Utah Symphony September/October 2021 by Mills Publishing Inc.

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CONTENTS

UTAH SYMPHONY SEPTEMBER/OCTOBER 2021–22

Welcome

Utah Symphony

HILARY HAHN PLAYS BRAHMS SEPTEMBER 17–18, 2021 / 7:30 PM

Board of Trustees

Season Sponsors

Music Director

Donors

THIERRY FISCHER CONDUCTS STRAVINSKY & RACHMANINOFF SEPTEMBER 24, 2021 / 10 AM /

FINISHING TOUCHES

SEPTEMBER 24, 2021 / 7:30 PM SEPTEMBER 25, 2021 / 5:30 PM

Administration

Tanner & Crescendo Societies

Planned Giving

ENRIQUE MAZZOLA CONDUCTS BRAHMS 4, VERDI & ROTA OCTOBER 21, 2021 / 7:30 PM

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

Please use this QR code if you would like the view the digital publication. @UtahSymphony

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

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

GRAPHIC DESIGN/WEB DEVELOPER Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Dan Miller Paul Nicholas EDITOR Melissa Robison

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

WELCOME

On behalf of the board, musicians, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and our 2021–22 Season. The orchestra returns to Salt Lake City fresh from our Forever Mighty Tour where we celebrated Utah’s 125th anniversary, rugged natural beauty, and Western heritage. What a thrill it was to perform great live music outdoors in harmony with the spectacular scenery of our state and for many people who had never heard the majestic reverberance of a full orchestra in person.

Steven Brosvik President & CEO

Thierry Fischer Music Director

The Utah Symphony has become increasingly recognized as one of the nation’s top orchestras, offering artistic and educational experiences at the highest level. As such, we are part of the economy, pride, and cohesiveness of our growing community. Music connects us through shared experience. It entertains us. It lifts our spirits. It provides a respite from our daily concerns. Beyond that, it helps build skills in our youth as they aspire to achieve their potential. Through performance, appreciation, and instruction of music, USUO unites our community in so many ways. As leaders it is our honor and responsibility to steward this wonderful organization so that it can continue to make a difference in the lives of our citizens. Our vision is to prolong the journey toward ever-greater performance experiences, while at the same time develop in new audiences a passion for music. We can only accomplish this in partnership with you, who recognize how the performing arts contribute to our quality of life. We hope that you are inspired by our journey and join us for each new success. Thank you for your support of Utah Symphony | Utah Opera. We are deeply appreciative of your trust. Sincerely,

Thomas M. Love Board of Trustees Chairman 6

UTAHSYMPHONY.ORG

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UTAH SYMPHONY Thierry Fischer, Music Director

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

Associate Conductor

Barlow Bradford

Symphony Chorus Director

VIOLIN* Madeline Adkins

Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton

Kathryn Eberle

Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair

Principal The Sue & Walker Wallace Chair

OBOE James Hall

Principal The Gerald B. & Barbara F. Stringfellow Chair

Yuan Qi

Brooks Fisher††

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

Lissa Stolz

Associate Principal

ENGLISH HORN Lissa Stolz CLARINET Tad Calcara

Acting Principal The J. Ryan Selberg Memorial Chair

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

Acting Associate Concertmaster

Andrew Larson

Erin Svoboda-Scott

David Park

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

Lee Livengood

Ralph Matson

†

Associate Concertmaster

Hugh Palmer

Assistant Concertmaster

Claude Halter

Principal Second

Wen Yuan Gu

Associate Principal Second

Evgenia Zharzhavskaya Assistant Principal Second

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

• First Violin •• Second Violin

VIOLA* Brant Bayless

CELLO* Matthew Johnson

Acting Associate Principal

BASS* David Yavornitzky Principal

Corbin Johnston Associate Principal

James Allyn Andrew Keller Edward Merritt Jens Tenbroek Thomas Zera

Associate Principal

BASS CLARINET Lee Livengood

TROMBONE Mark Davidson Principal

Sam Elliot

Associate Principal

BASS TROMBONE Graeme Mutchler TUBA

Vacant Principal

TIMPANI George Brown Principal

Eric Hopkins

Associate Principal

PERCUSSION Keith Carrick Principal

BASSOON Lori Wike

KEYBOARD Jason Hardink

Principal The Edward & Barbara Moreton Chair

Leon Chodos

Associate Principal

Jennifer Rhodes CONTRABASSOON Leon Chodos

FLUTE Mercedes Smith

Edmund Rollett

Lisa Byrnes

Caitlyn Valovick Moore

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

PICCOLO Caitlyn Valovick Moore

TRUMPET Travis Peterson

* String Seating Rotates † On Leave

# Sabbatical †† Substitute Member

Associate Principal

Peter Margulies Paul Torrisi

Eric Hopkins Michael Pape

HORN Jessica Elder

Principal The Val A. Browning Chair

Associate Principal

E-FLAT CLARINET Erin Svoboda-Scott

HARP Louise Vickerman Principal

Jeff Luke

Principal

Associate Principal

Principal

LIBRARIANS Clovis Lark Principal

Katie Klich† Claudia Restrepo†† ORCHESTRA PERSONNEL Walt Zeschin

Director of Orchestra Personnel

Andrew Williams

Orchestra Personnel Manager

Principal

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

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

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

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

Harris Simmons Verl R. Topham David B. Winder

John Bates Howard S. Clark Kristen Fletcher

Richard G. Horne Ron Jibson E. Jeffery Smith

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

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

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

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

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

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

*Executive Committee Member

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SEASON SPONSORS

SYMPHONY SPONSOR

MASTERWORKS SERIES SPONSOR

FAMILY SERIES SPONSOR

2021-22 UTAH SYMPHONY SEASON SPONSOR

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

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

MUSIC DIRECTOR

Swiss conductor Thierry Fischer has been Music Director of the Utah Symphony since 2009 and becomes Music Director Emeritus in 2023. Principal Guest of the Seoul Philharmonic 2017–2020, in March 2020 he began as Music Director of the Sao Paulo Symphony. In Utah he has revitalized the organisation, instigating a major commissioning programme, taking the orchestra to Carnegie Hall for the first time in 40 years, recording Mahler symphonies for Reference Records and beginning a SaintSaens 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, 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 from 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. Thierry Fischer is represented by Intermusica.

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

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MASTERWORK SERIES

HILARY HAHN PLAYS BRAHMS SEPTEMBER 17–18, 2021 / 7:30 PM ABRAVANEL HALL

EDO DE WAART, conductor HILARY HAHN, violin

BEETHOVEN: Overture to Egmont, op. 84 BRAHMS: Concerto in D Major for Violin and Orchestra, Op. 77 I. Allegro non troppo II. Adagio III Allegro giocoso, ma non troppo vivace Hilary Hahn, violin

INTERMISSION

Selections to be announced from stage.

