2019-20 Utah Symphony Season
September – October 2019
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CONTENTS
SEPT/OCT CONCERTS
4 Welcome 9 Music Director 10 Associate Conductor
The Planets
13 Utah Symphony
Sept. 13–14
14 Board of Trustees
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16 Abravanel Hall Celebrates 40th Birthday
masterworks
21 Season Sponsors 57 Donors
¡Celebración Sinfónica!
68 House Rules
Sept. 16
69 Administration
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70 Support USUO 71 Legacy Giving 72 Tanner & Crescendo
The Music of John Williams
Societies 77 Volunteer Support
Sept. 20–21
78 Acknowledgments
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Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.
Sept. 24
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GRAPHIC DESIGNERS Ken Magleby Katie Steckler Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Dan Miller Paul Nicholas Chad Saunders ADMINISTRATIVE ASSISTANT Caleb Deane EDITOR Melissa Robison
The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801-4678833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © COPYRIGHT 2019
UTAHSYMPHONY.ORG
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entertainment
60 th Annual Salute to Youth
@UtahSymphony
PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR/ PRODUCTION MANAGER Jackie Medina
special event
special event
Respighi’s Pines of Rome Sept. 27–28
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masterworks
Rachmaninoff’s Rhapsody on a Theme of Paganini
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Oct. 25–26
masterworks
Purchase tickets at utahsymphony.org or call 801-533-6683
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WELCOME
Paul Meecham President & CEO
Thierry Fischer Music Director
On behalf of the board, musicians, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and tonight’s Utah Symphony concert. Throughout the summer the orchestra performed in a variety of locations that celebrate Utah’s natural beauty—at the Utah Symphony’s official summer home of the Deer Valley® Music Festival in Summit County and at outdoor venues along the Wasatch front from Lehi to Huntsville. As the season changes, the musicians are happy to return to the unparalleled acoustics of this exceptional concert hall, built 40 years ago by civic leaders to serve as the primary venue for this great orchestra. This season’s Masterworks series launches with a commemoration of the opening of this treasured community space, which reverberated with its first concert on September 14, 1979 (please read the feature on pages 16–18 for more information). As it has for many years, the season-opening program includes music by Beethoven in honor of Obert C. Tanner, who chaired the Bicentennial Center for the Arts Commission that raised the funds to build this treasured space, and who sponsored opening night of the season for many decades.
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Thomas M. Love Chair, Board of Trustees
The O.C. Tanner Company continues that sponsorship tradition and we are grateful to them, to our season sponsor the George S. and Dolores Doré Eccles Foundation, and to the many community leaders who make it possible for Utahns to enjoy the great live music played by this remarkable orchestra. Whether you’re joining us for the three incomparable Masterworks concerts in September and October featuring world-class artists, for the kick-off of the Entertainment Series with the music of film score legend John Williams, or for the 60th annual Salute to Youth concert highlighting Utah’s best young musicians, we guarantee you will leave Abravanel Hall enriched through the shared experience of great live music! Sincerely,
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MUSIC DIRECTOR
Swiss conductor Thierry Fischer has been Music Director of the Utah Symphony since 2009 and becomes Music Director Emeritus in 2022. Principal Guest of the Seoul Philharmonic 2017–2020, in March 2020 he begins as Music Director of the Sao Paulo Symphony. In Utah he has revitalized the organization, instigating a major commissioning program, taking the orchestra to Carnegie Hall for the first time in 40 years, recording Mahler symphonies for Reference Records and a Saint-Saëns cycle for Hyperion.
Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
Recent guesting has included Boston Symphony, Cleveland Orchestra, London Philharmonic, Royal Philharmonic, Bergen Philharmonic, Rotterdam Philharmonic, BBC Symphony, Orchestra of the Age of Enlightenment, Maggio Musicale Firenze, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande, also Chamber Orchestra of Europe, Mostly Mozart New York, Orchestra of the Age of Enlightenment, London Sinfonietta and Ensemble Intercontemporain. Whilst Principal Conductor of the BBC National Orchestra of Wales 2006–2012 Fischer appeared every year at the BBC Proms, toured internationally, and recorded for Hyperion, Signum, and Orfeo. His recording of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus won the ICMA award in 2012 (opera category). In 2014 he released a Beethoven disc with the London Philharmonic on the Aparte label. Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–2006. He was Chief Conductor of the Nagoya Philharmonic 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.
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ASSOCIATE CONDUCTOR Associate Conductor, Conner Gray Covington is currently in his second season with the Utah Symphony and was recently named Principal Conductor of the Deer Valley® Music Festival. In his first season as Assistant Conductor, Covington conducted over 80 performances of classical, education, film, pops, and family concerts as well as tours throughout the state. Prior to his tenure in Utah, he was the Rita E. Hauser Conducting Fellow at the Curtis Institute of Music in Philadelphia where he worked closely with the Curtis Symphony Orchestra and the Curtis Opera Theater while also being mentored by Philadelphia Orchestra Music Director Yannick Nézet-Séguin. Covington began his career as Assistant Conductor of the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program.
Conner Gray Covington Associate Conductor
Covington has also worked with the symphonies of St. Louis, Virginia, and Monterey (California) as a guest conductor and made debuts with the Kansas City Symphony and the Portland (Maine) Symphony in the 2018–19 season. He has served as a cover conductor for the Philadelphia Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony, Atlanta Symphony, Kansas City Symphony, The Florentine Opera Company (Milwaukee, W.I.), and the Britt Festival Orchestra (Jacksonville, O.R.). Born in Louisiana, Covington grew up in East Tennessee and began playing the violin at age 11. He went on to study violin with Dr. Martha Walvoord and conducting with Dr. Clifton Evans at the University of Texas at Arlington where he graduated summa cum laude with a degree in violin performance. He continued his studies with Neil Varon at the Eastman School of Music where he earned a Master of Music in orchestral conducting and was awarded the Walter Hagen Conducting Prize. He was recently named as one of the 2019 Solti Foundation Carrier Assistance Award Winners.
Arrive early and enjoy a fun, behind the music lecture for each of our Masterworks concerts. 6:45 PM inprior thetoFirst Tier Room, Abravanel 45 minutes start-time, Abravanel Hall
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Hall
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November 9, 2019 Libby Gardner Concert Hall University of Utah 11 AM to 1 PM and 2 PM to 5 PM* The auditions are open to the public to experience free of admission charge. *Visit UtahMONCAuditions.org
after November 5th to view a complete schedule of singers and updated times. The MONC Utah District Auditions are supported in part by the residents of Salt Lake County through the Zoo, Arts & Parks (ZAP) Program, the Salt Lake City Arts Council, the Arts, Culture, and Events (ACE) Fund administered by the Salt Lake City Mayor’s office, and the University of Utah School of Music.
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
Principal The Sue & Walker Wallace Chair
Barlow Bradford Symphony Chorus Director
Elizabeth Beilman
VIOLIN* Madeline Adkins
Acting Associate Principal
Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Leslie Richards†† Whittney Thomas
Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton
Kathryn Eberle
CELLO* Rainer Eudeikis†
Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair
Principal The J. Ryan Selberg Memorial Chair
Ralph Matson†
Associate Concertmaster
Matthew Johnson
David Porter
Acting Principal
Acting Associate Concertmaster
Andrew Larson
Acting Associate Principal
David Park
Assistant Concertmaster
Claude Halter
Principal Second
Wen Yuan Gu
Associate Principal Second
Evgenia Zharzhavskaya Assistant Principal Second
John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah ThomasHollands†† Pegsoon Whang BASS* David Yavornitzky Principal
Karen Wyatt•• Joseph Evans LoiAnne Eyring Laura Ha• Lun Jiang Rebekah Johnson# Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Ju Hyung Shin• Lynnette Stewart Bonnie Terry• Julie Wunderle
Corbin Johnston Associate Principal
James Allyn Benjamin Henderson†† Edward Merritt Jens Tenbroek Thomas Zera
Jeff Luke
OBOE James Hall
Peter Margulies# Paul Torrisi
Principal The Gerald B. & Barbara F. Stringfellow Chair
Robert Stephenson Associate Principal
Lissa Stolz
ENGLISH HORN Lissa Stolz CLARINET Tad Calcara
Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
Erin Svoboda-Scott Associate Principal
Lee Livengood BASS CLARINET Lee Livengood
Caitlyn Valovick Moore * String Seating Rotates † On Leave
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Principal
Sam Elliot
Associate Principal
BASS TROMBONE Graeme Mutchler TIMPANI George Brown Principal
Eric Hopkins
Associate Principal
PERCUSSION Keith Carrick Principal
Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal
BASSOON Lori Wike
Katie Klich
Principal The Edward & Barbara Moreton Chair
Leon Chodos
Associate Principal
Jennifer Rhodes
Principal
ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel
Andrew Williams
Orchestra Personnel Manager
CONTRABASSOON Leon Chodos
Llewellyn B. Humphreys Brian Blanchard Stephen Proser
Associate Principal
TROMBONE Mark Davidson
LIBRARIANS Clovis Lark
FLUTE Mercedes Smith Lisa Byrnes
Associate Principal
E-FLAT CLARINET Erin Svoboda-Scott
HORN Edmund Rollett
Principal The Val A. Browning Chair
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PICCOLO Caitlyn Valovick Moore
HARP Louise Vickerman Principal
• First Violin •• Second Violin
UTAHSYMPHONY.ORG
VIOLA* Brant Bayless
Acting Principal
TRUMPET Travis Peterson Principal
# Sabbatical †† Substitute Member
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BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair
David L. Dee* Alex J. Dunn Brian Greeff Stephen Tanner Irish Thomas N. Jacobson Mitra Kashanchi Abigail E. Magrane Brad W. Merrill Robin J. Milne Judy Moreton William H. Nelson* Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Miguel R. Rovira Naoma Tate Thomas Thatcher
David Utrilla Kelly Ward Kim R. Wilson Thomas Wright Henry C. Wurts
Clark D. Jones Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen
Patricia A. Richards* Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder
Howard S. Clark Kristen Fletcher Burton L. Gordon Richard G. Horne
Ron Jibson E. Jeffery Smith Barbara Tanner
Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson
O. Don Ostler Stanley B. Parrish Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith
Joanne F. Shiebler Chair (Utah)
Susan H. Carlyle (Texas)
Harold W. Milner (Nevada)
David L. Brown (S. California)
Robert Dibblee (Virginia)
Marcia Price (Utah)
Anthon S. Cannon, Jr. (S. California)
Senator Orrin G. Hatch (Washington D.C.)
Jesselie B. Anderson* Doyle L. Arnold* Joanne F. Shiebler* Vice Chairs Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO Julie Aiken Judith M. Billings Gary L. Crocker
MUSICIAN REPRESENTATIVES Elizabeth Beilman* Andrew Larson* EX OFFICIO Doyle Clayburn Utah Symphony Guild Mark Stratford Onstage Ogden
LIFETIME BOARD William C. Bailey Edwin B. Firmage Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow John Bates HONORARY BOARD Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles NATIONAL ADVISORY COUNCIL
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*Executive Committee Member UTAHSYMPHONY.ORG
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RHAPSODY IN BLUE / AMERICA’S WONDERS IN 3D / MESSIAH SING-IN A CELEBRATION OF CHRISTMAS / CELTIC WOMAN: THE BEST OF CHRISTMAS CARMINA BURANA / THE TEMPTATIONS / BEETHOVEN SYMPHONY NO. 5
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ABRAVANEL HALL CELEBRATES 40TH BIRTHDAY
At the grand opening of the hall, Obert C. Tanner (l.), chairman of the Utah Bicentennial for the Arts Commission, greets Gordon B. Hinckley as Utah Governor Scott M. Matheson and Maurice Abravanel look on.
[Adapted from an article published in a September 1989 concert program.] Forty years ago, on September 14 and 15 of 1979, the Utah Symphony prepared to play another weekend of concerts. But for the very first time in Salt Lake City, the sounds of the Utah Symphony were heard in a place designed for symphonic music. That place was Symphony Hall—renamed in 1993 to honor Maurice Abravanel, music director of the orchestra from 1947-1979, whose leadership shaped the Utah Symphony into one of the leading orchestras in the country.
over $10 million. The final product stands as a tribute to the talents of Utahns and to Utah’s dedication to the arts.
After over seven years of planning, fundraising, constructing, and organizing, the Utah Symphony was heard in what would prove to be one of the world’s best symphonic halls.
Mr. Ferguson, who is credited with the hall’s design, fondly remembers the many elements which contributed to the final form of Abravanel Hall. “The shoebox form (a design which has been used for many of the world’s most acclaimed halls) was given to us by the acoustical consultant, Dr. Cyril Harris,” remembers Mr. Ferguson. “He advised us at the outset, that with the shoebox form we would not be able to arrange the seating so that each seat would have an un-obstructed view of the podium. Mr. Ruben took this advisory as a challenge and, through use of models, he created a simple design in which every spectator has
Tonight, the Utah Symphony salutes the people of Utah who made the investment to create the beautiful hall which the Utah Symphony has now called home for half of its existence. Abravanel Hall was formally conceived in 1972 as part of an $18 million Bicentennial Arts Center Complex. Planning and construction of the hall took seven years and 16
The hall was designed by the firm of FFKR Architects located in Salt Lake City. Robert A. Fowler was the Partner in Charge of Management, Franklin T. Ferguson served as the Partner in Charge of Design, and Edward Joe Ruben was the Partner in Charge of Production.
