Utah Symphony Sept/Oct 2023

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Patrick Witmer ADVERTISING REPRESENTATIVES

Paula Bell

Dan Miller

EDITOR

Megs Vincent

DVOŘÁK’S “NEW WORLD” SYMPHONY BARBER’S VIOLIN

SEPTEMBER 15 & 16, 2023 / 7:30 PM

BEETHOVEN’S “EMPEROR” PIANO CONCERTO SEPTEMBER 22 & 23, 2023 / 7:30 PM

SEPTEMBER 22 / 10:00 AM / FINISHING TOUCHES

RACHMANINOFF’S SYMPHONY NO. 2 & LISZT WITH PIANIST JOYCE YANG

OCTOBER 20, 2023 / 7:30 PM

OCTOBER 21, 2023 / 5:30 PM BEETHOVEN’S

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 tonight’s concert.

Throughout this past summer USUO performed great live music in a variety of locations that celebrate Utah’s natural beauty—at USUO’s official summer home of the Deer Valley® Music Festival, in outdoor venues along the Wasatch front, and throughout the state during our Music Elevated: Forever Mighty® State Tour. As the season changes and a new school-year begins, we are happy to return to our regular indoor venues, and to perform in schools throughout the state.

STEVEN BROSVIK President & CEO

Did you know that, in addition to the more than 100 subscription concerts and operas performed at USUO home venues, last year our artists presented more than 350 education performances designed specifically for students in schools and venues throughout the state? The people of our great state have long recognized the power of the arts to inspire the human spirit and to motivate the betterment of mankind. USUO reflects this value through a deep commitment to music education and strives to meaningfully impact every community in the state through our education and community engagement programs.

Here in Abravanel Hall, we joyfully begin a new season of Masterworks oncerts with four programs, each including audience-favorite works led by world-class guest conductors and featuring extraordinary soloists (beginning with Utah’s home-grown violin star Aubree Oliverson) with the exceptional musicians of our orchestra. Whether you’re joining us for our annual Celebración Sinfónica, for one of our cinematic films in concert, or for one of the incomparable Masterworks concerts, we guarantee you will leave the concert hall enriched through the shared experience of great live music!

Sincerely,

BRIAN GREEFF Board of Trustees Chairman

BOARD OF TRUSTEES

ELECTED BOARD

Brian Greeff* Chair

Annette W. Jarvis* Vice Chair and Secretary

Joanne F. Shiebler* Vice Chair

Steven Brosvik* President & CEO

Austin Bankhead

Dr. Stewart E. Barlow

Judith M. Billings

George Cardon-Bystry

Gary L. Crocker

John D’Arcy*

David L. Dee*

Barry L. Eden*

Jason Englund

Senator Luz Escamilla

Theresa A. Foxley

Brandon Fugal

Dr. Julie Aiken Hansen

Daniel Hemmert*

Dennis H. Hranitzky

Stephen Tanner Irish

Thomas N. Jacobson

Abigail E. Magrane

Brad W. Merrill

Judy Moreton

Dr. Dinesh C. Patel

Frank R. Pignanelli

Gary B. Porter

Shari H. Quinney

Miguel R. Rovira

Stan Sorensen

Dr. Shane D. Stowell

Naoma Tate

Thomas Thatcher

W. James Tozer

David Utrilla

Kelly Ward

Don Willie

Kim R. Wilson

Thomas Wright*

Henry C. Wurts*

MUSICIAN REPRESENTATIVES

Edward Merritt*

Hugh Palmer*

EX-OFFICIO

Jean Vaniman

Onstage Ogden

LIFETIME BOARD

William C. Bailey

Kem C. Gardner*

Jon Huntsman, Jr.

G. Frank Joklik

Clark D. Jones

Herbert C. Livsey, Esq.

Thomas M. Love*

David T. Mortensen

Scott S. Parker

David A. Petersen

Patricia A. Richards*

Harris Simmons

David B. Winder

TRUSTEES EMERITI

Carolyn Abravanel

Dr. J. Richard Baringer

Howard S. Clark

Kristen Fletcher

Richard G. Horne

Ronald W. Jibson

E. Jeffery Smith

HONORARY BOARD

Jesselie B. Anderson

Kathryn Carter

R. Don Cash

Raymond J. Dardano

Geralyn Dreyfous

Lisa Eccles

Spencer F. Eccles

Dr. Anthony W. Middleton, Jr.

Edward Moreton

Marilyn H. Neilson

Stanley B. Parrish

Marcia Price

Jeffrey W. Shields, Esq.

Diana Ellis Smith

* Executive Committee Member

DARKNESS DESCENDS

BACHAUER SILVER MEDALIST ARISTO SHAM PERFORMS

RAVEL’S PIANO MASTERPIECE GASPARD DE LA NUIT

WWW.BACHAUER.COM

“Clarity, elegance, and abundant technique”

