Utah Symphony March/April 2023

WELCOME

On behalf of the board, musicians, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and today’s concert featuring the incredible musicians of the Utah Symphony.

STEVEN BROSVIK President & CEO

USUO’s Education programs offer to the citizens of Utah one of the most extensive arts education initiatives by a professional musical arts organization in the United States. Our professional musicians provide students with the gift of live classical music and the inspiration to develop their own creative capabilities to enhance their lives. March is an appropriate time to reflect on the importance of this work, as it has been celebrated around the nation for more than 30 years as Music in Our Schools month. Sponsored by the National Association for Music Education, the initiative focuses the nation’s attention on the need for and benefits of quality music education programs. Bravo to the teachers, schools, and parents who make sure that music is part of the education of our youth! These programs are vital for creating well-rounded students, impart important lessons in discipline, creativity, and teamwork, and encourage higher graduation rates.

In March and April the Utah Symphony performs five dynamic Masterworks programs with richly sonorous compositions by Dvořák, Bruckner, Shostakovich, Sibelius, and Strauss often paired with contemporary works by living composers that engage and challenge our professional musicians while expanding our concepts of sound possibilities. We hope you return to the concert hall with the children in your lives for two family-focused Saturday morning concerts, FLY Dance Company: Breakin’ Classical and Philharmonia Fantastique: The Making of an Orchestra and that you join us for our tribute to George Gershwin including his iconic Rhapsody in Blue on our April 14-15 Entertainment Series concerts.

Thank you for joining us today. Your attendance at concerts and support of USUO ensures that the superbly creative people of this organization serve and inspire our community as deeply and broadly as possible.

P.S. Between now and May 1, 2023, you have an opportunity to double the impact of your contribution to USUO thanks to a generous $500,000 matching challenge grant from our Season Sponsor, the George S. and Dolores Doré Eccles Foundation. Learn more at www.usuo.org/donate.

THIERRY FISCHER Music Director

BRIAN GREEFF Board of Trustees Chairman

MUSIC DIRECTOR

Thierry Fischer has been Music Director of the Utah Symphony since 2009, has held the same position with the São Paulo Symphony since 2020, and took up his post as Music Director of the Orquesta Sinfónica de Castilla y León in September 2022.

In recent seasons he has conducted orchestras across the globe, notably the Cleveland Orchestra—where he returned this past autumn—also the Boston, Atlanta, and Cincinnati Symphonies; London Philharmonic; Royal Philharmonic; Oslo Philharmonic; Rotterdam Philharmonic Maggio Musicale Firenze among others.

THIERRY FISCHER Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation

Fischer closes his tenure in Utah with Mahler’s allembracing 3rd Symphony, featuring the women of the Tabernacle Choir. This follows on their recording together of Mahler’s 8th symphony (released in 2017 on Reference Records, after Mahler 1 in 2015 and a disc of newly commissioned works by American composers in 2015). In this farewell season he has also chosen to celebrate Messiaen’s music with a performance of Turangalîla and the release on Hyperion in 2023 of his Des canyons aux étoiles (directly inspired by the breathtaking landscape of Utah). After a transformative 14 years in Utah, including the orchestra’s visit to Carnegie Hall for the first time in 40 years, a Saint-Saëns cycle on Hyperion and many other highlights, Fischer becomes Music Director Emeritus in 2023–24 Season.

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. In 2012 he won the ICMA Award for his Hyperion recording of Frank Martin’s Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus. His discography also includes a Beethoven disc with the London Philharmonic on the Aparté 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 Principal Guest of the Seoul Philharmonic 2017–2020 and Chief Conductor (now Honorary Guest) of the Nagoya Philharmonic 2008–2011.

Thierry Fischer is represented by Intermusica.

ASSOCIATE CONDUCTOR

Benjamin Manis joined the Utah Symphony as Associate Conductor in September 2022, leading the orchestra on tour as well as at Abravanel Hall and the Deer Valley® Music Festival. Before moving to Salt Lake, Manis spent three seasons as Resident Conductor of the Houston Grand Opera, making his debut with Verdi’s Rigoletto. Other highlights of his time in Houston included Carmen, Roméo et Juliette, and five world premieres. Manis returns to HGO in the 2022–23 season to lead productions of Tosca and El Milagro del Recuerdo.

Winner of the 2022 and 2019 Solti Foundation US Career Assistance Awards, Manis has served as cover conductor for the St. Louis, Dallas, and National Symphonies, working with conductors Gianandrea Noseda, David Robertson, and Stéphane Denève. After three years in the Aspen Conducting Academy, Manis returned to Aspen in the summer of 2021 as assistant conductor, where he conducted two programs with the Aspen Chamber Symphony.

Before moving to Houston, Manis studied cello and conducting at the Colburn School, where he conducted outreach concerts in public schools across Los Angeles and performed Lutosławski’s Cello Concerto as soloist with conductor Robert Spano. In May of 2019 he completed his Master of Music degree at Rice University’s Shepherd School of Music, where he studied with Larry Rachleff.

BENJAMIN MANIS Associate Conductor

BOARD OF TRUSTEES

ELECTED BOARD

Brian Greeff* Chair

Doyle L. Arnold* Vice Chair

Annette W. Jarvis* Vice Chair & Secretary

Joanne F. Shiebler* Vice Chair

Steven Brosvik* President & CEO

Austin Bankhead*

Dr. Stewart E. Barlow

Judith M. Billings

George Cardon-Bystry

Gary L. Crocker

LIFETIME BOARD

William C. Bailey

Kem C. Gardner*

Jon Huntsman, Jr.

G. Frank Joklik

Clark D. Jones

TRUSTEES EMERITI

Carolyn Abravanel

Dr. J. Richard Baringer

Howard S. Clark

HONORARY BOARD

Jesselie B. Anderson

Kathryn Carter

R. Don Cash

Raymond J. Dardano

Geralyn Dreyfous

John D’Arcy

David L. Dee*

Barry L. Eden*

Senator Luz Escamilla

Theresa A. Foxley

Brandon Fugal

Dr. Julie Aiken Hansen

Daniel Hemmert*

Stephen Tanner Irish

Thomas N. Jacobson

Abigail E. Magrane

Brad W. Merrill

Judy Moreton

Dr. Dinesh C. Patel

Frank R. Pignanelli

Gary B. Porter

Shari H. Quinney

Miguel R. Rovira

Stan Sorensen

Dr. Shane D. Stowell

Naoma Tate

Thomas Thatcher

W. James Tozer

David Utrilla

Kelly Ward

Kim R. Wilson

Thomas Wright*

Henry C. Wurts

MUSICIAN REPRESENTATIVES

Edward Merritt*

Hugh Palmer*

EX-OFFICIO REPRESENTATIVE

Jennifer Webb

Onstage Ogden

Herbert C. Livsey, Esq.

