festival

OPERA ARTISTIC Christopher McBeth Opera Artistic Director

Barlow Bradford

Carol Anderson

Walt Zeschin

Michelle Peterson

Andrew Williams

Michaella Calzaretta

Lance Jensen

OPERA TECHNICAL Jared Porter

Symphony Chorus Director

Principal Coach

Director of Orchestra Personnel

Director of Production

Orchestra Personnel Manager

Opera Chorus Master

Executive Assistant to the Music Director & Symphony Chorus Manager

Senior Technical Director

SYMPHONY OPERATIONS Cassandra Dozet

Kelly Nickle

Melissa Robison

Properties Master

Director of Patron Engagement Marketing Manager - Patron Loyalty Sales Manager

Patron Services Manager

Hallie Wilmes

Patron Services Assistant

Genevieve Gannon

Group Sales Associate

Jenna O’Dell Sarah Pehrson Powell Smith Sales Associates

Nicholas Barker Lorraine Fry Ellen Lewis Naomi Newton Ian Painter Talia Ricci Ananda Spike Ticket Agents

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Tyson Montoya

Director of Orchestra Operations

Dusty Terrell

Scenic Charge Artist

Controller

Program Publication & Front of House Director

COSTUMES Verona Green

Payroll & Benefits Manager

Chip Dance

Costume Director

Production & Stage Manager

Amanda Reiser Meyer

Kate Henry

Wardrobe Supervisor

Operations Manager

Milivoj Poletan

Jeff F. Herbig

Properties Manager & Assistant Stage Manager

Lyndsay Keith

Artist Logistics Coordinator

Robyne Anderson

2 Assistant Stage Manager nd

Tailor

Tiffany Lent

Cutter/Draper

Donna Thomas

Milliner & Craftsperson

MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations

Alison Mockli

Kyle Siedschlag

Accounts Payable Specialist

Jared Mollenkopf

Patron Information Systems Manager

EDUCATION Paula Fowler

Director of Education & Community Outreach

Kyleene Johnson

Symphony Education Manager

Annie Jones

Symphony Education Assistant

Kathleen Sykes

Digital Content Producer

Robert Bedont

Marketing Manager - Audience Development

Nina Starling

Website Content Coordinator

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

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PLANNED GIVING

SUPPORT GREAT LIVE MUSIC IN OUR COMMUNITY WITH A GIFT TO THE ANNUAL FUND Please join our wonderful Utah Symphony | Utah Opera family of donors who sustain great live music in our community. As a 501(c)(3) non-profit organization, USUO is thankful for your generosity that supports our musicians, singers, artisans, crew and staff. Your gift now will make an impact as we plan for the future. The CARES Act has enacted new rules around charitable giving. The bill makes a new charitable deduction available for up to $300 per taxpayer, regardless of whether you itemize your deductions. Furthermore, if you do itemize, you may elect to deduct qualified contributions of up to 100% of your adjusted gross income in 2020. Please consult your tax advisor or financial planner to determine the impact of CARES Act changes on your personal tax situation.

CONSIDER USUO IN YOUR ESTATE PLANNING We never know what the future holds, but our eyes have been opened to how crucial planning ahead is. The pandemic has caused many of us to contemplate our legacy, assess our priorities, and plan for the future. Perhaps now more than ever, we recognize how important and meaningful it is to have a place where we can gather as a community to be uplifted and inspired by great music. If you want to ensure the future legacy of Utah Symphony | Utah Opera for future audiences to enjoy, please include USUO in your estate planning.

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TANNER AND CRESCENDO SOCIETIES

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

Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012 for more information, or visit our website at usuo.giftplans.org.

TANNER SOCIETY OF UTAH SYMPHONY

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

Mahler Circle

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

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

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

Herbert C. & Wilma Livsey Dianne May Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn

Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart Frederic & Marilyn† Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser

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

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

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

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UTAH SYMPHONY GUILD OUR MISSION

Because we believe great music can elevate the human spirit, the purpose of the Guild is to foster, promote, and facilitate the operation of the Utah Symphony Orchestra financially, socially, and educatonally. It is our honor to maintain a gift shop throughout the year which raises funds for our orchestra. We have added all our available items to the “online store” and all proceeds go to USUO. We will continue adding events as social distancing requirements allow to aid in rasing funds for our great orchestra. We will sponsor the Youth Guild and outreach violin lessons again this season, and we appreciate your ongoing support of these important community programs. To join or renew your membership in the guild you may go to our web page and fill out the new members information. www.utahsymphonyguild.org Carolyn Abravanel Eva-Maria Adolphi Wendy Ajax Fran & Tom Akimoto Georgia L. Anderson Reva Anderson Margaret Anderson Wirth Linda Babcock Brenda Bailey William Scot Barraclough & Tom D. Camomile Dominic Barsi Randy & Jeni Bathemess Jean E. Barton Charmaine Bauer Suzanne & Clisto Beaty Maxine Beckstead Karol Behling Janet Bennett Heather Benson Eve Bertran-Hales & Don Hales Joan Blanck Rose Marie Breinholt Chip & Anne Browne Nancy Browning & Michael Homer Mary Ellen B. Caine Akemi Call Gertrud Carpenter

