Utah Symphony November/December 2019 by Mills Publishing Inc.

2019-20 Utah Symphony Season

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CONTENTS

NOV/DEC CONCERTS

6 Welcome 11 Music Director 12 Associate Conductor

Rachmaninoff’s Piano Concerto No. 3

14 Utah Symphony 15 Board of Trustees 17 Season Sponsors 61 Donors

Nov. 8–9

masterworks

72 House Rules 73 Administration

Rhapsody in Blue

74 Support USUO 79 Legacy Giving 80 Tanner & Crescendo Societies

Nov. 15

82 Acknowledgments Purchase tickets at utahsymphony.org or call 801-533-6683

masterworks

America’s Wonders in 3D with the Utah Symphony Nov. 19

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

special event

The Rite of Spring Nov. 22–23

@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 ADVERTISING REPRESENTATIVES Paula Bell Dan Miller Paul Nicholas Chad Saunders ADMINISTRATIVE ASSISTANT Caleb Deane EDITOR Melissa Robison

The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801-4678833 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 2019

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masterworks

Messiah Sing-In Nov. 30–Dec. 1

special event

A Broadway Christmas with Ashley Brown Dec. 6–7

entertainment

A Celebration of Christmas Dec. 13–14

masterworks

WELCOME

Patricia A. Richards Interim President & CEO

Thierry Fischer Music Director

On behalf of the board, musicians, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and tonight’s Utah Symphony concert. If you hadn’t already read or heard the news, you see from who is authoring this letter that Utah Symphony | Utah Opera is currently searching for a new executive to lead the organization following Paul Meecham’s retirement from orchestra management earlier this fall. Paul brought experienced leadership and new ideas to USUO and we are grateful for the three years he led our organization. We will miss him and wish him and his family all the best. You may continue to see him at concerts and operas as he plans to remain in Utah. On the stage of this unparalleled concert hall, the Utah Symphony will demonstrate extraordinary versatility and expertise in a wide variety of programming in November and December including treasured works by Rachmaninoff, Gershwin, Mozart, and Stravinsky. Masterworks concerts will feature the return of guest conductor Carlos Miguel Prieto (who made a dynamic debut on our podium earlier this fall in our first annual ¡Celebración Sinfónica!) and will highlight three incredible guest pianists (Boris Giltburg, Kevin Cole, and Till Fellner) as well as our own Principal Keyboard Jason Hardink. 6

Thomas M. Love Chair, Board of Trustees Special holiday concerts will celebrate the season in song when the orchestra welcomes the return of Celtic Woman, vocalist Ashley Brown with choristers of The Madeleine Choir School, the Utah Chamber Artists and combined choruses of the University of Utah led by Barlow Bradford, and, not least of all, our annual 2,000-voiced Messiah Sing-In chorus made up of you, our audience members and the Westminster Community Choir. Associate Conductor Conner Gray Covington, whose contract was recently extended through the 2020–21 season, will lead an impressive variety of these holiday concerts and will conduct the orchestra in the first Masterworks program of the New Year on January 3 & 4. Whether you’re joining us for the incomparable Masterworks concerts featuring world-class artists or for one or more of the special holiday concert offerings in November and December, we guarantee you will leave Abravanel Hall enriched through the shared experience of great live music! Sincerely,

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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. Whilst 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

Hall

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UTAH SYMPHONY

Thierry Fischer, Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Associate Conductor

Barlow Bradford Symphony Chorus Director

VIOLIN* Madeline Adkins

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

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

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BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair

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 William H. Nelson Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Miguel R. Rovira Naoma Tate Thomas Thatcher 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 Dâ&#x20AC;&#x2122;Arcy* Treasurer Patricia A. Richards* Interim President & CEO Julie Aiken Judith M. Billings Gary L. Crocker David L. Dee*

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

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

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MASTERWORKS SERIES

RACHMANINOFF’S PIANO CONCERTO NO. 3 Nov. 8 / 2019 Nov. 9 / 2019 /

/ 7:30PM / ABRAVANEL HALL

5:30PM / ABRAVANEL HALL (Saturday Prelude)

Carlos Miguel Prieto, conductor Boris Giltburg, piano

Kirstin Chávez, mezzo-soprano

CO N D UC TOR S PO N SOR

REVUELTAS: Sensemayá RACHMANINOFF: Concerto No. 3 in D minor for Piano and Orchestra, Op. 30 I. Allegro ma non tanto II. Intermezzo III. Finale Boris Giltburg, piano

/ INTERMISSION /

FALLA: The Three-Cornered Hat

Introduction Part I: Afternoon Dance of the Miller’s Wife (Fandango) The Grapes Part II: The Neighbor’s Dance (Seguidillas) The Miller’s Dance The Corregidor’s Dance The Final Dance Kirstin Chávez, mezzo-soprano

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ARTISTS’ PROFILES

Carlos Miguel Prieto Conductor

Boris Giltburg Piano

Carlos Miguel Prieto—Musical America’s 2019 Conductor of the Year—was born into a musical family of Spanish and French descent in Mexico City. His charismatic conducting is characterized by its dynamism and the expressivity of his interpretations. Prieto is recognized as a highly influential cultural leader and is the foremost Mexican conductor of his generation. He has been the Music Director of the Orquesta Sinfónica Nacional de México, the country’s most important orchestra, since 2007. Prieto has also been Music Director of the Louisiana Philharmonic Orchestra (LPO) since 2006, where he has led the cultural renewal of New Orleans following Hurricane Katrina. In 2008 he was appointed Music Director of the Orquesta Sinfónica de Minería, a hand-picked orchestra which performs a two-month long series of summer programs in Mexico City. Prieto is renowned for championing Latin American music and has conducted over 100 world premieres of works by Mexican and American composers, many of which were commissioned by him. A graduate of Princeton and Harvard universities, Carlos Miguel Prieto studied conducting with Jorge Mester, Enrique Diemecke, Charles Bruck, and Michael Jinbo.

Born in 1984 in Moscow, Boris Giltburg moved to Tel Aviv at an early age, studying with his mother and then with Arie Vardi. He went on to win numerous awards, most recently the second (and audience) prize at the Rubinstein in 2011, and in 2013 he won first prize at the Queen Elisabeth Competition, catapulting his career to a new level. Giltburg has appeared with many leading orchestras. He made his BBC Proms debut in 2010, his Australia debut in 2017 (with the Adelaide and Tasmanian Symphony orchestras) and has frequently toured to South America and China, also touring Germany with the Orchestre National du Capitole de Toulouse. He has played recitals in leading venues such as Hamburg Elbphilharmonie, Carnegie Hall, London Southbank Centre, Louvre, and Amsterdam Concertgebouw. In 2018 he also won Best Soloist Recording (20/21st century) at the inaugural Opus Klassik Awards for his Naxos recording of Rachmaninoff’s 2nd Piano Concerto with the Royal Scottish National Orchestra and Carlos Miguel Prieto, coupled with the Études-Tableaux.

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ARTISTS’ PROFILES

Kirstin Chávez is considered one of the most riveting and significant mezzo-sopranos performing today. Recently, she appeared on a duo recital of music by Bach, Schubert, and others with organist Marc Baumann at Himmerod Abbey and then at St. Martin’s Cathedral in Germany. She has also appeared as a soloist with Ocean City Pops, on a gala concert with Long Bay Symphony Orchestra; with Florence Symphony; in multiple concerts with Carolina Master Chorale; and with New Mexico State University, Orquesta Filarmónica Sonora in Mexico, and Musica Sacra di Monreale, among numerous others. Chávez earned a Bachelor of Music degree, with honors, from New Mexico State University, and a Master of Music degree in Voice Performance and Performance Certificate from the Eastman School of Music. After beginning an Artistic Residency with the Orlando Opera, Ms. Chávez won several major international competitions, including The Sullivan Foundation, The George London Foundation, the Licia Albanese-Puccini Foundation, the Opera Index Foundation, The Gerda Lissner Foundation, the Jensen Foundation, and the Metropolitan Opera National Council Auditions (National Finalist).

Kirstin Chávez Mezzo-soprano

TRANSLATIONS The Three-Cornered Hat Introduction Ole! Little wife, little wife bolt and bar your door; for though the devil may be asleep now he’s likely to wake up! Part 2 The Miller’s Dance At night the cuckoo sings, warning married men to lock up well, for the devil is on the prowl! Cuckoo!

El Sombrero de tres picos Introducción ¡Ole! Casadita, casadita ¡Cierra con tranca la puerta! Que aunque el diablo esté dormido, ¡a lo mejor se despierta! Parte 2 Danza del molinero Por la noche canta el cuco, advirtiendo a los casados que cerran bien los cerrojos, ¡que el diable está desvelado! ¡Cucú!

Translation ©Lionel Salter

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NOTES ON THE PROGRAM: 1 / 3

by Michael Clive

Silvestre Revueltas (1899–1940)

Liszt, and the great Baroque organists like Bach and Telemann, he was one of classical music’s legendary masters of the keyboard who were also great composers.

Sensemayá PERFORMANCE TIME: 7 MINUTES

Critical evaluations of Revueltas’s work invariably cite its “rhythmic complexity.” To us as listeners, this means the irresistible energy and intricate layering of dance beats that are viscerally thrilling to hear. With other composers including Carlos Chávez, Revueltas was a major figure in the Indianist cultural movement in Latin America, and the dance rhythms in works such as Sensemayá evolved from sources including the Maya, as well as from Africa. Composed in 1935, Sensemayá is one of Revueltas’s most popular works. It is based on a poem of that title by Nicolás Guillén, a Cuban poet, and evokes the chant of a solemn Afro-Caribbean religious ceremony in which an adept known as the mayombero offers up a snake in ritual sacrifice. The musical effect combines historic resonance and overwhelming immediacy.

Sergei Rachmaninoff (1873–1943)

Concerto No. 3 in D minor for Piano and Orchestra, Op. 30 PERFORMANCE TIME: 41 MINUTES

Sergei Rachmaninoff, the last of the great Russian Romantic composers, was also one of history’s great pianists—perhaps the greatest of all, according to some current re-evaluations. With Frederic Chopin, Franz

As a conservatory student in Moscow and St. Petersburg, he focused intensively on both piano technique and composition, and he was recognized as a great pianist throughout his career; just before his death, he was touring the U.S. as a piano soloist. Despite his latter-day moodiness and a bit of harmonic adventurism, you can hear that his style was rooted in the 1800s and in Russia as deeply as his predecessors’. Listening to Rachmaninoff’s long, brooding lines—their sweetness tinged with melancholy—it is surprising to learn that he died at his home in sunny Beverly Hills as recently as 1943. Another Russian expatriate composer, Igor Stravinsky, had come to the United States in 1939, became a naturalized U.S. citizen, and spent time living in Los Angeles. But as a composer, Stravinsky already inhabited a very different, more modern era. Rachmaninoff’s hallmarks are dazzling virtuosity and plush melody. Big intervals and big sound were natural parts of his musical vocabulary, and seemed to come naturally to his huge hands and long limbs; in fact, it is now believed that he had Marfan’s Syndrome, a congenital condition associated with these skeletal proportions. But if Marfan’s contributed to his heroic sound, there was a more delicate aspect to the Rachmaninoff style—fleet passagework, rhythmic pliancy, and long, singing lines. His third piano concerto is known to many pianists as Rach 3, or—thanks to Sylvester

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NOTES ON THE PROGRAM: 2 / 3

Stallone—as Rocky III because it is so formidable a heavyweight. The difficulties lie in Rachmaninoff’s unique combination of power, poetry, and speed. Those huge, complex chords, thundering octaves, cascading phrases, and purling legatos might be nearly impossible to play, but should sound effortless as they hold you in their thrall. It’s only afterwards, when you are released from their spell, that you might wonder how in the world the pianist played them with only two hands. Rachmaninoff’s music asks much of a pianist: power, speed, the ability to spin out a deeply sculpted legato line, and sometimes all three at once. Not surprisingly, his third concerto is associated with some of the greatest pianists of the early 20th century. Its dedicatee was the revered Josef Hoffmann. Though he never played it, 11 years later it would help launch the career of an astounding newcomer named Vladimir Horowitz, who chose it for his graduation recital at the Kiev Conservatory and was soloist in the premiere recording. Written in the three-movement form typical of Romantic concertos, the Piano Concerto No. 3 is replete with Rachmaninoff’s stylistic hallmarks: dazzling virtuosity and plush melody. It begins with an allegro movement in D minor in which the opening statement, a simple melody, is juxtaposed against a slower theme. They frame a characteristic Rachmaninoff development section, with brilliant passagework and thundering climaxes that create intense drama before the original theme reappears in relative tranquility.

