Utah Symphony November / December 2021 by Mills Publishing Inc.

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CONTENTS

UTAH SYMPHONY NOVEMBER/DECEMBER 2021

Welcome

Utah Symphony

STEPHEN HOUGH PLAYS BRAHMS’ PIANO CONCERTO NO. 1 NOVEMBER 5 & 6, 2021 / 7:30 PM

Board of Trustees

Season Sponsors

Music Director

SHIYEON SUNG CONDUCTS TCHAIKOVSKY 4, ARLENE SIERRA & PROKOFIEV NOVEMBER 19, 2021 / 7:30 PM

NOVEMBER 20, 2021 / 5:30 PM / PRELUDE

Donors

Administration

Tanner & Crescendo Societies

HANDEL’S MESSIAH

NOVEMBER 27 & 28, 2021 / 7:30 PM

INMO YANG PLAYS MENDELSSOHN’S VIOLIN CONCERTO

Planned Giving

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

47 Please scan this QR code with your phone’s camera if you would like the view the digital publication. @UtahSymphony

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

CHOPIN’S PIANO CONCERTO NO. 2 DECEMBER 10, 2021 / 10 AM

DECEMBER 10 & 11, 2021 / 7:30 PM

Purchase tickets at utahsymphony.org or call 801-533-6683 GRAPHIC DESIGN/WEB DEVELOPER Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Dan Miller Paul Nicholas EDITOR Melissa Robison

DECEMBER 3 & 4, 2021 / 7:30 PM

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The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801467-8833 Email: advertising@millspub. com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © COPYRIGHT 2021

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WELCOME

Steven Brosvik President & CEO

Welcome to Abravanel Hall and this Utah Symphony concert. We can think of no better way to enjoy the wonder of the holiday season and promise of the New Year than through the magic of great live music experienced together as a community. Whether it is the baroque music of Handel’s celebrated Messiah, the neoclassicism of Brahms, the Nordic and Slavic romanticism of Sibelius, Prokofiev, Dvořák, and Tchaikovsky, or the 21st century music of our Composer in Association Arlene Sierra, you can hear your Utah Symphony demonstrate their extraordinary versatility and expertise as they deliver moments that will live long in your memory. We look forward to seeing you at many of these performances and hope you will consider giving concert experiences to the people on your holiday shopping list. We’re thrilled to share our stage and make music with a host of incredible guest artists in November and December. From esteemed conductors and classical soloists from around the world to vocalist Jodi Benson and your favorite “little orchestra” Pink Martini, to the Utah Opera Resident Artists and Utah Opera Chorus, to Utah’s best young musicians performing with the Utah Symphony in our Salute to Youth concert.

Thierry Fischer Music Director

In honor of the holiday season, we’d like to express our deep appreciation to all of you for supporting Utah Symphony | Utah Opera. Because of the generosity of friends like you, USUO is able to bring the gift of music year-round to audiences throughout the state and region—with a remarkable one third of that audience comprised of students experiencing one of our many free education performances. If you haven’t yet made a gift this calendar year, please consider doing so. New and increased donations will go further thanks to a generous match by the George S. and Dolores Doré Eccles Foundation (see page 64 for more details). Thank you. On behalf of all of the musicians, staff, and board members at Utah Symphony | Utah Opera, we wish you the happiest of holiday seasons and a peaceful 2022!

Thomas M. Love Board of Trustees Chairman

UTAHSYMPHONY.ORG

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UTAH SYMPHONY Thierry Fischer, Music Director

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

Yuan Qi

VIOLIN* Madeline Adkins

Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas

Brooks Fisher

ENGLISH HORN Lissa Stolz

Sam Elliot

CELLO* Matthew Johnson

CLARINET Tad Calcara

BASS TROMBONE Graeme Mutchler

Symphony Chorus Director

†

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

Acting Principal The J. Ryan Selberg Memorial Chair

Bonnie Terry

Andrew Larson

Acting Associate Concertmaster

Acting Associate Principal

David Park

John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah ThomasHollands†† Pegsoon Whang

Assistant Concertmaster

Claude Halter

Principal Second

Wen Yuan Gu

Associate Principal Second

Evgenia Zharzhavskaya Assistant Principal Second

Karen Wyatt•• Sara Bauman†† Joseph Evans LoiAnne Eyring Laura Ha•† Lun Jiang# Rebekah Johnson Tina Johnson†† Amanda Kofoed†† Jennifer Kozbial Posadas†† Veronica Kulig David Langr Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Julie Wunderle

BASS* David Yavornitzky Principal

Corbin Johnston Associate Principal

James Allyn Andrew Keller Edward Merritt James Stroup†† Jens Tenbroek Thomas Zera† HARP Louise Vickerman

Principal

FLUTE Mercedes Smith

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

Erin Svoboda-Scott Associate Principal

Lee Livengood

TROMBONE Mark Davidson Principal

Associate Principal

TIMPANI George Brown Principal

Eric Hopkins

Associate Principal

PERCUSSION Keith Carrick Principal

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 Jessica Danz Principal

Principal

LIBRARIANS Clovis Lark Principal

Claudia Restrepo ORCHESTRA PERSONNEL Walt Zeschin

Director of Orchestra Personnel

Andrew Williams

Orchestra Personnel Manager

Associate Principal

PICCOLO Caitlyn Valovick Moore

TRUMPET Travis Peterson

OBOE James Hall

Jeff Luke

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Peter Margulies Paul Torrisi

BASS CLARINET Lee Livengood

Llewellyn B. Humphreys Brian Blanchard† Julia Pilant†† Stephen Proser

* String Seating Rotates † On Leave

Lissa Stolz

Lisa Byrnes

Principal

• First Violin •• Second Violin

Associate Principal

Edmund Rollett

Caitlyn Valovick Moore

Principal The Sue & Walker Wallace Chair

††

Principal The Val A. Browning Chair Associate Principal

VIOLA* Brant Bayless

UTAHSYMPHONY.ORG

The Gerald B. & Barbara F. Stringfellow Chair

Associate Principal

Principal

Associate Principal # Sabbatical †† Substitute Member

BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair Doyle L. Arnold* Brian Greeff* Joanne F. Shiebler* Vice Chairs Annette W. Jarvis* Secretary John D’Arcy* Treasurer Steven Brosvik* President & CEO Austin Bankhead Dr. Stewart E. Barlow Judith M. Billings George Cardon-Bystry

Gary L. Crocker David L. Dee* Barry L. Eden Senator Luz Escamilla Dr. Julie Aiken Hansen Daniel Hemmert* Stephen Tanner Irish Thomas N. Jacobson Abigail E. Magrane Brad W. Merrill Robin J. Milne Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Jason Price Shari H. Quinney Miguel R. Rovira Stan Sorensen Dr. Shane D. Stowell Naoma Tate

Thomas Thatcher W. James Tozer David Utrilla Kelly Ward Dr. Richard B. Williams Kim R. Wilson Thomas Wright* Henry C. Wurts

Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen Patricia A. Richards*

Harris Simmons Verl R. Topham David B. Winder

John Bates Howard S. Clark Kristen Fletcher

Richard G. Horne Ron Jibson E. Jeffery Smith

Lisa Eccles Spencer F. Eccles Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler

Stanley B. Parrish Marcia Price Jeffrey W. Shields, Esq. Diana Ellis Smith

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

LIFETIME BOARD William C. Bailey Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones

TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow

HONORARY BOARD Jesselie B. Anderson Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous

*Executive Committee Member † Deceased

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SEASON SPONSORS

SEASON SPONSOR

MASTERWORKS SERIES SPONSOR

FAMILY SERIES SPONSOR

2021-22 UTAH SYMPHONY SEASON SPONSOR

Enriching excellence in the arts in Utah for more than half a century.

George S. and Dolores Doré Eccles Foundation Board of Directors (l to r): Robert M. Graham , Spencer F. Eccles, Lisa Eccles

MUSIC DIRECTOR

Thierry Fischer has been the Music Director of the Utah Symphony since 2009 and will become Music Director Emeritus in the summer of 2023. He has held the same position with the São Paulo Symphony since 2019. In recent seasons he has conducted orchestras across the globe, notably the Boston, Cleveland, Atlanta, and Cincinnati symphonies; London Philharmonic; Royal Philharmonic; Oslo Philharmonic; Rotterdam Philharmonic; Maggio Musicale Firenze; Salzburg Mozarteumorchester; Orchestre de la Suisse Romande; and leading chamber orchestras such as Chamber Orchestra of Europe, Orchestra of the Age of Enlightenment, Swedish Chamber, Ensemble Contemporain, and London Sinfonietta. He has performed and commissioned many world premieres.

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

Fischer was active throughout the pandemic conducting concerts for live and virtual audiences during his inaugural season in São Paulo including Stravinsky’s ballets, Beethoven’s symphonies, and his Missa Solemnis. Other highlights of 2020–21 included the London Philharmonic at the Royal Festival Hall and on Marquee TV, Mendelssohn’s Elijah with the Netherlands Radio Philharmonic Orchestra and Chorus, also return visits to the Bournemouth Symphony and Brussels Philharmonic orchestras.