Matthew Straw

Assistant Conductor

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

Laura Ha

2nd Associate

Concertmaster

Claude Halter

Principal Second

Wen Yuan Gu

Associate Principal Second

Evgenia Zharzhavskaya Assistant Principal Second

Karen Wyatt

2nd Assistant Principal Second

Erin David

Joseph Evans

Lun Jiang

Rebekah Johnson••

Tina Johnson~

Alison Kim

Amanda Kofoed~

Jennifer Kozbial Posadas~

Veronica Kulig

David Langr

Hannah Linz

Yuki MacQueen

Alexander Martin

Rebecca Moench

Hugh Palmer

David Porter

Lynn Maxine Rosen

Barbara Ann Scowcroft

Ju Hyung Shin

Bonnie Terry

Julie Wunderle

VIOLA*

Brant Bayless

Principal

The Sue & Walker Wallace Chair

Yuan Qi

Associate Principal

Julie Edwards

Joel Gibbs

Carl Johansen

Scott Lewis

John Posadas

Whittney Sjogren

Leslie Richards~

CELLO*

Matthew Johnson

Acting Principal

The J. Ryan Selberg

Memorial Chair

Andrew Larson

Acting Associate Principal

John Eckstein

Walter Haman

Anne Lee

Louis-Philippe Robillard

Kevin Shumway

Hannah Thomas-Hollands~

Pegsoon Whang

BASS*

David Yavornitzky

Principal

Corbin Johnston

Associate Principal

James Allyn

Andrew Keller

Edward Merritt

James Stroup~

Jens Tenbroek

Thomas Zera

HARP

Louise Vickerman Principal

FLUTE

Mercedes Smith Principal

The Val A. Browning Chair

Lisa Byrnes

Associate Principal

Caitlyn Valovick Moore

PICCOLO

Caitlyn Valovick Moore

OBOE

Zachary Hammond

Principal

The Gerald B. & Barbara F. Stringfellow Chair

James Hall

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#

Chris Bosco~

BASS CLARINET

Lee Livengood#

Chris Bosco~

E-FLAT CLARINET

Erin Svoboda-Scott

BASSOON

Lori Wike Principal

The Edward & Barbara Moreton Chair

Leon Chodos Associate Principal

Jennifer Rhodes

CONTRABASSOON

Leon Chodos

HORN

Jessica Danz Principal

Edmund Rollett

Associate Principal

Jonathan Chiou

Julia Pilant~

Stephen Proser

TRUMPET

Travis Peterson

Principal

Jeff Luke

Associate Principal

Peter Margulies

Paul Torrisi

TROMBONE

Sam Elliot

Acting Principal

Andrew Zaharis~ Acting Second Trombone

BASS TROMBONE

Graeme Mutchler

TUBA

Alexander Purdy Principal

TIMPANI

George Brown Principal

Eric Hopkins Associate Principal

PERCUSSION

Keith Carrick Principal

Eric Hopkins

Michael Pape

KEYBOARD

Jason Hardink Principal

LIBRARIANS

Clovis Lark Principal

Claudia Restrepo

ORCHESTRA

PERSONNEL

Walt Zeschin

Director of Orchestra Personnel

Hannah Thomas-Hollands Orchestra Personnel Manager

•• Second Violin * String Seating Rotates ** On Leave # Sabbatical ~ Substitute Member

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SEASON SPONSORS

SEASON SPONSOR

MASTERWORKS SERIES SPONSOR

FILMS IN CONCERT SPONSOR

FAMILY SERIES 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

2023-24 UTAH SYMPHONY SEASON SPONSOR

PHOTO CREDIT: Ian Mower for Utah Symphony

DVOŘÁK’S

“NEW WORLD” SYMPHONY BARBER’S VIOLIN CONCERTO

CONCERT SPONSOR

&

SEPTEMBER 15 & 16, 2023 / 7:30 PM

Maurice Abravanel Hall

LUDOVIC MORLOT, conductor

AUBREE OLIVERSON, violin

DVOŘÁK

Symphony No. 9 in E minor, Op. 95

From the New World

I. Adagio - Allegro molto

II. Largo

III. Molto vivace

IV. Allegro con fuoco

INTERMISSION

BARBER

Concerto for Violin and Orchestra, Op. 14

I. Allegro

II. Andante

III. Presto in moto perpetuo

AUBREE OLIVERSON, Violin

RAVEL

Boléro

CONDUCTOR SPONSOR

GUEST ARTIST SPONSOR

ARTISTS’ PROFILES

MORLOT Conductor

Ludovic Morlot’s élan, elegance and intensity on stage have endeared him to audiences and orchestras worldwide, from the Berliner Philharmonic to the Boston Symphony. He was appointed Music Director of the Barcelona Symphony Orchestra in September 2021. He was Music Director of the Seattle Symphony (2011–2019), now Conductor Emeritus, and whilst there pushed the boundaries of

traditional concert programming, winning several Grammys. He has been Associate Artist of the BBC Philharmonic Orchestra since 2019. He was Artistic Director and a founding member of the National Youth Orchestra of China 2017–2021, conducting their inaugural concerts at Carnegie Hall and in China in 2017, and touring with them to Europe in 2019. From 2012–2014 he was Chief Conductor of La Monnaie, conducting new productions in Brussels and at the Aix Easter Festival— including La Clemenza di Tito, Jenůfa and Pelléas et Mélisande.

LUDOVIC

In demand as a concerto soloist, recent and forthcoming highlights for Aubree Oliverson include performances with the S.San Diego, Utah, Puerto Rico, Pacific, Columbus, Des Moines, New Haven, and Pasadena Symphonies, the Roma Tre Orchestra, and the Brno Philharmonic, in works by Bach, Mendelssohn, Bruch, Haydn, “SaintSaëns, Dvorak and Barber. In 2021, she joined the Louisiana Philharmonic for a

two-week residency during which she performed Beethoven’s Violin Concerto as well as chamber music.

In recital, having made her Carnegie Hall Weill Hall recital debut at age twelve, she has gone to perform to sold out audiences at the Grand Teton Music Festival, SOKA Performing Arts Centre, and the SCERA Centre for the Performing Arts, and has upcoming recitals in Rome, Los Angeles, and in Ridgecrest, California as part of Midori’s Partners in Performance Recital Series. She has featured on NPR’s From The Top numerous times.

ARTISTS’ PROFILES

AUBREE OLIVERSON Violin

HISTORY OF THE MUSIC

By Jeff Counts

Symphony No. 9 in E Minor, op. 95

(“From the New World”)

Duration: 40 minutes in four movements.

THE COMPOSER – ANTONÍN DVOŘÁK (1841–1904) – In the last years of the 1890s, Dvořák again began to look beyond Prague and entertain lucrative offers from abroad. There were trips to Moscow and St. Petersburg on the invitation of Tchaikovsky and a visit to England in 1890 for concerts and honorary degrees. One

year later, Dvořák was offered a position at the National Conservatory of Music in New York. America was country already greatly enamored of his music and the Conservatory leaders were intensely interested in his nationalistic voice as an artist. In a country without its own established musical identity, his example could have a powerful effect. Dvořák was fully aware of this hope and took the desires of his hosts quite seriously.

