Stravinsky’s Pulcinella with Pergolesi’s Stabat Mater by Mills Publishing Inc.

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CONTENTS

TONIGHT’S CONCERT

Welcome

Utah Symphony

Board of Trustees

Season Sponsors

Donors

Administration

Planned Giving

Tanner & Crescendo Societies

STRAVINSKY’S PULCINELLA WITH PERGOLESI’S STABAT MATER

Utah Symphony Guild

MARCH 24–APRIL 23, 2021

Education

Acknowledgments

ARTISTS’ PROFILES

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

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

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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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UTAH SYMPHONY Thierry Fischer, Music Director

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

Barlow Bradford Symphony Chorus Director

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Jeff Luke

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Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara

Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda-Scott BASSOON Lori Wike

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Llewellyn B. Humphreys Brian Blanchard Stephen Proser

• First Violin •• Second Violin

* String Seating Rotates † On Leave

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HARP Louise Vickerman

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

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LIBRARIANS Clovis Lark Principal

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

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ON DEMAND SERIES

STRAVINSKY’S PULCINELLA WITH PERGOLESI’S STABAT MATER MARCH 24–APRIL 23, 2021

Thierry Fischer, conductor Julia Gershkoff, soprano Edith Grossman, mezzo-soprano Daniel O’Hearn, tenor Seth Keeton, bass-baritone

PERGOLESI

SELECTIONS FROM STABAT MATER

1. Stabat mater dolorosa 2. Cuius animam gementem 3. O quam tristis afflicta 4. Quae maerebat et dolebat 8. Fac, ut ardeat cor meum 9. Sancta mater, istud agas 11. Inflammatus et accensus 12. Quando corpus morietur & Amen

STRAVINSKY

PULCINELLA

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ARTISTS’ PROFILES

I am incredibly grateful to be able to return to creating music with the Utah Symphony in Abravanel Hall. For a Symphony, experiencing sounds together with a live audience is essential to provide messages of hope, unity and solidarity. With these first short concerts since the pandemic began, we want to evoke and symbolize alternately the quality of traditional world repertoire as well as music representing America’s diverse culture.

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

For Masterworks 1, we hope that on top of the treasures of Tchaikovsky’s Serenade for Strings, choosing to open the season with Fela Sowande’s Joyful Day before Samuel Barber’s Adagio can describe, express and embody black American culture, as well as pay tribute to those who have been lost in this difficult year and to those who are still suffering. For MW2, we will open the concert with the irrepressible joy and inexhaustible source of energy of the Brandenburg Concerto No. 3, paired with Schoenberg’s Transfigured Night in the first part of the concert. We then will conclude with three very creative American composers representing our percussion, woodwind and brass sections. Thank you for joining us for these concerts and for supporting Utah Symphony | Utah Opera. See you very soon for our 2020–21 “surprise” season.

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ARTISTS’ PROFILES

Julia Gershkoff is an American soprano from little Rhode Island. She is a recent graduate of the University of Southern California, where she received her M.M. in Vocal Arts and Opera while working with Elizabeth Hynes. Due to COVID-19, many of Julia’s engagements were unfortunately canceled, such as; singing Diana/Giove as Diana in La Calisto by Cavalli in the Spring of 2020 at USC, as well as Camila in the west coast premiere of Pepito by Nicolas Benavides. In the Summer of 2020, Julia would have covered Hilda Mack in Elegy for Young Lovers by Hans Henze at Wolf Trap Opera as a Studio Artist. She attended a shortened version of Wolf Trap Opera where she performed in scenes as Gretel from Hänsel und Gretel, Despina from Così fan tutte, and Ginevra from Ariodante. Roles Julia most recently performed include Susanna in Le nozze di Figaro at USC, Joan of Arc in The Maid of Orleans at the Russian Opera Workshop, and Pamina in Die Zauberflöte at Mark Oswald’s Summer Program. She sang her first operatic role as Servilia in La clemenza di Tito at Ithaca College, where she received her B.M. in Vocal Performance while working with Marc Webster.

Julia Gershkoff Soprano

Julia is thrilled to join Utah Opera as a Resident Artist for the 2020–21 season.

