2019-20 Utah Symphony Season
COVER
January – February 2020
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CONTENTS
JAN/FEB CONCERTS
6 Welcome 11 Music Director 12 Associate Conductor
Debussy’s La Mer
14 Utah Symphony
Jan. 3–4
15 Board of Trustees
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17 Season Sponsors 58 Cultural Festival
masterworks
60 Education 61 Donors
Isabel Leonard sings Mozart
72 House Rules
Jan. 10–11
73 Administration
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74 Support USUO 79 Legacy Giving 80 Tanner & Crescendo
Tchaikovsky’s Violin Concerto
Societies 81 Volunteer Support
Jan. 31–Feb. 1
82 Acknowledgments
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Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.
Feb. 7–8
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ADVERTISING REPRESENTATIVES Paula Bell Dan Miller Paul Nicholas Chad Saunders ADMINISTRATIVE ASSISTANTS Jessica Alder Caleb Deane EDITOR Melissa Robison
masterworks
Women Rock Feb. 14–15
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entertainment
Beethoven 2020: Symphony No. 7 Feb. 21–22
The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801-467-8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © COPYRIGHT 2020
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masterworks
Fischer conducts Gershwin & Dvořák
@UtahSymphony
PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR/ PRODUCTION MANAGER Jackie Medina GRAPHIC DESIGNERS Ken Magleby Katie Steckler Patrick Witmer
masterworks
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masterworks
Purchase tickets at utahsymphony.org or call 801-533-6683
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WELCOME
Patricia A. Richards Interim President & CEO
Thierry Fischer Music Director
Welcome to Abravanel Hall and to a new year of exhilarating concerts of great live music played by the incomparable Utah Symphony! In January and February, we present five inspiring and diverse Masterworks programs. Concerts will feature music from the 18th century giants Mozart and Beethoven, the 19th and 20th century masters Mendelssohn, Strauss, Tchaikovsky, Messiaen, and Gershwin, and 21st century living composers Andrew Norman, Edgar Meyer, and Arlene Sierra. On a lighter note, be sure not to miss Women Rock, honoring the powerful female singers and songwriters who changed Pop and Rock & Roll forever, and a screening with live orchestra of the classic movie Singin’ in the Rain. If that weren’t enough, did you know that in addition to the more than 100 subscription concerts and operas presented in our home venues, Utah Symphony | Utah Opera performs more than 200 education concerts statewide every year? And that nearly one-third of our total audience is comprised of students? For example, in February and March, more than 20,000 fifth-grade students and their teachers will attend special concerts in Abravanel Hall—
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Thomas M. Love Chair, Board of Trustees
an annual tradition for generations of our youth. These events are just a few of the many programs we offer free of charge to supplement the core music curriculum for Utah students. Our ability to reach so many students is due, in significant part, to the Utah State Legislature, which funds over one-third of the cost of these programs. Credit also goes to our many donors who cumulatively match the state’s support two to one. Thank you for your support and advocacy of Utah Symphony | Utah Opera, and please thank your legislators for their support. It is through your involvement that we are able to connect the community through great live music! With sincere best wishes for a healthy and prosperous new year,
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MUSIC DIRECTOR
Swiss conductor Thierry Fischer has been Music Director of the Utah Symphony since 2009 and becomes Music Director Emeritus in 2022. He is Principal Guest Conductor of the Seoul Philharmonic (2017–2020), and in March 2020 he begins as Music Director of the Sao Paulo Symphony. In Utah he has revitalized the organization, instigating a major commissioning program, taking the orchestra to Carnegie Hall for the first time in 40 years, recording Mahler symphonies for Reference Records and a Saint-Saëns cycle for Hyperion.
Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
Recent guesting has included Boston Symphony, Cleveland Orchestra, London Philharmonic, Royal Philharmonic, Bergen Philharmonic, Rotterdam Philharmonic, BBC Symphony, Orchestra of the Age of Enlightenment, Maggio Musicale Firenze, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande, Chamber Orchestra of Europe, Mostly Mozart New York, London Sinfonietta, and Ensemble Intercontemporain. While Principal Conductor of the BBC National Orchestra of Wales (2006–2012), Fischer appeared every year at the BBC Proms, toured internationally, and recorded for Hyperion, Signum, and Orfeo. His recording of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus won the ICMA award in 2012 (opera category). In 2014 he released a Beethoven disc with the London Philharmonic on the Aparte label. Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra 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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ASSOCIATE CONDUCTOR Associate Conductor Conner Gray Covington is currently in his third season with the Utah Symphony and was recently named Principal Conductor of the Deer Valley® Music Festival. In his first season as Associate Conductor, Covington conducted over 80 performances of classical, education, film, pops, and family concerts as well as tours throughout the state. Prior to his tenure in Utah, he was the Rita E. Hauser Conducting Fellow at the Curtis Institute of Music in Philadelphia where he worked closely with the Curtis Symphony Orchestra and the Curtis Opera Theater while also being mentored by Philadelphia Orchestra Music Director Yannick Nézet-Séguin. Covington began his career as Assistant Conductor of the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program.
Conner Gray Covington Associate Conductor
Covington has also worked with the symphonies of St. Louis, Virginia, and Monterey (California) as a guest conductor and made debuts with the Kansas City Symphony and the Portland (Maine) Symphony in the 2018–19 season. He has served as a cover conductor for the Philadelphia Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony, Atlanta Symphony, Kansas City Symphony, The Florentine Opera Company (Milwaukee, W.I.), and the Britt Festival Orchestra (Jacksonville, O.R.). Born in Louisiana, Covington grew up in East Tennessee and began playing the violin at age 11. He went on to study violin with Dr. Martha Walvoord and conducting with Dr. Clifton Evans at the University of Texas at Arlington where he graduated summa cum laude with a degree in violin performance. He continued his studies with Neil Varon at the Eastman School of Music where he earned a Master of Music degree in orchestral conducting and was awarded the Walter Hagen Conducting Prize. He was recently named as one of the 2019 Solti Foundation Career Assistance Award Winners.
Arrive early and enjoy a fun, behind the music lecture for each of our Masterworks concerts. 6:45 PM inprior thetoFirst Tier Room, Abravanel 45 minutes start-time, Abravanel Hall
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Hall
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DOW N TOW N SER I ES A new collection of vibrant, casual chamber concerts performed at The Monarch in Downtown Ogden.
Third Coast Percussion MARCH 3
PUBLIQuartet MARCH 31
Quarteto Nuevo APRIL 2
Eighth Blackbird
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The Monarch | Royal Room | 455 25th Street. Ogden
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
Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton
Kathryn Eberle
Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair
Ralph Matson†
Associate Concertmaster
David Porter
Acting Associate Concertmaster
David Park
Assistant Concertmaster
Claude Halter
Principal Second
Wen Yuan Gu
Associate Principal Second
Evgenia Zharzhavskaya Assistant Principal Second
Karen Wyatt•• Joseph Evans LoiAnne Eyring Laura Ha• Lun Jiang Rebekah Johnson# Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Ju Hyung Shin• Lynnette Stewart Bonnie Terry• Julie Wunderle
• First Violin •• Second Violin
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VIOLA* Brant Bayless
Principal The Sue & Walker Wallace Chair
Elizabeth Beilman
Acting Associate Principal
Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Leslie Richards†† Whittney Thomas CELLO* Rainer Eudeikis†
Principal The J. Ryan Selberg Memorial Chair
Matthew Johnson Acting Principal
Andrew Larson
Acting Associate Principal
John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah ThomasHollands†† Pegsoon Whang BASS* David Yavornitzky Principal
Corbin Johnston Associate Principal
James Allyn Benjamin Henderson†† Edward Merritt Jens Tenbroek Thomas Zera HARP Louise Vickerman Principal
FLUTE Mercedes Smith
Principal The Val A. Browning Chair
Lisa Byrnes
PICCOLO Caitlyn Valovick Moore
TRUMPET Travis Peterson
OBOE James Hall
Jeff Luke
Principal The Gerald B. & Barbara F. Stringfellow Chair
Robert Stephenson Associate Principal
Lissa Stolz
Principal
Associate Principal
Peter Margulies# Paul Torrisi Alexander Pride†† TROMBONE Mark Davidson Principal
ENGLISH HORN Lissa Stolz
Sam Elliot
CLARINET Tad Calcara
BASS TROMBONE Graeme Mutchler
Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
Erin Svoboda-Scott Associate Principal
Lee Livengood
Associate Principal
TIMPANI George Brown Principal
Eric Hopkins
Associate Principal
PERCUSSION Keith Carrick Principal
BASS CLARINET Lee Livengood
Eric Hopkins Michael Pape
E-FLAT CLARINET Erin Svoboda-Scott
KEYBOARD Jason Hardink
BASSOON Lori Wike
Principal The Edward & Barbara Moreton Chair
Leon Chodos
Associate Principal
Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Edmund Rollett
Principal
LIBRARIANS Clovis Lark Principal
Katie Klich ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel
Andrew Williams
Orchestra Personnel Manager
Acting Principal
Llewellyn B. Humphreys Brian Blanchard Stephen Proser
Associate Principal
Caitlyn Valovick Moore * String Seating Rotates † On Leave
# Sabbatical †† Substitute Member
UTAHSYMPHONY.ORG
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BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair
David L. Dee* Alex J. Dunn Brian Greeff* Senator Dan Hemmert Stephen Tanner Irish Thomas N. Jacobson Mitra Kashanchi Abigail E. Magrane Brad W. Merrill Robin J. Milne Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Miguel R. Rovira Naoma Tate Thomas Thatcher
Jim Tozer Dr. Astrid S. Tuminez David Utrilla Kelly Ward Kim R. Wilson Thomas Wright* Henry C. Wurts
Clark D. Jones Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen
Patricia A. Richards* Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder
Howard S. Clark Kristen Fletcher Burton L. Gordon Richard G. Horne
Ron Jibson E. Jeffery Smith Barbara Tanner
Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson
O. Don Ostler Stanley B. Parrish Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith
Joanne F. Shiebler Chair (Utah)
Susan H. Carlyle (Texas)
Harold W. Milner (Nevada)
David L. Brown (S. California)
Robert Dibblee (Virginia)
Marcia Price (Utah)
Anthon S. Cannon, Jr. (S. California)
Senator Orrin G. Hatch (Washington D.C.)