The concerto’s second movement, marked intermezzo, reveals what many listeners value most in Rachmaninoff: a melody of intense, swooning romanticism that goes wherever its organic, spontaneous development seems to lead it. Introspective in character, it builds gradually from quiet nostalgia to dramatic fortissimos that showcase the soloist’s power. This development is mediated by the reintroduction of the main melody from the first movement. Solo flourishes from the piano lead directly from its close. In a work that is both a sprint and a marathon, this movement provides the few moments of respite for the soloist. Grace and speed are on order for the final movement, which builds toward a powerful climax by weaving together contrasting materials: accented march rhythms alternating with flowing, lyrical phrases. The movement reprises melodic materials from the concerto’s opening, concluding with a coda of thrilling power.

Manuel de Falla (1876–1946)

El Sombrero de tres picos (The Three-Cornered Hat), complete ballet PERFORMANCE TIME: 38 MINUTES

Falla was one of the late-Romantic composers who emerged in the outpouring of nationalist cultural expression before the Spanish Civil War. With his compatriots Albéniz, Granados, and Joaquín Rodrigo— latter-day champion of the concerto and revivifier of Spain’s love-affair with the guitar—he captured the very soul of Spain in his music. How much of Falla’s unique sound can be attributed to his own genius,

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NOTES ON THE PROGRAM: 3 / 3

and how much to the influence of Spainbesotted Ravel and Debussy, whose work he knew and admired? It’s difficult to guess. Falla’s unexpected modulations and chromatic inventiveness, which invoke close, complex chords and diminished intervals in fantastically expressive ways, can be inferred from the harmonic vocabulary of the French Impressionist composers. But Falla’s sound! Where Impressionist music shimmers with elegant translucency, Falla’s burns with intensity, bright colors, and the brilliance of the Iberian sun. And we can hear it all in El Sombrero de tres picos, “The ThreeCornered Hat.” In fact, the genesis of this ballet score is as romantic as the love story upon which it is based, unfolding at a time when collaborations of genius in the arts seemed as intimate and collegial as friends meeting for drinks and tapas. The original story, which Falla set as El corregidor y la molinera (“The Governor and the Miller’s Wife”), incorporates staples of Spanish storytelling: a corrupt, lying magistrate; an honest, resourceful miller; his beautiful, faithful wife, whom the magistrate tries to entrap romantically through the dishonest use of his power; and a happy ending in which honest folk triumph over the powerful.

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On stage, the two acts of El sombrero de tres picos last about half an hour and are performed by a mezzo-soprano as well as full orchestra and dancers. From this full complement, two suites for orchestra have been derived. The Suite No. 2 is by far the more popular, but the full ballet score works marvelously in the concert hall as well as in staged versions. The first dance we hear is the Dance of the Miller’s Wife, an alluring fandango; small wonder she spurs the rest of the action. Part II begins with The Neighbors’ Dance, a seguidilla (a dance rhythm familiar to lovers of Bizet’s Carmen), and in its opening fanfare we can hear centuries of Spanish guitar music, Flamenco dancing and bullfighting. The intensity only builds through the Miller’s Dance, in which the miller portrays both bull and bullfighter in a fury of athleticism, and into a Flamenco farruca, an almost ferociously intense dance in 4/4 time. In the final dance, a traditional Spanish jota, the time signature vacillates between 3/4 and 6/8, but the triumphant mood of the music leaves no doubt as to the ballet’s celebratory outcome. We can hear the fierce pride of the miller and his wife in the notes, and it’s all we can do to keep from stamping our feet along with them.

MASTERWORKS SERIES

RHAPSODY IN BLUE Nov. 15

/ 2019 / 7:30PM / ABRAVANEL HALL

Thierry Fischer, conductor Kevin Cole, piano

CO N CER T S PO N SOR

GERSHWIN: Cuban Overture Kevin Cole, piano

ANDREW NORMAN: Sacred Geometry (Composer in Association) G U ES T A R TIST S PO N SOR

LAWRENCE T. & JANET T. DEE FOUNDATION

GERSHWIN: Second Rhapsody for Piano and Orchestra Kevin Cole, piano

/ INTERMISSION /

GERSHWIN: “I Got Rhythm” Variations for Piano and Orchestra Kevin Cole, piano

GERSHWIN: Promenade “Walking the Dog” GERSHWIN: Rhapsody in Blue Kevin Cole, piano

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UNWOUND SERIES

RHAPSODY IN BLUE Nov. 16

/ 2019 / 7:30PM / ABRAVANEL HALL

Thierry Fischer, conductor Kevin Cole, piano Jeff Counts, host

U N WOU N D S PO N SOR

SILICON SLOPES

GERSHWIN: Second Rhapsody for Piano and Orchestra Promenade “Walking the Dog” “I Got Rhythm” Variations for Piano & Orchestra Cuban Overture Rhapsody in Blue

Please stay in your seats for a post-concert Q & A with Kevin Cole and Jeff Counts and then stick around for performance by Tad Calcara and the New Deal Swing Orchestra in the lobby.

Jeff Counts is General Manager of the Grand Tetons Music Festival, and past General Manager of the Utah Symphony. He has worked in performing arts planning and logistics for over 15 years and previously spent 6 years as an elementary school educator in his home state of Florida. Jeff speaks and writes about music frequently and provides concert annotation and program articles for orchestras and opera companies around the country. When not focused on music, Jeff enjoys a second life as a pop culture commentator and film critic and appears weekly on the regional television program “Big Movie Mouth-Off.” 28

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*See page 11 for Thierry Fischer’s artist profile.

Pianist Kevin Cole is an award-winning concert performer, musical director, arranger, composer, vocalist, and archivist whose repertoire includes the best of American music with a particular affinity for the music of George Gershwin. He was awarded the Gramophone Musical Album of the Year in 1995 for Gershwin’s Oh, Kay! with soprano Dawn Upshaw (Elektra/Nonesuch). Recent collaborations include Sylvia McNair, Dawn Upshaw, Brian d’Arcy James, Karen Morrow, Melissa Manchester, John Lithgow, Donna McKechnie, Christine Andreas, Hollis Resnik, Klea Blackhurst, Kim Criswell, and William Warfield. Favorite projects include Gershwin at One Symphony Space: PBS television special as a featured soloist with the Nashville Symphony; Play It Again, Marvin! - A Celebration of Marvin Hamlish as writer, co-producer, and performer with Pittsburgh Symphony; and Here to Stay - The Gershwin Experience multimedia concert as a writer, coproducer and performer with multiple orchestras.

Kevin Cole Piano

Andrew Norman Composer in Association

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ARTISTS’ PROFILES

Andrew Norman (b. 1979) is a Los Angeles-based composer of orchestral, chamber, and vocal music. Recently praised as “the leading American composer of his generation” by the Los Angeles Times, “one of the most gifted and respected composers of his generation” by the New York Times, and the “master of a uniquely dazzling and mercurial style” by The New Yorker, Andrew is fast becoming one of the most sought-after voices in American classical music. Andrew’s symphonic works have been performed by leading ensembles worldwide, including the Berlin, Los Angeles, and New York Philharmonics; the Philadelphia and Minnesota Orchestras; the London, BBC, Saint Louis, Seattle, San Francisco, and Melbourne Symphonies; the Orpheus, Saint Paul, and Los Angeles Chamber Orchestras; the Tonhalle Orchester; the Royal Concertgebouw Orchestra; the Orchestre National de France; the Ensemble Intercontemporain, and many others. Andrew’s music has been championed by some of classical music’s eminent conductors, including John Adams, Marin Alsop, Gustavo Dudamel, Simon Rattle, and David Robertson. Andrew’s works are published by Schott Music.

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NOTES ON THE PROGRAM: 1 / 3

by Michael Clive

Andrew Norman (b. 1979) (Composer in Association)

glockenspiel, bells, triangle, xylophone and vibraphone—are at one with the majesty of Chartres, and he said that the work can be heard as a programmatic journey from one end of the cathedral to the other,, starting with the massive Western façade. He also describes it as an experiment in the use of systems to control the composition process. “The last half of the music unfolds through a rigorous set of rules,” he notes, “not unlike the unseen geometries that govern Lesser’s reading of architectural form.”

Sacred Geometry PERFORMANCE TIME: 10 MINUTES

Arts writers have borrowed the word “synesthesia” from neurology to denote a functional “crossing” of the senses—just as the many composers of genius through the centuries have experienced seeing musical notes as colors. In a looser sense, paintings or photographs are said to be “rhythmic” or “loud.” This approach comes in handy when trying to describe the sounds produced by composer Andrew Norman’s questing, boundary-crossing creativity. Many of his musical subjects are architectural; for example, he has evoked the visual and spatial impressions of architect Frank Gehry’s work in a way that could be compared to Virgil Thomson’s musical “portraits.” In experiencing the Norman sound, it pays to listen for effects that could be described as rhyming, angular, and texturally gleaming—words that could apply equally well to Gehry’s sculptural buildings. Sacred Geometry is one of the numerous Norman compositions for which he found inspiration in architecture. On his website, he notes that “during my last years at USC I was in the habit of poking around the Art and Architecture library for things that might spark my imagination. I found [an illustration of a plan for Chartres Cathedral] in a slim volume called Gothic Cathedrals and Sacred Geometry by George Lesser. I knew right off I had the makings of a new project.” Norman’s luminous score, including the iridescent textures of the

George Gershwin (1898–1937)

Second Rhapsody for Piano and Orchestra PERFORMANCE TIME: 14 MINUTES

I Got Rhythm, Variations for Piano and Orchestra PERFORMANCE TIME: 9 MINUTES

Cuban Overture PERFORMANCE TIME: 11 MINUTES

Rhapsody in Blue PERFORMANCE TIME: 15 MINUTES

We all know George Gershwin, or at least we think we do: the American troubadour who wrote “Swanee” when he was 19 and never looked back. The magician of musical theater whose endless torrent of

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NOTES ON THE PROGRAM: 2 / 3

melodies lit the lights of Broadway. By age 16 Gershwin was already working in Tin Pan Alley music stores, demonstrating sheet music on the piano and absorbing the songwriter’s craft. His early piano studies with Ernest Hutcheson and Charles Hambitzer in New York did not amount to much, and one gathers that even his early study of harmonic theory with Edward Kilenyi and Rubin Goldmark merely formalized principles he was already using intuitively. But throughout his career Gershwin maintained a serious, disciplined application to music education, continuing private lessons in counterpoint with Henry Cowell and Wallingford Riegger. During the last years of his life, Slonimsky notes, “he applied himself with great earnestness to studying with Joseph Schillinger in an attempt to organize his technique in a scientific manner; some of Schillinger’s methods he applied in Porgy and Bess.” He also joined the migration of American composers who studied with Nadia Boulanger in Paris; Boulanger, who helped scores of prominent composers find their own distinctive voice, reportedly advised Gershwin that she had nothing to teach him and sent him home to continue composing. Despite the insecurity that drove him to seek validation from theoreticians with classical credentials, Gershwin’s career was an unbroken string of successes in both the classical and popular realms—setting a precedent that would later be followed by other Americans including Leonard Bernstein, Andre Previn, John Williams and Alex North. His Rhapsody in Blue is still described by many as the most popular and widely performed of all American classical works.