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ABRAVANEL HALL CELEBRATES 40TH BIRTHDAY
May 7, 1979 – Symphony Hall under construction
a direct line of vision to the conductor’s podium and orchestra.” This was a major breakthrough in the shoebox design. Mr. Ferguson also wanted the Utah Symphony’s past to influence the design of the building. “I frequently attended the Symphony’s concerts in the Tabernacle. I always enjoyed going from my car to Temple Square and then into the Tabernacle.” Early in the design process Mr. Ferguson went to the site for Abravanel Hall which at that time was a parking lot. He climbed into the back of a parked truck and looked at the view to the east. “At that point. I knew the lobby of the building had to be transparent,” said Mr. Ferguson. The flying walkways and glass facade all point to the Utah Symphony’s past association with Temple Square. The color scheme for the hall was also designed to be compatible with Temple Square. The gray brick was designed to complement the gray granite of the Temple. Many people, however, thought the interior color scheme should be red or burgundy which was a traditional scheme for concert UTAHSYMPHONY.ORG
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halls. But another visit to the construction site by Mr. Ferguson helped make a final decision. “One day I was at the construction site and I was wearing a dark, forest green sweater. I put it up against the brick and wood and it just clicked,” recalls Mr. Ferguson. He tried many other colors of green but the color of his sweater was perfect. The sweater was used to develop color samples. The first time the orchestra rehearsed in Abravanel Hall was a very nervous moment for the architects as it was the ultimate test of the building. The nervousness soon faded into a sense of accomplishment. Mr. Ferguson recalls his feelings as he listened to the first sounds heard in the hall. “I felt great! The sound was clearer and warmer than any other hall we had visited—and we visited a lot of halls.” Construction of Abravanel Hall required the help of a few outside experts such as Dr. Cyril Harris, who served as the acoustical adviser for the project. However, Utah provided most of the expertise. Managing the construction of the hall was John Price Associates Inc., 17
ABRAVANEL HALL CELEBRATES 40TH BIRTHDAY
April 25, 1979 Deseret News Photo by Gerald W. Silver – concert hall under construction
a Salt Lake based firm owned by John Price. Svend Jensen, a project manager for the company, served as the general superintendent for the hall construction.
and quality of their work. In addition, the countless donations by local arts enthusiasts helped to make Abravanel Hall a more elegant and spectacular place.
According to Mr. Jensen, the construction for Abravanel Hall was a project which required a great amount of effort from many individuals. Mr. Jensen reminisced about some of the more interesting challenges in building Abravanel Hall. For example, the enormous glass wall in the hall’s lobby (which was shipped from England) proved to be an unusual challenge for the construction team. Mr. Jensen also noted some of the final touches which were last minute additions. “After we had already laid the carpets, Mr. [Obert C.] Tanner thought we should have gold leaf on the big wall in the grand lobby. So he had the gold shipped in from Italy. It took us eight days to put up all that gold.” According to Mr. Jensen all the work seemed a small price to pay when he sat in the hall for the opening concert in 1979.
Even though it has been forty years since Abravanel Hall opened its doors, there are similarities between this season’s opening performance and that first performance. The concert forty years ago was sponsored by O.C. Tanner. This season’s opening concert, as well as the entire Masterworks Series, is once again sponsored by a generous donation from the O. C. Tanner Company, proving that the community support which helped to build Abravanel Hall is still strong.
The beauty and timeliness of Abravanel Hall are tributes to both FFKR Architects and to John Price Associates Inc. for the integrity 18
After forty years the signs of artistic growth are still evident in the Utah Symphony. Abravanel Hall has played an integral part in elevating the Utah Symphony to its current level of expertise and recognition. So as you listen to this evening’s performance, take an extra moment to enjoy the gleaming brass and gold, the sparkling crystal, the rich woods and floor coverings, and the extraordinary aural picture and acoustics of Abravanel Hall. UTAHSYMPHONY.ORG
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FILM WITH LIVE ORCHESTR A
ABR AVANEL HALL 1 & 2, NOVEMBER
With music by the UTAH SYMPHONY Conducted by CONNER GRAY COVINGTON
PRESENTATION LICENSED BY DISNEY CONCERTS ©DISNEY/PIXAR
Eccles Foundation Board of Directors: Robert M. Graham • Spencer F. Eccles • Lisa Eccles
Enriching excellence in the arts in Utah for more than half a century.
Utah Symphony Season Sponsor | 2019-20
SEASON SPONSORS
SEASON SPONSOR
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E N T E R TA I N M E N T & F I L M S E R I E S S P O N S O R
FA M I LY S E R I E S S P O N S O R
KEM & CAROLYN GARDNER SYMPHONY CHORUS DIRECTOR SPONSOR
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MASTERWORKS SERIES
THE PLANETS Sept. 13–14
/ 2019 / 7:30PM / ABRAVANEL HALL
Thierry Fischer, conductor
Barlow Bradford, chorus director
Sopranos & Altos of the Utah Symphony Chorus
CO N CER T S PO N SOR
BEETHOVEN: Overture to The Consecration of the House, Op. 124 KAIJA SAARIAHO: Asteroid 4179: Toutatis
CO N D UC TOR S PO N SOR
HAYDN: The World of the Moon Overture MESSIAEN: “What is Written in the Stars” from Des canyons aux étoiles
Jason Hardink, piano
JOHN WILLIAMS: “Main Title” from Star Wars / INTERMISSION /
MESSIAEN: “The Desert” from Des canyons aux étoiles HOLST: The Planets
I. Mars, the Bringer of War II. Venus, the Bringer of Peace III. Mercury, the Winged Messenger IV. Jupiter, the Bringer of Jollity V. Saturn, the Bringer of Old Age VI. Uranus, the Magician VII. Neptune, the Mystic
Sopranos & Altos of the Utah Symphony Chorus
UTAHSYMPHONY.ORG
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ARTISTS’ PROFILES
Dr. Barlow Bradford Chorus Director G U ES T A R TISTS S PO N SOR
*See page 9 for Thierry Fischer’s artist profile.
Over the course of his musical career, Dr. Barlow Bradford has distinguished himself as a conductor, composer, arranger, pianist, organist, and teacher. As an orchestral and choral conductor, he co-founded the Utah Chamber Artists in 1991 and has led that organization to international acclaim for its impeccable, nuanced performances and award-winning recordings. Dr. Bradford’s focused, energetic conducting style led to his appointment as Music Director of the Orchestra at Temple Square in Salt Lake City and Associate Director of the Mormon Tabernacle Choir. Prior to that, he was Director of Orchestras at the University of Utah. His compositions and arrangements have garnered much attention for their innovation and dramatic scope, from delicate, transparent intimacy to epic grandeur. Arrangements by Bradford have been performed/recorded by the Cleveland Orchestra, San Francisco Symphony, Dallas Symphony, Tucson Symphony Orchestra, New York Choral Artists, Seattle Pacific University, Baylor University, Mormon Tabernacle Choir/Orchestra at Temple Square, Newfoundland Festival 500, and the San Francisco Gay Men’s Chorus, among others. In addition to his post as Director of the Utah Symphony Chorus, Dr. Bradford continues as Artistic Director of Utah Chamber Artists and serves as the Ellen Neilson Barnes Presidential Chair of Choral Studies at the University of Utah.
UTAH SYMPHONY CHORUS Soprano Alexia Adair Julie Barker Clare Brussel Lexie Davis Blythe Enke Kiersten Erickson Genevieve Gannon Cassie Glazier Mika Holbrook Leslie Jenkins Chelsie Kindred Abigail Payne Melissa Stettler
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Alto Anna Bradford Katherine Filipescu Melinda Harper Christine Harris April Iund Jordan Knudsen Emily Larsen Maria Longhurst Rebecca Nelson Ruth Rogers Brooke Yadon
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Escape the Ordinary e GRANDA MERICA .COM | 801.258.6000
NOTES ON THE PROGRAM: 1 / 4
by Michael Clive
Ludwig van Beethoven (1770–1827)
occasion for Beethoven to apply the principles of Baroque composition that he’d been studying at that time: The music, like the story, reminds us of the beauty of past virtues. Its two intertwined sections, an introductory Maestoso that opens onto an Allegro con brio, have a vigorous, elegant beauty that is often described as Handelian. The overture was an immediate success with critics and the public, and Beethoven featured it in the series of concerts when his epochal Symphony No. 9 premiered two years later.
Overture to The Consecration of the House, Op. 124 PERFORMANCE TIME: 10 MINUTES
It’s helpful for us to reexamine our preconceptions about Beethoven every so often. His Overture to The Consecration of the House contradicts a number of them: that he had little interest in composing for the stage, aside from his opera Fidelio; that he had no feeling for enacted drama; that he was sullen and undiplomatic in dealing with patrons and commissions. Beethoven’s first commission for the stage was the 1801 ballet Creatures of Prometheus, and he returned to this story and its themes of classical mythology and enlightened republicanism more than two decades later in this overture. He had already composed incidental music for playwright Carl Meisl’s The Ruins of Athens, a revamped version of August Kotzebue’s setting of the ballet’s original story. The overture was drenched in politics from the start. It was commissioned for the opening of a new theater in Vienna by its director, Carl Friedrich Hensler, and we can safely infer that Beethoven aimed to flatter both Hensler and his Habsburg employers. That was certainly what Meisl did in his rewrite of Kotzebue, creating an allegory about the restoration of classical ideals in the Austro-Hungarian Empire in the wake of Ottoman rule. Amid these politically fraught circumstances, The Consecration of the House was about consecrating a new theater and a new age of political enlightenment—politically flattering messages for all concerned. There could hardly have been a better 26
Kaija Saariaho (b. 1952)
Asteroid 4179: Toutatis PERFORMANCE TIME: 4 MINUTES
Asteroid 4179: Toutatis dates from 2005. In this orchestral work, Saariaho’s inspiration is astronomical: a stony asteroid classified as a near-Earth object. Bulbous and irregular, a bit like a natural stone pestle or an elongated potato, Toutatis is named for a Celtic god worshipped in ancient Gaul and Britain, probably as a protector. Saariaho notes: “I first became interested in Toutatis when reading that it is the asteroid whose orbit passes closest to Earth. When reading more and then seeing pictures of it, I started to find its unusual shape and complex rotation interesting—different areas of it rotate at different speeds. One consequence of this is that Toutatis does not have a fixed north pole like the Earth; instead, its north pole wanders along a curved path roughly every 5.4 days. The stars viewed from Toutatis wouldn’t repeatedly follow circular paths, but would crisscross the sky, never following the same path twice. So Toutatis doesn’t have anything you could call a ‘day.’ Its rotation is the result of two different types of motion with periods of 5.4 and 7.3 Earth days that combine in such a way that Toutatis’ orientation with respect to the solar system never repeats. All these UTAHSYMPHONY.ORG
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NOTES ON THE PROGRAM: 2 / 4 peculiarities, and the fact that Toutatis already has had many collisions with other heavenly objects, inspired me to write this small work…”
Joseph Haydn (1732–1809)
Overture to Il mondo della luna (The World of the Moon) PERFORMANCE TIME: 5 MINUTES
The operas of Joseph Haydn are like astronomical dark matter floating in the musical universe: We know they’re out there because the experts tell us so, but unlike the choruses and arias of his oratorios, their greatness can almost never be heard by the rest of us. So we’re especially fortunate when something like the delightful overture to his opera Il mondo della luna comes along. This tuneful, beautifully constructed overture raises the curtain on a raucous romantic comedy in the Italian opera buffa tradition. It’s as giddily formulaic as any current rom-com, and no less sexy—opening with a would-be astronomer convincing his girlfriend’s father that, with the aid of a powerful telescope, they can spy on ladies undressing on the moon. Is that what we expect of the sober, temperate Haydn, whom two generations of great composers called “Papa”? Well, why not? Written in 1750, Carlo Goldoni’s libretto for Il mondo della luna had already been set by a half dozen or so composers before Haydn got his hands on it in 1777. He composed his version for the wedding celebration of Count Nikolaus Esterházy, the younger son of his most important patron. Though the opera relies on Italian forms and stock characters, it is sometimes performed—very rarely—in German, as Die Welt auf dem Monde.
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Composed in C Major, the overture treats us to some serious fun, mixing the energy and cheer of outlandish comical doings with the dignity expected by the royal listeners for whom Haydn composed. Like some of Mozart’s operatic overtures—Don Giovanni, for example—it ends with an “open cadence” that leads us directly into the action of the first scene without pause. In recycling materials from this overture for the first movement of his Symphony No. 63, Haydn actually had to reduce his instrumentation to fit his symphonic orchestra.
Olivier Messiaen (1908–1992)
Des canyons aux étoiles PERFORMANCE TIME: 6 MINUTES
Commissioned in 1971 by the American philanthropist and arts patron Alice Tully to celebrate the bicentenary of the Declaration of Independence, Des canyons aux étoiles is a suite of twelve orchestral movements arranged in three groupings of five, two and five. Ce qui est ecrit sur étoiles and Le desert are the third and first movements in the first grouping. When all twelve are performed together, the movements are operatic in scope, spanning more than an hour and a half. Like Ferde Grofé’s Grand Canyon Suite, Messiaen’s Des canyons aux étoiles is intimately connected to a particular place in the American Southwest—in this case, the state of Utah. Messiaen took inspiration from the landscape and the birds of the Beehive State while composing this suite, and was particularly moved by visiting Bryce Canyon National Park. In these movements, Messiaen’s musical reflections on Utahn grandeur—the meanings he discerned “written in stars,” the colors and forms he saw in the desert—describe his experiences of Bryce as a divine creation. UTAHSYMPHONY.ORG
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NOTES ON THE PROGRAM: 3 / 4 John Williams (b. 1932)
“Main Title” from Star Wars PERFORMANCE TIME: 6 MINUTES
Is any 20th-century music more recognizable— indispensable, even—than John Williams’s music for Steven Spielberg’s Star Wars? Among honors and awards too numerous to mention, the “Main Title” from Star Wars achieved the ultimate accolade when the comic actor Bill Murray, playing a sleazy lounge singer, put words to its melody in an inspired Saturday Night Live sketch. In a career that spans five decades, John Williams has become one of America’s most accomplished composers for film and the concert stage. He has served as music director and laureate conductor of the Boston Pops Orchestra, and he maintains thriving artistic relationships with many of the world’s great orchestras, including the Boston Symphony Orchestra, the New York Philharmonic, the Chicago Symphony and the Los Angeles Philharmonic. He also holds the title of artist-in-residence at Tanglewood. Williams has received a variety of prestigious awards, including the National Medal of Arts, the Kennedy Center Honor, and the Olympic Order, as well as five Academy Awards and 48 Oscar nominations. He also has received seven British Academy Awards (BAFTA), 21 Grammys, four Golden Globes, five Emmys and numerous gold and platinum records.