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ARTISTS’ PROFILES

Edith Grossman Mezzo-soprano

Opera, operetta, musical theater; mezzo-soprano Edith Grossman does it all. She joins the Utah Opera this season as a Resident Artist and was featured in select performances of The Human Voice in October 2020. Before joining Utah Opera, she created the role of Rachel in the world premiere of Jake Heggie and Gene Scheer’s If I Were You with the Merola Opera Program. In Merola’s Grand Finale, she shined as Hélène in an excerpt from La belle Hélène at the San Francisco War Memorial Opera House. Her opera experiences include Falstaff (Meg) with Crested Butte Music Festival, La Cenerentola (Tisbe) with Merola Opera Company, Le nozze di Figaro (Cover: Marcellina) with Opera Saratoga, Suor Angelica (The Abbess/Monitor) and the world premiere performance of In a Mirror, Darkly (Elaine) both with the Crane Opera Ensemble. With an expertise in the annals of classical musical theatre, her roles have ranged from Eliza Doolittle to Julie Jordan. Edith is equally adept at contemporary material, including Cats (Grizabella) and most recently, Ordinary Days (Claire). Edith is a graduate of the Crane School of Music at SUNY Potsdam with a B.M. in Vocal Performance.

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ARTISTS’ PROFILES

Daniel O’Hearn is an emerging operatic tenor from Tinley Park, Illinois, a suburb of Chicago. He joins the Utah Opera this season as a Resident Artist and was featured in select performances of Gentleman’s Island as Mr. Gray in October 2020. In June of 2020, he graduated with a master of music performance from DePaul University’s School of Music in Chicago, IL, where he studied with tenor, Scott Ramsay. He most recently appeared in the university’s operatic productions of Britten’s arrangement of Gay’s The Beggar’s Opera as Captain Macheath, and Cavalli’s L’Egisto as Egisto. In addition to his operatic work, Mr. O’Hearn has also performed as a soloist in a number of classical concert works in the Chicagoland area. Recently, he has performed in Handel’s Messiah with the Chicago Bar Association Symphony Orchestra & Chorus, and in Beethoven’s Symphony No. 9 with the DePaul Community Chorus. Mr. O’Hearn has also competed in several singing competitions, earning an encouragement award at the Metropolitan Opera National Council’s 2019 Central Region Finals, winning the 2019 American Prize from Oratorio Society of Chicago, and placing first in DePaul University’s School of Music’s 2019 Kleinman Competition.

Daniel O’Hearn Tenor

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NOTES ON THE PROGRAM

Bass-baritone, Seth Keeton’s performances have been described by The New York Times as “driven” and “emotionally pointed.” He has performed roles on the stages of The Minnesota Opera, Glimmerglass Opera, Ft. Worth Opera, Central City Opera, Arizona Opera, Indianapolis Opera, Austin Lyric Opera and Opera Omaha, Chautauqua Opera, Mill City Summer Opera, and Theater Bremen in Bremen, Germany.

Seth Keeton Bass-baritone

As an oratorio singer, Keeton has appeared in concert as the bass soloist in Mozart’s Requiem, Verdi’s Requiem, Brahms’ Ein Deutsches Requiem, Bach’s Magnificat and St. Matthew and St. John Passions, Haydn’s Creation, and Beethoven’s 9th Symphony. In 2006, he was a national finalist in the Metropolitan Opera National Council Auditions and has received awards from the Sullivan Foundation and the Eleanor McCollum Competition. In art song and in recital, Keeton’s creative expression takes many forms, and he delights in creating unusual song recitals for himself and his students. He has presented musical experiences in interesting settings such as an outdoor recital celebrating and hosting animals, and an evening of British song in the University of Utah Museum of Fine Arts during a visiting exhibition of British landscape paintings. As a performer he presents tightly knit recitals, singing pieces in unique combination and often including rarely performed works. As a scholar Keeton is working to create an online song index that will make it easy to find related song repertoire. This index will become an essential reference, helping singers and pianists find forgotten song repertoire as well as discover new vocal works. Mr. Keeton received his Doctorate of Musical Arts in Vocal Performance from the University of Minnesota and is an Assistant Professor of Voice at the University of Utah School of Music. He lives in Salt Lake City with his wife, Angie and son, Miles.