During his tenure in Utah, Fischer has led the orchestra’s first appearance in Carnegie Hall in 40 years. He recorded for Reference Records a CD of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas; and Mahler’s symphonies 1 and 8, the latter with the world-renowned Mormon Tabernacle Choir. Most recently Hyperion Records have released the complete Saint-Saëns symphonies with Fischer and Utah Symphony, to critical acclaim; they also plan to record Messiaen’s Des Canyons aux Etoiles, to be performed in the awe-inspiring canyons of Utah where it was composed. Whilst Principal Conductor of the BBC National Orchestra of Wales 2006–12, Fischer appeared every year at the BBC Proms, toured internationally, and recorded for Hyperion, Signum and Orfeo. In 2012 he won the ICMA Award for his Hyperion CD of Frank Martin’s Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus. 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 2001–06. He was Principal Guest of the Seoul Philharmonic 2017–20 and Chief Conductor (now Honorary Guest) of the Nagoya Philharmonic 2008–11. 14

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Hello music lovers, friends and associates, I am pleased to announce that a video presentation of my opera, El Curioso Impertinente has been posted for viewing/listening at www.williamcall.net. williamcall.net. Camila and Lotario This 2 hour 15 minute El Curioso Impertinente performance features a complete cast of characters, chorus and orchestra. The opera libretto is an adaptation of a captivating story interpolated by Miguel de Cervantes into his famous novel Don Quijote de la Mancha. You will laugh as you cry in response to the emotional impact of this great author’s narrative. The opera is sung in the original Spanish with English subtitles. I hope you enjoy it! William A. Call, Author and Composer

MASTERWORKS SERIES

STEPHEN HOUGH PLAYS

BRAHMS’ PIANO CONCERTO NO. 1 NOVEMBER 5 & 6, 2021 / 7:30 PM ABRAVANEL HALL

RUNE BERGMANN, conductor STEPHEN HOUGH, piano

NIELSEN: Symphony No. 4, Op. 29 “The Inextinguishable” I. Allegro II. Poco allegretto III. Poco adagio quasi andante IV. Allegro

INTERMISSION

BRAHMS: Concerto No. 1 in D Minor for Piano, Op. 15 I. Maestoso II. Adagio III. Rondo: Allegro non troppo Stephen Hough, piano

CO N CER T S PO N SOR

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ARTISTS’ PROFILES

Norwegian conductor Rune Bergmann is currently Music Director of Canada’s Calgary Philharmonic, Artistic Director & Chief Conductor of Poland’s Szczecin Philharmonic, and Chief Conductor of Switzerland’s Argovia Philharmonic, positions he has held since the 2017–18, 2016–17, and 2020–21 seasons, respectively. Guest engagements in the 2021–22 season bring Bergmann to the podium of the Baltimore, Utah, and Colorado Symphony Orchestras as well as the Peninsula Music Festival in the USA, and to the Orchestra della Svizzera Italiana and the Odense Symphony in Europe.

Rune Bergmann Conductor

Bergmann has also led performances of Il barbiere di Siviglia and La traviata at the Norwegian National Opera, and he made his US operatic debut in Yale Opera’s production of Britten’s A Midsummer Night’s Dream, as staged by Claudia Solti. Previous guest engagements have led him to such auspices as the Oslo Philharmonic, New Mexico Philharmonic, Münchner Symphoniker, Mainfranken Theater Würzburg, Philharmonie Südwestfalen, as well as the symphony orchestras of Malmö, Helsingborg, Kristiansand, Stavanger, Trondheim, Karlskrona, and Odense. Earlier in his career, Rune Bergmann served as First Kapellmeister and stellvertretender-GMD of the Theater Augsburg, where he led performances of numerous operas, including such titles as La Traviata, Der Fliegende Holländer, and Die Fledermaus a.o. He has also served as Principal Guest Conductor of the Kaunas City Symphony, and has been Artistic Director of Norway’s innovative Fjord Cadenza Festival since its inception in 2010.

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ARTISTS’ PROFILES

Since taking first prize at the 1983 Naumburg Competition in New York, Hough has performed with many of the world’s major orchestras and has given recitals at the most prestigious concert halls. He is a regular guest at festivals such as Salzburg, La Roque-d’Anthéron, Mostly Mozart, Edinburgh, and BBC Proms, where he has made more than 20 concerto appearances. He has appeared with most of the major European and American orchestras and plays recitals regularly in major halls and concert series around the world. Many of his catalogue of over 60 albums have garnered international prizes including the Deutsche Schallplattenpreis, Diapason d’Or, Monde de la Musique, several Grammy nominations, eight Gramophone Magazine awards including Record of the Year in 1996 and 2003, and the Gramophone Gold Disc Award in 2008, which named his complete Saint-Saëns Piano Concertos as the best recording of the past 30 years. His 2012 recording of the complete Chopin Waltzes received the Diapason d’Or de l’Annee, France’s most prestigious recording award. His 2005 live recording of the Rachmaninoff Piano Concertos was the fastest selling recording in Hyperion’s history, while his 1987 recording of the Hummel Concertos remains Chandos’ best-selling disc to date.

Stephen Hough Piano

Mr. Hough resides in London where he is a visiting professor at the Royal Academy of Music and holds the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester. He is also a member of the faculty at The Juilliard School.

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HISTORY OF THE MUSIC By Jeff Counts

Symphony No. 4, Op. 29 (“The Inextinguishable”) Duration: 36 minutes in four movements (played without pause).

THE COMPOSER – CARL NIELSEN (1865–1931) – In a world increasingly defined by a new and brutal kind of war, Nielsen’s domestic life also continued to be a source of great stress in the mid 1910s. Infidelities (his) and the generally difficult circumstances of a multi-city professional life (his and hers) had begun to put significant strain on his marriage. As always, Nielsen attempted to partition his troubles, and maybe the troubles of the continent, by burying himself in hard work as a conductor and educator. But the mounting global and personal pressures were too much to ignore and necessitated some self-reflection in his compositional life as well.

THE HISTORY – Symphony No. 4 (1916) dates from this period and it constituted Nielsen’s strongest and most iconoclastic symphonic statement to date. This was partly attributable to his evolving maturity as a composer but also due to the inclusion of something rather new to his sound so far— unambiguous conflict. If the Third Symphony was created to positively convey the musical characteristics of the human spirit and the natural world, the Fourth could be read as an effort to present and challenge the notion that music is discrete and equal to man and nature, not merely their expressive proxy. It was the idea of music as a force in and of itself, capable of giving voice to “The

Elemental Will of Life.” Nielsen believed life and music to be equally enduring in the truest sense of the word and stated as much in the preface to the score. “Music is life,” he wrote, “and, like it, is inextinguishable.” The title of “Inextinguishable” was given to the symphony by Nielsen not as a programmatic reference but as “a suggestion as to a way into this, music’s own territory.” If not programmatic then, the nickname certainly promised a grand dramatic arc in the music because, as Nielsen knew, for a thing to be proven inextinguishable it must be put through a test of doubt and hostility. Hence the aforementioned conflict, as depicted in the final movement by dueling antiphonal timpani (one set of which having been silent until this moment). The thematic triumph (taken from the humble clarinet tune in the first movement) that stills their physically evocative combat represents Nielsen’s theory proven once and for all. This symphony often invites comparisons to Sibelius, but these suggested similarities do both men harm. “The Inextinguishable” was pure Nielsen, and emblematic of his highly unique approach to tonality, texture and emotional dynamism.

THE WORLD – Elsewhere in 1916, the Easter Rebellion broke out in Ireland, the Battle of the Somme was fought in France, Rasputin was killed in Russia, and James Joyce’s Portrait of the Artist as a Young Man was published.

THE CONNECTION – Nielsen 4 was last performed by the Utah Symphony back in 2013. Thierry Fischer was on the podium.

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HISTORY OF THE MUSIC

Concerto No. 1 in D Minor for Piano, Op. 15 Duration: 44 minutes in three movements.

THE COMPOSER – JOHANNES BRAHMS (1833–1897) – Brahms spent the greater part of the 1850s building his first orchestral masterpiece: Not a symphony, of course, but rather the D Minor Piano Concerto, made largely out of material meant for other works. The time between the first sketches in 1854 and the premiere performance of 1859 encompassed a lifetime of intense personal experiences for Brahms, most of which revolved around his special (and complicated) relationship with Robert and Clara Schumann. Robert’s death in 1856 did not result in a relationship between Johannes and Clara, at least not the romantic kind, and the Concerto stands as a thinly veiled testament to these turbulent, emotional years.

THE HISTORY – Before any of that, the 20-year-old Brahms had made quite an impression on Robert Schumann in 1853. Schumann, in his oft-quoted article from that year entitled “New Paths”, spoke of the younger man in almost messianic terms. Brahms was, for Schumann, the fulfillment of a prophecy (his own, admittedly) in which a new artistic voice would appear suddenly and fully formed as if from the mind of a god to “express the ideal form and spirit of his time.” As the friendship between Brahms and the Schumanns developed in their complex ways, Brahms was sorting and re-mixing the pre-existing ingredients UTAHSYMPHONY.ORG

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of his D Minor Concerto. Unlike himself, the man of Robert Schumann’s oracular vision, Brahms’ Concerto would not spring “fully formed” from the mind, his or a god’s. This concerto was a result of patient deliberation and reassignment. Brahms, to this point, was famously reluctant to tackle the symphony form and was frightened enough of Beethoven’s ghost that he was shy about orchestral music in any form. As well-studied as his reticence has become, some specific context from this moment in his compositional life is helpful. Brahms had heard Beethoven’s Ninth for the first time in 1854, an experience that might have stunned even the most confident upstart to silence. It put to rest any symphonic ambitions for a humble acolyte like Brahms, for a few more decades at least. Instead, he poured his ideas into a sonata for two pianos but felt increasingly drawn to the larger forces of a proper concerto. There was a nagging question of grandeur that only an orchestra could answer and after a year of helpful support from his friend Joseph Joachim, the brilliant “symphony with solo piano” was born.

THE WORLD – Elsewhere in 1859, excavation of the Suez Canal began, Charles Darwin published his shocking scientific work On the Origin of Species, and Alfred Lord Tennyson released the first portion of his Arthurian epic The Idylls of the King.

THE CONNECTION – Brahms’ First Piano Concerto is a popular work on Utah Symphony Masterworks seasons. The most recent performance was in 2012 under the baton of Thierry Fischer with Nelson Goerner as soloist. 21

UPCOMING PERFORMANCES AT ABRAVANEL HALL ROBERT TREVINO CONDUCTS WALKER, GRIEG & STRAVINSKY

JANUARY 7 & 8, 2022 Robert Trevino, conductor Benjamin Grosvenor, piano

THIERRY FISCHER CONDUCTS RACHMANINOFF, HONEGGER & NATHAN LINCOLN DE CUSATIS JANUARY 28 & 29, 2022 Thierry Fischer, conductor Madeline Adkins, violin

THIERRY FISCHER CONDUCTS RAVEL, LISZT & JOHN ADAMS FEBRUARY 4 & 5, 2022 Thierry Fischer, conductor Joyce Yang, piano

BRAVO BROADWAY! A RODGERS & HAMMERSTEIN CELEBRATION

FEBRUARY 11 & 12, 2022 Jerry Steichen, conductor Michaella Calzaretta, chorus master Utah Opera Chorus

DANIEL LOZAKOVICH PLAYS TCHAIKOVSKY'S VIOLIN CONCERTO FEBRUARY 18 & 19, 2022 Thierry Fischer, conductor Daniel Lozakovich, violin

HARRY POTTER AND THE HALF BLOOD PRINCE™ IN CONCERT FEBRUARY 24, 25 & 26, 2022 Conner Gray Covington, conductor

MASTERWORKS SERIES

SHIYEON SUNG CONDUCTS

TCHAIKOVSKY 4, ARLENE SIERRA & PROKOFIEV NOVEMBER 19, 2021 / 7:30 PM NOVEMBER 20, 2021 / 5:30 PM (PRELUDE) ABRAVANEL HALL

SHIYEON SUNG, conductor VADIM GLUZMAN, violin

ARLENE SIERRA, composer-in-association

ARLENE SIERRA: Aquilo (US Premiere) PROKOFIEV: Concerto No. 2 in G minor for Violin and Orchestra, Op. 63 I. Allegro moderato II. Andante assai III. Allegro, ben marcato Vadim Gluzman, violin

INTERMISSION

TCHAIKOVSKY: Symphony No. 4 in F minor, Op. 36 I. II. III. IV.