Gustav Holst (1874—1934)
The Planets PERFORMANCE TIME: 48 MINUTES
His name may not sound English, but his music certainly does. Gustav Holst is among the best loved of all 20th-century English UTAHSYMPHONY.ORG
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composers. Throughout his career, he continued to combine an awareness of the practicalities of the professional musician’s life in England with the changing aesthetics of the international classical music scene—most especially the impact of German, Austrian and Russian composers. We can hear the full range of Gustav Holst’s musical background and education in his best-known composition, The Planets. It is endearing, charming and full of the openness of the English plainsong tradition; yet it is also executed with the sophistication and cosmopolitanism of a composer well acquainted with the latest international music of his day. But if the confident exuberance of The Planets suggests that this suite was easy for him to compose, Holst has actually accomplished something extremely difficult with it, sustaining our rapt attention for seven movements spanning almost an hour with no content other than the personalities and moods represented by each planet. Every movement is intensely colorful and specific, with each planetary subject so clearly in view that we feel ready to land our NASA module on the surface. Yet there is no story line, no overarching form…nothing but mood and the richness of the melodic subjects and rhythmic figures that Holst employs, including many folk songs from his beloved England. It’s hard to beat a luminous night sky as a source of inspiration for philosophers, physicists, poets and kings through the ages. Are the heavens for artists to understand, or do they lie within the realm of science? Like so many of the great classical thinkers, the ancient Greek mathematician Pythagoras saw no separation between the two. On the scientific side, he defined the numerical ratios by which vibrating strings produce tones that are octaves apart. But he also speculated about “music of the spheres,” the subtle sounds of heavenly bodies expressing the ineffable qualities of 29
NOTES ON THE PROGRAM: 4 / 4 the Greek Zodiac according to orbital ratios. Those inspiring celestial lights? Yes, they were physical objects obeying scientific laws, but they were also the embodiments of characters in Greek myths. We could hear their personalities if we really listened. Expansive in every sense, The Planets also calls for a chorus of female voices; Holst uses these resources to the hilt, giving the suite a sense of astronomical space and the swirling energy of a spiral nebula. Though he denied that the suite has any connection to the classical Zodiac other than the names and traits of the personified planets, that connection by itself is enough for the music to conjure strong images of the mythological deities associated with each. We hear seven movements in all: Mars, the Bringer of War; Venus, the Bringer of Peace; Mercury, the Winged Messenger; Jupiter, the Bringer of Jollity; Saturn, the Bringer of Old Age (purportedly Holst’s favorite!); Uranus, the Magician; and Neptune, the Mystic. Earth is not among those profiled; nor is Pluto, which was discovered and then ejected from the planetary club after Holst composed. Now that another “ninth planet” has been discovered, and a huge one at that, we can only wonder what Holst might have made of it. The suite opens with Mars, plunging us into a universe of amoral phenomena; the bringer of war is presented as neither good nor bad, but remarkable for his virility and power. This is conveyed with pounding rhythmic figures of five beats each, indicative of brute force, and with a melodic theme that seems capable of going anywhere. Venus, by contrast, announces herself with an ascending figure of four horn notes that give rise to serenely converging chords voiced in the woodwinds; her sound is celestial, with the shimmer and sparkle of the celesta, harp and glockenspiel, bringing a sense of 30
peace and of vertiginous space, in contrast to the earthbound Mars. Mercury, the winged messenger, is quick in every sense: the suite’s movement of shortest duration, it conveys a sense of darting speed through devilishly constructed runs of rapid notes in two different keys and rhythms. The juxtaposition of opposing elements, a favorite device of Holst’s (and a difficult one to apply) is especially vivid here. Again, it gives rise to a marked contrast: Jupiter, the bringer of jollity, in a movement full of the charm of traditional English folk tunes. There is something deeply endearing in Jupiter’s wholesome cheer that has made it the most popular of the suite’s movements, and has revived interest in the songs it quotes. If any of the suite’s movements can be said to suggest a conventional narrative line, it is Saturn—Holst’s favorite—in a life’s journey toward reconciliation. What might sound like hints of despair in its beginnings are later subsumed by the wisdom and harmony of old age. But in this suite, if wisdom has an opposite, it’s not ignorance, but the sass of Uranus, the magician—smart-alecky and unpredictable. Uranus is a prankster, and in this movement we hear not only the evidence of tricks, but also of the prankster’s smug satisfaction in his own cleverness. Has Holst been leading us outward in the solar system? Not in a strict astronomical sense, but perhaps in an aesthetic one—from the martial strains of Mars to Neptune, the mystic, whose very mystery conveys a sense of endless space. The musical materials here are not melodic themes so much as cryptic figures that play off each other, like intersecting rays of astronomical light. A wordless chorale of women’s voices shimmers, swelling from inaudibility to a veil of sound, then recedes into the stars. In the end, after our exuberant tour of the skies, we are left at the very edge of all that we know, looking out at a thrilling but unfathomable universe. UTAHSYMPHONY.ORG
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EVER WONDER IF THERE’S LIFE ON OTHER PLANETS? LUCIANNE WALKOWICZ
ASTRONOMER, THE ADLER PLANETARIUM
GIRLS IN STEM BECOME WOMEN WHO CHANGE THE WORLD. LEARN MORE @SHECANSTEM ON INSTAGRAM
SPECIAL EVENT
¡CELEBRACIÓN SINFÓNICA! Sept. 16 / 2019 / 7:30PM / ABRAVANEL HALL 16 de setiembre / 2019 / 7:30PM / ABRAVANEL HALL
Carlos Miguel Prieto, conductor
CO N CER T S PO N SOR
CASTELLANOS: Santa Cruz de Pacairigua JIMMY LÓPEZ: Fiesta! ARTURO MÁRQUEZ: Danzón No. 2
O RC H ESTR A S PO N SOR
BERMÚDEZ: Colombia Tierra Querida ABREU: Tico-Tico no Fubá MONCAYO: Huapango GINASTERA: “Malambo” de la suite Estancia TOUSSAINT: Suite de Mambos de Pérez Prado
For Spanish translations visit www.utahsymphony.org
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ARTIST’S PROFILE
Carlos Miguel Prieto was born into a musical family of Spanish and French descent in Mexico City. His charismatic conducting is characterised by its dynamism and the expressivity of his interpretations. Prieto is recognised as a highly influential cultural leader and is the foremost Mexican conductor of his generation. He has been the Music Director of the Orquesta Sinfónica Nacional de México, the country’s most important orchestra, since 2007. Prieto has also been Music Director of the Louisiana Philharmonic Orchestra since 2006, where he has led the cultural renewal of New Orleans following Hurricane Katrina. In 2008 he was appointed Music Director of the Orquesta Sinfónica de Minería, a hand-picked orchestra which performs a two-month long series of summer programmes in Mexico City.
Carlos Miguel Prieto Conductor
CO N D UC TOR S PO N SOR
Recent highlights include his debuts with the London Philharmonic Orchestra, the Minnesota Orchestra and the Los Angeles New Music Group and his returns to the NDR Elbphilharmonie Orchester, Royal Liverpool Philharmonic, Bournemouth Symphony Orchestra, Orchestre philharmonique de Strasbourg and the Auckland Philharmonia Orchestra. Prieto is in great demand as a guest conductor with many of the top North American orchestra including Cleveland, Dallas, Toronto and Houston Symphony orchestras and has enjoyed a particularly close and successful relationship with the Chicago Symphony Orchestra. Prieto is renowned for championing Latin American music and has conducted over 100 world premieres of works by Mexican and American composers, many of which were commissioned by him. A graduate of Princeton and Harvard universities, Carlos Miguel Prieto studied conducting with Jorge Mester, Enrique Diemecke, Charles Bruck and Michael Jinbo.
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NOTES ON THE PROGRAM: 1 / 3
by Michael Clive
Evencio Castellanos (1915–1984)
the world in venues such as Carnegie Hall, Sydney Opera House, and Tanglewood.
Santa Cruz de Pacairigua
PERFORMANCE TIME: 18 MINUTES COUNTRY ORIGIN: VENEZUELA
Esteemed as one of Venezuela’s principal classical musicians, Evencio Castellanos was a pianist and music educator as well as a composer; a 2012 feature on National Public Radio noted that “he’d seem to be his country’s leading twentieth century composer,” offering “the melodic flow of Heitor VillaLobos, and the rhythmic urgency of Alberto Ginastera (two fellow South Americans)…” Castellanos completed professional studies in Caracas at the Superior School of Music, and had already begun to establish his career when he received a two-year scholarship for piano studies in New York City. He later founded the Collegium Musicum de Caracas. Composed in honor of a newly constructed church, Santa Cruz de Pacairigua dates from 1954. Despite the solemnity of the occasion, the music we hear is energetic, boisterous, and pulsing with complex, layered percussion. The effect is of a joyful religious celebration.
Jimmy López (b. 1978)
Fiesta!
PERFORMANCE TIME: 10 MINUTES COUNTRY ORIGIN: PERU
Among the many tributes to the Peruvian composer Jimmy López, the Chicago Tribune has said he is “one of the most admired among the younger generation of South American composers.” His works have been performed by leading orchestras around
About Fiesta!, López writes: “During recent years, eclecticism has become an important part of my musical language. The challenge of creating musically sensible interactions out of the juxtaposition of apparently incompatible musical sources—some of which result in unexpected contrasts—fascinates me. ‘Fiesta!’ draws influences from several musical sources including: European academic compositional techniques, Latin-American music, Afro-Peruvian music and today’s pop music. It utilizes elaborate developmental techniques while keeping the primeval driving forces still latent in popular culture.”
Arturo Márquez (b. 1950)
Danzón No. 2
PERFORMANCE TIME: 10 MINUTES COUNTRY ORIGIN: MEXICO
The Mexican composer Arturo Márquez was born deep in the Sonoran Desert in the colonial town of Alamos, and was named for his father, Arturo, a man of many talents—a mariachi musician and violinist by choice, and a carpenter when family finances required it. He introduced his son to music by ensuring that young Arturo was present at his father’s performances of chamber music, traditional Mexican music, waltzes and polkas. Danzón No. 2 has earned a place as one of the most popular and frequently performed Mexican orchestral compositions of recent years. Its name refers to a dance style that originated in Cuba and is beloved in Mexico— especially in the state of Veracruz, where this composition was inspired by Márquez’s visit to a dance hall. In a 2009 film featuring Danzón No. 2, Márquez himself appears as a dance-hall pianist.
For Spanish translations visit www.utahsymphony.org 34
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NOTES ON THE PROGRAM: 2 / 3 Lucho Bermúdez (1912–1994)
Colombia Tierra Querida PERFORMANCE TIME: 4 MINUTES COUNTRY ORIGIN: COLOMBIA
The formative years of the countries of Central and South America, and of central Europe, were decades ahead of the United States in this regard. The formative years of the Colombian nationalist Lucho Bermúdez parallel those of European nationalist composers such as Janáček and Bartók: a musical prodigy who became enthralled with the native folk music he heard in childhood and went out into the countryside to do his own primary research, becoming a major musical figure in the process. Born Luis Eduardo Bermúdez Acosta, Lucho Bermúdez became simply “Lucho”—a composer, arranger, director and performer whose influence continues to extend far beyond his native Colombia, where he is one of the nation’s most prominent cultural figures. Bermúdez’s compositions incorporate Colombian dance rhythms and melodies with European compositional techniques and orchestral instruments (many of which he learned to play while still a child). The centennial of his birth, 2012, was “The Year of Lucho Bermúdez” in Colombia. His song “Colombia Tierra Querida,” roughly “Beloved Colombia,” is a musical icon in that nation.
Zequinha de Abreu (1880–1935)
Tico-Tico no Fubá PERFORMANCE TIME: 2 MINUTES COUNTRY ORIGIN: BRAZIL
The song “Tico-Tico,” an enduring international hit, passed the century mark two years ago; it was composed in 1917 by Zequinha de Abreu, a Portuguese émigré to
Brazil. But its global popularity, launched in Hollywood, came later. Dating from a 1937 movie, Ethel Smith’s performance of an arrangement for theater organ sold more than two million copies worldwide. A decade later, in Copacabana, the “Brazilian Bombshell” Carmen Miranda sang it opposite Groucho Marx and made a sensation with Hollywoodized lyrics about a hot date and a cuckoo clock, spurring more than forty American-style covers. But in Brazilian music, which does not exile pop forms from classical traditions, “Tico-Tico” is actually a choro—a song form that typically shrugs off misfortune with good humor, good tunes and fast tempos. The title refers to a bird that got into the cornmeal, but we can imagine the same kind of grousing over morning coffee at the office. “TicoTico”’s catchy, emphatically syncopated rhythm is irresistible, and still lends itself to virtuosic arrangements for every conceivable solo instrument and ensemble, from fingertangling guitar transcriptions to full-on symphonic arrangements. As with Viennese waltzes, the critical challenge is to capture that elusive rhythm with orchestral precision.
