Domingo Hindoyan conducts Roberto Sierra, Bartók & Mozart 41 by Mills Publishing Inc.

DOMINGO HINDOYAN CONDUCTS ROBERTO SIERRA, BARTÓK & MOZART 41 APRIL 8–9, 2021

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CONTENTS

TONIGHT’S CONCERT

Welcome

Utah Symphony

Board of Trustees

Season Sponsors

Donors

Administration

Planned Giving

DOMINGO HINDOYAN CONDUCTS ROBERTO SIERRA, BARTÓK & MOZART 41

Tanner & Crescendo Societies

Utah Symphony Guild

APRIL 8–10, 2021

Education

Acknowledgments

ARTISTS’ PROFILES

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

PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR/ PRODUCTION MANAGER Jackie Medina GRAPHIC DESIGN Ken Magleby UTAHSYMPHONY.ORG

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• First Violin •• Second Violin

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ON DEMAND SERIES

DOMINGO HINDOYAN CONDUCTS ROBERTO SIERRA, BARTÓK & MOZART 41 APRIL 8–10, 2021

Domingo Hindoyan, conductor (Utah Symphony debut) Madeline Adkins, violin

ROBERTO SIERRA

SINFONIETTA

BARTÓK

DIVERTIMENTO FOR STRING ORCHESTRA I. Allegro non troppo II. Molto adagio III. Allegro assai

MOZART

SYMPHONY NO. 41 IN C MAJOR, K. 551, “JUPITER” I. Allegro vivace II. Andante cantabile III. Allegretto IV. Molto allegro

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ARTISTS’ PROFILES As one of today’s most exciting young conductors, Domingo enjoys a vibrant career leading internationally acclaimed ensembles including The Metropolitan Opera, Vienna Staatsoper, Deutsche Staatsoper Berlin, Lyric Opera of Chicago, Liceu Barcelona, Mariinsky Theatre, Royal Liverpool Philharmonic Orchestra, Philharmonia Orchestra, London Philharmonic Orchestra, Dresdner Philharmonie, Mozarteumorchester Salzburg, Orchestre Philharmonique de Radio France, St.

Domingo Hindoyan Conductor

Domingo Hindoyan enjoys a vibrant career leading acclaimed ensembles and orchestras around the world, including the Metropolitan Opera, Wiener Staatsoper, Deutsche Staatsoper Berlin, Paris Opéra National, Lyric Opera of Chicago, Liceu Barcelona, Mariinsky Theatre, Royal Liverpool Philharmonic Orchestra, Philharmonia Orchestra, London Philharmonic Orchestra, Dresdner Philharmonie, Mozarteumorchester Salzburg, Orchestre Philharmonique de Radio France, St. Petersburg Philharmonic, New Japan Philharmonic Orchestra, and the Simón Bolívar Symphony Orchestra. The 2019–20 season marked the start of Domingo’s tenure as Principal Guest Conductor of the Polish National Radio Symphony Orchestra. Domingo Hindoyan joins the Royal Liverpool Philharmonic Orchestra as Chief Conductor in September 2021. Scheduled for 2020–21 are returns to the Metropolitan Opera (La Bohème) and the Royal Swedish Opera (Salome). On the concert platform, he will conduct the Polish National Radio Symphony Orchestra, Royal Liverpool Philharmonic Orchestra, Detroit Symphony Orchestra and Utah Symphony, among others as well as performances leading the Royal Liverpool Philharmonic Orchestra. In the 2019–20 season, Domingo conducted the Royal Liverpool Philharmonic Orchestra, Royal Philharmonic Orchestra, MDR RSO Leipzig, Malmö Symphony Orchestra, Orchestre National de Bordeaux Aquitaine, and the Bern Symphony Orchestra. On the opera stage, Domingo returned to the Royal Swedish Opera (La Traviata), while performances of L’Elisir d’amore at the Wiener Staatsoper had to be cancelled due to the Coronavirus pandemic. Domingo made his Chicago Lyric Opera debut in the 2018– 19 season conducting the Stars of Lyric Opera at Millennium