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We owe our enjoyment of Gershwin’s Second Rhapsody to Hollywood. That’s where, during a successful work trip with his lyricist-brother Ira starting in November 1930, Gershwin finished most of the score for the movie Delicious in a mere six weeks. He then found himself with ample time for an ambitious project on the classical side, and set out to write “the best music I could possibly think of.” In May of 1931 he had completed an orchestral score for the Second Rhapsody, and by all accounts, he was quite happy with it, though he continued to revise it through 1932. Though listeners are catching up with this remarkable work, it is still relatively rare. Why? “…the Second Rhapsody does surprise the listener with its level of complexity, exhibiting a specificity and compositional care unheard in Gershwin’s earlier works,” notes author Cassidy Goldblatt in an article for the University of Michigan School of Music, Theatre & Dance. Gershwin himself held it in high regard, noting that “in many respects, such as orchestration and form…[it is] the best thing I’ve written.” Gershwin composed his Variations on “I’ve Got Rhythm” on commission for a concert tour by the Leo Reisman Orchestra and dedicated it to his brother Ira, one of the most gifted lyricists America ever produced. Recognized as a gifted poet and lyricist since his college days, Ira Gershwin proved his wit and versatility In numerous Broadway collaborations with his brother including Girl Crazy, the source of the melody for “I’ve Got Rhythm”…though, perhaps inevitably, his career is was overshadowed by that of his brother. The Variations begin with a distinctive repeated four-note figure in the clarinets—the four

NOTES ON THE PROGRAM: 3 / 3

notes of the five-note pentatonic scale that comprise the opening bar of the song. The variations that follow sparkle with wit in divergent styles, including a waltz and a jazz iteration. The “oriental” variation leverages the Asian pentatonic scale in which the original song is composed. Originally entitled “Rumba,” Gershwin’s Cuban Overture is far more than just a dance (though a classic rumba is rhythmically complex). Following the smash opening of his show Of Thee I Singe on Broadway in December 1931, Gershwin took a vacation in Cuba, then a popular leisure spot for well-heeled Americans. The trip was hardly relaxing—Havana was famous for its raucous clubs, free-flowing rum, and gorgeous showgirls—but he music he heard, like music everywhere, inspired him. “Cuba was most interesting to me,” he wrote, especially for its small dance orchestras, who play most intricate rhythms most naturally.” Those rhythms are accented with an augmented percussion section in the overture. Its melodic materials are developed with all the panache of a Broadway overture, starting with a show-tune-like vamp, then braiding songlike themes, and ending with a brief but rousing coda. Gershwin’s Rhapsody in Blue is still described by many as the most popular and widely performed of all American classical works. He composed it as a commission for the influential conductor/ producer Paul Whiteman, who asked

him for piece with the characteristics of a classical piano concerto, but suitable for inclusion in an all-jazz concert. Scored for solo piano and jazz band, Rhapsody in Blue combines elements of classical music with jazz effects and formal elements including “blue notes”— especially flatted third and seventh notes of the diatonic scale. Its premiere, when Gershwin was 25, took place in New York with the Palais Royal Orchestra under Paul Whiteman’s baton. Billed as “An Experiment in Modern Music,” the event attracted such luminaries as John Phillip Sousa and Sergei Rachmaninoff. It was, as the title suggests, long and tedious, with a repetitive program and didactic commentary by Whiteman himself. The audience’s attention was reportedly wandering until the Rhapsody’s opening clarinet glissando brought an electrified hush to the hall. Not surprisingly, the work’s melodic richness and the rhythmic drive of its brilliantly animated development kept them spellbound. According to the account that Gershwin reported to his first biographer, Isaac Goldberg, the Rhapsody was inspired by a train ride he took only five weeks before the piece was due. “It was on the train, with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer—I frequently hear music in the very heart of the noise…And there I suddenly heard, and even saw on paper—the complete construction of the Rhapsody, from beginning to end.”

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SPECIAL EVENTS

AMERICA’S WONDERS IN 3D with the Utah Symphony Nov. 19

/ 2019 / 7PM / ABRAVANEL HALL

Conner Gray Covington, conductor Adam Fisher, tenor

Various: America’s Wonders: A 3D Adventure Exploring America’s National Parks and Exciting Cities Act I: Our National Parks

Grofé: “Sunrise” from Grand Canyon Suite Hart: Mountains Traditional: Shenandoah Arr. Tiberio Green: Sandstone Tiberio: Water Lay: Green Grofé: “Cloudburst” from Grand Canyon Suite

/ INTERMISSION / Act II: Our Exciting Cities

Joel/Kander/Ebb: “I’ve Seen the Lights Go Out on Broadway” / “New York, New York” Arr. Hart Goodman/Traditional: “City of New Orleans” / “When the Saints Go Marching In” Arr. Trentadue/Tiberio Cahn/van Heusen: “My Kind of Town” Arr. Hart Taylor/Swander/Clawson & Jones/Hart: “Carolina on My Mind” / “Deep in the Heart of Texas” / “Crazy Town” / “Conga” Arr. Hart Pomus & Shuman/Hurwitz/Montenegro/Cory & Cross: “Viva Las Vegas” / “City of Stars” / “Seattle” / “I Left My Heart in San Francisco” Arr. Hart, Trentadue, Tiberioin UTAHSYMPHONY.ORG

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ARTIST’S PROFILE

Adam Fisher Tenor

*See page 12 for Conner Gray Covington’s artist profile. Canadian tenor Adam Fisher is rapidly gaining attention for his charismatic stage presence in a wide range of repertoire. A graduate of the University of British Columbia, Adam joined Calgary Opera’s Emerging Artist Program in 2010 and has since appeared in leading roles with Edmonton Opera, Pacific Opera Victoria and Opera Atelier. He has charmed audiences in Broadway concerts with Victoria Symphony, Chorus Niagara and Brantford Symphony and is a frequent performer with Toronto Operetta Theatre, returned in 2018 as Paris in Offenbach’s La Belle Helene. Adam has sung in several contemporary operas, including Edward, a troubled young soldier in Opera on the Avalon’s premiere of “OURS” commemorating the Royal Newfoundland Regiment in the First World War, and Father Alexander in Tapestry Opera’s powerful 2017 production about sex trafficking, Oksana G. Recent and upcoming highlights for Adam include his acclaimed performance in the title role of Lou Harrison’s Young Caesar, directed by Yuval Sharon with Los Angeles Philharmonic, Lieutenant Joe Cable in South Pacific with Calgary Opera in the Village, as well as “Salute to Vienna” concerts in Florida and Canada.

Symphony No. 4

2 Nephi 2:11

Caricatures of an Irretrievable Past

This Passage Changes Everything

Listen or download for free at

williamcall.net Utah Symphony v2.indd 1

10/5/19 2:50 PM

CO M I N G S O O N TO

UVU.EDU/THENOORDA

BERNADETTE PETERS Concert Hall Sat, Jan 11, 7:30 PM

GISELLE Ballet West

Smith Theatre Fri, Jan 31 7:30 PM Sat, Feb 1, 2:00 & 7:30 PM PRESENTED BY

MASTERWORKS SERIES

THE RITE OF SPRING Nov. 22 / 2019 / 10AM / ABRAVANEL HALL (Finishing Touches) Nov. 22–23 / 2019 / 7:30PM / ABRAVANEL HALL Thierry Fischer, conductor Till Fellner, piano (Mozart)

Jason Hardink, piano (Messiaen)

G U ES T A R TIST S PO N SOR

PATRICIA A. & WILLIAM K. NICHOLS

HAYDN: Symphony No. 10 in D Major

I. Allegro II. Andante III. Presto

MOZART: Concerto No. 20 in D minor for Piano and Orchestra, K. 466 I. Allegro II. Romanza III. Rondo: Allegro assai

Till Fellner, piano

/ INTERMISSION /

MESSIAEN: “The White-Browed Robin-Chat” from Des canyons aux étoiles

Jason Hardink, piano

STRAVINSKY: The Rite of Spring

Part I: The Adoration of the Earth Part II: The Sacrifice

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ARTISTS’ PROFILES

Till Fellner Piano

Jason Hardink Piano

*See page 11 for Thierry Fischer’s artist profile. Pianist Till Fellner plays with scrupulous musicianship, purity of style, and sparkling keyboard command—qualities that have earned him acclaim throughout Europe, the United States, and Japan. His readings of the works of Bach and Beethoven in particular have placed him among the elect in this repertoire, and the inspired ingenuity of his performances of such 20th century masters as György Kurtág and Elliott Carter have earned him many accolades. During the 2019-20 season, Till Fellner will perform with the Boston Symphony Orchestra, Utah Symphony Orchestra, Fort Worth Symphony Orchestra and Düsseldorf Symphony Orchestra. Last season he made his debut with the Tonhalle Orchester Zürich, London Symphony Orchestra and Bavarian Radio Symphony Orchestra. He has also performed with the Minnesota Orchestra, Montreal Symphony Orchestra and at the Kulangsu Piano Festival in China. In autumn 2019 Till Fellner serves as jury president of the 62nd International Piano Competition Ferruccio Busoni in Bolzano. Till Fellner has an impressive discography to his credit on the EMI, Claves, Erato, Philips, and ECM labels, the most recent release being a CD of Harrison Birtwistle’s Chamber Music with Lisa Batiashvili, Adrian Brendel, et al. A fearless interpreter of large-scale piano works both modern and historical, Jason Hardink’s recent repertoire includes the complete Michael Hersch The Vanishing Pavilions, Olivier Messiaen’s Vingt Regards sur l’Enfant-Jésus, Liszt’s Transcendental Etudes paired with Boulez Notations, and Wolfgang Rihm’s numbered Klavierstücke, all of which he performs from memory. Recent performances include his debut at the Cabrillo Festival of Contemporary Music as soloist in the North American premiere of Gerald Barry’s Piano Concerto with conductor Cristian Măcelaru. Concerts during the 2019-20 season include the premiere of a new solo piano work by Jason Eckardt at National Sawdust celebrating the centenary of Ives’ Concord Sonata, a performance of Michael Hersch’s The Vanishing Pavilions at Wien Modern, the complete Liszt Transcendental Etudes performed on an 1852 Bösendorfer at Music in Context in Houston, and Messiaen’s Des Canyons aux étoiles… with the Utah Symphony and Oberlin Contemporary Music Ensemble. Mr. Hardink resides in Salt Lake City, Utah, where he holds the position of Principal Keyboard with the Utah Symphony and serves on the piano faculty of Westminster College. He is married to pianist Kimi Kawashima, and they are parents of twin boys, Luc and Derek. UTAHSYMPHONY.ORG

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NOTES ON THE PROGRAM: 1 / 3

by Michael Clive

Joseph Haydn (1732–1809)

Symphony No. 10 in E Major PERFORMANCE TIME: 13 MINUTES

We consider Haydn’s 104 symphonies to be among the high watermarks of the form, but that impressive number reflects his longevity as well as his talent; he continued to write great music into his 70s. Haydn’s canon of symphonies begins with his appointment by Count Morzin. It is believed that 11 of his early symphonies were written for the Count, though they are not numbered consecutively and there is some debate as to exactly which of these works were written for him. Haydn’s Symphony No. 10 was probably written around the same time as his well-known trio of symphonies Nos. 6, 7, and 8, known as “Le matin” (morning), “Le midi” (noon), and “Le soir” (evening). The Symphony No. 10 is classed as a sonata da chiesa (a “church sonata”) not because of any sacred themes associated with it, but because of its formal structure and the alternating pacing of its four movements, which are marked adagio cantabile (slow, with a “singing” quality), allegro (fast), menuetto con trio, and presto (fast). The symphonies Haydn composed during this period have a characteristically crisp, well-organized structure similar to concerto grosso style, with contrasting movements and an interplay between foregrounded and backgrounded instruments. In this case, however, the final presto movement is unusual, with a brisk 2/4 time signature rather than the 3/8 tempo that was customary during the period. To some critics, this feature suggests a link to

Haydn’s similarly constructed Symphony No. 5. No. 11 also boasts an unusual series of trailing eighth notes in the third movement, creating an effect of “limping syncopation.” In much of the symphony we enjoy responsive playing between contrasting lines as the solo lines, often dispatched with high, ornate passagework, provoke larger response in the larger ensemble. But in the finale of the lively fourth movement, marked allegro, we are treated to exciting instrumental displays throughout the orchestra.