Andante sostenuto Andantino in modo di canzona Scherzo: Pizzicato ostinato Finale: Allegro con fuoco

CO N CER T S PO N SOR

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ARTISTS’ PROFILES

The South Korean conductor Shiyeon Sung is a real trailblazer of her profession. She is the first female conductor out of South Korea to make the leap to the podium of internationally renowned orchestras, including the Orchestre Philharmonique de Radio France, the Konzerthaus Orchestra Berlin, the Bamberg Symphony, and the Nuremberg Symphony.

Shiyeon Sung Conductor

CO N D U C TOR S PO N SOR

The list of orchestras that Shiyeon Sung has worked with since then is remarkable. It includes renowned European orchestras such as the Rotterdam Philharmonic Orchestra, Swedish Radio Symphony Orchestra, and Philharmonia Orchestra, as well as the National Symphony Orchestra Washington, Sydney Symphony Orchestra, and the Los Angeles Philharmonic, which she led in a spectacular debut concert with Martha Argerich at the Tongyeong International Music Festival. In addition, she appeared as guest conductor at the Teatro Colón and the Stockholm Opera. Her debuts with the Antwerp Symphony Orchestra, Stavanger Symphony Orchestra, Oviedo Filarmonía, and Barcelona Symphony Orchestra were special highlights of the 2020–21 season, during which she returned to the Seattle Symphony and the Seoul Philharmonic Orchestra. Born in Pusan, South Korea, Shiyeon Sung won various prizes as a pianist in youth competitions. From 2001 to 2006, she studied orchestral conducting with Rolf Reuter at the Hanns Eisler School of Music in Berlin and continued her education with advanced conducting studies with Jorma Panula at the Royal College of Music in Stockholm.

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ARTISTS’ PROFILES

Universally recognized among today’s top performing artists, Vadim Gluzman breathes new life and passion into the golden era of the 19th and 20th centuries’ violin tradition. Gluzman’s wide repertoire embraces new music, and his performances are heard around the world through live broadcasts and a striking catalogue of award-winning recordings exclusively for the BIS label. The Israeli violinist has appeared with the Berlin Philharmonic, Boston Symphony, Orchestre de Paris, Leipzig Gewandhaus, Israel Philharmonic, London Symphony, Royal Concertgebouw, and many others. He collaborates with leading conductors including Riccardo Chailly, Christoph von Dohnányi, Tugan Sokhiev, Sir Andrew Davis, Neeme Järvi, Michael Tilson Thomas, Semyon Bychkov, and Hannu Lintu. Festival appearances include performances at Ravinia, Tanglewood, Verbier, and the North Shore Chamber Music Festival in Chicago, founded by Gluzman and pianist Angela Yoffe, his wife and recital partner.

Vadim Gluzman Violin

Highlights of the current season include performances with Orchestre Philharmonique de Radio France, NHK Symphony Orchestra, Gothenburg and Bamberg Symphonies, Dresden Staatskapelle, as well as Utah and Detroit Symphonies, Stuttgart Philharmonic, KBS Symphony, and the Danish Radio Orchestra. Mr. Gluzman also leads performances with the Moscow Virtuosi Chamber Orchestra, Franz Liszt Chamber Orchestra, and the ProMusica Chamber Orchestra in Columbus, Ohio, where he serves as a Creative Partner and Principal Guest Artist. Distinguished Artist-in-Residence at the Peabody Conservatory, Gluzman performs on the legendary 1690 ‘ex-Leopold Auer’ Stradivari, on extended loan to him through the generosity of the Stradivari Society of Chicago.

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HISTORY OF THE MUSIC By Jeff Counts

Aquilo Duration: 10 minutes.

THE COMPOSER – ARLENE SIERRA (b. 1970) – American Composer Arlene Sierra lives in London and teaches at Cardiff University. Though she began piano lessons at age five, Sierra came to instrumental composing by way of an early interest in electronic music. Synthesized sound provided an exciting measure of freedom from the strictures of traditional notation, but she eventually began to crave the spontaneity of live, human performance. Sierra has defined her compositional voice as a drive to capture “drama, momentum, transition, color—often determined by mechanisms of conflict, competition, and strategy” and believes her explorations in electronica “inform some of the layering and shifts of density” in her instrumental work.

THE HISTORY – Sierra’s own program note on the genesis of Aquilo, her first work for orchestra, speaks of influences both literary and natural. “Aquilo,” she writes, “is a classical name for the Northeast wind as designated by the ancient Roman architect Vitruvius in his Ten Books on Architecture. Vitruvius writes of the theory of winds beginning from heat and moisture, stating this is proven by experiments with aeolipiles: bronze spheres filled with water through a tiny opening. When the aeolipile was heated, a rush of steam would escape, convincing the ancients that winds had similar origins. Vitruvius elaborates upon the theory with his idea that there are eight winds with flow over the expanse of a disc-shaped Earth. The work begins as an aural aeolipile, with

musical representations of fire and water mixing to create a rush of air. This rush of air is the wind Aquilo, heard as a melody which develops within a large aural space. It is later joined by three others and the four gather momentum until there is a powerful ‘directional shift,’ introducing four new melodic lines all accumulating energy and complexity as they move in space. After the eight melodic ‘winds’ make their individuality ‘felt,’ the original melody returns. Aquilo travels until the environment breaks down to elemental components, returning to the original spark of its creation.” Sierra, in an interview with BBC Radio 3 about Aquilo, also had this to add about her interest in Vitruvius: “Well, part of what makes Vitruvius fun reading, is that he has all these digressions and theories about how the world works that are absolutely wrong.” She found his idea, though incorrect, that the oceans possess some faraway weatherproducing cauldrons to be fascinating. To her, the notion of something so “huge and distant, sort of boiling and bubbling, just seemed like a perfect metaphor for what an orchestra can do.” Aquilo won the prestigious Takemitsu Prize in 2001.

THE WORLD – Elsewhere in 2001, Calcutta restored its name to Kolkata, iTunes and Wikipedia were launched in the US, the Bamiyan Buddhas were destroyed in Afghanistan, and Dennis Tito became the world’s first space tourist, courtesy of the Russian Federal Space Agency.

THE CONNECTION – These performances mark the Utah Symphony debut of Composer-in-Association Arlene Sierra’s Aquilo.

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HISTORY OF THE MUSIC

Concerto No. 2 for Violin in G Minor, Op. 63 Duration: 26 minutes in three movements.

THE COMPOSER – SERGE PROKOFIEV (1891-1953) – Prokofiev spent much of 1934 and 1935 trying to find a stable home for his prospective ballet based on Shakespeare’s Romeo and Juliet. Resignations and assassinations were dramatically altering the administrative landscape of Soviet theaters, but the composer managed to move the endeavor from the Kirov to the Bolshoi. He spent the summer of 1935 at Polenovo, a staff retreat for the company, and the happy, productive mood engendered by the surroundings benefitted other projects as well. Prokofiev’s life abroad was coming to an end, but many of the connections he made outside of Russia continued to influence him.

THE HISTORY – French violinist Robert Soetens took part in the Paris premiere of Prokofiev’s Sonata for Two Violins in 1932 and performed successfully with the composer on a concert tour afterward. The two men must have shared a great deal of artistic affection, as well as some wealthy French admirers, because Prokofiev wrote his Second Violin Concerto on a generous local commission for Soetens. With repatriation so close at hand (Prokofiev officially ended his long, self-imposed exile a year later in 1936), many have called it Prokofiev’s last Western European piece. He himself later acknowledged that the work marked the end of his nomadic expat life, and his wistful observation that the music had been written in Paris and Voronezh, UTAHSYMPHONY.ORG

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orchestrated in Baku and premiered in Madrid confirmed the Second Concerto as a transitional monument. That Madrid premiere happened in December of 1935 during the aforementioned concert tour through Spain, Portugal, and North Africa. There is much about the concerto that sets it apart from Prokofiev’s early music, and much that connects it to its moment in music history. There is a rich, sonorous simplicity on offer that highlights the neo-Romantic impulse then making its way across the compositional world in the middle to late 1930s. There is also a decidedly “nonmodern” aspect to the form and tonality that suggests Prokofiev was auditioning for his new life in the USSR. After so long away, and with so much at stake professionally and personally, he must have been reluctant to indulge the acerbic extravagances of his youth and keen to make his peace with the restrictive tenants of Stalin’s “Soviet Realism.” While the Second Concerto might well represent a departure for its composer, he is truly the only one who could have written it. It is genial and inviting and a little mannered, sure, but it is also sarcastic, somber, and subtly anxious. In other words, vintage Prokofiev.

THE WORLD – Elsewhere in 1935, Alcoholics Anonymous was founded, the Nuremburg Laws went into effect in Germany, T. E. Lawrence (Lawrence of Arabia) died in England, and the Vuelta a España bike race was held for the first time.

THE CONNECTION – The most recent Masterworks performance of the Second Violin Concerto was in 2016. Thierry Fischer conducted and USUO concertmaster Madeline Adkins was soloist. 27

HISTORY OF THE MUSIC

Symphony No. 4 in F Minor, Op. 36 Duration: 44 minutes in four movements.

THE COMPOSER – PIOTR ILYICH TCHAIKOVSKY (1840-1893) – Tchaikovsky’s hasty 1877 marriage to Antonina Milyukova quickly ended in separation after only a few weeks and left a financial and emotional void in the composer’s life. Even though the couple never stood a chance, certain aspects of the internal turmoil over his failure with Antonina stayed with Tchaikovsky until his death. His money concerns, however, were resolved fairly quickly. Nadezhda von Meck was an exceptionally wealthy widow who worshiped Tchaikovsky’s music. Her offer of support came at just the right moment and their strange, purely penand-paper relationship lasted 14 years.

