Don Giovanni by Mills Publishing Inc.

PHOTO: Cory Weaver for Lyric Opera of Kansas City

2016–17 UTAH OPERA SEASON

COVER

MOZART’S

DON GIOVANNI

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Contents

PRESIDENT Dan Miller

OFFICE ADMINISTRATOR Cynthia Bell Snow

ART DIRECTOR/ PRODUCTION MANAGER Jackie Medina

MOZART'S

PUBLICATION DESIGNER

DON GIOVANNI

Patrick Witmer

GRAPHIC DESIGNERS Ken Magleby Patrick Witmer

ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas

OFFICE ASSISTANT Jessica Alder

ADMINISTRATIVE ASSISTANT Ruth Gainey

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.

@UtahOpera

6 Welcome 8 Artistic Director’s Welcome 10 Board of Trustees 15 Director’s Notes 16 Flick Picks 19 Synopsis 22 Production Sponsors 24 Cast / Artistic Staff / Chorus 29 Composer & Librettist 30 A Modern Taking Down of Don Giovanni 32 Sisyphus, the Seducer? 38 Support USUO 39 Utah Symphony 41 After the Curtain Falls 42 Crescendo & Tanner Societies 43 Legacy Giving 44 Season Honorees 46 Corporate & Foundation Donors 48 Individual Donors 59 Administration 62 Education 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.

Welcome Welcome to Utah Opera’s performance of Mozart’s Don Giovanni. If you were with us in March for Lucia di Lammermoor, you experienced a spectacular display of preparation and talent when Utah Opera Resident Artist Abigail Rethwisch stepped in at the 11th hour to sing the title role for all performances. As Abby so adeptly demonstrated, our Resident Artists are among the best and brightest young singers beginning their operatic careers.

Paul Meecham President & CEO

The Utah Opera Resident Artist program is designed to offer training that helps young opera professionals further their careers and to provide opera outreach for our company. In addition to their appearances on the Janet Quinney Lawson Capitol Theatre stage, these professional artists tour the state for Utah Opera, presenting age-appropriate educational programming in Utah schools, providing approximately 200 performances each year. They are marvelous ambassadors for Utah Opera and they love touring our beautiful state and meeting so many citizens of Utah. Today we are thrilled to feature the return of former Resident Artists Aaron Blake (2009–10) and Erica Brookhyser (2007–08) to our stage as Don Ottavio and Donna Elvira. We are also proud to showcase current Resident Artists Sarah Coit and Markel Reed as Zerlina and Masetto.

Dave Petersen USUO Board of Trustees Chair

This summer Abby and her husband Andrew Paulson, an Emerging Artist with Virginia Opera, will join the Utah Symphony and Maestro Thierry Fischer as soloists on our Great American Road Trip Tour. Similar to our 2014 tour of Utah’s Mighty 5™ National Parks, the tour will include a series of unforgettable free outdoor concerts August 28-September 2, performing in smaller, rural communities set against the backdrop of Utah’s great landscapes. You can learn more about the tour on page 28. We hope you’ll join us on the tour and in 2017–18 as we celebrate Utah Opera’s 40th Anniversary Season!

UTAH OPERA 2016–17 SEASON

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Artistic Director’s Welcome

Dear Opera Family and Friends, Welcome to the final offering of the 2016–2017 Utah Opera season in the Janet Quinney Lawson Capitol Theatre. It’s been a wonderful season and Don Giovanni is a fitting way to bring it to a close. When I think on Don Giovanni, I hardly know where to begin. As a musician, I approach the work with an element of reverence and it has always been a favorite with opera audiences around the world. Often when the piece is mentioned, one hears the words “masterpiece” and “flawless.” Why is this?