CO N CER T S PO N SOR

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ARTISTS’ PROFILES

During the 2019-20 Season Edo de Waart began his role as Principal Guest Conductor of the San Diego Symphony Orchestra, with whom he was a featured guest conductor in the previous five seasons. He concluded his tenure as Music Director of the New Zealand Symphony Orchestra at the end of their 2019 season and took up the role of Conductor Laureate; de Waart also holds the positions of Conductor Laureate of the Antwerp Symphony Orchestra and Netherlands Radio Philharmonic Orchestra and Music Director Laureate of Milwaukee Symphony Orchestra. In addition to his existing posts, he was previously Music Director of the San Francisco Symphony, Minnesota Orchestra, Hong Kong Philharmonic, Rotterdam Philharmonic Orchestra and Sydney Symphony Orchestra, and Chief Conductor of De Nederlandse Opera. Edo de Waart Conductor

As part of the Beethoven 250th birthday celebrations, de Waart will conduct all the composer’s symphonies with New Zealand Symphony Orchestra, and several Beethoven programmes with the San Diego Symphony, with whom he will be joined by soloists Emmanuel Ax and Leila Josefowicz. He will make his annual appearance with the Netherlands Radio Philharmonic Orchestra and return to Chicago and Dallas orchestras. Other guest conducting highlights this season include KBS Symphony and Hangzhou Philharmonic. Edo de Waart has received a number of awards for his musical achievements, including becoming a Knight in the Order of the Netherlands Lion and an Honorary Officer in the General Division of the Order of Australia. He is also an Honorary Fellow of the Hong Kong Academy for Performing Arts.

UTAHSYMPHONY.ORG

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ARTIST’S PROFILE

Three-time Grammy Award-winning violinist Hilary Hahn melds expressive musicality and technical expertise with a diverse repertoire guided by artistic curiosity. Her barrier-breaking attitude towards classical music and her commitment to sharing her experiences with a global community have made her a fan favorite. Hahn is a prolific recording artist and commissioner of new works, and her 20 feature recordings have received every critical prize in the international press. Hahn’s commitment to her fans extends to a long history of educational initiatives. A former Suzuki student, she released new recordings of the first three books of the Suzuki Violin School in 2020. In 2019, she released a book of sheet music for her encores project, “In 27 Pieces: the Hilary Hahn Encores.” Her Instagram-based practice initiative, #100daysofpractice, has helped to demystify the typically grueling and isolating practice process, transforming it into a community-oriented, social celebration of artistic development.

Hilary Hahn Violin

G U ES T A R TIST S PO N SOR

Hahn is a prolific and celebrated recording artist whose twenty feature albums on Decca, Deutsche Grammophon, and Sony have all opened in the top ten of the Billboard charts. In addition, she can be found on three DVDs, an award-winning recording for children, and various compilations. Hahn has also participated in a number of non-classical productions. She was featured in the Oscar-nominated soundtrack to The Village and has collaborated on two records by the alt-rock band. Hahn is the recipient of numerous awards and recognitions. In 2001, she was named “America’s Best Young Classical Musician” by Time magazine, and in 2010, she appeared on The Tonight Show with Conan O’Brien. She also holds honorary doctorates from Middlebury College—where she spent four summers in the total-immersion German, French, and Japanese language programs—and Ball State University, where there are three scholarships in her name.

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HISTORY OF THE MUSIC By Jeff Counts

Overture to Egmont, op. 84 Duration: 9 minutes.

THE COMPOSER – LUDWIG VAN BEETHOVEN (1770-1827) – With Vienna under French occupation during much of 1809, Beethoven was forced into an uncomfortable seclusion. Though he chose to stay behind, many of the city’s elite had fled, including the court. Among them was Beethoven’s patron, friend and student Archduke Rudolf. The composer wrote most of the 5th Piano Concerto during his time alone and dedicated it to his absent compatriot. One interesting facet of the momentary French rule was the loosening of certain censorship laws, which gave several previously banned plays a new life in the city.

THE HISTORY – Near the end of that troubling year, Beethoven received a commission to write incidental music for a theatre production of Egmont, one of the plays reinstated by the occupiers. This must have come as a refreshing diversion from the composer’s sadness and solitude. Not only did the opportunity provide a chance to deeply connect with the words of his most favored writer Goethe, the subject of the drama was also particularly poignant for Beethoven. In the play, Count Egmont is a Dutch resistance fighter bent on the liberation of his country from Spanish occupation. He dies heroically after making his stand in a

moment that Goethe believed worthy of a “symphony of victory.” It is impossible not to draw a parallel between the character of the Duke of Alva and the real-life “Emperor” of France. Beethoven had long since lost his admiration for Napoleon and the bombardment of Vienna, though quite mild in comparison to what happened in Spain, would certainly have confirmed his worst fears about the man. Goethe’s play, and the honor of providing it with some suitably powerful incidental music, was perfect medicine for the composer after such dark, lonely months. The score of Egmont was completed in 1810 and performed in its entirety that June. Only the overture still receives frequent performance attention as a stand-alone concert piece. Had Beethoven chosen to create a follow-up to Fidelio, one wonders what kind of opera might have grown out of the apparent increase in theatrical maturity on display in Egmont. The overture is a wonderfully intricate microcosm, one that successfully samples all the coming drama of the story.

THE WORLD – Elsewhere in 1810, Argentina began a chain-reaction in South America by claiming independence from Spain, the first Oktoberfest was held in Bavaria and Lord Byron made his famous swim across the Hellespont in Turkey.

THE CONNECTION – The Egmont Overture is programmed fairly often by the Utah Symphony but has not appeared on the Masterworks Series since October 2015. Thierry Fischer conducted.

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HISTORY OF THE MUSIC

Concerto in D Major for Violin, Op. 77 Duration: 38 minutes in three movements.

THE COMPOSER – JOHANNES BRAHMS (1833-1897) – In the middle years of the 1870s, Brahms was forced to contend with something his dogged humility may have been averse to – fame. His first two symphonies, finally written after decades of doubt, were actively out in the world confirming him as both Beethoven’s successor and a conservative foil to Wagner and the other progressives. This success gave Brahms the courage to stare down another of his persistent ghosts, this one of his own design. It was time to write another concerto.

THE HISTORY – Not since 1859 and the disastrous launch of his 1st Piano Concerto had Brahms given serious thought to composing another, for any instrument. It was a friendship, a long and devoted one, that eventually brought him back around. Brahms and violin virtuoso Josef Joachim had been friends since 1853, and the latter had been a great help during the construction and trials of the piano concerto. Joachim must have been thrilled then when Brahms told him in 1878 that he had a few nascent “violin passages” to share. Joachim fully expected a highly collaborative process to ensue, much like the one they established back in 1857 and 1858, and he got one. Whenever they could not meet in person, letters and manuscript morsels flew back and forth between UTAHSYMPHONY.ORG

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the two comrades. It wasn’t always enjoyable. Brahms was often resistant and occasionally dismissive of Joachim’s expert corrections. But both men wanted the piece to be special, worthy of another orbit around Beethoven’s star. Joachim was enthusiastic about the possibility of New Year’s Day premiere in 1879, but Brahms felt unready to meet so ambitious a deadline. He did, in the end, but that Leipzig performance felt a little thrown together, and the friends fretted until the Vienna concerts two weeks later where they could finally enjoy the response they had hoped for. The symphonic nature of the work would continue to fuel its detractors though, Pablo Sarasate notable among them, and the concerto did not always make a big splash in its travels after Vienna. This is hard to fathom, given the work’s current standing (with Beethoven and Mendelssohn) as one of the three unbreakable pillars of 19th century violin mastery. Posterity often makes better arguments than audiences, it seems, and Brahms’s stern masterpiece would simply have to wait for its due.