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ARTISTS’ PROFILES Park concert and a new production of La Bohème, “bringing out the best from the orchestra and vibrantly pacing the action” (Chicago Sun Times). He also debuted at the Wiener Staatsoper conducting Turandot and at the Gran Teatre del Liceu in Barcelona with Luisa Miller, led performances of Aida at the Royal Swedish Opera, La Traviata at the Royal Opera House Muscat, and Tosca at Deutsche Staatsoper Berlin. The latter saw Opera Magazine praising “a muscular reading of the score that had one marvelling anew at Puccini’s ability as an orchestrator.” He also conducted the Helsinki Philharmonic Orchestra, Philharmonie de Luxembourg, Würth Philharmonic, Orchestre de Chambre de Paris, Bruckner Orchester Linz, and more. Other past operatic highlights include The Metropolitan Opera (L’Elisir d’amore), the Mariinsky Theatre (La Bohème), Oper

Stuttgart (Tosca), Semperoper Dresden (La Traviata), and Opéra de Monte-Carlo (I Puritani). From 2013–2016, Domingo was the first assistant to Daniel Barenboim at the Deutsche Staatsoper Berlin. Since then, he has become a prominent guest conductor in the house, having conducted a vast array of works including La Traviata, Tosca, L’Elisir d’Amore, La Bohème, Il Barbiere di Siviglia, The Rake’s Progress, Orfeo ed Euridice and the ballet The Rite of Spring. Domingo was born in Caracas, Venezuela. He began his music studies as a violinist and member of the renowned Venezuelan musical education program El Sistema and later went on to study conducting in Europe at the Haute École de Musique de Genève with Professor Laurent Gay.

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ARTISTS’ PROFILES

Madeline Adkins Violin

Madeline Adkins joined the Utah Symphony as Concertmaster in 2016. She previously served as Associate Concertmaster of the Baltimore Symphony for 11 years, as well as Concertmaster of the Baltimore Chamber Orchestra from 2008–2016. Adkins has performed as a soloist in Europe, Asia, Africa, and 20 U.S. states. She has served as guest concertmaster of the Hong Kong Philharmonic, the Indianapolis Symphony Orchestra, and the Grant Park Symphony Orchestra. She has also been a guest artist at numerous summer festivals including the Stellenbosch International Chamber Music Festival in South Africa, the Sarasota Music Festival, Music in the Mountains, the Grand Teton Music Festival, and the Sewanee Summer Music Festival, as well as a faculty member at the National Orchestral Institute and the National Youth Orchestra at Carnegie Hall. She performs on the “ex-Chardon” Guadagnini of 1782, graciously loaned by Gabrielle Israelievitch to perpetuate the legacy of her late husband, former Toronto Symphony concertmaster, Jacques Israelievitch. Adkins’ CD of the complete works for violin and piano by Felix Mendelssohn with pianist Luis Magalhães was released in 2016. In 2018-19, she will serve as the Music Director of the NOVA Chamber Music Series. The daughter of noted musicologists, Adkins is the youngest of eight children, six of whom are professional musicians. Adkins received her bachelor’s degree summa cum laude from the University of North Texas and her master’s degree from the New England Conservatory where she studied with James Buswell.

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NOTES ON THE PROGRAM By Micheal Clive

Roberto Sierra (b. 1953)

Sinfonietta Acclaimed composer Roberto Sierra was born in 1953 in Vega Baja, Puerto Rico, and studied composition both in Puerto Rico and Europe, where one his teachers was György Ligeti at the Hochschule für Musik in Hamburg, Germany. For more than three decades, his works have been part of the repertoire of many of the leading orchestras, ensembles and festivals in the USA and Europe. At the inaugural concert of the 2002 world renowned Proms in London, his Fandangos was performed by the BBC Symphony Orchestra in a concert that was broadcast by both the BBC Radio and Television throughout the UK and Europe. Many of the major American and European orchestras and international ensembles have commissioned and performed his works. Among those ensembles are the orchestras of Philadelphia, Pittsburgh, Atlanta, New Mexico, Houston, Minnesota, Dallas, Detroit, San Antonio and Phoenix, as well as the American Composers Orchestra, the New York Philharmonic, Los Angeles Philharmonic, National Symphony Orchestra, Royal Scottish National Orchestra, the Tonhalle Orchestra of Zurich, the Spanish orchestras of Madrid, Galicia, Castilla y León, Barcelona, Continuum, St. Lawrence String Quartet, Opus One, and others. Sierra’s commissioned works include: Concerto for Orchestra for the centennial celebrations of the Philadelphia Orchestra commissioned by the Koussevitzky Music Foundation and the Philadelphia Orchestra; Concerto for Saxophones and Orchestra