Thomas M. Love*

David T. Mortensen

Scott S. Parker

David A. Petersen

Patricia A. Richards*

Harris Simmons

David B. Winder

Kristen Fletcher

Richard G. Horne

Ronald W. Jibson

E. Jeffery Smith

Lisa Eccles

Spencer F. Eccles

Dr. Anthony W. Middleton, Jr.

Edward Moreton

Marilyn H. Neilson

Stanley B. Parrish

Marcia Price

Jeffrey W. Shields, Esq.

Diana Ellis Smith

* Executive Committee Member

1:11PM

ROSE WAGNER PERFORMING ARTS CENTER FOR TICKETS AND MORE INFO VISIT WWW.BACHAUER.COM

UTAH SYMPHONY

Thierry Fischer, Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation

Benjamin Manis

Associate Conductor

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

Laura Ha

2nd Associate Concertmaster

Claude Halter

Principal Second

Wen Yuan Gu#

Associate Principal Second

Evgenia Zharzhavskaya

Assistant Principal Second

Karen Wyatt••

Sara Bauman~

Erin David

Joseph Evans

Lun Jiang

Rebekah Johnson••

Tina Johnson~

Amanda Kofoed~

Jennifer Kozbial Posadas~

Veronica Kulig

David Langr

Shengnan Li

Hannah Linz••

Yuki MacQueen

Alexander Martin

Rebecca Moench

Hugh Palmer•

David Porter

Lynn Maxine Rosen

Barbara Ann Scowcroft**

Ju Hyung Shin•

Bonnie Terry

Julie Wunderle

VIOLA*

Brant Bayless

Principal

The Sue & Walker

Wallace Chair

Yuan Qi

Associate Principal

Julie Edwards

Joel Gibbs

Carl Johansen

Scott Lewis

John Posadas

Whittney Sjogren

Leslie Richards~

CELLO*

Matthew Johnson

Acting Principal

The J. Ryan Selberg Memorial Chair

Andrew Larson Acting Associate Principal

John Eckstein

Walter Haman

Anne Lee

Louis-Philippe Robillard

Kevin Shumway

Hannah Thomas-Hollands~

Pegsoon Whang

BASS*

David Yavornitzky

Principal

Corbin Johnston Associate Principal

James Allyn

Andrew Keller

Edward Merritt

Jens Tenbroek

Thomas Zera

HARP

Louise Vickerman Principal

FLUTE

Mercedes Smith

Principal

The Val A. Browning Chair

Lisa Byrnes

Associate Principal

Caitlyn Valovick Moore

PICCOLO

Caitlyn Valovick Moore

OBOE

Zachary Hammond

Principal

The Gerald B. & Barbara F. Stringfellow Chair

James Hall

Associate Principal

Lissa Stolz

ENGLISH HORN

Lissa Stolz

CLARINET

Tad Calcara

Principal

The Norman C. & Barbara Lindquist

Tanner Chair, in memory of Jean Lindquist Pell

Erin Svoboda-Scott Associate Principal

Lee Livengood

BASS CLARINET

Lee Livengood

E-FLAT CLARINET

Erin Svoboda-Scott

BASSOON

Lori Wike Principal

The Edward & Barbara Moreton Chair

Leon Chodos Associate Principal

Jennifer Rhodes

CONTRABASSOON

Leon Chodos

HORN

Jessica Danz Principal

Edmund Rollett Associate Principal

Nate Basinger~ Julia Pilant~ Stephen Proser

TRUMPET

Travis Peterson Principal

Jeff Luke

Associate Principal

Peter Margulies

Paul Torrisi

TROMBONE

Mark Davidson Principal

Sam Elliot

Associate Principal

BASS TROMBONE

Graeme Mutchler

TUBA

Alexander Purdy Principal

TIMPANI

George Brown

Principal

Eric Hopkins

Associate Principal

PERCUSSION

Keith Carrick Principal

Eric Hopkins

Michael Pape

KEYBOARD

Jason Hardink Principal

LIBRARIANS

Clovis Lark Principal

Claudia Restrepo

ORCHESTRA PERSONNEL

Walt Zeschin

Director of Orchestra Personnel

Hannah Thomas-Hollands Orchestra Personnel Manager

• First Violin

•• Second Violin

* String Seating Rotates

** On Leave

# Sabbatical ~ Substitute Member

NOVA Chamber Music Series

expanding utah’s musical horizons for 45 years

March 12

music by Frank, Bartók, and Beethoven world premiere by Miguel Chuaqui

April 16

music by Larsen, Chacon, and Harris world premiere by Nicolás Benavides

And don’t miss Thierry Fischer’s farewell performance!

May 21: Gustav Mahler’s Das Lied von der Erde

Anna Larsson mezzo-soprano | Barry Banks tenor

Thierry Fischer conductor

tickets are just $25 get yours at novaslc.org

SEASON SPONSORS

SEASON SPONSOR

MASTERWORKS SERIES SPONSOR

FAMILY SERIES SPONSOR

2022-23 UTAH SYMPHONY SEASON SPONSOR

Saluting

Maestro Thierry Fischer for his inspiring passion for excellence … and his lasting impact in Utah!

George S. and Dolores

Doré Eccles Foundation

Board of Directors (l to r):

Robert M. Graham , Spencer F. Eccles, Lisa Eccles

DVOŘÁK’S

SYMPHONY NO. 5

MARCH 3 & 4, 2023 / 7:30 PM

Maurice Abravanel Hall

JIŘÍ ROŽEŇ, conductor

RANDALL GOOSBY, violin

ANA SOKOLOVIĆ

Ringelspiel / Merry-Go-Round

I. mechanical

II. heavy-footed

III. merry-go-round ballerina

IV. mechanical

V. broken merry-go-round

BRUCH

Concerto No. 1 in G minor for Violin and

Orchestra, Op. 26

I. Vorspiel: Allegro moderato

II. Adagio

III. Finale: Allegro energico

RANDALL GOOSBY, Violin

INTERMISSION

DVOŘÁK

Symphony No. 5 in F Major, Op. 76

I. Allegro ma non troppo

II. Andante con moto

III. Scherzo: Allegro scherzando

IV. Finale: Allegro molto

CONCERT SPONSOR GUEST ARTIST SPONSOR

HEALTHCARE NIGHT

CONDUCTOR SPONSOR

NORA ECCLES TREADWELL FOUNDATION

LAWRENCE T. & JANET T. DEE FOUNDATION

ARTISTS’ PROFILES

Born in Prague in 1991, Jiří Rožeň studied conducting at conservatoires and universities in Prague, Salzburg, Hamburg, Zürich and Glasgow where he was Leverhulme Conducting Fellow. He was successful in Salzburg and London as the Finalist of both the Nestlé and Salzburg Festival Young Conductors Award and the Donatella Flick LSO Conducting Competition. Formerly Assistant Conductor at the BBC Scottish Symphony Orchestra, Jiří worked alongside Donald Runnicles and Thomas Dausgaard, assisting them at the BBC Proms and the Edinburgh International Festival.