THE HISTORY – Along with the monthly stipend that sustained him, Tchaikovsky undoubtedly benefitted from the palliative effect of Madame von Meck’s attentions on his soul as well. Both Eugene Onegin and the Fourth Symphony were begun before the disastrous marriage and, though each could have been lost to Tchaikovsky’s misery and self-hate, they thankfully survived the crisis to become highly celebrated works. Sketches for the Fourth began just a few years after the Third, but there is an eon between them in terms of maturity and stylistic confidence. With the Fourth Symphony, we find Tchaikovsky fully delivered from his younger self and suddenly consumed

with life’s biggest questions. Much has been written about the “Fate” theme that opens the first movement. Tchaikovsky described it as such in a letter to Meck regarding “their” symphony. He called it a “decisive force which prevents our hopes and happiness from being realized…” and also said, “like the sword of Damocles, [it] is suspended over our heads and perpetually poisons our souls.” Forbidding stuff to be sure, but the music actually has a generous amount of those thwarted hopes and happy moments too (the middle movements in particular), as if Tchaikovsky knew intuitively that he must define the sword by describing what it threatened. He often referred to his Fourth Symphony as a reflection of that other great “Fate” symphony, Beethoven’s Fifth, and in terms of their unequivocal struggles and triumphs, the two works do share a great deal. Though he freely admitted that he was “no Beethoven,” Tchaikovsky told his brother that he thought the new symphony was “the best work I have written so far.” Symphony No. 4 was premiered in 1878 and dedicated to Madame von Meck with the inscription “To my best friend.”

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

THE CONNECTION – Tchaikovsky 4 was last performed by the Utah Symphony on the Masterworks Series in 2018. Andrew Litton conducted.

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United States, Europe, Middle East, Asia, Latin America

SPECIAL EVENT

HANDEL’S MESSIAH NOVEMBER 27 & 28, 2021 / 7:30 PM ABRAVANEL HALL

CONNER GRAY COVINGTON, conductor JULIA GERSHKOFF, soprano

EDITH GROSSMAN, mezzo-soprano DANIEL O’HEARN, tenor

EVAN HAMMOND, baritone UTAH OPERA CHORUS

MICHAELLA CALZARETTA, chorus master

Sinfonia PART I: Comfort ye, my people Ev’ry valley shall be exalted And the Glory of the Lord Thus saith the Lord But who may abide the day And He shall purify Behold, a virgin shall conceive O thou that tellest good tidings in Zion For unto us a Child is Born Pifa There were shepherds abiding And the angel said unto them And suddenly, there was with the angel Glory to God in the Highest Rejoice greatly, O daughter of Zion His yoke is easy, and His burthen is light INTERMISSION

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PART II: Behold the Lamb of God He was despised Surely He hath bourne our griefs And with His stripes we are healed All we like sheep have gone astray Thy rebuke hath broke his heart Behold and see if there be any sorrow He was cut off But Thou didst not leave His soul in Hell Their sound is gone out Why do the nations so furiously rage He that dwelleth in Heaven Thou shalt break them with a rod of iron Hallelujah PART III: I know that my Redeemer liveth Since by man came death Behold, I tell you a mystery The trumpet shall sound Worthy is the Lamb Amen

ARTISTS’ PROFILES

Conner Gray Covington Conductor

Conner Gray Covington recently completed a four-year tenure with the Utah Symphony as Associate Conductor and as Principal Conductor of the Deer Valley® Music Festival. During his tenure in Utah, Covington conducted nearly 300 performances of classical subscription, education, film, pops, and family concerts as well as tours throughout the state. This season he returns to the Utah Symphony as a guest conductor on several occasions and debuts with the Amarillo Symphony, the Fort Wayne Philharmonic, the Idaho State Civic Symphony and the North Carolina Symphony. Previously, he was a Conducting Fellow at the Curtis Institute of Music in Philadelphia where he worked closely with the Curtis Symphony Orchestra, with whom he made his Carnegie Hall debut in 2016, and the Curtis Opera Theater while also being mentored by Philadelphia Orchestra Music Director Yannick Nézet-Séguin. He began his career as Assistant Conductor of the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program. A four-time recipient of a Career Assistance Award from the Solti Foundation US, Covington was a featured conductor in the 2016 Bruno Walter National Conductor Preview presented by the League of American Orchestras.

Recent seasons have included appearances with the symphonies of Kansas City, Monterey (CA), Nashville, Omaha, Portland (ME), St Louis, Virginia, the Oregon Mozart Players, and the Reno Chamber Orchestra. Covington has also worked with the Tonhalle Orchester Zürich as part of the 6th International David Zinman Conducting Masterclass. In 2014, Covington was selected by members of the Vienna Philharmonic to attend the Salzburg Festival as a recipient of the Ansbacher Fellowship for Young Conductors. In 2012, he competed in the prestigious Malko Conducting Competition in Copenhagen, Denmark, where he conducted the Danish National Symphony for a jury headed by Lorin Maazel and was the youngest participant to advance to the third round. Covington also worked with the New Japan Philharmonic in the 2012 Tokyo International Conducting Competition and advanced to the semi-final round. In the summers of 2011 and 2012, Covington attended the Aspen Music Festival as a fellowship student in the American Academy of Conducting at Aspen. There he worked closely with Robert Spano, Larry Rachleff, and Hugh Wolff as well as other guest conductors throughout the summer. He has also conducted the Fort Worth Symphony Orchestra in a masterclass with Miguel Harth-Bedoya and for two summers studied at the Pierre Monteux School for Conductors. Born in Louisiana, Covington grew up in East Tennessee and began playing the violin at age 11. He completed high school at the renowned High School for the Performing and Visual Arts in Houston, Texas. He then 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 MM in orchestral conducting and was awarded the Walter Hagen Conducting Prize. 32

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ARTISTS’ PROFILES Julia Gershkoff, a soprano from Rhode Island, is a graduate of the University of Southern California, where she received her Master of Music in Vocal Arts and Opera. In the summer of 2020, Julia attended a shortened version of Wolf Trap Opera as a Studio Artist. In her first season at Utah Opera Julia performed Micaëla in Utah Opera’s La tragédie de Carmen and appeared in Light on the Horizon and Songs for our Time for USUO On Demand. She was also the soprano soloist with Utah Symphony in excerpts from Pergolesi’s Stabat Mater and Handel’s Messiah, also for the streaming platform. Other recent roles include Susanna in Le nozze di Figaro at USC, Joan of Arc in the Maid of Orleans at the Russian Opera Workshop, Pamina in Die Zauberflöte at Mark Oswald’s Summer Program, and Servilia in La clemenza di Tito at Ithaca College, where she received her Bachelor of Music in Vocal Performance. Julia is thrilled to join Utah Opera as a 2nd-year Resident Artist in the 2021–22 season, where she sings Berta in The Barber of Seville, Tina in Flight by Jonathan Dove, covers Mabel in The Pirates of Penzance, and performs as Soprano Soloist with Utah Symphony’s Messiah.

Julia Gershkoff Soprano

Possessing “a voluminous instrument…with eloquence and force,” Italian-trained American mezzo-soprano Edith Grossman is a versatile performer with a career spanning opera and musical theatre. A graduate of the Crane School of Music in New York and double-alumna of the Merola Opera Program in San Francisco, Edith has established an enviable reputation as an interpreter of new works, having most recently created the role of Rachel in the world premiere of Jake Heggie and Gene Scheer’s If I Were You. For Utah Opera last season, she performed Elle in Poulenc’s La voix humaine and Fate in Brook’s La tragédie de Carmen and appeared in Light on the Horizon and Songs for our Time for USUO On Demand. She was also the mezzo-soprano soloist with Utah Symphony in excerpts from Pergolesi’s Stabat Mater and Handel’s Messiah as well as a complete performance of Stravinsky’s ballet Pulcinella, also filmed for streaming. During her 2nd year as a Resident Artist, she covers Rosina in The Barber of Seville, and performs the Stewardess in Jonathan Dove’s Flight, and Edith in The Pirates of Penzance, as well as Alto Soloist with Utah Symphony’s Messiah. She is managed by Encompass Arts LLC.

Edith Grossman Mezzo-soprano

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ARTISTS’ PROFILES

Daniel O’Hearn Tenor

Evan Hammond Baritone

Daniel O’Hearn is an emerging tenor from Tinley Park, Illinois. In June 2020, he graduated with a Master of Music Performance from DePaul University’s School of Music in Chicago. During Utah Opera’s 2020-21 season, Daniel appeared as Gray in Gentleman’s Island and Lillas Pastia in La tragédie de Carmen and was tenor soloist in Light on the Horizon and Songs for our Time for USUO On Demand. He also performed with Utah Symphony in excerpts Handel’s Messiah as well as a complete performance of Stravinsky’s ballet Pulcinella, also filmed for streaming. At DePaul, Mr. O’Hearn in the University’s productions of Britten’s The Beggar’s Opera and Cavalli’s L’Egisto. In 2019 he won the American Prize from the American Prize Oratorio Society of Chicago, placed first in DePaul University’s School of Music Kleinman Competition, and earned an encouragement award from the Metropolitan National Council Auditions in the Central Region finals. As a 2nd year Resident Artist in the 2021-22 season, he appears as Bill in Jonathan Dove’s Flight, Spoletta in Puccini’s Tosca, covers Frederic in The Pirates of Penzance, and performs as Tenor Soloist in Utah Symphony’s Messiah. Baritone Evan Hammond is a native of Lexington, Alabama. In the fall of 2020, Mr. Hammond made his role debut as Figaro in Opéra Louisiane’s digital production of Il barbiere di Siviglia. In the summer of 2021, he was slated to make his European debut as Masetto in Don Giovanni with the Festival Lyrique-en-mer (COVID19). Other notable performance credits include Le Mari in Les mamelles de Tirésias, the title role in Eugene Onegin, Mercutio in Roméo et Juliette, and Papageno in The Magic Flute. Most recently, Evan received an Encouragement Award from the Upper Midwest Region of the 2021 Metropolitan Opera National Council Competition after winning the Wisconsin District. He has completed young artist training programs with Central City Opera, Des Moines Metro Opera and Shreveport Opera. He holds a Master of Music degree in Vocal Performance from Louisiana State University and a Bachelor of Arts in Music from the University of North Alabama. For Utah Opera in 2021-22, Evan will perform Fiorello and Sergeant in The Barber of Seville, Steward in Flight, Sciarrone in Tosca, and Samuel in The Pirates of Penzance, as well as Baritone Soloist with Utah Symphony’s Messiah.