Continued online…(See QR code.)

Violin Concerto, op. 14

Duration: 25 minutes in three movements.

THE COMPOSER – SAMUEL BARBER (1910–1981) – Barber is more beloved today than he was during his compositional heyday in the 1930s, ‘40s and ‘50s. It happens to many composers who are either ahead of or behind their time.

Barber won two Pulitzer Prizes and earned commissions from prestigious soloists

and orchestras, but his output was judged by many as hopelessly antique and out of touch. His lyrical, neo-Romantic voice stood at odds with the strong currents of contemporary European experimentalism at work on the American scene at the time. Ironically, many of the scores Barber produced during this period have had a longer life than any of the more adventurous works they were judged against.

Continued online…(See QR code.)

Boléro

Duration: 13 minutes.

THE COMPOSER – MAURICE RAVEL (1875–1937) – Ravel did quite a bit of touring in 1920s and 1930s. The successes he enjoyed on the road made a very good impression at home even though, as always, he maintained a cool indifference to the evolving critical opinion of his countrymen. He visited Britain, two countries in Scandinavia, Spain, Italy and

Austria. One of his most productive trips was a four-month swing through America and Canada in 1928. In addition to visiting Niagara Falls, peering into the Grand Canyon and meeting Douglas Fairbanks (which whom he reportedly conversed in French), Ravel’s itinerary included several highly visible interviews and lecture appearances where he was particularly keen to discuss his fascination with American jazz and the blues.

Continued online…(See QR code.)

BEETHOVEN’S

“EMPEROR” PIANO CONCERTO

SEPTEMBER 22 & 23, 2023 / 7:30 PM

SEPTEMBER 22 / 10:00 AM / FINISHING TOUCHES

Maurice Abravanel Hall

EDUARDO STRAUSSER, conductor

MARIE-ANGE NGUCI, piano

MASTERWORKS SERIES

MOZART BEETHOVEN

Overture to Don Giovanni, K. 527

Concerto No. 5 in E-flat Major for Piano and Orchestra, Op. 73, “Emperor”

I. Allegro

II. Adagio un poco mosso

III. Rondo: Allegro

MARIE-ANGE NGUCI, Piano

INTERMISSION

PROKOFIEV

Symphony No. 5 in B-flat Major, Op. 100

I. Andante

II. Allegro moderato

III. Adagio

IV. Allegro giocoso

CONCERT SPONSOR

GUEST ARTIST SPONSOR

THE LINDA & DON PRICE GUEST ARTIST FUND

ARTISTS’ PROFILES

EDUARDO STRAUSSER Conductor

The charismatic and energetic Brazilian conductor, Eduardo Strausser has gained a reputation for his intelligent programming and physical style on the podium. Eduardo opens the 2023–24 season with a new production of Tosca for Nothern Ireland Opera. Additional plans for the 2023-24 season include returns to Kansas City Symphony, City of Birmingham Symphony Orchestra, and Bamberger Symphoniker, as well as debuts with Utah Symphony, Royal Northern Sinfonia, Orchestre de Montpellier, Argovia Philhramonic.

Highlights of 2022–23 included returns to Antwerp Symphony, Fundacion Musical Simon Bolivar, West Australian Symphony Orchestra, Royal Philharmonic Orchestra for Messiah and debuts with New Zealand Symphony Orchestra, Sydney Symphony, Norrlandsoperan, the Halle Orchestra, and North Carolina Symphony.

Eduardo has worked with a number of top soloists, including Paul Lewis, Isabelle Faust, Augustin Hadelich, Richard Galliano, Steven Osborne, Barnabas Kelemen and Sergei Krylov among others. A multi-linguist, Eduardo speaks eight languages fluently including; German, Italian, French, Spanish and Hebrew.

MARIE-ANGE NGUCI Piano

Among the highlights of the two last season seasons, Marie-Ange Nguci was invited by such major orchestras as Orchestre de Paris, Konzerthausorchester Berlin, BBC Symphony Orchestra at Barbican Hall, Tonkünstler Orchestra for her Musikverein debut, Danish National Symphony Orchestra, Barcelona Symphony Orchestra, Symfonieorkest Vlaanderen on tour, Orchestre National de Lyon, Orchestre de Chambre de Paris at the Théâtre des Champs-Elysées, Orchestre National d’Île-de-France, as well as Lille, Bordeaux and Pau National Orchestras.

Her extensive repertoire ranges from baroque, classical, romantic to contemporary. Passionate about the music of our time, she has worked closely with composers such as Thierry Escaich, Bruno Mantovani, Graciane Finzi, Pascal Zavaro and Karol Beffa in preparing her interpretations of their works.

Nguci was accepted into the Paris Conservatoire at the age of 13 in Nicholas Angelich’s class. She plays organ and cello, and spent a year studying conducting at Vienna’s Universität für Musik und Darstellende Kunst.

By Jeff Counts

Overture to Don Giovanni, K. 527

Duration: 7 minutes.

THE COMPOSER – WOLFGANG

AMADEUS MOZART (1756–1791) – Mozart met Lorenzo Da Ponte in late 1785. Da Ponte was a Venetian librettist who had already worked twice with Antonio Salieri and would go on to produce two dozen opera texts for various composers after Mozart died in 1791. The Salieri connection made Mozart extra anxious to

collaborate with Da Ponte, if only to keep pace with a competitor, but Da Ponte’s legacy depended more on the match than Mozart’s. The librettist was close friends with none other than Giacomo Casanova (yes, that one) and had stood trial in 1779 for his own loose morals. Luckily, Da Ponte’s banishment from Venice led him to Vienna, where he eventually met Mozart and wrote the three libretti that we best remember him for today.