Last season, Jiří conducted several productions at the Prague State Opera including the successful new production of Schulhoff’s Flammen, his first Rusalka and a double bill of Weill’s Seven Deadly Sins with Schoenberg’s Erwartung. In summer 2022, he also conducted Nono’s Prometeo, for the Czech premiere of the work with the Ostrava Centre for New Music. During his time in Scotland, he conducted Stravinsky’s Mavra, Walton’s The Bear and Strauss’ Die Fledermaus

As a passionate and knowledgeable advocate of Czech music, Rožeň regularly programmes standard Czech repertoire, as well as music by lesser-known works by contemporary composers such as Bohuslav Martinů, Josef Suk, Viktor Kalabis and Miloslav Kabeláč.

Randall Goosby signed exclusively to Decca Classics in 2020 at the age of 24. June 2021 saw the release of Goosby’s debut album for Decca entitled Roots. It features three world-premiere recordings of music written by AfricanAmerican composer Florence Price, and includes works by composers William Grant Still and Coleridge-Taylor Perkinson.

Goosby made his debut with the Jacksonville Symphony at age nine and with the New York Philharmonic on a Young People’s Concert at Lincoln Center’s Avery Fisher Hall at age 13. A

graduate of the Juilliard School, Goosby continues his studies there, pursuing an Artist Diploma under Itzhak Perlman and Catherine Cho. Goosby plays a 1735 Giuseppe Guarneri del Gesu, on generous loan from the Stradivari Society.

Goosby was First Prize Winner in the 2018 Young Concert Artists International Auditions. In 2019, he was named the inaugural Robey Artist by Young Classical Artists Trust in partnership with Music Masters in London; and in 2020 he became an Ambassador for Music Masters. An active chamber musician, he has spent his summers studying at the Perlman Music Program, Verbier Festival Academy and Mozarteum Summer Academy.

JIŘÍ ROŽEŇ Conductor

RANDALL GOOSBY Violin

HISTORY OF THE MUSIC

By Jeff Counts Ringelspiel

Duration: 15 minutes in five sections.

THE COMPOSER

– ANA SOKOLOVIĆ

(b. 1968) – According to her biography, Ana Sokolović’s music is “coloured with playful images and inspired by differing artistic disciplines.” And no wonder. Born in Belgrade and based in Montreal, Ana began her muti-faceted creative life (at four years of age) in ballet before turning to music and theater. Her deep fascination “with various forms of artistic expression informs her work” to this day, and it frequently manifests itself in collaborative projects with choreographers, film directors and playwrights. As might be expected for a composer so committed to stage works, Ana is also an awardwinning opera composer whose music is performed often throughout Europe and North America.

THE HISTORY – “I like to play” Ana has been heard to say in interviews, “not to play music necessarily, but to play as a child.” Nearly everything she writes is inspired by non-musical concepts and ideas and representing those seemingly untranslatable abstractions in musical language is a challenge she looks forward to with each project. For her part, Ana is never happier than when an audience member tells her that they clearly understood her intentions. “This is my paycheck!”, she admits with a smile. Written for the child in all of us, the concert work Ringelspiel was commissioned and premiered by the National Arts Center Orchestra in Ottawa

in 2013. It was named after the AustrianGerman word for merry-go-round and the brief publisher’s note for the piece states, “To most of us, a merry-go-round brings back memories of childhood and conjures up emotional responses of nostalgia and naïveté. So too does it for this composer. In addition, Sokolović has derived inspiration from the mechanical aspects of a merry-go-round – its simplicity of movement, its circular motion, and its status as an icon of the machine age.” The five connected sections of Ringelspiel have clever titles (mechanical; heavy-footed; merry-go-round ballerina; mechanical; broken merry-go-round) that evoke different ways of experiencing the beloved carnival attraction. It’s a journey that takes the listener from the wind-up of the apparatus itself through a few symbolic states of technological and spiritual awareness. Imagine feeling off-balance amidst the noisy clockwork earnestness of such a complicated machine or sensing a spooky music-box presence on the ride with you and you are beginning to get the idea. Eventually, of course, Ringelspiel leaves us in a place of wistful sadness when everything finally starts to break down.

THE WORLD – Elsewhere in 2013, antigovernment protests raged in Turkey, the Boston Marathon bombings occurred in America, same-sex marriage was legalized in France and Nelson Mandela died in Johannesburg.

THE CONNECTION – These performances represent the Utah Symphony premiere of Ana Sokolović’s Ringelspiel.

HISTORY OF THE MUSIC

Concerto for Violin in G minor, op. 26

Duration: 25 minutes in three movements.

THE COMPOSER – MAX BRUCH (1838–1920) – Though he actively composed throughout his life, amassing a respectable catalogue that included symphonies, operas, songs and chamber works, Bruch’s name is invoked sporadically and insufficiently these days. He was a child prodigy, a renowned educator and a highly skilled conductor. From 1878 to 1890, he held podium posts in Berlin, Liverpool and Breslau, after which he settled for good in Berlin as a professor at the Hochschule. Respighi and Vaughan Williams were among Bruch’s students there but when he passed away in 1920, the world had almost completely passed him by.

THE HISTORY – Had it not been for his friendships with the violin legends of his day (Ferdinand David, Joseph Joachim, Pablo de Sarasate) and the handful of works he composed for their instrument, Bruch’s music might well have been entirely forgotten. He was an avowed devotee of Mendelssohn and Schumann and an equally passionate opponent of Wagner and Liszt. It was an unpopular position to maintain as the new century approached and Bruch’s old-fashioned sensibilities did a disservice to his reputation and legacy. The penalty would have been fatal if not for works like the Scottish Fantasy of 1880 and the 1st Violin Concerto. The concerto was composed in 1866, revised in 1868 and built upon material that dated back to 1857. Bruch had written his first symphony at 14

and premiered his first opera when he was barely 20. Also kicking around in his fertile brain during those ambitious teen years were sketches for a G minor violin concerto. It would be nearly a decade before those early jottings become a cohesive whole and Bruch, then 28, conducted the 1866 premiere performance with Otto von Königslöw as soloist in Cologne. He wasted no time congratulating himself and began revising the concerto immediately. The choice to seek out the advice of Joseph Joachim was smart, and Bruch benefitted from the insightful ear of the grand master. Joachim had, after all, given similar guidance to Beethoven and Mendelssohn and would later do so for Brahms. The first matter the (slightly) older musician was able to set to rest was the issue of the work’s structure. The freely informal first movement worried Bruch, who feared ridicule if he continued to call the piece a “Concerto”. Joachim settled that fear and talked the composer out of re-naming it a “Fantasy”. Joachim himself premiered the new version, our version, in 1868 under Bruch’s baton and held the piece close throughout his life, calling it the “richest and most seductive” of the four great Germanic concerti he helped bring about.