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NOTES ON THE PROGRAM Giovanni Battista Pergolesi (1710–1736)

Selections from Stabat Mater Precious little of Giovanni Pergolesi’s music survives today, and there wasn’t much of it to begin with—considering that he died at the tragically young age of 26. But what we do know of his creative output is tinged with mystery and even a hint of glamor. Music historians agree that Pergolesi is the first example in European classical music of a composer whose greatness was not fully discovered until many years after his death. By the time his reputation and his music were rescued from obscurity, much of both had been lost. Today he is esteemed for two works in particular: the brashly witty opera La serva padrona (“The ServantMistress”) and the beautiful Stabat Mater. Biographical notes on Pergolesi’s life resemble those for any number of composers whose careers flared brightly only to be extinguished too soon. He was born in the Italian town of Iesi. His father, a surveyor, was sufficiently wellconnected to assure his talented son a good musical education and opportunities for commissions after graduation. But his talent proved even more important, earning him a substantial operatic commission before he was out of conservatory. By age 26, when he succumbed to what is believed to have been a respiratory illness (probably tuberculosis), he had established himself as an important figure in the development of 18th-Century Italian opera. The story might have ended with his untimely death in 1736, except that the rediscovery of his delightful La serva padrona posthumously re-ignited Pergolesi’s fame, which then UTAHSYMPHONY.ORG

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By Micheal Clive

ascended to heights that the composer had not known in life. In France, where the opera was published in 1752 and later revived in an adaptation called La servante maîtresse, Pergolesi’s brief comedy (composed as an “intermezzo opera”, it’s scarcely twenty minutes long) became cannon fodder in a kind of operatic trade war. Opera buffs will recall that Donizetti’s La fille du regiment had also sparked protests by partisans of musical style at its premiere in Paris in 1840. Guardians of authentic French-ness in music, including Berlioz, were incensed. Were there not equally fine comic operas by French composers? Frankly, the answer was no. Pergolesi’s opera, as Helmut Hucke notes in the 1980 edition of The New Grove Dictionary of Music and Musicians, is a work of “true genius.” At that particular moment, native-born practitioners of French operatic comedy were not composing at that level. Pergolesi’s Stabat Mater is further proof of his genius, and, like La serva padrona, it became enormously popular. The text of the Stabat Mater is a depiction of Mary sorrowfully watching her son die on the cross, and Pergolesi’s rendering combines the melodic richness and grace of his operas with a depth and maturity befitting its solemn religious subject. It was composed in the last year of the composer’s life, and it is likely that Pergolesi, who had always suffered from ill health and whose only siblings had died in childhood, was contemplating his own mortality with each note. But while the score abjures the buffo conventions of his operas, it is far from austere; instead, it has a vibrancy that vivifies its religious themes. The scoring, for two vocal soloists and string orchestra, is identical to that for the Stabat Mater of Alessandro Scarlatti, suggesting that both were composed for one of the innumerable musical competitions of the time. 21

NOTES ON THE PROGRAM Critics consider the Stabat Mater to be Pergolesi’s greatest surviving composition. First published in London in 1749, it became the most frequently printed musical work of the 18th Century in Europe. Igor Stravinsky (1882—1971)

Pulcinella It’s possible that composer Igor Stravinsky and conductor Ernest Ansermet were victimized by overzealous Pergolesi enthusiasts when they collaborated on the score for Pulcinella. The musical source material for the ballet, first attributed to Pergolesi, turns out to have clouded origins—probably other Baroque composers. But does that really matter? Whatever its sources, the music for Pulcinella is vintage Stravinsky above all, and it is brilliant. It is also decorous, elegant, and classically proportioned. These are adjectives that no one expected to describe a work by Stravinsky in 1919, just five years after the revolution he fomented with his thunderous Sacre du printemps; in fact, Stravinsky himself was skeptical at first. Ernest Ansermet had been approached by impresario Serge Diaghilev to serve as music director for his latest brainchild: a ballet based on an 18th-Century play, Quatre Polichinelles semblables (“Four Identical Pulcinellas”) in the commedia dell’arte tradition. It was Diaghilev who found the musical sources in Naples and London, where then-current scholarship credited them to Giovanni Pergolesi. Though time has since cast doubt on their attribution, they are gorgeous, and in Stravinsky’s hands they glitter like diamonds. The sophisticated rhythms, cadences and harmonies are distinctively Stravinsky’s. Writing for the authoritative The New Grove in 1980, Eric Walter White and Jeremy Noble 22