Christopher McBeth Artistic Director

For me, it begins with the music itself. From the overture to the final number, every note seems perfectly placed; melodies sound at once predictable and surprising. Furthermore, the music is representational of each moment, feeling, and character. Yet, this is just scratching the surface. The dramatics of the work provide a brilliant study in dualities: upper class vs. lower class; older generation vs. younger; morality vs. immorality. Even the term Mozart himself gave the work was not “opera,” but “dramma giacoso,” a combination of stereotypically opposed concepts “drama” and “comedy” (and isn’t this the reality of the human condition?). Yet the work contains even further depth. In the title character we have an individual who intrigues us and revolts us at the same time. He is in one moment irresistible to women and later haunts them. Simply put (and it is not easy to admit) we have a love-hate relationship with the Don, who— to the very end—is committed to his way of life regardless of the consequences. Don Giovanni is a fascinating combination of humanism, psychology and glorious music. I know all of these elements will captivate you as they have audiences for over 200 years.

UTAH OPERA 2016–17 SEASON

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Board of Trustees

ELECTED BOARD David A. Petersen* Chair

Naoma Tate Thomas Thatcher Craig C. Wagstaff Bob Wheaton Kim R. Wilson Thomas Wright

Jesselie B. Anderson Doyle L. Arnold* Dr. J. Richard Baringer Judith M. Billings Howard S. Clark Gary L. Crocker David Dee*

Alex J. Dunn Kristen Fletcher Kem C. Gardner* Lynnette Hansen Matthew Holland Thomas N. Jacobson Ronald W. Jibson* Tyler Kruzich Thomas M. Love R. David McMillan Brad W. Merrill Theodore F. Newlin III* Dee O’Donnell Dr. Dinesh C. Patel Frank R. Pignanelli Shari H. Quinney Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart

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

E. Jeffrey Smith Barbara Tanner

HONORARY BOARD 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. Edward Moreton Marilyn H. Neilson O. Don Ostler

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

NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Chair (Utah)

Susan H. Carlyle (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

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

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

William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO

MUSICIAN REPRESENTATIVES

Mark Davidson* Lissa Stolz* EX OFFICIO

Carol Radinger Utah Symphony Guild Paul C. Kunz Ogden Symphony Ballet Association Judith Vander Heide Ogden Opera Guild *Executive Committee Member

UTAH OPERA 2016–17 SEASON

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Director's Notes GIOVANNI AS NOIR:

MOZART AND DA PONTE’S MASTERPIECE THROUGH A MODERN LENS

Stage Director Kristine McIntyre takes a look at a classic Mozart opera from the perspective of the great Hollywood film noir genre. A hero we love to hate. A mysterious woman from his past. Murder and seduction. Retribution and revenge. The themes of a great Hollywood film noir—and the essence of Don Giovanni. It’s an opera replete with grey areas, starting with Giovanni’s own moral ambiguity, his love/hate relationship with Elvira, his shifts between violence, sensuality and humor, often in the same scene. Mozart and DaPonte labeled it a “dramma giocoso” but these days we look at the piece rather differently, given that it begins with rape and murder. We want to indulge in the guilty pleasure of rooting for the Don, though we’re supposed to be rooting for those earnest characters working so hard to achieve his downfall. How perfect and how freeing, then, to reexamine this piece through the lens of film noir, a genre built on contradictions and mixed emotions. In the noir universe, the anti-hero navigates a world built on paranoia and mistrust. Younger characters confront a loss of innocence in a world gone mad, much like Anna and Ottavio, Zerlina and Masetto. And the city itself often becomes a character, shadowy and forbidding. The characters seem physically and emotionally lost, and so too in Don Giovanni, where in the second act everyone is at sea and only the Don finds the calm before the final storm. And that’s in a graveyard. Like any noir anti-hero, Don Giovanni knows he can’t run from his past. It always catches up with you— whether in the guise of a beautiful, scorned woman, or the ghost of the father– figure you murdered in cold blood. Call it fate, call it justice, it always gets you in the end. Read more about this production, listen to musical excerpts, and watch a video created by Ms. McIntyre sharing more information about her noir film concept at utahopera.org/16-17-season/don-giovanni UTAHOPERA.ORG / (801) 533-NOTE

Flick Picks ?