Continued online…(See QR code.)

HISTORY OF THE MUSIC

Piano Concerto No. 5 in E-flat Major, op. 73 (“Emperor”)

Duration: 38 minutes in three movements.

THE COMPOSER – LUDWIG VAN BEETHOVEN (1770–1827) – Vienna was under French bombardment and eventual occupation during the spring and summer of 1809. Beethoven, ironically, had turned down a position with Napoleon’s brother Jérôme a year earlier, but the Austrian royal family convinced him to stay in the capital

Symphony No. 5 in B-flat Major, Op. 100

Duration: 46 minutes in four movements.

THE COMPOSER – SERGE PROKOFIEV (1891-1953) – Prokofiev spent the war years in various safe havens that allowed him to remain productive as an artist but could not redeem his standing as a husband and father. In fact, when he evacuated from Moscow in 1941 Lina and the children, unwilling to ignore his infidelity with the poet Mira Mendelson,

by offering a generous annual salary. Sadly, the comfort this allowance provided was short-lived. With French boots on the march, the Emperor’s court fled Vienna and took their beneficence with them. It was a decidedly unhappy time for the composer. The city was emptied of friends and opportunities for music-making, and the complete lack of contact he had with the rest of Europe caused his productivity to drop significantly.

Continued online…(See QR code.)

stayed behind. Prokofiev spent the rest of the early 40s completing the first iteration of his magnum opus War and Peace while also attempting to master the delicate dance of Soviet approval. He returned home in 1944 with a full head of patriotic steam but suffered a fainting spell in January of 1945 that resulted in a serious concussion. He continued to work, even when he fell again (figuratively) from Party favor in 1948, but he was never the same.

Continued online…(See QR code.)

TO VIEW THE FULL NOTES, PLEASE SCAN THE QR CODE. >>

The year is 1886. Ruth Bowen, a young widow from New York City, makes her way with her mother-in-law Naomi to Utah where she encounters Benjamin Bowen, Naomi’s brother-inlaw and prominent Salt Lake City businessman/ polygamist. Ruth’s eastern fashions and New York City charm create a sensation, but before Benjamin is able to fulfill his “next-of-kin obligation,” he is forced to flee the city to avoid arrest for unlawful cohabitation.

A New Opera

By: William Call

a girl from New York

Later Benjamin and Ruth attempt a rendezvous, which leads to Benjamin’s arrest and extended prison term. Still in prison

Benjamin proposes marriage, but the Manifesto of 1890 stands in the way. Ruth takes a train home to New York City. Benjamin’s attempts to pursue her are circumvented. Fate has seemingly made their separation permanent, but then in an unexpected turn of events…

RACHMANINOFF’S SYMPHONY NO. 2 & LISZT WITH PIANIST JOYCE YANG

OCTOBER 20, 2023 / 7:30 PM

OCTOBER 21, 2023 / 5:30 PM

Maurice Abravanel Hall

RUNE BERGMANN, conductor

JOYCE YANG, piano

SAINT-SAËNS

LISZT

Danse macabre, Op. 40

Totentanz for Piano and Orchestra

JOYCE YANG, piano

INTERMISSION

RACHMANINOFF

Symphony No. 2 in E minor, Op. 27

I. Largo - Allegro moderato

II. Allegro molto

III. Adagio

IV. Allegro vivace

CONDUCTOR

SPONSOR GUEST ARTIST SPONSOR

ARTISTS’ PROFILES

Norwegian conductor Rune Bergmann is currently Music Director of Canada’s Calgary Philharmonic, Artistic Director & Chief Conductor of Poland’s Szczecin Philharmonic, and Chief Conductor of Switzerland’s Argovia Philharmonic, positions he has held since the 2017/18, 2016/17, and 2020/21 seasons, respectively.

Guest engagements in the 2023/24 season bring Bergmann once again to the podiums of the Baltimore, Colorado and

Utah Symphony orchestras, and will see him debut with the Beethoven Orchestra Bonn, the Buffalo Philharmonic and the Sarasota Orchestra.

Earlier in his career, Rune Bergmann served as First Kapellmeister and deputy-Music Director of the Theater Augsburg, where he led performances of numerous operas, including such titles as La Traviata, Der fliegende Holländer, and Die Fledermaus He has also served as Principal Guest Conductor of the Kaunas City Symphony, and has been Artistic Director of Norway’s innovative Fjord Cadenza Festival since its inception in 2010.

Born in 1986 in Seoul, South Korea, Joyce Yang received her first piano lesson from her aunt at the age of four. She quickly took to the instrument, which she received as a birthday present. Over the next few years, Yang won several national piano competitions in her native country. By the age of ten, she had entered the School of Music at the Korea National University of

Arts, and went on to make a number of concerto and recital appearances in Seoul and Daejeon. In 1997, Yang moved to the United States to begin studies at the pre-college division of the Juilliard School with Dr. Yoheved Kaplinsky. After winning the Philadelphia Orchestra’s Greenfield Student Competition, she performed Prokofiev’s Third Piano Concerto with that orchestra at just twelve years old. She graduated from Juilliard with special honor as the recipient of the school’s 2010 Arthur Rubinstein Prize.

RUNE BERGMANN Conductor

JOYCE YANG Piano

By Jeff Counts

Danse macabre

Duration: 8 minutes.

THE COMPOSER – CAMILLE SAINTSAËNS (1835-1921) – Saint-Saëns left France briefly in March of 1871 to escape the violence of the Paris Commune but returned home just two months later to find the city full of nationalist zeal. While engaging deeply with the Parisian arts intelligentsia over the next couple of years, Saint-Saëns did something many who

knew him considered unthinkable – he got married. It was not a happy union and both children born to Marie Truffot died young (one fell from a window, and the other contracted pneumonia). But as is so often the case in music history, great work comes from great pain. Saint-Saëns produced two of his most enduring scores during the courtship and short matrimony with Marie, the opera Samson et Delila and the orchestral tone poem Danse macabre.

