Aïda by Mills Publishing Inc.

UTAHOPERA.ORG

The

v e r di ’s

March 12–20, 2016

Christopher MCBeth / Artistic Director

Cover

AIDA

preprint

2016/17 Utah OPERa SEaSON ChRIStOPhER McBEth, artiStic DirectOr

Feel it with all your heart Bizet’s

CARMEN OctOber 8, 10, 12, 14, 16 (m) Love her at your own risk. Jake Heggie & Gene Scheer’s

Moby-DiCk

January 21, 23, 25, 27, 29 (m) Obsession has never run deeper. Donizetti’s

LuCiA Di LAMMERMooR March 11, 13, 15, 17, 19 (m) Romance balanced on the edge of a knife. Jeremy Howard Beck & Stephanie Fleishmann’s

ThE LoNg WALk March 31 & april 1

The real fight begins when a soldier comes home. mozart’s

DoN giovANNi May 13, 15, 17, 19, 21 (m) He takes what he wants. And gets what he deserves.

SubScribe Today and See 4 operaS for aS LiTTLe aS $97 UtahOPERa.ORg / 801-533-NOtE (6683)

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Contents PUBLISHER Mills Publishing, Inc.

PRESIDENT Dan Miller

OFFICE ADMINISTRATOR Cynthia Bell Snow

ART DIRECTOR/ PRODUCTION MANAGER Jackie Medina

PUBLICATION DESIGNER Patrick Witmer

GRAPHIC DESIGNERS Leslie Hanna Ken Magleby Patrick Witmer

ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas

OFFICE ASSISTANT Jessica Alder

EDITOR Melissa Robison The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc.,772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801/467.8833 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.

VERDI’S

AÏDA 25

6 Welcome 8 Artistic Director’s Welcome 10 Board of Trustees 15 Sound Bites - Aïda 16 Season Honorees 19 Testimonial 22 Spotlight: A Day in the Life of an Opera Super 24 Production Sponsors 26 Cast / Artistic Staff / Chorus / Dancers / Supernumeraries 32 Synopsis 34 Composer & Librettist 36 “The Egyptian-Looking Opera” by Paula Fowler 40 Make it Your Masterpiece 43 Utah Symphony 44 Education: Children’s Opera Showcase 45 Campaign for Perpetual Motion 48 Crescendo & Tanner Societies 49 Plan Big 50 Corporate & Foundation Donors 52 Individual Donors 59 Classical 89 Broadcasts 61 Administration 64 Acknowledgments

PRELUDE LECTURES Prelude lectures by principal coach Carol Anderson oﬀer insights before each Utah Opera production. This introduction includes historical context, musical highlights, and a behind-the-scenes perspective. Preludes are free with your opera ticket and begin one hour before curtain in the Capitol Room.

@UtahOpera

Welcome

On behalf of the artists, musicians, board, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to the Janet Quinney Lawson Capitol Theatre and today’s performance of Verdi’s Aïda. This has been a truly inspirational season of great opera and we hope you take pride as you witness the many ways that Utah Opera is demonstrating the highest levels of artistic excellence.

Patricia A. Richards Interim President & CEO David A. Petersen USUO Board of Trustees Chair

In response to this excellence and your enthusiastic attendance at performances, our Season Sponsor, the George S. and Dolores Doré Eccles Foundation, recently made a remarkable commitment of $3 million to our organization. In addition to supporting our Campaign for Perpetual Motion and ongoing annual fund efforts, this pledge includes a $500,000 challenge grant to help USUO reach our $20 million campaign goal before the end of the 2015–16 season. The generosity of the George S. and Dolores Doré Eccles Foundation has made a remarkable impact on Utah Symphony | Utah Opera over many years that is impossible to overstate. We hope that you will consider helping us meet the matching challenge grant with a new or increased donation to demonstrate what USUO means to you and to our community. Our vision is to be recognized nationally as a leader in artistic excellence, community service, innovative thinking, sound governance, and financial stability. We aspire to be known as a top orchestra and opera company, a renowned summer music festival, a destination for artists, an inspiration for audiences, and the beloved cultural treasure of our entire state and beyond. Thank you for joining us on this invigorating journey of excellence! Sincerely,

UTAH OPERA 2015–16 SEASON

/upcoming concerts The Music of Mozart May 5

/ 2016 / 7:30PM / ST. Mary’S ChurCh (1505 White Pine Canyon Rd., Park City)

Rei Hotoda, conductor MOZART MOZART MOZART MOZART

Jason Hardink, piano

Divertimento in D Major Piano Concerto No. 13 Eine kleine Nachtmusik Piano Concerto No. 14

Mozart’s The Marriage of Figaro May 7, 9, 11, 13 May 15

/ 2016 / 7:30PM

/ 2016 / 2PM / JaneT Quinney LawSon CaPiToL TheaTre

On the eve of Figaro’s marriage to Susanna, the Count’s wandering eye has landed on the lovely bride-to-be. Servant and master go head to head in Mozart’s comedic masterpiece that brilliantly delivers a timeless message of love and forgiveness.

all-Star evening May 17

/ 2016 / 7PM / abravaneL haLL

Rei Hotoda, conductor

Witness the talent of Utah’s young musicians! The state’s best high school instrumentalists perform side-by-side with the Utah Symphony as one very special young musician performs as soloist.

Gershwin’s Piano Concerto May 20 & 21

/ 2016 / 7:30PM / abravaneL haLL

Cristian Măcelaru, conductor BARBER GERSHWIN DVOŘÁK

Joyce Yang, piano

Essay No. 2 Piano Concerto Symphony No. 6

Mahler’s Symphony no. 9 May 27 & 28

/ 2016 / 7:30PM / abravaneL haLL

Thierry Fischer, conductor MAHLER

Symphony No. 9

Artistic Director’s Welcome Dear Utah Opera friends and family, Welcome back to the historic Janet Quinney Lawson Capitol Theatre. You are in for a treat. Of the many operas written by the Italian heavyweight, Giuseppe Verdi, there are few that inspire as much awe as Aïda. In fact it is difficult, when discussing the opera, not to fall into a long list of superlatives. Consider that in addition to the eight principal roles and the large orchestra supplemented by six herald trumpets, there are eight dancers, more than forty supernumeraries (see p. 22 for a description), and nearly sixty in the chorus…that makes more than 120 bodies that require costuming and need to be organized on stage in a meaningful and dramatic fashion!

Christopher McBeth Artistic Director

What these forces create musically is one of the most powerful operas ever written. No other moment in all of opera is as impactful as the Triumphal March scene. Yet, contained within all of this largesse (what I sometimes refer to as “shock and awe opera”) presented by larger than life mythical characters from antiquity is also the contrast of heart-rending sensitivity and individuality. As much as I revel in the overwhelming force of the large group scenes, for me the opera is most compelling in the various complex duets around which the opera is structured and where the affections, hopes, and fears are revealed with which we as observers can relate. For Verdi, the operatic voice was the supreme instrument of musical and emotional expression, and these moments in Aïda is where his genius shines brightest. To bring this spectacle to life, it gives me great pleasure to reunite returning Maestro Ari Pelto and one of our favorite stage directors, Garnett Bruce, both of whom have had great past success with tonight’s opera. While some members of our cast are making debuts in their respective roles in this production, all are noted Verdi singers with careers singing in the major opera houses of the world. It also gives me great pleasure to welcome Ririe-Woodbury Dance Company Artistic Director, Daniel Charon, back to a Utah Opera production after his success as choreographer in last season’s The Pearl Fishers. Enjoy Verdi’s Grand Opera, Aïda!