Jesselie B. Anderson* Doyle L. Arnold* Joanne F. Shiebler* Vice Chairs Annette W. Jarvis* Secretary John D’Arcy* Treasurer Patricia A. Richards* Interim President & CEO Dr. Julie Aiken Hansen Judith M. Billings Gary L. Crocker
MUSICIAN REPRESENTATIVES Julie Edwards* Andrew Larson* EX OFFICIO Doyle Clayburn Utah Symphony Guild Mark Stratford Onstage Ogden
LIFETIME BOARD William C. Bailey Edwin B. Firmage Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow John Bates HONORARY BOARD Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles NATIONAL ADVISORY COUNCIL
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*Executive Committee Member
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Eccles Foundation Board of Directors: Robert M. Graham • Spencer F. Eccles • Lisa Eccles
Enriching excellence in the arts in Utah for more than half a century.
Utah Symphony Season Sponsor | 2019-20
SEASON SPONSORS
SEASON SPONSOR
MASTERWORKS SERIES SPONSOR
E N T E R TA I N M E N T & F I L M S E R I E S S P O N S O R
FA M I LY S E R I E S S P O N S O R
KEM & CAROLYN GARDNER SYMPHONY CHORUS DIRECTOR SPONSOR
UTAHSYMPHONY.ORG
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MASTERWORKS SERIES
DEBUSSY’S
LA MER Jan. 3–4
/ 2020 / 7:30PM / ABRAVANEL HALL
Conner Gray Convington, conductor Kathryn Eberle, violin
CO N CER T S PO N SOR
BEETHOVEN: Leonore Overture No. 3, Op. 72B EDGAR MEYER: Violin Concerto
I. Romanza II. Dramma musicale, eroico, lirico e gioioso CO N D UC TOR S PO N SOR
Kathryn Eberle, violin
/ INTERMISSION /
ARLENE SIERRA: Moler DEBUSSY: La mer (The Sea)
I. De l’aube à midi sur la mer (From Dawn to Noon on the Sea) II. Jeux des vagues (Play of the Waves) III. Dialogue du vent et de la mer (Dialogue of Wind and Sea)
IN CELEBRATION OF BEETHOVEN’S 250TH BIRTH YEAR
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ARTISTS’ PROFILES
*See page 12 for Conner Gray Covington’s artist profile.
Acclaimed by The Salt Lake Tribune as “marrying unimpeachable technical skill with a persuasive and perceptive voice,” violinist Kathryn Eberle is the Associate Concertmaster of the Utah Symphony and was recently appointed Concertmaster of the Hollywood Bowl Orchestra beginning summer 2020. Ms. Eberle has also served as Guest Concertmaster with the Kansas City, Omaha, and Richmond Symphonies in addition to performing frequently with the St. Louis Symphony. Eberle performs annually as soloist with the Utah Symphony. She made her solo Masterworks series debut with Utah Symphony in April 2014 performing Leonard Bernstein’s Serenade. Other solo appearances include performances with the Los Angeles Philharmonic, the Louisville Orchestra, the Nashville Symphony, the National Academy Orchestra of Canada, and the Bahia Symphony in Brazil. Kathryn Eberle Violin
An avid chamber musician, Ms. Eberle has collaborated with such artists as Edgar Meyer, Jaime Laredo, Arnold Steinhardt, Ricardo Morales, and members of the New York Philharmonic. Her festival appearances include Aspen, Banff, Yellow Barn, Encore School for Strings, Missillac, Sewanee, Laguna Beach, Fairbanks Summer Arts, Innsbrook, and Festival Mozaic. She is a frequent performer on the Nova Chamber Music Series in Salt Lake City and recently presented a complete cycle of the Beethoven Violin Sonatas with pianist Jason Hardink on Nova’s inaugural Gallery Series. Hardink and Eberle were also featured in a critically acclaimed production of The Kreutzer Sonata, a unique collaboration with Plan B Theater Company. A committed pedagogue, Ms. Eberle is on the faculty of Utah State University teaching the Orchestra Excerpts Seminar. She has given numerous master classes including guest appearances at Vanderbilt University, University of Alaska Fairbanks, Dixie State University, Brigham Young University, and the Sewanee Summer Music Festival. Ms. Eberle received a Master’s Degree from The Juilliard School studying with Sylvia Rosenberg. She previously studied with Robert Lipsett both at the Colburn School and the University of Southern California where she received the String Department and Symphony awards upon graduation.
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NOTES ON THE PROGRAM: 1 / 3 by Michael Clive
Ludwig van Beethoven (1770–1827)
Leonore Overture No. 3 PERFORMANCE TIME: 13 MINUTES
The Leonore Overture No. 3 is one of the most popular of orchestral showpieces, and the most frequently programmed of the overtures Beethoven composed. It has become a model for concert and operatic overtures, and is certainly no less demanding than either of the other two Leonore attempts. The overture unfolds slowly, with a descending scale leading to a portentous adagio that evokes the loneliness and isolation of the male protagonist, Florestan, who has been unjustly jailed in a gloomy subterranean prison. The next melody we hear is one that Florestan will sing in a meditation on his predicament, “In the springtime of youth.” But the emotional center of this soul-stirring overture is a theme that begins in the strings as an almost breathless utterance of hopeful excitement with an upward arpeggio that suddenly breaks into a thundering fortissimo. Without words and without the benefit of stage action, we know that this fervent melody stands for the possibility of rescue and vindication.
Edgar Meyer (b. 1960)
Violin Concerto PERFORMANCE TIME: 20 MINUTES
As an esteemed composer and virtuoso classical bassist, Edgar Meyer has carved out a unique niche in the musical world—or
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perhaps the phrase “musical worlds” would be more appropriate, since his work spans classical music, bluegrass, and more. “I’m not crossing over,” he told an interviewer in 1992; “this is simply what I do.” Meyer’s Violin Concerto, a commission from Sony Classical, was written in 1999 for Hilary Hahn, to whom it is dedicated. It was premiered and recorded by Ms. Hahn with the St. Paul Chamber Orchestra led by Hugh Wolff. In a note for Hahn’s recording of the work, Meyer comments: I conceived this violin concerto with Hilary Hahn’s singular voice in mind: from the elegiac opening in G-sharp—which over the course of the first ten minutes [the first of the work’s two movements] is gradually transformed to more complicated music by the gravitational pull of E—to the final 16 minutes [the second movement, in which] the transformation continues from serenity to earthiness and the gravitational pull is exerted by the symmetrically opposite C. This concerto was also written to take advantage of Hilary’s considerable technique. In Hilary’s hands, for instance, two passages combining a slow moving line on one string with a more rapidly moving line on another string sound more like violin duets than violin solos, especially the first, heard a few minutes into the second movement. In the 20 years since the concerto’s premiere, it has become a favorite among violin soloists and audiences alike. The writing demonstrates Meyer’s deep understanding not only of string instruments, but of the entire orchestra.
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5,000 Years of Civilization reborn
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NOTES ON THE PROGRAM: 2 / 3
Arlene Sierra (b. 1970)
Moler PERFORMANCE TIME: 9 MINUTES
Arlene Sierra is a widely admired American composer based in the United Kingdom. Born in Miami to a family of New Yorkers, Arlene Sierra holds degrees from Oberlin College-Conservatory of Music, Yale School of Music, and the University of Michigan. Her principal teachers were Martin Bresnick, Michael Daugherty, and Jacob Druckman; she also worked with Betsy Jolas and Dominique Troncin at Fontainebleau, and Paul-Heinz Dittrich in Berlin. At Tanglewood, Aldeburgh, and Dartington she studied with Louis Andriessen, Magnus Lindberg, Colin Matthews, and Judith Weir. Sierra is Professor of Composition and Deputy Head of the School of Music at Cardiff University. Moler, commissioned by the Seattle Symphony, was nominated for a Latin Grammy Award in 2014. The title—which translates into English as the verb to grind, mill, or pound—suggests both the process of abrasion in the natural world and the human actions in the kitchen or workplace. With that as a starting point, the deeper meaning of the title is up to you.
Claude Debussy (1862–1918)
La mer PERFORMANCE TIME: 23 MINUTES
Is there a composer more closely associated with water, or more expressive
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in describing it, than Claude Debussy? Like Benjamin Britten in his operas, Debussy returned to the sea again and again in songs and descriptive works for orchestra. “I love the sea and I have listened to it passionately,” he wrote. And as he confessed to his friend and fellowcomposer André Messager, “You may not have known that I was destined for a sailor’s life, and it was only by chance that fate led me in another direction. Yet I have always felt a passionate love for the sea…” Though Debussy never completed a symphony, La mer challenges every section of the orchestra and is certainly symphonic in its scope. And, as with a symphony, its three movements are intended to be performed together—a single sequence representing a day on the sea. In place of traditional motifs and harmonies, in La mer Debussy liberates the orchestra to create the luminous colors and aqueous textures that had obsessed him since childhood. The music rolls and surges like the sea itself. Among its early champions were composers including Giacomo Puccini and Debussy’s friend Erik Satie. Today, with the sounds of French Impressionist music more familiar to our ears, La mer is universally appreciated as the masterpiece it is. The first movement of La mer represents “From Dawn to Noon on the Sea,” with the sun rising to its height and the waves gathering energy. Here, as in all three movements, brief fragments of melody take shape and dematerialize almost before we can recognize them, gesturally forming the impression of the rocking waters and the sparkle of light. The latent
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NOTES ON THE PROGRAM: 3 / 3
power of the waves is suggested by the ebb and flow of the cellos, with echoes in the horns and timpani. In “The Play of the Waves,” Debussy’s fragmented, watery figures dart from section to section of the orchestra, with xylophone and harp accents seeming to glint on the water. Motion is ever present in La mer, and in this movement, a kind of generalized energy gains in tension as it progresses, leading us directly to the final “Dialogue of the Wind and Sea.” Here
Debussy reprises a theme from the opening movement, but restates it with greater dynamic and textural contrasts. The effect is one of growing power and urgency, reflecting the sea’s immensity. As always, a word of caution when listening to Debussy: relax. Let the music carry you along. Like those early critics, you won’t hear singable tunes or chord progressions that resolve and start over. But you will hear a gorgeously sensual evocation of the sea in all its variety.
Symphony No. 4
2 Nephi 2:11
Caricatures of an Irretrievable Past
Three Revolutionary Sentences!
At Work 6:16 At Home 9:57 Atravelin’ 4:30 The Circus Parade 10:02
This Passage Changes Everything.