Kent Miles, Utah Opera's Don Giovanni, 2008

Don Giovanni stage director Kristine McIntyre shares her favorite classic Hollywood film noirs movies that reflect themes in the opera: Out of the Past (1947) - a past that comes calling, and a great femme fatale, one of the best noir films that hits almost every motif. Double Indemnity (1944) - great visuals and a very typical and intricate noir plot. Kiss Me Deadly (1955) - one of the greatest film noirs—three different women, a pretty dislikable anti-hero, and nuclear apocalypse, all set in a very seedy L.A. D.O.A. (1950) - narrated by the dying hero, the whole thing is a series of crazy flashbacks. Touch of Evil (1958) - often considered the last of the classic noir period films, Orson Welles at his best—the whole film reeks of paranoia and something dark just on the edges. The Third Man (1949) - technically not American noir and set in Vienna, it‘s beautifully shot and hard to resist.

UTAH OPERA 2016–17 SEASON

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Scott Quinn rodolfo Celena Shafer Musetta Michael Adams Marcello

Utah Opera Chorus Utah Symphony

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4 0 T H A N N I V ER S A RY S E A SO N SP O N SO R

Don Giovanni

synopsis

Setting: America, 1950s ACT I At night, in the street outside the Commendatore’s house, Leporello bemoans his fate working for the dissolute Don Giovanni. Suddenly Giovanni runs into the street pursued by Donna Anna, the Commendatore’s daughter, who accuses him of trying to attack her. The Commendatore rushes to his daughter’s aid and is killed by Don Giovanni. Anna asks her fiancé, Don Ottavio, to avenge her father’s death. At a café the next morning, Giovanni and Leporello encounter one of Giovanni’s former conquests, Donna Elvira, who is still angry at Giovanni’s betrayal. Leporello tries to discourage her from pursuing Giovanni by showing her his catalogue with the name of every woman Giovanni has seduced. Meanwhile, Masetto and Zerlina celebrate their upcoming wedding with

UTAHOPERA.ORG / (801) 533-NOTE

friends. Don Giovanni asks Leporello to get rid of the groom. Alone with Zerlina, Giovanni persuades her to come away with him. Before they can leave, Elvira interrupts them and leads Zerlina away. Momentarily thwarted, Giovanni greets the mourning Anna and Ottavio, only to be embarrassed by the persistent Elvira, who denounces him as a seducer. Trying to dismiss her as a madwoman, he ushers Elvira off. Anna, in horror, recognizes him as her father’s murderer and calls on Ottavio to avenge her honor. Later that afternoon, Giovanni looks forward to an evening of revelry he has arranged in Zerlina’s honor. Zerlina begs the furious Masetto to forgive her. Anna, Ottavio and Elvira arrive in disguise, swearing vengeance, and Giovanni tells Leporello to invite them in. Inside Giovanni’s nightclub, Leporello distracts Masetto while Giovanni dances with Zerlina, trying to drag

Don Giovanni

synopsis

her into an adjoining room. When Zerlina cries for help, Anna, Elvira, and Ottavio unmask and confront Giovanni, who escapes.

to comfort the distraught Anna and go to the authorities for help. Left alone, Elvira thinks about her love for Giovanni in spite of everything.

ACT II

Leporello finds Giovanni in a cemetery, where a statue of the slain Commendatore warns Giovanni of his doom. The Don forces the terrified Leporello to invite the statue to dinner.

Under Elvira’s balcony, Leporello exchanges clothes with Giovanni to woo the lady in his master’s stead. Leporello and Elvira go off, leaving Giovanni free to serenade Elvira’s maid. When Masetto arrives with his friends to punish Giovanni, the disguised Don tricks Masetto and assaults him. Zerlina tenderly consoles him. Elvira follows the disguised Leporello into a dimly lit courtyard. Leporello tries to escape, but is discovered by Anna, Ottavio, Zerlina and Masetto. Mistaking servant for master, they join in denouncing the supposed Don. Frightened, Leporello reveals his identity and manages to escape. Ottavio asks Zerlina and Masetto

Ottavio urges Anna to stop grieving and accept his love. She implores him to wait until her father is avenged. Later that night in the empty club, Giovanni orders Leporello to serve supper. Elvira arrives and attempts to persuade Giovanni to reform his ways, but he sends her away. In a final confrontation with the Commendatore, Giovanni is finally forced to pay for his crimes. Synopsis courtesy of Lyric Opera of Kansas City