THE WORLD – Elsewhere in 1877, Oglala Lakota leader Crazy Horse was killed by a soldier while in confinement in Nebraska, the first Championships at Wimbledon were held and the Martian moons Phobos and Deimos were discovered.

THE CONNECTION – Brahms’ Violin Concerto is a popular work on Utah Symphony Masterworks seasons. The most recent performance was in February 2019 under the baton of Mario Venzago with Stefan Jackiw as soloist. 21

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MASTERWORK SERIES

STRAVINSKY & RACHMANINOFF SEPTEMBER 24, 2021 / 10 AM / FINISHING TOUCHES SEPTEMBER 24, 2021 / 7:30 PM SEPTEMBER 25, 2021 / 5:30 PM ABRAVANEL HALL

ANDREI KOROBEINIKOV, piano

STRAVINSKY: The Fairy’s Kiss (Le baiser de la fée)

Prologue: The lullaby in the storm - Andante A village fête - Tempo giusto At the mill - Pas de deux: Moderato Epilogue: The Lullaby in the Land of Eternity - L’istesso tempo

INTERMISSION

LUTOSŁAWSKI: Variations on a Theme of Paganini ANDREI KOROBEINIKOV, piano

RACHMANINOFF: Rhapsody on a Theme of Paganini, Op.43 ANDREI KOROBEINIKOV, piano

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ARTIST’S PROFILE

Undisputedly one of the most dexterous and gifted minds in classical music, Andreï Korobeinikov is not only one of today’s leading pianists, but also one of the most searching and extraordinary artistic interpreters of our time. Born in Russia in 1986, Korobeinikov took his first piano lessons at the age of five, making his professional recital debut just three years later. Clearly in possession of a prodigious gift for music, in 2001 he entered the Moscow’s State Tchaikovsky Conservatoire, studying in the class of Professor Andreï Diev. Upon graduation, he was awarded the unusual honour of “Best Musician of the Decade” before going on to obtain a post-graduate performance degree from the Royal College of Music, London. Korobeinikov now enjoys a top-level career as a concert pianist, performing with many of the world’s leading orchestras. Recent and forthcoming concerto highlights Andreï Korobeinikov include those with the BBC Symphony Orchestra, Piano Budapest Festival Orchestra, Konzerthausorchester Berlin, NHK Symphony Orchestra Tokyo, St. Petersburg Philharmonic Orchestra, and the Wiener Symphoniker. He enjoys a particularly strong profile in France, where he performs regularly with such orchestras as the Orchestre de Paris, Orchestre National de France, and the Orchestre Philharmonique de Radio-France. Amongst those conductors with whom Korobeinikov has made lasting musical partnerships are Alain Altinoglu, Vladimir Ashkenazy, JeanClaude Casadesus, Vladimir Fedoseyev, Iván Fischer, Lawrence Foster, Okko Kamu, Mikhail Pletnev, Andris Poga, Yuri Temirkanov, and Antoni Wit. In addition, Andreï Korobeinikov is a devoted chamber musician. His piano trio with Vadim Repin (violin) and Alexander Kniazev (cello) is widely celebrated, meeting with glowing critical acclaim. Additionally, Korobeinikov enjoys regular collaborations with such esteemed artists as Boris Berezovsky, Henri Demarquette, Johannes Moser, and the Borodin Quartet. His chamber music constellations are a regular feature at many of the world’s most prestigious summer festivals, including the Gstaad Menuhin Festival, La Roque d’Anthéron, and the Verbier Festival, amongst others. No stranger to the competition circuit in his youth, Korobeinikov holds more than 20 international prizes. Amongst his major victories are winning First Prize at the Scriabin International Piano Competition, Moscow (2004), and winning both the Second Prize and the Audience Prize at the Rachmaninov International Piano Competition, Los Angeles (2005). When not on tour, Andreï Korobeinikov spends his time between homes in Moscow and St. Petersburg.

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HISTORY OF THE MUSIC By Jeff Counts

Le baiser de la fée (The Fairy’s Kiss) Duration: 44 minutes in four movements.

THE COMPOSER – IGOR STRAVINSKY (1882-1971) – Stravinsky spent the entire span of years between the world wars in France. His return there in 1920 after Swiss exile was a convenient choice and one he nearly didn’t make. With St. Petersburg no longer an option, Stravinsky considered living in Rome but instead resettled in the City of Light on the invitation of Coco Chanel. When not with his family in a small town near the Spanish border, he was in Paris, which was still brimming with artistic energy and eager to welcome back its beloved adopted son.

THE HISTORY – As always, ballet would be an important part of Stravinsky’s productivity during this time. His own written words speak best to the genesis of The Fairy’s Kiss. “In 1928 Ida Rubenstein commissioned me to compose a fulllength ballet. The thirty-fifth anniversary of Tchaikovsky’s death was 1928 – the actual day was observed in Paris’ Russian churches – and I therefore conceived my compatriotic homage as an anniversary piece. I chose [Hans Christian] Anderson’s The Snow Maiden because it suggested an allegory of Tchaikovsky himself.” The highly agreeable music of Stravinsky’s “homage” was a blend of themes from several of Tchaikovsky’s songs and piano works and Stravinsky’s own respectful melodic creations in the style of his

departed countryman. The result was magical, if not immediately popular. Again, Stravinsky himself wrote best about the scenario of his ballet, “A fairy imprints her magic kiss on a child at birth and parts it from its mother. Twenty years later, when the youth has attained the very zenith of his good fortune, she repeats the fatal kiss and carries him off to live in supreme happiness with her ever afterward.” As mentioned previously, Stravinsky found connections between the story and Tchaikovsky’s own life, especially the part about being taken away at the peak of his creative powers. The project, though gratifying for Stravinsky, hastened the end of his long professional friendship with Serge Diaghilev. Diaghilev was incensed that Stravinsky would accept work from a competing ballet company (especially one run by his former star dancer) and never forgave the composer. Stravinsky reworked the score numerous times over the next decades, a common practice for him, and the original version has sadly become something of a rarity on concert stages.

THE WORLD – Elsewhere in 1928, Mexican President Alvaro Obregon was assassinated, the Albanian Republic became a Kingdom, the German dirigible Graf Zeppelin made its first intercontinental flight and D.H. Lawrence published Lady Chatterley’s Lover.

THE CONNECTION – The Fairy’s Kiss has only been programmed one other time by the Utah Symphony on a Masterworks concert, most recently in November 1981 under Robert Henderson.

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HISTORY OF THE MUSIC

Wariacje ne temat Paganiniego (Paganini Variations) Duration: 9 minutes.

THE COMPOSER – WITOLD LUTOSŁAWSKI (1913-1994) – When the Nazis occupied Warsaw during the war, Lutosławski made money by performing in cafes around the city. He also played proper recitals whenever possible with his piano duo partner Andrzej Panufnik, often also in cafes or nightclubs and occasionally in more secret locations away from German eyes. As a duo, Lutosławski and Panufnik had a huge repertoire filled with arrangements of orchestral music by a wide array of European composers. Of their catalogue of nearly 200 transcribed works, only the Paganini Variations of 1941 survived the war.