UTAH OPERA 2015–16 SEASON

Love without limits Love without limits

M ozart’s Lehár’s

Merry FiGaro wiDow

The

the marriage of

May 7, 9, 11, 13 (7:30 PM), May 15 (2 PM) JANET QUINNEY LAWSON CAPITOL THEATRE

January 16,18,20,22 (7:30 PM ), January 24 (2 PM )

Would you forgive a cheating spouse or make them pay? JANET QUINNEY LAWSON CAPITOL THEATRE

on theprice eve of figaro’s to susanna, the Count’s wandering What would youmarriage pay for love? eye has landed on the lovely bride-to-be. Servant and master go head to head, and even the Countess herself must spring into battle when , is beautiful, wealthy and attracting a lot of attention she learns of her husband’s plans. From the breathless opening notes of from suitors looking to cash in. A former love interest, Danilo, returns, but does the overture to the touching final curtain, Mozart’s comedic masterpiece not seem interested in money or in competing with other men for Hanna’s brilliantly delivers a timeless message of love and forgiveness. affection. Flirtations and accusations fly, swept along by Lehár’s magical score, featuring the famous “Vija” song, the “Merry Widow Waltz,” and more! Season Sponsor:

Tickets start at $18. UTAHOPERA.ORG

801-355-ARTS (2787)

Board of Trustees

ELECTED BOARD David A. Petersen* Chair

John W. Williams Thomas Wright

Jesselie B. Anderson Doyle L. Arnold* Edward R. Ashwood Dr. J. Richard Baringer Kirk A. Benson Judith M. Billings Howard S. Clark Gary L. Crocker David Dee*

Alex J. Dunn Kristen Fletcher Kem C. Gardner* David Golden Gregory L. Hardy Thomas N. Jacobson Ronald W. Jibson* Thomas M. Love R. David McMillan Brad W. Merrill Edward B. Moreton Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Shari H. Quinney Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart Naoma Tate Thomas Thatcher Bob Wheaton

LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Sr. Jon Huntsman, Jr. G. Frank Joklik

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

Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder

TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates

Burton L. Gordon Richard G. Horne Warren K. McOmber

Mardean Peterson E. Jeffrey Smith Barbara Tanner

HONORARY BOARD Senator Robert F. Bennett Rodney H. Brady Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous

Lisa Eccles Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Marilyn H. Neilson O. Don Ostler Stanley B. Parrish

Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith Ardean Watts

William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Patricia A. Richards* Interim President & CEO

MUSICIAN REPRESENTATIVES

Travis Peterson* Karen Wyatt* EX OFFICIO

Donna L. Smith Utah Symphony Guild Genette Biddulph Ogden Symphony Ballet Association Dr. Nathaniel Eschler Vivace Judith Vander Heide Ogden Opera Guild *Executive Committee Member

NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Susan H. Carlyle Chair (Utah) (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

Anthon S. Cannon, Jr. (S. California)

Senator Orrin G. Hatch (Washington, D.C.)

Alvin Richer (Arizona)

UTAH OPERA 2015–16 SEASON

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Sound Bites – Aïda By Connie Lewis

Sounds Bites are anecdotes compiled by a community writer about composers and works featured in our repertoire.

• Aïda has been a hit since its debut

130 years ago—enough time to generate its own mythology. A common misconception is that Giuseppe Verdi, famous for operas that set stirring melodies against tragic situations, wrote Aïda in honor of the opening of the Suez Canal in 1869. Verdi actually refused to compose music for that celebration, but at the request of the Turkish khedive (ruler) of Egypt, he agreed to compose a work exalting the country’s history for the opening of the Cairo Opera House two years later.

• In the spring of 1873 during a production of Aïda in Naples, Verdi decided to compose a string quartet piece, his only known chamber music work. The piece was informally premiered in his hotel room to a small audience. Verdi commented on the work, saying “I’ve written a quartet in my leisure moments in Naples. I had it performed one evening in my house, without attaching the least importance to it and without inviting anyone in particular. Only the seven or eight persons who usually come to visit me were present. I don’t know whether the quartet is beautiful or ugly, but I do know that it’s a quartet!” Despite Verdi’s humble words, his String Quartet in E minor is valued among the great classical chamber works of the 19th century.

UTAHOPERA.ORG / (801) 533-NOTE

• The “Triumphal March” in Act II is the most famous melody in Aïda. This march is used for the cheering of football teams around world. • Giuseppe Verdi’s funeral in 1901 remains the largest public assembly of any event in the history of Italy. During it Arturo Toscanini conducted the “Chorus of the Hebrew Slaves” from Nabucco accompanied by a huge orchestra and choir composed of musicians from throughout the country. • In November 2000, the biggest production of Aïda was performed in Shanghai with a cast of 2,200 singers, dancers, acrobats, supers—including 1,650 from the People’s Liberation Army—and an elephant, Bactrian camels, lions, tigers, boas, parrots and racing, horse-drawn chariots in front of a crowd of 50,000 enthusiastic audience members. • Aïda continues to be a staple of the standard operatic repertoire and appears as number 12 on the Operabase list of the most-performed operas worldwide between 2009 and 2014, with 304 performances. • As of 2007, The Metropolitan Opera alone has given more than 1,100 performances of Aïda, making it the second most frequently performed work by the company behind La bohème.

Season Honorees M I L L EN I U M $250,0 0 0 & A BOV E

Utah Symphony | Utah Opera is grateful to our generous donors who through annual cash gifts and multi-year commitments make our programs possible. The following listing reflects contributions and multi-year commitments received as of 1/15/2016.

EDWARD ASHWOOD & CANDICE JOHNSON

LAWRENCE T. & JANET T. DEE FOUNDATION

KEM & CAROLYN GARDNER

MR. & MRS. MARTIN GREENBERG

CAROL & TED NEWLIN

MARK & DIANNE PROTHRO CORPORATION

SHIEBLER FAMILY FOUNDATION

UTAH STATE LEGISLATURE/ UTAH STATE OFFICE OF EDUCATION

JACQUELYN WENTZ

UTAH OPERA 2015–16 SEASON

Season Honorees

GAEL BENSON

DIANE & HAL BRIERLEY

E.R. (ZEKE) & KATHERINE W.† DUMKE

ANTHONY & RENEE MARLON

PATRICIA A. RICHARDS & WILLIAM K. NICHOLS

THEODORE SCHMIDT

NAOMA TATE & THE FAMILY OF HAL TATE

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Season Honorees EN CO R E $10 0,0 0 0 & A BOV E

DOYLE ARNOLD & ANNE GLARNER

DR. J. R. BARINGER & DR. JEANNETTE J. TOWNSEND

R. HAROLD BURTON FOUNDATION

THIERRY & CATHERINE FISCHER**

ROGER & SUSAN HORN

THE RIGHT REVEREND CAROLYN TANNER IRISH**

RONALD & JANET JIBSON

EMMA ECCLES JONES FOUNDATION

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ANONYMOUS

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B R AVO $50,0 0 0 & A BOV E

Scott & Jesselie Anderson B. W. Bastian Foundation Thomas Billings & Judge Judith Billings Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Grand & Little America Hotels* Montage Deer Valley**

Scott & Sydne Parker Frank R. Pignanelli & D’Arcy Dixon Albert J. Roberts IV St. Regis Deer Valley** Wells Fargo Wheeler Foundation Lois A. Zambo

UTAH OPERA 2015–16 SEASON

Testimonial

“

This past season represented a remarkable moment in the history of USUO. As the company builds on such a proud and distinguished past, the musicians, artisans, administration and staff alike are moving forward on an exciting, adventurous and exhilarating trajectory under the leadership of Opera Artistic Director Christopher McBeth! It has been a privilege for our foundation to support the growth and development of Utah Opera. Through its successes and challenges alike, we have remained steadfast in our belief that investing in the excellence of this organization strengthens the vitality of Utah’s entire arts community now and throughout the future.