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commissioned by the Detroit Symphony Orchestra for James Carter; Fandangos and Missa Latina commissioned by the National Symphony Orchestra of Washington DC; Sinfonía No. 3 “La Salsa”, commissioned by the Milwaukee Symphony Orchestra; Danzas Concertantes for guitar and orchestra commissioned by the Orquesta de Castilla y León; Double Concerto for violin and viola co-commissioned by the Pittsburgh and Philadelphia Orchestras; Bongo+ commissioned by the Juilliard School in celebration of the 100th anniversary; Songs from the Diaspora commissioned by Music Accord for Heidi Grant Murphy, Kevin Murphy and the St. Lawrence String Quartet; and Concierto de Cámara co-commissioned by the Santa Fe Chamber Music Festival, Chamber Music Northwest and Stanford Lively Arts. In 2021 Roberto Sierra was elected to the American Academy of Arts and Letters and in 2017 he was awarded the Tomás Luis de Victoria Prize, the highest honor given in Spain to a composer of Spanish or Latin American origin. In 2010 he was elected to the prestigious American Academy of Arts and Sciences. In 2003 he was awarded the Academy Award in Music by the American Academy of Arts and Letters. The award states: “Roberto Sierra writes brilliant music, mixing fresh and personal melodic lines with sparkling harmonies and striking rhythms…” And in keeping with his wide-ranging musical influences, a reviewer at Chamber Music Northwest found “influences of 20th Century masters György Ligeti, Olivier Messiaen, and even Claude Debussy, but they all danced to Sierra’s tune.” Sierra’s Sinfonía No. 1, a work commissioned by the St. Paul Chamber

NOTES ON THE PROGRAM Orchestra, won the 2004 Kenneth Davenport Competition for Orchestral Works. In 2007 the Serge and Olga Koussevitzky International Recording Award (KIRA) was awarded to Albany Records for the recording of his composition Sinfonía No. 3 “La Salsa”. Sierra has served as ComposerIn-Residence with the Milwaukee Symphony Orchestra, The Philadelphia Orchestra, The Puerto Rico Symphony Orchestra and New Mexico Symphony. Béla Bartók (1881–1945)

Divertimento for Strings Born in 1881, Béla Bartók is often credited as one of the founders of modern ethnomusicology as well as a pioneer of modernism in classical music. Like the avant garde composer György Ligeti, who was born four decades later, he was ethnically Hungarian but hailed from a region that now forms part of Romania; his father was head of an agricultural college there, and his mother was a teacher. Both were able musicians, and Béla’s mother gave him his first piano lessons. After his father’s death the family relocated to the city now known as Bratislava, where Béla’s schoolmates included the fellow composer Ernö (Ernst von) Dohnányi. One of the hallmarks of Bartók’s greatness, and of his profound influence upon the classical composers who followed him, is his early scholarship on the relationship between folk sources and classical music. His pathbreaking work in transcribing songs and folk airs occurred at the same time as John John Lomax was researching American roots

music. Lomax, who was not a trained musician, used the new technology of the tape recorder to preserve previously undocumented ballads from tenant farmers and the children of slaves; Bartók used longhand musical notation in collecting songs from Slovak peasants. Many musicologists consider Bartók to be one of Western music’s transformational figures—a man whose commitment to aesthetic principles ran as deep as his talent, and whose name should be spoken alongside Bach’s and Beethoven’s…whose creative breakthroughs came precisely when they were needed, in the first half of the 20th century, as music was struggling to find a way to be modern. His major works are recognized as masterpieces that have formed a cornerstone of the postRomantic repertory—music that opened new possibilities in composition even as they resisted imitation. By combining nationally distinctive folk sources with modern compositional techniques, Bartók developed a voice that was both individual and nationalistic, demonstrating how other composers could do likewise. But after winning recognition in the first half of his career and with every reason to expect an even brighter future, Bartók found the events of his own life paralleling Europe’s grim slide to war in the 1930s. Demoralized by the political landscape and especially by his country’s alliance with the Nazi regime, he left Europe for the U.S. at the start of World War II. Once he arrived, lack of public interest in his work sapped his creative energy just as leukemia began to sap his health. Bartók composed the Divertimento for Strings in 1939, during the period before his emigration to the United States. We can only imagine the stress he suffered