THE HISTORY – It’s probably safe to assume that the frequency of their nightclub engagements influenced Lutosławski’s choices about what music to arrange for himself and Panufnik. They were as likely to perform bits of jazz as they were something by Debussy. No doubt the dark times they were enduring provided another, more counterintuitive kind of inspiration, as Lutosławski was not afraid to mix in a little sarcasm when it suited him. Niccolò Paganini wrote his 24 Caprices in or around 1807. The most famous of the set, if homage counts for anything, is the last. No. 24 comprises

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a theme, followed by 11 variations and a finale, and dozens of performers and composers have used this music in various ways over the last two centuries. Unlike so many interpreters before and since, Lutosławski left the basic structure of the original alone. Instead, he expanded the color palette and technical density from the inside out, filtering the music through a unique prism of humor and virtuosic competitiveness. Lutosławski arranged the work for a single soloist and orchestra in 1978 for the Polish-American pianist Felicja Blumental. The symphonic iteration lacks some of the dueling fury of the two-piano version (it’s amazing to think about this music in the context of a popular and possibly subversive night spot in wartime Warsaw), but retains all the flashy swagger. In both cases, Lutosławski’s ability to translate one kind of virtuosity (“violinistic”) into another (“pianistic”) is a consistent treat. Paganini’s creation was designed to highlight tricks and techniques that were specific to the violin. Lutosławski’s tribute does the same for the piano and evokes the great tradition of its own timeless superstars – giants like Liszt and, of course, Rachmaninoff.

THE WORLD – Elsewhere in 1941, the Babi Yar massacre occurred in Ukraine, Pearl Harbor was attacked by Imperial Japan, Joe DiMaggio had his 56-game hitting streak, Citizen Kane had its premiere and James Joyce passed.

THE CONNECTION – These concerts represent the Utah Symphony premiere of Lutosławski’s Paganini Variations.

HISTORY OF THE MUSIC By Jeff Counts

Rhapsody on a Theme of Paganini, op. 43 Duration: 22 minutes.

THE COMPOSER – SERGEI RACHMANINOFF (1873–1943) – In 1934, Rachmaninoff was ensconced in his secluded estate near Lake Lucerne in Switzerland, where enjoyed leisurely tours on his motorboat and spending time with his grandchildren. He had named the villa “Senar,” derived from the first two letters of Sergei and Natalya and the first letter of Rachmaninoff. The atmosphere was reminiscent of his beloved Russian retreat of Ivanovka (lost forever to him thanks to the revolution) and it was in this new sanctuary he created his last great work for piano and orchestra.

THE HISTORY – In the latter years of his compositional life, Rachmaninoff favored a leaner and more focused orchestral language. The luxuriant textures that defined his voice and career before World War I were gone and in their place was a more concise, less emotional presentation of ideas. This was, after all, the man Stravinsky once referred to as a “six-anda-half-foot tall scowl.” Rachmaninoff’s somber seriousness as a person was often at odds with his early Romantic opulence as a composer, so the turn towards directness in his December years is perhaps an understandable eventuality. Among the finest of his late creations was the Paganini Rhapsody. Rachmaninoff 30

based his variations on an oft-used theme from the last of Niccolò Paganini’s 24 Caprices for Solo Violin. The choice put him in the good company of Schumann, Liszt and Brahms, who had already paid homage to that particular melody. The Rachmaninoff iteration includes 24 episodic variations, grouped loosely into three implied sections in the manner of a proper concerto. As a whole, the work is a highly original collection of moods, each crafted with incredible precision and intent. Hidden in plain sight amidst the relative newness of the score is a nod to old habits in the inventive but sentimentally gorgeous 18th Variation, as well as three statements of the composer’s ubiquitous fascination, the mediaeval Dies Irae. Interestingly, Rachmaninoff spoke to choreographer Michael Fokine about setting the Rhapsody as a ballet a few years after it premiered successfully in Baltimore. We’ll never know if Rachmaninoff was thinking about the possibility of dance when he wrote the piece, but it is fascinating to consider, and to imagine.

THE WORLD – Elsewhere in 1934, The Canadian Dionne quintuplets, the first known to survive infancy, were born, Leopold III became King of Belgium, the U.S.S.R. was admitted to the League of Nations, Hitler was named Führer and Alcatraz was opened.

THE CONNECTION – The Paganini Variations have been programmed many times on the Masterworks Series, most recently in October 2019 with Aziz Shokhakimov conducting and Lukáš Vondráček as soloist. UTAHSYMPHONY.ORG

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MASTERWORK SERIES

ENRIQUE MAZZOLA CONDUCTS BRAHMS 4, VERDI & ROTA OCTOBER 22–23, 2021 / 7:30 PM ABRAVANEL HALL

CO N CER T S PO N SOR

ENRIQUE MAZZOLA, conductor

VERDI: Overture to La forza del destino ROTA: Suite dal balletto “La Strada”

I. Nozze in Campagna. “È Arrivato Zampanò” II. I Tre Suonatori E Il “Matto” Sul Filo III. Il Circo (Il Numero Di Zampanò - I Giocolieri - Il Violino Del “Matto”) IV. La Rabbia Di Zampanò V. Zampanò Uccide \ “Matto”. Gelsomina Impazzisce Di Dolore VI. L’ultimo Spettacolo Sulla Neve - “Addio Gelsomina” VII. Solitudine E Pianto Di Zampanò

INTERMISSION

BRAHMS: Symphony No. 4 in E minor, Op. 98 I. II. III. IV.

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Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

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ARTIST’S PROFILE

Renowned as an expert interpreter and champion of bel canto opera and a specialist in French repertoire and early Verdi, Italian conductor Enrique Mazzola is in demand worldwide as both an operatic and symphonic conductor. He is Music Director Designate at the Lyric Opera of Chicago from the 2019/20 season, commencing as Music Director in September 2021, Principal Guest Conductor at Deutsche Oper Berlin from the 2018/19 season and served as Artistic & Music Director of the Orchestre National d’Île de France from 2012/13 to 2018/19. In October 2018 he was made a Chevalier de l’ordre des Arts et des Lettres, in recognition of his significant contribution to musical life in France.