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ARTISTS’ PROFILES

Michaella Calzaretta Chorus Master

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Michaella Calzaretta recently completed her third season as Chorus Master and Assistant Conductor at Utah Opera. Under her leadership, the opera chorus has garnered more and more recognition with each production. Of her Moby-Dick, Opera Today extolled her “…superb choral preparation. Her large chorus was flawless in tonal beauty, dramatic engagement, and clarity of diction, even when performing busy stage movement.” In a review of Roméo et Juliette, Opera News praised “…the strong performance of the Utah Opera Chorus, setting a reliably high standard under the direction of Chorus Master Michaella Calzaretta.” Partnership with the Utah Symphony has also been successful, as the opera chorus performed in a semi-staged presentation of Candide and provided vocals for live film concerts of Pirates of the Caribbean and Harry Potter and the Prisoner of Azkaban. Ms. Calzaretta is completing a Doctorate in Choral Conducting at Indiana University in Bloomington, Indiana, where she has studied with Walter Huff, Betsy Burleigh, and Dominick DiOrio. She was the Music Director for the University Gilbert and Sullivan Society of Bloomington, as well as the Music Director for New Voices Opera, a student-run organization that commissions and produces operas by student composers. Ms. Calzaretta holds a Bachelor of Music in Vocal Performance from Simpson College and a Master of Music in Choral Conducting from the University of Missouri-Kansas City.

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ARTISTS’ PROFILES

UTAH OPERA CHORUS

The Utah Opera Chorus is a semi-professional ensemble, highly praised for their vocal ability and stage prowess. The dedicated members, comprised entirely of local residents, display artistic flexibility and strive to exceed the expectations of each production. They love performing a wide variety of repertoire, from the early Classical-era to contemporary pieces and musical theatre. Of their most recent performance in The Barber of Seville, Opera News praised “The Utah Opera Chorus, under the direction of Michaella Calzaretta, also gave an exceptional performance, adding muscle to the Rossini crescendos while following intricate stage direction.” Previous acclaim adds “Utah Opera’s well-balanced chorus sang with clarity and focus” and “The chorus… was ebullient and powerful.” The chorus is at home on both the Capitol Theatre and Abravanel Hall stages, though collaboration with the Utah Symphony at Abravanel Hall is particularly special. Notable projects of late include a semi-staged Candide and live film presentations of Pirates of the Caribbean and Harry Potter and the Prisoner of Azkaban. In the spring, the opera chorus will return to perform on the “Bravo Broadway!” Rodgers and Hammerstein celebration concert.

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HISTORY OF THE MUSIC By Jeff Counts

Messiah Duration: 120 minutes in three parts.

THE COMPOSER – GEORGE FRIDERIC HANDEL (1685-1759) – Music history is full of big failures and the bigger successes that so often follow. The popularity of that refrain is due to its frequency, of course, but also the fact that the ashes from which so many composers rise come from fires they set themselves. Handel, after two poorly received opera attempts in the early 1840s (Deidamia only got three performances, Imeneo just two), was rumored to be considering a shameful departure from his adopted home country of England.

THE HISTORY – The commission opportunity that stalled the (presumed) flight back to the continent was nothing less than Messiah. Done for good with opera and the fickle tastes that governed its relevance, Handel found in Messiah a return to a more weatherproof genre (in England at least)—that of the oratorio. He completed the score during a 24-day fury in the late summer of 1741 and by the reactions of the Irish press during the rehearsals and 1742 Dublin premiere, it was clear that the quickness of its creation did not speak to a lack of assured quality or effectiveness. “The finest composition of music that ever was heard,” went one comment and another claimed, “Words are wanting to describe the exquisite delight it afforded the admiring and crowded audience.” Though not as initially well liked in London (Charles Jennens, the Englishman who created text upon which the oratorio is based, was UTAHSYMPHONY.ORG

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reportedly underwhelmed with Handel’s “entertainment”), the Irish success was important in that it gave Handel the courage he needed to return to England and eventually reclaim his position as her leading man of music. Besides, soon enough Messiah would establish itself there too. As much as the piece meant to Handel’s career at the time, he couldn’t know it was destined for the truly rarified air of “official annual tradition” throughout the English-speaking world in the centuries to come. The practice of standing for the Hallelujah Chorus comes from a convenient, if completely speculative, legend. No one really knows for sure whether or not King George II stood for it in 1743, making it necessary for all of his subjects to do the same and inadvertently setting a precedent. In fact, no one knows for sure whether or not he was even at the performance. His reportedly spontaneous show of emotion persists regardless. It is also interesting to note that, contrary to modern convention, Handel clearly intended Messiah for the Easter observances rather than Christmas, and performances during his day were always given in the spring.

THE WORLD – Elsewhere in 1742, Swedish scientist Anders Celsius created the first version of his temperature scale, Benjamin Franklin invented what was to become the “Franklin Stove,” and Russian Czarina Elizabeth cruelly ordered the expulsion of the Jews from her kingdom.

THE CONNECTION – Messiah is performed every season by the Utah Symphony as part of the traditional “sing-in.” 37

WAT C H L I V E . S T R E A M A N Y T I M E . ALSO AVAILABLE AS A PODCAST

FRIDAYS 7:30PM

MASTERWORKS SERIES

INMO YANG PLAYS

MENDELSSOHN’S VIOLIN CONCERTO DECEMBER 3 & 4, 2021 / 7:30 PM ABRAVANEL HALL

DAVID ROBERTSON, conductor INMO YANG, violin

STRAVINSKY: Le chant du rossignol (Song of the Nightingale) I. Presto II. Chinese March III. Song of the Nightingale IV. The Mechanical Nightingale

MENDELSSOHN: Concerto in E minor for Violin and Orchestra, Op. 64 I. Allegro molto appassionato II. Andante III. Allegretto non troppo - Allegro molto vivace

Inmo Yang, violin INTERMISSION

BRAHMS: Symphony No. 3 in F Major, Op. 90 I. Allegro con brio II. Andante III. Poco allegretto IV. Allegro

CO N CER T S PO N SOR

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ARTISTS’ PROFILES

David Robertson—conductor, artist, thinker, and American musical visionary—occupies some of the most prominent platforms on the international music scene. A highly sought-after podium figure in the worlds of opera, orchestral music, and new music, Robertson is celebrated worldwide as a champion of contemporary composers, an ingenious and adventurous programmer, and a masterful communicator whose passionate advocacy for the art form is widely recognized. A consummate and deeply collaborative musician, Robertson is hailed for his intensely committed music making.

David Robertson Conductor

David Robertson holds a rich and enduring collaboration with the New York Philharmonic, and in the Americas conducts many noted ensembles, including the Cincinnati, Pittsburgh, National, Houston, Dallas, Montréal, and São Paulo Symphony Orchestras. Robertson has served as a Perspectives Artist at Carnegie Hall, where he has also conducted, among others, The Met Orchestra, the Lucerne Festival Orchestra, and the St. Louis Symphony Orchestra. He appears regularly with the Royal Concertgebouw Orchestra, Czech Philharmonic, Bayerischen Rundfunk, Netherlands Radio Philharmonic Orchestra, Staatskapelle Dresden, and other major European and international orchestras and festivals, ranging from the BBC Proms, to Musica Viva in Munich, to the New Japan Philharmonic and Beijing’s NCPA Orchestra. Since 2018, David Robertson has served as Director of Conducting Studies, Distinguished Visiting Faculty, of The Juilliard School. In Fall 2019, he joined the newly formed Tianjin Juilliard Advisory Council, an international body created to guide the emerging Chinese campus of The Juilliard School. He conducts the Juilliard Orchestra annually at Carnegie Hall. Born in Santa Monica, California, David Robertson was educated at London’s Royal Academy of Music, where he studied horn and composition before turning to orchestral conducting. He is married to pianist Orli Shaham, and lives in New York.

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ARTISTS’ PROFILES

Korean violinist Inmo Yang has been hailed by the Boston Globe for his “seamless technique and a tender warmth of tone,” combined with “an ability to project an engaging sense of inner sincerity through his playing.” In March 2015, he won the 54th International Violin Competition “Premio Paganini” in Genoa, Italy, marking the first time since 2006 that the Paganini Competition jury awarded First Prize. He also garnered the following special prizes: youngest finalist, best performance of the contemporary original piece, and performance most appreciated by the audience, confirming The Violin Channel’s praise of Yang as “one of the new generation’s most talented young string virtuosi.”

Inmo Yang Violin

G U ES T A R TIST S PO N SOR

EVELYN ROSENBLATT YOUNG ARTIST AWARD

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Yang has performed with many prestigious orchestras and in many renowned recital venues worldwide. As a winner of the 2014 Concert Artists Guild competition, he gave his Carnegie Hall recital debut at Weill Recital Hall. More recently, his victory at the Paganini Competition led to concerto engagements with conductor Fabio Luisi and a special recital in Genoa using Paganini’s own Guarneri del Gesù violin. Born in Indonesia to a Korean family in 1995, Inmo Yang gave his debut recital at age 11 on the Ewon Prodigy Series in Seoul, followed by his concerto debut at age 15 with the KBS Symphony Orchestra. He graduated from the Korean National Institute for the Gifted in Arts in February 2011 and was then admitted into the Korean National University of Arts as a prodigy in music. He studied with Miriam Fried at the New England Conservatory of Music in Boston, where he was the only violinist in its highly selective Artist Diploma program. He is currently pursuing a master’s degree under Antje Weithaas at Hochschule für Musik “Hanns Eisler” in Berlin, Germany. Yang plays on the c. 1718 “Bostonian” Stradivarius on loan from a private donor.