THE WORLD – Elsewhere in 1868, Liechtenstein disbanded her army and declared permanent neutrality in 1868, Siam’s King Rama IV died, Cuba’s tenyear war with Spain began and Fyodor Dostoyevsky’s The Idiot was published.

THE CONNECTION – Bruch’s 1st Violin Concerto was performed most recently in 2019 under the baton of Music Director Thierry Fischer. James Ehnes was soloist.

Continued on page 23…

Symphony No. 5 in F Major, op. 76

Duration: 39 minutes in four movements.

THE COMPOSER – ANTONÍN DVOŘÁK (1841–1904) – Though he was still three years away from international recognition as a composer, 1875 was highly productive for Dvořák and arguably the most prolific twelve-month stretch of his career. In and around his poorly paid duties as organist of Prague’s Church of St. Vojtech, Dvořák managed to crank out an opera (Vanda), a symphony, a piano trio, a piano quartet, a string quintet and his first truly evergreen success, the Serenade for Strings. He had, just that February, received the first of five of his annual “starving artist” grants from the Austrian government, thanks to the efforts of Johannes Brahms and the eminent music critic Eduard Hanslick.

THE HISTORY – The symphony from that robust list of 1875 accomplishments was No. 5 and the publication history of this work is puzzling, and illustrative. Dvořák gave it an Op. 24 designation upon completion, but it was not published until 1888. By that time the composer was a star. His publisher (Simrock), anxious to cash in by presenting it as current and “mature” music from one of its favorite show ponies, called it Op. 76. And if that weren’t confusing enough, Simrock also chose to name the symphony No. 3, since only two of Dvořák’s previous four were publicly available at the time. Scholars in the 20th century would later put all this nonsense to rest, but machinations such as these were not at all uncommon in Dvořák’s day. He indulged in them himself, it has been written, by assigning lower opus

rankings to pieces he wanted to publish outside the bounds of his Simrock contract. Number games were good for the goose and the gander, it seemed. Symphony No. 5 was written in a short five weeks during the summer of 1875, and it was a huge departure, in terms of style and mastery, from the 4th Symphony of 1874. Much more than a year seems to have elapsed between the two pieces. No. 4 was full of gallant pretense and other Wagner derivations but, by the time No. 5 was set to paper, Dvořák had begun to settle into the assured Bohemian pastoralism that would define his voice for the rest of his life. The confidence apparent in Symphony No. 5 feels not borrowed, but earned, and the advances Dvořák made in structural clarity, thematic cohesion and tonal invention marked the beginning of a new personal era for the composer. Perhaps Simrock’s financially motivated instinct to place the work in Dvořák’s established canon managed to tell a basic, albeit accidental, truth about it. Symphony No. 5 belongs there, among the masterpieces that made him so famous. Hans von Bulow thought so. When the work was dedicated to him just before publication, he told Dvořák the honor was higher “than any grand cross from any prince.”

THE WORLD – Elsewhere in 1875, the first indoor hockey game was played in Montreal, the first Kentucky Derby occurred in the United States, Tonga became a constitutional monarchy and a British officer invented the pool variant known as Snooker while stationed in India.

THE CONNECTION – Dvorak’s 5th was last performed by Utah Symphony as part of its 2005 European Tour. Keith Lockhart conducted.

FILM LIVE WITH ORCHESTRA

PRESENTED BY UTAH SYMPHONY

JUNE 23-24, 2023

UTAHSYMPHONY.ORG

MUSIC BY JOHN WILLIAMS

THIERRY FISCHER CONDUCTS

BRUCKNER 5

MARCH 24, 2023 / 7:30 PM

MARCH 25, 2023 / 5:30 PM

Maurice Abravanel Hall

THIERRY FISCHER, conductor

BRUCKNER Symphony No. 5 in B-flat Major

I. Adagio - Allegro - Langsamer

II. Adagio - Sehr langsam

III. Scherzo: Molto vivace - Trio

IV. Finale: Adagio – Allegro

See page 6 for Thierry Fischer's profile…

CONCERT SPONSOR CONDUCTOR SPONSOR

HISTORY OF THE MUSIC Symphony No. 5 in B-flat Major

Duration: 79 minutes in four movements.

THE COMPOSER – ANTON BRUCKNER (1824–1896) – Try to imagine the humblest, least sensational origin story for a composer, and then double down on the most underwhelming elements of it. With that, you are still only about halfway to the truth of Anton Bruckner. Here was a man so completely unburdened by providence and confidence, even obscurity seemed like something to which he must rise. That’s how it looks on paper, at least. But, as we now realize, hidden somewhere in the heart of this obsessive, life-long bachelor from the Austrian sticks was a thundering symphonic god of mythic proportions. It’s okay. He didn’t know it was in there either.

THE HISTORY – The move from tiny Sankt Florian to bustling Vienna in 1868 should have been the signal, to the world and to Bruckner himself, that he had arrived. But neither seemed to notice. Vienna was expensive and lonely for the composer, but he did manage to find new, moderately influential champions of his work. Enemies too, sadly, and there was nothing moderate about them. The powerful critic Eduard Hanslick was an early fan of Bruckner’s who turned vicious over the composer’s presumed anti-Brahms sensibilities. Bruckner wasn’t “anti” anyone, but his professed fascination with Wagner placed him firmly on one side of the progressive/ conservative musical debate that raged throughout western Europe during the last half of the 19th century. Hanslick’s word was law for many in Vienna, so

Bruckner suffered the consequences of his banishment in relative silence. For this and other reasons, renown evaded him for most of his life. But purpose did not. Bruckner was almost 40 years old when he received the advice to focus on the symphony genre as his principal mode of expression and, for the rest of his life, he rarely strayed from that path. Bruckner’s contribution to the genre, his legacy, is best measured in terms of scale. He tested the architectural limits of the symphony in ways Beethoven had predicted but left unresolved many decades earlier, and the massive Symphony No. 5 is a perfect example of Bruckner’s genius as a spatial acoustic innovator. With a vaulted volume to the music that magnified his religious faith, Bruckner stretched the time and distances of a concert hall like never before. It has become cliché to say it, but Bruckner’s music truly does sound like a cathedral looks. Symphony No. 5 was completed in 1876 but underwent revisions (a common practice for Bruckner) until 1878. It was the capstone of the highly productive symphony-writing period between 1873 and 1876 and the best built of his stunning sonic basilicas to that point. Bruckner referred to it as his “Fantastic” Symphony, but he was ill when it was finally premiered in 1894. He would never hear it performed.