Lisa Eccles President & COO George S. and Dolores Doré Eccles Foundation Utah Opera Season Sponsor

”

VOLUNTEERING WITH UTAH SYMPHONY | UTAH OPERA

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Season Honorees OV ER T U R E $25,0 0 0 & A BOV E

Arnold Machinery Mr. & Mrs. William C. Bailey

Richard K. & Shirley S. Hemingway Foundation

S. J. & Jessie E. Quinney Foundation

BMW of Murray

Janet Q. Lawson Foundation

Simmons Family Foundation

BMW of Pleasant Grove

Love Communications*

Harris H. & Amanda Simmons

Rebecca Marriott Champion

Markosian Family Trust

Stein Eriksen Lodge**

Chevron Corporation

Carol & Anthony W. Middleton,

Summit Sotheby’s

C. Comstock Clayton Foundation Thomas D. Dee III & Dr. Candace Dee Delta Air Lines* John H. & Joan B. Firmage Kristen Fletcher & Dan McPhun

Jr., M.D. OPERA America’s Getty Audience Building Program

Nora Eccles Treadwell Foundation Vivint

James A. & Marilyn Parke

M. Walker & Sue Wallace

Charles Maxfield & Gloria F.

Jack Wheatley

Parrish Foundation Alice & Frank Puleo

Holland & Hart**

John W. Williams Workers Compensation Fund Edward & Marelynn Zipser

M A E S T RO $10,0 0 0 & A BOV E

Adobe Scott & Kathie Amann American Express Ballard Spahr, LLP Haven J. Barlow Family H. Brent & Bonnie Jean Beesley Foundation Berenice J. Bradshaw Charitable Trust Judy Brady & Drew W. Browning BTG Wine Bar* Caffe Molise* Marie Eccles Caine FoundationRussell Family Chris & Lois Canale CenturyLink Howard & Betty Clark** Daynes Music* Skip Daynes* The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Dr. & Mrs. Ralph Earle Sue Ellis Thomas & Lynn Fey Gastronomy* General Electric Foundation Ann & Gordon Getty Foundation Elaine & Burton L. Gordon Douglas & Connie Hayes Susan & Tom Hodgson Hyatt Escala Lodge at Park City**

Tom & Lorie Jacobson Josh & Cherie James G. Frank & Pamela Joklik Robert & Debra Kasirer Katharine Lamb Louis Scowcroft Peery Charitable Foundation Marriott Residence Inn* Pete & Cathy Meldrum Harold W. & Lois Milner Rayna & Glen Mintz Moreton Family Foundation Fred & Lucy Moreton Terrell & Leah Nagata National Endowment for the Arts Park City Chamber/Bureau David A. Petersen Glenn D. Prestwich & Barbara Bentley Promontory Foundation ProTel* David & Shari Quinney Radisson Hotel* Brad & Sara Rencher Dr. Clifford S. Reusch† Resorts West* The Joseph & Evelyn Rosenblatt Charitable Fund David & Lois Salisbury Salt Lake City Arts Council Lori & Theodore Samuels Pauline Collins Sells

Sounds of Science Commissioning Club George & Tamie† Speciale Stalwart Films LLC* Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds Barbara Tanner Thomas & Kathy Thatcher Zibby & Jim Tozer Tom & Caroline Tucker Utah Food Services* Utah Hispanic Chamber of Commerce* Utah Symphony Guild U.S. Bancorp Foundation

See pages 50–54 for an additional listing of our generous donors whose support has made this season possible.

* In-Kind Gift ** In-Kind & Cash Gift † Deceased

UTAH OPERA 2015–16 SEASON

PhoTo bY Jeff GoldberG/eSTo.

Utah Symphony at Carnegie Hall Friday, April 29, 2016

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Spotlight: A Day in the Life of an Opera Super By Anna Allen

They’re the unsung heroes of the opera—silent actors onstage—making sure the show goes on. Meet the super. The supernumerary, that is. Before writing this article, I’d never even heard of a super. “What exactly is a super?” I asked, and I learned the answer to that question, and others, during interviews with Utah Opera supers Rick Paine and Michael Drebot. A professor/archaeologist and an executive producer/director by day, volunteer supers by night, these two had nothing but good things to say about the experience of being supers with the Utah Opera. A super, Mr. Drebot described, “is a fancy name for [an] actor who has no speaking or singing roles in the opera.” Supers help the action move along without the audience even realizing. In fact, you know things are going well onstage when you don’t really notice the supers. They become part of the opera, basically playing any character who can move set pieces around, fill the stage as needed for each scene, or even move the principals around stage. In a very practical way, these actors help keep the action moving. So I was curious, as I’d never heard about this role before, how does one become a super? Mr. Paine said that he heard the opportunity advertised on public radio. He’d had no prior acting experience, but when he heard about being a super, he decided to try it out. Paine enjoyed the role so much 22

that over the years, he’s been in about 20 shows. Mr. Drebot has been in four shows, with his fifth being the upcoming show Aïda, but, similar to Mr. Paine’s experience, Drebot had never really tried acting before being a super. “My first experience ever being on stage was in front of nearly 1,800 audience members at the Capitol Theater,” said Mr. Drebot. “My first show, Abduction from the Seraglio, initially caught me by surprise, since one of my hiking buddies who had been a Super in a previous Opera, La Traviata, only had to walk on stage, pour a couple of glasses of champagne and walk off. He reassured me that being a super in Abduction would be that easy. However, it turned out that I had over 60 positions to remember...” Mr. Paine experienced similar challenges in learning staging. He described how without musical training, and without knowing Italian, it can be difficult to recognize each staging cue. Instead of a typical acting role where actors associate stage directions with certain lines, for instance, supers often have to memorize their cues without the benefit of a common language. They have to memorize musical cues instead of verbal cues. And then, the cues often sound different during early rehearsals accompanied by a pianist than they do with a full orchestra playing the music. UTAH OPERA 2015–16 SEASON

Supers also may be expected to have multiple roles and make smooth transitions between each role, which may happen in as little as 5–10 minutes before going back onstage. To learn all their parts, supers spend a week or more rehearsing in the Utah Opera rehearsal hall and then do 5-6 rehearsals in the theatre, 3–4 of which are in street clothes, and 3 are in full costume. As Mr. Paine and Mr. Drebot learned, being a super can be challenging. By dedicating their time, though, supers are rewarded with some great experiences. “It has given me a perspective of what it is like to be on the other side of the camera,” said Drebot. Mr. Paine also told me about his favorite moment being a super. He described how he was in La bohème and he was playing a waiter. At one point, he had to deliver ice cream onstage, and one of the actors spilled it. Even though the situation wasn’t scripted, Paine just had to react, so he cleaned up the ice cream and carried on with the scene. It’s moments like this, as I understood it, that make being a super such a unique experience. Supers may not have lines, but they do have the chance to, as Mr. Drebot described it, “become the character, embrace the music.”

UTAHOPERA.ORG / (801) 533-NOTE

Production Sponsors Utah Opera gratefully acknowledges the following generous sponsors who have made this production of Verdi’s Aïda possible.

