MENDELSSOHN’S “SCOTTISH” SYMPHONY WITH STRAUSS’ METAMORPHOSEN JANUARY 9–FEBRUARY 7, 2021
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CONTENTS
TONIGHT’S CONCERT
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Welcome
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Utah Symphony
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Board of Trustees
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Season Sponsors
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Donors
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Administration
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Planned Giving
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Tanner & Crescendo Societies
MENDELSSOHN’S “SCOTTISH” SYMPHONY WITH STRAUSS’ METAMORPHOSEN
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Utah Symphony Guild
JANUARY 9–FEBRUARY 7, 2021
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Education
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Acknowledgments
ARTIST’S PROFILE
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Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.
NOTES ON THE PROGRAM
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WELCOME
Throughout history, the arts have helped humanity translate experiences when words alone do not suffice. The arts have been, and continue to be, present when we need them the most. Orchestral music and Opera hold a moment in time and tell rich and moving stories that resonate with new and long-time listeners alike. Music is in our collective past, present, and future.
Steven Brosvik President & CEO
During this unique time in our history, Utah Symphony | Utah Opera has found creative ways to continue connecting our community through great music. Your support helped us initiate safely distanced live performances from September through November, pivot to streamed performances when our venues were closed to live audiences in December, and create new online music education offerings distributed throughout our state via the Utah Education Network. This moment will reaffirm that, even (perhaps especially) in times of turmoil, we all recognize the importance of preserving our access to the arts. This season would not have been possible without the incredible generosity of the community leaders and donors recognized in the donor pages of this program. Another important pillar of our community has stepped forward to help us deepen and broaden our support to ensure that USUO can continue to create great music well into the future. All new and increased contributions received through May 1, 2021, will be matched 1:1 by the George S. and Dolores DorĂŠ Eccles Foundation. With this announcement, the Foundation Trustees express optimism for a bright future filled with uplifting musical experiences, and encourage the community at large to participate with them in supporting Utah Symphony | Utah Opera. Please visit usuo.org/donate to learn more. While our world has changed, the power of music and its vital place in our lives has not. Thank you for joining us today to demonstrate the importance of USUO in your life.
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UTAH SYMPHONY Thierry Fischer, Music Director
The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Associate Conductor
Barlow Bradford Symphony Chorus Director
VIOLIN* Madeline Adkins
Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton
Kathryn Eberle
Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair
Principal The Sue & Walker Wallace Chair
Yuan Qi
Associate Principal
Elizabeth Beilman† Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas CELLO* Matthew Johnson
Ralph Matson†
Associate Concertmaster
Acting Principal The J. Ryan Selberg Memorial Chair
Laura Ha
Andrew Larson
Acting Associate Concertmaster
David Park
Assistant Concertmaster
Claude Halter
Principal Second
Wen Yuan Gu
Associate Principal Second
Evgenia Zharzhavskaya
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VIOLA* Brant Bayless
Acting Associate Principal
John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal
PICCOLO Caitlyn Valovick Moore
TRUMPET Travis Peterson
OBOE James Hall
Jeff Luke
Principal The Gerald B. & Barbara F. Stringfellow Chair
Robert Stephenson Associate Principal
Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara
Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda-Scott BASSOON Lori Wike
Caitlyn Valovick Moore
Llewellyn B. Humphreys Brian Blanchard Stephen Proser
• First Violin •• Second Violin
* String Seating Rotates † On Leave
# Sabbatical †† Substitute Member
Principal The Val A. Browning Chair
Lisa Byrnes
Associate Principal
Principal
Sam Elliot
Associate Principal
BASS TROMBONE Graeme Mutchler
PERCUSSION Keith Carrick
Associate Principal
James Allyn Andrew Keller Edward Merritt Jens Tenbroek Thomas Zera
FLUTE Mercedes Smith
TROMBONE Mark Davidson
Erin Svoboda-Scott
Karen Wyatt•• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Bonnie Terry• Julie Wunderle
Principal
Peter Margulies Paul Torrisi
TIMPANI George Brown
Corbin Johnston
HARP Louise Vickerman
Associate Principal
Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
Assistant Principal Second
Associate Principal
Principal
Principal The Edward & Barbara Moreton Chair
Leon Chodos
Associate Principal
Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Edmund Rollett
Principal
Eric Hopkins
Associate Principal
Principal
Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal
LIBRARIANS Clovis Lark Principal
Katie Klich ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel
Andrew Williams
Orchestra Personnel Manager
Acting Principal
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BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair
David L. Dee* Alex J. Dunn Dr. Julie Aiken Hansen Senator 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 Dr. Shane D. Stowell Naoma Tate Thomas Thatcher W. James Tozer Jr.