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EVELYN ROSENBLATT YOUNG ARTIST

This weekend’s Masterworks concerts mark the annual Evelyn Rosenblatt Artist recognition created to honor a young soloist or conductor of exceptional promise who has an emerging national reputation. The 2020–21/2021–22 Artist of Distinction is Inmo Yang, this evening’s talented violinist. This annual recognition is endowed in perpetuity by Evelyn Rosenblatt and her family, who personally selected Yang as this year’s honored artist. Previous Rosenblatt tributes have been awarded to pianists Lukáš Vondráček, Joyce Yang, Olga Kern, Yu Kosuge, Denis Matsuev, Cédric Pescia, and Denis Kozhukhin; violinists Stephan Jackiw, Veronika Eberle, Viviane Hagner, Scott St. John, Baiba Skride, and Will Hagen; cellists Narek Hakhnazaryan, Julie Albers, and Matthew Zalkind; and conductors Keri-Lynn Wilson, Andrew Grams, and Karina Canellakis. Evelyn Rosenblatt

The love of great music always played an important role in the life of Evelyn Rosenblatt. As a high school student, Evelyn took the train from Ogden to Salt Lake City every Saturday to study piano. Following her marriage to Joseph Rosenblatt in 1930, she hosted many of Utah Symphony’s musicians and guest artists in her home over the years. These include Leonard Bernstein, Jascha Heifetz, Gregor Piatigorsky, Arthur Rubinstein, Beverly Sills, Glenn Gould, and Isaac Stern. The Rosenblatt sculptural plaque, designed to honor Evelyn Rosenblatt for her care and love of the Utah Symphony, is located in the lobby outside the First Tier Reception Room in Abravanel Hall. In 1997–98, Mr. and Mrs. Rosenblatt served as the first chairs of the Symphony’s Annual Fund Committee. In January 2000, the Rosenblatt family created the Evelyn Rosenblatt Young Artists Endowment to honor Mrs. Rosenblatt on the occasion of her 90th birthday. Mr. Rosenblatt passed away in May 1999, and Mrs. Rosenblatt in April 2004. Utah Symphony | Utah Opera gratefully thanks and recognizes Evelyn Rosenblatt.

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HISTORY OF THE MUSIC By Jeff Counts

Le Chant du rossignol (Song of the Nightingale) Duration: 19 minutes in four movements (with pauses).

THE COMPOSER – IGOR STRAVINSKY (1882-1971) – The years between 1908 and 1914 were momentous for Stravinsky in nearly every imaginable way. It was a stretch of time defined by the end of one thing at the start, and the beginning of another at the end. The loss of his beloved teacher Rimsky-Korsakov in 1908 was the close of a beneficial but dependent chapter for Stravinsky, while 1914 opened the door on a world that would never be the same for him, a world that knew about The Rite of Spring and a world that would see him in exile.

THE HISTORY – Stravinsky wrote the music for his opera The Nightingale in two different phases. Act I was composed in 1908–09 with Acts II and III not completed until 1913–14. The gap is stylistically significant, and the result in the opera feels like two different Stravinsky’s in collaboration. When Ballets Russes impresario Serge Diaghilev suggested that the composer revive the opera as a ballet, it was the last two acts that the initially reluctant Stravinsky reworked, condensed and wove into a new symphonic poem he eventually allowed to be choreographed. Song of the Nightingale premiered as a ballet in 1920. It’s worth noting again that the final two acts of The Nightingale were completed just after The Rite of Spring, which made the distance between

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them and the earlier first act seem like decades, not years. Much had changed for Stravinsky since he began the project under the watchful eye of RimskyKorsakov, and the music of that earlier time was something he was loathe to re-visit with the impact of The Rite still reverberating so loudly. Still, even with the duly modern later acts in place, the opera and resultant symphonic poem were puzzling successors to The Rite. Stravinsky had momentarily halted the spin of the earth in 1913 with his shocking and controversial pagan fête, and The Nightingale, though infused with its own charming magic and inventiveness, baffled some with its subtlety while continuing to offend others (already offended from before) with its dissonances. Frustrated with the lukewarm responses, Stravinsky finally agreed to let Diaghilev produce the Song of the Nightingale with dance. The very popular Henri Matisse designed the sets, a boon for the production, but it was the introduction to Diaghilev’s new choreographer George Balanchine that would have the most lasting effect on the piece and its author.

THE WORLD – Elsewhere in 1920, the League of Nations was established, the 19th Amendment was ratified in the United States, the Cenotaph was unveiled in London, and the Nazi Party was founded in Germany.

THE CONNECTION – Utah Symphony regularly performs the works of Igor Stravinsky, some of them repeating every few seasons. Song of the Nightingale, however, has only appeared twice in recent memory, most recently in 2011.

HISTORY OF THE MUSIC

Concerto in E Minor for Violin and Orchestra, Op. 64 Duration: 26 minutes in three movements (performed without pause).

THE COMPOSER – FELIX MENDELSSOHN (1809-1847) – Mendelssohn had been the principal conductor of the Leipzig Gewandhaus Orchestra for three years when he began work on a concerto for the concertmaster Ferdinand David in 1838. The two men had been friends since 1825 (when David was 15 and Mendelssohn 16) and relished the idea of a collaboration. Mendelssohn thought very highly of David’s development as an artist and praised his rare blend of “real talent” and “right determination.” David was among the first faculty members appointed to Mendelssohn’s brand-new Leipzig Conservatory in 1843.

THE HISTORY – Though the two friends exchanged many letters of mutual encouragement for the concerto project in 1838, one of which included a line from the composer about hoping to finish the work “next winter,” the idea was quietly shelved and not taken up again in earnest for another six years. When that time finally came, they collaborated closely on the details of the concerto, still quite committed to a teamwork approach. Mendelssohn, for his part, seemed inordinately driven to please David and sent him a long letter of questions that displayed a level of nervousness unusual for such a veteran composer. Here we see Mendelssohn the thoughtful, even fitful, early Romantic. His desire for compositional perfection can be ascribed to his affinity 44

for the clarity of line and form that defined the Classical ethos upon which, during his time, the sun would fully set. But poise does not necessarily belie a lack of passion and the familiarity of a style does not always rule out creativity. Mendelssohn’s need for approval from his soloist speaks to the great seriousness with which he approached his own musicianship and, though his position near the artistic pivot point between the Classical and Romantic eras dropped his works out of favor for a while, his unique voice now defines that moment in history. This importance is clearly evident in the Violin Concerto. Though Mendelssohn chooses a subtler path than Beethoven, his concerto is filled with equally fresh ingenuity. The melodic material alone exudes an expressive purity that sounds as though channeled from beyond rather than composed. Joseph Joachim (a protégé of David), famously said in 1906 that, among the great Germanic concerti, Mendelssohn’s was “the most inward, the heart’s jewel.” The Violin Concerto was among Mendelssohn’s last full orchestra compositions and though lost momentarily in the muscular shuffle of the high Romantic era that followed, it lives on today with a well-earned popularity that is as fitting as it is lasting.

THE WORLD – Elsewhere in 1845, Florida and Texas became the 27th and 28th United States, British inventor Stephen Perry received a patent for the rubber band, and the Great Famine began in Ireland.

THE CONNECTION – The Mendelssohn Concerto appears often on Utah Symphony programs. The most recent Masterworks performance was in 2016 with Jun Märkl on the podium and Stefan Jackiw as soloist. UTAHSYMPHONY.ORG

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HISTORY OF THE MUSIC

Symphony No. 3 in F Major, Op. 90 Duration: 33 minutes in four movements.

THE COMPOSER – JOHANNES BRAHMS (1833-1897). There was a “War of the Romantics” afoot in the second half of the 19th Century that dominated German musical thought. It was, in the simplest possible terms, a schism between Conservatives (who believed in the primacy of absolute, non-programmatic composition) and the Progressives (who cultivated a futurist ethic that pushed all referential and formal boundaries). Brahms was the unelected head of the traditional wing, and heavy indeed was the crown. He was mocked by followers of Liszt and Wagner, who found in his four symphonies all the stubborn anachronisms that defined what Liszt called the “posthumous party.”

THE HISTORY – That the third and possibly most humble of those symphonies of Brahms was premiered the same year Wagner died is both coincidental and important. As with most of Brahms’ new works in the last decades of the century, the December 1883 premiere of Symphony No. 3 was attended by avid, and hostile, Wagnerites. With their god only 10 months gone (Wagner had passed away in February), they were particularly keen to hiss Brahms’ stodgy creation into obscurity. It didn’t work. Fans of Brahms (who included Dvořák) made up the larger part of the audience and their voices rang loudest, as did those of the critics immediately after. It was one of the greatest triumphs of his career to date, but Brahms was no less afflicted by

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self-doubt for all the praise. More fascinating than any of the musical/political drama or the instant success that defied it is the fact that Symphony No. 3 includes at least one non-absolute (dare we say programmatic?) feature. Coded into the mighty opening chords of the first movement is the F-A-F motif from his younger days. These notes (F-Ab-F in this case) stand for Frei aber froh (Free but happy) and were originally meant as a response to Joseph Joachim’s personal motto Frei aber einsam (F-A-E – Free but lonely). The meaning of the Ab chord in place of the expected A is unknowable, but it is not hard to imagine something additionally extra-musical in this slight alteration. Was Brahms acknowledging, again, how equivocal and fragile his happiness often was? Regardless, the quotation flies in the face of his critics and proves that no artist is ever only one thing, or another. The writing of Symphony No. 3 took place over the course of a fleet four months in the middle part of 1883 and was done in Wiesbaden, not his usual Austrian mountain retreat. Apparently, Hermine Spies, a stunningly talented contralto and latest of Brahms’ unrealized infatuations, lived nearby. More subtext? More program? Who can say…

THE WORLD – Elsewhere in 1883, Life Magazine was founded in the US, Krakatoa erupted, the character of Pinocchio made his first appearance in Italy, Franz Kafka was born in Prague, and the last Quagga died in Amsterdam.

THE CONNECTION – The Utah Symphony has presented Symphony No. 3 many times on the Masterworks Series. The most recent performances were in 2016 with Thierry Fischer.

MASTERWORK SERIES

CHOPIN’S PIANO CONCERTO NO. 2 DECEMBER 10, 2021 / 10 AM DECEMBER 10 & 11, 2021 / 7:30 PM ABRAVANEL HALL

CASE SCAGLIONE, conductor TBA, piano

WAGNER: “Prelude” and “Liebestod” from Tristan and Isolde CHOPIN: Concerto No. 2 in F minor for Piano and Orchestra, Op. 21 I. Maestoso II. Larghetto III. Allegro vivace

INTERMISSION DVOŘÁK: Symphony No. 7 in D minor, Op. 70 I. II. III. IV.