Listen or download for free at williamcall.net
Utah Symphony v2 copy.indd 1
12/12/19 10:50 PM
MASTERWORKS SERIES
ISABEL LEONARD SINGS MOZART Jan. 10–11
/ 2020 / 7:30PM / ABRAVANEL HALL
Bernard Labadie, conductor
Isabel Leonard, mezzo-soprano
G U ES T A R TIST S PO N SOR
MOZART: Overture to The Marriage of Figaro MOZART: “Non so più” from The Marriage of Figaro Isabel Leonard, mezzo-soprano
MOZART: “Voi che sapete” from The Marriage of Figaro Isabel Leonard, mezzo-soprano
MOZART: “Deh per questo istante” from La clemenza di Tito Isabel Leonard, mezzo-soprano
MOZART: La clemenza di Tito Overture MOZART: Exsultate, jubilate
I. Exultate, jubilate II. Recitative: Fulget amica dies III. Tu virginum corona IV. Alleluja! Isabel Leonard, mezzo-soprano
/ INTERMISSION /
MENDELSSOHN: Symphony No. 4 in A Major, Op. 90, “Italian”
I. II. III. IV.
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Allegro vivace Andante con moto Con moto moderato Saltarello: Presto
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ARTISTS’ PROFILES Bernard Labadie has established himself worldwide as one of the preeminent conductors of the Baroque and Classical repertoire, a reputation closely tied to his work with Les Violons du Roy (for which he served as Music Director from its inception until 2014) and La Chapelle de Québec. With these two ensembles he has regularly toured Canada, the U.S., and Europe, in major venues and festivals such as Carnegie Hall, Avery Fisher Hall, Walt Disney Concert Hall, Kennedy Center, The Barbican, The Concertgebouw, and the Salzburg Festival, among others. He began a four-year term as Principal Conductor of the Orchestra of St. Luke’s in the 2018–19 season.
Bernard Labadie Conductor
International audiences in past seasons have seen and heard Maestro Labadie conduct the Bayerischen Rundfunks Symphony Orchestra, Orchestre Nationale de France, Academy of Ancient Music, Orchestra of the Age of Enlightenment, BBC Royal Scottish National Orchestra, Melbourne Symphony Orchestra, Orchestra of the Collegium Vocale Gent, Royal Concertgebouw Orchestra, Royal Northern Sinfonia, Swedish Chamber Orchestra, WDR Sinfonieorchester (Cologne), and Zurich Chamber Orchestra.
Highly acclaimed for her “passionate intensity and remarkable vocal beauty,” the multiple Grammy Awardwinning Isabel Leonard continues to thrill audiences both in the opera house and on the concert stage. In repertoire that spans from Vivaldi to Mozart to Thomas Adès, she has graced the stages all over the world. She has appeared with some of the foremost conductors of her time, is in constant demand as a recitalist, and is on the Board of Trustees at Carnegie Hall.
Isabel Leonard Mezzo-soprano
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Ms. Leonard is the recipient of the Richard Tucker Award and has lent her voice, in honor of her father who died from the disease, to the Prostate Cancer Foundation by filming a public service announcement. This season she makes debuts at Royal Opera House Covent Garden as Charlotte in Werther, Dutch National Opera as Angelina in La Cenerentola, Cincinnati Opera as Rosina in Il barbiere di Siviglia, and The Glimmerglass Festival as Maria in The Sound of Music.
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ROBIN GRAY DESIGN a rug extraordinary Offered exclusively at
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NOTES ON THE PROGRAM: 1 / 2 by Michael Clive
Wolfgang Amadeus Mozart (1756–1791)
Wolfgang Amadeus Mozart (1756–1791)
Le Nozze di Figaro Overture
La clemenza di Tito “Deh, per questo istante” Overture
PERFORMANCE TIME: 4 MINUTES
“Non so più”
PERFORMANCE TIME: 2:30 MINUTES
“Voi che sapete”
PERFORMANCE TIME: 2:30 MINUTES
It all begins with five notes: a quick trill that starts on the first tone of the major scale, tugging us eagerly by the sleeve and pulling us headlong into a joyful overture that starts fast and intense, then gets more so. Welcome to Le Nozze di Figaro, “The Marriage of Figaro,” Mozart’s 1786 opera and the first of his magnificent collaborations with librettist Lorenzo da Ponte. Much of the romantic hubbub in Nozze is propelled by Cherubino, a comic character whose charm and energy steal every scene he’s in. Sung by a mezzo-soprano—i.e., “in disguise” as a male—Cherubino is a randy adolescent boy who has only one thing on his mind: He gets an immediate crush on every woman he sees. In the context of the opera, “Non so più” and “Voi che sapete” are songs he has written to express this sweet confusion. In his Act I aria, “Non so più,” we hear his breathlessness and desperation as he describes to Susanna his need to declare his feelings of love at every moment, waking or sleeping, in company or alone. By Act II, when he sings “Voi che sapete,” he is calmer, and in his song he beseeches the more experienced Susanna and the Countess Almaviva to counsel him in the ways of love.
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PERFORMANCE TIME: 12 MINUTES
The plot of La clemenza di Tito is a study of the conflicts between civic duty, personal loyalty, and romantic love. And, unusually for a Mozart opera, love can make good people do bad things. This has already happened when the character Sesto sings the impassioned aria “Deh, per questo instante solo.” Sesto is in love with Vitellia, and though he is the emperor Tito’s closest friend, he has given way to the scheming Vitellia’s demands and joined with the conspirators who wanted to assassinate Tito. His conflicting emotions—remorse, love, a longing for punishment—are interwoven in this great opera. The overture to Mozart’s La clemenza di Tito opens with a very serious motif stated repeatedly. It’s almost like hearing a fanfare: Portentous silences separate each iteration and the sound is very upright and four-square, with a martial air. This is an opera of ramrod-straight morality, and as the overture proceeds and the tempo gains momentum, we hear this strictness underlining every theme.
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NOTES ON THE PROGRAM: 2 / 2 Wolfgang Amadeus Mozart (1756–1791)
Felix Mendelssohn (1809—1847)
Exsultate, jubilate
Symphony No. 4 in A Major, Op. 90, “Italian”
PERFORMANCE TIME: 16 MINUTES
Mozart’s Exsultate, jubilate used to be everywhere; recording it and performing it in recital was nearly mandatory for lyric sopranos, and while it is by no means a rarity, programming and listening patterns have made it scarcer. It is a four-movement religious motet originally composed for the castrato singer Venanzio Rauzzini in 1773, while Mozart was staying in Milan for the production of his opera Lucio Silla. Rauzzini had been cast as the leading man in Silla, which ran for a month in Milan starting the day after Christmas in 1772. The sheer joy of expression in Exsultate, jubilate brings to mind the exhortation from Psalm 100 to make a joyful noise and to come before His presence with singing. In composing music as an expression of exultant praise, composers often turn to the soprano voice, which can soar as if reaching for the heavens. Bach’s cantata for solo soprano and trumpet “Jauchzet Gott in allen Landen” (“praise God in all lands”) and Handel’s aria “Let the Bright Seraphim” stand with Mozart’s Exsultate as glorious examples in this category—especially with its fourth movement. The Allelujah is the best-known and most difficult section of Mozart’s motet. Its ecstatic beauty requires the soprano to negotiate difficult, ornate passages while projecting sheer joy.
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PERFORMANCE TIME: 26 MINUTES
Mendelssohn’s musical ideas were inspired by the grand tour of Europe that occupied the composer from 1829 to 1831. By then, Mendelssohn, around the age of today’s college sophomore, was broadly educated and a mature composer. The idea of young composers from elsewhere in Europe honing their styles in Italy was more than a century old; even the culturally chauvinistic French sent their best and brightest to Italy for two years with the Prix de Rome. Extensive travels in Italy and brilliant letters sent home to a musically gifted sister were among the many strange coincidences linking Mendelssohn and Mozart. Felix’s letters reveal his euphoric embrace of Italian culture and landscape. In a February 1830 letter to his sister, Fanny, he references the Italian symphony: “It will be the jolliest piece I have ever done, especially the last movement. I have not found anything for the slow movement yet, and I think that I will save that for Naples.” The Italian Symphony seems to achieve the impossible, musically capturing the brilliance of sunshine and the vibrancy of wine. Suffused with a sense of travel and of the golden Italian landscape (though not, arguably, with the flavor and dynamism of the Italians themselves), the symphony’s scenic melodies sweep us along. It’s worth noting the sense of drama that opens the symphony, conveying the excitement of both departure and arrival. The effect requires virtuosic precision of attack in the brass from the very first moment, a challenge that at least one wag has described to your intrepid annotator as “the dilemma of the horns.” 31
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MASTERWORKS SERIES
TCHAIKOVSKY’S
VIOLIN CONCERTO Jan. 31 / 2020 Feb. 1 / 2020 /
/ 7:30PM / ABRAVANEL HALL
5:30PM / ABRAVANEL HALL (SAT. PRELUDE)
Thierry Fischer, conductor Karen Gomyo, violin
CO N CER T S PO N SOR
ANDREW NORMAN: Spiral TCHAIKOVSKY: Concerto in D Major for Violin and Orchestra, Op. 35
G U ES T A R TIST S PO N SOR
LAWRENCE T. & JANET T. DEE FOUNDATION
I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo Karen Gomyo, violin
/ INTERMISSION / R. STRAUSS: An Alpine Symphony, Op. 64
Night Sunrise The Ascent Entering the Forest Wandering near the stream At the waterfall Apparition On Blooming Meadows On the Alpine Pasture Going Astray On the Glacier Dangerous Moments At the summit View Fog arises The Sun Gradually Darkens Elegy Calm Before the Storm Sunset Vanishing Sound Night
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ARTISTS’ PROFILES
*See page 11 for Thierry Fischer’s artist profile. Praised by the Chicago Tribune as “a first-rate artist of real musical command, vitality, brilliance, and intensity,” violinist Karen Gomyo continues to captivate audiences worldwide.
Karen Gomyo Violin
Karen’s 2019–20 season features European debuts with Deutsches Symphonie-Orchester Berlin with Cristian Măcelaru, Orchestre de la Suisse Romande with Jonathan Nott, Deutsche Radio Philharmonie Saarbrücken Kaiserslautern with Pietari Inkenen, BBC Scottish Symphony Orchestra with Gergely Madaras and Dresdner Philharmoniker with Roderick Cox, as well as returns to Bamberg Symphoniker and Polish National Radio Symphony, among others. Other recent European appearances include Philharmonia Orchestra, City of Birmingham Symphony Orchestra, Orchestre Symphonique de Radio France, WDR Sinfonieorchester Köln, Danish National Symphony, and in March 2019 Karen opened the Dubai Proms with the BBC Symphony and Ben Gernon. Further ahead Karen makes her debut at the Czech Philharmonic Orchestra with Semyon Bychkov. Karen Gomyo plays on the “Aurora, exFoulis” Stradivarius violin of 1703 that was bought for her exclusive use by a private sponsor.