José Pablo Moncayo (1912–1958)
Huapango
PERFORMANCE TIME: 9 MINUTES COUNTRY ORIGIN: MEXICO
The Mexican composer José Pablo Moncayo died young, but left an important musical legacy; he is considered by some critics to be—along with Silvestre Revueltas and Carlos Chávez—one of the three principal voices of nationalism in 20th-century Mexican music. Like Chávez, Moncayo showed his talent early, received his first instruction in music from an older brother and was groomed for advanced study at a young age, starting his preparations at age 14 and entering the National Conservatory at age
For Spanish translations visit www.utahsymphony.org UTAHSYMPHONY.ORG
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NOTES ON THE PROGRAM: 3 / 3 17. He also became an important educator as well as a composer, establishing literature courses and a composition course for students at the conservatory. Huapango, probably Moncayo’s most popular work, takes its name from a Mexican dance rhythm related to the fandango and danced at popular coastal fiestas of the same name. The sound is spirited but mercurial, darting easily from major to minor keys and shifting from double to triple meters. Composed in a style that originated in the port of Alvarado, Moncayo’s Huapango is composed in three parts whose names alone are enough to make us want to get up and dance: the Ziqui Ziri, the Balaju, and El Gavilan. When especially virtuosic couples step up to perform these dances, they traditionally do so on wooden platforms with rhythmic heel-stamping flair that we can almost see as we listen.
Alberto Ginastera (1916–1983)
Malambo de Estancia PERFORMANCE TIME: 4 MINUTES COUNTRY ORIGIN: ARGENTINA
Born in Buenos Aires to a Catalan father and an Italian mother, Alberto Ginastera was deeply influenced by the folk music of his homeland, Argentina. Ginastera’s compositions combine traditional folk elements with European classical forms. But unlike some Mexican and South American composers who pursued a nationalistic style, Ginastera’s voice was wide-ranging and experimental, evolving with time and gradually shifting in emphasis from national to international. Fans of the movie The Competition with Richard Dreyfuss and Amy Irving will recall Ginastera’s enthralling Piano Sonata No. 1, which combines stretches of twelve-tone composition with peppery, Argentinian-inspired rhythms.
Dating from 1943, when Ginastera was still in his twenties, the ballet Estancia is an early and richly nationalistic work evoking the colors and textures of life on a cattle ranch in the pampas of Argentina. The ballet’s scenario, based on a love triangle, is set in a world of masculine energy and rough work. The Malambo is the ballet’s culminating dance, with the ranch workers competing for the attention of the girl with their increasingly showy displays of athletic dancing. In the contrasting instrumental textures and layered rhythms, we can hear the dancers’ differing styles—city versus country, refined versus bold—as the men dare each other to ever-greater feats of showmanship.
Eugenio Toussaint (1954–2011)
Suite de Mambos de Pérez Prado PERFORMANCE TIME: 6 MINUTES COUNTRY ORIGIN: MEXICO
Eugenio Toussaint, a largely self-taught musician and fully self-invented composer, was born in Mexico City in 1954. He started his performing career in 1972 as a pianist with the jazz band Odradek. In 1975 he joined the jazz band Blue Note, touring Mexico and recording his first compositions on the Blue Note label. He then founded Sacbé, one of the most important and influential bands in the history of Mexican jazz. Toussaint’s extensive catalog bridges jazz and classical realms. This suite of mambos was inspired by the work of Dámaso Pérez Prado, a Cuban bandleader who was known as the “King of the Mambo” (1916–1989) and who also made occasional appearances in film. Toussaint’s fully symphonic arrangement of these mambos is not only a tribute to Pérez Prado, but also an appreciation of the mambo itself.
For Spanish translations visit www.utahsymphony.org 36
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ENTERTAINMENT SERIES
THE MUSIC OF JOHN WILLIAMS Sept. 20–21
/ 2019 / 7:30PM / ABRAVANEL HALL
Jack Everly, conductor
CO N CER T S PO N SOR
JOHN WILLIAMS: Call of the Champions
“Superman March” from Superman
“Flight to Neverland” from Hook
Theme from A.I. Artificial Intelligence
The Cowboys Overture
Excerpts from Close Encounters of the Third Kind “The Devil’s Dance” from The Witches of Eastwick “Raiders March” from Raiders of the Lost Ark
/ INTERMISSION /
Liberty Fanfare
Suite from Far and Away
Theme from Schindler’s List Madeline Adkins, violin
“Hedwig’s Theme” from Harry Potter and the Sorcerer’s Stone “Harry’s Wondrous World” from Harry Potter and the Sorcerer’s Stone
The Shark Theme from Jaws
Theme from Jurassic Park
“Adventures on Earth” from E.T. The Extra-Terrestrial UTAHSYMPHONY.ORG
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ARTIST’S PROFILE
Jack Everly is the Principal Pops Conductor of the Indianapolis and Baltimore Symphony Orchestras, Naples Philharmonic Orchestra and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl, The New York Pops at Carnegie Hall, the San Francisco Symphony, and numerous appearances with The Cleveland Orchestra at Blossom Music Center. Maestro Everly will conduct over 90 performances in more than 22 North American cities this season. As Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS, Maestro Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the West Lawn of the U.S. Capitol. These concerts attract hundreds of thousands attendees on the lawn and the broadcasts reach millions of viewers and are some of the very highest rated programming on PBS television. Jack Everly Conductor CO N D UC TOR S PO N SOR
Mr. Everly is the also Music Director of the IPL Yuletide Celebration, now a 30+ year tradition. He led the ISO in its first Pops recording, Yuletide Celebration, Volume One, that included three of his own orchestrations. Some of his other recordings include In The Presence featuring the Czech Philharmonic and Daniel Rodriguez, Sandi Patty’s Broadway Stories, the soundtrack to Disney’s The Hunchback of Notre Dame, and Everything’s Coming Up Roses: The Complete Overtures of Jule Styne. Originally appointed by Mikhail Baryshnikov, Mr. Everly was conductor of the American Ballet Theatre for 14 years, where he served as Music Director. In addition to his ABT tenure, he teamed with Marvin Hamlisch on Broadway shows that Mr. Hamlisch scored. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. Maestro Everly, a graduate of the Jacobs School of Music at Indiana University, is a recipient of the 2015 Indiana Historical Society Living Legends Award and holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. He is a proud resident of the Indianapolis community and when not on the podium you can find Maestro Everly at home with his family.
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DESERET NEWS
Photo Credit, Steve Griffen
Throughout his life, Johann Sebastian Bach credited his success to hard work and dedication. But he was not blind to the inspirational nature of his craft, saying, “It is the special province of music to move the heart.” The product of this marriage of passion and hard work is true artistic excellence. No group better exemplifies that excellence than the talented youth the Deseret News and the Utah Symphony honor tonight. It is a 60-year partnership in an annual Salute to Youth Concert. The story unfolding before us tonight is the best kind of news—a story about artistic accomplishment made possible by patient parents, dedicated teachers and disciplined students. We are together this evening because of a love of great music, which requires rigorous development of new talent to flourish.
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This talent is forged in the daily struggle of learning, practicing and perfecting and we are amazed at the dedication of those who will perform tonight. The young musicians we honor have pursued their passion for music along the difficult path of exacting correction and critique by trusted teachers. Both teachable and disciplined, they represent the true hallmarks of excellence. The Deseret News is proud to support the Salute to Youth, emblematic of the tireless work of the famed conductor Maurice Abravanel, for whom this hall is named and who once worked as a music critic for his hometown newspaper before launching on his storied music career. Thank you for joining the Deseret News in this annual celebration of what is best in our community. Doug Wilks Deseret News Editor
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SPECIAL EVENT
60TH ANNUAL SALUTE TO YOUTH Sept. 24
/ 2019 / 7PM / ABRAVANEL HALL
Conner Gray Covington, conductor
Winning soloists from the Salute to Youth Competition
CO N CER T S PO N SOR
LALO: Symphonie espagnole for Violin and Orchestra, Op. 21
I. Allegro non troppo Evelyn Meiwes, violin
MENDELSSOHN: Concerto in E minor for Violin and Orchestra, Op. 64 E D U CATIO N S PO N SOR
I. Allegro molto appassionato Makenzie Hart, violin
WALTON: Concerto for Viola and Orchestra (1962 revision) II. Vivo, con molto preciso Mathew Lee, viola
VIVALDI: Concerto in F Major for Three Violins and Orchestra, R. 551 III. Allegro Sarah Kendell, Makcenzie Hart, Eliza Hart, violin
MENDELSSOHN: Concerto for Violin and Piano in D Minor
III. Allegro molto Megan Tandar, piano Ellen Hayashi, violin
/ INTERMISSION / GRIEG: Concerto in A minor for Piano and Orchestra, Op. 16
III. Allegro moderato molto e marcato Gabrial Coombs, piano
MACDOWELL: Concerto No. 2 in D minor for Piano and Orchestra, Op. 23
I. Larghetto calmato Avery Gunnell, piano
RACHMANINOFF: Concerto No. 2 in C minor for Piano and Orchestra, Op. 18
III. Allegro scherzando Dora Meiwes, piano UTAHSYMPHONY.ORG
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ARTISTS’ PROFILES
*See page 10 for Conner Gray Covington’s artist profile.
Sarah Kendell, 14, is a freshman at Skyline High School. She began playing the violin at age five, and is grateful for loving and inspiring teachers who have guided her for the past 9 years: Melissa Thatcher, Deborah Moench, Corine Hart, and Eugene Watanabe. Sarah treasures the friendships and connections she has made through her involvement with Intermountain Children’s Strings, Rocky Mountain Strings, and Vivace. These performing groups have given her the opportunity to share music throughout the Intermountain West, as well as Europe and Asia. In 2018, Sarah was selected as a soloist with the Utah Philharmonic Orchestra. She is beginning her second year as a full-scholarship member of the Gifted Music School Conservatory Orchestra, and embraces the privilege to grow and learn from her dedicated teachers and colleagues at GMS. Sarah loves to travel with her family, hike, ski, play tennis and read. Makenzie Hart, 16, is the recipient of the Starling Scholarship through the Gifted Music School in Salt Lake City. She currently studies with Eugene Watanabe. Makenzie enjoys performing with her family in a music group called HartStrings. She has performed throughout Utah and as far away as India, China, and Brazil. Having performed a violin duet in 2016 at Utah Symphony’s Salute to Youth, Makenzie makes her second (and third) appearances tonight as both a soloist and member of a violin trio. Eliza Mary Hart, 14, is a member of The Gifted Music School in Salt Lake City. She studied violin with Deborah Moench. She
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recently returned from Minneapolis where she performed with the Suzuki Youth Orchestra of the Americas. In 2013, Eliza received a Reflections National Award of Merit for her violin composition. Eliza has received a superior rating in the National Federation of Music Clubs festival for the past five years. Her passions include drawing, painting, sculpting, hiking, camping, and boating. Evelyn Meiwes, 12, studies with Eugene Watanabe and is a Full-Scholarship student of the Gifted Music School in Salt Lake City. She started playing the violin when she was 5½ at the Preparatory Division of the University of Utah. At age 8 she debuted with the Timpanogos Symphony. In 2019 Evelyn performed as a soloist with American Fork and Timpanogos Symphonies playing Lalo’s Symphonie Espagnole. Evelyn won 1st prize twice at the UMTA Concerto Competition in the Elementary Strings division and twice at the Weber State Stringfest. This year she also won the opportunity to play in the Utah Symphony’s Youth Guild Recital and went to Saint Paul Chamber Music Academy where she performed in a master class for Paul Katz from the New England Conservatory. Evelyn will be attending West High through their ELP program next year. She loves to listen to music, play with her friends, puzzle and swim. Mathew Lee, 18, began playing the violin at age 6, and violin was his primary instrument until he fell in love with the viola two years ago. Locally, Mathew studied viola with Dr. Claudine Bigelow. Now a freshman at Indiana University’s Jacobs School of
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ARTISTS’ PROFILES Music, he studies with Atar Arad. As a former student at the Gifted Music School in Salt Lake and a member of the Young Artist Chamber Players, he had the opportunity to tour Europe and to serve as concertmaster his senior year. Last summer, Mathew attended the Meadowmount School of Music. He was a member of the All-State orchestra from 9th–11th grade and sat as Principal Violist in the 2019 side-by-side concert with the Utah Symphony. Mathew also enjoys gymnastics, art, traveling and hanging out with friends. He is grateful for his supportive parents and 6 siblings. Mathew is playing on a 2019 Paul Heart viola. Megan Tandar, 13, is a piano student of Dr. Vera Oussetskaia-Watanabe at the Gifted Music School; previous teachers include Dr. Koji Attwood and Ms. Joanna Oshida. Megan received first prizes in the Music Teachers National Association Piano Concerto Competition (2017), the Steinway Competition (2018), and the Paderewski Competition (2017, 2018). Megan performed in the Utah Symphony Youth Guild recitals (2016, 2017, 2019), at LobbyFest (2016–2019), and as one of ten participants in the 2019 Gina Bachauer International Piano Festival. In 2016, Megan was a soloist in the Utah Symphony’s Salute to Youth Concert. Collaboratively, Megan performs chamber music and currently plays with the Solstice Piano Quartet. Recently, she performed with Bachauer Foundation’s “Music in the Schools,” the German-American Society of Utah, and at the University of Utah Hospital. Megan holds a 4.0 GPA at West High School’s Extended Learning Program and enjoys spending time with friends in her spare time.