JANET Q. LAWSON FOUNDATION PRODUCTION SPONSOR

CONDUCTOR SPONSOR

EMMA ECCLES JONES FOUNDATION ARTISTIC DIRECTOR SPONSOR

SUPERTITLES SPONSOR

FLORAL SEASON SPONSOR

CA S T PA R T Y S P O N S O R

UTAH OPERA 2015–16 SEASON

Aïda

program

Aïda Mar 12, 14, 16, 18 | 7:30 pm Mar 20 | 2 pm Janet Quinney Lawson Capitol Theatre by Giuseppe Verdi Libretto by Antonio Ghislanzoni Sung in Italian with English supertitles Supertitle translation by Paul Dorgan World Premiere: Cairo Opera House, Cairo, Egypt, 1871 Previous Utah Opera Productions: 1980, 1983, 1994, 2004 The performance will last approximately three hours with one intermission.

CAST (in order of appearance) Ramfis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Derrick Parker Radamès . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marc Heller Amneris . . . . . . . . . . . . . . . . . . . . . . . . . . . . Katharine Goeldner Aïda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jennifer Check The King of Egypt . . . . . . . . . . . . . . . . . . . . . . Matthew Treviño Messenger . . . . . . . . . . . . . . . . . . . . . . . . . . . Christian Sanders* High Priestess . . . . . . . . . . . . . . . . . . . . . . . . Rebecca Pedersen Amonasro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alfred Walker

ARTISTIC STAFF Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ari Pelto Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Garnett Bruce Chorus Master . . . . . . . . . . . . . . . . . . . . . . . . Susanne Sheston Choreographer . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel Charon Set Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Yeargan Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . Alice Bristow Lighting Designer . . . . . . . . . . . . . . . . . . . . Nicholas Cavallaro Wig and Make-up Designer . . . . . . . . . . . . . . . Yancey J. Quick Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Mollicone Assistant Director . . . . . . . . . . . . . . . . . . . . . . Jennifer Erickson Apprentice Coach/Supertitle Musician . . . . Timothy Accurso* Stage Manager . . . . . . . . . . . . . . . . . . . . . . . Kathleen Edwards Assistant Stage Managers . . . . Sarah Johnson, Carli Werner

*Current Utah Opera Resident Artist.

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Aïda

cast

Derrick Parker (Georgia) Ramfis Most Recently at Utah Opera, The Pearl Fishers Recently: Porgy and Bess, Lyric Opera of Chicago; L’enfant et les sortilèges, Utah Symphony | Utah Opera; Mozart and Salieri, Anchorage Opera; Showboat, Kentucky Opera Upcoming: Porgy and Bess, Baltimore Symphony Orchestra Marc Heller (New York) Radamès Most Recently at Utah Opera, La bohème (2003) Recently: Otello, GranTeatro del Liceu (Barcelona); Le prophète, Badisches Staatstheater; La forza del destino, Hessisches Staatstheater Upcoming: Cavalleria rusticana/Pagliacci, Opéra-Théâtre - Metz Métropole (Metz, France); Otello, Hungarian National Opera; Die Walküre, Badisches Staatstheater Katharine Goeldner (Iowa) Amneris Utah Opera Debut Recently: Salome, Virginia Opera; The Wreckers, Bard SummerScape; Le nozze di Figaro, Lyric Opera of Chicago Upcoming: JFK, Fort Worth Opera; Shalimar the Clown, Opera Theatre of Saint Louis; Das Rheingold, Minnesota Opera

UTAH OPERA 2015–16 SEASON

Aïda

cast

Jennifer Check (New Jersey) Aïda Most Recently at Utah Opera, Il trovatore Recently: Don Giovanni, The Metropolitan Opera; Macbeth, Palm Beach Opera, Opéra national de Lorraine; Ariadne auf Naxos, Opéra de Toulon Upcoming: Beethoven’s Mass in C and Choral Fantasy, Spoleto Festival U.S.A.; Verdi’s Requiem, Detroit Symphony Orchestra Matthew Treviño (Texas) The King of Egypt Utah Opera Debut Recently: La fanciulla del West, Opera Omaha; Rigoletto, Vancouver Opera; The Canterville Ghost, Oper Leipzig Upcoming: Rigoletto, Hawaii Opera Theater; Lucia di Lammermoor, Opera Colorado Christian Sanders (Colorado) Messenger Most Recently at Utah Opera, The Merry Widow Recently: Current Utah Opera Resident Artist; Il barbiere di Siviglia, Opera de Tijuana; Turandot, Opera Company of Middlebury; The Picture of Dorian Gray, Aspen Opera Theatre Upcoming: The Marriage of Figaro, Utah Opera Apprentice Artist, Des Moines Metro Opera

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Aïda

cast / artistic staff

Rebecca Pedersen (Utah) High Priestess Utah Opera Debut Recently: Covered the title role of Tosca, Utah Opera; Past Winner of the Metropolitan Opera National Council Auditions; First prize winner of the Licia Albanese International Puccini Competition; Finalist and award winner of the George London Competition Upcoming: 2016 Apprentice Singer, The Santa Fe Opera Alfred Walker (Louisiana) Amonasro Most Recently at Utah Opera, The Magic Flute (2016) Recently: Bluebeard’s Castle, New Japan Philharmonic; Der fliegende Holländer, Théâtre de Caen, Grand Théâtre de Luxembourg; Les contes d’Hoffman, Den Norske Opera, Komische Oper Berlin Upcoming: Der fliegende Holländer, Seattle Opera, Oper Köln; Fidelio, Caramoor International Music Festival Ari Pelto (New York) Conductor Most Recently at Utah Opera, Hansel and Gretel Recently: La voix humaine, Chicago Opera Theatre; Aïda, Opera Colorado; The Rake’s Progress, Portland Opera Upcoming: The Scarlet Letter, Opera Colorado; La fanciulla del West, Opera Colorado

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artistic staff

Aïda

Garnett Bruce (Maryland) Director Most Recently at Utah Opera, Madame Butterfly Recently: Madama Butterfly, Opera San Antonio; The Barber of Seville, Indiana University Opera Theater; Candide, Baltimore Symphony Upcoming: Madama Butterfly, San Diego Opera; The Magic Flute, Michigan Opera Theater Susanne Sheston (Iowa) Chorus Master Most Recently at Utah Opera, The Merry Widow Recently: Cold Mountain, Daughter of the Regiment, Rigoletto, The Santa Fe Opera Upcoming: Roméo et Juliette, La fanciulla del West, The Santa Fe Opera

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Aïda

artistic staff

Daniel Charon (Minnesota) Choreographer Most Recently at Utah Opera, The Pearl Fishers Currently: Artistic Director, Ririe-Woodbury Dance Company Recently: Faust, Minnesota Opera (Dancer, Rehearsal Assistant); The Elephant Man, Minnesota Opera (Dancer, Rehearsal Assistant); The Barber of Seville, Orpheus and Eurydice, Opera Colorado; Le sacre du printemps, The Metropolitan Opera (Dancer) Alice Bristow (Georgia) Costume Designer Most Recently at Utah Opera, Madame Butterfly Recently: The Fantasticks, A Grand Night for Singing, Boeing Boeing, Berry College (Mount Berry, Georgia) Upcoming: Spoon River Anthology, The Servant of Two Masters, Berry College (Mount Berry, Georgia) Yancey J. Quick (Utah) Wig and Make-up Designer Most Recently at Utah Opera, The Merry Widow Recently: Resident Wig and Makeup Designer, Utah Opera; Wig Master, Ballet West; Wig and Makeup Designer, Utah Festival Opera & Musical Theatre

UTAH OPERA 2015–16 SEASON

A誰da

chorus / dancers / supernumeraries

UTAH OPERA CHORUS Sidnei Alferes Mandi Barrus Benjamin Bird Asha Brooke Anadine Burrell Cody Carlson Matthew Thomas Castleton Catherine Coda Sarah Coit* Michael G. Cram Paul Dawson Natalie Easter Merrill Flint Sawson Gholami Seth Gruber Jennifer Hancock Paul Hill Gary Hoover Melissa James Christi Jones Jessica Jones* Angela Keeton Kristin Knippenberg Phillip A. Lammi Nelson LeDuc Edward Lopez Steve Mathews Julie McBeth Christine McDonough Bryn McDougal Kathryn Monson Heather Morrey Michael Moyes Dan Nichols Dale Nielsen Scott Palmer Gonzalo A. Pe単a Tony Porter Alyssa Powers Markel Reed* Jordan Reynolds