THE WORLD – Elsewhere in 1878, Bulgaria gained her independence from the Ottoman Empire as part of the Treaty of Berlin, the Cleopatra Needle (Egyptian obelisk) was erected in London and Umberto I became King of Italy.

THE CONNECTION – Bruckner’s Symphony No. 5 has never been performed by the Utah Symphony.

THIERRY FISCHER’S FINAL PERFORMANCES AS MUSIC DIRECTOR

MESSIAEN’S TURANGALÎLA SYMPHONY

MAY 19-20 / 7:30PM

JASON HARDINK, PIANO

MAHLER’S SYMPHONY NO. 3

MAY 26-27 / 7:30PM

ANNA LARSSON, MEZZO-SOPRANO SOPRANOS AND ALTOS OF THE TABERNACLE CHOIR AT TEMPLE SQUARE CHORISTERS OF THE MADELEINE CHOIR SCHOOL

UTAH OPERA PRESENTS

MAY 6-14

JANET QUINNEY LAWSON CAPITOL THEATRE

Season Sponsor

UTAHOPERA.ORG

FLORENCE PRICE’S PIANO CONCERTO

APRIL 7 & 8, 2023 / 7:30 PM

Maurice Abravanel Hall

TITO MUÑOZ, conductor

MICHELLE CANN, piano

Elegía Andina

PRICE

Concerto in D minor in one movement for Piano and Orchestra

MICHELLE CANN, Piano

INTERMISSION

SHOSTAKOVICH

Symphony No. 10 in E minor, Op. 93

I. Moderato

II. Allegro

III. Allegretto

IV. Andante - Allegro

GUEST ARTIST SPONSOR

GABRIELA LENA FRANK

ARTISTS’ PROFILES

TITO MUÑOZ Conductor

Now in his ninth season as as the Virginia G. Piper Music Director of The Phoenix Symphony, Tito Muñoz previously served as Music Director of the Opéra National de Lorraine and the Orchestre symphonique et lyrique de Nancy in France.

Tito has appeared with many of the most prominent orchestras in North America, including those of Atlanta, Baltimore, Dallas, Detroit, Houston, Indianapolis, and Milwaukee. He also maintains a strong international conducting

presence, including engagements with the Frankfurt Radio Symphony, SWR Symphonieorchester, Mahler Chamber Orchestra, Lausanne Chamber Orchestra, BBC Symphony Orchestra, Ulster Orchestra, Danish National Chamber Orchestra, Luxembourg Philharmonic, Opéra Orchestre National Montpellier, Opéra de Rennes, Auckland Philharmonia, Sydney Symphony and Sao Paolo State Symphony.

Born in Queens, New York, Tito made his professional conducting debut in 2006 with the National Symphony Orchestra at the Kennedy Center and made his Cleveland Orchestra debut at the Blossom Music Festival that same year.

MICHELLE CANN Piano

Lauded as “technically fearless with…an enormous, rich sound” (La Scena Musicale), pianist Michelle Cann made her orchestral debut at age fourteen. A champion of the music of Florence Price, Ms. Cann performed the New York City premiere of the composer’s Piano Concerto in One Movement with The Dream Unfinished Orchestra in July 2016 and the Philadelphia premiere with The Philadelphia Orchestra and Music Director Yannick Nézet-Séguin in February 2021, which The Philadelphia Inquirer called

“exquisite.” She has also performed Price’s works for solo piano and chamber ensemble for prestigious presenters such as Caramoor, Chamber Music Detroit, the Philadelphia Chamber Music Society, San Francisco Performances, and Washington Performing Arts.

Ms. Cann is the recipient of the 2022 Sphinx Medal of Excellence, the highest honor bestowed by the Sphinx Organization, and the 2022 Andrew Wolf Chamber Music Award. Ms. Cann studied at the Cleveland Institute of Music and the Curtis Institute of Music, where she holds the inaugural Eleanor Sokoloff Chair in Piano Studies.

HISTORY OF THE MUSIC

Elegía Andina

Duration: 11 minutes.

THE COMPOSER – GABRIELA LENA

FRANK (b. 1972) – Even the most cursory glance at her website reveals Gabriela Lena Frank as an artist passionate about identity. She was American born, but her heritage ranges from Peruvian/Chinese to Lithuanian/Jewish. According to her biography, “her music often reflects not only her own experience as a multi-racial Latina, but also refracts her studies of Latin American cultures, incorporating poetry, mythology, and native musical styles into a western classical framework that is uniquely her own.” The studies mentioned in that quote have sent Frank on journeys of discovery around the world, with a particular focus on her mother’s homeland of Perú.

THE HISTORY– As one of classical music’s preeminent multiculturalists, Frank draws on her complementary heritages with a joy and curiosity. Folklore is incredibly important to Frank who, like her professional inspirations Bartók and Ginastera, looks often to the music of common people to infuse her interpretations of academic art with narrative richness. “There is usually a story behind my music;” Frank also writes in her biography, “a scenario or character”, and she is diligent in her creation of descriptive program notes for each new work. About Elegia Andina, she says the following: “Elegía Andina for Orchestra (2000) is dedicated to my older brother, Marcos Gabriel Frank. As children of a multicultural marriage

(our father being Lithuanian-Jewish and our mother being Chinese-PeruvianSpanish), our early days were filled with [Asian] stir-fry cuisine, Andean nursery songs, and frequent visits from our New York-bred Jewish cousins. As a young piano student, my repertoire included not only my own compositions that carried overtones from Peruvian folk music but also rags of Scott Joplin and minuets by the sons of Bach. It is probably inevitable then that as a composer and pianist today, I continue to thrive on multiculturalism. Elegía Andina (Andean Elegy) is one of my first written-down compositions to explore what it means to be of several ethnic persuasions, of several minds. It uses stylistic elements of Peruvian arca/ira zampoña panpipes (double-row panpipes, each row with its own tuning) to paint an elegiac picture of my questions. The flute part was particularly conceived with this in mind but was also inspired by the technical and musical mastery of Floyd Hebert, principal flutist of the Albany Symphony Orchestra. In addition, as already mentioned, I can think of none better to dedicate this work to than to ‘Babo,’ my big brother — for whom Perú still waits.”

THE WORLD – Elsewhere in 2000, the Tate Modern opened in London, the International Space Station hosted its first long-term visitors, the final Peanuts comic strip was published and Panama exercised complete control of its canal for the first time.