chose not to dwell on either Stravinsky’s initial resistance or the question of musical authenticity, noting “Stravinsky obviously fell in love with the Pergolesi pieces that had been put at his disposition; and the resultant ballet Pulcinella was a great success when produced at the Paris Opéra (15 May 1920).” We’ll call that British understatement. This was a level of creativity twhat made Paris in the Twenties legendary: Diaghilev’s storied Ballets Russes in an inspired new ballet with costumes and sets by Pablo Picasso, choreography by Leonid Massine, and music by Stravinsky. Pulcinella inaugurated what came to be known as Stravinsky’s neo-classical period. As the composer himself wrote, “Pulcinella was my discovery of the past, the epiphany through which the whole of my late work became possible. It was a backward look, of course—the first of many love affairs in that direction—but it was a look in the mirror, too.” In later years, the touchstone for Stravinsky’s profoundly modern neo-classicism was his reverence for the music of Joseph Haydn. The story of Pulcinella presents recognizable commedia dell’arte archetypes and situations. Its saucy soubrettes toy with suitors who are ambitious and lovesick by turns. The scenario enfolds three romantic couples and two protective fathers in a single act divided into 21 sections and as many complications, pranks and disguises. After bouts of jealous scheming and mistaken identity, all is resolved in a triple wedding. Pulcinella is scored for a chamber orchestra with three vocal soloists: soprano, tenor and bass. Stravinsky revised the score in 1965, and also arranged it as an orchestral suite without vocal parts, but the full ballet score with vocal soloists works marvelously when presented in concert. UTAHSYMPHONY.ORG

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INDIVIDUAL DONORS

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Daniel & Noemi P. Mattis Tom & Janet McDougal David & Nickie McDowell George & Nancy Melling Brad Merrill John Mertens Mr. & Mrs. Richard Mithoff Ruth & William Ohlsen Dr. S. Keith & Barbara Petersen Ray Pickup

Gregory & Ann Robison Marilynn Roskelley & Paul Dorius Mark & Loulu Saltzman Margaret P. Sargent Shirley & Eric Schoenholz Dewelynn & J. Ryan† Selberg Mary & Doug Sinclair Jeffrey Starr Paul Taylor

Denise Torrisi Thomas† & Caroline Tucker Peter Margulies & Louise Vickerman Susan & David† Wagstaff Susan Warshaw Robert R. & Sue A. Webb Dan & Amy Wilcox David & Jerre Winder

PATRON ($1,500 TO $2,499) Anonymous (3) Fran Akita C. Kim & Jane Blair Mr. & Mrs. Lee Forrest Carter Mr. & Mrs. Fred L. Carter, Jr. William J. Coles & Joan L. Coles David & Karen Gardner Dee Michael Deputy Lawrence Dickerson & Marcela Donadio Margarita Donnelly Dr. Paul Dorgan

Thomas Fuller Dr. & Mrs. John Greenlee C. Chauncey & Emily Hall Christine St. Andre & Cliff Hardesty E. Art Woolston & Connie Jo Hepworth-Woolston Connie C. Holbrook Gordon Irving Bryce & Karen† Johnson Carl & Gillean Kjeldsberg Heidi & Edward Makowski Clifton & Terri McIntosh Warren K†. & Virginia G. McOmber

Joe Mulvehill Kenneth Roach & Cindy Powell Dr. Barbara S. Reid Frances Reiser Susan Rothman Janet Schaap Mr. August L. Schultz Thomas & Gayle Sherry Douglas & Susan Terry Astrid S. Tuminez Dr. Ralph & Judith Vander Heide John & Susan Walker Frank & Janell Weinstock

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INDIVIDUAL DONORS

FRIEND ($1,000 TO $1,499) Anonymous (5) Madeline Adkins & John Forest Jim Alexander Christine A. Allred Clayton Anderson Dr. & Mrs. Jeffrey L. Anderson Pj Aniello Drs. Crystal & Dustin Armstrong Ian Arnold Curtis Atkisson, Jr. Mr. & Mrs. Lawrence R. Barusch Diane Banks Bromberg & Dr. Mark Bromberg Kevin Burdette Michael Carnes Dana Carroll & Jeannine Marlowe Carroll Michael & Beth Chardack William & Patricia Child Dr. & Mrs. David Coppin David & Carol Coulter Sandra Covey† Dorothy B. Cromer David & Donna Dalton James Dashner Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Alice Edvalson Eric & Shellie Eide Larry Gerlach Bob & Mary Gilchrist Ralph & Rose Gochnour Kenneth & Amy Goodman Mr. Keith Guernsey John & Ilauna Gurr Dr. Elizabeth Hammond