Kent Miles, Utah Opera's Don Giovanni, 2008 20

UTAH OPERA 2016–17 SEASON

PHOTO: DECCA/ANDREW ECCLES

An evening with

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September 13 (7:30 PM / ABRAVANEL HALL) kick off our 40th anniversary season with international opera sensation Renée Fleming. If you’ve already seen this world’s beloved opera singer on television, this is your chance to see her in person on the stage. Experience Ms. Fleming’s trademark lyricism as we celebrate Utah Opera’s past and support its future.

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Production Sponsors Utah Opera gratefully acknowledges the following generous sponsors who have made this production of Mozart’s Don Giovanni possible. UTAH OPERA SEASON SPONSOR

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UTAH OPERA 2016–17 SEASON

Don Giovanni

program

Don Giovanni

May 13, 15, 17, 19 | 7:30 pm May 21 | 2 pm Janet Quinney Lawson Capitol Theatre By Wolfgang Amadeus Mozart Sung in Italian with English supertitles World Premiere: Estates Theatre in Prague on October 29, 1787 Previously at Utah Opera in 1984, 1990, 1997, 2008

CAST (in order of appearance) Leporello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matthew Burns Donna Anna . . . . . . . . . . . . . . . . . . . . . . . Melinda Whittington Don Giovanni . . . . . . . . . . . . . . . . . . . . . . . . . . Joshua Hopkins Commendatore . . . . . . . . . . . . . . . . . . . . . . . . Richard Wiegold Don Ottavio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aaron Blake** Donna Elvira . . . . . . . . . . . . . . . . . . . . . . . . . Erica Brookhyser** Zerlina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sarah Coit* Masetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Markel Reed*

ARTISTIC STAFF Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Larkin Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristine McIntyre Chorus Master . . . . . . . . . . . . . . . . . . . . . . . . . Michael Spassov Scenery and Props . . . Courtesy of Lyric Opera of Kansas City Scenery Design . . . . . . . . . . . . . . . . . . . . . . . . R. Keith Brumley Lighting Design . . . . . . . . . . . . . . . . . . . . . . Nicholas Cavallaro Costume Co-Design . . . . Verona Green & Kristine McIntyre; based on original design by Mary Traylor Wig & Makeup Co-Design . . . . . . . . . . . . . Shelley Carpenter, Daniel Jacob Hill Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amy Soll Assistant Stage Managers . . . . . . Ash Crystal, Emily E. Duffin Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . Emily Williams** Rehearsal Pianist/Supertitle Musician . . . . Timothy Accurso* The performance will last approximately 3 hours with one intermission. *Current Utah Opera Resident Artist **Former Utah Opera Resident Artist

UTAHOPERA.ORG / (801) 533-NOTE

Don Giovanni

cast

Matthew Burns (Virginia) Leporello Most Recently at Utah Opera, Così fan tutte Recently: Il barbiere di Siviglia, Virginia Opera; Don Giovanni, Arizona Opera; Of Mice and Men, Austin Lyric Opera Upcoming: La mère coupable, On Site Opera; The Marriage of Figaro, Michigan Opera Theater Melinda Whittington (North Carolina) Donna Anna Utah Opera Debut Recently: Rusalka, Don Giovanni, Arizona Opera; Carmen, Greensboro Opera; Così fan tutte, Charlottesville Opera; The Ghosts of Versailles, Wolf Trap Opera Upcoming: Cold Mountain, North Carolina Opera; Roméo et Juliette, Opera Birmingham Joshua Hopkins (Canada) Don Giovanni Utah Opera Debut Recently: Faust, Houston Grand Opera; Die Zauberflöte, Canadian Opera Company; The New Prince, Dutch National Opera (World Premiere) Upcoming: Così fan tutte, Lyric Opera of Chicago; Roméo et Juliette, The Metropolitan Opera Richard Wiegold (United Kingdom) Commendatore Most Recently at Utah Opera, Turandot Recently: Madama Butterfly, Welsh National Opera; Das Rheingold, North Carolina Opera; Don Giovanni, Lyric Opera of Kansas City Upcoming: Pelléas et Mélisande, Cincinnati Opera