THE CONNECTION – These Masterworks performances represent the Utah Symphony premiere of Elegia Andina

Concerto in One Movement for Piano and Orchestra

Duration: 18 minutes.

THE COMPOSER – FLORENCE PRICE

(1887–1953) – Born in a racially-integrated section of Little Rock, Arkansas, Florence Price started her life in music at a very early age. Her first piano recital was when she was four and she published a composition (now lost) at eleven. Price left Little Rock in 1904 to attend the prestigious New England Conservatory (her mother encouraged her to tell everyone she was of Mexican descent) and spent several years teaching college music after graduation. Price composed throughout her academic years but began to focus more fully on that aspect of her musical life after 1912. Her music was well-regarded during her career, especially after she relocated to Chicago in 1927, but shamefully not well enough to sustain her relevance after death.

THE HISTORY – The classical music industry is attempting today to make amends for its many sins of omission and exclusion, and a revival of interest in Florence Price has been an important part of that effort for many institutions. For her part, Price knew what she was up against and how unlikely history was to make room for her name in the future. In an oft-quoted program note reference (this annotator included), Price wrote to the eminent conductor Serge Koussevitzky in 1943. She understood that composers needed champions on the podium and hoped he would take up her cause, despite the cards stacked against her.

“I have two handicaps,” she told him, “those of sex and race” and, though the maestro must certainly have appreciated her forthrightness, nothing came of the proposed partnership. There were others. Frederick Stock and the Chicago Symphony premiered Price’s Symphony in E minor in 1933 and it got excellent reviews (though one paper, the Chicago Defender, inexcusably left Price unnamed in their article). On Stock’s advice, she wrote her single movement piano concerto the very next season and performed it as soloist for the Chicago premiere. A second performance was immediately taken up by the Chicago Women’s Symphony and conductor Ebba Sundstrum with Price’s student Margaret bond at the keyboard. The score to concerto was, like Price herself, lost for quite some time after its moment. Composer Drew Weston was commissioned in the 2010s to reconstruct the music from a handful of orchestral parts and a two-piano rehearsal reduction. That conception of the piece was all there was until 2018 when the original manuscript showed up in St. Anne, Illinois (a place of many buried Price treasure discoveries in the 21st century). After nearly 90 years, audiences can now hear the Piano Concerto in its pure form, thanks to publisher G. Schirmer and the editing efforts of Nick Greer and Utah Symphony Principal Librarian Clovis Lark.

THE WORLD – Elsewhere in 1934, Leopold III became King of Belgium, the U.S.S.R. was admitted to the League of Nations, Hitler was named Führer and Alcatraz was opened.

THE CONNECTION – These concerts represent the Utah Symphony debut of Florence Price’s Piano Concerto.

Continued on page 36…

HISTORY OF THE MUSIC Symphony No. 10 in E minor, Op. 93

Duration: 50 minutes in four movements.

THE COMPOSER – DMITRI SHOSTAKOVICH (1906-1975) – When Joseph Stalin died on March 5, 1953, many people believed things would quickly turn for the better in Russia. Shostakovich was not one of them. He most certainly did not mourn the loss (though his public reaction to the news was, by necessity, respectful and disconsolate), but Shostakovich doubted that anything would change for watchlisted Soviet artists like himself. “[T]he times are new,” he said to a colleague, “but the informers are old.” There was clearly too much personal scar tissue from the Stalin Years for Shostakovich to ever feel overly hopeful about the future but, despite his customary pessimism, he must have felt at least some sense of relief with “Uncle Joe” finally gone.

THE HISTORY – Though it was a genre that had already defined much of his career, Shostakovich hadn’t written a symphony for five years when Stalin died. The composer’s 1948 rebuke and public shaming at the hands of the Central Committee had been effective, in that it made him a good soldier, but an unforeseen consequence of their condemnation was his reluctance to take on non-programmatic music going forward. This meant no symphonies, and one must assume Shostakovich’s self-censorship would have gone on for decades if Stalin had lived that long. He didn’t though, thankfully, and Shostakovich wasted no time resurrecting that temporarily buried

part of himself. There is evidence that some of the material used to construct the 10th Symphony came from earlier times, but little doubt about its emotional provenance as an immediately post-Stalin creation. Specifics can be murky with Shostakovich, however. When asked if his new symphony was “about” anything, he said no, but the oft-disputed memoir by Solomon Volkov (“Testimony”) claims otherwise. “It’s about Stalin”, said Shostakovich (if Volkov can be believed), adding, “of course there are many other things in it”. Annotator John Mangum has called Symphony No. 10 “48 minutes of tragedy, despair, terror, and violence and two minutes of triumph”, which succinctly makes the case for a direct response to the fallen tyrant. But we can’t really know and shouldn’t really care. Whether or not Stalin is in this music explicitly, his toxic shadow darkens a lot of it. Among the “other things” in the score we can identify are coded melodic references to Shostakovich himself and to his forbidden muse, a former pupil named Elmira Nazirova (when you hear the repeated, plaintive horn call in the third movement, that’s her). We don’t know what she thought of it but, in the eyes of many today, No. 10 is Shostakovich’s finest symphony.

THE WORLD – Elsewhere in 1953, Tenzing Norgay and Sir Edmund Hillary performed the first (proven) successful summit ascent of Mt. Everest, the doublehelix structure of DNA was discovered, Elizabeth II was coronated in England and the Korean War ended.

THE CONNECTION – Shostakovich’s 10th Symphony was last performed in Abravanel Hall in 2018. Maestro Thierry Fischer conducted.

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KEVIN COLE, piano/host

SYLVIA McNAIR, vocalist

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ARTISTS’ PROFILES

KEVIN COLE Piano/Host

“America’s Pianist” Kevin Cole has delighted audiences with a repertoire that includes the best of American Music. Cole’s performances have prompted accolades from some of the foremost critics in America. “A piano genius...he reveals an understanding of harmony, rhythmic complexity and pure show-biz virtuosity that would have had Vladimir Horowitz smiling with envy,” wrote critic Andrew Patner. On Cole’s affinity for Gershwin: “When Cole sits down at the piano, you would swear Gershwin himself was at work… Cole stands as the best Gershwin pianist in America today,” Howard Reich, arts critic for the Chicago Tribune

Kevin Cole is an award-winning musical director, arranger, composer, vocalist and archivist who garnered the praises of Irving Berlin, Harold Arlen, E.Y. Harburg, Hugh Martin, Burton Lane, Marvin Hamlisch, Stephen Sondheim and members of the Jerome Kern and Gershwin families.