Continued online…(See QR code.)

HISTORY OF THE MUSIC

Totentanz

Duration: 16 minutes in one movement.

THE COMPOSER – FRANZ LISZT (18111886) – In the early 1860s, the crushing disappointments of Liszt’s personal life forced him to seriously consider the solace and rigor of monastic life. He had lost a son and a daughter (both in their 20s) and had his proposed marriage to Princess Carolyne von Sayn-Wittgenstein

thwarted by the Pope and the Tsar. It was all too much for a man of passion in his early 50s, so he sought dispensation (yes, from the very same Pope, who said yes in this case) to give himself fully over to his God. Though he never actually became a priest, he did officially enter the clergy’s lower orders on April 25, 1865, and was known as “Abbot” Liszt for the rest of his days.

Continued online…(See QR code.)

Symphony No. 2 in E minor,

op. 27

Duration: 60 minutes in four movements.

THE COMPOSER

– SERGEI

RACHMANINOFF (1873-1943) – Russia was a place of considerable social and political unrest in the years immediately following 1905. Rachmaninoff found it difficult to work during his country’s nascent attempt at revolution and sought professional refuge first in Pisa, Italy and later in Dresden. But

it wasn’t only civil strife he was running from. Rachmaninoff was under professional pressure as well, thanks in part to the conducting position he held with the Bolshoi Opera since 1904 and two new stage works he composed for the company. He needed a break from all of it, and in Dresden he found enough peace and quiet to complete his 2nd Symphony. Given his previous experience with the genre, this was no mean feat.

Continued online…(See QR code.) TO VIEW THE FULL NOTES, PLEASE SCAN THE QR CODE. >>

BEETHOVEN’S NINTH

NOVEMBER 3 & 4, 2023 / 7:30 PM

Maurice Abravanel Hall

DAVID ROBERTSON, conductor

SHARON BJORNDAL LAVERY, chorus director

CELENA SHAFER, soprano

DEBORAH NANSTEEL, mezzo

CHAD SHELTON, tenor

ZACHARY NELSON, baritone

UTAH SYMPHONY CHORUS

BRUCKNER BERG

Christus factus est Act III from Wozzeck

MASTERWORKS SERIES

BEETHOVEN

INTERMISSION

Beethoven: Symphony No. 9 in D minor, Op. 125, “Choral”

I. Allegro ma non troppo, un poco maestoso

II. Molto vivace

III. Adagio molto e cantabile

IV. Presto - Allegro assai - Allegro assai vivace

CONCERT SPONSOR

ARTISTS’ PROFILES

DAVID ROBERTSON Conductor

David Robertson— conductor, artist, composer, thinker, American musical visionary—occupies the most prominent podiums in opera, orchestral, and new music. He is a champion of contemporary composers, and an ingenious and adventurous programmer. Robertson has served in numerous artistic leadership positions, such as Chief Conductor and Artistic Director of the Sydney Symphony Orchestra, a transformative 13-year tenure as Music Director of the St. Louis Symphony Orchestra, with the Orchestre National de Lyon, BBC Symphony

CELENA SHAFER

Soprano

After two summers as an apprentice at the Santa Fe Opera, the career of soprano Celena Shafer was launched to critical raves as Ismene in Mozart’s Mitridate, Re di Ponto. Since that breakthrough debut, Shafer has garnered acclaim for her silvery voice, fearlessly committed acting and phenomenal technique.

Since first appearing with the Utah Symphony | Utah Opera as a high school

Orchestra, and, as protégé of Pierre Boulez, the Ensemble InterContemporain.

In 2023, he made his first return to Sydney, and will begin a three-year tenure as the inaugural Creative Partner of the Utah Symphony and Opera. Since his 1996 Metropolitan Opera debut, Robertson has conducted a breathtaking range of Met projects, including the 2019–20 season opening premiere production of Porgy and Bess, for which he shared a Grammy Award, Best Opera Recording, in March 2021. In 2022, he conducted the Met Opera revival of the production, in addition to making his Rome Opera debut conducting Janáček’s Káťa Kabanová.

student, Shafer has performed operatic roles there including The Queen of the Night in The Magic Flute, Musetta in La Boheme, Constanze in The Abduction from the Seraglio, Rosina in Il barbiere di Siviglia, Gilda in Rigoletto, Norina in Don Pasquale, and Lisette in La Rondine

She was the 2014–15 season Artistin-Residence and recently has sung a New Year’s Eve Gala, Beethoven Symphony No. 9, Mahler Symphonies Nos. 2, 4, and 8, and the Mighty Five tour through Utah’s state parks, all led by Thierry Fischer.

DEBORAH NANSTEEL

Mezzo

Deborah Nansteel made her début with The Metropolitan Opera as Alisa in Lucia di Lammermoor, her début with the Lyric

Opera of Chicago as Gertrude in Roméo et Juliette, her Carnegie Hall début in Mozart’s Coronation Mass, and her New York Philharmonic début alongside Eric Owens in In Their Footsteps: Great African American Singers and Their Legacy. Nansteel will be seen with the Utah Symphony for Beethoven’s Symphony No. 9.

“A formidable display of vocal power and dramatic assurance,” mezzo-soprano

Chad Shelton is in demand as a concert soloist and has joined the Minnesota Orchestra for Mozart’s Requiem, Beethoven’s Symphony No. 9, Janáček’s The Diary of One Who Vanished, as well as the title role in concert performances of Candide. He has sung Siegel’s Kaddish with the Houston Symphony; Beethoven’s Symphony No. 9 with the Utah Symphony, Pacific Symphony, Phoenix Symphony, Rochester Philharmonic, and Colorado Music Festival and Mozart’s Requiem with

ZACHARY NELSON

The 2023-2024 season features a mix of role debuts and favorites for Zachary Nelson. During the summer of 2024 he debuts the role of Faninal in Der Rosenkavalier with Santa Fe Opera. Earlier in the season he makes several other

the Mormon Tabernacle Choir; Verdi’s Requiem with the Brussels Philharmonic; Handel’s Messiah with the Virginia Symphony Orchestra and the Houston Symphony; and a gala concert of opera favorites with the Puerto Rico Symphony Orchestra.