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Geraldine Hanni Jonathan Hart Lex Hemphill & Nancy Melich Craig & Tiffany Hess Peggy Hudson Stephen Irish Thomas Jacobson Eldon Jenkins & Amy Calara Chester & Marilyn Johnson Jill Johnson James R. Jones & Family Mr. & Mrs. Bruce M. Lake Gary Lambert Guttorm & Claudia Landro Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Harrison & Elaine Levy Julie & John Lund Miriam Mason & Greg Glynis MS. Mary Pat McCurdie Edward J. & Grace Mary McDonough MR. Jeffrey McNeal David Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville Hal & JeNeal Miller Drs. Jean & Richard R. Miller Henriette Mohebbizadeh Glenn & Dav Mosby Sir David Murrell IV & Mary Beckerle Renate B. Nebeker Ruzena Novak Dr. & Mrs. Richard

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T. O’Brien Lee K. Osborne Joseph J.† & Dorothy Moyle Palmer Dr. Marzia Pasquali & Ms. Nicola Longo Linda S. Pembroke Rori & Nancy Piggott Charles R. Pikler Arthur & Susan Ralph W.E. & Harriet R. Rasmussen Gina Rieke Lousje & Keith Rooker Miguel Rovira David & Lois Salisbury Brent & Jan Scharman James & Janet Schnitz Barbara Slaymaker Jerilyn McIntyre & David Smith Sheryl & James Snarr Dr. & Mrs. Michael H. Stevens Richard and Shannon Straight Richard & Janet Thompson Kenneth Uy David H. & Barbara S. Viskochil Dr. James C. Warenski Renee Waters Cindy Williams Mary Ann & Charles Williams Margaret & Gary Wirth David B. & Anne Wirthlin Marsha & Richard Workman Paul Wright

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

Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation Kenneth† & Jerrie Randall

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

GIFTS MADE IN HONOR Marie Nelson Bennett Neill & Linda Brownstein Peggy Chase Dreyfous Paula Fowler Kem Gardner

Burton & Elaine Gordon Barbara Scowcroft & Ralph Matson Matthew & Maria Proser Pat Richards

Bill & Joanne Shiebler Grant Gill Smith Dale Strobel Whittney Thomas J. Brian Whitesides

GIFTS MADE IN MEMORY Dennis Austin Jay T. Ball Dawn Ann Bailey Betty Bristow Robert H. Burgoyne, M.D. Doris Macfarlane Corry Kathie Dalton Dr. James Drake Robert Ehrlich William K. Evans, Jr. Crawford Gates Lowell P. Hicks Jamila Janata 30

Dr. Gary B. Kitching M.D. Harry Lakin Julia Lawrence Frank & Maxine McIntyre Warren K. (Sandy) McOmber Clyde Dennis Meadows Dr. Richard George Middleton Mary Muir Mary E. Nelson Jack Newton Richard Perkins

Glade & Mardean Peterson Rhoda Ramsey Richard Reiser Norman B. Ross Shirley Corbett Russell J. Ryan Selberg Venice Shields Ann O’Neill Shigeoka, M.D. Robert C. Sloan Dorotha Smart Barbara Tanner Maxine Winn

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INSTITUTIONAL DONORS We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from July 1, 2019 to September 29, 2020. USUO’s 2020–21 season is funded in part by the CARES Act and the Utah State Legislature through Utah Arts & Museums. * in-kind donation

** in-kind & cash donation

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

Emma Eccles Jones Foundation Larry H. & Gail Miller Family Foundation John & Marcia Price Foundation O.C. Tanner Company Salt Lake County Shiebler Family Foundation Sorenson Legacy Foundation

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

Kahlert Foundation League of American Orchestras

Grand America Hotel* William Randolph Hearst Foundation

Goldman Sachs Janet Q. Lawson Foundation Frederick Q. Lawson Foundation Love Communications* McCarthey Family Foundation Nora Eccles Treadwell

Foundation Charles Maxfield & Gloria F. Parrish Foundation Moreton Family Foundation Schmidt Family Foundation Simmons Family Foundation Struck* Utah Office of Tourism

$50,000 TO $99,999 Anonymous AHE/CI Trust Dominion Energy

$25,000 TO $49,999 Arnold Machinery Brent & Bonnie Jean Beesley Foundation Carol Franc Buck Foundation Cache Valley Electric Chevron Corporation C. Comstock Clayton Foundation