Allegro maestoso Poco adagio Scherzo: Vivace Finale: Allegro

CO N CER T S PO N SOR

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ARTISTS’ PROFILES

Case Scaglione has been Chief Conductor of the Württembergisches Kammerorchester Heilbronn since the 2018–19 season and Music Director of Orchestre national d’Île de France since the 2019–20 season. He has previously served as Associate Conductor with the New York Philharmonic and Music Director of the Young Musicians Foundation Debut Orchestra of Los Angeles. Scaglione was the driving force behind the artistic growth and diversification of the organization, founding their educational outreach initiative 360° Music.

CASE SCAGLIONE Conductor

High in demand as a guest conductor across the globe, Scaglione’s recent distinguished European engagements include debut and return appearances with Scottish Chamber Orchestra, Ulster Symphony, RTÉ National Symphony Orchestra, Orchestre Philharmonique du Luxembourg, Luzerner Sinfonieorchester, Brussels Philharmonic, Flanders Symphony Orchestra, and Brno Philharmonic. In North America, Scaglione has worked with the New York Philharmonic and the Houston, Dallas, Detroit, Phoenix, San Diego, and Baltimore Symphony Orchestras. In Asia, he has led concerts with the China Philharmonic Orchestra as well as Shanghai and Guangzhou Symphony Orchestras, in addition to regular returns to the Hong Kong Philharmonic Orchestra. He enjoys close relationships with many of the world’s leading solo artists, including Joshua Bell, Yulianna Avdeeva, Jean-Efflam Bavouzet, Behzod Abduraimov, and Khatia Buniatishvili. Scaglione’s conducting mentors have included some of the most prominent conductors on the world stage today, including Alan Gilbert, Jaap van Zweden, and David Zinman.

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HISTORY OF THE MUSIC By Jeff Counts

Prelude and “Liebestod” from Tristan and Isolde Duration: 17 minutes in two movements.

THE COMPOSER – RICHARD WAGNER (1813-1883) – Wagner was only one year returned from his exile in Zurich, Venice and Paris when the Prelude and “Liebestod” from his opera Tristan and Isolde was premiered in 1863 (the complete opera would not be fully staged until 1865). He had fled Dresden in 1849 after the socialist May Uprising there (of which he was a minor but willing participant) was put down by Saxon and Prussian forces. The political ban and open arrest warrants on Wagner and the other revolutionaries were voided only in 1862, which extended his time abroad to 12 long, but not unproductive, years.

THE HISTORY – Wagner’s reading habits during his expat years would have a significant impact on his composing habits. He was introduced to the writings of the German philosopher Arthur Schopenhauer in 1854 and found in them principles and ideals that would greatly influence his future worldview. Among the most important of these concepts was Schopenhauer’s aesthetic placement of music above all other art forms, including poetry. For Wagner, already anxious to push artistic thought in a new direction, this would come to mean that all operatic elements, even the libretto, would bow to the music and that the music would be primarily responsible for telling the story and creating the drama. Before Tristan and Isolde, no composition 50

had shown just how effectively, and effortlessly, music alone could carry a narrative from beginning to end. It is exactly the beginning and the end of Tristan and Isolde that make up the Prelude and “Liebestod.” The title is not exactly what Wagner originally proposed. He preferred Liebestod und Verklarung (Love-Death and Transfiguration), but the modern name survives despite his wishes. Regardless of what we call them today, Wagner’s pairing of the two book-end pieces succinctly captured in a neat 17-minute package both the hesitant longing of the lovers and their final redemptive union in death. It magically mirrored the completeness of Tristan and Isolde’s entire journey and, in Wagner’s own words from the premiere program note, fulfilled their “eternal union in measureless space, no bounds, no fetters, indivisible!” Of academic interest is the opening of the Prelude which introduces the famous unresolved “Tristan” chord, quite possibly the most studied, copied and worshipped note grouping in modern music history. It is the role of the “Liebestod” (or “Transfiguration”) to resolve this harmonic tension and lay the lovers, their story, and their music finally to rest.

THE WORLD – Elsewhere in 1863, the Emancipation Proclamation was issued, the International Red Cross was formed, the January Uprising against the Russian Empire occurred, and Samuel Clemens used his pen name, Mark Twain, for the first time.

THE CONNECTION – Programmed no less than 13 times since 1945, the Prelude and “Liebestod” was most recently programmed on the Masterworks Series in 2003 under Pavel Kogan. UTAHSYMPHONY.ORG

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HISTORY OF THE MUSIC

Concerto for Piano No. 2 in F Minor, Op. 21 Duration: 30 minutes in three movements.

THE COMPOSER – FRÉDÉRIC CHOPIN (1810–1949) – Like so many of the 18th and 19th Century’s most prominent musicians, Chopin started very young and never got old. It was as if he knew he would only have 39 years on Earth when he performed in public for the first time at the age of 8 and then played for Tsar Alexander I just a short time later. But he was not merely a talented pianist. Chopin’s early compositions received equal attention from the adults in his life and increased his fame throughout Poland. Chopin’s parents enrolled him at the Conservatory when he turned 16, but it soon became clear to everyone that Warsaw was no longer big enough to contain him.

THE HISTORY – Chopin traveled to Berlin in 1928 and made his life-changing Vienna debut in 1829. He returned home quite a bit more famous than when he left and was duly motivated to capitalize on his success with compositions that highlighted his unique keyboard brilliance. He wrote the Second Concerto that very year (1829) and the First Concerto in 1830 (This is no typographical error. Like Beethoven, Chopin’s publication dates often ran counter to his order of creation). A corresponding set of études was written during this same feverish stretch with the intent of making his burgeoning virtuosic language accessible, at least in print, to other pianists. The Second Concerto was premiered (first!) in March of 1930. It was an instant hit, and a second UTAHSYMPHONY.ORG

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performance was quickly arranged and mounted less than a week later. Chopin had just turned 20 and he was already poised to command the entirety of the piano-speaking world. In fact, the Second Concerto would next serve as the calling card for his Paris debut and critics there observed in Chopin the seeds of a new, rejuvenated era for his instrument. Looking back now at the robust catalogue of music Chopin wrote for solo piano, it requires a rather brief effort to count how many included an orchestral complement. And of that handful, only the two concertos rose to the level of symphonic significance. Writing for orchestras simply didn’t hold his attention, not after that youthful post-Vienna outburst, and his handling of the accompaniment in No. 2 prioritized the understated reserve of a bel canto opera over the more democratic expectations of traditional concerto writing. The Larghetto movement, a favorite of Liszt, was inspired by Konstancja Gładkowska. She was a fellow student at the Conservatory and, though Chopin’s interest in her was never requited (or likely even acted upon), the tribute he made in her honor still ranks among his most gorgeous musical utterances.

THE WORLD – Elsewhere in 1830, William IV became King of England, revolution began in Belgium, Greece became an independent state as part of the London Protocol, and the United States enacted the Indian Removal Act.

THE CONNECTION – Chopin’s Second Pinao Concerto last appeared on a Masterworks program back in 2002. Nelson Friere appeared as soloist and Keith Lockhart conducted. 51

HISTORY OF THE MUSIC

Symphony No. 7 in D Minor, Op. 70 Duration: 38 minutes in four movements.

THE COMPOSER – ANTONÍN DVOŘÁK (1841-1904) – There is a point in the biography of every major European composer when they become “international” and begin to make a significant impact outside of their homeland borders. This increase in popularity is almost always predictive of a corresponding rise in productivity. As critical triumphs mount, so too do commissions. For Dvořák, that biographical horizon was crossed in the mid-1880s. Requests for work were coming in from all over—Vienna, Berlin and, increasingly, London. He made no less than five trips to England between 1884 and 1886 and enjoyed successful concerts during each visit.

THE HISTORY – Dvořák knew what was expected of him. A performance of his Stabat Mater in 1883 had thoroughly thrilled its London audience, enough that he was made an honorary member of the city’s Philharmonic Society and offered a commission for a new symphony. Dvořák had been present for the 1883 premiere of Brahms’ Third and witnessed the rapturous reception of a work he felt represented the absolute best in symphonic creativity. It was a daunting example of what was possible. And what was required. The musical cosmos, in which Dvořák was now a rising star, would certainly demand no less of him. The composer said as much to a friend during this period when he wrote 52

that his new symphony must “make a stir and the world and God grant that it may!” It did, and still does today. No. 9 might be Dvořák’s most popular symphony, but No. 7 is widely regarded by scholars and biographers as his best. Donald Francis Tovey went so far in 1935 as to place it next to Schubert’s Great C Major and all four of Brahms’ Symphonies (not the just the Third) as “among the greatest and purest examples” of the form since Beethoven. While truly international in stature, the Seventh Symphony is also very much a work of Czech patriotism. Dvořák had been living under a Germanic cultural yoke for the entirety of his professional life, so his desire to succeed as a European musician was matched, and likely informed, by a drive to prove the artistic worth of his people. In fact, the stony opening theme of the first movement had a specific and political inspiration. It first occurred to Dvořák at the train station in Prague. He was there to witness the arrival of a huge delegation of fellow anti-Imperialists for a performance and rally at the National Theater. Though the Seventh Symphony is not a programmatic work, the emotional resolve of that moment of solidarity is clearly legible.

THE WORLD – Elsewhere in 1885, Belgium took control of the Congo region in Africa, Louis Pasteur successfully applied his rabies vaccine for the first time, the Serbian-Bulgarian War began, and Ladislaus Weinek took the first ever photograph of a meteor.

THE CONNECTION – Dvořák’s Seventh last appeared on a Masterworks program in 2014 with Music Director Thierry Fischer on the podium. UTAHSYMPHONY.ORG

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VETERANS

of the US Military Armed Forces

FREE Utah Symphony | Utah Opera tickets for Veterans January - March 2022 Utah Sympony | Utah Opera invites veterans to attend several performances FREE OF CHARGE Monday or Wednesday January 17 or 19, 7:00 pm at Janet Quinney Lawson Capitol Theatre — Utah Opera performances of Jonathan Dove and April De Angelis’ Flight. Friday or Saturday, February 11 or 12, 7:30 pm at Abravanel Hall — Bravo Broadway! A Rodgers and Hammerstein celebration with the Utah Symphony. Friday or Saturday, February 18 or 19, 7:30 pm at Abravanel Hall — Daniel Lozakovich plays Tchaikovsky’s Violin Concerto with Thierry Fischer conducting.