Enrique Mazzola Conductor

G U ES T A R TIST S PO N SOR

Plans for the 2020/21 season include debuts with Detroit Symphony, Berner Symphonieorchester, Youth Orchestra Flanders, National Symphony Orchestra Taiwan and Dutch National Opera (Anna Bolena). Return engagements include London Philharmonic Orchestra, Deutsche Oper Berlin (Lakme), Glyndebourne Festival Opera (Luisa Miller) and Bregenzer Festival (Rigoletto). Appearances with Lyric Opera of Chicago and Houston Symphony sadly fell victim to the Covid-19 pandemic. Recent seasons include notable debuts with Salzburg Festspiele (Orphée aux enfers), Wiener Staatsoper (Don Pasquale), Orchestre National du Capitole de Toulouse, Philharmonia Orchestra, Royal Scottish National Orchestra, Orchestra of the Age of Enlightenment, Oslo Philharmonic, Royal Northern Sinfonia, New Japan Philharmonic, Taipei Symphony, Luxembourg Philharmonic, Brussels Philharmonic, Staatsphilharmonie Nurnberg and Swedish Radio Symphony Orchestra. Return engagements have included Metropolitan Opera (La fille du régiment), Opernhaus Zurich (Turco in Italia, Maria Stuarda, Il barbiere di Siviglia, I puritani), Bregenzer Festspiele (Rigoletto and previously Rossini’s Mosè in Egitto), Scottish Chamber Orchestra, Norske Opera (Don Giovanni), Wiener Symphoniker, Orchestre Symphonique de Quebec, Sao Paulo State Symphony,

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ARTIST’S PROFILE

and Glyndebourne Festival Opera (Il barbiere di Siviglia). His final season with Orchestre National d’Île de France included recordings, Beethoven’s Piano Concerto No. 3 with Cédric Tiberghien and works by Respighi, of whose work he is an acclaimed interpreter. Highlights of previous seasons with ONDIF included a concert version of Rossini’s La Cenerentola, recordings and concerts in Paris at La Seine Musicale and their sold-out Philharmonie de Paris series. An accomplished interpreter of contemporary music, he has commissioned and conducted several premieres with ONDIF. He conducted the world premiere of Colla’s Il processo at La Scala, Il re nudo by Luca Lombardi at Teatro dell’Opera di Roma, Medusa by Arnaldo de Felice at the Bayerische Staatsoper, Isabella by Azio Corghi at the Rossini Opera Festival, and many other premieres with major European orchestras.

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HISTORY OF THE MUSIC By Jeff Counts

Overture to La forza del destino Duration: 8 minutes.

THE COMPOSER – GIUSEPPE VERDI (1813-1901) – Verdi’s fame after 1855 was a truly international thing, universal enough that he was obliged to conform his writing style to match other, nonItalian, traditions in order to make good on big commission opportunities. He composed extravagant works for French opera houses in the late 1850s and even represented Italy at the London Exhibition in 1862. Though his voice was ever his own, Verdi’s gift for storytelling was enriched in particular by his forays into the world of Parisian spectacle.

THE HISTORY – La forza del destino was the result of yet another commission from afar, this time Russia. His previous effort Un ballo in maschera had run afoul of censors in Naples, leading to production delays, broken contracts, lawsuits and much frustration for the composer. Exhausted and temporarily disillusioned, Verdi turned down the next several offers he received. The Imperial Theatre of Saint Petersburg promised him a whopping 60,000 francs plus expenses, which would have pulled any composer out of a bad mood, but Verdi likely also saw an opportunity, far away from the source of the Un ballo irritations, to create something more intricate and expansive than anything he had done before. The libretto was developed by

Francesco Maria Piave, based on a Spanish drama Don Álvaro o la fuerza del sino from 1835. The story is highly mystifying, even by operatic standards, complete with assumed identities, a sibling murder plot, casual classism and other cultural intolerances of the day. There are really only three main characters to contend with, but they are surrounded by a chorus of monks, soldiers and gypsies, and with so much story stuffed into this opera, it requires good attention to keep everything in order. After a delay of its own, the premiere of La forza del destino went well enough to interest other European capitals in subsequent productions. But Verdi wasn’t happy with it. He worked hard to revise the score over the next several years and had a new version ready in time for an important Teatro alla Scala re-launch in 1869. Among the most significant changes was the replacement of the original prelude with a fully-fledged overture. Like so many of the best opera curtain raisers, it is a complex world in miniature, with rich thematic allusions and dramatic premonitions throughout.

THE WORLD – Elsewhere in 1862, The Franco-Mexican War began, Otto von Bismarck became Prime Minister of Prussia, on his way to the Chancellorship of the German Empire and Julia Ward Howe published The Battle Hymn of the Republic.

THE CONNECTION – The most recent Utah Symphony performance of the La forza del destino Overture was in September 2017.

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HISTORY OF THE MUSIC

Suite del balletto La Strada Duration: 30 minutes in seven sections.

THE COMPOSER – NINO ROTA (19111979) – Though he wrote extensively for concert halls and opera houses during his productive professional life, Nino Rota will always be remembered first for his contributions to cinema. It’s the abiding curse, if they (or we) choose to see it as such, of a certain few mid-century European artists, including Miklós Rózsa and Erich Wolfgang Korngold. Even Stravinsky tried his hand at film scoring, though it would never have defined him in the same way if he had been successful at it. For Rota, there was no question. The success confirmed the legacy.

THE HISTORY – Rota already had several excellent movie scores to his name when he began his long and important collaborative relationship with legendary director Federico Fellini in 1952. They would continue their partnership for decades. The two men differed on the role of music in cinema, approaching each other often from the extreme poles of a visual/aural perspective contiuum. But they were a devoted team. “The most precious collaborator I ever had…” Fellini once said, “…was Nino Rota.” The film La strada (The Road) dates from 1954. It

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is the heartbreaking story of a girl (played by Fellini’s wife Giuletta Masina) who is sold to a traveling circus strongman (Anthony Quinn) and must endure his callous brutality to somehow maintain her care-free spirit. It was a big success for Fellini and won the first ever Oscar in the Foreign Language Film category. Rota was not nominated for his score, but it was very well received and is still remembered as one of his best. He made a ballet based on the music and subject matter of the film in 1966. The one-act theatrical version of the tale was commissioned by the Teatro alla Scala and was highly successful in its own right, earning numerous revivals in the years that followed. On full display in this music is Rota’s ability to match his serious classical training with a masterful instinct for popular charm. His natural feel for the balance required by a cinematic score between the reverent and the irreverent was what made him so valuable to Fellini, who sought the same perfect symmetry in all his visual creations.

THE WORLD – Elsewhere in 1966, Bill Russell became the NBA’s first black coach, Guyana declared its independence from the United Kingdom, Indira Gandhi became Prime Minister of India, and the Star Trek television series premiered.

THE CONNECTION – These concerts mark the Masterworks Series debut of Rota’s ballet music from La Strada.

HISTORY OF THE MUSIC

Symphony No. 4 in E Minor, op. 98 Duration: 39 minutes in four movements.

THE COMPOSER – JOHANNES BRAHMS (1833-1897). The mid-1880s saw Brahms at the absolute height of his career and reputation. The fruitful partnership with Hans von Bülow and his Meiningen Orchestra would begin and grow during these years. Many younger composing contemporaries agreed with von Bülow’s placement of Brahms in the pantheon with Bach and Beethoven. Strauss, for example, was a recent but enthusiastic convert. Mahler never needed any convincing. With so much provocative experimentation going on at the time, only fans of Liszt and Wagner seemed unwilling to embrace Brahms’ relative conservativism.