Kevin has given Master Classes in musical theatre vocal performance at Interlochen Center for the Arts, North Carolina School of the Arts and was Guest Artist-In-Residence at Saginaw Valley State University.

He has served as Musical Director for Pasadena Playhouse, Michigan Ensemble Theatre, San Francisco Shakespeare Festival Royal George Theatre (Chicago) and the New York Musical Theatre Festival.

The Performance History document and the Discography show plenty of evidence I spent more than 35 years making my living as a singer. Most of those 35 years were spent working at the very highest level of the classical music business: The Metropolitan Opera, the New York Philharmonic, the Chicago Symphony Orchestra—at Ravinia and on Michigan Avenue, the Salzburg Festival and the Philharmonics of Vienna and Berlin.

There were life-changing experiences at Opera Theater of St. Louis, the Indianapolis Symphony, the Atlanta Symphony, and Carnegie Hall. I got to sing a recital at the Supreme Court, by special invitation from Justice Sandra Day O’Connor, and sing with the Vienna Philharmonic at the Vatican for Pope John Paul II’s 80th birthday.

Riding the wave of the CD boom, I made a lot of recordings in the 1980s and ‘90s. Works by Bach, Handel, Mozart (lots of Mozart), Beethoven, Brahms and Mahler. I was nominated for the Grammy award five times and won twice!

SYLVIA McNAIR Vocalist

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ARTISTS’ PROFILES

Grammy Award-winning conductor David Alan Miller has established a reputation as one of the leading American conductors of his generation. Music Director of the Albany Symphony since 1992, he now also serves as Artistic Advisor to the Sarasota Orchestra. Through exploration of unusual repertoire, educational programming, community outreach and recording initiatives, he has reaffirmed the Albany Symphony’s reputation as the nation’s leading champion of American symphonic music and one of its most innovative orchestras. He and the orchestra appeared twice at “Spring For Music,” the festival of America’s most creative orchestras at New York City’s

Carnegie Hall, and in 2018 at the Kennedy Center’s “Shift Festival”. Other accolades include Columbia University’s 2003 Ditson Conductor’s Award, the oldest award honoring conductors for their commitment to American music, the 2001 ASCAP Morton Gould Award for Innovative Programming and, in 1999, ASCAP’s first-ever Leonard Bernstein Award for Outstanding Educational Programming.

A native of Los Angeles, David Alan Miller holds a bachelor’s degree from the University of California, Berkeley and a master’s degree in orchestral conducting from The Juilliard School. Prior to his appointment in Albany, Mr. Miller was Associate Conductor of the Los Angeles Philharmonic. From 1982 to 1988, he was Music Director of the New York Youth Symphony.

DAVID ALAN MILLER Conductor

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John Husband

Karen Johnson

Scott Landvatter

Maxine & Frank McIntyre

Glade & Mardean Peterson

Steven P. Sondrop Family Trust

James R. & Susan Swartz

Clark L. Tanner Foundation

Norman C. & Barbara L. Tanner Charitable Trust

Norman C. & Barbara L. Tanner Second Charitable Trust

O.C. Tanner Company

Estate of Frederic & Marilyn Wagner

M. Walker† & Sue Wallace

Jack & Mary Lois

Wheatley Family Trust

Edward & Marelynn†

Zipser

Doyle Clayburn

Carol Zimmerman

Maria A. Proser

Dan Ragan

Robert C. Sloan

Laurie W. Thornton

INSTITUTIONAL DONORS

We thank our generous donors for their annual support of Utah Symphony | Utah Opera.

* in-kind donation ** in-kind & cash donation

$100,000 OR MORE

AHE/CI Trust

HJ & BR Barlow Foundation

C. Comstock Clayton Foundation

The Church of Jesus Christ of Latter-day Saints Foundation

Lawrence T. and Janet T. Dee Foundation

$50,000 TO $99,999

Anonymous BMW of Murray/BMW of Pleasant Grove Dominion Energy

$25,000 TO $49,999

Arnold Machinery

Carol Franc Buck Foundation

Cache Valley Electric Deer Valley Resort*

Marriner S. Eccles Foundation

George S. & Dolores Doré Eccles Foundation

Emma Eccles Jones Foundation

Frederick Q. Lawson Foundation

LOVE Communications**

Larry H. & Gail Miller Family Foundation

O.C. Tanner Company

S.J. & Jessie E. Quinney Foundation

Sorenson Legacy Foundation

Stowell Leadership Group, LLC*

Zions Bank

The Florence J. Gillmor Foundation

The Grand America Hotel & Little America Hotel*

The John C. Kish Foundation

Janet Q. Lawson Foundation

The Kahlert Foundation

McCarthey Family Foundation

Charles Maxfield & Gloria F. Parrish Foundation

Joanne L. Shrontz Family Foundation

Simmons Family Foundation

Summit Sotheby’s

Nora Eccles Treadwell Foundation

INSTITUTIONAL DONORS

$10,000 TO $24,999

Altabank

B.W. Bastian Foundation

Brent & Bonnie Jean

Beesley Foundation

Bertin Family Foundation

R. Harold Burton Foundation

Caffé Molise*

Marie Eccles Caine FoundationRussell Family

Cultural Vision Fund

Gardner Company

$1,000 TO $9,999

Anonymous [2]

Amazon

Black Physicians of Utah

Rodney H. & Carolyn Hansen Brady Charitable Foundation

The Capital Group

David Dee Fine Arts

Spencer F. & Cleone P. Eccles Family Foundation

Henry W. and Leslie M.

Eskuche Charitable Foundation

The Fanwood Foundation

Western Office

Grandeur Peak

Global Advisors

City of Orem CARE Tax

National Endowment for the Arts

Salt Lake City Arts Council

Salt Lake County Zoo, Arts and Parks

Goldman Sachs & Co. LLC

Gorjana*

Greenberg Traurig

Richard K. & Shirley S. Hemingway Foundation

Johnson Foundation of the Rockies

Parr Brown Gee & Loveless

Raymond James & Associates

Regence BlueCross

BlueShield of Utah

The Val A. Green & Edith D. Green Foundation

The Helper Project

Victor Herbert Foundation

Holland & Hart**

Hotel Park City / Ruth’s Chris Restaurant

Hyatt Centric Park City**

The Marion D. & Maxine C. Hanks Foundation

Millcreek Coffee Roasters*

Pago on Main*

Parsons Behle & Latimer

Ray, Quinney & Nebeker Foundation

Red Rock Brewing Company*

The Joseph & Evelyn Rosenblatt

Charitable Fund

Semnani Family Foundation

St Regis Deer Valley

Stay Park City

The Swartz Foundation

W. Mack and Julia S. Watkins Foundation

WCF Insurance

Rocky Mountain Power Foundation

Ruth’s Chris Steak House*

Sea to Ski Premier

Home Management

Squatters Pub Brewery*

Snell & Wilmer

Summerhays Music Center

Summit Energy

Swire Coca-Cola, USA*

Victory Ranch & Conservancy

Young Electric Sign Co.