Dr. Astrid Tuminez David Utrilla Kelly Ward 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 M. Walker Wallace David B. Winder
John Bates Howard S. Clark Kristen Fletcher
Richard G. Horne Ron Jibson E. Jeffery Smith
Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler
Stanley B. Parrish Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith
Joanne F. Shiebler Chair (Utah)
Susan H. Carlyle (Texas)
Harold W. Milner (Nevada)
David L. Brown (S. California)
Robert Dibblee (Virginia)
Marcia Price (Utah)
Anthon S. Cannon, Jr. (S. California)
Senator Orrin G. Hatch (Washington D.C.)
Doyle L. Arnold* Brian Greeff* Joanne F. Shiebler* Vice Chairs Annette W. Jarvis* Secretary John D’Arcy* Treasurer Steven Brosvik* President & CEO Dr. Stewart E. Barlow Judith M. Billings Gary L. Crocker
MUSICIAN REPRESENTATIVES Kathryn Eberle* Julie Edwards* EX OFFICIO Doyle Clayburn Utah Symphony Guild Nancy Pinto-Orton 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 Lisa Eccles NATIONAL ADVISORY COUNCIL
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*Executive Committee Member
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George S. and Dolores DorĂŠ Eccles Foundation Board of Directors (l to r): Robert M. Graham , Spencer F. Eccles, Lisa Eccles
ON DEMAND SERIES
MENDELSSOHN’S “SCOTTISH” SYMPHONY WITH STRAUSS’ METAMORPHOSEN JANUARY 9–FEBRUARY 7, 2021
Asher Fisch, conductor
R. STRAUSS
METAMORPHOSEN, FOR 23 STRINGS MENDELSSOHN
SYMPHONY NO. 3 “SCOTTISH”
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ARTIST’S PROFILE
A renowned conductor in both the operatic and symphonic worlds, Asher Fisch is especially celebrated for his interpretative command of core German and Italian repertoire of the Romantic and post-Romantic era. He conducts a wide variety of repertoire from Gluck to contemporary works by living composers. Since 2014, Asher Fisch has been the Principal Conductor and Artistic Advisor of the West Australian Symphony Orchestra (WASO). His former posts include Principal Guest Conductor of the Seattle Opera (2007–2013), Music Director of the New Israeli Opera (1998–2008), and Music Director of the Wiener Volksoper (1995–2000).
Asher Fisch Conductor
After returning to conduct the Boston Symphony Orchestra at Tanglewood and the Cleveland Orchestra at the Blossom Festival in August, highlights of Asher Fisch’s 2019–20 season include concerts with the New Zealand Symphony Orchestra and the orchestra of the Teatro Comunale di Bologne. Guest opera engagements include Fidelio and Adriana Lecouvrer at the Teatro Comunale di Bologne, Carmen, Die Zauberflöte, and Parsifal at the Bayerische Staatsoper, Ariadne auf Naxos with the Bayerische Staatsoper at the Hong Kong Arts Festival, and Pagliacci and Schitz at the Israeli Opera. Highlights of Asher Fisch’s 2018–19 season included guest engagements with the Düsseldorf Philharmonic, Sydney Symphony, Teatro Massimo Orchestra in Palermo. Guest opera engagements included Il Trovatore, Otello, Die Fliegende Holländer, and Andrea Chénier at the Bayerische Staatsoper, Arabella and Hansel und Gretel at the Semperoper Dresden, Tannhäuser at the Tokyo National Theater, and Cristof Loy’s new production of Capriccio at the Teatro Real in Madrid. Born in Israel, Fisch began his conducting career as Daniel Barenboim’s assistant and kappellmeister at the Berlin Staatsoper. He has built his versatile repertoire at the major opera houses such as the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Teatro
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ARTIST’S PROFILE
alla Scala, Royal Opera House at Covent Garden, and Semperoper Dresden. Fisch is also a regular guest conductor at leading American symphony orchestras including those of Boston, Chicago, Cleveland, New York, and Philadelphia. In Europe he has appeared at the Berlin Philharmonic, Munich Philharmonic, London Symphony Orchestra, Leipzig Gewandhaus Orchestra, and the Orchestre National de France, among others. Asher Fisch’s recent recordings include tenor Stuart Skelton’s first solo album, recorded with WASO and released on ABC Classics in 2018, and a recording
of Ravel’s L’heure espagnole with the Munich Radio Orchestra, which won Limelight Magazine’s Opera Recording of the Year in 2017. In 2016, he recorded the complete Brahms symphonies with WASO, released on ABC Classics to great acclaim. His recording of Wagner’s Ring Cycle with the Seattle Opera was released on the Avie label in 2014. His first Ring Cycle recording, with the State Opera of South Australia, won ten Helpmann Awards, including best opera and best music direction. Fisch is also an accomplished pianist and has recorded a solo disc of Wagner piano transcriptions for the Melba label.