Christian Sanders* Garrett Schoonover Markus Sharette Miles Sharette Stania Shaw Dan Smith Sue Sohm Mary Sorensen Carolyn Talboys-Klassen Scott Tarbet Sammie Tollestrup Daniel Tuutau Dawn Veree Kathy Wight Ruth Wortley AUXILIARY CHORUS Kimberly Gruber Marie Hansen Lynn Maxfield Richard Olsen Katelin Ruzzamenti Ben Shaw Gioconda A. Vaca Brooke Yadon DANCERS Amy Falls Mindy Houston Rebecca Palmer Rodolfo Rafael Darren Robinson Breeanne Saxton Alicia Trump Samantha Matsukawa SUPERNUMERARIES Jason Allred Randy Ayre Dominic Barsi Randy Bathemess Jeremy Black

Matt Boles Gabriel Cabal Marcello Caro Roy Dawson Michael Drebot Jeremy Evans Luqman Ghazali Jarren Hancock Kevin Hardy Joe Jenkins Will Johnson Thomas Klassen David Lach Harrison Marshall Wesley Marshall Bakir Mehinovic Steve Moga Will Morrey Robert Neal Ken Pollard Tim Pratt Richard Randolph Rocky Revels Tony Sams Rick Seven Vladimir Shnayderman Aaron Sorensen Cayman Thomas Robert Trujillo Jeremy Whipple Jason Williams Jeff Wright ETHIOPIAN PRISONERS Jenny Evans Patricee Gallagher Serena Kim Kate Klassen Blondell Snowden Joshua J.Y. Son

*Current Utah Opera Resident Artist

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Aïda

synopsis

Aïda by Verdi Setting: Egypt in the Era of the Pharaohs ACT I A Hall in the King’s Palace Young Radamès is informed by Ramfis, a high priest, that war with the Ethiopians is inevitable. The warrior seeks glory in battle and also hopes to win the beautiful captive Nubian slave, Aïda, who has concealed her true identity. She is the daughter of Amonasro, who will attack Egypt in order to free his daughter from servitude. Amneris, daughter of the king of Egypt, suspects that her servant, Aïda, could be a rival for Radamès. With royal panoply, the king and his court enter and proclaim war when they learn that Amonasro and his legions are approaching Thebes. Radamès is declared the head of the army and proceeds to take up sacred arms at the Temple of Vulcan. Left alone in the hall, Aïda feels torn between her love for Radamès and her country. In the Temple of Vulcan, sacred ceremonies take place as all pray for swift victory against the Ethiopians.

confession of her love for the warrior and enrages Amneris, who plots revenge. Grand Gate of Thebes At the grand gate of Thebes, the Egyptian army returns victorious. The king grants Radamès any wish he desires. Among the captives led before the king is Amonasro, who is thus reunited with Aïda. Although his true identity is unknown, he is clearly of noble character and pleads eloquently for mercy for the defeated Ethiopians. Radamès is impressed with his stature and beseeches the king to grant the request. The king then gives Radamès his daughter Amneris’ hand in marriage. Aïda and Amonasro are to be retained as hostages to insure the Ethiopians do not again revolt. INTERMISSION

The Chamber of Amneris

ACT II The Banks of the Nile near the Temple of Isis

With the defeat of Ethiopia, all anticipate the triumphant return of Radamès. Princess Amneris is filled with doubts about the devotion of the warrior and conspires to elicit from Aïda her true feelings for Radamès. Cunningly Amneris convinces Aïda that Radamès has perished in battle and then reveals that he lives. Aïda’s reaction of grief followed by joy is a

Along the shores of the Nile, Aïda waits to rendezvous with Radamès. Meanwhile Ramfis and Amneris pray in a temple in anticipation of her forthcoming marriage. Suddenly Amonasro appears and demands that Aïda learn from her lover the location of the Egyptian troops, but he is forced into hiding when Radamès appears.

UTAH OPERA 2015–16 SEASON

Aïda

synopsis

The lovers plan an escape into the desert and Radamès proposes an easy route, exactly where the Egyptian army plans to waylay the Ethiopians. Amonasro emerges from his hiding place and reveals that he is king of the Ethiopians. As Ramfis and Amneris leave the temple they see Radamès conspiring with the enemy; Aïda and her father flee as Radamès surrenders. A Hall in the Temple of Justice As Radamès awaits trial, he believes that Aïda may have perished, for the Ethiopians have once again been defeated and Amonasro is dead. Amneris begs him to defend himself by renouncing Aïda, but he refuses while still asserting his love

for Egypt and willingly accepting his punishment. At his trial Radamès refuses to answer the priests’ accusations and is condemned to be buried alive. Again Amneris pleads for his life but to no avail. Having been entombed at the bottom of the temple, Radamès awaits death. But he is not alone: Aïda has hidden herself in the vault and they will die in each other’s arms. Above them in the temple Amneris weeps for her lost love. Judy Vander Heide is the president of the Ogden Opera Guild, which supports Utah Opera. She also serves on the boards of Utah Symphony | Utah Opera and Opera Volunteers, International and is a proud member of the Crescendo Society of Utah Opera.

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Aïda

Giuseppe Verdi (1813–1901) Composer

composer / librettist Giuseppe Verdi was born into a family of small landowners and taverners. When he was seven he was helping the local church organist. By twelve he was studying with the organist at the main church in nearby Busseto, and in 1829 he became this organist’s assistant. It was there that he first took lessons on composition. Verdi’s first success as an opera composer came in 1841 with Nabucco. By 1851, when Rigoletto first saw the stage, Verdi had produced 18 operas. He became the most popular opera composer of his age, and every opera house in Italy sought to produce his works. Verdi wrote his Egyptian opera Aïda in response to a commission from the Khedive of Egypt for the opening of the new Cairo Opera House, after rejecting requests for an anthem to celebrate the opening of the Suez Canal a year earlier. The first performance was conducted by the famous double-bass player Bottesini. The opportunity for spectacle, of which some stage directors have made much, is provided throughout the opera, particularly in the return of the triumphant Radamès. The story was the invention of the French Egyptologist Auguste Mariette, elaborated in French prose by Camille du Locle, before the final Italian text was drafted. Aïda remains a staple of the Italian opera repertoire. Verdi spent his later years in Milan; he was rich, authoritarian, but charitable. He was visited often at his home there, and was much revered and honored. He died at the beginning of 1901, and it is said 28,000 people lined the streets for his funeral procession. Antonio Ghislanzoni was an Italian journalist, poet, and novelist who wrote librettos for Verdi, among other composers, of which the best known are Aïda and the revised version of La forza del destino. Ghislanzoni was born in Lecco, Lombardy, and studied briefly in a seminary, but was expelled for bad conduct in 1841. He then decided to study medicine in Pavia, but abandoned this after a short time to pursue a singing career as a baritone and to cultivate his literary interests.

Antonio Ghislanzoni (1813–1901) Librettist 34

Ghislanzoni wrote some eighty-five libretti, including Aïda (1870) and died in Caprino Bergamasco, Bergamo in 1893 at age 69.