Membership in the Kids Club is free and includes the following benefits: Kids Club Passport and Membership Card | An invitation to the annual “Ice Cream with the Musicians” event | A free ticket in exchange for showing a report card with a B or higher in an art or music class | Birthday card from USUO For more information & to sign up visit utahsymphony.org/kids-club/
Utah musicians in concert at the
Gallivan Center
Red Rock Hot Club
7:30 Wednesday Evenings, year round
excellenceconcerts.org • 385-743-0146
NOTES ON THE PROGRAM: 1 / 2 by Michael Clive
Andrew Norman (b. 1979)
Spiral PERFORMANCE TIME: 5 MINUTES
It comes as no surprise that the young American composer Andrew Norman is based in Los Angeles. His music captures the dynamism of that multimedia entertainment capital, including the videogame genre, for which he has composed extensively. But this modern outlook is balanced by historical interests, including a fascination with musical notation that extends back to that art’s medieval roots. A highly collaborative composer, he enjoys working with performers to explore the act of interpreting notation; and writes that he is “fascinated by the translation of written symbols into physical gesture and sound.” Scored for a large orchestra featuring extended percussion and harp as well as prominent winds and brass, Spiral was commissioned in 2018 by the Berlin Philharmonic Orchestra. It was premiered at one of that orchestra’s last concerts under the baton of then-Music Director Simon Rattle. The name references the work’s “contracting cycles of material that gradually come into, and go beyond, focus.”
Pyotr Ilyich Tchaikovsky (1840–1893)
Concerto in D Major for Violin and Orchestra, Op. 35 PERFORMANCE TIME: 34 MINUTES
Tchaikovsky seized upon the idea of composing a concerto for violin after 36
hearing others he liked, particularly the energetic, five-movement Symphonie espagnole by the French composer Édouard Lalo. Reviewing the premiere performance in Vienna on December 4, 1881, Eduard Hanslick—the dean of the Viennese music critics and one of the era’s most influential tastemakers—lambasted it as “music that stinks to the ear,” one of the most infamous phrases in the annals of music history. With hindsight it’s easy to dismiss such invective, but it tormented Tchaikovsky, who reportedly re-read Hanslick’s review until he had committed it to memory. Hanslick’s outburst is all the more shocking in light of the characteristically singing melodies with which this concerto abounds. Its first movement, an allegro moderato in D Major, is all graceful lyricism—seemingly an affectionate description of the scenic charms of Clarens, the Swiss resort town where it was composed. But its virtuosity and vigor seem to delineate the existential questions that are always present and passionately articulated in Tchaikovsky’s major works, especially in the symphonies. This emotional intensity reaches a climax in the buildup to the first cadenza. The second movement, a serenely mournful andante cantabile, contrasts markedly with the first; the violin’s entry is melancholy, and it voices a singing lament that eventually gives way to a happier pastoral melody, like a song of spring. Both moods shadow each other for the duration of the movement, as we alternate between brighter and darker soundscapes. The concerto’s final movement follows the second without pause. It is extravagantly marked “allegro vivacissimo” and returns to the opening movement’s D Major key, recapturing its UTAHSYMPHONY.ORG
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NOTES ON THE PROGRAM: 2 / 2 exuberant energy. This movement also incorporates an energetic Russian dance (Hanslick’s “whiff of vodka”?) that leaps off the page as the violinist’s bow dances along with it. A nostalgic second theme provides an emotional counterpoint to the movement’s higher-energy passages, but it is finally eclipsed by a passionate finale.
Richard Strauss (1864–1949)
An Alpine Symphony PERFORMANCE TIME: 51 MINUTES
Strauss’ most important compositions were tone poems such as Don Juan, Till Eulenspiegel and An Alpine Symphony. In a sense, tone-poems were his symphonies; though he was Mahler’s best ally in that composer’s Promethean struggles with the post-Beethoven symphony, Strauss was more interested in dramatic narrative than in symphonic construction. And while his contemporaries Zemlinsky, Schoenberg, and Berg suffered the fate of most pioneers and prophets, Strauss used his sheer virtuosity as a composer to earn a kind of honorary citizenship among the modernists. Many of his tonepoems are based on literary works—Also sprach Zarathustra, Till Eulenspiegel, Don Quixote. Some are frankly (and flatteringly) autobiographical—Ein Heldenleben (yes, Strauss himself is the eponymous hero) and the Alpine Symphony. All are symphonic in scope, basically symphonies in which the architecture of individualized narrative replaces the prescriptive architecture of traditional symphonic construction. (Anthony Burgess reversed this process in his novel Eroica.)
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All of Strauss’ tone-poems are wordless, in contrast with many of Mahler’s epic compositions that were designated as symphonies but include sung texts. If the tone poems were not modern even in their day, we must still listen to them as if they were. Their abundant motifs, which range from deft touches to lush melodies, are embedded in dense chords whose slippery tonalities can change mid-phrase. The work traverses from night to morning and back to night, and thus from birth to death. As dawn breaks, the hiker begins his ascent, enters an alpine forest, and hikes alongside a brook to a waterfall. After experiencing an apparition, he comes upon flowering meadows and pastureland, losing his way among thickets and then coming upon a glacier. He is beset by danger before finally reaching the alpine summit. Once he has achieved it and begins his descent into the mists, rain and sunset of an alpine evening, he is a different person—more aware of the eternal presence of nature and the cycle of creation and death. An Alpine Symphony is daring in its loving embrace of a pantheistic philosophy that finds the presence of God in the natural world. We can compare it with the ideas of the transcendentalists in America and in particular with Thoreau, who saw salvation in the wilderness. But in listening to this tone-poem, we hear music that is about as far from rustic as you can get: a gigantic orchestra playing dazzlingly sophisticated harmonies, exotic colors, and febrile textures.
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MASTERWORKS SERIES
FISCHER CONDUCTS
GERSHWIN & DVOŘÁK Feb. 7–8
/ 2020 / 7:30PM / ABRAVANEL HALL
Thierry Fischer, conductor Joyce Yang, piano
CO N CER T S PO N SOR
BERNSTEIN: Three Dance Episodes from “On the Town” I. The Great Lover II. Lonely Town (Pas de deux) III. Times Square: 1944 GERSHWIN: Concerto in F Major for Piano and Orchestra
I. Allegro II. Adagio - Andante con moto III. Allegro agitato
Joyce Yang, piano
/ INTERMISSION /
DVOŘÁK: Symphony No. 8 in G Major, Op. 88 I. Allegro con brio II. Adagio III. Allegretto grazioso IV. Allegro ma non troppo
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ARTISTS’ PROFILES
*See page 11 for Thierry Fischer’s artist profile.
Blessed with “poetic and sensitive pianism” (Washington Post) and a “wondrous sense of color” (San Francisco Classical Voice), Grammy-nominated pianist Joyce Yang captivates audiences with her virtuosity, lyricism, and interpretive sensitivity. Born in 1986 in Seoul, South Korea, Ms. Yang received her first piano lesson from her aunt at the age of four. By the age of ten, she had entered the School of Music at the Korea National University of Arts, and went on to make a number of concerto and recital appearances in Seoul and Daejeon. She first came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant at 19 years old, she took home Best Performance of Chamber Music, and Best Performance of a New Work. Joyce Yang Piano
In 2006 Yang made her celebrated New York Philharmonic debut alongside Lorin Maazel at Avery Fisher Hall along with the orchestra’s tour of Asia, making a triumphant return to her hometown of Seoul, South Korea. Yang’s subsequent appearances with the New York Philharmonic have included opening night of the 2008 Leonard Bernstein Festival—an appearance made at the request of Maazel in his final season as music director. The New York Times pronounced her performance in Bernstein’s The Age of Anxiety a “knockout.” In 2019–20, Yang shares her versatile repertoire in over 70 engagements throughout America and Australia. She appears as soloist with the St. Louis, Dallas, Phoenix, Milwaukee, Pacific, Fort Worth, Utah, Rhode Island, Minas Gerais, and Melbourne Symphony Orchestras among others and presents solo recitals in Boston (Celebrity Series), St. Paul (Chopin Society), and Rochester, NY (Eastman School of Music). As an advocate of new music, she gave a world premiere performance with Kansas City Symphony in the fall of 2019 of Jonathan Leshnoff’s piano concerto written expressly for her. Yang appears in the film In the Heart of Music, a documentary about the 2005 Van Cliburn International Piano Competition. She is a Steinway artist.
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2020 Season
June 1 - October 10
RICHARD III • THE COMEDY OF ERRORS • PERICLES THE PIRATES OF PENZANCE • ONE MAN, TWO GUVNORS INTO THE BREECHES! • DESPERATE MEASURES CYMBELINE • SHAKESPEARE’S WORST!
800-PLAYTIX • bard.org • #utahshakes René Thornton Jr. as Henry Condell in The Book of Will, 2019
GIRLS IN STEM BECOME WOMEN WHO CHANGE THE WORLD
MEET THE WOMEN WHO ARE CHANGING THE WORLD WITH SCIENCE, TECHNOLOGY, ENGINEERING AND MATHEMATICS: LUCIANNE WALKOWICZ, ASTRONOMER AT THE ADLER PLANETARIUM; BONNIE ROSS, HEAD OF HALO GAME STUDIO AT MICROSOFT; NICKI PALMER, CHIEF NETWORK ENGINEERING OFFICER AT VERIZON; MAYA GUPTA, RESEARCH SCIENTIST AT GOOGLE; LISA SEACAT DELUCA, DISTINGUISHED ENGINEER AT IBM; TIERA FLETCHER, STRUCTURAL ANALYSIS ENGINEER AT BOEING; AND DANIELLE MERFELD, CHIEF TECHNOLOGY OFFICER AT GE RENEWABLE ENERGY
FOLLOW @SHECANSTEM ON INSTAGRAM.
NOTES ON THE PROGRAM: 1 / 2 by Michael Clive
Leonard Bernstein (1918–1990)
Three Dance Episodes from On the Town PERFORMANCE TIME: 11 MINUTES
Leonard Bernstein’s work on Broadway was a series of great collaborations that are now part of the Great White Way’s storied history. It all started with On the Town, a wartime romantic comedy about three sailors with 24 hours’ shore leave in New York City. Composed in 1944, it was Bernstein’s first composition for Broadway. Bernstein chose three of the show’s dance episodes for use as a concert suite: 1. Dance of the Great Lover (from the Dream Ballet, Act 2); 2. Pas de Deux (from the “Lonely Town” Ballet, Act 1); and 3. Times Square Ballet (Finale, Act 1). All three episodes, like all of Bernstein’s dance music for Broadway, rise to a level of orchestral complexity and dynamism that was previously unknown in dance music for Broadway. The stories of the dance sketches are familiar from their charming movie adaptation with Gene Kelly. In the first, “The Great Lover,” Kelly’s character Gabey develops a fantasy-crush on the girl in the subway promotion “Miss Turnstiles” and falls asleep on the train while searching for her. During the second episode, “Lonely Town,” the frustrated Gabey watches another sailor flirt with a young girl in Central Park and then ditch her—a melancholy episode lush with strings and laden with feelings of thwarted romance. Finally, in the best-known sketch, we hear
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the familiar, exuberant strains of the most familiar theme in the show: “New York, New York.”