Wolfgang Amadeus Mozart (1756–1791)

Concert No. 20 in D minor for Piano and Orchestra, K. 466 PERFORMANCE TIME: 28 MINUTES

Devotees of the great Romantic piano concertos tended to hear Mozart’s examples, with their singing melodies and perfection of form, as beautiful rather than great. One exception was his No. 20, Beethoven’s favorite, and the one Mozart piano concerto he always kept in his own performance repertory. Today, of course, we have adopted a longer view, understanding that succeeding generations have reconsidered Mozart in stages, the way most listeners discover him. First we hear the divine child with his uncanny knack for extraordinarily beautiful melodies; then the impossibly sophisticated technician, who made complexity sound simple and pushed musical forms to new levels; then the profound, sublime Mozart of compositions such as the Piano Concerto No. 20. From the opening bars of this concerto, it’s clear why it kept its cachet through the Continued on page 45

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NOTES ON THE PROGRAM: 2 / 3 Romantic era and into our own: everything about it defies Classical-era convention while retaining the hallmarks of Mozart’s genius. For one thing, it is in a minor key— rare in classical concertos—that Mozart aficionados will recognize as a portentous one, D minor. He would also choose this key five years later for the scariest section of his opera The Magic Flute: the Act II aria in which the Queen of the Night sings of boiling vengeance, death and despair.

assai, almost shocking. Its opening jolts us with an unexpected, emphatic arpeggio that sweeps dramatically upward in D minor. Its steep ascent is almost confrontational in tone. As the movement proceeds, a riveting interplay arises between major and minor, between earlier and later thematic materials. It concludes with a magnificent finale that somehow unifies seemingly conflicting elements without compromising them.

The concerto’s opening builds our eagerness for the music to come, but also riles us with syncopated rhythms and offbeat orchestral textures that seem curiously unsettled. When the piano finally enters the fray, its melodies are not simple tunes suggesting their eventual resolution later in the concerto, but long, twining lines that seamlessly interlock. When a responsive discourse finally arises between orchestra and piano, we might expect the movement to become brighter and simpler; instead, an unstable moodiness prevails, as does the minor key.

“The White-Browed Robin-Chat” from Des Canyons aux étoiles

The songful melody is a staple of Mozart’s piano concertos, and it is one reason why many listeners hear a special kinship between his concertos and his operas. In this concerto’s second movement, marked romanze, the composer presents us with a prime example: a ravishingly lyrical melody in B-flat major, developed in three parts. Overall, the movement is in the form of a five-part rondo (ABACA), ending with a coda. Its warmth is chilled a bit when Mozart reintroduces themes from the first movement and returns us to a minor-key realm in a section that requires virtuosic passagework from the pianist. Later, as we return to the original major key, the movement resolves in the calmness of a B-flat major triad. The serenity of the central movement makes the searing energy of the third, marked allegro UTAHSYMPHONY.ORG

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Olivier Messiaen (1908–1992)

PERFORMANCE TIME: 5 MINUTES

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. In these movements, Messiaen’s musical reflections on Utahn grandeur—the meanings he discerned “written in stars,” the colors and forms he saw in the desert—describe his experiences of Bryce as a divine creation. No matter how the suite is excerpted, it presents offbeat challenges. In sections that engage full orchestra, Messiaen’s instrumentation goes to unusual lengths to emulate nature—for example, in its unusually large percussion section, requiring seven percussionists to take charge of a wind machine, a thunder sheet, various gongs, bells, wind chimes, glockenspiel, xylorimba, maracas, whip, bass drum, 45

NOTES ON THE PROGRAM: 3 / 3 triangle wood block, crotales, reco reco, tumba, and an instrument of Messiaen’s own invention, the geophone—a large drum filled with thousands of lead pellets. At the other extreme, section IV, “Le Cossyphe d’Heuglin” (The white-browed robin-chat) is for solo pianist. But it requires an instrumentalist who can achieve a practically trance-like communion with Messiaen’s recreation of a bird in the wild. Messiaen created this movement, like much of his piano music, for his wife, the pianist Yvonne Loriod. The white-browed robin-chat, or Heuglin’s robin, is a beguiling songbird found mainly in Africa whose “chat” is a melodious and highly variable song heard at dawn and dusk.

Igor Stravinsky (1880–1969)

Le Sacre du Printemps (The Right of Spring) (1947 revision) PERFORMANCE TIME: 32 MINUTES

For most of his life Igor Stravinsky was the most famous composer in the world, but he did not come to fame early. His reputation was made through his early ballet compositions when he was in his mid and late twenties. Le Sacre du printemps—the shock heard round the world—premiered in 1913, when he was a young composer with a growing reputation in Europe and elsewhere. It instantly transformed him into an international celebrity: brilliant, visionary and notorious. The ballet, created for Diaghilev’s Ballets Russes and danced by Nijinsky, did incorporate breathtakingly new musical elements: complex polytonalities that give rise to intentional dissonances, densely overlapping polyrhythms, and foregrounded 46

percussion. But its esthetic unfamiliarity hardly seems to account for the crazed distress in the audience, where elegantly dressed strangers turned on each other with their fists. Perhaps even odder, it took just a year for the Sacre to earn cheers and bravos, making Stravinsky a hero of music. Today, that fateful premiere and the musical revolution that followed it are studied not only by music historians, but by psychologists. Nicholas Roerich, the designer of Le Sacre du printemps (“the rite of spring”), developed the ballet’s scenario from an outline by Stravinsky in which he envisioned the stage action based on Russian pre-Christian folk rituals. Though his two earlier ballets incorporated folk elements, they did not have the elemental urgency—and frankly, the violence—of Sacre, which takes as its story line a composite pagan ritual celebrating the advent of spring. At the core of the action is a ritual sacrifice: a young virgin chosen as a human sacrifice dances herself to death, goaded on by frenzied polyrhythms propitiating the renewal of life. Today the artful brutality of Le Sacre du printemps shocks no one, and its innovations have even made their way into movie soundtracks. The musicologist Richard Taruskin has suggested that the initial upset at the premiere was caused by the choreography rather than the music, and it is true that the music was performed frequently in the ensuing years while the ballet was not remounted until 1920. But after studying primary documents of the era, other researchers—including neuropsychologists who specialize in the apprehension of sound and music—disagree. Either way, the aural and visual spectacle—a booming, tuneless pulsation in the orchestra accompanying a primitive pagan rite—must have provided quite a jolt…especially following the Romantic delicacy of what came earlier in the program. It was Les sylphides, based on the music of Chopin. UTAHSYMPHONY.ORG

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SPECIAL EVENT

MESSIAH SING-IN Nov. 30 – Dec. 1

/ 2019 / 7:30PM / ABRAVANEL HALL

Conner Gray Covington, conductor

Addison Marlor, tenor

Quinn Middleman, mezzo-soprano

Westminster Community Choir

Grace Kahl, soprano

Brandon Bell, bass-baritone

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .G. Schirmer . . . . . Baerenreiter Sinfonia Comfort ye, comfort ye my people . . . . . . . . . . . . . . . . . . . . . 7 . . . . . . . . . . . . . . . . 4 Ev’ry valley shall be exalted . . . . . . . . . . . . . . . . . . . . . . . . 10 . . . . . . . . . . . . . . . . 7 And the Glory of the Lord ** . . . . . . . . . . . . . . . . . . . . . . . 16 . . . . . . . . . . . . . . . 12 But who may abide the day of his coming . . . . . . . . . . . . . . . . . 27 . . . . . . . . . . . . . . . 25 Behold, a virgin shall conceive . . . . . . . . . . . . . . . . . . . . . . . 47 . . . . . . . . . . . . . . . 45 O thou that tellest good tidings to Zion ** . . . . . . . . . . . . . . . 47 . . . . . . . . . . . . . . . 46 For behold, darkness shall cover the earth . . . . . . . . . . . . . . . . 60 . . . . . . . . . . . . . . . 58 The people that walked in darkness . . . . . . . . . . . . . . . . . . . . 62 . . . . . . . . . . . . . . . 60 For unto us a Child is Born ** . . . . . . . . . . . . . . . . . . . . . . 66 . . . . . . . . . . . . . . . 64 Pifa “Pastoral symphony” There were shepherds abiding in the field . . . . . . . . . . . . . . . . . 79 . . . . . . . . . . . . . . . 83 And the angel said unto them . . . . . . . . . . . . . . . . . . . . . . . 80 . . . . . . . . . . . . . . . 84 And suddenly, there was with the angel . . . . . . . . . . . . . . . . . . 81 . . . . . . . . . . . . . . . 85 Glory to God in the Highest ** . . . . . . . . . . . . . . . . . . . . . . 82 . . . . . . . . . . . . . . . 86 Rejoice Greatly, O daughter of Zion . . . . . . . . . . . . . . . . . . . . 87 . . . . . . . . . . . . . . . 93 His yoke is easy** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 . . . . . . . . . . . . . . 105

/ INTERMISSION / Behold the Lamb of God** . . . . . . . . . . . . . . . . . . . . . . . .104 . . . . . . . . . . . . . . 113 He was despised . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 . . . . . . . . . . . . . . 118 Surely He hath borne our griefs ** . . . . . . . . . . . . . . . . . . . 113 . . . . . . . . . . . . . . 123 And with his stripes we are healed ** . . . . . . . . . . . . . . . . . .117 . . . . . . . . . . . . . . 128 All we like sheep, have gone astray ** . . . . . . . . . . . . . . . . . 122 . . . . . . . . . . . . . . 135 Behold, and see if there be any sorrow . . . . . . . . . . . . . . . . . .140 . . . . . . . . . . . . . . 161 He was cut off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 . . . . . . . . . . . . . . 162 But thou didst not leave His soul in hell . . . . . . . . . . . . . . . . . .141 . . . . . . . . . . . . . . 163 The Lord gave the word ** . . . . . . . . . . . . . . . . . . . . . . . .163 . . . . . . . . . . . . . . 188 Why do the nations so furiously rage . . . . . . . . . . . . . . . . . . .174 . . . . . . . . . . . . . . 215 He that dwelleth in Heaven . . . . . . . . . . . . . . . . . . . . . . . .189 . . . . . . . . . . . . . . 233 Thou shalt break them with a rod of iron . . . . . . . . . . . . . . . . .189 . . . . . . . . . . . . . . 234 Hallelujah! ** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .193 . . . . . . . . . . . . . . 238 I know that my Redeemer liveth . . . . . . . . . . . . . . . . . . . . . 204 . . . . . . . . . . . . . . 251 Since by man came death ** . . . . . . . . . . . . . . . . . . . . . . 210 . . . . . . . . . . . . . . 257 Behold, I tell you a mystery . . . . . . . . . . . . . . . . . . . . . . . .214 . . . . . . . . . . . . . . 260 The trumpet shall sound . . . . . . . . . . . . . . . . . . . . . . . . . 214 . . . . . . . . . . . . . . 261 Worthy is the Lamb Amen ** . . . . . . . . . . . . . . . . . . . . . . 237 . . . . . . . . . . . . . . 287 **Chorus pieces

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ARTISTS’ PROFILES

*See page 12 for Conner Gray Covington’s artist profile. Praised for her “crystalline voice and flawless intonation,” soprano Grace Kahl is returning for her second season at Utah Opera. Grace was a member of the Santa Fe Apprentice program in 2019 where she was featured in the world premiere of The Thirteenth Child and in scenes from Orfeo ed Euridice and Gianni Schicchi. Most notable roles have included Nannetta (Falstaff; Intermountain Opera Bozeman), Laurie Moss (The Tender Land; Des Moines Metro Opera), and Kitchen Boy (Rusalka; Des Moines Metro Opera). Grace was a 2019 regional finalist for the Metropolitan National Council Auditions, and she earned 2nd place in the 2018 Palm Springs Opera Guild Competition. She will be featured this season in Utah Opera’s La traviata, The Barber of Seville, and Thaïs.