TICKETS ARE LIMITED. Visit VetTix.org to reserve your seats.

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INSTITUTIONAL DONORS We thank our generous donors for their annual support of Utah Symphony | Utah Opera. * in-kind donation

** in-kind & cash donation

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

Emma Eccles Jones Foundation LOVE Communications** The Tony & Renee Marlon Charitable Foundation Larry H. & Gail Miller Family Foundation O.C. Tanner Company Salt Lake County Zoo, Arts & Parks Shiebler Family Foundation Sorenson Legacy Foundation

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

Frederick Q. Lawson Foundation League of American Orchestras Moreton Family Foundation

John & Marcia Price Foundation Schwab Charitable Fund Harris H. & Amanda P. Simmons Foundation

The John C. Kish Foundation McCarthey Family Foundation Northern Trust Charles Maxfield & Gloria F. Parrish Foundation Perkins-Prothro Foundation Promontory Foundation S.J. & Jessie E. Quinney Foundation Schmidt Family Foundation Struck*

Joanne L. Shrontz Family Foundation Simmons Family Foundation Summit Sotheby’s TIAA Nora Eccles Treadwell Foundation Utah Education Network Utah Office of Tourism WCF Insurance William Randolph Hearst Foundation

$50,000 TO $99,999 Anonymous Dominion Energy Grand America Hotel & Little America Hotel* Janet Q. Lawson Foundation

$25,000 TO $49,999 Arnold Machinery Brent & Bonnie Jean Beesley Foundation BMW of Murray/BMW of Pleasant Grove Cache Valley Electric Carol Frank Buck Foundation C. Comstock Clayton Foundation JKS Legacy Foundation The Kahlert Foundation

UTAHSYMPHONY.ORG

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INSTITUTIONAL DONORS $10,000 TO $24,999 The American Gift Fund HJ & BR Barlow Foundation B.W. Bastian Foundation R. Harold Burton Foundation Marie Eccles Caine Foundation-Russell Family Caffé Molise Cultural Vision Fund Discover Greenberg Traurig

Richard K. & Shirley S. Hemingway Foundation Kulynych Family Foundation II, Inc. Morgan Stanley Park City Chamber / Visitors Bureau Regence BlueCross BlueShield of Utah The Joseph & Evelyn Rosenblatt Charitable Fund

Salt Lake City Arts Council St. Regis / Deer Crest Club** The Swartz Foundation The Clark L. Tanner Foundation W. Mack & Julia S. Watkins Foundation

Every Blooming Thing* Henry W. & Leslie M. Eskuche Charitable Foundation The Fang Family Foundation Goldman Sachs & Co. LLC Grandeur Peak Global Advisors The Val A. Green & Edith D. Green Foundation Victor Herbert Foundation Holland & Hart Hotel Park City / Ruth’s Chris Restaurant* Hyatt Centric Park City J. Wong’s Thai & Chinese Bistro* Lee’s Marketplace*

Millcreek Coffee Roasters* Ray, Quinney & Nebeker Foundation Raymond James Financial Rocky Mountain Power Foundation Ruth’s Chris Steak House* Snell & Wilmer Snow, Christensen & Martineau Foundation Sidney Stern Memorial Trust Swire Coca-Cola* Squatters Pub Brewery* Utah Autism Foundation Utah Symphony Guild Y2 Analytics*

$1,000 TO $9,999 Anonymous [2] Altabank Bank of America Berkshire Hathaway Home Services Bertin Family Foundation Berenice J. Bradshaw Trust Rodney H. & Carolyn Hansen Brady Charitable Foundation Castle Foundation CBRE City Creek Center City of Orem David Dee Fine Arts Deer Valley Resort* Spencer F. & Cleone P. Eccles Family Foundation

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ADMINISTRATION ADMINISTRATION Steven Brosvik

Erin Marr

David Green

Ellesse Hargreaves

President & CEO

Donor Engagement (DVMF) & Special Events Coordinator

Senior Vice President & COO

Stewardship & Event Coordinator

Thomas Paden

Director of Human Resources & Organizational Culture

OPERA ARTISTIC Christopher McBeth

Executive Assistant to the CEO

Carol Anderson

Julie McBeth Ellen Lewis

Executive Assistant to the Senior V.P. & COO & Office Manager

SYMPHONY ARTISTIC Thierry Fischer

Genevieve Gannon

Michaella Calzaretta Opera Chorus Master

Ashley Tingey

Kelly Nickle

Andrew Williams

Orchestra Personnel Manager

Lance Jensen

Executive Assistant to the Music Director & Symphony Chorus Manager

Sales Manager

Director of Production

Opera Technical Director

Director of Orchestra Personnel

Mara Lefler

Janae Graham

Michelle Peterson

OPERA TECHNICAL Ben Ramos

Walt Zeschin

Marketing Manager - Patron Loyalty

Principal Coach

Vice President of Artistic Planning Symphony Chorus Director

Merry Magee

Andrew J. Wilson

Production Coordinator

Barlow Bradford

Director of Patron Engagement

Opera Artistic Director

Symphony Music Director

Robert Neu

PATRON SERVICES Faith Myers

Properties Master

Patron Services Manager Patron Services Assistant Manager Group Sales Associate

Alicia Ross Val Tholen

Sales Associates

Lorraine Fry Naomi Newton Ian Painter Ananda Spike Ticket Agents

Scenic Charge Artist

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

COSTUMES Cee Cee Swalling

Mike Lund

Dusty Terrell

Vice President of Finance & CFO

Costume Director

Director of Information Technologies

Costume Stock & Rentals Manager

Controller

First Hand

Payroll & Benefits Manager

Tailor

Patron Information Systems Manager

Verona Green

Melanie Giles

Amanda Reiser Meyer

Alison Mockli

Milivoj Poletan

Jared Mollenkopf

Chip Dance

Tiffany Lent

Kyle Siedschlag

Cutter/Draper

Accounts Payable Specialist

Jeff F. Herbig

Donna Thomas

Milliner & Crafts Artisan

EDUCATION Paula Fowler

Artist Logistics Coordinator

Wardrobe Supervisor & Rentals Assistant

Kyleene Johnson

2 Assistant Stage Manager

Rentals Assistant

SYMPHONY OPERATIONS Cassandra Dozet Director of Orchestra Operations

Melissa Robison

Program Publication & Front of House Director Production & Stage Manager Properties Manager & Assistant Stage Manager

Lyndsay Keith

Nyssa Startup

Robyne Anderson

LisaAnn DeLapp

DEVELOPMENT Leslie Peterson

MARKETING & COMMUNICATIONS Jon Miles

Vice President of Development

Jessica Proctor

Vice President of Marketing & Public Relations

Heather Weinstock

Director of Communications

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

Director of Education & Community Outreach Symphony Education Manager

Anna Atkinson

Opera Education Assistant

Paul Murphy

Symphony Education Assistant

Meredith Kimball Laing Kathleen Sykes

Content & Social Media Manager

Katie Swainston

Robert Bedont

Individual Giving Manager

Marketing Manager - Audience Development

Lisa Poppleton Grants Manager

Nina Starling

Dallin Mills

Development Database Manager

Website Content Coordinator

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

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YOUR GIFT WILL HAVE AN EVEN GREATER IMPACT

Want your gift to Utah Symphony | Utah Opera to go even further? Now is the a to give, thanks to a generous $500,000 matching challenge grant from the George S. and Dolores Doré Eccles Foundation. This challenge grant means that all new or increased contributions from now through May 1, 2022, will be equally matched, up to $500,000. The Foundation’s leadership acknowledged USUO’s thoughtful strategies “to remain active and viable during such an unprecedented year.” We are so very grateful to the Foundation and to you—our loyal supporters—for allowing us to look to the future with optimism

Please consider helping us meet the Foundation’s challenge! Gifts or cash, distributions from an IRA, or distributions from a Donor Advised Fund will all count toward the goal. For more information, please call 801-869-9015.

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TANNER AND CRESCENDO SOCIETIES

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

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

TANNER SOCIETY OF UTAH SYMPHONY

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

Mahler Circle

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

Anne C. Ewers 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

Turid V. Lipman 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 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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Leave a Legacy. Ensure the future. MAKE A PLANNED GIFT TODAY Utah Symphony | Utah Opera is grateful to all those who help provide for the future of great live music in our community by including USUO in their financial and estate planning. If the pandemic has caused you to think about your legacy and instilled a desire to share what you love with generations to come, please join USUO’s Tanner and Crescendo Societies. Contact our development department or go online for more information about how to quickly and easily designate USUO as a beneficiary of your will, retirement account, life insurance policy, or if you have any other questions.

Find out more: 801-869-9012 | usuo.giftplans.org

Join Us! Please join us on the Utah Symphony Guild Proudly supporting the Utah Symphony for 64 years!

The Guild supports: Gift Shop, Utah Symphony Youth Guild, Outreach Violin Program,Finishing Touches

w w w.u ta hs ym p h o n y g u i l d.o r g

ACKNOWLEDGMENTS

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

Collette Cook 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

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Struck, Salt Lake City / Portland

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

Photo Credit: Austen Diamond

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CONTRIBUTE TO UTAH SYMPHONY | UTAH OPERA

DID YOU KNOW THAT TICKET SALES ONLY SUPPORT 33% OF OUR ANNUAL OPERATING COSTS?

As a 501c(3) non-profit, Utah Symphony | Utah Opera relies on a combination of private and public support to fulfill our mission to connect the community through great live music. Now more than ever we are witness to the power of music to help lift our communal spirit and bring us joy. A contribution in any amount supports USUO in providing music education in every school district in Utah, achieving artistic excellence on stage, and making music accessible to all to ensure that the power of music will continue to play a vital role in our community.

MAKE A DONATION ONLINE AT USUO.ORG/GIVE OR BY CALLING 801-869-9001

JOIN ABRAVANEL AND PETERSON SOCIETIES With a $2,500 tax-deductible contribution, you can enjoy the benefits of our exclusive Utah Symphony Abravanel Society or Utah Opera Peterson Society. A $5,000 contribution provides access to both societies. FIND OUT MORE 801-869-9001 | USUO.ORG/SUPPORT-LIVE-MUSIC/DONOR-BENEFITS

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We’re proud to support the Utah Symphony. Your dedication to excellence inspires our own.