George Gershwin (1898–1937)
Concerto in F Major for Piano and Orchestra PERFORMANCE TIME: 29 MINUTES
The Concerto in F Major is often called Gershwin’s “most classical” composition, though opera enthusiasts point out that his opera Porgy and Bess is huge in scope and draws directly upon Wagner and Puccini. But the concerto, written in 1925 on commission for Walter Damrosch, hews closely to traditional concerto form. In this sense it is far more “classical” than, say, the popular Rhapsody in Blue. Gershwin scored the concerto himself (unlike the Rhapsody) and was piano soloist at the premiere. The musical building blocks of the Concerto in F Major are American jazz and dance, synthesized in classical forms. It probably remains the most successful and frequently programmed such work in the American canon. Its “jazziness” is unmistakable from the opening moments, with explosive timpani strikes. The extended orchestral introduction that builds to a dramatic solo piano entrance is traditional in form, but with jazz flair. Blues, of course, were never far from Gershwin’s pen, and in the second movement we hear the flatted thirds of the blues in “blue notes” that glitter elegantly, rather than wailing as they do in the Rhapsody in Blue. In the final movement, Gershwin invokes the spirit of Ragtime, where his songwriting success began.
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NOTES ON THE PROGRAM: 2 / 2
Gershwin himself commented on the concerto’s sound, eloquently describing its riot of rhythms. “The first movement employs the Charleston rhythm,” he wrote. “It is quick and pulsating, representing the young enthusiastic spirit of American life. It begins with a rhythmic motif given out by the kettle drums…. The principal theme is announced by the bassoon. Later, a second theme is introduced by the piano. The second movement has a poetic, nocturnal atmosphere, which has come to be referred to as the American blues, but in a purer form than that in which they are usually treated. The final movement reverts to the style of the first. It is an orgy of rhythms, starting violently and keeping to the same pace throughout.” The concerto presents a finale of requisite flash, with exciting, rapid octave scales and pentatonic chord progressions juxtaposed against emphatic, vigorous percussion. The sound is as American as Broadway.
Antonìn Dvořák (1841–1904)
Symphony No. 8 in G Major, Op. 88 PERFORMANCE TIME: 36 MINUTES
Dvořák composed his Symphony No. 8 during the period just before his time in America. The year was 1889; he had just been elected to the Bohemian Academy of Science, Literature and the Arts, and spent just a bit over two months—from the end of August to the beginning of November— writing a symphony to express his gratitude and pleasure in receiving this honor. He
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dedicated the score “To the Bohemian Academy of Emperor Franz Joseph for the Encouragement of Arts and Literature, in thanks for my election.” He conducted the premiere the following February in Prague. In contrast with the stormy Romanticism of Dvořák’s previous symphony, No. 8 is bright and optimistic in tone, suffused with the lilt of his beloved Bohemia. The sounds of the countryside are never far from Dvořák’s music, but in this case—as the composer himself noted—the structure is “different from [my previous] symphonies, with the thoughts worked out in a new way.” The folk-like melodies come in abundance, especially in the first movement, which is structured almost like a rondo—with the initial theme repeated every time a new melodic idea comes along. Though all these ideas are meticulously crafted, there is an air of spontaneity about them. And of course—as in all Dvořák’s music—the dance rhythms are so prevalent that it’s all we can do to keep still as we listen. The second movement, an adagio, alternates (as does the first movement) between major and minor keys, though in both movements a warm glow prevails. These open onto a delicious waltz in the third movement, which in turn leads us to a dramatic final movement introduced by a brassy fanfare and culminating in a strong assertion of sheer goodness. It all sounds simple, but in music, as in life, nothing is more difficult than simplicity. Small wonder that this symphony, with its combination of bucolic cheer and beauty of craft, has been called Dvořák’s counterpart to Beethoven’s Pastoral.
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From Traditional Favorites To Fine Cuisine
SALTLAKE.LITTLEAMERICA.COM | 801.596.5704
ENTERTAINMENT SERIES
WOMEN ROCK Feb. 14–15
/ 2020 / 7:30PM / ABRAVANEL HALL
Sarah Hicks, conductor
Cassidy Catanzaro, vocalist Katrina Rose, vocalist
Shayna Steele, vocalist
G U ES T A R TISTS S PO N SOR
RAGOVOY: “Piece of My Heart” GAYE: “Dancing in the Streets” CAROLE KING: “So Far Away” GIORGIO MORODER: “What a Feeling” from Flashdance MITCHELL: “Both Sides Now” NARADA MICHAEL WALDEN: “Freeway of Love” CAROLE KING: “Up on the Roof” MIKE CHAPMAN: “Love is a Battlefield” CAROLE KING: “You Make Me Feel Like a Natural Woman” / INTERMISSION / AVERAGE WHITE BAND: “Pick Up the Pieces” ALAN MERRILL: “I Love Rock ‘n Roll” MARTIN PAGE: “These Dreams” MIKE CHAPMAN: “The Best” CAROLE KING: “I Feel the Earth Move” CAROLE KING: “You’ve Got a Friend” EDDIE SCHWARTZ: “Hit Me with Your Best Shot” TERRY BRITTEN: “What’s Love Got to Do with It” JOHN FOGERTY: “Proud Mary”
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ARTISTS’ PROFILES A highly sought-after guest conductor, particularly in the live-to-concert film genre, Sarah Hicks has performed extensively both in the States and abroad. Ms. Hicks’ past affiliations include positions with the North Carolina Symphony, Richmond Symphony, and Florida Philharmonic. She was on faculty of the Curtis Institute of Music from 2000 to 2005 and continued her affiliation as Staff Conductor until 2015. Her opera appearances have included Verdi’s Aïda with the East Slovak State Opera Theater, Poulenc’s Dialogues des Carmelites and Handel’s Alcina with the Curtis Opera Studio and a semi-staged production of Humperdinck’s Hänsel und Gretel with the Minnesota Orchestra.
Sarah Hicks Conductor
Sarah Hicks was born in Tokyo, Japan and raised in Honolulu, Hawaii. Trained on both the piano and the viola, she was a prizewinning pianist by her early teens. She received her BA magna cum laude from Harvard University in composition. She holds an Artist’s Degree in conducting from the Curtis Institute of Music, where she studied with the late renowned pedagogue Otto-Werner Mueller. In her spare time, Ms. Hicks enjoys running, hiking, her Papillon, cooking (and eating) with her husband, traveling, and sketching. Cassidy Catanzaro is a 2017 Grammy-nominated songwriter. As the lead singer and songwriter of the allfemale rock band Antigone Rising, Cassidy toured the US following a landmark record deal signed with both Starbucks’ ‘Hear Music Label’ and Atlantic Records the first of its kind. She has sold close to 2,000,000 albums. Cassidy has toured with legendary acts including The Rolling Stones and Aerosmith and has sung with rock icons from Greg Allman to Steve Perry of Journey. Her songwriting credits appear on tracks for pop star Demi Lovato with world-renowned producer Max Martin, Rob Thomas of Matchbox 20, rock sensations Mount Holly Band, and popular Swedish recording artist Tommy Burr as well as placements in film and television.
Cassidy Catanzaro Vocalist
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Cassidy is a proud champion of environment and her social activism spans more than a decade. Cassidy is thrilled to be a part of Women Rock. She couldn’t agree more.
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COMING SOON TO
BERNADETTE PETERS IN CONCERT Concert Hall Sat, Jan 11, 7:30 PM
BALLET WEST’S
GISELLE Smith Theatre Fri, Jan 31 7:30 PM Sat, Feb 1, 2:00 & 7:30 PM
42 FT — A MENAGERIE OF MECHANICAL MARVELS Smith Theatre Mon, Feb 3, 6:30 PM
THE COOKERS Concert Hall Fri, Feb 28, 7:30 PM
FULL SCHEDULE AND TICKETS AVAILABLE AT UVU.EDU/THENOORDA
ARTISTS’ PROFILES Born in bluegrass country of North Carolina, Katrina grew up singing in the church choir while practicing rock riffs from her bedroom. Katrina spent 3 years at New York University and working in Karaoke clubs before being noticed by the producers of Hairspray the musical at an open call. Selected to star as Tracy Turnblad, the role took her all over North America, including Broadway, and eventually landing opposite the unforgettable Harvey Fierstein in the original Las Vegas production at The Luxor. Having been compared to Janis Joplin for much of her life, Katrina fulfilled a dream when she was asked to portray the rock icon in A Night with Janis Joplin just outside of Janis’s hometown in Houston, TX at the Alley Theatre. Most recently, Katrina could be seen on NBC’s The Voice, season 13. Other favorite Broadway and Off-Broadway credits include Rent, Jerry Springer: The Opera, and BloodSong of Love. An original member of the Joe Iconis & Family rock band, Katrina continues to perform in various venues throughout the city. She recently originated the role of Genya Ravan in the biographical rock opera, Rock & Roll Refugee with Genya’s guidance.
Katrina Rose Vocalist
One of the greatest singing sensations of our time, known from recordings with Snarky Puppy and Moby and a host of other stars, Shayna Steele takes flight on her third album, Watch Me Fly. Offering six self-penned originals and four select classics ranging from soul via blues and gospel and easily crossing over to retro R&B and jazz, showcasing Shayna Steele’s supremely soulful energy, as well as her mind-blowing vocal artistry and songwriting skills. The singer, born in California and raised in Mississippi, who as a self-proclaimed “American Air Force brat” grew up all over the world, but lives and thrives in New York, not only has a charismatic, charming and truly unique voice, but also plenty of technique and the vocal strength of a volcano. Shayna has performed with the likes of Rihanna, Kelly Clarkson, Bette Midler, and Steely Dan as a sought after background and featured vocalist. Shayna Steele Vocalist
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Shayna continues to work non-stop in music out of their home teaching privately, teaching master classes, recording, writing and creating in addition to being one of the most high in demand and sought after gigging musicians.