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Ellen Hayashi, 16, attends Cottonwood High and The Gifted Music School where she studies with Eugene Watanabe as a Starling Foundation Scholar. Making her orchestral debut at age 10 with Utah Philharmonic, she has since performed with several Utah orchestras—most notably, the Utah Symphony. Ellen is a two-time finalist at the Coeur D’Alene National Young Artists Competition and a top prize winner in the ENKOR International Music Violin Competition. As a member of The BEAR Quartet, Ellen was a first prize winner in the Pasadena Conservatory of Music Chamber Music Competition, the WDAV Young Chamber Musicians’ Competition, the ENKOR International Music Competition, and the St. Paul String Quartet Competition. The quartet was also featured on NPR’s From the Top (Show 367). Ellen attended the Aspen Music Festival and the Center Stage Strings Accelerated Chamber Program. Ellen likes hiking, being with friends, watching Netflix, and hanging out with her dog Treble. Gabrial Coombs, 18, began his piano studies at age three and currently studies with Dr. Stephen Beus. He has frequently performed at benefit and recital concert series throughout the intermountain area—the Temple Square Concert Series, the Cool Classics Concert Series and the Utah Symphony Youth Guild Lobbyfest. Gabrial has garnered top prizes in several competitions—the Youth Guild Recital, Utah State University Piano Festival, and USU Summer Piano Clinic. Having served in various leadership capacities, notably as an Executive for the Draper City Mayor’s Youth Council, Gabrial is an advocate for civic engagement, youth
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ARTISTS’ PROFILES
involvement, and the arts. He also served as an assistant to the Director of Performance Activities in The Juilliard School’s Precollege division. An avid mountain biker, Gabrial was on the four-time high school State Champion Mountain Biking Team. He attends the University of Utah pursuing a degree in Entrepreneurship within the David Eccles School of Business. Avery Gunnell, 18, is a freshman piano performance major at Brigham Young University, studying with Dr Stephen Beus. As a student at Alta High School, she served as the jazz band pianist, played the bassoon in Wind Symphony, was the accompanist for the A Cappella and Madrigals choirs, and soloed twice on the piano in Alta High School’s Concerto Night. Avery has won first place in the USU Piano Festival and the Salt Lake Piano Competition and 2nd place in the Sandy MTA Distinguished Artists Competition. Avery was selected to play in the Utah Symphony Youth Guild recital in both 2017 and in 2019. In the Salute to Youth Concert of 2017, she made her orchestral debut with the Utah Symphony, performing Chopin’s Piano Concerto No 2, Mvmt.1. She loves reading, crocheting, photography, and spending time with family
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and friends. Avery is a former student of Bridget Johansen and Gary Amano. Dora Meiwes,14, studies with Dr. Irene Peery-Fox; prior, she studied with Vedrana Subotic. Dora has made five appearances with symphonies: the American Fork and Timpanogos Symphonies (2019), the Utah Philharmonic Orchestra (2018), the Timpanogos (2017), and the American West Symphony (2016). These performances were a result of winning various concerto competitions—the American Fork Salute to Youth Concerto Competition, Utah Philharmonic Concerto Competition, Aspiring Musician’s Competition, and University of Utah Summer Arts Competition. She has also won the opportunity to perform in the Utah Symphony’s Youth Guild Recital for the past four years (consecutively), placed in many competitions—first in the Encore Keyboard competition (concerto and solo categories), second in the Salt Lake Competition (concerto and solo categories), second in the Steinway Competition, third in the UMTA Concerto Competition, and Honorable Mention in MNTA. D ora attends West High and loves to perform, read, and spend time with friends and family.
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MASTERWORKS SERIES
RESPIGHI’S PINES OF ROME Sept. 27
/ 2019 / 10PM / ABRAVANEL HALL
Sept. 27 Sept. 28
/ 2019 / 7:30PM / ABRAVANEL HALL
(FINISHING TOUCHES REHEARSAL)
/ 2019 / 5:30PM / ABRAVANEL HALL
(SATURDAY PRELUDE)
Thierry Fischer, conductor Viviane Hagner, violin Brant Bayless, viola
CO N CER T S PO N SOR
MOZART: Overture from Idomeneo MOZART: Sinfonia Concertante in E-flat Major for Violin, Viola, and Orchestra, K. 320d [364] I. Allegro maestoso II. Andante III. Presto
/ INTERMISSION /
RESPIGHI: The Birds
I. Prelude (after Bernado Pasquini, 1637-1710) II. The Dove (after Jacques de Gallot, ca. 1670) III. The Hen (after Jean-Phillipe Rameau, 1683-1764) IV. The Nightingale (after an unknown 17th-century English composer) V. The Cuckoo (after Pasquini)
MESSIAEN: “The Orioles” from Des canyons aux étoiles RESPIGHI: The Pines of Rome
I. II. III. IV.
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The Pines of the Villa Borghese The Pines near a Catacomb The Pines of the Janiculum The Pines of the Appian Way
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*See page 9 for Thierry Fischer’s artist profile.
Viviane Hagner Violin G U ES T A R TIST S PO N SOR
PATRICIA A. RICHARDS & WILLIAM K. NICHOLS
Violinist Viviane Hagner has won exceptional praise for her intelligent musicality and passionate artistry. Since making her international debut at the age of 12, and a year later participating in the legendary joint concert of the Israel and Berlin Philharmonics, conducted by Zubin Mehta, she has become known for her substantial and beautiful sound as well as her thoughtful interpretations. She has appeared with the world’s great orchestras, including recently with the Montreal, Vancouver, San Diego, Vienna, Lahti and Singapore Symphonies, the Royal Stockholm Philharmonic, Tonkünstler Orchestra, and a European tour. Ms. Hagner dedicates herself to outreach activities for audiences of all ages, from kindergarten to retirement homes, as well as teaching violin students in masterclasses. Committed to introducing music to school children, she participates at “Rhapsody in School”, a mostly Germany-wide project initiated by pianist Lars Vogt. Ms. Hagner grew up and resides in Berlin where she has been Professor at Berlin University of the Arts from 2009–13. Since 2013, she has held the same position at Mannheim Conservatory of Music and Performing Arts. Ms. Hagner’s North American Representation is www.kirshbaumassociates.com and her recordings are available on Altara.
Born in Kansas and raised in Ponca City, Oklahoma, Brant Bayless came to Utah after completing his studies in New York City. Brant started the viola at age 12. After two years at the University of Kansas studying with Michael Kimber, Brant found his way to New York. Invited to study on scholarship with Pinchas Zukerman and Patinka Kopec at the Manhattan School of Music, Brant finished his bachelor’s degree in 1997. Since joining the Utah Symphony in 2001, Brant has immersed himself in the vibrant musical community in Salt Lake City. From his regular performances on the NOVA and Intermezzo chamber music series, to a teaching post at Westminster College, occasional appearances with Canyonlands New Music Ensemble and Salty Cricket Composers Collective, masterclasses and teaching at institutions statewide, and such special events as the William Primrose Memorial Recital he gave at BYU in 2005, Brant remains busily committed to his art even when off the Abravanel Hall stage. His viola is attributed to the Milanese maker Luigi Bajoni from 1858. Brant is married to the cellist Anne Francis Bayless.
Brant Bayless Viola UTAHSYMPHONY.ORG
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NOTES ON THE PROGRAM: 1 / 2 Wolfgang Amadeus Mozart (1756–1791)
Overture from Idomeneo PERFORMANCE TIME: 5 MINUTES
In the overture, written in D Major, we can hear the opera’s elevated moral tone and the deep conflicts experienced by many of the characters, especially Idomeneo himself. Its structure is appropriately decorous, described by Julian Rushton in Grove’s as “boldly truncated” sonata form. Where the earlier operatic setting by Dachet describes a ruler who eventually goes mad from grief, Mozart gives us a happy ending of moral sacrifice, reconciliation and enlightenment— noble sentiments foreshadowed in the opera’s overture, most especially in the delicacy of its diminuendo passages. In them Mozart offers notes of tenderness and hope amid conflict and sadness.
Wolfgang Amadeus Mozart (1756–1791)
Sinfonia Concertante in E-flat Major for Violin, Viola and Orchestra, K. 320d [364] PERFORMANCE TIME: 30 MINUTES
Composed in three movements, the Sinfonia can be enjoyed as a work that is symphonic in scope and concerto-like in its solo demands. To many listeners, its music seems freer and bolder than the concertos. In pairing the violin and viola, Mozart did not make the lower voice a “second” part; if anything, it is more deeply emotional, adding richness to the work’s harmonic
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textures. From a technical standpoint, it is equally virtuosic. Analysts never fail to point out Mozart’s use of the “Mannheim crescendo” in the Sinfonia’s opening movement. This spectacular effect, which takes its name from the Mannheim orchestra where it originated, goes from very soft to very loud in a single phrase. Unknown in the Baroque era, it was introduced by the composer and conductor Johann Stamitz (b. 1757) and was used only rarely by Mozart, though his Symphony No. 40 provides another prominent example. The American New Age group Mannheim Steamroller is named for the “steamroller” version of the Mannheim crescendo (executed on an upward arpeggio).
Ottorino Respighi (1879–1936)
The Birds PERFORMANCE TIME: 19 MINUTES
Imitating the sounds of nature is a time-honored practice among classical composers. To paraphrase the immortal Yogi Berra, we can hear a lot just by listening to these pieces: the countryside depicted in Beethoven’s Pastorale, the storms and sunrises that both Rossini and Wagner “painted” into their operas, the clucking hen in Haydn’s Symphony No. 83, and the soaring birds in Ottorino Respighi’s delightful tone poem Gli uccelli (The Birds). Born in Bologna in 1879, Respighi had a special flair for this kind of imitative writing and for airy, sky-lit subjects. Gli uccelli is based on works by earlier composers, beginning with a prelude inspired by the Italian Baroque composer Bernardo Pasquini. This formal opening leads us to
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NOTES ON THE PROGRAM: 2 / 2 representations of “La columba” (the dove), based on works by the French composer and lutenist Jacques de Gallot; “La gallina” (the hen), after the great French composer and harpsichordist Jean-Philippe Rameau; “L’usignuolo” (the nightingale), based on a folk song transcribed by the Dutch musician Jacob van Eyck; and, finally, “il cucù” (the cuckoo), which brings us back to the music of Pasquini and the themes of the opening prelude.
Olivier Messiaen (1908–1992)
“The Orioles” from Des canyons aux étoiles PERFORMANCE TIME: 6 MINUTES
Olivier Messiaen’s musical evocation of the sounds of nature, such as the orioles in Des canyons aux étoiles…, stands apart from examples of scene-painting by other composers. A lifelong student of ornithology who heard the voice of God in the songs of birds, Messiaen listened to nature with the ear of a documentarian and a prophet as well as a composer. His work in transcribing bird songs in musical notation is unequalled in the history of composition. His dedication and his reverence are evident in “Les orioles.”
Ottorino Respighi (1879–1936)
The Pines of Rome PERFORMANCE TIME: 26 MINUTES
Born in 1879, the Bolognese master Ottorino Respighi lived most of his life in
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the 20th century (he died in 1936). But in the charm and tonal elegance of his music we can hear 19th- and 20th-century esthetics colored by his infatuation with earlier days: music of the late renaissance and early baroque periods, from the 16th- through the 18th-centuries. Respighi’s music is graceful, courtly and opulent; it often seems to iridesce with shifting colors. The rhythms are whirling or stately. The sound beguiles us like an antique music box. “The Pines of Rome” is the second of Respighi’s three most popular orchestral suites, which also include “The Fountains of Rome” and “Roman Festivals.” All three showcase his gift for creating music that seems vividly and specifically visual, a goal sought by many of the Baroque composers he so admired. In the first movement of “The Pines,” we are treated to a view of the sumptuous Villa Borghese, where rambunctious children are playing and soldiers are marching amid the pines. Next we are transported to a subterranean catacomb in Campagna, with its eerie vaults and priestly chanting deftly evoked by low orchestral voicing, organ and trombones. In the third movement, the nocturnal feeling is accented by the sound of a nightingale among the pines of Janiculum Hill. As Respighi’s Roman travelogue progresses, we realize that not only has he transported us through the city of Rome, but through a day as well: starting with children at play on a sunlit afternoon, through the night, and finally to the Via Appia, where “The Pines of Rome” ends in the brilliance of a Roman sunrise.
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MASTERWORKS SERIES
RACHMANINOFF’S RHAPSODY ON A THEME OF PAGANINI Oct. 23
/ 2019 / 7:30PM /
CONCERT HALL AT UVU’S NOORDA CENTER FOR THE PERFORMING ARTS
Aziz Shokhakimov, conductor Lukáš Vondráček, piano
CO N CER T S PO N SOR S
MUSSORGSKY: Night on Bald Mountain ORCH. RIMSKY-KORSAKOV RACHMANINOFF: Rhapsody on a Theme of Paganini, Op. 43 / INTERMISSION /
PROKOFIEV: Symphony No. 5 in B-flat major, Op. 100
I. Andante II. Allegro moderato III. Adagio IV. Allegro giocoso
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ARTISTS’ PROFILES Newly appointed as the Kapellmeister at the Deutsche Oper am Rhein and Principal Guest Conductor at La Verdi Orchestra in Milan, the remarkable young conductor Aziz Shokhakimov continues his rise on the international symphonic and opera scene. Shokhakimov won the Nestlé and Salzburg Festival Young Conductors Award at the 2016 Salzburg Festival, chosen from a field of 65 applicants overall. Each of the three finalists conducted the Salzburg Camerata during the Award Concert Weekend, and a jury led by Chairman Dennis Russell Davies and Honorary President Plácido Domingo selected Shokhakimov as the winner. Shokhakimov has enjoyed a fruitful collaboration on numerous occasions with the Folles Journey Festival in Warsaw, as well as engagements leading the Dusseldorf Symphoniker in Tokyo.