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INSTITUTIONAL DONORS

$10,000 TO $24,999 Anonymous B.W. Bastian Foundation Bank of America Caffé Molise* HJ & BR Barlow Foundation Johnson Foundation of the Rockies Marie Eccles Caine FoundationRussell Family Matthew B. Ellis Foundation

Onstage Ogden Orange County Community Foundation Park City Chamber / Visitors Bureau Promontory R. Harold Burton Foundation Regence Blue Cross Blue Shield Richard K. & Shirley S. Hemingway Foundation

S.J. & Jessie E. Quinney Foundation The Christian V. & Lisa D. Young Family Foundation The Joseph & Evelyn Rosenblatt Charitable Fund Summit Sotheby’s WCF Insurance W. Mack & Julia S. Watkins Foundation

M Lazy M Foundation Microsoft Corporation Millcreek Coffee Roasters* Morris Murdock Travel Orem City CARE Tax Park City Community Foundation Rancho Market Ray, Quinney & Nebeker Foundation Raymond James & Associates Robert S. Carter Foundation Rocky Mountain Power Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Rotary Club of Salt Lake Salt Lake City Arts Council

Snow, Christensen & Martineau Foundation Spitzberg-Rothman Foundation Summerhays Music Center Tesoro Petroleum Corporation Texas de Brazil* The Fanwood Foundation Western Office The Val A. Green & Edith D. Green Foundation US Bank Utah Autism Foundation Victor Herbert Foundation

$1,000 TO $9,999 AC Hotel Salt Lake City/Downtown* Adib’s Rug Gallery Bambara* Bertin Family Foundation Better Days CBRE City Creek Center Corning Incorporated Foundation D’Addario Foundation David Dee Fine Arts Grandeur Peak Global Advisors Henry W. & Leslie M. Eskuche Charitable Foundation Holland & Hart J. Wong’s Thai & Chinese Bistro*

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ADMINISTRATION ADMINISTRATION Steven Brosvik

DEVELOPMENT Leslie Peterson

PATRON SERVICES Faith Myers

David Green

Jessica Proctor

Merry Magee

Olivia Custodio

Mara Lefler

Heather Weinstock

Andrew J. Wilson

President & CEO

Vice President of Development

Senior Vice President & COO

Julie McBeth

Executive Assistant to the CEO

Collette Cook

Executive Assistant to the Sr. VP and COO & Office Manager

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

SYMPHONY ARTISTIC Thierry Fischer

Lisa Poppleton

Anthony Tolokan

Development Operations Manager

Grants Manager

Symphony Music Director

Nikki Orlando

Vice President of Symphony Artistic Planning

Ellesse Hargreaves

Development Assistant

Conner Gray Covington

Associate Conductor & Principal Conductor of the Deer Valley® Music Festival

OPERA ARTISTIC Christopher McBeth Opera Artistic Director

Barlow Bradford

Carol Anderson

Walt Zeschin

Michelle Peterson

Andrew Williams

Michaella Calzaretta

Lance Jensen

OPERA TECHNICAL Jared Porter

Symphony Chorus Director

Principal Coach

Director of Orchestra Personnel

Director of Production

Orchestra Personnel Manager

Opera Chorus Master

Executive Assistant to the Music Director & Symphony Chorus Manager

Senior Technical Director

SYMPHONY OPERATIONS Cassandra Dozet

Kelly Nickle

Melissa Robison

Properties Master

Director of Patron Engagement Marketing Manager - Patron Loyalty Sales Manager

Patron Services Manager

Hallie Wilmes

Patron Services Assistant

Genevieve Gannon

Group Sales Associate

Jenna O’Dell Sarah Pehrson Powell Smith Sales Associates

Nicholas Barker Lorraine Fry Ellen Lewis Naomi Newton Ian Painter Talia Ricci Ananda Spike Ticket Agents