He is the recipient of a Richard Tucker Foundation Career Grant and the Richard F. Gold Career Grand from the Shoshana Foundation. He holds a Master of Music degree and Artist diploma from the Yale University School of Music and a Bachelor of Music degree from Louisiana State University.

ARTISTS’ PROFILES

returns: to Florentine Opera as Dulcamara in L’elisir d’amore; Atlanta Opera as Marcello in La bohème, and Arizona Opera as Leporello in Don Giovanni. In concert he joins David Robertson and the Utah Symphony for Beethoven’s 9th Symphony and the Act 3 of Berg’s Wozzeck, and appears with the Sag Harbor Song Festival in recital.

HISTORY OF THE MUSIC

By Jeff Counts

Christus factus est

Duration: 6 minutes.

THE COMPOSER – ANTON BRUCKNER (1824-1896) – Bruckner’s devout Catholic faith is typically mentioned first among the attributes that made him the musician and person he was. He was surrounded by music and religion from the start in his provincial town, but too shy and unconfident to be a child prodigy. His father was an organist at the local church

where his mother was a choir member, but little Anton didn’t begin to pursue music seriously until he was 11 (quite late by famous composer standards). Bruckner’s ensuing five years as a choirboy at St. Florian were formative, spiritually and compositionally, but the latter effect would not become obvious until much later, after he had spent many further years in service to his God as an organist. Just like dad.

Continued online…(See QR code.)

Wozzeck: Act III

Duration: 23 minutes in five scenes.

THE COMPOSER – ALBAN BERG (18851935) – Like so many men of fighting age during the Great War, Berg did his part, even if his eternally frail constitution prevented him from ever experiencing combat. While he worked in the War Ministry of the Austro-Hungarian Army, Berg tried to maintain momentum on the projects he put on hold during the

global conflict. He had made a pretty loud splash in 1913 with performances of two of the Five Orchestral Songs, and the ensuing riot involving both performers and listeners (1913 was big year for concert hall fisticuffs, just ask Stravinsky) did nothing to tamp his experimental instincts. Berg had a few more controversial things to say through music, with the most profound of these statements waiting patiently on the tip of his pen.

Continued online…(See QR code.)

Symphony No. 9 in D minor, op. 125 (“Choral”)

Duration: 65 minutes in four movements.

THE COMPOSER – LUDWIG VAN BEETHOVEN (1770-1827) – When nearing the completion of what was to be his final symphony, the 9th, Beethoven initially considered a premiere location outside of Vienna. At the time, he harbored significant displeasure with the Austrian capital’s lack of support for serious music in general, and

his music in particular. No longer interested in his concerti, sonatas or symphonies, Beethoven believed, Viennese audiences were instead rushing to hear Rossini operas and other “light” populist fare. But he was wrong. When he made contact with promoters in Berlin regarding the 9th, word quickly spread in Vienna and his many admirers there presented him with letter of support that included a successful plea on behalf of the city and its audiences.

Continued online…(See QR code.)

TO VIEW THE FULL NOTES, PLEASE SCAN THE QR CODE. >>

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INDIVIDUAL DONORS

Utah Symphony | Utah Opera is grateful to our generous donors who, through annual cash gifts and multi-year commitments, help us bring great live music to our community.

Gifts as of August 20, 2023

* in-kind donation ** in-kind & cash donations † deceased

MILLENNIUM ($250,000+)

Anonymous Kem & Carolyn Gardner Jacquelyn Wentz

ENCORE ($100,000 TO $249,999)

Adrienne W. Larson†

Anthony & Renee Marlon

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OVERTURE ($25,000 TO $49,999)

Fran Akita

Thomas Billings & Judge

Judith Billings

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Bloomfield Family Foundation

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Intuitive Funding

Tom & Lorie Jacobson

Thomas M. & Jamie Love

Mr. & Mrs. Charles

McEvoy

Edward Moreton

Fred & Lucy Moreton

James & Ann Neal

Mark & Dianne Prothro

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Shiebler Family Foundation

Elizabeth Solomon

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Wheatley Family Charitable Fund

Theodore & Elizabeth Schmidt Foundation

Dewelynn & J.

Ryan† Selberg

Stewart Family Foundation**

Jonathan & Marisa

Schwartz

Taft & Anne Symonds

John & Jean Yablonski

Edward & Marelynn†

Zipser

MAESTRO ($10,000 TO $24,999)

Anonymous

Dr. J.R. Baringer & Dr.

Jeannette J. Townsend

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Sue Bostrom

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Judy Brady† & Drew

W. Browning

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Martha R. Humphrey

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Matthew B. Ellis Foundation

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Millerberg Family Giving Fund

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Frank R. & D’Arcy

Dixon Pignanelli

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Stephen & Cydney Quinn

Albert J. Roberts IV

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Sandefur Schmidt

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Kathie Zumbro

INDIVIDUAL DONORS

ALLEGRO ($5,000 TO $9,999)

4Girls Foundation

Anonymous [8]

Alan, Carol, & Annie Agle

Douglas Anderson

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Austin & Kristi Bankhead

Kyle & Melissa Barnett

David Brown

William & Patricia Child

Larry Clemmensen & Jen

Stamp

Marc & Kathryn Cohen

LJJ Fund at the Community

Foundation of Utah

Mr. & Mrs. Kenneth R.

Cutler

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Ruth & Phil Davidson

John D Doppelheuer M.D. & Kirsten A. Hanson M.D.**

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Powell

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Gibbs† & Catherine W.