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MASTERWORKS SERIES
BEETHOVEN 2020:
SYMPHONY NO. 7 Feb. 21 Feb. 22
/ 2020 / 7:30PM / ABRAVANEL HALL
/ 2020 / 5:30PM / ABRAVANEL HALL (SAT. PRELUDE)
Thierry Fischer, conductor
Francesco Piemontesi, piano
CO N CER T S PO N SOR
HEALTHCARE NIGHT G U ES T A R TIST S PO N SOR
NORA ECCLES TREADWELL FOUNDATION
MESSIAEN: “Bryce Canyon and the Red-Orange Rocks” from Des canyons aux étoiles SCHUMANN: Concerto in A minor for Piano and Orchestra, Op. 54 I. Allegro affettuoso II. Intermezzo: Andantino grazioso III. Allegro vivace Francesco Piemontesi, piano
/ INTERMISSION /
MESSIAEN: “Cedar Breaks and the Gift of Awe” from Des canyons aux étoiles BEETHOVEN: Symphony No. 7 in A Major, Op. 92
I. Poco sostenuto - Vivace II. Allegretto III. Presto IV. Allegro con brio
IN CELEBRATION OF BEETHOVEN’S 250TH BIRTH YEAR
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ARTISTS’ PROFILES
*See page 11 for Thierry Fischer’s artist profile.
Francesco Piemontesi is a pianist of exceptional refinement of expression, which is allied to a consummate technical skill. Widely renowned for his interpretation of Mozart and the early Romantic repertoire, Piemontesi’s pianism and sensibility have a close affinity too with the later 19th century and 20th century repertoire of Brahms, Liszt, Dvořák, Ravel, Debussy, Bartók, and beyond. Of one of his great teachers and mentors, Alfred Brendel, Piemontesi says that Brendel taught him “to love the detail of things”. Francesco Piemontesi appears with major ensembles worldwide, and conductors such as Vladimir Ashkenazy, Nicholas Collon, Charles Dutoit, Sir Mark Elder, Iván Fischer, Mirga Gražinytė-Tyla, Manfred Honeck, Marek Janowski, Neeme Järvi, Ton Koopman, Andrew Manze, Zubin Mehta, Sir Roger Norrington, Gianandrea Noseda, Sakari Oramo, and Yuri Temirkanov. Francesco Piemontesi Piano
Born in Locarno, Francesco Piemontesi studied with Arie Vardi before working with Alfred Brendel, Murray Perahia, Cécile Ousset, and Alexis Weissenberg. He rose to international prominence with prizes at several major competitions, including the 2007 Queen Elisabeth Competition, and between 2009-11 he was chosen as a BBC New Generation Artist. Since 2012, Piemontesi has been the Artistic Director of the Settimane Musicali di Ascona.
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NOTES ON THE PROGRAM: 1 / 2 by Michael Clive
Olivier Messiaen (1908–1992)
Bryce as a divine creation. The cathedrallike grandeur of the park’s rock formations echoes through movement seven.
“Bryce Canyon and the Red-Orange Rocks” from Robert Schumann (1810–1856) Des canyons aux étoiles Concerto in A Minor for PERFORMANCE TIME: 13 MINUTES Piano and Orchestra “Cedar Breaks and the PERFORMANCE TIME: 31 MINUTES Gift of Awe” from Des The chronology of Schumann’s Piano Concerto is straightforward enough, canyons aux étoiles but the story behind it is not so simple: PERFORMANCE TIME: 8 MINUTES
Commissioned in 1971 by the American philanthropist and arts patron Alice Tully to celebrate the bicentenary of the Declaration of Independence, Des canyons aux étoiles… is a suite of twelve orchestral movements arranged in three groupings of five, two, and five. When all twelve are performed together, the movements are operatic in scope, spanning more than an hour and a half. Messiaen specified that the twelve movements of Des canyons aux étoiles were to be played in three parts, and “Cedar Breaks” concludes the first part; “Bryce Canyon” concludes the second. Like Ferde Grofé’s Grand Canyon Suite, Messiaen’s Des canyons aux étoiles… is intimately connected to a particular place in the American Southwest—in this case, the state of Utah. Messiaen took inspiration from the landscape and the birds of the Beehive State while composing this suite, and was particularly moved by visiting Bryce Canyon National Park. The suite’s movements describe his experiences of
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Schumann’s only piano concerto began as a single-movement work, his Fantasie, composed in 1841. Then, in the spring and summer of 1845, he added two movements to create a complete concerto. His wife, the great pianist Clara Wieck, introduced the concerto at a New Year’s Day concert in Leipzig in 1846. Schumann’s style of piano composition is often described as mercurial. It seems certain that Clara Wieck, noted for the poetic subtleties of her interpretations, was the perfect pianist for his music. But concertos call for drama as well as poetry, and this one opens with a gesture that has been described as ripping away a curtain: a fusillade of chords from the piano. The boldness of this introduction clearly influenced the young Edvard Grieg in composing his own Piano Concerto in A Minor. In transitioning from the first movement to the second we can hear Schumann’s moodiness, which is apparent in the concerto’s extremes of color. In the second movement, an intermezzo, a melody of great delicacy takes shape, with the piano
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NOTES ON THE PROGRAM: 2 / 2
relegated mainly to accompaniment. But in the more energetic third movement, marked “allegro vivace,” the piano part shows majesty, energy and variety. The concerto concludes by drawing together the thematic materials we have heard into a cohesive finale, climaxed by a dramatic sounding of timpani and a dramatic chord that echoes through the orchestra.
Ludwig van Beethoven (1770–1827)
Symphony No. 7 PERFORMANCE TIME: 36 MINUTES
When we think of Beethoven as the Promethean composer who broke boundaries and reinvented forms, his symphonies immediately come to mind; the word “fun” does not. Yet “fun” is a word often seen in critical appreciations of his Symphony No. 7. Its exuberance makes it seem like a symphony of joyful first movements and exciting climaxes, with scarcely a relaxed moment. Despite the appeal of this symphony’s elemental melodies, its powerful rhythmic drive is the work’s emotional driver, thrilling us with a feeling of palpable freedom, like riding in a convertible with the top down on a beautiful, empty road. It’s all we can do to keep from jumping out of our seats with leaping gestures that match our feelings about the music as we listen. This symphony’s bold, peppery repetitions, which took some of Beethoven’s contemporaries by surprise, begin in its first movement. An expansive introduction is marked “Poco sostenuto,” with long,
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ascending scales. It then gives rise to a lively vivace that begins the symphony’s dancing rhythms (with no fewer than 61 repetitions of the note E along the way). Sudden shifts in dynamics and jagged modulations intensify the feeling of unceasing spark and pulse. To many listeners, the second movement’s use of repetition is the most remarkably modern aspect of Beethoven’s Seventh. In most symphonies, a movement marked “Allegretto” might seem relatively quick; in Beethoven’s Seventh, it is the second and slowest of the four movements. But it is the movement’s use of repetition that belies its date. The impression of melody and energy is built on repetition rather than tune, looking forward to the more modern ideas of motivic and gestural development rather than a traditional, hummable theme. The development begins in the violas and cellos and moves to the violins as the violas and cellos transition to a second theme. This rotation continues with the original melody moving to the winds while the second melody moves to the first violin. This movement, with its fluid interplay of themes throughout the orchestra, has retained its popularity and has often been encored in performance. The third movement is comprised of a scherzo in F Major paired with a trio in D Major; the trio is based on a stirring Austrian pilgrims’ hymn, and incorporates a typically thorough development section— not just “A-B-A,” but “A-B-A-B-A,” a pattern we also encounter in Beethoven’s Symphony No. 4 and in the second string quartet from his Op. 59.
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WOMEN OF NOTES
UTAH SYMPHONY | UTAH OPERA CULTURAL FESTIVAL 2020
T
he year 2020 marks the 100th anniversary of the 19th Amendment to the United States Constitution and the 150th anniversary of the first vote under a women’s suffrage law, which happened in Salt Lake City. In recognition of these milestones, Utah Symphony | Utah Opera’s 2020 cultural festival will highlight the achievements of women and create opportunities for them in the field of classical music, particularly as composers and conductors. Activities include performances of original works, artist presentations, and masterclasses.
SPECIAL EVENT: On February 14, join us at the Clubhouse (850 E So Temple) on the 150th anniversary of the actual day of the first vote by a Utah woman, also the first vote by a woman in the United States. A reception with light refreshments and beverages begins at 7 pm, followed by a performance of Women of Notes by the Utah Opera Resident Artists at 8 pm. The performance includes two miniature operas by female composers with Utah roots. Tickets are $25, available at the USUO Ticket Office, or online at utahopera.org/cultural-festival. For a full list of festival activities, go to utahopera.org/festival. #WomenOfNotes
SELECT FEATURED ARTISTS
Lisa DeSpain Composer
Sarah Hicks Conductor
Stephanie Rhodes Russell Conductor
NAOMA TATE AND THE FAMILY OF HAL TATE
Michaella Calzaretta
Utah Opera Chorus Master
VETERANS
of US Military Armed Forces Service:
FREE Utah Symphony | Utah Opera tickets for veterans January - March 2020 Utah Symphony | Utah Opera invites veterans to attend several performances FREE OF CHARGE: Mon or Wed, January 20 or 22, 7:00 pm at Capitol Theatre — Utah Opera performances of Kevin Puts and Mark Campbell’s Silent Night. Fri or Sat, February 14 or 15, 7:30 pm at Abravanel Hall —Women Rock, with the Utah Symphony, guest conductor Sarah Hicks, and guest vocalists Cassidy Catanzaro, Katrina Rose, and Shayna Steele. Fri or Sat, March 6 or 7, 7:30 pm at Abravanel Hall, Sketches of Spain, with guest conductor Fabien Gabel, guest violinist Benjamin Beilman, and the Utah Symphony.
tickets are limited. Get your tickets through VetTix.org
All-Star Youth Pro-Am 2020 ONE NIGHT ONLY! MARCH 19 | 7 PM Students from eleven different youth orchestras sit side-by side with the musicians of the Utah Symphony. Associate Conductor Conner Gray Covington conducts this concert.
For more information visit UTAHSYMPHONY.ORG or for tickets call 801-533-6683
Annual 5th Grade Concerts The tradition continues! Each year 5th graders in the Wasatch Front ride yellow school buses to hear the Utah Symphony perform in the acoustic splendor of Abravanel Hall. FOR ITS 2019–20 CONCERTS, the Utah Symphony will present Symphony of the Hawaiian Birds, an exciting new work from the Hawai’i Symphony Orchestra and the University of Hawai’i Manoa. During the concert, students will discover the beauty of various species of Hawaiian birds and the importance of conservation through new music and original animations. We are thrilled to present a modern collaboration of music, social studies and science that will take Utah’s fifth graders on a little Hawaiian vacation amidst the February chill. Prior to the concert, Utah Symphony Docents will visit students in their classrooms to introduce them to the music and excite them for their upcoming fieldtrip!