THE HISTORY – Brahms probably found it hard to avoid attention in those years, what with his celebrity so assured by sustained success. But his summer practice of composing in solitude somehow held, and over the warm months of 1884 and 1885 he put his 4th and final symphony to paper. It’s a tragic work, one that stands out significantly from the two that precede it. It’s also a perfect work, one that would have brooked no successor itself. It had to be the last. Brahms might not have set out on a summative path with Symphony No. 4, but there can be no doubt that he ended up on one. North of 50 and bent towards melancholy at the best of times, which these arguably were, his thoughts were

on his own mortality and contemplations about what might come next. He was reading Sophocles. He was making beneficiary arrangements for his new score should “the most human thing happen” to him. In other words, he was being Brahms, just more now than ever. In this context, it is fascinating to ponder his choice of a bass line from Bach’s Cantata No. 150 (“Lord, I Long to be Near You”) to seed the finale of the 4th Symphony. Brahms was no church man, so the reference to Bach must have been about something more than peering over the edge into the next world. He was a life-long student of music history and often looked to Bach for solace and inspiration. The use of the old master’s music might well have been a shout into that coming void, a bit of ancient magic thrown up against the expressionist excess he feared might soon overrun his beloved art form. As much a manifesto as a piece of music, this symphony represents the ultimate distillation of his thoughts on form, and on life. Not one single note is out of place.

THE WORLD – Elsewhere in 1885, Mark Twain’s Adventures of Huckleberry Finn were published, The Mikado premiered in London and, also in Germany, Karl Benz received a patent for his Motorwagen, a three-wheeled automobile capable of 10 miles per hour speed.

THE CONNECTION – Utah Symphony has presented Symphony No. 4 many times on the Masterworks Series. The most recent performances were in February 2017 with Thierry Fischer.

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ANDANTE ($500 - $999) Anonymous [7] John C. Abercrombie Marco & Christine Andrei Nancy Baker Laurie & Matt Barnson David & Rebecca Bateman Richard N. Beckstrand Mr. & Mrs. Jay Bjorklund Reverend James Blaine C. Kim & Jane Blair Michael Blum & Abigail Rose Jed Boal Carolyn Bransford MacDonald James & Marilyn Brezovec Kenneth N. & Karen Buchi Marjorie Budd John Burger & Mary Lou Jones-Burger Kirsten Butcher Susan Cashman Laura Certain Paul & Ruth Cherecwich John & Patricia Clay Phillip & Gail Coleman William J. Coles & Joan L. Coles Martin & Elinor Colman Ralph M. & Sheryl L. Costanzo James Cottrell Sina Dalley David & Donna Dalton Darrell & Sharon Child Jennifer Dawson & Phillip Purdom Patrick De Freitas Drs. Pilar & Christopher Dechet Ashby & Anne Cullimore Decker Carleton Detar & Laurel Casjens Mary Dillon

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Clifton & Terri McIntosh Dan McKnight & Deanna Donaldson Heather McMaster Jeffrey McNeal Sanford & Lynn Meek John & Marjorie Meikle Robert & Dianne Miner Ashley Spatafore Mirabelli Bill & Jane Moore Kaye D. Murdock Sara Lee Neill Nicola Nelson Dr. John C. & Karen Nelson President Russell M. & Wendy Nelson Phillip & Alice Newberry Dr. & Mrs. John H. Newton Jonathan Niedfeldt Kevin and Lisa Ninow Ruzena Novak William C. & Jan M. Olpin June Anne Olsen Maura & Serge Olszanskyj Mr.† & Mrs. James Patterson David & Elodie Payne Michelle Peterson & Richard Scott Jerry & Nancy Pitstick Renee Y. Plumb Glen† & Dorothy Purdie Vedran Radocjic Jana Ramacher Michael & Alexandria Range Jean Rapaport Hildegard & Angela Rayner Carolyn Rich-Denson Dr. Robert Fudge Theresa Rollins James & Anna Romano Gerry & Ginny Rothstein Nathan Royer

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INDIVIDUAL SUPPORT

ANDANTE ($500 - $999) CONTINUED Edwin & Carolyn Rutan Mr. August L. Schultz Sebastian Schunert Kent & LaRae Scott Brent Sessions Mr. Jeffrey W. Shields & Ms. Mary Ross Shirley Wood Mary Siciliano Margaret M. Simmons Cynthia Sinclair

Scott & Karen Smith Diana Major Spencer Gordon Steyaert William & Lori Stratton Annie & Cory Strupp Briant Summerhays JoAnn Svikhart Steven Taylor Ronald W. Tharp & Kate F. Little Janet Theiss

Brent & Lissa Thompson Kara & Sean Vansted Amy Wadsworth Patrice Wagman Lee Walker Carl & Martha Wankier Bruce & Leigh Washburn Frederik Weller Elizabeth Whitney Floyd C. Williams Gregory Williams

Vicki & Robert Bourns Thomas Bowen & Martha Brace Jeremy Boyd Shane Brogan Eric Brown Susan Burdett Marianne Burgoyne Christopher J. Burke and Diane Forster-Burke John & Kathryn Burnham Fred & Debbie Burr Dale Caldwell Dr. & Mrs. George H. Cannon Carlos Cardon Angie Carter Margaret & Dale Chapman Elizabeth Chicado Clark & Gwen Christian Nathan Christian Aloysius Church Zack Clark Mary & Perry Clausen Janet Coit Dr. & Mrs. Hal S. Cole Sarah Collins John Conner Charles A. & Carla Coonradt

Dr. Thomas D. & Joanne A. Coppin Susan Cox Frank & Joyce Crandall Coleen Cronin Dr. Christopher & Cindy Cutler Kevin Damon & Kathy Calhoun-Damon Mr. & Mrs. John Davison Peter & Suzanne Dawson Paul & Kitty Bons Robert & Gaye DeLange Karen DelPriore Charles Deneris Tim Dick Angela Doyle Paul A. Driggs Abby Duran Judith A. Eagan Tamar & James Economides John D. Emmett Chandler Evans Gina Fabbro Parker & Laurelle Fillmore James Fire Gene & Kathy Fitzgerald Beth Foley John Forsberg

CHORALE ($150 - $499) Anonymous [16] Lila Abersold Drew J. Adams Nancy Y. Aird Maureen Aitken Carol Anderson Christopher & Elizabeth Apgar Bryce Ashdown Kenneth C. Ashton Mr. Gaylen Atkinson Petras & Liuda Avizonis Amy Bach Sandra Ball Amy Baron Greg Barrus Jean Barton George E. & Marghi Barton Julianne Basinger Maxine Beckstead Michael Behring & Debra Marin Heather B. Belnap Patricia Bender Barry Bergquist Stephanie Bertin Cynthia & Mladen Bestvina Sue Bhanos Brent Bogden David E. & Ursula M. Bohn UTAHSYMPHONY.ORG

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INDIVIDUAL SUPPORT CHORALE ($150 - $499) CONTINUED Luce Forte Purjes Foundation John & Leslie Francis Dr. Elizabeth L. Frank Anne Froerer Julianne Galligan Ashley Gardner Smith Katharina Gerstenberger Raymond & Harriett Gesteland Pete Giacoma William Giauque Calvin J. Gibbs Dr. & Mrs. William R. Gray Mr. & Mrs. Lawrence Green Warren Gregory Paul R. Gustafson Lou Hamill Harlan & Julia Hammond David Hampshire Barbara Hanson Michael Harris Dixie L. Harris Virginia Harris Doug Hattery Charles & Annette Haws Peter W. Hayward Rebekah Heath Barta Heiner Susan Hendry Robert Hessler Frank Heyman Ned C. Hill Patricia Hinkle Linette Hlavaty Derek S. Hoff Eric Holley Elizabeth Holyoak Callie Hood Nancy Huntsman Barbara Huppe Mary T. Hurley Nina Ivanova Pam L. Iwasaki Colin Jackson Eric & Becky Jacobson Dr. Richard & Helene Jaffe 48