Aziz Shokhakimov Conductor
Lukáš Vondráček Piano
Lukáš Vondráček made his first public appearance at the age of four. His debut as a fifteen-year-old in 2002 with the Czech Philharmonic Orchestra and Vladimir Ashkenazy was followed by a major US tour in 2003. His natural and assured musicality and remarkable technique have long marked him as a gifted and mature musician. He has worked with conductors including Paavo Järvi, Gianandrea Noseda, Yannick Nézet-Séguin, Marin Alsop, Christoph Eschenbach, Pietari Inkinen, Vasily Petrenko, Jakub Hrůša, Anu Tali, Xian Zhang, Krzysztof Urbański, Stéphane Denève and Elim Chan. Following studies at the Academy of Music in Katowice and the Vienna Conservatoire, Lukáš Vondráček obtained an Artist Diploma from Boston’s New England Conservatory under the tutelage of Hung-Kuan Chen, graduating with Honors in 2012. His first commercial recording, a solo album for Octavia Records, was released in 2004 followed by another recital disc in 2012. His most recent CD, a recording of works by Brahms was released in autumn 2013 on the ORF label.
G U ES T A R TIST S PO N SOR
EVELYN ROSENBLATT YOUNG ARTIST
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EVELYN ROSENBLATT ARTIST AWARD
This weekend’s Masterworks concerts mark the annual Evelyn Rosenblatt Artist recognition created to honor a young soloist or conductor of exceptional promise who has an emerging national reputation. The 2019–20 Artist of Distinction is Lukáš Vondráček, this evening’s talented pianist. This annual recognition is endowed in perpetuity by Evelyn Rosenblatt and her family, who personally selected Mr. Vondráček as this year’s honored artist. Previous Rosenblatt tributes have been awarded to pianists Joyce Yang, Veronika Eberle, Olga Kern, Yu Kosuge, Denis Matsuev, Cédric Pescia, and Denis Kozhukhin; violinists Stephan Jackiw, Viviane Hagner, Scott St. John, Baiba Skride, and Will Hagen; cellists Narek Hakhnazaryan, Julie Albers and Matthew Zalkind; and conductors Keri-Lynn Wilson, Andrew Grams, and Karina Canellakis. The love of great music always played an important role in the life of Evelyn Rosenblatt. As a high school student, Evelyn took the train from Ogden to Salt Lake City every Saturday to study piano. Following her marriage to Joseph Rosenblatt in 1930, she hosted many of Utah Symphony’s musicians and guest artists in her home over the years. These include Leonard Bernstein, Jascha Heifetz, Gregor Piatigorsky, Artur Rubinstein, Beverly Sills, Glenn Gould and Isaac Stern. The Rosenblatt sculptural plaque, designed to honor Evelyn Rosenblatt for her care and love of the Utah Symphony, is located in the lobby outside the First Tier Reception Room in Abravanel Hall. In 1997–98, Mr. and Mrs. Rosenblatt served as the first chairs of the Symphony’s Annual Fund Committee. In January 2000, the Rosenblatt family created the Evelyn Rosenblatt Young Artists Endowment to honor Mrs. Rosenblatt on the occasion of her 90th birthday. Mr. Rosenblatt passed away in May 1999, and Mrs. Rosenblatt in April 2004. Utah Symphony | Utah Opera gratefully thanks and recognizes Evelyn Rosenblatt.
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NOTES ON THE PROGRAM: 1 / 2
by Michael Clive
Modest Mussorgsky (1839–1881)
witches’ brew as a “hatful of horrors.” In fact, the composer’s four-part structure for this tone poem begins with [1] “an underground noise of inhuman voices. Appearance of the Spirits of Darkness followed by an appearance of Satan and [2] his adoration. [3] A Black Mass. [4] Joyful dancing of the Witches’ Sabbath.” With the tolling of a church bell, the darkness is finally dispersed.
Night on Bald Mountain (arr. Rimsky-Korsakov)
PERFORMANCE TIME: 12 MINUTES
Over time, Modest Mussorgsky has acquired a reputation as the wild man of Russian music—a notion that is understandable if not entirely deserved. It is certainly reinforced by the thundering climaxes and raw emotion we hear in his music. If his compositions are moody and steeped in Russian folk tradition, that description could fit the music of many of his peers. Still, Mussorgsky’s voice is well-nigh unmistakable, especially in the brooding, innovative harmonies we hear in A Night on Bald Mountain and his other major compositions, such as his opera Boris Godunov. Composed in 1867, when Mussorgsky was still in his twenties, Night on Bald Mountain is early Mussorgsky and vintage subject matter: a tone poem depicting a witches’ Sabbath occurring on St. John’s Eve, the very night (June 23) when he completed the work to his evident satisfaction. It received its concert premiere in St. Petersburg in 1886, five years after Mussorgsky’s death, and achieved immediate success. In the West, our indelible images of the windswept Bald Mountain are derived from the vivid collaboration between Leopold Stokowski and the Disney studios in the animated classic Fantasia (1940). There is much more to the eerie content of this tone poem than just Mussorgsky’s characteristically vivid tone-painting of a craggy peak at night in bad weather. He larded his score with bone chilling elements, including the sinister roll of the bass drum and scary descending phrases that slither like serpents. One critic deftly described this 54
Sergei Rachmaninoff (1873–1943)
Rhapsody on a Theme of Paganini, Op. 43. PERFORMANCE TIME: 23 MINUTES
Rachmaninoff composed the Rhapsody in 1934, when he had already written four full-length concertos. Not just a collection of variations on a theme, it is a concertante that is formally constructed, with the 24 variations dividing themselves into three movements in which most of the variations, like Paganini’s original theme, are stated and developed in A minor. The result closely resembles a concerto: It has traditional fast, slow and faster movements, and it incorporates additional thematic materials to develop musical ideas in a formal way. Listeners who cannot quite place the formal title of the Rhapsody will immediately recognize Paganini’s familiar main subject, which is the best-known and -loved of his set of 24 violin caprices. It’s built upon a pair of peppery A-minor phrases that sound vaguely demonic, especially on the violin. The melody starts with an emphatic A, and then, after a quick four-note figure, jumps up to E—then drops an octave to a lower E, repeats the four-note figure starting on E rather than A to arrive back where it began. This basic progression—start on the tonic, jump up a fifth, drop an octave and jump up a fourth to UTAHSYMPHONY.ORG
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NOTES ON THE PROGRAM: 2 / 2 the tonic again—is often called “circular,” and it could be repeated in an endless loop if a counterbalancing phrase didn’t intervene… eventually resolving it on the same tonic note. In Rachmaninoff’s treatment of this theme, the first ten variations form an opening movement, with another theme—a quotation of the Dies irae theme of the Latin mass—arising in variations 7, 10, 22 and 24. Variation 11 consists of a slow, poetic transition that leads us into a slow movement that moves gradually from D minor to D-flat minor, culminating in the most famous musical interlude in the entire Rhapsody, variation 18. You’ll be lost in the beauties of Rachmaninoff’s lush romanticism when this variation, vernal and ecstatic, soars forth, literally turning the original theme on its head—a direct inversion of Paganini’s original A-minor subject. Understanding its potential popularity, Rachmaninoff is reported to have quipped “this [variation] is for my agent.” It is often played as a stand-alone work.
Sergei Prokofiev (1891–1953)
Symphony No. 5 in B-flat Major, Op. 100 PERFORMANCE TIME: 46 MINUTES
Prokofiev would compose seven symphonies in all. His fifth took shape while World War II was still raging, fourteen years after he published his Symphony No. 4, and in its ardent expression of idealism and humanistic affirmation, it may be heard as a statement of patriotism and a vision of a more peaceful world. Freshness and energy are characteristic of all Prokofiev scores; but where some of his major works—for example, his five great piano concertos—thrill with their power and percussiveness, others UTAHSYMPHONY.ORG
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are written in a more lyrical style. The latter group includes his popular ballet scores, which shine with narrative expressiveness and singing melodies. His Symphony No. 5 combines all of these qualities. Despite the horrors and privations suffered by Soviet citizens during the war, music historians tell us that Prokofiev produced the Symphony No. 5 at one of the most optimistic moments of his life. He wrote it in an impassioned burst of creativity during the summer of 1944, reportedly in a single month. In a note on the score, he wrote that he intended the symphony as “a hymn to free and happy Man, to his mighty powers, his pure and noble spirit…I cannot say that I deliberately chose this theme. It was born in me and clamored for expression. The music matured within me. It filled my soul.” Like many of Shostakovich’s political symphonies, Prokofiev’s fifth was intended to console and uplift the listener, a testament to art’s ability to inspire us at times of desolation. We hear this most clearly as the first movement draws to a close; following a long and formally constructed development, the recapitulation and coda come to us with sounds of triumph expressed through the brasses and percussion that seem to confirm what is most noble in the human spirit. In the second movement, Prokofiev’s characteristically driving rhythms— composed at a time when Soviet citizens were exhausted nearly beyond human endurance—seem to energize us as we listen. While the eloquent third movement can be heard as an unflinching depiction of war’s brutal realities, the final movement’s gathering energy gives rise to a profusion of orchestral color that blazes with excitement for the future. In its totality, the work is a towering symphonic assertion of humanism and of triumph over despair. 55
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Stephen & Cydney Quinn David & Shari Quinney Dr. Wallace Ring Richard & Carmen Rogers Ted & Lori Samuels Elizabeth Solomon George & Tamie† Speciale Mr. & Mrs. G. B. Stringfellow Steve & Betty Suellentrop Thomas & Marilyn Sutton James R. & Susan Swartz Norman C.† & Barbara L. Tanner Kathleen Digre & Michael Varner Howard & Barbara Wallack Kathie & Hugh Zumbro
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INDIVIDUAL SUPPORT ALLEGRO ($5,000 TO $9,999) Anonymous (5) Craig & Joanna Adamson Edward R. Ashwood & Candice A. Johnson Suzanne & Clisto Beaty Mr. & Mrs. Jim Blair David Brown Carol, Rete & Celine Browning Neill & Linda Brownstein** Marc & Kathryn Cohen Mr. & Mrs. Kenneth R. Cutler Patricia Dougall Eager Trust Spencer & Cleone† Eccles Midge Farkas Jack & Marianne Ferraro Thomas & Lynn Fey Mr. & Mrs. Eric Garen**
Diana George Ray & Howard Grossman Chuck & Kathie Horman Annette & Joseph Jarvis Dale & Beverly Johnson James & Penny Keras Thomas & Carolyn Klassen Gary & Suzanne Larsen Harrison & Elaine Levy Michael Liess Hallie & Ted McFetridge Paul Meecham & Laura Leach Charles & Amy Newhall Dr. Thomas Parks & Dr. Patricia Legant Dr. Dinesh & Kalpana Patel
Brooks & Lenna Quinn Joyce Rice Peggy & Ben Schapiro Barbara & Paul Schwartz Thomas & Gayle Sherry Drs. John & Ann O’Neill† Shigeoka Sidney Stern Memorial Trust Janet Sloan Ms. Janice K. Story Larry & Nancy Tallman Mr. & Mrs. Glen R. Traylor Thomas† & Caroline Tucker Albert & Yvette Ungricht M. Walker & Sue Wallace E. Woolston & Connie Jo Hepworth-Woolston
ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) Anonymous(8) Robert & Cherry Anderson Pj Aniello Mr. & Mrs. William C. Bailey Robert & Sandy Baker Robert & Melisse Barrett Melissa J. Bentley, MD Charlotte & Hal Browning Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Vincent Cannella Dr.† & Mrs. Anthony Carter Charlene Carter Mark & Marcy Casp Hannalorre Chahine Hal & Cecile Christiansen George & Katie Coleman Raymond & Diana Compton Debbi & Gary Cook Dr. Thomas D. & Joanne D. Coppin David & Donna Dalton
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Ken & Marcie Davis David & Karen Gardner Dee Thomas D. Dee III & Dr. Candace Dee Elizabeth deForest Margarita Donnelly John D. Doppelheuer & Kirsten A. Hanson Margaret Dreyfous Carol & Greg Easton Janet Ellison Kate Fauntleroy Blake & Linda Fisher Adele & James Forman Mr. Joseph F. Furlong III Robert & AnnieLewis Garda Jeffrey L. Giese, M.D. & Mary E. Giese David & Sherrie Gee Kenneth & Amy Goodman Arlen Hale C. Chauncey & Emily Hall Dr. Bradford D. Hare & Dr. Akiko Okifuji