Available online at UTAHSYMPHONY.ORG/5THGRADECONCERTS
INDIVIDUAL SUPPORT We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from September 1, 2018 to November 16, 2019. * in-kind donation
** in-kind & cash donations
† deceased
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Naoma Tate & the Family of Hal Tate Jacquelyn Wentz
Jack Wheatley
OVERTURE ($25,000 TO $49,999) Scott & Kathie Amann Doyle Arnold & Anne Glarner Berenice J. Bradshaw Trust Judy Brady & Drew W. Browning Barron Collier
John & Flora D’Arcy John & Joan Firmage Kristen Fletcher & Dan McPhun Tom & Lorie Jacobson Chuck & Crystal Maggelet Edward Moreton
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MAESTRO ($10,000 TO $24,999) Fran Akita A. Scott & Jesselie Anderson Dr. J.R. Baringer & Dr. Jeannette J. Townsend Thomas Billings & Judge Judith Billings Judy & Larry Brownstein Rebecca Marriott Champion William & Patricia Child Howard & Betty Clark Larry Clemmensen Tom Coleman Pat & Sherry Duncan Dr. & Mrs. Ralph Earle Robert & Elisha Finney Thierry & Catherine Fischer** Martin & Jane† Greenberg Doug & Connie Hayes Susan & Tom Hodgson UTAHSYMPHONY.ORG
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INDIVIDUAL SUPPORT ALLEGRO ($5,000 TO $9,999) Anonymous (5) Craig & Joanna Adamson Edward R. Ashwood & Candice A. Johnson Dr. & Mrs. Clisto Beaty Dr. Melissa Bentley David Brown Mr. & Mrs. Neill Brownstein** Marc & Kathryn Cohen Dr. Thomas D. & Joanne A. Coppin Mr. & Mrs. Kenneth R. Cutler Patricia Dougall Eager Trust Spencer & Cleone† Eccles Midge Farkas Jack & Marianne Ferraro Thomas & Lynn Fey Blake & Linda Fisher Mr. & Mrs. Eric Garen** Diana George David & SandyLee Griswold**
Ray & Howard Grossman Chuck & Kathie Horman Annette & Joseph Jarvis Dale & Beverly Johnson Maxine & Bruce Johnson James & Penny Keras Gary & Suzanne Larsen Harrison & Elaine Levy Michael Liess Ms. Susan Loffler Hallie & Ted McFetridge Paul Meecham & Laura Leach Christopher & Julie McBeth Carol & Anthony W. Middleton, Jr., M.D. Joanne Mitchell Dr. Louis A. Moench & Deborah Moench Dr. Thomas Parks & Dr. Patricia Legant Dr. Dinesh & Kalpana Patel
Brooks & Lenna Quinn W.E. & Harriet R. Rasmussen Joyce Rice Dr. Wallace Ring Peggy & Ben Schapiro Barbara & Paul Schwartz Thomas & Gayle Sherry Drs. John & Ann O’Neill† Shigeoka Stuart & Mary Silloway Dr. & Mrs. Charles W. Sorenson, Jr. Sidney Stern Memorial Trust Larry & Nancy Tallman Mr. & Mrs. Glen R. Traylor Thomas† & Caroline Tucker Albert & Yvette Ungricht M. Walker & Sue Wallace E. Woolston & Connie Jo Hepworth-Woolston
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David & Donna Dalton Ken & Marcie Davis David & Karen Gardner Dee Thomas D. Dee III & Dr. Candace Dee Elizabeth deForest Margarita Donnelly John D. Doppelheuer & Kirsten A. Hanson Margaret Dreyfous Carol & Greg Easton Mrs. Sarah Ehrlich Janet Ellison Kate Fauntleroy Adele & James Forman Mr. Joseph F. Furlong III Robert & AnnieLewis Garda David & Sherrie Gee Jeffrey L. Giese, M.D. & Mary E. Giese Kenneth & Amy Goodman Arlen Hale C. Chauncey & Emily Hall
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INDIVIDUAL SUPPORT ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Les Kratter Guttorm & Claudia Landro Donald L. & Alice A. Lappe Lisa & James Levy Bill Ligety & Cyndi Sharp Herbert† & Helga Lloyd Daniel & Deena Lofgren Mr. & Mrs. Kit Lokey Dennis & Pat Lombardi Jeramy Lopez Tom & Jamie Love Gregg & Karen Lund Milt & Carol† Lynnes David & Donna Lyon Keith & Vicki Maio Heidi & Edward D. Makowski Peter Margulies & Louise Vickerman Jed & Kathryn Marti Daniel & Noemi P. Mattis Dale & Carol Matuska Tom & Janet McDougal Michael & Julie McFadden Michal & Maureen Mekjian George & Nancy Melling
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PATRON ($1,500 TO $2,499) Anonymous (3) Madeline Adkins & John Forrest Victoria Bennion Susan Benson Harvey & Donna Birsner C. Kim & Jane Blair Roger & Karen Blaylock Mr. & Mrs. William D. Callister Mr. & Mrs. Lee Forrest Carter Dr. & Mrs. David Coppin Dorothy B. Cromer Pat & Nancy Forester Heidi Gardner Dr. & Mrs. John Greenlee Kenneth & Kate Handley John Edward Henderson Connie C. Holbrook Camille Huchton Mr. & Mrs. Jerry Huffman UTAHSYMPHONY.ORG
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INDIVIDUAL SUPPORT FRIEND ($1,000 TO $1,499) Anonymous (3) Dr. & Mrs. Jeffrey L. Anderson Ian Arnold David & Rebecca Bateman Randy & Jeni Bathemess E. Wayne† & Barbara Baumgardner Jennifer Beckham Michael Blum & Abigail Rose Diane Banks Bromberg & Dr. Mark Bromberg Janice Burk Lindsay & Carla Carlisle Dana Carroll & Jeannine Marlowe Carroll Po & Beatrice Chang & Family Michael & Beth Chardack Dr. & Mrs. Hal S. Cole William J. Coles & Joan L. Coles Lawrence Dickerson James & Rula Dickson Kathleen & Frank Dougherty Alice Edvalson Eric & Shellie Eide Robert S. Felt, M.D. James & Barbara T. Gaddis
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Quinn & Julie Gardner Bob & Mary Gilchrist Ralph & Rose Gochnour Mr. & Mrs. Richard R. Graham Sue Grant John & Ilauna Gurr Geraldine Hanni Conor Hanrahan Jonathan Hart Lex Hemphill & Nancy Melich Courtney Henley Brad Hintze Peggy Hudson Chester & Marilyn Johnson Jill Johnson Rick & Paulette Katzenbach Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Mr. & Mrs. Bruce M. Lake Tim & Angela Laros Julie & John Lund Thomas & Mary McCarthey Edward J. & Grace Mary McDonough Clifton & Terri McIntosh Hal & JeNeal Miller Dr. Jean H. & Dr. Richard R. Miller
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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
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Dale Strobel Matthew & Maria Proser Whittney Thomas J. Brian Whitesides
GIFTS MADE IN MEMORY Jay T. Ball Dawn Ann Bailey Betty Bristow Robert H. Burgoyne, M.D. Kathie Dalton Peggy Chase Dreyfous Robert Ehrlich Leah Burrows Felt Loraine L. Felton
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Crawford Gates Lowell P. Hicks Dr. Gary B. Kitching M.D. Harry Lakin Warren K. (Sandy) McOmber Dr. Richard George Middleton Jack Newton
Richard Perkins Glade & Mardean Peterson Norman B. Ross Shirley Corbett Russell J. Ryan Selberg Frank & Maxine McIntyre Ann O’Neill Shigeoka, M.D. Phyllis “Philly” Sims 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 September 1, 2018 to November 16, 2019. * in-kind donation
** in-kind & cash donation
$100,000 OR MORE Anonymous The Church of Jesus Christ of Latter-Day Saints Foundation Lawrence T. & Janet T. Dee Foundation Dominion Energy George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation The Florence J. Gillmor Foundation
William Randolph Hearst Foundation Emma Eccles Jones Foundation Larry H. & Gail Miller Family Foundation O.C. Tanner John & Marcia Price Family Foundation Salt Lake City Redevelopment Agency Salt Lake County Salt Lake County Zoo, Arts & Parks
Shiebler Family Foundation Sorenson Legacy Foundation 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 Janet Q. Lawson Foundation
League of American Orchestras’ Futures Fund Utah Symphony Guild
Deer Valley Resort** Joan & Tim Fenton Family Foundation Intuitive Funding Frederick Q. Lawson Foundation LOVE Communications ** McCarthey Family Foundation Montage Deer Valley** Moreton Family Foundation
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$25,000 TO $49,999 Anonymous Arnold Machinery Brent & Bonnie Jean Beesley Foundation BMW of Murray/BMW of Pleasant Grove Carol Franc Buck Foundation Cache Valley Electric Chevron Corporation C. Comstock Clayton Foundation
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Henry W. & Leslie M. Eskuche Charitable Foundation Inwest Title Service, Inc. M Lazy M Foundation
Morris Murdock Travel Snell & Wilmer Spitzberg-Rothman Foundation Squatters Pub*
Castle Foundation City Creek Center Corning Incorporated Foundation D’Addario Foundation The Helper Project Millcreek Coffee Roasters*
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HOUSE RULES ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Abravanel Hall. Ask at the Coat Check for details. WHEELCHAIR SEATING Ample wheelchair seating is available. Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager. LATECOMERS In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating
will be used. During some productions late seating may not occur until an intermission after which time you may be seated by an usher in an alternate section. When traveling to performances, please allow ample time for traffic delays, road construction, and parking. COPYRIGHT ADHERENCE In compliance with copyright laws, it is strictly prohibited to take any photographs or any audio or video recordings of the performance. EMERGENCY INFORMATION In the event of an emergency, please remain seated and wait for instructions. Emergency exits are located on both sides of the house. Please identify the exit closest to your location.