UTAH OPERA 2015–16 SEASON

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Aïda

The Egyptian-Looking Opera

By Paula Fowler

Khedive Ismail Pasha of Egypt brought the look and culture of Europe to his African homeland in the mid19th century. Educated in France, he undertook many public works programs based on what he had seen during his school years: he built bridges and railways; he updated the legal code and schools; and in 1869, he opened the Suez Canal connecting the Mediterranean and Red Seas. He claimed, “My country is no longer in Africa. I have made it part of Europe.” The Khedive (the royal official governing Egypt on behalf of the Ottoman Empire) also built an opera house and yearned to commission a European composer to write its first opera. Verdi was his favorite option, even though Verdi had already refused to write an ode to celebrate the opening of the Suez Canal. At the time, Verdi was in his 50s with 20 operas to his name, and so well established with productions of his work regularly performed around the world, that he didn’t have to compose unless he wanted to. He spent a lot of his time rejecting ideas for new operas. But the scenario for an opera set in Egypt sent to him by French opera director Camille du Locle, which in turn had been submitted to du Locle by Auguste Mariette, a French archeologist in the service of the Khedive, captured Verdi’s interest. Mariette enjoyed writing stories about the artifacts he discovered in his archeological work, imagining what the lives of lost people might have 36

been. One of his best historical fictions was the story of Aïda, an Ethiopian princess captured by Egyptians who falls in love with a young Egyptian general, despite her love for her homeland. The Egyptian general is also adored by a crafty Egyptian princess, Amneris. Patriotism adds extra layers of conflict, leading to the finale in which the two lovers are buried alive together in an underground crypt. Verdi knew the storyline wasn’t incredibly original; in fact, the love triangle was typical opera fare, but Verdi found the drama compelling. He wrote, “It is well done, with a magnificent mise en scène, and two or three situations which though not the most original are very fine indeed.” Verdi also found the tale’s exotic setting inviting: Mariette, an expert on ancient Egypt, had filled his scenario with specific visual details from the time of the Pharaohs. Mariette and the Khedive were thrilled when Verdi agreed to write the opera. Mariette was even more delighted when he was contracted to direct the construction of the scenery and costumes, a job that included a trip to Paris, where all of the construction would take place. Unfortunately, the construction and delivery of the opera’s physical elements were delayed by the Siege of Paris during the FrancoPrussian War. Because the sets and costumes were trapped in Paris, Aïda could not be the featured opera at the opening of the Khedive’s opera UTAH OPERA 2015–16 SEASON

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Aïda

The Egyptian-Looking Opera

house; Verdi’s Rigoletto was performed instead, with Aïda’ s premiere occurring the following winter, in December 1871. Verdi apparently didn’t research Egyptian or Ethiopian music while composing the music for Aïda. He claimed that “copying reality can be a good thing; but the invention of reality is better, much better.” “I just thought that was the way it ought to be.” He used Mariette’s expertise to precisely depict the visual aspect of the opera, but the music came from his own imagination. As you listen to Verdi’s music for Aïda tonight, you have the opportunity to evaluate the effectiveness of his imagination in creating music to match the story. One young composer for whom Verdi’s composition succeeded attended a performance of Aïda in Pisa in 1876: that young man, Giacomo Puccini, credits his experience seeing Aïda as the inspiration for his own career choice. Another youthful opera-goer in Aïda’s early days, Prospero Bertani, was not so pleased. After his evening at the opera, he wrote to Verdi requesting reimbursement for his investment in the bad work, predicting “it will fill the theater a few more times and then gather dust in the archives.” Verdi refunded the transportation and opera tickets, with a proviso that the man sign an agreement never to attend another new opera by Verdi.

Authentic Egyptian musical recreation may not have been at the forefront of Verdi’s goals in making Aïda, but compelling dramatic musical expression certainly was his intention. In fact, what might have bothered opera-goer Bertani was that Verdi experimented with expected operatic conventions for dramatic purpose. Aïda includes some of the usual formal musical numbers: for example, tenor Radamès’ first act aria, “Celeste Aïda,” has a clear beginning and ending, and would be easy to excerpt from the rest of the opera for use in a concert or recital. Another establishedstyle musical number is the thrilling Triumphal Scene. This huge musical number features trumpets, large choral singing, and a section of “simultaneity” at the end, when the main characters, each with his/her own emotional impetus and matching melodic line, sing in harmony but on their own texts, all at the same time. But in other dramatic, conflict-filled scenes, Verdi wrote in a new style— something close to what we now describe as “through-composed.” Wagner concurrently had started in this direction, and Puccini would follow them both, creating operas in which the music flows from the beginning to the end of each act, leaving the audience generally deprived of an opportunity even to applaud or yell “Bravo!” until the curtain falls. Verdi wrote to his librettist, Antonio Ghislanzoni, “when the action demands it, I would quickly abandon UTAH OPERA 2015–16 SEASON

Aïda

The Egyptian-Looking Opera

rhythm, rhyme, strophe; I would write unrhymed verse to say clearly and distinctly whatever the action requires.” In Aïda, this kind of writing is evident especially in Aïda’s two solo scenes. Her moments alone on stage are hardly “arias”; they are dramatic monologues. Expressive melodies abound, but drama rather than melody is the driving force. Other powerful moments of musicdrama in Aïda include Amneris’ scene with Aïda in Act I, during which she tries to weasel information from Aïda, and her later scene in which she confronts and challenges Aïda for the love of Radamès. Another is in Act 2 when Aïda’s father convinces his daughter to betray her love for the sake of her country, and the following scene with Radamès in which she does exactly that.

The music is driven by the drama in all of these scenes. After Aïda’s premiere at La Scala in 1871, Verdi humbly understated the value of this work: “This opera is certainly not one of my worst.” The opera marks a new path in opera composition, with its tighter partnership between music and drama. Verdi, equipped with the experience of having already written masterworks like La Traviata and Rigoletto, imagines for us—through his music—the emotions, inner dramas, and personal conflicts of the characters of Aïda. Your experience with his music will be accompanied by the grand opera spectacle of our set, huge cast, and brand new costumes created by the Utah Opera Costume Shop to provide for you an immersion in the visual splendor of ancient Egypt.

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Make it your Masterpiece

In continued celebration of Utah Symphony’s 75th anniversary, Utah Opera’s Season Sponsor the George S. and Dolores Doré Eccles Foundation has challenged USUO to raise an additional $500,000 this season. They will match this goal one-to-one. Only new and increased gifts will count toward our goal, so please consider making a gift above and beyond your usual support to our Annual Fund. The Annual Fund supports the general operations of USUO, including our educational outreach. Together with our main-stage performances, these programs are at the core of our vision to connect the community through great live music. If you enjoyed the performance tonight, please support the Annual Fund and help us rise to the challenge. Every gift counts! And if you want to support us beyond this season and plan with us for the future, join our Grassroots Giving Campaign and become a sustaining patron: Pledge your support for the next five years or document a planned gift, and make this season your masterpiece. Please visit usuo.org/ support/grassroots-campaign or contact the USUO Development team at 801-869-9015. Your new or increased support will help us meet our goal to raise an additional $500,000 to support our mission to provide great live music to all Utahns.