UTAH OPERA 2016–17 SEASON

Don Giovanni

cast

Aaron Blake (California) Don Ottavio Most Recently at Utah Opera, Così fan tutte Most Recently: La traviata, The Metropolitan Opera; Pearl Fishers, Tulsa Opera; Fellow Travelers, Cincinnati Opera Upcoming: Angels in America, New York City Opera; Die Zauberflöte, Cincinnati Opera Erica Brookhyser (Oregon) Donna Elvira Most Recently at Utah Opera, La Cenerentola Recently: La traviata, Los Angeles Philharmonic; Madama Butterfly, Opera Colorado; El Niño, Spoleto Festival USA Upcoming: Untouchable, film Sarah Coit (Florida) Zerlina Most Recently at Utah Opera, Man of La Mancha Current Utah Opera Resident Artist Recently: Don Giovanni The (R)evolution of Steve Jobs, The Santa Fe Opera; The Merry Widow, Carmen, Utah Opera; The Child and the Enchantments, Mozart Requiem, Utah Symphony Upcoming: Lucia di Lammermoor, The Santa Fe Opera; Le nozze di Figaro, Michigan Opera Theatre Markel Reed (North Carolina) Masetto Most Recently at Utah Opera, Man of La Mancha Current Utah Opera Resident Artist Recently: Carmen, Utah Opera; Don Giovanni, Soo Opera Theatre Upcoming Madame Butterfly, Pirates of Penzance, Utah Festival Opera and Musical Theatre UTAHOPERA.ORG / (801) 533-NOTE

Don Giovanni

cast / artistic staff ARTISTIC STAFF Christopher Larkin (New Jersey) Conductor Most Recently at Utah Opera, Little Women Recently: Le nozze di Figaro, The Italian Girl In Algiers, Utah Opera; The Turn of the Screw, Portland Opera; La bohème, Nashville Opera; Angels in America, Fort Worth Opera Kristine McIntyre (Oregon) Director/Costume Co-Design Most Recently at Utah Opera, The Pearl Fishers Recently: Dead Man Walking, Lyric Opera of Kansas City; Soldier Songs, Des Moines Metro Opera; Jane Eyre (world premiere), Center for Contemporary Opera, New York Upcoming: Billy Budd, Des Moines Metro Opera; Moby-Dick, Utah Opera, Pittsburgh Opera Michael Spassov (Canada) Utah Opera Resident Chorus Master Most Recently at Utah Opera, Lucia di Lammermoor Recently: Capriccio, The Santa Fe Opera; La fanciulla del West, The Santa Fe Opera; Roméo et Juliette, Atlanta Opera

Verona Green (Utah) Costume C0-Design Utah Opera Design Debut; Costume Director, Utah Opera Recently: Pagliacci, Shreveport Opera

UTAH OPERA 2016–17 SEASON

Don Giovanni

artistic staff

Daniel Jacob Hill (Utah) Wig and Makeup Co-Design Most Recently at Utah Opera, The Long Walk Recently: Madame Butterfly, Ballet West; Lucia di Lammermoor, Man of La Mancha, Carmen, The Marriage of Figaro, Utah Opera UTAH OPERA CHORUS Julie Barker Jessica Benson Natalie Easter Kevin Golub Paul Hill Melissa James Tito Livas April Meservy Dan Nichols Dale Nielsen Scott Palmer Gonzalo Peña Geneil Perkins Heidi Robinson Daniel Tuutau Ruth Wortley SUPERNUMERARIES Dominic Barsi Steve Moga

Q&A

Do you have questions to ask or comments to share about tonight’s performance and Utah Opera?