Grace Kahl Soprano

Quinn Middleman Mezzo-soprano

Praised for her “fine, warm mezzo-soprano voice,” Quinn Middleman joins Utah Opera as a Resident Artist in 2019-2020. During the season, she appears as Flora in La traviata, Madeleine in Silent Night, Myrtale in Thaïs, and will cover Rosina in The Barber of Seville. Other upcoming engagements include Beethoven’s Symphony No. 9 with the Columbus Symphony, and Susanna in The Ghosts of Versailles with Chautauqua Opera. A graduate of Chicago Opera Theater’s young artist program, Quinn returned to COT as a professional artist in 2018-2019, singing Mother in Weisman’s/Cote’s The Scarlet Ibis. She also lately debuted with St. Petersburg Opera, performing as Alms Sister in Suor Angelica. Quinn recently won the Metropolitan Opera National Council Auditions-Wisconsin District, received third place in the Ziering-Conlon “Recovered Voices” competition, and won scholarships from the Musicians Club of Women and Evanston Music Club.

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ARTISTS’ PROFILES

Addison Marlor Tenor

Addison Marlor, dubbed a “sweet-toned tenor” by SF Gate, hails from Salt Lake City, Utah. He is a two-time participant in the Merola Opera Program, and was praised by San Francisco Classical Voice as having a “wonderfully warm and engaging voice and presence.” Addison holds a bachelor’s degree in Vocal Performance from Utah Valley University and a master’s degree in Vocal Performance from the University of Utah, where he represented the School of Music in the Graduate Vocal Quartet. Notable roles he has performed include Sellem in Stravinsky’s The Rake’s Progress, the title role in Bernstein’s Candide, Ruggero in Puccini’s La rondine, and Pâris in Saint-Saëns’ Hélène. In fall 2018, Addison debuted with the Utah Symphony in the roles of the Archbishop and Slave Driver in Bernstein’s Candide and also with Washington Concert Opera, singing Phaon in Gounod’s Sapho. With Utah Opera during the 2018-19 season, Addison was also featured in The Little Prince, The Magic Flute, and Norma. This season, he will be onstage with Utah Opera in La traviata and Silent Night.

Brandon Bell Bass-baritone

Brandon Bell is a bass-baritone hailing from Suffolk, Virginia. Brandon has most recently appeared as Colline in West Bay Opera’s production of La bohème. Engagements in the 2018-19 season included a debut with West Edge Opera as Terry in Breaking the Waves, and his debut as the Corporal in La fille du régiment, as a Festival Artist with Opera Saratoga. Mr. Bell is a proud alumnus of the Wolf Trap Opera and Chautauqua Opera studio artist programs. In prior years, Brandon covered the roles of Masetto and Il Commendatore in Chautauqua Opera’s summer production of Don Giovanni. Additional performance highlights include Collatinus (The Rape of Lucretia) and Garibaldo (Rodelinda) with the SF Conservatory of Music; L’imperial Commisario (Madama Butterfly) and English Ambassador (Ghosts of Versailles) with Wolf Trap Opera; and Nick Bottom (A Midsummer Night’s Dream) with the Janiec Opera Company. During Utah Opera’s 2019-2020 season, Brandon performs featured roles in La traviata, Silent Night, The Barber of Seville, and Thaïs.

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CHOIR WESTMINSTER COMMUNITY CHOIR Christopher Quinn, Director Aubrey Adams-McMillan, Assistant Director Emily Williams, Accompanist

SOPRANO Abigail Payne Alanna Nelson Alexa Givens Athena Pantages Barbara Ogden Baylee Montgomery Cherisse Davis Erin Ann McBride

Erin Gould Irene Yeates Janet Ellison Jenny Jensen Linda Ogden Liz Holloway Madeleine Pace Marisa Cooper

Meagan Knowlton Melissa Gaddis Melodie Williams Mia Schjelderup Myra Schjelderup Nancy Coffeen Rachel Kibler Rosie Marin

Sarah Church Sarah Hatch Shan Farner Sheri Tesseyman Susan Wieck Susie Marvin Sydney Mogotsi

ALTO Alexys Smith Andrea Pischnotte Angelica Rodriguez Annika Torkelson Bev Ronnow Caitlyn Stringham Catherine Schultz Colleen Peterson Dawn Jackson Deb White Diane Forster-Burke

Dorothy Urbom Eileen Stayner Elaine Anderson Emily Duffin Janice Mosby Jayna Stark Jeanne Orza Jenna Jiang Jessica Garvin Joan Bowles Julie Ann Lake

Kathryn Jensen Kathy Fisher Kiah Williams Kirsten Gale Morgan Kristi Spackman Leslie Smith Letty Workman Maria OneidaHardwick Mary Burris Mimi Marstaller

Monica Dain Morgan Bowerman Natalie Bina Rebecca Owen Sadie Montgomery Sharon Strong Summer Dawn Shumway Tamara Sleight

TENOR Bob Graves Deborah Krebs Derek Storrs Edward Lopez

Forrest Ethington Hugh Spackman Jackson Bellaimey Jared Zitnay

Joan Kuntzman John Lund Nate Platt Ron Hunter

Sam McGettigan Tim Gwilliam Tom Ellison Wayne Shutts

BASS Andy Fankhauser Burt Clawson Carl Kibler Chen Li Chris Stockslager

Dan Reed Don Golladay Geoff Nelson James Cawthon Jeff Driggs

Jeff Nichols Joe Muscolino Lorin Ronnow Paul Farnsworth Paul Kuhn

Randy King Rodrigo Hernandez Steven Bradley Tage Gould Zeb Pischnotte

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NOTES ON THE PROGRAM: 1 / 2

by Michael Clive

Handel

Messiah PERFORMANCE TIME: 132 MINUTES

Background Messiah is the most popular and frequently performed oratorio ever written; we all know and love it. Composed in an intense burst of inspiration fairly late in Handel’s career, Messiah has inspired jazz, soul and Dixieland versions. Individual choruses and solo passages have gained the familiarity of pop songs. For Handel himself and for millions of listeners it is not only a thrilling entertainment but also a deep expression of religious faith that sounds new no matter times we have heard it. Yet it was also a commercial imperative for Handel, who was a canny entrepreneur and investor as well as a musical genius. After a hugely successful run writing and producing his own operas, Handel turned to the oratorio form when the public taste for his operas was fading. Messiah is the foremost example of what became known as the English oratorio, in which Handel combined religious texts with elements of intense drama. What exactly is the English oratorio about? At the most basic level, an oratorio is religious music with a story sung by a chorus and/or soloists, accompanied by an orchestra and/or an organ. The choral forces are usually the familiar four-part SATB mix—soprano, alto, tenor, bass—that you know if you sang in chorus in high school or in church, or if you watched “Glee” on television. Without their consistently

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religious themes and their lack of staging, many of Handel’s oratorios would be indistinguishable from his operas; in fact, some of which are religious stories. Most of his oratorios combine biblical and nonbiblical texts, though Messiah is drawn entirely from the Bible. Despite the commercial considerations that were never far from Handel’s mind, Messiah is first and foremost an expression of faith. Of the glorious melodies that pour forth from it, Handel said that the heavens seemed to open to him as he composed. As a result, Messiah has gained a household familiarity that is rare among classical compositions—especially such long ones. Once Thanksgiving is over, Messiah seems to be everywhere, in both concert and singalong formats. With this kind of familiarity, it’s always instructive and often surprising to take a second look—especially considering that behind the gloriously hummable melodies of favorite passages like the Hallelujah Chorus and “For Unto Us,” the oratorio as a genre has grown rarer in the nearly three centuries since Handel wrote Messiah. What to Listen For The drama and beauty of Messiah flow first from its beautiful melodies, which inspire us while capturing the revelatory emotions described in the text. But they also gain extraordinary intensity through the baroque compositional technique of “word painting,” in which the flow of notes in the music actually seems to replicate a shape or contour that the notes describe. One frequently cited example of word painting occurs early in Part I, in the tenor aria “Every valley shall be exalted.”

NOTES ON THE PROGRAM: 2 / 2

Every valley shall be exalted And every mountain and hill made low The crooked, straight And the rough places plain. On the word “mountain,” the tenor’s voice rises to a high F#, creating a literal peak of sound; then it drops by an octave, showing how the mountain is made low. On “crooked,” the melodic line vacillates between the jagged C# and the straight B, coming to rest on the straight B. Similarly, the word “exalted” is raised up by an octave in its final syllable. Messiah teems with effects like these, which deepen our experience of the text with almost palpable realism. For example, slightly later in Part I, in the chorus “And He shall purify,” note the way the articulations on the word “purify” leap like the flames of the refiner’s fire in the text. The effect of word painting can even focus on a single syllable—as when, two choruses later in “O thou that tellest good tidings to Zion,” the alto soloist leaps up a fourth on the word up: “get thee up unto the high mountains.” For many listeners, a climactic and favorite painterly effect is the heavenly

fluttering of wings when angels appear to the shepherds by night, as conveyed by arpeggios in the strings: “An suddenly there was with the angel a multitude of the heavenly host praising God, and saying…” This moment, which forms a dramatic climax about two-thirds of the way through Part I, is as graphic and immediate as a movie; think of Handel’s score as the CGI of its day. For all of its vividness, Handel’s mastery of word painting accounts for just part of the dramatic impact of Messiah. It combines with his gift for melody and a sympathetic understanding of psychology that appeals to us in a way that is less literal, but more deeply human. When we hear the soprano soloist singing “Come unto Him, all ye that…are heavy laden,” who can fail to take comfort at the tenderness of her vocal line? Equally intense are the passages of joyful anticipation and of triumph, as in the prophecy expressed in “For Unto Us” and in the glorious “Hallelujah” chorus, which so overwhelmed Handel’s contemporary audiences that, we are told, they spontaneously rose to their feet in awe—a tradition that persists to this day in many parts of the world.