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Tyson Montoya

Director of Orchestra Operations

Dusty Terrell

Scenic Charge Artist

Controller

Program Publication & Front of House Director

COSTUMES Verona Green

Payroll & Benefits Manager

Chip Dance

Costume Director

Production & Stage Manager

Amanda Reiser Meyer

Kate Henry

Wardrobe Supervisor

Operations Manager

Milivoj Poletan

Jeff F. Herbig

Properties Manager & Assistant Stage Manager

Lyndsay Keith

Artist Logistics Coordinator

Robyne Anderson

2 Assistant Stage Manager nd

Tailor

Tiffany Lent

Cutter/Draper

Donna Thomas

Milliner & Craftsperson

MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations

Alison Mockli

Kyle Siedschlag

Accounts Payable Specialist

Jared Mollenkopf

Patron Information Systems Manager

EDUCATION Paula Fowler

Director of Education & Community Outreach

Kyleene Johnson

Symphony Education Manager

Annie Jones

Symphony Education Assistant

Kathleen Sykes

Digital Content Producer

Robert Bedont

Marketing Manager - Audience Development

Nina Starling

Website Content Coordinator

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

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PLANNED GIVING

SUPPORT GREAT LIVE MUSIC IN OUR COMMUNITY WITH A GIFT TO THE ANNUAL FUND Please join our wonderful Utah Symphony | Utah Opera family of donors who sustain great live music in our community. As a 501(c)(3) non-profit organization, USUO is thankful for your generosity that supports our musicians, singers, artisans, crew and staff. Your gift now will make an impact as we plan for the future. The CARES Act has enacted new rules around charitable giving. The bill makes a new charitable deduction available for up to $300 per taxpayer, regardless of whether you itemize your deductions. Furthermore, if you do itemize, you may elect to deduct qualified contributions of up to 100% of your adjusted gross income in 2020. Please consult your tax advisor or financial planner to determine the impact of CARES Act changes on your personal tax situation.

CONSIDER USUO IN YOUR ESTATE PLANNING We never know what the future holds, but our eyes have been opened to how crucial planning ahead is. The pandemic has caused many of us to contemplate our legacy, assess our priorities, and plan for the future. Perhaps now more than ever, we recognize how important and meaningful it is to have a place where we can gather as a community to be uplifted and inspired by great music. If you want to ensure the future legacy of Utah Symphony | Utah Opera for future audiences to enjoy, please include USUO in your estate planning.

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TANNER AND CRESCENDO SOCIETIES

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

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

TANNER SOCIETY OF UTAH SYMPHONY

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

Mahler Circle

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

Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane Miner Glenn Prestwich Kenneth A.† & Jeraldine S. Randall Mr.† & Mrs. Alvin Richer

Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffery & Joyce Smith G.B. & B.F. Stringfellow Norman† & Barbara† Tanner Mr. & Mrs. M. Walker Wallace

Herbert C. & Wilma Livsey Dianne May Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn

Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart Frederic & Marilyn† Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser

CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage

Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean† Henkels Edward R. Ashwood & Candice A. Johnson Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Richard W. & Frances P. Muir Marilyn H. Neilson

Carol & Ted Newlin Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Jeffrey W. Shields G.B. & B.F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser †Deceased

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UTAH SYMPHONY GUILD OUR MISSION

Because we believe great music can elevate the human spirit, the purpose of the Guild is to foster, promote, and facilitate the operation of the Utah Symphony Orchestra financially, socially, and educatonally. It is our honor to maintain a gift shop throughout the year which raises funds for our orchestra. We have added all our available items to the “online store” and all proceeds go to USUO. We will continue adding events as social distancing requirements allow to aid in rasing funds for our great orchestra. We will sponsor the Youth Guild and outreach violin lessons again this season, and we appreciate your ongoing support of these important community programs. To join or renew your membership in the guild you may go to our web page and fill out the new members information. www.utahsymphonyguild.org Carolyn Abravanel Eva-Maria Adolphi Wendy Ajax Fran & Tom Akimoto Georgia L. Anderson Reva Anderson Margaret Anderson Wirth Linda Babcock Brenda Bailey William Scot Barraclough & Tom D. Camomile Dominic Barsi Randy & Jeni Bathemess Jean E. Barton Charmaine Bauer Suzanne & Clisto Beaty Maxine Beckstead Karol Behling Janet Bennett Heather Benson Eve Bertran-Hales & Don Hales Joan Blanck Rose Marie Breinholt Chip & Anne Browne Nancy Browning & Michael Homer Mary Ellen B. Caine Akemi Call Gertrud Carpenter