David & Connie Harris Jeff & Peggy Hatch John Edward Henderson Don & Lisanne Hendricks Sunny & Wes Howell Dixie S. & Robert P. Huefner Michael Huerta & Ann Sowder Ken & Margo Jacobs Jay & Julie Jacobson Drs. Randy & Elizabeth Jensen M. Craig & Rebecca Johns Maxine & Bruce Johnson Bryce & Karen† Johnson Neone F. Jones Family Dr. & Mrs. Michael A. Kalm Susan Keyes & Jim Sulat Jeanne Kimball Ashley & Ron Kirk Carl & Gillean Kjeldsberg George Klopfer & Joy Simeonova
UTAHSYMPHONY.ORG
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INDIVIDUAL SUPPORT ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Howard & Merele Kosowsky Les Kratter Donald L. & Alice A. Lappe Lisa & James Levy Bill Ligety & Cyndi Sharp Herbert† & Helga Lloyd Ms. Susan Loffler Daniel & Deena Lofgren Mr. & Mrs. Kit Lokey Dennis & Pat Lombardi Jeramy Lopez Tom & Jamie Love Gregg & Karen Lund Milt & Carol† Lynnes David & Donna Lyon Keith & Vicki Maio Jennifer & Gideon Malherbe Jed & Kathryn Marti Daniel & Noemi P. Mattis Dale & Carol Matuska Christopher & Julie McBeth Tom & Janet McDougal Michael & Julie McFadden Michal & Maureen Mekjian
Mr. & Mrs. Richard Mithoff Dr. Louis A. Moench & Deborah Moench Glenn & Dav Mosby Marilyn H. Neilson Stephen & Mary Nichols Thomas & Barbara O’Byrne Ruth & William Ohlsen O. Don & Barbara Ostler Chris Parker Dr. S. Keith & Barbara Petersen Robert Petkun Ray Pickup Victor & Elizabeth Pollak Dr. & Mrs.† Marvin L. Rallison Kenneth Roach & Cindy Powell James & Anna Romano Spitzberg-Rothman Foundation Thomas Safran David & Lois Salisbury Mark & Loulu Saltzman Margaret P. Sargent
Grant H. Schettler James & Janet Schnitz Shirley & Eric Schoenholz William G. Schwartz & Jo Ann Givan Howard & Audrey Seares Dewelynn & J. Ryan† Selberg Stuart & Mary Silloway Mary & Doug Sinclair Tim & Judy Terrell Richard & Janet Thompson Ann & Steven Tyler Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff John & Susan Walker Gerard & Sheila Walsh Wesley Warren & Amber Hawkins-Warren Susan Warshaw Dan & Amy Wilcox Gayle & Sam Youngblood
PATRON ($1,500 TO $2,499) Anonymous (5) Drs. Crystal & Dustin Armstrong Fred & Linda Babcock Susan Benson Roger & Karen Blaylock Mr. & Mrs. William D. Callister Mr. & Mrs. Lee Forrest Carter Larry & Judy Cohen Dorothy B. Cromer Pat & Nancy Forester Thomas Fuller Heidi Gardner Dr. & Mrs. John Greenlee
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David & SandyLee Griswold** Kenneth & Kate Handley Connie C. Holbrook Mr. & Mrs. Jerry Huffman Caroline & David Hundley James R. Jones & Family Bill & Sharon Macey Clifton & Terri McIntosh Cheri Measom George & Nancy Melling Dan & Janet Myers Dr. & Mrs. Richard T. O’Brien Lee K. Osborne Robert† & Catherine Pedersen
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Jayne Roth Gibbs† & Catherine W. Smith Neylan McBaine & Elliot Smith Christine St. Andre & Cliff Hardesty Douglas & Susan Terry Robert R. & Sue A. Webb Charles & Ellen Wells Jeremy & Hila Wenokur Marsha & Richard Workman Carol Zimmerman Greg Grimshaw
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INDIVIDUAL SUPPORT FRIEND ($1,000 TO $1,499) Anonymous (3) Christine A. Allred Dr. & Mrs. Jeffrey L. Anderson Ian Arnold David & Rebecca Bateman E. Wayne† & Barbara Baumgardner Jennie & Charlie Beckham Victoria Bennion C. Kim & Jane Blair Michael Blum & Abigail Rose Diane Banks Bromberg & Dr. Mark Bromberg Janice Burk Lindsay & Carla Carlisle Dana Carroll & Jeannine Marlowe Carroll Michael & Beth Chardack William J. Coles & Joan L. Coles Dr. & Mrs. David Coppin James Dashner Larry Dickerson James & Rula Dickson Kathleen & Frank Dougherty Alice Edvalson Eric & Shellie Eide Eva Carlston Academy Robert S. Felt, M.D. James & Barbara T. Gaddis Quinn & Julie Gardner Bob & Mary Gilchrist Ralph & Rose Gochnour
Mr. & Mrs. Richard R. Graham Sue & Gary Grant John & Ilauna Gurr Geraldine Hanni Robert & Marcia Harris Jonathan Hart Courtney Henley Camille Huchton Scott Huntsman Eldon Jenkins & Amy Calara Chester & Marilyn Johnson Jill Johnson Rick & Paulette Katzenbach Umur Kavlakoglu Robert & Karla Knox Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Mr. & Mrs. Bruce M. Lake Guttorm & Claudia Landro Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Thomas & Mary McCarthey Lex Hemphill & Nancy Melich Dr. Nicole L. Mihalopoulos & Joshua Scoville Hal & JeNeal Miller Dr. Jean H. & Dr. Richard R. Miller Henriette Mohebbizadeh Barry & Kathy Mower Sir David Murrell IV & Mary Beckerle
Oren & Liz Nelson Timothy & Lisa O’Brien Joseph J.† & Dorothy Moyle Palmer Linda S. Pembroke Rori & Nancy Piggott Thomas B. Pilger Renee & Russell Plumb W.E. & Harriet R. Rasmussen Dr. Barbara S. Reid Dr. Richard & Frances Reiser Gina Rieke Janet Schaap Sandefur Schmidt Mr. August L. Schultz Bianca Shepard Dennis & Annabelle Shrieve Barbara Slaymaker Mr. & Mrs. Isaac Stein Dr. & Mrs. Michael H. Stevens Richard & Karen Urankar David H. & Barbara S. Viskochil Gerald & Sheila Walsh Brad E. & Linda P. Walton Dr. James C. Warenski Renee Waters Scott & Mary Wieler Cindy Williams Margaret & Gary Wirth David B. & Anne Wirthlin Doug & Becky Wood
Proud Supporters of the Utah Symphony
Grandeur Peak Funds are distributed by ALPS Distributors, Inc.
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An invitation to join the
UTAH SYMPHONY YOUTH GUILD
AS MUSIC DIRECTOR OF THE UTAH SYMPHONY, I invite all families with children between the ages of 8 and 18 to join the Utah Symphony Youth Guild. The Youth Guild fosters musical interest through education events, provides service and competition opportunities, and encourages attendance at Utah Symphony and Utah Opera performances by providing specially discounted ticket vouchers.
Thierry Fischer, Utah Symphony Music Director THE YOUTH GUILD offers an array of
inspiring opportunities for your family. Join us for the Salute to Youth concert on September 24 when the Youth Guild Committee will be in the Abravanel Hall lobby before the concert and during intermission to answer your questions about the Youth Guild.
TO JOIN THE UTAH SYMPHONY YOUTH GUILD, OR TO LEARN MORE, PLEASE VISIT: utahsymphony.org/education/youth-guild or call the Education Department at 801-869- 9092.
PLEASE SUPPORT OUR EDUCATION AND COMMUNITY OUTREACH PROGRAMS
By donating you help provide arts events for students, aid classroom teachers, invest in the future citizens of Utah, and support your Utah Symphony and Utah Opera. Donate today! Contact our Development Department at (801) 869-9015. SE A SON SPONSOR:
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 Neill & Linda Brownstein Burton & Elaine Gordon Barbara Scowcroft & Ralph Matson
Mrs. Barbara Nellestein Joanne & Bill Shiebler Grant Gill Smith Dale Strobel
Matthew & Maria Proser Whittney Thomas J. Brian Whitesides
GIFTS MADE IN MEMORY Jay T. Ball Dawn Ann Bailey Betty Bristow Robert H. Burgoyne, M.D. Kathie Dalton Peggy Chase Dreyfous Robert Ehrlich Leah Burrows Felt Loraine L. Felton
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Crawford Gates Lowell P. Hicks Dr. Gary B. Kitching M.D. Harry Lakin Warren K. (Sandy) McOmber Dr. Richard George Middleton Jack Newton
Glade & Mardean Peterson Clyde Dennis Meadows Shirley Corbett Russell J. Ryan Selberg Frank & Maxine McIntyre Ann O’Neill Shigeoka, M.D. Phillis “Philly” Sims Maxine Winn
UTAHSYMPHONY.ORG
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People, Animals,
volunteer with your pet
and the Healing Power of Unconditional Love.
Intermountain Therapy Animals PETS HELPING PEOPLE
801.272.3439 TherapyAnimals.org Serving Our Communities Since 1993
INSTITUTIONAL DONORS We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from August 1, 2018 to August 2, 2019. * in-kind donation
** in-kind & cash donation
$100,000 OR MORE Anonymous The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation Dominion Energy Emma Eccles Jones Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation
The Florence J. Gillmor Foundation Hearst Foundation Larry H. & Gail Miller Family Foundation O.C. Tanner John and Marcia Price Family Foundation Salt Lake County Salt Lake County Zoo, Arts, and Parks Sorenson Legacy Foundation
Summit County Restaurant Tax/RAP Tax Utah Division of Arts & Museums / National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank
The Kahlert Foundation League of American Orchestras’ Futures Fund
Northern Trust Utah Symphony Guild
Joan & Tim Fenton Foundation Frederick Q. Lawson Foundation LOVE Communications** McCarthey Family Foundation Montage Deer Valley** Moreton Family Foundation Charles Maxfield & Gloria F. Parrish Foundation Simmons Family Foundation
Stein Eriksen Lodge** STRUCK* Summit Sotheby’s Norman C.† & Barbara L. Tanner Second Charitable Trust Nora Eccles Treadwell Foundation Utah Symphony Guild Vivint.SmartHome
$50,000 TO $99,999 Anonymous The Grand America Hotel & Little America Hotel* Janet Q. Lawson Foundation
$25,000 TO $49,999 Anonymous Arnold Machinery Carol Franc Buck Foundation Brent & Bonnie Jean Beesley Foundation BMW of Murray/ BMW of Pleasant Grove Cache Valley Electric Chevron Corporation C. Comstock Clayton Foundation Deer Valley Resort*
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#
@U T AH S YM P H O N Y #UTAHSYMPHONY # L E FTS PE EC HL E S S #FEELITFORYOURSELF May 2020
INSTITUTIONAL DONORS $10,000 TO $24,999 Anonymous Adobe HJ & BR Barlow Foundation B.W. Bastian Foundation Big D Construction R. Harold Burton Foundation Caffè Molise* Marie Eccles Caine FoundationRussell Family Cultural Vision Fund Daynes Music Company*
$5,000 TO $9,999 Anonymous The Aaron Copland Fund for Music, Inc. Deluxe Corporation Foundation The Dorsey & Whitney Foundation George Restaurant* Holland & Hart
$2,500 TO $4,999 Bambara* Bertin Family Foundation Robert S. Carter Foundation CBRE
Discover Financial Services Matthew B. Ellis Foundation The Evelyn Rosenblatt Young Artist Award Goldman Sachs & Co. LLC Grandeur Peak Global Advisors The Val A. Green & Edith D. Green Foundation Richard K. & Shirley S. Hemingway Foundation The John C. Kish Foundation Johnson Foundation of the Rockies
Park City Chamber/ Visitors Bureau Promontory Foundation S.J. & Jessie E. Quinney Foundation Regence Blue Cross Blue Shield of Utah St. Regis / Deer Crest Club** University of Utah Health WCF Mutual Insurance Company W. Mack & Julie S. Watkins Foundation Wells Fargo
The Huntsman Foundation Hyatt Centric Park City** J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Martine* Orem City CARE Tax Raymond James & Associates
Rocky Mountain Power Foundation Ruth’s Chris Steak House* Salt Lake City Arts Council Stay Park City* U.S. Bank Foundation Union Pacific Foundation Utah Autism Foundation
Ditta Caffè* Henry W. & Leslie M. Eskuche Charitable Foundation Inwest Title Services, Inc.
M Lazy M Foundation Moka Squatters Pub* Zurchers
Millcreek Coffee Roasters* Prime Steakhouse Ray, Quinney & Nebeker Foundation
Glenna & Lawrence Shapiro Family Foundation Snow, Christensen & Martineau Foundation
Nebeker Family Foundation Strong & Hanni, PC
Swire Coca-Cola, USA*
$1,500 TO $2,499 Castle Foundation Corning Incorporated Foundation The Helper Project Constellation Brands
$1,000 TO $1,499 Anonymous The Fanwood Foundation Western Office UTAHSYMPHONY.ORG
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HOUSE RULES ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Abravanel Hall. Ask at the Coat Check for details. WHEELCHAIR SEATING Ample wheelchair seating is available. Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager. LATECOMERS In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating
will be used. During some productions late seating may not occur until an intermission after which time you may be seated by an usher in an alternate section. When traveling to performances, please allow ample time for traffic delays, road construction, and parking. COPYRIGHT ADHERENCE In compliance with copyright laws, it is strictly prohibited to take any photographs or any audio or video recordings of the performance. EMERGENCY INFORMATION In the event of an emergency, please remain seated and wait for instructions. Emergency exits are located on both sides of the house. Please identify the exit closest to your location.