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ENTERTAINMENT SERIES

A BROADWAY CHRISTMAS with Ashley Brown Dec. 6–7

/ 2019 / 7:30PM / ABRAVANEL HALL

Michael Krajewski, conductor Ashley Brown, vocalist

Choristers from The Madeleine Choir School

CO N CER T S PO N SOR

Broadway star Ashley Brown, of Mary Poppins fame, and choristers from The Madeleine Choir School brighten Abravanel Hall’s stage this holiday season. Enjoy an evening of holiday cheer with all your favorite Yuletide carols like you’ve never heard them before. Indulge in Ashley Brown’s masterful performance as she takes you to warm firesides and snowy delights.

ARTISTS’ PROFILES

Michael Krajewski Conductor

Ashley Brown Vocalists

Known for his entertaining programs and clever humor, Michael Krajewski is a much sought-after conductor of symphonic pops. He is Principal Pops Conductor of the Jacksonville Symphony Orchestra, and previously served as Music Director of The Philly Pops as well as Principal Pops Conductor of the Houston Symphony and Atlanta Symphony Orchestra. As a guest conductor Michael has performed with orchestras all over the world including the Cleveland and Philadelphia Orchestras; the Boston and Cincinnati Pops; the San Francisco, Baltimore, Detroit, Indianapolis, Seattle, Dallas, St. Louis, Pittsburgh and National Symphonies, and numerous other orchestras across the United States. With degrees from Wayne State University in Detroit and the University of Cincinnati College-Conservatory of Music, Michael furthered his training at the Pierre Monteux Domaine School for Conductors. He was a Dorati Fellowship Conductor with the Detroit Symphony and later served as that orchestra’s assistant conductor. He was resident conductor of the Florida Symphony and for eleven years served as music director of the Modesto Symphony Orchestra. Michael lives in Orlando, Florida with his wife Darcy. When not conducting he enjoys travel, photography and solving crossword puzzles. Ashley Brown originated the title role in “Mary Poppins” on Broadway for which she received Outer Critics, Drama League and Drama Desk nominations for Best Actress. Ms. Brown also starred as Mary Poppins in the national tour of Mary Poppins where she garnered a 2010 Garland award for “Best Performance in a Musical.” Ms. Brown’s other Broadway credits include Belle in “The Beauty and The Beast” and she has starred in the national tour of Disney’s “On The Record.” Ashley recently returned to the Lyric Opera of Chicago to star in the role of Laurey in “Oklahoma.” She previously played Magnolia opposite Nathan Gunn in Francesca Zembello’s “Showboat” at the Lyric Opera of Chicago. Ashley has performed with virtually all of the top orchestras in North America including the Boston Pops, the New York Philharmonic, The Hollywood Bowl Orchestra at Disney Hall, The Pittsburgh Symphony, the New York Pops at Carnegie Hall (three times), Fort Worth Symphony, the Cincinnati Pops, Philadelphia Orchestra (two times), the Milwaukee Symphony, the Indianapolis Symphony (three times), Seattle Symphony, the Houston Symphony, Vancouver Symphony, and the Philly Pops. She has also performed with the BBC orchestra opposite Josh Groban. UTAHSYMPHONY.ORG

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MASTERWORKS SERIES

A CELEBRATION OF CHRISTMAS Dec. 13 Dec. 14

/ 2019 / 7:30AM / ABRAVANEL HALL

/ 2019 / 5:30PM / ABRAVANEL HALL

Thierry Fischer, conductor

Barlow Bradford, conductor Utah Chamber Artists

University of Utah Chamber Choir

University of Utah A Cappella Choir

CO N CER T S PO N SOR

ROSSINI: Overture to The Thieving Magpie BARBER: Die Natali (Christmastide), Chorale Preludes for Christmas, Op. 37

CO N D UC TOR S PO N SOR

BERNSTEIN: Symphonic Dances from West Side Story

I. Prologue II. “Somewhere” III. Scherzo IV. Mambo V. Cha Cha VI. Meeting Scene VII. “Cool” Fugue VIII. Rumble IX. Finale

/ INTERMISSION / ARR. BARLOW BRADFORD: “Sing We Now of Christmas” CHRISTOPHER BRADFORD: “Carol of the Bells” ARR. BARLOW BRADFORD: “The First Noel” ARR. BARLOW BRADFORD: “Ding Dong! Merrily on High” CHRISTOPHER BRADFORD: “A Christmas Lullaby” ARR. BARLOW BRADFORD: “Pat-a-pan” BARLOW BRADFORD: “Let Us All Be Merry”

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ARTISTS’ PROFILES

Over the course of his musical career, Dr. Barlow Bradford has distinguished himself as a conductor, composer, arranger, pianist, organist, and teacher. As an orchestral and choral conductor, he co-founded the Utah Chamber Artists in 1991 and has led that organization to international acclaim for its impeccable, nuanced performances and award-winning recordings. Dr. Bradford’s focused, energetic conducting style led to his appointment as Music Director of the Orchestra at Temple Square in Salt Lake City and Associate Director of the Mormon Tabernacle Choir. Prior to that, he was Director of Orchestras at the University of Utah.

Dr. Barlow Bradford Conductor

His compositions and arrangements have garnered much attention for their innovation and dramatic scope, from delicate, transparent intimacy to epic grandeur. Arrangements by Bradford have been performed/recorded by the Cleveland Orchestra, San Francisco Symphony, Dallas Symphony, Tucson Symphony Orchestra, New York Choral Artists, Seattle Pacific University, Baylor University, Tabernacle Choir/Orchestra at Temple Square, Newfoundland Festival 500, and the San Francisco Gay Men’s Chorus, among others. In addition to his post as Director of the Utah Symphony Chorus, Dr. Bradford continues as Artistic Director of Utah Chamber Artists and serves as the Ellen Neilson Barnes Presidential Chair of Choral Studies at the University of Utah.

UNIVERSITY OF UTAH CHAMBER CHOIR SOPRANO Soprano Katelyn Cox Lexie Davis Lily Graham Hannah Green Emily Hansen Brynn Staker Julia Thomas Jordyn Updyke

ALTO Madeline Ashton Julie Burningham Maren Hansen Alla Keoppel Sage Madsen Alexandra Marsh Michaela Mathis Emmalyne Parke

TENOR Mitchell Andersen Logan Bingham Tanner DeHaan Quacee Dorby Jonathan Gibson Brayden Goode Jordan Tolman

BASS Bennett Chew Yu-Feng Huang Joseph Hutchins William Mollenkamp Patrick Tatman Matthew Thomas Long Wang

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ARTISTSâ&#x20AC;&#x2122; PROFILES

UTAH CHAMBER ARTISTS SOPRANO Christin Abbott Sarah Brown Clare Brussel Anna Lucero Mika Difrancesco Blythe Enke Julie Hadlock Cassie Hooper Glazier Caitlyn Jones Melinda Kirigin-Voss Marjorie Lowder Julie Meier Cami Mower Abby PaynePeterson Melissa Stettler

ALTO Anna Bradford Carly Carrier Melissa Andres Laura Durham Alla Koeppel April Iund Emily Larson Cyndi Nordfelt Renel Rytting Cami Talbot

TENOR John Blackham Logan Bradford Cameron Brownell Wes Eldredge Jared Gunnerson, Choir President Dave Hansen David Layton Nathan McKellar M. Connor Thompson Kort Zarbock

BASS Nate Benincosa Skyler Bluemel Nate Curtis Yu-Feng Huang Ben Lobrot Joel Longhurst Andrew Luker Hal Mauchley Lee Pierce Matt Robertson

UNIVERSITY OF UTAH A CAPPELLA CHOIR SOPRANO Wisper Bowen Whitney Bracho Katherine Brim Madilyn Farmer Shannon Hirschi Hannah Huber Jessica Jones Alaina Kotchey Aleisha Meier Rosalie Ortega Sungwon Park Roslyn Reeves Alex Renola Hallie Steadman April Thorup Brianna Skeen

UTAHSYMPHONY.ORG

ALTO Betsy Andrews Sheri Barber Sara Bayler Eleanor Bouley Barbara Cramer Cami DuMond Victoria Hansen Kearsa Hodgson Charlotte Knudson Abilene Kugler Nelya McDowell Katina Nikols Rosemary Olsen Anna Roelofs Suzannah Rose Lila Santos

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TENOR Trung Dang Niklas Hansen Young Jo Charles Johnson Samuel Judd Cole Parker Sean Thomson

BASS Zackary Christensen Kaden Draper Alex Felt Connor Gates Ulysses Hale Dallas Hayward John Kovalenko Jerry Li Conner Winder

SALTLAKE.LITTLEAMERICA.COM | 801.596.5700

INDIVIDUAL SUPPORT We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from October 1, 2018 to October 1, 2019. * in-kind donation

** in-kind & cash donations

† deceased

ENCORE ($100,000 OR MORE) Kem & Carolyn Gardner

Anthony & Renee Marlon

Patricia A. Richards & William K. Nichols**

BRAVO ($50,000 TO $99,999) Diane & Hal Brierley James A.† & Marilyn Parke Harris H. & Amanda Simmons

Naoma Tate & the Family of Hal Tate Jacquelyn Wentz

Jack Wheatley

OVERTURE ($25,000 TO $49,999) Scott & Kathie Amann Doyle Arnold & Anne Glarner Judy Brady & Drew W. Browning Michael & Vickie Callen Barron Collier

John & Flora D’Arcy John & Joan Firmage Kristen Fletcher & Dan McPhun Tom & Lorie Jacobson Edward Moreton Fred & Lucy Moreton

Mark & Dianne Prothro Alice & Frank Puleo Estate of Mary Schofield Jonathan & Anne Symonds Jim & Zibby Tozer John & Jean Yablonski Edward & Marelynn Zipser

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 Berenice J. Bradshaw Trust 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 UTAHSYMPHONY.ORG

Susan & Tom Hodgson Mary P.† & Jerald H. Jacobs Family G. Frank & Pamela Joklik Bruce & Maxine Johnson Robert & Debra Kasirer Mr. & Mrs. Christopher J. Lansing Charles & Pat McEvoy Richard & Robin Milne Harold W. & Lois Milner Terrell & Leah Nagata Jim & Ann Neal William H. & Christine Nelson Leslie Peterson & Kevin Higgins Frank R. Pignanelli & D’Arcy Dixon

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Stephen & Cydney Quinn David & Shari Quinney Richard & Carmen Rogers Ted & Lori Samuels Elizabeth Solomon George Speciale Mr. & Mrs. G. B. Stringfellow Steve & Betty Suellentrop Thomas & Marilyn Sutton James R. & Susan Swartz Norman C.† & Barbara L. Tanner Kathleen Digre & Michael Varner Howard & Barbara Wallack Kathie & Hugh Zumbro

INDIVIDUAL SUPPORT ALLEGRO ($5,000 TO $9,999) Anonymous (5) Craig & Joanna Adamson Edward R. Ashwood & Candice A. Johnson Suzanne & Clisto Beaty Mr. & Mrs. Jim Blair David Brown Carol, Rete & Celine Browning Neill & Linda Brownstein** Marc & Kathryn Cohen Mr. & Mrs. Kenneth R. Cutler Patricia Dougall Eager Trust Spencer & Cleone† Eccles Midge Farkas Jack & Marianne Ferraro Thomas & Lynn Fey Mr. & Mrs. Eric Garen** Diana George

Ray & Howard Grossman Chuck & Kathie Horman Annette & Joseph Jarvis Dale & Beverly Johnson James & Penny Keras Thomas & Carolyn Klassen Gary & Suzanne Larsen Harrison & Elaine Levy Michael Liess Hallie & Ted McFetridge Paul Meecham & Laura Leach Carol & Anthony W. Middleton, Jr. Charles & Amy Newhall Dr. Thomas Parks & Dr. Patricia Legant Dr. Dinesh & Kalpana Patel