Brian & Michele Jahne Matthew & Paige Janzen James & Jeanne Jardine Brent & Maren Jensen Bryan Johnson Kimberly Johnson Rodney Johnson Jones & Associates Kimberli Jones Zara H. Juillerat Stacey Justice Richard Kanner Kristin Karner Sylvia Katzman Stephanie Kawamura Andrew Keller Lisa Keller Peggy Kerby Judy Kiefer Karin Kirchhoff Louise Knauer Kathy & Joseph† Knowlton Heidi Kunzler Christian Lalor Gary Lambert Val E. & Dominique C. Lambson Paolo & Patricia Lamponi Lloyd & Christina Larsen Annmarie Last Frank & Barbara Layden James Lether Marilyn Levitt Lisa & James Levy Gina Lewis Lisa & Sean Lindberg Thomas Lindley Gary & Sandra K.† Lindstrom Bryan Lloyd Mira Locher & Takauki Murakami James Lockey Uri Loewenstein & Elizabeth Tashjian Richard & Connie† Loomis Shane & Jennifer Lowe

Gregg & Karen Lund Dennis Luxion Ralph R. & Sylvia S. Mabey Mira Blue & Mark Machlis S. Reid & Kathryn B. Madsen Melanie Malinka Michael Manfull Brenda Mann Jan Manning Sarah Marshall Penelope Mathews & David Horner Tom & Mary Mathewson Dianne May Bea Mayes Jennifer Mazur Christine McDonough Jean & Bruce McMullin Jack & Patsy McNamara Steve & Shelli Mecham Erika Messenger Joel Millard Elizabeth Miller Scott & Megan Miller Robert L. Miller Kenny Mizel Gerald R. Moffit Christine Monnat Donald Monson Brittany Montrone Stephen & Sandra Morgan Pat & Jim Morgan William & Janice Mosby James Moyer Janene Muller Jenny Nicholas Kathleen Nielsen Paola Nix Craig Sparrow Ogan Patti O’Keefe Clive Oliver & Norma French-Oliver Fredrick and K. Kristine Olsen Vicki Olsen Michael & Lauren O’Malley

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INDIVIDUAL SUPPORT CHORALE ($150 - $499) CONTINUED John Steven Ott Kathy Pachucki Mike Padovich Brent Palfreyman Adrian S. Palmer Jeffrey G. Paris Nettie & Charles Pendley Scott Peppler Dale Ann Petersen Janis Peterson Joan C. Peterson Kelvin Peterson & Liqin Qiu Kristina B. Pierce Thomas B. Pilger Keith & Linda Poelman James A. Potter Dr. Glenn Prestwich Matthew & Maria Proser Angelica Putnam James Quan Jeff & Melissa Quigley Craig Reece Delia & Craig Reece Ronald Rencher Mistyamber Reynolds Alison Richman Dr. & Mrs. Delbert G. Ririe Michael Risley Jim & Bonita Robertson Lousje & Keith Rooker Robert Rosenberg Brent Rowland Haley Rowland Dean Rudy Gail T. Rushing Troy A. Salley Dan & Kris Sampson Xiomara Sanchez Bill & Beth Sanders Michael Sanders Juergen & Cheryl Sass Laura Scholl Krista Schonrock John Schumacher Ellen Schwede Leslie Scopes-Anderson Howard & Audrey Seares UTAHSYMPHONY.ORG

Ross Seely Steve & Sonni Senkfor Karen F. Shepherd Erik Sherwood James Sherwood Jim Short Glenda & Robert† Shrader Kathleen Siegfried Randy Silverman Jordan Sim Dr. Bernard J. Simbari Jennifer Simons Stuart & Suzanne Slingerland Linda Smith Julia M. Smith Allison Smoot John & Geraldine Snow Benjamin Sokolow John D Sonnenberg Kathy Sorensen Diane Soule Robert & Darlea Stack Stephanie & Brian Stagg Michael Stahulak & Shannon Mullins Stephen Stanczyk Joseph & Kathleen Stanford Edward & Marilou Steffen Suzanne S. Stensaas Laura Stetler Ronald W. Strahan Samuel C. Straight William Strickler Sharon Strong David Suehsdorf Catherine Sullivan Barbara & Jim Svoboda Mrs. Gaylia Tanner George S. Tate Ranae S. Taylor Isabella Tcaciuc & Thomas Bosteels Susannah Thomas Susan Thompson Nye Thuesen

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Sam Todd Renae Trask Schwartz William & Patricia Tueting Nancy Umemura Marilyn Valentine Shirley Van Wagenen Mark E. Vernon Steven Vigil Rosalie & David Kimball Bonnie Walsh Amanda N. Walter Perry & Margie Walters Nolan W. Warby Nicholas & Nancy Ward Evy Warmbier Ardean† & Elna Watts Kathleen Allen-Weber Werner & Dorothy Weixler John Welch Ryan J. Welch Wayne Wells Paul Wetzel Elizabeth H. Wheeler Elizabeth Whitaker Henry O. Whiteside Van P. Whitfield Reatha & Charles M. Whiting Judy Whittlesey Olivia Wilkinson Charles W. Williams Brook & Mel Williams Jody L. Williams Steven Winitzky Robert Wolfarth Michael and Judith W. Wolfe Dr. and Mrs. Harry C. Wong Mrs. Barbara Wood Nancy Wood Janet Wyatt Hilary Coon and Jim Yehle Matthew Young Tolford Young Pamela M. Zeberlein Laura Zemp Kevin Ziperstein 49

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. Anonymous Edward R. Ashwood & Candice A. Johnson Gael Benson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation Thomas D. Dee III & Dr. Candace Dee Hearst Foundation Roger & Susan Horn

The Right Reverend Carolyn Tanner Irish† and Mr. Frederick Quinn Loretta M. Kearns Vicki McGregor Edward Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation Kenneth† & Jerrie Randall The Evelyn Rosenblatt Young Artist Award Bill & Joanne Shiebler

Steven P. Sondrop Family Trust James R. & Susan Swartz Norman C. and Barbara L. Tanner Charitable Trust O.C. Tanner Company Frederic and Marilyn Wagner M. Walker & Sue Wallace Jack & Mary Lois Wheatley Family Trust Edward & Marelynn† Zipser

GIFTS MADE IN HONOR Frances Darger

Anne & Ashby Decker

GIFTS MADE IN MEMORY Jay Ball Donald A. Basinger Jan Bennett Robert H. Burgoyne, M.D. Adrienne Coombs

Andrea Lane Jamila Janatova Maxine & Frank McIntyre Glade & Mardean Peterson J. Ryan Selberg

Dorotha Smart Barbara Tanner Rachel Varat-Navarro

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

** in-kind & cash donation

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

Emma Eccles Jones Foundation Love Communications** The Tony & Renee Marlon Charitable Foundation O.C. Tanner Company Salt Lake Redevelopment Agency Salt Lake County Salt Lake County Zoo, Arts, and Parks Shiebler Family Foundation