Mary Phillips, Amneris, 2004; photo credit: Kent Miles

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Roberta Zalkind Associate Principal

Barlow Bradford Symphony Chorus Director

Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas

VIOLIN* Ralph Matson 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 David Park Assistant Concertmaster Alex Martin Acting Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Hanah Stuart Assistant Principal Second Leonard Braus • Associate Concertmaster Emeritus Jerry Chiu Joseph Evans LoiAnne Eyring Kristiana Henderson†† Teresa Hicks† Lun Jiang Rebekah Johnson Tina Johnson†† Paige Kossuth†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Rebecca Moench Hugh Palmer David Porter Lynn Maxine Rosen Barbara Ann Scowcroft • M. Judd Sheranian # Lynnette Stewart Julie Wunderle Karen Wyatt •• VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

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UTAH SYMPHONY | UTAH OPERA IN PERPETUAL MOTION

The 2015–16 season has truly been 75 years in the making. We are grateful for the visionary audacity of our founders, the temerity of our community, and the opportunity to celebrate the legacy given to us today. The momentum and impact of The Campaign for Perpetual Motion, a $20 million public campaign to support special projects and our core priorities in our orchestra, artists, and youth, have set the stage for this celebration and allow us to look forward to the next 75 years. The Campaign began with a remarkable $5 million lead gift from the George S. and Dolores Doré Eccles Foundation, whose tradition of support totaling more than $32 million spans three decades. This lead gift was made in addition to a $1 million gift from the Foundation to our Leadership Campaign, which during 2011 and 2012 prepared a solid foundation for the public fundraising effort. The Foundation has pledged an additional $1 million during our 75th anniversary season, along with a challenge to us to raise an additional $500,000 in new and increased gifts, which they will match dollar for dollar. More than 35 individuals, corporations, and foundations contributed to the Leadership Campaign, including an extraordinary $4.6 million capstone gift from O.C. Tanner Company. O.C. Tanner also committed an additional $500,000 to our Anniversary season efforts, bringing their total campaign giving to $5.1 million.

Now you can join the momentum and contribute to our 75th anniversary celebrations, as well as the future well-being of USUO, by participating in our grassroots campaign. As Utah’s flagship arts group, Utah Symphony | Utah Opera belongs to the people of Utah. Our patrons and donors have allowed us to reach new heights in artistic excellence over the past 75 years. By becoming a sustaining patron you will help us achieve even more. Find out more at usuo.org/support/grassroots-campaign UTAHOPERA.ORG / (801) 533-NOTE

P E RP ET UAL motion

We are forever grateful to the following leaders whose visionary support secured the permanence of Utah Symphony | Utah Opera through our Leadership Campaign in 2011 and 2012, and who are setting the stage for its bright future as lead supporters of The Campaign for Perpetual Motion. FOUNDING CAMPAIGN DONORS George S. and Dolores Doré Eccles Foundation ($7 Million) O.C. Tanner Company ($5.1 Million) PRINCIPAL GIVING ($1 Million & above) Gael Benson The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation Kem & Carolyn Gardner Larry H. & Gail Miller Family Foundation Mark & Dianne Prothro Questar® Corporation Patricia A. Richards & William K. Nichols Shiebler Family Foundation Sorenson Legacy Foundation Zions Bank LEADERSHIP GIVING (up to $1 Million) Anonymous (3) Anthony & Renee Marlon Scott & Jesselie Anderson Carol & Anthony W. Middleton, Jr., M.D. Doyle Arnold & Anne Glarner Edward & Barbara Moreton Edward Ashwood & Candice Johnson William H. & Christine Nelson Mr. & Mrs. William C. Bailey Carol & Ted Newlin Dr. J. R. Baringer & Dr. Jeanette J. Townsend Scott & Sydne Parker Thomas Billings & Judge Judith Billings Dr. Dinesh & Kalpana Patel R. Harold Burton Foundation Frank R. Pignanelli & D’Arcy Dixon Howard & Betty Clark John & Marcia Price Family Foundation Thomas D. Dee III & Dr. Candace Dee Bert Roberts Deer Valley Resort Theodore Schmidt E.R. (Zeke) & Katherine W.† Dumke The Sam & Diane Stewart Family Foundation Burton & Elaine Gordon Norman C.† & Barbara Tanner Mr. & Mrs. Martin Greenberg The Right Reverend Carolyn Tanner Irish Roger & Susan Horn Naoma Tate & the Family of Hal Tate Ronald & Janet Jibson M. Walker & Sue Wallace Frederick Q. Lawson Foundation Wells Fargo

UTAH OPERA 2015–16 SEASON

Visit usuo.org/festival to see how integral Utah Symphony has become to life in our community. Cultural Festival sponsor

Photos provided by musicians of the Utah Symphony.

Utah Symphony celebrates its 75th anniversary by creating special performances with our arts partnersâ&#x20AC;&#x201D;and by participating in events throughout the community. In 2015â&#x20AC;&#x201C;16, we will highlight more than 75 of these community collaborations.

Crescendo & Tanner Societies Utah Symphony | Utah Opera thanks the members of our Tanner and Crescendo Societies, patrons who have included USUO in their financial and estate planning. Membership is open to all those who express their commitment through a planned gift at any level. Please contact Kate Throneburg at kthroneburg@usuo.org or 801-869-9028 for more information, or visit our website at usuo.giftplans.org.

Crescendo Society of Utah Opera Anonymous Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Dr. Robert H. † & Marianne Harding Burgoyne Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage Joseph & Pat Gartman

Paul (Hap) & Ann† Green John & Jean Henkels Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Constance Lundberg Gaye Herman Marrash Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin Pauline C. Pace† Stanley B. & Joyce Parrish

Patricia A. Richards & William K. Nichols Mr. & Mrs. Alvin Richer Robert L.† & Joyce Rice Richard G. Sailer† Jeffrey W. Shields G. B. & B. F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser

Tanner Society of Utah Symphony Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers Grace Higson† Flemming & Lana Jensen

James Read Lether Daniel & Noemi P. Mattis Joyce Merritt† Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bentley Kenneth A. & Jeraldine S. Randall Robert L.† & Joyce Rice

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

Herbert C. & Wilma Livsey Mrs. Helen F. Lloyd† Gaye Herman Marrash Ms. Wilma F. Marcus† Dr. & Mrs. Louis A. Moench Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Pauline C. Pace† Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn

Helen Sandack† Mr. Grant Schettler Glenda & Robert† Shrader Dr. Robert G. Snow† Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† Kathleen Sargent† JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Afton B. Whitbeck† Edward J. & Marelynn Zipser

Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Patricia Dougall Eager† Mr.† & Mrs.† Sid W. Foulger Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Mr. Ray Horrocks† Richard W. James† Estate Mrs. Avanelle Learned† Ms. Marilyn Lindsay Turid V. Lipman

†Deceased

UTAH OPERA 2015–16 SEASON

Plan Big.

Photo Credit: Utah Opera’s Merry Widow, 2016 Kent Miles

Plan Big.

Utah Opera joins in celebrating Utah Symphony’s momentous 75th anniversary. For nearly 40 years, Utah Opera has brought stunning operatic performances to Utah audiences and we have been joined for every single production, with one exception while the orchestra toured, by the musicians of Utah Symphony. Utah Opera’s big voices and big productions have brought life to the operas of the world’s best and brightest composers. We continue to do so and reach new heights of artistic excellence together as Utah Symphony | Utah Opera. Imagine our future, with a national reputation on the rise, tours across the state and beyond, renowned recordings, and extraordinary music education programs for the children of Utah. All this while performing with the best voices and musicians in our homes of Abravanel Hall and the Janet Quinney Lawson Capitol Theatre, and on the road. By including USUO in your plans, your legacy will carry us forward, providing us with the support to build on our legacy. To learn more about how your estate planning can benefit USUO and you, please call Kate Throneburg at 801-869-9028, or visit us online at usuo.giftplans.org.

UTAHOPERA.ORG / (801) 533-NOTE

Corporate & Foundation Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last twelve months. For a listing of season honorees who have made gifts of $10,000 and above see pages 16–20.