Summit County Restaurant Tax / RAP Tax

Utah Department of Cultural & Community Engagement

Utah Division of Arts & Museums

Utah State Legislature

Utah State Board of Education

Utah Office of Tourism

Utah Symphony | Utah Opera would like to especially thank our major sources of public funding that help us to fulfill our mission and serve our community.

ADMINISTRATION

ADMINISTRATION

Steven Brosvik

President & CEO

David Green

Senior Vice President & COO

Micah Luce

Director of Human Resources & Organizational Culture

Julie McBeth

Executive Assistant to the CEO

Marcus Lee

Assistant to the COO & Office Manager

SYMPHONY ARTISTIC

Thierry Fischer

Symphony Music Director

Anthony Tolokan

Artistic Consultant

Barlow Bradford

Symphony Chorus Director

Walt Zeschin

Director of Orchestra Personnel

Hannah Thomas-Hollands

Orchestra Personnel Manager

Morgan Moulton

Artistic Planning Manager

Isabella Zini

Artistic Planning Coordinator & Assistant to the Music Director

SYMPHONY OPERATIONS

Cassandra Dozet

Senior Director of Operations

Melissa Robison

Program Publication & Front of House Director

Chip Dance

Director of Production

Jen Shark

Operations Manager

OPERA ARTISTIC

Christopher McBeth

Opera Artistic Director

Carol Anderson

Principal Coach

Michelle Peterson

Director of Production

Ashley Tingey

Production Coordinator

DEVELOPMENT

Leslie Peterson Vice President of Development

Jessica Proctor

Director of Institutional Giving

Katie Swainston

Individual Giving Manager

Lisa Poppleton

Grants Manager

Dallin Mills

Development Database Manager

Ellesse Hargreaves

Stewardship & Event Coordinator

MARKETING & COMMUNICATIONS

Meredith Kimball Laing

Vice President of Marketing & Communications

Adia Thornton

Director of Marketing

Robert Bedont

Marketing Manager

Megs Vincent Communications Manager

Nina Starling

Website Content Coordinator

Ellen Lewis

Marketing & Communications Coordinator

PATRON SERVICES

Faith Myers

Director of Patron Engagement

Jaron Hatch

Patron Services Manager

Toby Simmons

Patron Services Assistant Manager

Genevieve Gannon

Group Sales Associate

Amber Bartlett

Lorraine Fry

Jodie Gressman

Michael Gibson

Sean Leonard

Naomi Newton

Ian Painter

Ananda Spike

Val Tholen

Patron Services Associates

ACCOUNTING & INFORMATION TECHNOLOGY

Steve Hogan

Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Melanie Giles

Controller

Jared Mollenkopf

Patron Information Systems Manager

Bobby Alger

Accounts Payable Specialist

EDUCATION

Ben Kipp

Director of Education & Community Engagement

Beth Foley

Opera Education Assistant

OPERA TECHNICAL

Sam Miller

Technical Director

Kelly Nickle

Properties Master

Dusty Terrell

Scenic Charge Artist

COSTUMES

Cee-Cee Swalling

Costume Director

Verona Green

Costume Rentals & Stock Manager

Milivoj Poletan

Master Tailor

Tiffany Lent

Cutter/Draper & Costume Shop Foreman

Sophie Thoms

First Hand

Maxwell Paris

Wardrobe Supervisor & Rentals

Assistant

Liz Wiand

Rentals Assistant

Lauryn Nebeker

Kelen Wright

Stitchers

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.

Leave a Legacy Ensure the Future

MAKE A PLANNED GIFT TODAY

“We took stock of what gifts we have in our power to grant to future Utahns and concluded that great live classical music will be one of the legacies we will support. We are grateful to the many generous donors who through thoughtful estate planning over the years have made it possible for us to be blessed by performances of the Utah Symphony | Utah Opera today. We are planning to help make this beautiful music a part of Utah forever.”

-Annette & Joe Jarvis

Annette W. Jarvis Vice Chair and Secretary USUO Board of Trustees Shareholder, Greenberg Traurig, LLP

Find out more: 801-869-9012 | usuo.org/planned-giving

Joseph Q. Jarvis M.D., M.S.P.H

TANNER & CRESCENDO SOCIETIES

ARE THE MUSIC WHILE THE MUSIC

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†

Dr. Melissa J. Bentley

Marcy & Mark Casp

Shelly Coburn

Raymond & Diana Compton

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

Turid V. Lipman

Anne C. Ewers

Annette W. & Joseph Q. Jarvis

Flemming & Lana Jensen

James Read Lether

Daniel & Noemi P. Mattis

Anthony & Carol W. Middleton, Jr., M.D.

Robert & Diane Miner

Glenn Prestwich

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

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

Joseph & Pat Gartman

Paul (Hap) & Ann† Green

Annette W. & Joseph Q. Jarvis

Edward R. Ashwood & Candice A. Johnson

Clark D. Jones

Turid V. Lipman

Herbert C. & Wilma Livsey

Richard W. & Frances P. Muir

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

Mr.† & Mrs. M. Walker Wallace

Thomas A. & Sally† Quinn

Dan† & June Ragan

Mr. Grant Schettler

Glenda & Robert† Shrader

Mr. Robert C. Steiner & Dr. Jacquelyn Erbin†

JoLynda Stillman

Joann Svikhart

Edward J. & Marelynn† Zipser

Marilyn H. Neilson

Carol & Ted Newlin

Patricia A. Richards & William K. Nichols

Mr.† & Mrs. Alvin Richer

Jeffrey W. Shields

G.B. & B.F. Stringfellow

Dr. Ralph & Judith Vander Heide

Edward J. & Marelynn† Zipser

“YOU

LASTS.”~T.S. Eliot

ACKNOWLEDGMENTS

UTAH SYMPHONY | UTAH OPERA

123 West South Temple Salt Lake City, UT 84101 801-533-5626

EDITOR

Megs Vincent

HUDSON PRINTING COMPANY

www.hudsonprinting.com

241 West 1700 South Salt Lake City, UT 84115 801-486-4611

AUDITING AND ACCOUNTING SERVICES PROVIDED BY Tanner, llc

LEGAL REPRESENTATION PROVIDED BY Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, llp Holland & Hart, llp Jones Waldo

ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY 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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WITNESS FOUR UTAH SYMPHONY PERFORMANCES FOR JUST $20 AND UTAHOPERA FINAL DRESS REHEARSALS FOR FREE.

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