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NOTES ON THE PROGRAM in those dark days—his horror at the rise of fascism in Europe and his concerns over his elderly mother in Budapest— but reprieve came from Paul Sacher, an important Swiss conductor. Through his ensemble the Basle Chamber Orchestra, Sacher was a major patron of contemporary music, commissioning such works as Igor Stravinsky’s Concerto in D Major and Richard Strauss’s Metamorphosen as well as compositions by Britten, Henze, Honegger and Tippett. His invitation to Bartók provided not only a much-needed commercial assignment, but also ideal conditions for its completion, including a month of solitude in luxurious guest accommodations at Sacher’s alpine chalet. The Divertimento was completed ahead of schedule, in just fifteen days, during which other concerns all but disappeared for the composer. He told his family that he felt like “a musician of olden times, the invited guest of a patron of the arts.” These congenial surroundings might be one reason for the buoyant energy that suffuses the Divertimento. They were all too short-lived; Bartok’s mother fell ill later in 1939 and died in December of that year, and the nightmare of fascism proved worse than Bartok’s worst fears. He left for the U.S. in 1940, and never returned. The Divertimento itself can be said to follow a Baroque template for the concerto grosso, with a solo group of four strings foregrounded against a larger ripieno, but the sound has not even the merest backward glance (as we might encounter, for example, in Stravinsky). Instead, it is all Bartók, with complex polyrhythms and Bohemian vigor in the bowing. It unfolds from a lighthearted opening through a darker movement marked adagio, and ends with an effervescent rondo built around a double fugue.

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Wolfgang Amadeus Mozart (1756–1791)

Symphony No. 41 in C major, K. 551, “Jupiter” Mozart’s 39th, 40th and 41st symphonies pose something of a musical mystery— especially No. 41, known as the “Jupiter” because it is the longest and most complex of his symphonies. Always hungry for commissions, Mozart almost never wrote a bar that was not dedicated to a commissioned work—least of all a major work such as a symphony. But the historical record offers us no evidence of a commission for these three works, which figure among his supreme masterpieces. Had he turned to writing these symphonies to express musical ideas too advanced or too personal for his commissions? We’ll probably never know. But the idea of such using the symphonic form as a rubric for personal communication and experimentation is extremely appealing, and seems to prefigure Beethoven. Composers, especially symphonists, are fascinated by the accelerating creativity and daring that seemed to possess Mozart in the years before his death in 1791 (he completed the Jupiter in 1788). This symphony has been described as the work of a man who seemed ready to fly off the surface of the earth and enter a creative orbit all his own, beyond the reach of mere mortals. There is speculation that Mozart expected to sell his last three symphonies for presentation on an eventual tour of London, but again, history provides no solid evidence. It is not even certain whether Mozart

NOTES ON THE PROGRAM ever heard his final three symphonies performed, though his musical mind had no need of a live performance to know how they would actually sound.

pushing Classical conventions beyond their known limits. By now, of course, innovations that once seemed daring and experimental sound beautifully natural to our ears.

Unlike Beethoven’s most monumental symphonies, the Jupiter is known for its prevailing good cheer. Thanks to Gustav Holst, classical music fans know Jupiter as the bearer of jollity, but this nickname for Mozart’s 40th precedes Holst by a couple of centuries, dating back to Johann Peter Saloman, a German impresario who lived in London and produced a concert including the symphony in 1821. Saloman is credited with the first use of the name Jupiter for this work in a concert program.

The symphony’s opening movement has a sound that is emphatic and deep, yet there is also a sense of gladness that pervades it. Critics have noted the sense of authority that pervades the symphony from the outset and never gives way, yet its thematic materials and their development never push us toward pessimism. Its second movement is gentler and more subdued, and while it makes excursions into minor keys, the prevailing tone remains positive. The third movement, a traditional milnuet, prepares us for the final movement’s bold energy. One of the symphony’s most analyzed features is its signature coda (referenced above by Robert Schumann), strident and shocking yet somehow perfectly appropriate and beautiful.