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

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

John & Marcia Price Foundation Harris H. and Amanda P. Simmons Foundation

The John C. Kish Foundation Moreton Family Foundation Charles Maxfield & Gloria F. Parrish Foundation Perkins-Prothro Foundation Promontory Foundation S.J. & Jessie E. Quinney Foundation Theodore and Elizabeth Schmidt Family Foundation JoAnne L. Shrontz Family Foundation

Simmons Family Foundation James & Kathleen Sorenson Legacy Foundation Struck* Summit Sotheby’s Nora Eccles Treadwell Foundation Utah Education Network Utah Office of Tourism

$50,000 TO $99,999 Anonymous Dominion Energy The Grand America Hotel & Little America Hotel* Hearst Foundation

$25,000 TO $49,999 Arnold Machinery Brent & Bonnie Jean Beesley Foundation BMW of Murray/ BMW of Pleasant Grove Cache Valley Electric Carol Franc Buck Foundation C. Comstock Clayton Foundation Deer Valley Resort The Kahlert Foundation McCarthey Family Foundation UTAHSYMPHONY.ORG

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INSTITUTIONAL DONORS $10,000 TO $24,999 HJ & BR Barlow Foundation B.W. Bastian Foundation R. Harold Burton Foundation Marie Eccles Caine FoundationRussell Family Caffè Molise* Cultural Vision Fund Daynes Music Company*

Discover Governor’s Office of Economic Development Greenberg Traurig Richard K. & Shirley S. Hemingway Foundation Kulynych Family Foundation II, Inc. Park City Chamber/Bureau Regence BlueCross BlueShield of Utah

The Joseph & Evelyn Rosenblatt Charitable Fund Salt Lake City Arts Council St. Regis / Deer Crest Club** The Clark L. Tanner Foundation W. Mack and Julia S. Watkins Foundation WCF Insurance

The Dallas Foundation David Dee Fine Arts Spencer F. & Cleone P. Eccles Family Foundation Henry W. & Leslie M. Eskuche Charitable Foundation The Fang Family Foundation Goldman Sachs & Co. Grandeur Peak Global Advisors The Val A. Green & Edith D. Green Foundation Holland & Hart Hotel Park City / Ruth’s Chris Restaurant Hyatt Centric Park City**

Onstage Ogden City of Orem CARE Tax Ray, Quinney & Nebeker Foundation Raymond James & Associates Rocky Mountain Power Foundation Snell & Wilmer Snow, Christensen & Martineau Foundation Sidney Stern Memorial Trust U.S. Bank Foundation Utah Autism Foundation Utah Symphony Guild Y2 Analytics*

$1,000 TO $9,999 Anonymous [2] Alta Bank Bertin Family Foundation Berkshire Hathaway Home Services Berenice J. Bradshaw Trust Rodney H. & Carolyn Hansen Brady Charitable Foundation CBRE Castle Foundation Chinese Railroad Workers Descendants Association The Christian V and Lisa D Young Family Foundation City Creek Center Corning Incorporated Foundation

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ADMINISTRATION ADMINISTRATION Steven Brosvik

Lisa Poppleton Grants Manager

PATRON SERVICES Faith Myers

David Green

Development Database Manager

Merry Magee

President & CEO

Dallin Mills

Senior Vice President & COO

Thomas Paden

Director of Human Resources & Organizational Culture

Julie McBeth

Executive Assistant to the CEO

Ellen Lewis

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

SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director

Anthony Tolokan

Erin Marr

Donor Engagement (DVMF) & Special Events Coordinator

Ellesse Hargreaves

Stewardship & Event Coordinator

OPERA ARTISTIC Christopher McBeth Opera Artistic Director

Carol Anderson Principal Coach

Michelle Peterson

Director of Production

Michaella Calzaretta

Vice President of Symphony Artistic Planning

Opera Chorus Master

Ashley Tingey

Barlow Bradford

Production Coordinator

Symphony Chorus Director Director of Orchestra Personnel

OPERA TECHNICAL Ben Ramos

Orchestra Personnel Manager

Kelly Nickle

Walt Zeschin

Andrew Williams 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

Opera Technical Director Properties Master

Dusty Terrell

Scenic Charge Artist

COSTUMES Cee Cee Swalling Costume Director

Verona Green

Costume Rentals Manager

Amanda Reiser Meyer Wardrobe Supervisor

Chip Dance

Milivoj Poletan

Production & Stage Manager

Tailor

Kate Henry

Tiffany Lent

Operations Manager

Cutter/Draper

Jeff F. Herbig

Properties Manager & Assistant Stage Manager

Lyndsay Keith

Artist Logistics Coordinator

Robyne Anderson

Donna Thomas

Milliner & Craftsperson

MARKETING & COMMUNICATIONS Jon Miles

Vice President of Marketing & Public Relations

2nd Assistant Stage Manager

DEVELOPMENT Leslie Peterson

Meredith Kimball Laing

Vice President of Development

Jessica Proctor

Director of Institutional Giving

Heather Weinstock

Director of Special Events & DVMF Donor Relations

Katie Swainston

Individual Giving Manager

Director of Communications

Director of Patron Engagement Marketing Manager - Patron Loyalty

Mara Lefler

Sales Manager

Andrew J. Wilson

Patron Services Manager

Janae Graham

Patron Services Assistant Manager

Genevieve Gannon

Group Sales Associate

Alicia Ross Val Tholen

Sales Associates

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

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Melanie Giles Controller

Alison Mockli

Payroll & Benefits Manager

Jared Mollenkopf

Patron Information Systems Manager

Kyle Siedschlag

Accounts Payable Specialist

EDUCATION Paula Fowler

Director of Education & Community Outreach

Kyleene Johnson

Symphony Education Manager

Annie Jones

Symphony Education Assistant

Anna Atkinson

Opera Education Assistant

Kathleen Sykes

Content & Social Media Manager

Robert Bedont

Marketing Manager - Audience Development

Nina Starling

Website Content Coordinator

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

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CONTRIBUTE TO UTAH SYMPHONY | UTAH OPERA

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

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

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

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

TANNER AND CRESCENDO SOCIETIES

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

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

TANNER SOCIETY OF UTAH SYMPHONY

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

Mahler Circle

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

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

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

Turid V. Lipman Herbert C. & Wilma Livsey Dianne May Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson

Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart Edward J. & Marelynn† Zipser

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

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

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

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

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

Photo Credit: Image licensed by Ingram Image

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801-467-8833

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

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

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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

Tanner, llc LEGAL REPRESENTATION PROVIDED BY

Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY

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ADVERTISING CREATIVE & BRANDING SERVICES PROVIDED BY

Struck, Salt Lake City / Portland

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

Photo Credit: Austen Diamond

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UTAH SYMPHONY VOLUNTEER OPPORTUNITIES

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

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

Unmatched Academic Results Come tour a campus and see for yourself!

Challenger School offers uniquely fun and academic classes for preschool to eighth grade students. Our students learn to think for themselves and to value independence. Farmington (801) 451-6565 1089 Shepard Creek Parkway

Sandy (801) 572-1910 10685 South 1000 East

Holladay (801) 278-4797 4555 South 2300 East

Lehi (801) 407-8777 3920 N. Traverse Mountain Blvd.

Salt Lake (801) 487-4402 1325 South Main Street

West Jordan (801) 565-1058 2247 West 8660 South

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