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NOTES ON THE PROGRAM By Michael Clive
Richard Strauss (1864–1949)
Metamorphosen, for 23 Strings Is all art autobiographical? It’s easy to dismiss the question with a simple ‘yes’ and move on; after all, we humans can only create from what we know. But some art seems especially direct in its relation to life, and for its creators, that resemblance is purely intentional. Pablo Picasso, who hated giving interviews, told journalists that everything they could possibly want to know about him was right there on display in his paintings. And why not? When we listen to Willie Nelson sing about what it’s like to be “On the Road Again”, the vividness of his life as a touring singer-songwriter helps us see our own humanity more clearly. No less than a pop balladeer or a great painter, Richard Strauss put the events of his life into his art time and again. He mined his experiences, personal relationships and intellectual preoccupations like ore for the smelting to create his tone poems, operas and songs. And with his uncanny gift for descriptive musical narrative, it seems that everything we could possibly want to know about him was right there to be heard. But toward the end of his life, when he composed Metamorphosen, the supremely comfortable position he had built for himself as a great man of music became problematic, even agonized, in a way that hides beneath the music’s surface brilliance. Metamorphosen is beautiful and virtuosic, but it is also a work that looks back on a lifetime of creativity with more questions than answers. Strauss was born while the American Civil War was still under way, yet outlasted World War II by four years. To groom his prodigiously talented son for greatness, Strauss’ father, Franz—himself
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a renowned musician—ensured that Richard received a first-rate musical education, but embargoed the music of Richard Wagner. But as any good comedy writer could have told the elder Strauss, the one way to ensure Richard’s fascination with Wagner was to prohibit him from listening to his music. When Richard surreptitiously visited the Wagner Festspielhaus at Bayreuth and attended a performance of the revolutionary opera Tristan und Isolde, the experience overwhelmed him. Did the teenage Richard Strauss’ encounter with Wagner’s music set him on a path toward vocal rather than symphonic composition? It’s difficult to say, though his early works gave no indication that he would eventually focus on opera and song. Earmarked from an early age as “promising”—the curse of many a young musician—he began his career as a pianist and composer of orchestral music that demonstrated his supreme mastery of orchestral color and post-Wagnerian harmonics. In his 20s, he established himself as a dazzling musical technician with superb keyboard technique. In the modern era we have the stereotype of the late-Romantic Viennese composer as oblivious of everyone and everything outside his music. By contrast, many of the young Strauss’ contemporaries pegged him as a showy piano virtuoso and composer of colorful tone poems. Both his keyboard and his orchestral works were extravagantly complex and chromatic, extending late-Romantic harmonies beyond previous limits. In fact, one didn’t need to hear them to get an idea of their difficulty; his scores were always the most thickly inked in the music library, with every page blackened with dizzying configurations of notes and seemingly impossible arrays of multiple
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sharps and flats. One glimpse, and one knew: The man responsible for these nearly unplayable scores had to be a Lisztian talent, and probably a flamboyant egotist to boot. Strauss’s mastery of complex, inventive harmonies gave hope to listeners in the post-Brahmsian, post-Wagnerian world that there were still musical frontiers to explore without abandoning tonality altogether, as the Second Viennese School was doing under the leadership of Arnold Schoenberg and Alban Berg. Strauss established his early reputation as a composer with lushly entertaining, programmatic tone poems. It’s possible to trace the plot points that underlie various musical passages in each, and to hear the innate theatricality that would lead Strauss to write more than two dozen operas. But most impressive is the construction