Brooks & Lenna Quinn Joyce Rice Dr. Wallace Ring Peggy & Ben Schapiro Barbara & Paul Schwartz Thomas & Gayle Sherry Drs. John & Ann O’Neill† Shigeoka Sidney Stern Memorial Trust Janet Sloan Ms. Janice K. Story Larry & Nancy Tallman Mr. & Mrs. Glen R. Traylor Thomas† & Caroline Tucker Albert & Yvette Ungricht M. Walker & Sue Wallace E. Woolston & Connie Jo Hepworth-Woolston

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) Anonymous (8) Robert & Cherry Anderson Pj Aniello Mr. & Mrs. William C. Bailey Robert & Sandy Baker Robert & Melisse Barrett Tina & John Barry Dr. Melissa Bentley Charlotte & Hal Browning Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Vincent Cannella Dr.† & Mrs. Anthony Carter Charlene Carter Mark & Marcy Casp Hannalorre Chahine Hal & Cecile Christiansen George & Katie Coleman Raymond & Diana Compton Debbi & Gary Cook Dr. Thomas D. & Joanne D. Coppin

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 Sarah Ehrlich Janet Ellison Kate Fauntleroy Blake & Linda Fisher Adele & James Forman Mr. Joseph F. Furlong III Robert & AnnieLewis Garda Jeffrey L. Giese, M.D. & Mary E. Giese David & Sherrie Gee Kenneth & Amy Goodman Arlen Hale

C. Chauncey & Emily Hall Dr. Bradford D. Hare & Dr. Akiko Okifuji David & Connie Harris Jeff & Peggy Hatch John Edward Henderson Don & Lisanne Hendricks Deborah & Steve Horton Sunny & Wes Howell Dixie S. & Robert P. Huefner Michael Huerta & Ann Sowder Ken & Margo Jacobs Jay & Julie Jacobson Drs. Randy & Elizabeth Jensen M. Craig & Rebecca Johns Maxine & Bruce Johnson Bryce & Karen† Johnson Neone F. Jones Family Dr. & Mrs. Michael A. Kalm Susan Keyes & Jim Sulat Jeanne Kimball

UTAHSYMPHONY.ORG

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INDIVIDUAL SUPPORT ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Ashley & Ron Kirk Carl & Gillean Kjeldsberg George Klopfer & Joy Simeonova Howard & Merele Kosowsky Les Kratter Donald L. & Alice A. Lappe Lisa & James Levy Bill Ligety & Cyndi Sharp Herbert† & Helga Lloyd Ms. Susan Loffler 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 Jennifer & Gideon Malherbe Jed & Kathryn Marti Daniel & Noemi P. Mattis Dale & Carol Matuska Christopher & Julie McBeth Tom & Janet McDougal

Michael & Julie McFadden Michal & Maureen Mekjian Mr. & Mrs. Richard Mithoff Dr. Louis A. Moench & Deborah Moench Glenn & Dav Mosby Marilyn H. Neilson Stephen & Mary Nichols Thomas & Barbara O’Byrne Ruth & William Ohlsen O. Don & Barbara Ostler Chris Parker Dr. S. Keith & Barbara Petersen Robert Petkun Ray Pickup Victor & Elizabeth Pollak Dr. & Mrs.† Marvin L. Rallison Kenneth Roach & Cindy Powell James & Anna Romano Spitzberg-Rothman Foundation Marilynn Roskelley & Paul Dorius Thomas Safran

David & Lois Salisbury Mark & Loulu Saltzman Margaret P. Sargent Grant H. Schettler James & Janet Schnitz Shirley & Eric Schoenholz William G. Schwartz & Jo Ann Givan Howard & Audrey Seares Dewelynn & J. Ryan† Selberg Stuart & Mary Silloway Mary & Doug Sinclair Ray Steben Tim & Judy Terrell Richard & Janet Thompson Ann & Steven Tyler Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff John & Susan Walker Gerard & Sheila Walsh Wesley Warren & Amber Hawkins-Warren Susan Warshaw Dan & Amy Wilcox Gayle & Sam Youngblood

PATRON ($1,500 TO $2,499) Anonymous (5) Drs. Crystal & Dustin Armstrong Fred & Linda Babcock Susan Benson Harvey & Donna Birsner Roger & Karen Blaylock Mr. & Mrs. William D. Callister Mr. & Mrs. Lee Forrest Carter Larry & Judy Cohen Dorothy B. Cromer Pat & Nancy Forester Thomas Fuller Heidi Gardner Dr. & Mrs. John Greenlee UTAHSYMPHONY.ORG

David & SandyLee Griswold** Kenneth & Kate Handley Connie C. Holbrook Mr. & Mrs. Jerry Huffman Caroline & David Hundley James R. Jones & Family Bill & Sharon Macey Clifton & Terri McIntosh Cheri Measom George & Nancy Melling Dan & Janet Myers Dr. & Mrs. Richard T. O’Brien Lee K. Osborne Robert† & Catherine Pedersen Jayne Roth

(801) 533-NOTE

Gibbs† & Catherine W. Smith Neylan McBaine & Elliot Smith Christine St. Andre & Cliff Hardesty Gerald† & Sharon Seiner Douglas & Susan Terry Robert R. & Sue A. Webb Charles & Ellen Wells Jeremy & Hila Wenokur Marsha & Richard Workman Carol Zimmerman Greg Grimshaw

INDIVIDUAL SUPPORT FRIEND ($1,000 TO $1,499) Anonymous (3) Christine A. Allred Dr. & Mrs. Jeffrey L. Anderson Ian Arnold David & Rebecca Bateman E. Wayne† & Barbara Baumgardner Jennie & Charlie Beckham Victoria Bennion C. Kim & Jane Blair 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 William J. Coles & Joan L. Coles Dr. & Mrs. David Coppin James Dashner Larry Dickerson James & Rula Dickson Kathleen & Frank Dougherty Alice Edvalson Eric & Shellie Eide Eva Carlston Academy Robert S. Felt, M.D. James & Barbara T. Gaddis Quinn & Julie Gardner Bob & Mary Gilchrist Ralph & Rose Gochnour

Mr. & Mrs. Richard R. Graham Sue & Gary Grant John & Ilauna Gurr Geraldine Hanni Robert & Marcia Harris Jonathan Hart Courtney Henley Camille Huchton Scott Huntsman Eldon Jenkins & Amy Calara Chester & Marilyn Johnson Jill Johnson Rick & Paulette Katzenbach Umur Kavlakoglu Robert & Karla Knox Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Mr. & Mrs. Bruce M. Lake Guttorm & Claudia Landro Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Julie & John Lund Thomas & Mary McCarthey Lex Hemphill & Nancy Melich Dr. Nicole L. Mihalopoulos & Joshua Scoville Hal & JeNeal Miller Dr. Jean H. & Dr. Richard R. Miller Henriette Mohebbizadeh Barry & Kathy Mower Sir David Murrell IV & Mary Beckerle

Oren & Liz Nelson Timothy & Lisa O’Brien Joseph J.† & Dorothy Moyle Palmer Linda S. Pembroke Rori & Nancy Piggott Thomas B. Pilger Renee & Russell Plumb W.E. & Harriet R. Rasmussen Dr. Barbara S. Reid Dr. Richard & Frances Reiser Gina Rieke Janet Schaap Sandefur Schmidt Mr. August L. Schultz Bianca Shepard Dennis & Annabelle Shrieve Barbara Slaymaker Mr. & Mrs. Isaac Stein Dr. & Mrs. Michael H. Stevens Richard & Karen Urankar David H. & Barbara S. Viskochil Gerald & Sheila Walsh Brad E. & Linda P. Walton Dr. James C. Warenski Renee Waters Scott & Mary Wieler Cindy Williams Mary Ann & Charles Williams Margaret & Gary Wirth David B. & Anne Wirthlin Doug & Becky Wood

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UTAH SYMPHONY VOLUNTEER OPPORTUNITIES

Do you love music and kids? VOLUNTEER WITH UTAH SYMPHONY IN THE CLASSROOM OR AFTER SCHOOL! UTAH SYMPHONY 5TH GRADE CONCERTS Volunteer to be a docent who visits 5th grade classrooms along the Wasatch Front to prepare students for a special concert in Abravanel Hall. We teach you how to do it and give you all the tools to succeed! Contact Ky Johnson at kjohnson@usuo.org. THE MUSIC OUTREACH PROGRAM Volunteer to set up and facilitate free group violin lessons at an after-school program in Rose Park. Contact Doyle Clayburn at dcsunset13@gmail.com.

ALL LIVES CAN BE ENRICHED BY THE ARTS. SHARE YOUR LOVE OF MUSIC WITH OUR YOUNG PEOPLE.

ENDOWMENT

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

Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation Estate of Don & Linda Price

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

GIFTS MADE IN HONOR Neill & Linda Brownstein Barbara Scowcroft & Ralph Matson Mrs. Barbara Nellestein

Joanne & Bill Shiebler Grant Gill Smith 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 Robert Ehrlich Leah Burrows Felt Loraine L. Felton

Crawford Gates Lowell P. Hicks Dr. Gary B. Kitching M.D. Harry Lakin Warren K. (Sandy) McOmber Dr. Richard George Middleton Jack Newton

Glade & Mardean Peterson Clyde Dennis Meadows Shirley Corbett Russell J. Ryan Selberg Frank & Maxine McIntyre Ann O’Neill Shigeoka, M.D. Phillis “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 October 1, 2018 to October 1, 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 Emma Eccles Jones Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation

The Florence J. Gillmor Foundation Hearst Foundation Larry H. & Gail Miller Family Foundation O.C. Tanner John and Marcia Price Family Foundation Salt Lake City Redevelopment Agency Salt Lake County Salt Lake County Zoo, Arts, and 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

Janet Q. Lawson Foundation The Kahlert Foundation League of American Orchestras’ Futures Fund

Utah Symphony Guild

Deer Valley Resort* Joan & Tim Fenton Foundation Frederick Q. Lawson Foundation LOVE Communications** McCarthey Family Foundation Montage Deer Valley** Moreton Family Foundation Charles Maxfield & Gloria F. Parrish Foundation

Simmons Family Foundation Stein Eriksen Lodge** STRUCK* Summit Sotheby’s Norman C.† & Barbara L. Tanner Second Charitable Trust Nora Eccles Treadwell Foundation Vivint.SmartHome

$50,000 TO $99,999 Anonymous AHE/CI Trust The Grand America Hotel & Little America Hotel*

$25,000 TO $49,999 Anonymous Arnold Machinery Carol Franc Buck Foundation Brent & Bonnie Jean Beesley Foundation BMW of Murray/ BMW of Pleasant Grove Cache Valley Electric Chevron Corporation C. Comstock Clayton Foundation

UTAHSYMPHONY.ORG

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INSTITUTIONAL DONORS

$10,000 TO $24,999 Anonymous Adobe HJ & BR Barlow Foundation B.W. Bastian Foundation Big D Construction R. Harold Burton Foundation Caffè Molise* Marie Eccles Caine FoundationRussell Family Cultural Vision Fund Daynes Music Company* Discover Financial Services

$5,000 TO $9,999 Anonymous The Aaron Copland Fund for Music, Inc. Deluxe Corporation Foundation The Dorsey & Whitney Foundation George Restaurant* The Val A. Green & Edith D. Green Foundation Holland & Hart