Please join Christopher McBeth in the Capitol Room after each performance for a Question & Answer session. UTAHOPERA.ORG / (801) 533-NOTE

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Don Giovanni

composer & librettist Wolfang Amadeus Mozart was born in Salzburg on January 27, 1756 into a family of musicians. He began composing at age five, and played before the Bavarian elector and Austrian Empress at age six. A child prodigy, Mozart had composed two operas and several symphonies and string quartets before he turned twenty.

Although a gifted composer and performer, Mozart’s adult life was spent in constant pursuit of positions as a court composer. Mozart resigned a position in Vienna in 1781 over a conflict with his employer, the Prince-Archbishop of the Salzburg court. He spent Wolfgang Amadeus the next few years working freelance. He taught, Mozart published his music, played at patrons’ houses, and Composer composed by commission in order to support himself. During this period, he married Constanze Weber. She was the younger sister of Aloysia Weber, with whom Mozart had fallen in love several years earlier. In 1786, Mozart collaborated with the librettist Lorenzo da Ponte on the first of three comic operas, Le nozze di Figaro (The Marriage of Figaro), based on a play by Pierre Beaumarchais. The Marriage of Figaro was followed by Don Giovanni (1787) and Così fan tutte (1790). Both Mozart and da Ponte are perhaps best-remembered for The Marriage of Figaro and Don Giovanni. Emanuele Conegliano was born a Venetian Jew on March 10, 1749. His mother died in childbirth in 1754. When he was fourteen, his father, Geremia Conegliano, fell in love with a Roman Catholic girl. Geremia had himself, Emanuele, and his two brothers converted in order to marry, and Emanuele took the name Lorenzo da Ponte, the name of the bishop who administered his baptism. Da Ponte traveled to Austria, where he was appointed the position of Poet to the Italian Theatre. He wrote libretti for Antonio Salieri, as well as Wolfgang Amadeus Mozart and Vicente Martín y Soler. As a Lorenzo da Ponte librettist, he composed works in French, German, Librettist Italian, and Spanish. His collaborations with Mozart for The Marriage of Figaro (adapted from a play by Pierre Beaumarchais) and Don Giovanni are perhaps his best-known accomplishments. He wrote two original libretti during his tenure in Vienna: L’arbore di Diana with Vicente Martín y Soler and Così fan tutte with Salieri (completed with Mozart). He married Ann Celestine Grahl around 1792, and together they had four children. Da Ponte died and was buried in 1838 in New York City. UTAHOPERA.ORG / (801) 533-NOTE

A Modern Taking Down of Don Giovanni By Paula Fowler

In traditional productions of Mozart’s Don Giovanni, the closing scenes are full of spectacular stage magic: a larger-than-life stone statue lumbers onto the stage, delivers warnings in a powerful bass voice, and then thrusts a stubbornly unrepentant Giovanni into hellfire. The Don does deserve some kind of taking down. Scene by scene through the opera, we witness him racking up ill deeds: he slips out of one lady’s bedroom, fights and kills her father when the father challenges him, evades another woman to whom he had once made promises, and attempts twice to seduce a young bride on her wedding day. He is a creature of appetites whose only goal is the pursuit of his own pleasures. “Liberté” above all is his creed, liberty for himself alone; the cost to others of his personal freedoms does not concern him. How fascinating that Mozart and his librettist, Lorenzo da Ponte, both men of the Enlightenment, were drawn to forge a musical retelling of the legend of the villainous Don Juan in 1787. They were idealists who believed that all human beings have the capacity for nobility. The French cry “Liberté! Egalité! Fraternité!” perfectly describes the central goals of the Enlightenment era. It was da Ponte who suggested the well-known legend of the rake Don Juan (“Don Giovanni” in Italian) to Mozart as well-suited for opera. He must have recognized in the Don 30