of Strauss’s densely chromatic chords and their dizzying changes. Musicologists sometimes analyze a symphony in terms of how a composer “gets out of” each movement; as Strauss leads us through exotic modulations, at least half the fun is marveling at how he gets where he’s going, leading us back to his tonic key. Talented? Yes. Flamboyant? Not really. In Vienna, where classical music composition was the most revered of professions, Strauss husbanded his career with the discipline and strategic acumen of a Kanye West. He was intent upon achieving the stature of a great man of music even as the Viennese fretted that the era of greats such as Mozart, Beethoven and Schubert might be gone forever—indeed, that classical music might be headed for a dead end, its harmonies exhausted and atonality
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waiting in the wings. The Viennese took comfort in the facility and showmanship of Strauss’s great tone poems, produced when he was in his late twenties and early thirties. They demonstrate his supreme mastery of orchestral color and postWagnerian harmonics—for example, Ein Heldenleben, “A Hero’s Life”, in 1898, from when he was 34; the hero of this tone poem, of course, is Strauss himself. He composed Also Sprach Zarathustra in the same year (1898), making these the last in the series of tone poems and programmatic symphonies he had begun a decade earlier. Even in Zarathustra we sense his presence as the stentorian, satirical narrator. But Strauss had something far beyond this kind of success in mind. He wanted to engage the great intellectual ideas of his time, and to do so in a more elevated art form that was ideal for his narrative gifts: opera. Even Strauss’ advocates were unprepared for the musical scandal that catapulted him to international fame when he was 42: his opera Salome, based on a German translation of Oscar Wilde’s play. As if the play’s lurid treatment of sexual obsession and necrophilia (not to mention a hint of incest) wasn’t enough, the music was heard to be even more shocking: cacophonous and atonal. (Actually, it’s far from either.) Salome made Strauss notorious, rich, and internationally famous; he followed it in 1909 with his brilliant and even more shocking opera Elektra, a collaboration with the great German writer Hugo von Hoffmansthal that probes the psychology of Sophocles’ heroine in a daringly modern way. The shadow of Freud is present in both works, and it put Strauss in the thick of the intellectual ferment pervading Vienna at the turn of the century. To many listeners, Strauss had gone from
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traditional composer to modernist rebel. But for his own artistic reasons—and not by way of public “apology”—he had long been nurturing the idea of writing a lighter work in the manner of Mozart’s The Marriage of Figaro. The result, Strauss’s 1911 masterpiece Der Rosenkavalier, was like an irresistible valentine to the public that felt Strauss had abandoned them. All was forgiven, and Strauss was confirmed in his career as the greatest exponent of 20th-century vocal music in the German language. Flash forward some four decades and we get to Strauss’ valedictory works, Metamorphosen, Capriccio—his last opera—and the Four Last Songs, his final meditation on life and art. Imagine: Strauss, who was born while the American Civil War was still under way, composed this music after the horrors of World War II. The political and moral realities of post-Nazi Germany could not be more relevant to Metamorphosen. Though Strauss remained in Germany during the War and was criticized by some for accommodating the Reich, he had a Jewish daughter-in-law and acted to protect her as well as Jewish musical colleagues, probably using his dignified posture of the “great composer” as a pose. He was, by that time, thoroughly disillusioned. Where is the metamorphosis in this lustrous tone poem for strings? Its title remains a mystery; in a sense, any piece of music guides us listeners through metamorphoses of themes as they are developed and recombined. Or is it the monstrous metamorphosis of Germany itself? Strauss himself never explained the title, but the most familiar instance of a “metamorphosis” in German art, as he well knew, was the novella by the Jewish author Franz Kafka, condemned