$5,000 to $9,999 Anonymous (2) Bambara Restaurant* Bourne-Spafford Foundation Diamond Rental* Discover Financial Services The Jarvis & Constance Doctorow Family Foundation The Dorsey & Whitney Foundation Spencer F. & Cleone P. Eccles Family Foundation EY Hilton Hotel* Hoak Foundation J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Macy’s Foundation Larry H. Miller Sandy Ford Lincoln Martine* McCarthey Family Foundaton New York LTD Ogden Opera Guild Louis Scowcroft Peery Charitable Foundation Ruth’s Chris Steak House, Salt Lake City* Salt Lake City Arts Council Sky Harbor Apartments* Union Pacific Foundation Vanguard Charitable Endowment Program Victory Ranch & Conservancy $1,000 to $4,999 Anonymous Advanced Retirement Consultants Bertin Family Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Byrne Foundation Castle Foundation City Creek Center* 50

Deseret Trust Company Durham Jones & Pinegar, P.C. Henry W. & Leslie M. Eskuche Charitable Foundation ExxonMobil Foundation Goldener Hirsch Inns* Goldman Sachs Victor Herbert Foundation Homewood Suites by Hilton* Hyatt Place Hotel* Intermountain Healthcare Jones & Associates Kirton | McConkie Kura Door* Lewis A. Kingsley Foundation Marriott City Center* MedAssets Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation Park Hyatt New York* Prime Steakhouse Park City* The Prudential Foundation Ray, Quinney & Nebeker Foundation Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation Squatters Pub Brewery* Stoel Rives Strong & Hanni, PC Summerhays Music* Swire Coca-Cola USA* Bill & Connie Timmons Foundation United Jewish Community Endowment Trust Utah Families Foundation Utah Medical Association Financial Services The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation UTAH OPERA 2015–16 SEASON

Individual Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last twelve months. For a listing of season honorees who have made gifts of $10,000 and above see pages 16–20.

ABRAVANEL & PETERSON SOCIETY $5,000 to $9,999 Anonymous (4) Mr. & Mrs. Alan P. Agle Fred & Linda Babcock E. Wayne & Barbara Baumgardner Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair Carol, Rete & Celine Browning Neill & Linda Brownstein Michael & Vicki Callen Ken & Shelly Coburn* Amalia Cochran Marc & Kathryn Cohen Spencer & Cleone† Eccles J. I. “Chip” & Gayle Everest Jack & Marianne Ferraro John F. Foley, M.D. & Dorene Sambado, M.D.** Mr. Joseph F. Furlong III Jeffrey L. Giese, M.D. & Mary E. Gesicki David & SandyLee Griswold** Ray & Howard Grossman John & Dorothy Hancock Robert & Carolee Harmon Gary & Christine Hunter Mary P. Jacobs† & Jerald H. Jacobs Family Dale & Beverly Johnson Robert & Debra Kasirer Roger & Sally Leslie Thomas & Jamie Love Mr. & Mrs. Charles McEvoy Elinor S. McLaren & George M. Klopfer Leslie Peterson & Kevin Higgins Rich & Cherie Meeboer Dr. Thomas Parks & Dr. Patricia Legant Brooks & Lenna Quinn Dr. Richard & Frances Reiser Mr. & Mrs. Robert Rollo Peggy & Ben Schapiro Mr. & Mrs. D. Brent Scott Stuart & Molly Silloway

Elizabeth Solomon Dorotha Smart Melia & Mike Tourangeau Albert & Yvette Ungricht Kathleen Digre & Michael Varner $3,000 to $4,999 Anonymous (2) Craig & Joanna Adamson Robert & Cherry Anderson Richard† & Alice Bass Charles Black Robert W. Brandt Larry & Judy Brownstein Jonathan & Julie Bullen Brian Burka & Dr. Jerry Hussong Lindsay & Carla Carlisle Robyn Carter Mark & Marcy Casp Dr. H. Sam & Kuiweon Cho Hal & Cecile Christiansen Edward & Carleen Clark Mr. & Mrs. Kenneth R. Cutler Gary & Debbi Cook Mike Deputy B. Gale† & Ann† Dick Midge & Tom Farkas Flynn Family Foundation Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare James & Penny Keras Hanko & Laura Kiessner Jeanne Kimball Paul Lehman Herbert C. & Wilma S. Livsey Peter & Susan Loffler Daniel Lofgren David & Donna Lyon Mr. & Mrs. Wayne Lyski Mac & Ann MacQuoid David Mash Richard & Anne Mastain Daniel & Noemi P. Mattis Michael & Julie McFadden Hallie & Ted McFetridge Richard & Jayne Middleton Mr. & Mrs. Richard Mithoff

Marilyn H. Neilson Christie Mullen Mr. & Mrs. Alvin Richer Gina Rieke Dr. Wallace Ring Richard & Carmen Rogers William G. Schwartz & Joann Givan Marilyn Sorensen Verl & Joyce Topham Mr. & Mrs. Glen R. Traylor Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff Ardean & Elna Watts Suzanne Weaver Jeremy & Hila Wenokur David & Jerre Winder Gayle & Sam Youngblood $2,000 to $2,999 Anonymous (5) Fran Akita Drs. Wolfgang & Jeanne Baehr Dr. Melissa Bentley Anneli Bowen, M.D. & Glen M. Bowen M.D. Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Mr. & Mrs. William D. Callister, Jr. Paul & Denise Christian Raymond & Diana Compton David & Sandra Cope** Dr. & Mrs. Thomas Coppin David & Karen Dee Margarita Donnelly Robert Edwards Mr. & Mrs. Robert Ehrlich Neone F. Jones Family Robert S. Felt, M.D. William Fickling Blake & Linda Fisher Sarah Foshee Robert & Annie-Lewis Garda Heidi Gardner Mr. & Mrs. Eric Garen Diana George Susan Glassman & Richard Dudley Randin Graves

The James S. Gulbrandsen, Sr. Family C. Chauncey & Emily Hall Dennis & Sarah Hancock John B. & Joan Hanna Geraldine Hanni Richard & Norma Herbert Sunny & Wes Howell Dixie & Robert Huefner Jay & Julie Jacobson Annette & Joseph Jarvis M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Pauline WeggelandJohnson James R. Jones & Family Mr. & Mrs. Alan D. Kerschner Susan Keyes & Jim Sulat J. Allen & Charlene Kimball Carl & Gillean Kjeldsberg Mr. Darryl Korn & Ms. Jeannie Sias Mr. & Mrs. Christopher J. Lansing Donald L. & Alice A. Lappe James Lether Harrison & Elaine Levy Elizabeth & Michael Liess Bill Ligety & Cyndi Sharp Mr. & Mrs. Kit Lokey Jed & Kathryn Marti David & Nickie McDowell Mike & Jennifer McKee Warren K. & Virginia G. McOmber Mr. & Mrs. Michael Mealey George & Nancy Melling George & Linda Mendelson Matt & Andrea Mitton Dr. Louis A. Moench & Deborah Moench Barry & Kathy Mower Mr. & Mrs. Ralph Muller Dan & Janet Myers James & Ann Neal Rachel L. Oberg Dr. & Mrs. Richard T. O’Brien Thomas & Barbara O’Byrne Bradley Olch

UTAH OPERA 2015–16 SEASON

OUT ON THE TOWN

dining guide THE NEW YORKER 60 West Market Street. SLC’s premier dining establishment. Modern American cuisine is featured in refined dishes and approachable comfort food. From classic to innovative, from contemporary seafood to Angus Beef steaks – the menu provides options for every taste. Served in a casually elegant setting with impeccable service. Private dining rooms for corporate and social events. Lunch & Dinner. No membership required. L, D, LL, AT, RR, CC, VS. 801.363.0166

Consistently Rated “Tops”–Zagat 60 W. Market Street • 801.363.0166

Salt Lake City’s #1

MARKET STREET GRILL DOWNTOWN 48