OUT OUT ON ON THE THE TOWN TOWN OUT ON THE TOWN
dining guide diningdining guide guide THE THENEW NEWYORKER YORKER60 60West WestMarket MarketStreet. Street.SLC’s SLC’s premier premierdining diningestablishment. establishment.Modern ModernAmerican American MARTINE 22 East 100 South. Exceptional ambience, MARTINE 22 East South. Exceptional ambience, located in cuisine cuisineisisfeatured featured in100 inrefined refined dishes dishes and and approachable approachable located infood. a historic brownstone. Martine Salt comfort From From classic classic totoinnovative, innovative, from acomfort historic food. brownstone. Martine offers Salt Lake Cityoffers afrom sophisticated Lake City a sophisticated dining experience kept– simple. contemporary contemporary seafood seafood toConveniently toAngus Angus Beef Beef steaks steaks –the the dining experience kept simple. located on First South Conveniently located onfor First South around the corner menu menuprovides provides options options forevery every taste. taste. Served Served ininaa around the corner from the Eccles Theater. Extensive bar and wine from theelegant Eccles Theater. Extensive bar andservice. wine service. casually casually elegant setting settingwith withimpeccable impeccable service. service. martinecafe.com L,for T,corporate LL, RA,CC, CC,and VS. 801-363-9328 martinecafe.com L, D, T,D,corporate LL, RA, VS. 801-363-9328 Private Privatedining diningrooms rooms for and social socialevents. events. Lunch Lunch&&Dinner. Dinner.No Nomembership membershiprequired. required.L,L,D,D,LL, LL,AT, AT, RR, RR,CC, CC,VS. VS.801.363.0166 801.363.0166 MARKET MARKET STREET STREET GRILL GRILL DOWNTOWN DOWNTOWN 48 48 SPENCER’S 255 South West Temple, SLC. Winner of Wine West West Market Market Street. Street. Unanimous Unanimous favorites favorites forseafood seafood Spectator’s Award of Excellence and Best of Statefor for Fine Dining, dining, dining,providing providingexceptional serviceand andaward awardwinning. enjoy locally sourcedexceptional Prime steaksservice and sustainable seafoodwinning. dishes The Thecontemporary contemporarymenu menufeatures featuresthe thehighest highestquality quality from Executive Chef Sebastian Lowrey. Seasonal cocktails, inspired available. available.Select Selectfrom froman anabundant abundantoffering offeringofoffresh fresh desserts, flown and exceptional service your meal. L,variety D, S, T, seafood seafood flown inindaily, daily,Angus Anguscompliment Beef Beefsteaks, steaks, and and aavariety ofof non-seafood non-seafood dishes. dishes.Open Open 7 7days daysaat aweek weekserving serving LL, RA, CC, VS. 801-238-4748 | Reservations Opentable.com breakfast, breakfast,lunch, lunch,dinner, dinner,Sunday SundayBrunch. Brunch.B,B,L,L,D,D,C,C,AT, AT,S,S, LL, LL,CC, CC,VS. VS.801.322.4668 801.322.4668
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B-Breakfast B-BreakfastL-Lunch L-Lunch D-Dinner D-Dinner S-Open S-Open SundayDL-Delivery DL-DeliveryT-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre Top: Image licensed by Ingram ImageSunday LL-Liquor LL-LiquorLicensee LicenseeRR-Reservations RR-ReservationsRequired RequiredRA-Reservations RA-ReservationsAccepted AcceptedCC-Credit CC-CreditCards CardsAccepted AcceptedVS-Vegetarian VS-VegetarianSelections Selections B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections
ADMINISTRATION ADMINISTRATION Paul Meecham
DEVELOPMENT Leslie Peterson
David Green
Jessica Proctor
President & CEO
Senior Vice President & COO
Julie McBeth
Executive Assistant to the CEO
Collette Cook
Executive Assistant to the Sr. VP and COO & Office Manager
SYMPHONY ARTISTIC Thierry Fischer
Vice President of Development
ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan
Director of Institutional Giving
Mike Lund
Olivia Custodio
Director of Individual Giving
Heather Weinstock
Director of Special Events & DVMF Donor Relations
Lisa Poppleton Grants Manager
Nikki Orlando
Symphony Music Director
Development Operations Manager
Anthony Tolokan
Ali Snow
Vice President of Symphony Artistic Planning
Annual Fund Coordinator
Conner Gray Covington
Ellesse Hargreaves
Barlow Bradford
MARKETING & COMMUNICATIONS Jon Miles
Development Assistant
Associate Conductor
Symphony Chorus Director
Walt Zeschin
Director of Orchestra Personnel
Andrew Williams
Orchestra Personnel Manager
Lance Jensen
Executive Assistant to the Music Director Symphony Chorus Manager
SYMPHONY OPERATIONS Cassandra Dozet
Director of Orchestra Operations
Melissa Robison
Program Publication & Front of House Director
Vice President of Marketing & Public Relations
RenĂŠe Huang
Director of Communications & Digital Media
Kate Henry
Sales Manager
Lyndsay Keith
OPERA ARTISTIC Christopher McBeth
Sales Associates
Nicholas Barker Gavin Benedict Lorraine Fry Jodie Gressman Ellen Lewis Ananda Spike
Opera Artistic Director
Carol Anderson Principal Coach
Michelle Peterson
Opera Company Manager
Ticket Agents
Michaella Calzaretta Opera Chorus Master
Bobbie Williams
Accounts Payable Accountant
EDUCATION Paula Fowler
Director of Education & Community Outreach
Kyleene Johnson
Symphony Education Manager
Becca Gee
Opera Education Assistant
Annie Farnbach
Symphony Education Assistant
Senior Technical Director Properties Master
JR Orr
Assistant Props
Travis Stevens Head Carpenter
Dusty Terrell
Scenic Charge Artist
Jessica Cetrone
Sarah Pehrson Jackie Seethaler Powell Smith
2nd Assistant Stage Manager
Patron Information Systems Manager
Patron Services Assistant Group Sales Associate
Robyne Anderson
Jared Mollenkopf
COSTUMES Verona Green
Genevieve Gannon
Artist Logistics Coordinator
Payroll & Benefits Manager
Patron Services Manager
Andrew J. Wilson Hallie Wilmes
Operations Manager
Alison Mockli
Kelly Nickle
PATRON SERVICES Faith Myers
Mara Lefler
Properties Manager & Assistant Stage Manager
Controller
Website Content Coordinator
Nina Starling
Marketing Manager - Patron Loyalty
Jeff F. Herbig
Karyn Cunliffe
OPERA TECHNICAL Jared Porter
Merry Magee
Production & Stage Manager
Director of Information Technologies
Digital Content Producer
Kathleen Sykes
Director of Patron Engagement
Chip Dance
Vice President of Finance & CFO
Costume Director
Costume Rentals Supervisor
Kierstin Gibbs LisaAnn DeLapp Rentals Assistants
Amanda Reiser Meyer Wardrobe Supervisor
Milivoj Poletan Tailor
Tiffany Lent
Cutter/Draper
Donna Thomas
Milliner & Craftsperson
Connie Warner Stitcher
Brooke Yadon
Krissa Lent
Opera Production Coordinator
Wigs/Make-up Crew We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.
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Elementary students create their own opera through Music!Words!Opera!
to Utah Symphony
I
Utah Opera!
U Your music was amazing. It put me in a better mood.
n
-STUDENT, BROCKBANK ELEMENTARY, NEBO SCHOOL DISTRICT
Need a mood boost? If music brightens your day, won't you consider a tax deductible donation to Utah Symphony I Utah Opera (USUO)?
Only 30% of our revenue comes from ticket sales and we could use your help. As a 501(c)(3) non-profit, we rely on a combination of private and public support to sustain not only outstanding musical experiences, but educational and community outreach programs to every part of Utah as well. Would you be willing to help us with the remaining 70%?
For more information:
USUO.ORG/GIVE 801-869-9015
And here's something to really make you smile: if you are a first-time donor, or if you wish to increase your annual gift, the George S. and Dolores Dore Eccles Foundation will match your contribution 2:1 ! Thank you for being a member of our audience. Seeing you at performances definitely puts us in a better mood!
Utah Symphony Associate Conductor Conner Gray Covington conducts the Orem High School Orchestra as part of our "Musicians in the Classroom" initiative.
TANNER & CRESCENDO SOCIETIES
“YOU ARE THE MUSIC WHILE THE MUSIC LASTS.”~T.S. Eliot
Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012 for more information, or visit our website at usuo.giftplans.org.
TANNER SOCIETY OF UTAH SYMPHONY
Beethoven Circle (gifts valued at more than $100,000) Anonymous (3) Doyle Arnold & Anne Glarner Edward R. Ashwood & Candice A. Johnson Dr. J. Richard Baringer Haven J. Barlow Marcy & Mark Casp Shelly Coburn Raymond & Diana Compton Anne C. Ewers
Mahler Circle
Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Virginia A. Hughes Ms. Marilyn Lindsay† Turid V. Lipman
Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane Miner Glenn Prestwich Kenneth A.† & Jeraldine S. Randall Mr.† & Mrs. Alvin Richer
Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffery & Joyce Smith G.B. & B.F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace
Herbert C. & Wilma Livsey Dianne May Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn
Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart Frederic & Marilyn† Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser
CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage
Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean Henkels Edward R. Ashwood & Candice A. Johnson Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Richard W. & Frances P. Muir Marilyn H. Neilson
Carol & Ted Newlin Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Jeffrey W. Shields G.B. & B.F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser †Deceased
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VOLUNTEER SUPPORT We thank our generous volunteers & Utah Symphony Guild members for their annual support of Utah Symphony | Utah Opera. This list includes volunteers that have given their time from August 20, 2018 to August 20, 2019. 75 HOURS OR MORE Heather Benson Doyle Clayburn Esther Chang Caprene Curtis Arlen Hale
Sissy Higbee Karen Jurgens Lona Mae Louritzen Mary Lynn Kinsel Maybell McCann
Pam Miller Luke Pettit Anne Polinsky Carol Radinger Rick Seven
David Lach Whit Wirsing Ken Wilson
50–75 HOURS Scott Barraclough Thea Brannon Chip Browne Jaspin Childs Tremiti Childs
Eli Curtis Kaleb Curtis Karsyr Childs Robert Curtis Spencer Curtis
Leslie Davis Andrea Erekson Heather Malko Sandra Marsh Cathy Paiz
Kim Smith Nicholas Unsworth Bridget Steadman David Webster Chris Wilson
25–50 HOURS Gary Allen Jean Barton Maureen Bradley Barbara Connell Bill Connell Marlene Dazely Cheryl Dejno Erica Freeman Beth Foley Carolyn Fredin Vicki Gilchrist Sylvia Goff Jason Hedquist
LeAnn Hedquist Kathy Hills Kathy Holmes Steven Holmes Julie Howland Denise Konrad Nancy Laursen Liz LeFevre Dianne May Andrea Measom Rebecca McGarry Haylie Miller Alexandria Mumphery
Christy Neel Nancy Pitstick Sasha Poma Kathy Pozzuoli Mark Pozzuoli Jeana Quigly Jeannette Ricci Elizabeth Ryder Karen Scheible Skye Sieber Lisa Silbaugh Michele Smith Cheryl Soshnik
Sandy Sweitzer Christine Taylor Donna Thompson Spencer Thompson Deborah Tuttle Chuck Wally Jan Wally Carolyn Wang Anthony Wilkinson Lilly Wilkinson Rebecca Wilkinson Red York
LESS THAN 25 HOURS JoAnne Allen Mike Armstrong Amy Bach Jann Barrios Alan Barta Adam Bascom Amy Bascom Fern Baird Lisa Bartlett Karthikeyan Baskaran Patricia Baskin Sid Baskin Ian Bell Molli Bell Monica Bell Scott Bell Julie Brown Yolanda Bunderson Andrea Butler Jessie Buss Jill Buss Mayumi Call Amanda Carroll Nicholas Cicalese Heidi Clark Sandie Crook Richard Daems Ellen Dahl Gary Dalton Jessica Dalton Renate Dalton Barbara Damon Andrew Dellenbach
David DeTienne Kristen DeTienne Tabitha Dutton Judith Eagan Chad Erekson Dan Erekson George Erekson Kay Erekson Maggie Erekson Jenny Evans Olivia Frere Shoaf Judy Fullerton Strike Fongeallaz Patrice Gallagher Jan Gandy Paul Gandy Kathleen Gammell Janalee Goebel Jane Goebel JoAnn Goebel Matthew Goebel Donna Graves Jim Graves Andrew Hall Eric Hall Jon Hall Kathy Hall Marci Hall Elijah Hancock Rebekah Hampton Rebekah Hopper Linda Itami Rakhi Jattani
Emma Jensen Amber Johnson Scott Johnson Holden Jones Charlotte Jordan Rebekah Hampton Jonathan King Paul Kriekard Julie Kronholz Brianna Le Heather Lewis Hyunjung Lim Henry Longmore Kathie Longmore Rebekah Lyn Sarah Marshall Mary Marchlewski Maybell McCann Gary Moore Liz Moore Mercedes Moore MaryEllen Mortola Deborah Nash Brendan Olsen Kathleen Papi-Baker Juan Carlos Perez Erica Paul Kathy Pope Paula Poulson Andrea Person Chas Ranch Renae Richards Scott Richardson
Dave Salzburg Margaret Sargent Abby Scott Jeannine Seibert Karishma Shah Eric Sheer Hadley Smith Paula Speth Gavin Speakman Rocio Soto Eric St. Pierre Sue Stowe Camille Strahl Viki Snow Linda Stetser Tiffany Stone Lana Taylor Alexis Thaeler John Thaeler Marcy Thaeler Stephen Thaeler Hannah Thorne Elena Tiralongo Khanh Trim Sujay Tripathy Sheila Whitney Kathy Williams Leslie Williams Lisa Williams Gary Wold Peggy Wold Wilson Wosnjuk Anna Vukin
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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.
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