Mary A. Carter Renee Christensen Cecile Christiansen Lynne Church Dianne Clark Doyle Clayburn Melou Cline Beth & Boyle Cole Kathleen Coon Peggy Cordon Marcia Cowley-Keen Janet Cox Tom Cox Carolyn Creek-McCallister Susan L. Croft Wendy & John Crossman Kathryn C. Culbertson Robert & Caprene Curtis William and Bonnie Daniloff Frances Darger Marlene Dazley Joyce De Forest & Robert Duke De Forest Laura Diaz Moore Nancy Dietzler Amy Dixon Carol Elliott Judy Emery Jennifer Fairbourn Rosemary Fairbourn

Reece Fawcett Thierry & Catherine Fischer Carolyn Fredin Patricee Annee Gallagher Patricia A. Giovanazzo Marian & Sidney Green Simon Gretsch SandyLee & David Griswold Janet Hales Kathleen Hall Laurie Hallam Gerry Hanni Shirley M. Hanson Carolee Harmon Nancy Hayes Janet Healy Kristin Hill Sally W. Hodel Kathie & Chuck Horman Rebecca & Stephen Howard Leigh Hutchison Isabella Iasella Mateusz Jagiello Darlene Jenkins Carl Johansen Scott Johnson & Rebecca McGarry Beverly C. Johnson Arlene Jonsson Charlotte Jordan Continued on page 36…

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UTAH SYMPHONY GUILD

Ingrid Kaufman Cynthia Kilian Mary Lynn Kinsel Kathy Knowlton Allison Knudson Martin Krueger Kari Landro Angela Laros Lona Mae Lauritzen Nancy Laursen Liz Le Fevre Nora Linscott Wilma S. Livsey Donna Lyon Susan MacIan Carole & Malcolm MacLeod Jennifer & Gideon Malherbe Heidrun I. Mandy Rebecca Marriott-Champion Tonya Marshall Janice Maughan Maybell McCann Camilla McLaughlin Melissa Robison Ann Mentes Julia & Anna Meredith Henriette Mohebbizadeh Heather Moore Karen Morgan Jill Moriearty Sabra Moyes Renate Baron Nebeker Kent & Denise Nelson Bradley & Laurissa Neuenschwander Sylvia Newton Christine Nickerson

Jean Nielsen Carol Nixon Patti Noel Wilma Odell Delmira & Gary Pactoulick Catherine Paiz Judy Parmelee Barbara Patrick Helen Petersen Ann Petersen Leslie Peterson & Kevin Higgins Marilyn Phillips Mrs. Jane O. Piercey Mary-Margaret Pingree Janis Pope Marilyn Poulsen Sherry Poulson Jeana Quigley Carol & Gunter Radinger Hildegard Rayner Joanne Rich Marilyn Poulsen Gina Rieke Della V. Roberts and Warren Gilmour Lynn Rohland Alene M. Russon Martha Sammond Margaret Sargent Amanda & Jonathan Schmieder Glenda Shrader Nan Sibbett Joyce Skidmore Wilson Dorotha Smart Michele Smith

Dianne R. Smith Rita Smith Donna & Ron Smith Joan J. Smith Janette P. Sonnenberg Carol L. Sonntag Elise Stanley Sandra Steiner Marsh Robert Stephenson & Lisa Byrnes Ramona Sterling Jennifer Stroud Lorraine & Walter Stuecken Joann Svikhart Cayman L. Thomas Deborah Tuttle Shirley Van Wagenen Beth V. Cole and Dr. B. Cole Jenette L. Voss Susan Walles Robert & Tilda Wangerien Miriam H. Waterman Paul & Cynthia Watson Suzanne Weaver Heather Weinstock Susan & Brent Westergard Bonnie White Mr. & Mrs. Frank W. Williams Connie & Glenn Wimer Jerre Winder Pamela Wing Nicole Woodland Ethnie Wright & Hunter Gundersen Betty & Frank Yanowitz Red York Dwan Young

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THANK YOU! During the time when concerts in Abravanel Hall, Capitol Theater, and the Deer Valley Music Festival were cancelled, the Excellence Concert Series featured Utah Symphony and Utah Opera musicians in live streamed concerts from the Gallivan Center. Thank you for featuring our musicians and giving us quality performance opportunities during this difficult time.

ACKNOWLEDGMENTS

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

Melissa Robison HUDSON PRINTING COMPANY www.hudsonprinting.com 241 West 1700 South Salt Lake City, UT 84115 801-486-4611 AUDITING AND ACCOUNTING SERVICES PROVIDED BY

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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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