Smith

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Paul Taylor

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Jaelee Watanabe

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ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999)

Anonymous [3]

Marcia Aaron

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Armstrong

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Garda

Larry Gerlach

Jeffrey L. Giese, M.D. & Mary E. Giese

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ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED

Shari Gottlieb

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Brad Hare MD & Akiko

Okifuji PhD

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Michael Huerta & Ann

Sowder

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Katsikas

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Kosowsky

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Stringfellow

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Ann Givan

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Hardesty

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Hepworth-Woolston

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Peter Zutty

INDIVIDUAL DONORS

FRIEND ($1,000 TO $2,499)

Anonymous [5]

Carolyn Abravanel

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Margaret Anderson

Dr. Ann Berghout & Dennis Austin

Jan & Graham Baker

Marlene Barnett

Sue Barsamian

Karen Bennett

Victoria Bennion

C. Kim & Jane Blair

Diane Banks Bromberg & Dr. Mark Bromberg

Paula Bronson

Dana Carroll & Jeannine

Marlowe Carroll

Mr. & Mrs. Fred L. Carter, Jr.

George & Katie Coleman

Community Trust of Utah

Dr. & Mrs. David Coppin

David & Carol Coulter

Jason & Kristin Covili

James Dashner

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Margarita Donnelly

Dr. Paul Dorgan

Eric & Shellie Eide

Matthew Follett

Dr. Robert Fudge & Sylvia Newman

David & Sheila Gardner

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Andrea Golding Legacy

Foundation

Mr. & Mrs. Richard

R. Graham

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Helene Harding

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Rolfs, Jr.

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Ted & Lori Samuels

Grant H. Schettler

August Schultz

Carl Sedlak

Roger & Connie

Seegmiller

Gerald† & Sharon Seiner

Barbara Slaymaker

Janette Smith

Dr. & Mrs. Michael

H. Stevens

Emily Stewart

Jim Swayze

Brent & Lissa Thompson

Lori Turner

James Upchurch

Dr. Ralph & Judith

Vander Heide

Dr. James C. Warenski

Stephen & Elizabeth Watson

Frank & Janell Weinstock

Dan & Amy Wilcox

David B. & Anne Wirthlin

Gayle & Sam

Youngblood**

Laurie Zeller & Matthew Kaiser

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 longterm well-being and stability of USUO, and 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