Matthew B. Ellis Foundation The Joseph & Evelyn Rosenblatt Charitable Fund Every Blooming Thing* Goldman Sachs & Co. LLC Grandeur Peak Global Advisors Richard K. & Shirley S. Hemingway Foundation The John C. Kish Foundation Johnson Foundation of the Rockies Park City Chamber/ Visitors Bureau

Promontory Foundation S.J. & Jessie E. Quinney Foundation Regence Blue Cross Blue Shield of Utah St. Regis / Deer Crest Club** University of Utah Health WCF Mutual Insurance Company W. Mack & Julie S. Watkins Foundation Wells Fargo The Christian V. & Lisa D. Young Family Foundation

Hyatt Centric Park City** J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Martine* Orem City CARE Tax Rancho Markets Raymond James & Associates Red Rock Brewing

Company* Rocky Mountain Power Foundation Ruth’s Chris Steak House* Salt Lake City Arts Council Stay Park City* U.S. Bank Foundation Union Pacific Foundation Utah Autism Foundation

Henry W. & Leslie M. Eskuche Charitable Foundation Homewood Suites* Inwest Title Services, Inc. Marriott City Center*

Moka* Morris Murdock Travel Residence Inn by Marriott Salt Lake City Downtown* Snell & Wilmer Squatters Pub*

Millcreek Coffee Roasters* Prime Steakhouse* Ray, Quinney & Nebeker Foundation Glenna & Lawrence Shapiro Family Foundation

Snow, Christensen & Martineau Foundation George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation

Nebeker Family Foundation Park City Community Foundation

Strong & Hanni, PC Swire Coca-Cola, USA*

$2,500 TO $4,999 Bambara* Bertin Family Foundation Better Days Robert S. Carter Foundation CBRE

$1,500 TO $2,499 Castle Foundation City Creek Center Management Corning Incorporated Foundation The Helper Project

$1,000 TO $1,499 Anonymous The Fanwood Foundation Western Office UTAHSYMPHONY.ORG

(801) 533-NOTE

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.

OUT OUT ON ON THE THE TOWN TOWN OUT ON THE TOWN

dining guide diningdining guide guide THE THENEW NEWYORKER YORKER60 60West WestMarket MarketStreet. Street.SLC’s SLC’s premier premierdining diningestablishment. establishment.Modern ModernAmerican American MARTINE 22 East 100 South. Exceptional ambience, MARTINE 22 East South. Exceptional ambience, located in cuisine cuisineisisfeatured featured in100 inrefined refined dishes dishes and and approachable approachable located infood. a historic brownstone. Martine Salt comfort From From classic classic totoinnovative, innovative, from acomfort historic food. brownstone. Martine offers Salt Lake Cityoffers afrom sophisticated Lake City a sophisticated dining experience kept– simple. contemporary contemporary seafood seafood toConveniently toAngus Angus Beef Beef steaks steaks –the the dining experience kept simple. located on First South Conveniently located onfor First South around the corner menu menuprovides provides options options forevery every taste. taste. Served Served ininaa around the corner from the Eccles Theater. Extensive bar and wine from theelegant Eccles Theater. Extensive bar andservice. wine service. casually casually elegant setting settingwith withimpeccable impeccable service. service. martinecafe.com L,for T,corporate LL, RA,CC, CC,and VS. 801-363-9328 martinecafe.com L, D, T,D,corporate LL, RA, VS. 801-363-9328 Private Privatedining diningrooms rooms for and social socialevents. events. Lunch Lunch&&Dinner. Dinner.No Nomembership membershiprequired. required.L,L,D,D,LL, LL,AT, AT, RR, RR,CC, CC,VS. VS.801.363.0166 801.363.0166 MARKET MARKET STREET STREET GRILL GRILL DOWNTOWN DOWNTOWN 48 48 SPENCER’S 255 South West Temple, SLC. Winner of Wine West West Market Market Street. Street. Unanimous Unanimous favorites favorites forseafood seafood Spectator’s Award of Excellence and Best of Statefor for Fine Dining, dining, dining,providing providingexceptional serviceand andaward awardwinning. enjoy locally sourcedexceptional Prime steaksservice and sustainable seafoodwinning. dishes The Thecontemporary contemporarymenu menufeatures featuresthe thehighest highestquality quality from Executive Chef Sebastian Lowrey. Seasonal cocktails, inspired available. available.Select Selectfrom froman anabundant abundantoffering offeringofoffresh fresh desserts, flown and exceptional service your meal. L,variety D, S, T, seafood seafood flown inindaily, daily,Angus Anguscompliment Beef Beefsteaks, steaks, and and aavariety ofof non-seafood non-seafood dishes. dishes.Open Open 7 7days daysaat aweek weekserving serving LL, RA, CC, VS. 801-238-4748 | Reservations Opentable.com breakfast, breakfast,lunch, lunch,dinner, dinner,Sunday SundayBrunch. Brunch.B,B,L,L,D,D,C,C,AT, AT,S,S, LL, LL,CC, CC,VS. VS.801.322.4668 801.322.4668

MARTINE MARTINE22 22East East 100 100 South. South.Award Award winning winning ambience, ambience, SQUATTERS PUB BREWERY 147 West Broadway located located ahistoric historic brownstone. Martine Martine offers Salt SaltLake Lake SLC. Joininusinabefore and brownstone. after the show for eclecticoffers daily specials and City Cityaasophisticated sophisticated dining experience experience kept kept simple. simple. Locally Locally traditional pub favoritesdining such as bacon topped meatloaf, pizzas and sourced sourcedingredients, ingredients,pre-event pre-event$25 $25three threecourse courseprix prixfixe. fixe. aExtensive deliciousbar array of burgers, all pairedmartinecafe.com with our world-class beer and Extensive barand and wine wineservice. service. martinecafe.com welcoming atmosphere. L, S, AT, LL, D, CC, VS. 801-363-2739 L,L,D,D,T,T,LL, LL,RA, RA,CC, CC,VS. VS.801-363-9328 801-363-9328

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4848W.W.Market MarketStreet Street(340 (340South) South) 801.322.4668 801.322.4668 Complimentary appetizer or dessert with entrée 801.238.4748 | 255 S West Temple

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B-Breakfast B-BreakfastL-Lunch L-Lunch D-Dinner D-Dinner S-Open S-Open SundayDL-Delivery DL-DeliveryT-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre Top: Image licensed by Ingram ImageSunday LL-Liquor LL-LiquorLicensee LicenseeRR-Reservations RR-ReservationsRequired RequiredRA-Reservations RA-ReservationsAccepted 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

David Green

Jessica Proctor

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

SYMPHONY ARTISTIC Thierry Fischer

Vice President of Development

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Director of Institutional Giving

Mike Lund

Olivia Custodio

Director of Individual Giving

Heather Weinstock

Director of Special Events & DVMF Donor Relations

Lisa Poppleton Grants Manager

Nikki Orlando

Symphony Music Director

Development Operations Manager

Anthony Tolokan

Ali Snow

Vice President of Symphony Artistic Planning

Annual Fund Coordinator

Conner Gray Covington

Ellesse Hargreaves

Barlow Bradford

MARKETING & COMMUNICATIONS Jon Miles

Development Assistant

Associate Conductor

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

SYMPHONY OPERATIONS Cassandra Dozet

Director of Orchestra Operations

Melissa Robison

Vice President of Marketing & Public Relations

RenĂŠe Huang

Director of Communications & Digital Media

Kathleen Sykes

Digital Content Producer

Robert Bedont

Marketing Manager - Audience Development

Nina Starling

Website Content Coordinator

Program Publication & Front of House Director

Vice President of Finance & CFO Director of Information Technologies

Karyn Cunliffe Controller

Alison Mockli

Payroll & Benefits Manager

Jared Mollenkopf

Patron Information Systems Manager

Bobbie Williams

Accounts Payable Accountant

EDUCATION Paula Fowler

Director of Education & Community Outreach

Kyleene Johnson

Symphony Education Manager

Becca Gee

Opera Education Assistant

Annie Farnbach

Symphony Education Assistant

OPERA TECHNICAL Jared Porter

Senior Technical Director

Kelly Nickle

Properties Master

Travis Stevens Head Carpenter

Dusty Terrell

Chip Dance

PATRON SERVICES Faith Myers

Kate Henry

Merry Magee

COSTUMES Verona Green

Mara Lefler

Jessica Cetrone

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

Sales Manager

Andrew J. Wilson

2 Assistant Stage Manager nd

Patron Services Assistant

Amanda Reiser Meyer

Group Sales Associate

Sarah Pehrson Jackie Seethaler Powell Smith

Opera Artistic Director

Carol Anderson

Sales Associates

Principal Coach

Michelle Peterson

Opera Company Manager

Michaella Calzaretta Opera Chorus Master

Brooke Yadon

Opera Production Coordinator

Costume Rentals Supervisor

Kierstin Gibbs LisaAnn DeLapp

Genevieve Gannon

OPERA ARTISTIC Christopher McBeth

Costume Director

Patron Services Manager

Hallie Wilmes

Robyne Anderson

Scenic Charge Artist

Nicholas Barker Talia Ricci Lorraine Fry Jodie Gressman Ellen Lewis Ananda Spike Ticket Agents

Rentals Assistants

Wardrobe Supervisor

Milivoj Poletan Tailor

Tiffany Lent

Cutter/Draper

Donna Thomas

Milliner & Craftsperson

Connie Warner Stitcher

Krissa Lent

Wigs/Make-up Crew

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

Utah Opera!

U Your music was amazing. It put me in a better mood.

-STUDENT, BROCKBANK ELEMENTARY, NEBO SCHOOL DISTRICT

Need a mood boost? If music brightens your day, won't you consider a taxÂ 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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FALL STAGE ARTS

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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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A B IG N IGH T O UT.

Come beer. Stay for the beer. for the

Personalize your Ruth’s Chris experience with our popular three-course Prime Time dinner menu offered nightly until 6:30PM starting at just $49.95.

As the oldest locally owned brewer y in Salt L ake Cit y, we’ve won dozens of awards for our handcraf ted microbrews. But it’s our fantastic food, ex tensive wine and cock tail menu, and awesome atmosphere that’ll keep you coming back .

Salt Lake City • 801.363.2000 275 S. West Temple

(O K , i t ’s m o s tly th e b e e r. B u t a l l t h a t oth e r s tu ff i s g re at , to o .)

DOWNTOWN

FASHION PLACE

PARK CITY JUNCTION

REDROCKBREWING.COM

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.

UTAHSYMPHONY.ORG

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THE WEST. PARSONS BEHLE & LATIMER.

Dramatic Passes AND A BETTER APPROACH TO THE LAW. THE PARSONS APPROACH.

NATIONAL EXPERTISE. REGIONAL LAW FIRM. You don’t have to go to a big city to find big city legal experience. Parsons’ middle market transaction team, for example, can stand up to law firms on either coast whether you need help in negotiating an M&A deal or achieving your debt or equity financing needs. To retain the legal experience you need, look no further than your own backyard.

201 S. Main St., Suite 1800

parsonsbehle.com

Salt Lake City, Utah 84111

801.532.1234

S A LT L A K E C I T Y

BOISE

I DA H O FA L L S

LEHI

RENO

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EXTRAORDINARY PAINTING THAT

TRANSFORMS YOUR LIVING SPACE. When you trust CertaPro Painters® of Salt Lake City with your home painting project, we will treat your property as if it were our own. We follow a process that ensures a beautiful, professional result that you’ll love. And it all starts with a free, no-obligation estimate and a detailed proposal.

801-747-1027 certapro.com

We Do Painting. You Do Life.®

A PROUD PAINTING PARTNER Each CertaPro Painters® business is independently owned and operated.