Mary A. Carter Renee Christensen Cecile Christiansen Lynne Church Dianne Clark Doyle Clayburn Melou Cline Beth & Boyle Cole Kathleen Coon Peggy Cordon Marcia Cowley-Keen Janet Cox Tom Cox Carolyn Creek-McCallister Susan L. Croft Wendy & John Crossman Kathryn C. Culbertson Robert & Caprene Curtis William and Bonnie Daniloff Frances Darger Marlene Dazley Joyce De Forest & Robert Duke De Forest Laura Diaz Moore Nancy Dietzler Amy Dixon Carol Elliott Judy Emery Jennifer Fairbourn Rosemary Fairbourn

Reece Fawcett Thierry & Catherine Fischer Carolyn Fredin Patricee Annee Gallagher Patricia A. Giovanazzo Marian & Sidney Green Simon Gretsch SandyLee & David Griswold Janet Hales Kathleen Hall Laurie Hallam Gerry Hanni Shirley M. Hanson Carolee Harmon Nancy Hayes Janet Healy Kristin Hill Sally W. Hodel Kathie & Chuck Horman Rebecca & Stephen Howard Leigh Hutchison Isabella Iasella Mateusz Jagiello Darlene Jenkins Carl Johansen Scott Johnson & Rebecca McGarry Beverly C. Johnson Arlene Jonsson Charlotte Jordan Continued on page 36…

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UTAH SYMPHONY GUILD

Ingrid Kaufman Cynthia Kilian Mary Lynn Kinsel Kathy Knowlton Allison Knudson Martin Krueger Kari Landro Angela Laros Lona Mae Lauritzen Nancy Laursen Liz Le Fevre Nora Linscott Wilma S. Livsey Donna Lyon Susan MacIan Carole & Malcolm MacLeod Jennifer & Gideon Malherbe Heidrun I. Mandy Rebecca Marriott-Champion Tonya Marshall Janice Maughan Maybell McCann Camilla McLaughlin Melissa Robison Ann Mentes Julia & Anna Meredith Henriette Mohebbizadeh Heather Moore Karen Morgan Jill Moriearty Sabra Moyes Renate Baron Nebeker Kent & Denise Nelson Bradley & Laurissa Neuenschwander Sylvia Newton Christine Nickerson

Jean Nielsen Carol Nixon Patti Noel Wilma Odell Delmira & Gary Pactoulick Catherine Paiz Judy Parmelee Barbara Patrick Helen Petersen Ann Petersen Leslie Peterson & Kevin Higgins Marilyn Phillips Mrs. Jane O. Piercey Mary-Margaret Pingree Janis Pope Marilyn Poulsen Sherry Poulson Jeana Quigley Carol & Gunter Radinger Hildegard Rayner Joanne Rich Marilyn Poulsen Gina Rieke Della V. Roberts and Warren Gilmour Lynn Rohland Alene M. Russon Martha Sammond Margaret Sargent Amanda & Jonathan Schmieder Glenda Shrader Nan Sibbett Joyce Skidmore Wilson Dorotha Smart Michele Smith

Dianne R. Smith Rita Smith Donna & Ron Smith Joan J. Smith Janette P. Sonnenberg Carol L. Sonntag Elise Stanley Sandra Steiner Marsh Robert Stephenson & Lisa Byrnes Ramona Sterling Jennifer Stroud Lorraine & Walter Stuecken Joann Svikhart Cayman L. Thomas Deborah Tuttle Shirley Van Wagenen Beth V. Cole and Dr. B. Cole Jenette L. Voss Susan Walles Robert & Tilda Wangerien Miriam H. Waterman Paul & Cynthia Watson Suzanne Weaver Heather Weinstock Susan & Brent Westergard Bonnie White Mr. & Mrs. Frank W. Williams Connie & Glenn Wimer Jerre Winder Pamela Wing Nicole Woodland Ethnie Wright & Hunter Gundersen Betty & Frank Yanowitz Red York Dwan Young

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THANK YOU! During the time when concerts in Abravanel Hall, Capitol Theater, and the Deer Valley Music Festival were cancelled, the Excellence Concert Series featured Utah Symphony and Utah Opera musicians in live streamed concerts from the Gallivan Center. Thank you for featuring our musicians and giving us quality performance opportunities during this difficult time.

ACKNOWLEDGMENTS

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

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

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Struck, Salt Lake City / Portland

The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief. Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.

Photo Credit: Austen Diamond

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