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by the Nazis as degenerate. This choice seems consistent with other expressions of Strauss’s disillusionment: After composing more than two dozen operas drenched in German culture, he set the 1944 Capriccio in Paris and gave it a French sensibility; he set three of the Four Last Songs to texts by the Nobel prizewinning writer Hermann Hesse, whom the Nazis reviled. “The most terrible period of human history is at an end,” Strauss wrote at the end of the War, “the twelve-year reign of bestiality, ignorance, and anti-culture under the greatest criminals, during which Germany’s 2000 years of cultural evolution met its doom.” His carefully constructed image as a German composer of greatness was a grotesque ruin, and after a lifetime of ignoring politics in favor of art, history caught up with him. As Phillip Huscher notes, writing for the Chicago Symphony: “Metamorphosen succeeds so brilliantly because Strauss at last found a way to address the present with the voice of the past…Two days after Strauss finished Metamorphosen, the Americans took Nürnberg, where Wagner’s meistersingers once triumphed; two weeks later Hitler killed himself.” Felix Mendelssohn (1809–1847)
Symphony No. 3 in A Minor, “Scottish” Back in the 1970s, when your intrepid annotator took his first undergraduate music history course, the professor—a well-regarded musicologist and organist—got a bit melodramatic on the day of the Mendelssohn lecture. “Felix Mendelssohn’s parents saw a ghost,” he told the class gravely. Then he picked up a piece of chalk, held it on its side and wrote M-O-Z-A-R-T on the blackboard in huge, wavy letters, and followed this
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with tales of Mendelssohn’s Mozartean prowess as a musical prodigy. These days we’re rightly suspicious of such mythology, but for all its hyperbole, it is useful in reminding us of the basics. Felix Mendelssohn was born in Hamburg in 1809, eighteen years after the death of Mozart. Like Mozart’s, Mendelssohn’s genius was evident from earliest childhood. Both had musically talented sisters and parents who were ambitious for their success. But as the scion of a wealthy Jewish family and the grandson of the philosopher Moses Mendelssohn, the young Felix was not viewed as someone whose talents were to be exploited for financial gain, as Leopold Mozart sought to do with Amadeus. Instead, Felix’s father Abraham moved his family to Berlin and made their residence there a salon that attracted the most prominent intellectuals of the day. Music and stimulating conversation were constants. Though Abraham and his wife Lea renounced Judaism and were themselves baptized along with their four children as Reformed Christians, the Mendelssohn name and heritage were well known in Europe, and the family never sought to conceal their ethnicity in cultivating their place in European cultural life. Young Felix did not begin piano studies with his mother until the relatively advanced age of six (far older than Mozart), but by then he had been demonstrating his musicality for years; according to another of those irresistible myths, the four-year-old Felix was already in bed for the evening when a visiting pianist pounded a C-major seventh chord and left it hanging, unresolved. Felix found the lack of finality unbearable. He ran downstairs to the piano, played the tonic chord with equal force, and
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scampered back to bed. The lesson here: Only a deeply musical soul could be so wounded by an unfinished cadence, and only someone with perfect pitch would know the right key without groping for it. By the time he was in his late teens, he had composed some of his bestknown works, demonstrating both superb craftsmanship and a glorious gift for melodies that sing with emotion. Upon close consideration, we find Mendelssohn to be one of those geniuses who proves that beauty and accessibility do not equate with shallowness. Behind the sunny disposition of his music lies the seriousness of one of the great musical intellects of his era. In his tragically short life (he died at age 38 in 1847), Mendelssohn achieved a statesmanlike