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MARTINE 22 East 100 South. Exceptional ambience, located in a historic brownstone. Martine offers Salt Lake City a sophisticated dining experience kept simple. Conveniently located on First South around the corner from the Eccles Theater. Extensive bar and wine service. martinecafe.com L, D, T, LL, RA, CC, VS. 801-363-9328 SPENCER’S 255 South West Temple, SLC. Winner of Wine Spectator’s Award of Excellence and Best of State for Fine Dining, enjoy locally sourced Prime steaks and sustainable seafood dishes from Executive Chef Sebastian Lowrey. Seasonal cocktails, inspired desserts, and exceptional service complement your meal. L, D, S, T, LL, RA, CC, VS. 801-238-4748 | Reservations at Opentable.com
SQUATTERS PUB BREWERY 147 West Broadway SLC. Join us before and after the show for eclectic daily specials and traditional pub favorites such as bacon topped meatloaf, pizzas and a delicious array of burgers, all paired with our world-class beer and welcoming atmosphere. L, S, AT, LL, D, CC, VS. 801-363-2739
very ry T-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre Top: Image licensed by Ingram Image ations vationsAccepted AcceptedCC-Credit CC-CreditCards CardsAccepted AcceptedVS-Vegetarian VS-VegetarianSelections Selections B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections
ADMINISTRATION ADMINISTRATION Patricia A. Richards
DEVELOPMENT Leslie Peterson
ACCOUNTING & INFORMATION TECHNOLOGY
David Green
Jessica Proctor
Vice President of Finance & CFO
Interim President & CEO Senior Vice President & COO
Julie McBeth
Executive Assistant to the CEO
Collette Cook
Executive Assistant to the Sr. VP and COO & Office Manager
Vice President of Development
Steve Hogan
Director of Institutional Giving
Mike Lund
Olivia Custodio
Director of Individual Giving
Heather Weinstock
Director of Special Events & DVMF Donor Relations
Director of Information Technologies
Karyn Cunliffe Controller
Alison Mockli
Payroll & Benefits Manager
SYMPHONY ARTISTIC Thierry Fischer
Lisa Poppleton Grants Manager
Kyle Siedschlag
Anthony Tolokan
Development Operations Manager
Jared Mollenkopf
Symphony Music Director
Nikki Orlando
Vice President of Symphony Artistic Planning
Ali Snow
Associate Conductor
Development Assistant
Annual Fund Coordinator
Ellesse Hargreaves
Conner Gray Covington Barlow Bradford
MARKETING & COMMUNICATIONS Jon Miles
Symphony Chorus Director
Walt Zeschin
Director of Orchestra Personnel
Andrew Williams
Orchestra Personnel Manager
Lance Jensen
Executive Assistant to the Music Director Symphony Chorus Manager
Vice President of Marketing & Public Relations
RenĂŠe Huang
Director of Communications & Digital Media
Kathleen Sykes
Accounts Payable Specialist Patron Information Systems Manager
EDUCATION Paula Fowler
Director of Education & Community Outreach
Kyleene Johnson
Symphony Education Manager
Becca Gee
Opera Education Assistant
Annie Farnbach
Symphony Education Assistant
Digital Content Producer
OPERA TECHNICAL Jared Porter
Marketing Manager - Audience Development
Kelly Nickle
SYMPHONY OPERATIONS Cassandra Dozet
Robert Bedont
Melissa Robison
Nina Starling
Chip Dance
PATRON SERVICES Faith Myers
COSTUMES Verona Green
Kate Henry
Merry Magee
Jessica Cetrone
Director of Orchestra Operations Program Publication & Front of House Director
Website Content Coordinator
Production & Stage Manager
Director of Patron Engagement
Operations Manager
Marketing Manager - Patron Loyalty
Jeff F. Herbig
Properties Manager & Assistant Stage Manager
Lyndsay Keith
Artist Logistics Coordinator
Mara Lefler
Sarah Pehrson Jackie Seethaler Powell Smith
Carol Anderson
Sales Associates
Principal Coach
Michelle Peterson
Opera Company Manager
Michaella Calzaretta Opera Chorus Master
Brooke Yadon
Opera Production Coordinator
Costume Director
Costume Rentals Supervisor
Amanda Reiser Meyer
Group Sales Associate
Opera Artistic Director
Scenic Charge Artist
Patron Services Manager
Andrew J. Wilson
Genevieve Gannon
OPERA ARTISTIC Christopher McBeth
Dusty Terrell
Kierstin Gibbs LisaAnn DeLapp
Patron Services Assistant
2nd Assistant Stage Manager
Properties Master
Sales Manager
Hallie Wilmes
Robyne Anderson
Senior Technical Director
Nicholas Barker Jill Dewsnup Lorraine Fry Naomi Newton Ian Painter Talia Ricci Ananda Spike
Rentals Assistants
Wardrobe Supervisor
Milivoj Poletan Tailor
Tiffany Lent
Cutter/Draper
Donna Thomas
Milliner & Craftsperson
Connie Warner Stitcher
Krissa Lent
Wigs/Make-up Crew
Ticket Agents
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.
UTAHSYMPHONY.ORG
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Elementary students create their own opera through Music!Words!Opera!
to Utah Symphony
I
Utah Opera!
U Your music was amazing. It put me in a better mood.
n
-STUDENT, BROCKBANK ELEMENTARY, NEBO SCHOOL DISTRICT
Need a mood boost? If music brightens your day, won't you consider a tax deductible donation to Utah Symphony I Utah Opera (USUO)?
Only 30% of our revenue comes from ticket sales and we could use your help. As a 501(c)(3) non-profit, we rely on a combination of private and public support to sustain not only outstanding musical experiences, but educational and community outreach programs to every part of Utah as well. Would you be willing to help us with the remaining 70%?
For more information:
USUO.ORG/GIVE 801-869-9015 74
And here's something to really make you smile: if you are a first-time donor, or if you wish to increase your annual gift, the George S. and Dolores Dore Eccles Foundation will match your contribution 2:1 ! Thank you for being a member of our audience. Seeing you at performances definitely puts us in a better mood!
Utah Symphony Associate Conductor Conner Gray Covington conducts the Orem High School Orchestra as part of our "Musicians in the Classroom" initiative.
UTAHSYMPHONY.ORG
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TANNER & 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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VOLUNTEER SUPPORT We thank our generous volunteers & Utah Symphony Guild members for their annual support of Utah Symphony | Utah Opera. This list includes volunteers who have given their time from August 20, 2018 to August 20, 2019. 75 HOURS OR MORE Heather Benson Doyle Clayburn Esther Chang Caprene Curtis Arlen Hale
Sissy Higbee Karen Jurgens Lona Mae Lauritzen Mary Lynn Kinsel Maybell McCann
Pam Miller Luke Pettit Anne Polinsky Carol Radinger Rick Seven
David Lach Whit Wirsing Ken Wilson
50–75 HOURS Scott Barraclough Thea Brannon Chip Browne Jaspin Childs Tremiti Childs
Eli Curtis Kaleb Curtis Karsyr Childs Robert Curtis Spencer Curtis
Leslie Davis Andrea Erekson Heather Malko Sandra Marsh Cathy Paiz
Kim Smith Nicholas Unsworth Bridget Steadman David Webster Chris Wilson
25–50 HOURS Gary Allen Jean Barton Maureen Bradley Barbara Connell Bill Connell Marlene Dazely Cheryl Dejno Erica Freeman Beth Foley Carolyn Fredin Vicki Gilchrist Sylvia Goff Jason Hedquist
LeAnn Hedquist Kathy Hills Kathy Holmes Steven Holmes Julie Howland Denise Konrad Nancy Laursen Liz LeFevre Dianne May Andrea Measom Rebecca McGarry Haylie Miller Alexandria Mumphery
Christy Neel Nancy Pitstick Sasha Poma Kathy Pozzuoli Mark Pozzuoli Jeana Quigly Jeannette Ricci Elizabeth Ryder Karen Scheible Skye Sieber Lisa Silbaugh Michele Smith Cheryl Soshnik
Sandy Sweitzer Christine Taylor Donna Thompson Spencer Thompson Deborah Tuttle Chuck Wally Jan Wally Carolyn Wang Anthony Wilkinson Lilly Wilkinson Rebecca Wilkinson Red York
LESS THAN 25 HOURS JoAnne Allen Mike Armstrong Amy Bach Jann Barrios Alan Barta Adam Bascom Amy Bascom Fern Baird Lisa Bartlett Karthikeyan Baskaran Patricia Baskin Sid Baskin Ian Bell Molli Bell Monica Bell Scott Bell Julie Brown Yolanda Bunderson Andrea Butler Jessie Buss Jill Buss Mayumi Call Amanda Carroll Nicholas Cicalese Heidi Clark Sandie Crook Richard Daems Ellen Dahl Gary Dalton Jessica Dalton Renate Dalton Barbara Damon Andrew Dellenbach
David DeTienne Kristen DeTienne Tabitha Dutton Judith Eagan Chad Erekson Dan Erekson George Erekson Kay Erekson Maggie Erekson Jenny Evans Olivia Frere Shoaf Judy Fullerton Strike Fongeallaz Patrice Gallagher Jan Gandy Paul Gandy Kathleen Gammell Janalee Goebel Jane Goebel JoAnn Goebel Matthew Goebel Donna Graves Jim Graves Andrew Hall Eric Hall Jon Hall Kathy Hall Marci Hall Elijah Hancock Rebekah Hampton Rebekah Hopper Linda Itami Rakhi Jattani
Emma Jensen Amber Johnson Scott Johnson Holden Jones Charlotte Jordan Rebekah Hampton Jonathan King Paul Kriekard Julie Kronholz Brianna Le Heather Lewis Hyunjung Lim Henry Longmore Kathie Longmore Rebekah Lyn Sarah Marshall Mary Marchlewski Maybell McCann Gary Moore Liz Moore Mercedes Moore MaryEllen Mortola Deborah Nash Brendan Olsen Kathleen Papi-Baker Juan Carlos Perez Erica Paul Kathy Pope Paula Poulson Andrea Person Chas Ranch Renae Richards Scott Richardson
Dave Salzburg Margaret Sargent Abby Scott Jeannine Seibert Karishma Shah Eric Sheer Hadley Smith Paula Speth Gavin Speakman Rocio Soto Eric St. Pierre Sue Stowe Camille Strahl Viki Snow Linda Stetser Tiffany Stone Lana Taylor Alexis Thaeler John Thaeler Marcy Thaeler Stephen Thaeler Hannah Thorne Elena Tiralongo Khanh Trim Sujay Tripathy Sheila Whitney Kathy Williams Leslie Williams Lisa Williams Gary Wold Peggy Wold Wilson Wosnjuk Anna Vukin
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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 NATIONAL PR SERVICES PROVIDED BY
Shuman Associates, New York City ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY
Love Communications, Salt Lake City ADVERTISING CREATIVE & BRANDING SERVICES PROVIDED BY
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.
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