Among the many composers who found inspiration in the Jupiter, Haydn modeled two of his own symphonies on it, Nos. 95 and 98 – tributes to a man who had been his pupil and whom he esteemed as the greatest composer he had ever known. But the most eloquent tribute probably came from a dean of Romantic music, Robert Schumann, who was a distinguished critic as well as a composer. “About many things in this world there is simply nothing to be said,” he wrote—“for example, about Mozart’s C-Major symphony with the fugue, much of Shakespeare, and some of Beethoven.” Many listeners hear intimations of Romanticism in this symphony. But these are more related to its scope than its tone. While the Jupiter looks forward to Beethoven by expanding the horizons of the symphonic form, Mozart did not use the symphony to struggle through inner conflict of Enlightenment philosophy, as Beethoven did; instead, he introduced new formal structures and harmonic transitions that seemed to make Romanticism necessary by

When Mozart wrote this symphonic valediction, Beethoven was in his late teens and was already sketching themes upon which his great concertos would be based. Huge changes for the symphony were in the offing. Mozart, for his part, was only 31. What separates the musical landscape of his Jupiter Symphony from those created by Beethoven and his successors? Mozart’s mastery of the Jupiter’s expanded scope and its modern details make us certain that he could have taken the symphonic form as far as we can imagine, and beyond. What we do not hear in the Jupiter is the sense of conflict, struggle and resolution that we hear in Beethoven—or the esthetics of the Romantic symphony with man confronting nature, or in pursuit of an ideal, or presenting a programmed narrative. In the Jupiter Symphony, abstract beauty says it all.

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INDIVIDUAL SUPPORT ALLEGRO ($5,000 TO $9,999) Anonymous (5) Alan, Carol, & Annie Agle Edward R. Ashwood & Candice A. Johnson Dr. J.R. Baringer & Dr. Jeannette J. Townsend Dr. & Mrs. Clisto Beaty Mr. & Mrs. Neill Brownstein Mark & Marcy Casp John Clukey Marc & Kathryn Cohen Mr. & Mrs. Kenneth R. Cutler Willard & Julia Dere Patricia Dougall Eager Trust Mrs. Sarah Ehrlich Robert & Elisha Finney Wen Flatt Nash Foster Diana George David & SandyLee Griswold** Ray & Howard Grossman Chuck & Kathie Horman

The Right Reverend Carolyn Tanner Irish & Mr. Frederick Quinn Ken & Margo Jacobs Annette & Joseph Jarvis M. Craig Johns Michael Liess Bill Ligety & Cyndi Sharp Daniel & Deena Lofgren Beatrice Lufkin Nick Markosian Christopher & Julie McBeth Hallie & Ted McFetridge Michal & Maureen Mekjian Carol & Anthony W. Middleton, Jr., M.D. Joanne Mitchell Dr. Louis A. Moench & Deborah Moench Marilyn H. Neilson Dr. Stephen H. & Mary Nichols O. Don & Barbara Ostler

Dr. Thomas Parks & Dr. Patricia Legant Dr. Dinesh & Kalpana Patel Frank R. Pignanelli & D’Arcy Dixon Brooks & Lenna Quinn Dr. & Mrs.† Marvin L. Rallison James & Gail Riepe James & Anna Romano Ted & Lori Samuels Peggy & Ben Schapiro Barbara & Paul Schwartz D. Brent† & Suzanne Scott Gerald† & Sharon Seiner Dr. John Shigeoka Stuart & Mary Silloway Gibbs† & Catherine W. Smith Sidney Stern Memorial Trust Thomas & Marilyn Sutton Paul L. Wattis Dr. Rasmus Wegner Kathie & Hugh Zumbro

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) Anonymous (6) Fred & Linda Babcock Tom & Carolee Baron Tina & John Barry Jennifer & Charles Beckham Dr. Melissa Bentley Donna Birsner Roger & Karen Blaylock Bill & Susan Bloomfield Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Michael & Christy Bush Mr. & Mrs. William D. Callister Vincent Cannella Hal & Cecile Christiansen The Chung Family George & Katie Coleman Debbi & Gary Cook Dr. Thomas D. & Joanne A. Coppin Thomas D. Dee III & Dr. Candace Dee UTAHSYMPHONY.ORG

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

UTAHSYMPHONY.ORG

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

Tanner, llc LEGAL REPRESENTATION PROVIDED BY

Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo ADVERTISING MEDIA & WEBSITE 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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