position in European culture, directing one of the continent’s most important orchestras (the Leipzig Gewandhaus) and spurring revivals of interest in the music of Mozart and J.S. Bach. Most of all, Mendelssohn composed more than his share of indestructible all-time hits of the classical repertoire—including the violin concerto, the octet, the “Scottish” and “Italian” symphonies, and the incidental music to “A Midsummer Night’s Dream,” with its wedding recessional now a universal symbol for matrimony. (Ironically, it’s most often paired with the processional wedding march from Lohengrin by Wagner, who made Mendelssohn a target of his anti-Semitic rants.) Remarkably for such a popular composer, there is much more about Mendelssohn’s music, especially his majestic choral works, waiting to be discovered. Some of Mendelssohn’s most brilliant musical inspirations came from his travels, as we can readily hear in the landscapes evoked in his compositions, and in their nicknames—the Italian Symphony, the
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Hebrides Overture and the Scottish Symphony, to name three. By his own account, Mendelssohn conceived the Scottish Symphony after his first visit to Great Britain in 1829. Following a successful series of performances in London, he embarked on a walking tour of Scotland with his friend Karl Klingemann and was particularly moved by the picturesque, evocative ruins of the chapel at Holyrood Palace in Edinburgh. In a letter describing this experience, he included a sketch of the symphony’s opening theme. Despite the deep impression that this visit made and a quick start on the opening movement, Mendelssohn struggled with the symphony’s development. After a series of initial sketches, he laid the work aside in 1831. This interruption, apparently, was just what was needed; after resuming work in 1841, he was able to complete the symphony in the first weeks of the year 1841—the fifth and final symphony he composed, though the third to be published. The premiere was played in March, 1841 in the Leipzig Gewandhaus. As we can readily hear in the Scottish Symphony, Mendelssohn’s “travel music” really does suggest the landscapes and cultures that inspired it. The symphony’s first movement is grand and joyful, with a briskness and energy that seem true to Scotland. This effect is even more marked in the lively second movement, which evokes the tunes and rhythms of Scottish folk music without directly quoting from Scottish sources. The contemplative third movement gives way to an energetic finale that draws from the rhythms of Scottish folk dances. In an elevated, German-style coda, Mendelssohn seems to conclude the symphony with a Scottish-German alliance of his own invention.
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INDIVIDUAL SUPPORT ALLEGRO ($5,000 TO $9,999) Anonymous (5) Alan, Carol, & Annie Agle Edward R. Ashwood & Candice A. Johnson Dr. J.R. Baringer & Dr. Jeannette J. Townsend Dr. & Mrs. Clisto Beaty Mr. & Mrs. Neill Brownstein Mark & Marcy Casp John Clukey Marc & Kathryn Cohen Mr. & Mrs. Kenneth R. Cutler Willard & Julia Dere Patricia Dougall Eager Trust Mrs. Sarah Ehrlich Robert & Elisha Finney Wen Flatt Nash Foster Diana George David & SandyLee Griswold** Ray & Howard Grossman Chuck & Kathie Horman
The Right Reverend Carolyn Tanner Irish & Mr. Frederick Quinn Ken & Margo Jacobs Annette & Joseph Jarvis M. Craig Johns Michael Liess Bill Ligety & Cyndi Sharp Daniel & Deena Lofgren Beatrice Lufkin Nick Markosian Christopher & Julie McBeth Hallie & Ted McFetridge Michal & Maureen Mekjian Carol & Anthony W. Middleton, Jr., M.D. Joanne Mitchell Dr. Louis A. Moench & Deborah Moench Marilyn H. Neilson Dr. Stephen H. & Mary Nichols O. Don & Barbara Ostler
Dr. Thomas Parks & Dr. Patricia Legant Dr. Dinesh & Kalpana Patel Frank R. Pignanelli & D’Arcy Dixon Brooks & Lenna Quinn Dr. & Mrs.† Marvin L. Rallison James & Gail Riepe James & Anna Romano Ted & Lori Samuels Peggy & Ben Schapiro Barbara & Paul Schwartz D. Brent† & Suzanne Scott Gerald† & Sharon Seiner Dr. John Shigeoka Stuart & Mary Silloway Gibbs† & Catherine W. Smith Sidney Stern Memorial Trust Thomas & Marilyn Sutton Paul L. Wattis Dr. Rasmus Wegner Kathie & Hugh Zumbro
ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) Anonymous (6) Fred & Linda Babcock Tom & Carolee Baron Tina & John Barry Jennifer & Charles Beckham Dr. Melissa Bentley Donna Birsner Roger & Karen Blaylock Bill & Susan Bloomfield Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Michael & Christy Bush Mr. & Mrs. William D. Callister Vincent Cannella Hal & Cecile Christiansen The Chung Family George & Katie Coleman Debbi & Gary Cook Dr. Thomas D. & Joanne A. Coppin Thomas D. Dee III & Dr. Candace Dee UTAHSYMPHONY.ORG
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Elizabeth deForest John D. Doppelheuer & Kirsten A. Hanson Blake & Linda Fisher Mr. Joseph F. Furlong III Robert & AnnieLewis Garda Heidi Gardner David & Sherrie Gee Jeffrey L. Giese, M.D. & Mary E. Giese Andrea Golding Sue & Gary Grant Arlen Hale Kenneth & Kate Handley Dr. Bradford D. Hare & Dr. Akiko Okifuji Mary Haskins Jeff & Peggy Hatch John Edward Henderson Deborah & Steve Horton Sunny & Wes Howell Dixie S. & Robert P. Huefner
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Michael Huerta & Ann Sowder Jay & Julie Jacobson Drs. Randy & Elizabeth Jensen Maxine & Bruce Johnson Dale & Beverly Johnson Dan & Jane Jones Dr. & Mrs. Michael A. Kalm Rick & Paulette Katzenbach Susan Keyes & Jim Sulat Jeanne Kimball Allison Kitching Howard & Merele Kosowsky Donald L. & Alice A. Lappe Gary & Suzanne Larsen Ms. Susan Loffler Dennis & Pat Lombardi David & Donna Lyon Steve Mahas Keith & Vicki Maio Brian & Shasha Mann Jed & Kathryn Marti 27
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
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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
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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
Barlow Bradford
Symphony Chorus Director
PATRON SERVICES Faith Myers
David Green
Director of Orchestra Personnel
Merry Magee
President & CEO
Walt Zeschin
Senior Vice President & COO
Julie McBeth
Executive Assistant to the CEO
Collette Cook
Executive Assistant to the Sr. VP and COO & Office Manager
OPERA ARTISTIC Christopher McBeth
Andrew Williams
Orchestra Personnel Manager
Lance Jensen
Executive Assistant to the Music Director Symphony Chorus Manager
SYMPHONY OPERATIONS Cassandra Dozet
Director of Orchestra Operations
Opera Artistic Director
Melissa Robison
Carol Anderson Principal Coach
Program Publication & Front of House Director
Director of Production
Production & Stage Manager
Chip Dance
Michelle Peterson
Kate Henry
Michaella Calzaretta
Operations Manager
Opera Chorus Master
Brooke Hundley
Opera Production Coordinator
OPERA TECHNICAL Jared Porter
Jeff F. Herbig
Properties Manager & Assistant Stage Manager
Lyndsay Keith
Artist Logistics Coordinator
Senior Technical Director
Robyne Anderson
Kelly Nickle
2nd Assistant Stage Manager
Properties Master
DEVELOPMENT Leslie Peterson
Dusty Terrell
Scenic Charge Artist
Vice President of Development
COSTUMES Verona Green
Jessica Proctor
Director of Institutional Giving
Costume Director
Jessica Cetrone
Olivia Custodio
Kierstin Gibbs LisaAnn DeLapp
Heather Weinstock
Amanda Reiser Meyer
Lisa Poppleton
Milivoj Poletan
Nikki Orlando
Tiffany Lent
Ellesse Hargreaves
Donna Thomas
MARKETING & COMMUNICATIONS Jon Miles
Director of Individual Giving
Costume Rentals Supervisor
Director of Special Events & DVMF Donor Relations
Rentals Assistants
Grants Manager
Wardrobe Supervisor
Development Operations Manager
Tailor
Development Assistant
Cutter/Draper
Milliner & Craftsperson
Vice President of Marketing & Public Relations
SYMPHONY ARTISTIC Thierry Fischer
Symphony Music Director
Renée Huang
Vice President of Symphony Artistic Planning
Kathleen Sykes
Marketing Manager - Patron Loyalty
Mara Lefler
Sales Manager
Andrew J. Wilson
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
Karyn Cunliffe Controller
Alison Mockli
Payroll & Benefits Manager
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 Farnbach
Symphony Education Assistant
Director of Communications & Digital Media
Anthony Tolokan
Conner Gray Covington
Director of Patron Engagement
Digital Content Producer
Associate Conductor & Principal Conductor of the Deer Valley® Music Festival
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
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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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