C. Comstock Clayton Foundation

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

Estate of John Henkels

Roger & Susan Horn

Carolyn T. Irish Revocable Trust

ENDOWMENT

Estate of Marilyn Lindsay

The Right Reverend

Carolyn Tanner Irish† and Mr. Frederick Quinn

Loretta M. Kearns†

Vicki McGregor

Edward Moreton

Estate of Pauline C. Pace

The Linda & Don Price Guest Artist Fund

Perkins-Prothro Foundation

Kenneth† & Jerrie Randall

The Evelyn Rosenblatt

Young Artist Award

Bill & Joanne Shiebler

Steven P. Sondrop Family Trust

James R. & Susan Swartz

GIFTS MADE IN HONOR

Doyle Clayburn

Anne & Ashby Decker

Nancy & Eric Garen

Heather Weinstock

GIFTS MADE IN MEMORY

Fred Andersen

Jay T. Ball

John Bates

Earle Robert Bevins III

Danny Boy

Mariah Bradfield

Orson Clay

Joan Coles

JoDeane Cruz

Esther Markey Davenport

Marlene Dazley

Jack Golden Edwards

Carolyn Hanks

John Husband

Karen Johnson

Adrienne W. Larson

Lona Mae Stratford

Hyde Lauritzen

Polly Lehwalder

Maxine & Frank McIntyre

Julie Palfreyman

Clark L. Tanner Foundation

Norman C. & Barbara L. Tanner Charitable Trust

Norman C. & Barbara L. Tanner Second Charitable Trust

O.C. Tanner Company

Estate of Frederic & Marilyn Wagner

M. Walker† & Sue Wallace

Jack & Mary Lois

Wheatley Family Trust

Edward & Marelynn†

Zipser

Leslie Peterson

Carol Zimmerman

Nancy & Gene Parry

Glade & Mardean

Peterson

Maria A. Proser

Dan Ragan

Nedra S. Robison

Robert Sedgewick

Robert C. Sloan

Jayme Terran

James Edward Wright

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

AHE/CI Trust

HJ & BR Barlow Foundation

C. Comstock Clayton Foundation

The Church of Jesus Christ of Latter-day Saints Foundation

Lawrence T. & Janet T. Dee Foundation

Marriner S. Eccles Foundation

George S. & Dolores Doré Eccles Foundation

Emma Eccles Jones Foundation

Frederick Q. Lawson Foundation

LOVE Communications*

Larry H. & Gail Miller Family Foundation

S.J. & Jessie E. Quinney Foundation

Sorenson Legacy Foundation

Stowell Leadership Group, LLC*

O.C. Tanner Company Zions Bank

$50,000 TO $99,999

Anonymous

Dominion Energy

The Florence J. Gillmor

$25,000 TO $49,999

Arnold Machinery

Associated Food Stores

BMW of Murray/BMW of Pleasant Grove

Cache Valley Electric Deer Valley Resort*

Goldman Sachs & Co. LLC

Foundation

The Grand America Hotel & Little America Hotel*

Janet Q. Lawson Foundation

Richard K. & Shirley S. Hemingway Foundation

The Kahlert Foundation

The John C. Kish Foundation

Charles Maxfield & Gloria F. Parrish Foundation

Perkins-Prothro Foundation

$10,000 TO $24,999

Altabank

B.W. Bastian Foundation

Brent & Bonnie Jean Beesley Foundation

Bertin Family Foundation

R. Harold Burton Foundation

Marie Eccles Caine FoundationRussell Family

Caffé Molise*

Cultural Vision Fund

Greenberg Traurig

Joseph & Kathleen Sorenson Legacy Foundation

McCarthey Family Foundation

Opera America

Raymond James & Associates

Regence BlueCross

Joanne L. Shrontz Family Foundation

Simmons Family Foundation

Summit Sotheby’s

Nora Eccles Treadwell Foundation

BlueShield of Utah

The Joseph & Evelyn Rosenblatt Charitable Fund

St. Regis / Deer Crest Club**

Stay Park City

The Swartz Foundation

W. Mack and Julia S. Watkins Foundation

WCF Insurance

$1,000 TO $9,999

Anonymous

Big D Construction

Rodney H. & Carolyn Hansen Brady Charitable Foundation

The Capital Group

David Dee Fine Arts

Spencer F. & Cleone P. Eccles Family Foundation

Grandeur Peak Global Advisors

Victor Herbert Foundation

Holland & Hart**

Hotel Park City

Hyatt Centric Park City**

KKC Foundation

Kum & Go Charitable Fund

Pago on Main*

Parsons Behle & Latimer

Ray, Quinney & Nebeker Foundation

Red Rock Brewing Company*

Rocky Mountain Power Foundation

Ruth’s Chris Steak House*

Squatters Pub Brewery*

Victory Ranch & Conservancy

Young Electric Sign Co.*

Black Physicians of Utah

The Fanwood Foundation

Western Office

The Helper Project

Millcreek Coffee Roasters*

Swire Coca-Cola, USA*

INSTITUTIONAL DONORS

Utah Symphony | Utah Opera would like to especially thank our major sources of public funding that help us to fulfill our mission and serve our community

Salt Lake City Arts Council

Utah Department of Cultural & Community Engagement

Utah State Board of Education

Utah Office of Tourism

ACKNOWLEDGMENTS

UTAH SYMPHONY | UTAH OPERA

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ADMINISTRATION

Steven Brosvik

President & CEO

David Green

Senior Vice President & COO

Micah Luce

Director of Human Resources & Organizational Culture

Julie McBeth

Executive Assistant to the CEO

Marcus Lee

Executive Assistant to the COO & Office Manager

Natty Taylor

Human Resources Coordinator

SYMPHONY ARTISTIC

Anthony Tolokan

Artistic Consultant

Walt Zeschin

Director of Orchestra Personnel

Hannah Thomas-Hollands

Orchestra Personnel Manager

Morgan Moulton

Artistic Planning Manager

Isabella Zini

Artistic Planning Coordinator & Assistant to the Music Director

Matthew Straw

Assistant Conductor

SYMPHONY OPERATIONS

Cassandra Dozet

Senior Director of Operations

Melissa Robison

Front of House Director

Chip Dance

Director of Production

Jen Shark

Operations Manager

Sarah Madany

Stage Manager

Christopher Danz

Assistant Stage Manager

OPERA ARTISTIC

Christopher McBeth

Opera Artistic Director

Sharon Bjorndal Lavery

Chorus Director & Opera Assistant

Conductor

Carol Anderson

Principal Coach

Michelle Peterson

Director of Production

Ashley Tingey

Production Coordinator

Sarah Scofield

Resident Artist, Mezzo-soprano

Jeremiah Tyson

Resident Artist, Tenor

Tshilidzi Ndou

Resident Artist, Baritone

Jasmine Rodriguez

Resident Artist, Soprano

Laura Bleakley

Resident Artist, Pianist

DEVELOPMENT

Leslie Peterson

Vice President of Development

Katie Swainston

Individual Giving Manager

Lisa Poppleton

Grants Manager

Dallin Mills

Development Database Manager

Maren Holmes

Manager of Special Events

Ellesse Hargreaves

Corporate Engagement Manager

Marketing & Communications

Meredith Kimball Laing

Vice President of Marketing & Communications

Adia Thornton

Director of Marketing

Robert Bedont

Marketing Manager

Megs Vincent

Communications Manager

Nina Starling

Website Content Coordinator

Patron Services

Faith Myers

Director of Patron Engagement

Jaron Hatch

Patron Services Manager

Toby Simmons

Patron Services Assistant Manager

Caitlin Marshall

Sales & Engagement Manager

Genevieve Gannon

Group Sales Associate

Amber Bartlett

Lorraine Fry

Jodie Gressman

Michael Gibson

Sean Leonard

Ian Painter

Ananda Spike

Val Tholen

Rocky Porter

Salem Rogers

Chloe Toyn

Patron Services Associates

ACCOUNTING & INFORMATION TECHNOLOGY

Steve Hogan

Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Melanie Giles

Controller

Jared Mollenkopf

Patron Information Systems Manager

Bobby Alger

Accounts Payable Specialist

Karine Mnatsakanyan

Payroll Specialist

EDUCATION

Ben Kipp

Director of Education & Community

Engagement

Jessica Wiley

Symphony Education Manager

Kevin Nakatani

Opera Education Manager

Beth Foley

Education Assistant

OPERA TECHNICAL

Sam Miller

Technical Director

Kelly Nickle

Properties Master

Dusty Terrell

Scenic Charge Artist

JR Orr

Head Carpenter/Shop Foreman

COSTUMES

Carol Wood

Costume Director

Verona Green

Costume Rentals & Stock Manager

Milivoj Poletan

Master Tailor

Dawnette Dryer

Cutter/Draper &

Sophie Thom

First Hand

Isaac Green

Rentals Assistant

Liz Wiand

Rentals Assistant

Amy Fernelius

Connie Warner Stitchers

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.

TO PERFORM TO INSPIRE

For over 40 years, the Utah Symphony has been welcoming nearly 20,000 fifth graders to Maurice Abravanel Hall for a specially curated program— it’s an experience designed just for them!

Have you heard of our ‘Opera-tunities’ night? Students are invited to attend the final dress rehearsal of each Utah Opera production at the Janet Quinney Lawson Capitol Theatre and experience this art form up close and personal.

Every year, USUO travels across the state for in-school performances reaching 600+ schools and nearly 100,000 students.