Juan character a darker version of the Count in their own Le nozze di Figaro, which had premiered just the previous year. In Figaro, Count Almaviva misuses his position of power in order to pursue young female servants in his castle, but his wife and her maid successfully hatch a plan that brings the Count to his knees, penitent, asking his wife for forgiveness. Da Ponte and Mozart take their criticism of the traditional “noble” class a step further in Don Giovanni. This time they place their ruling class character in the title role, and present him even more critically. Don Giovanni is appealing, and women do regularly swoon when he makes advances and promises, but in his focused pursuit of his own pleasures, he represents the old aristocratic ways grown fetid. It is time, the opera suggests, to be done with such privileged, antiquated, despicable folk; they do not belong in the improved society imagined by the opera’s creators. Da Ponte and Mozart use the Stone Guest of the Don Juan story to do the deed of ridding society of this menace. With their Stone Guest, da Ponte and Mozart follow the tale originally set down in dramatic form by Spaniard Tirso de Molina in 1630 (The Trickster of Seville and the Stone Guest) and have their central character destroyed by a supernatural emissary from Heaven. The living statue of the father whom Don Juan had slain condemns Don Juan to everlasting fiery punishment for refusing to change his ways. UTAH OPERA 2016–17 SEASON

Don Giovanni

a modern taking down of don giovanni

It’s not surprising that the plot leads to the destruction of the abusive Don Juan, but it is puzzling that Mozart and da Ponte, who wanted to bring Enlightenment values into society, don’t show the characters “being the change they want to see in the world,” as they do in Figaro. The plot rattles along entirely in the human arena for most of the length of the opera. Until the final scenes, we follow three characters who have suffered because of Giovanni’s “liberté” and watch them band together in “fraternité” to pursue him for vengeance. They do make some progress: they prevent him from having his way with Zerlina, and they expand their team of avengers when Zerlina and her Masetto join them. But then the opera, like its literary predecessors, brings in the supernatural agent of damnation for a spectacular way of eliminating Don Giovanni. This kind of ending is a good example of a theatrical convention we have inherited from the Greeks, the “deus ex machina.” In ancient Greek plays, especially those by Euripides, many serious dramas came to complete and quick conclusions when a character playing one of the gods was loaded into a kind of crane and then lowered down into the playing area. It looked like a god was descending from Heaven to command a solution to whatever mess the humans had made. It’s a shocking change to see a god

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appear, but for Greeks who believed that Heaven does intervene in human affairs, it must have been a relieving and encouraging ending. Such an ending nowadays, however, can be not only befuddling but even comedic. When a complicated story of human interaction is suddenly, decisively, so neatly solved, audiences may just find themselves shaking their heads and asking “What was that?” Utah Opera’s production created by director Kristine McIntyre adjusts the ending from what Mozart and da Ponte originally wrote. Her concept evades the genre-change shock and the potential implausibility of a “deus ex machina” ending. Her altered version is a bold one. She recognized a similarity of character types between those in the opera and those in the genre of film noir, and has let the more modern style inform the entire production, affecting especially the concluding scenes. Giovanni does get taken down in the end, but not in the traditional way. Expect a finale in this production of Mozart’s Don Giovanni that remains firmly in the real world, with exciting elements from film noir woven in. Our director’s innovative concept makes a compelling conclusion to the life and opera of the defiantly unenlightened Don Giovanni. Paula Fowler is USUO’s Director of Education & Community Outreach. She has been writing opera commentaries for Utah Opera for more than 15 years.

Sisyphus, the Seducer? Unravelling the Psyche of Mozart’s Unrepentant Bad Boy By Jeff Counts

Don Giovanni. If he’s not the all-time worst opera jerk, he’s definitely in the top 5. Ponder it a moment. The Don, this creature of unconstrained impulse, is not just a generally unpleasant guy, he’s also a serial philanderer and an unapologetic killer. But that doesn’t fully explain the matter, does it? No. Even if we could ignore the women in his wake (we cannot), his treatment of Leporello would be reason enough to despise him. There is something deeper, though, that compels our distaste. Perhaps that something lies simply in Giovanni’s disconnection from our moral reality, his freedom to go where, do what, and be what he pleases. He doesn’t just disregard our rules, he seems genuinely unaware of them. How can a man have scruples if he doesn’t even know what they are? It’s a kind of innocence really, and it’s infuriating. Mozart drew upon the work of Spanish dramatist Tirso de Molina to construct his Don. The Trickster of Seville and the Stone Guest was published around

1630 and it is hard to imagine that Molina did not himself draw upon the work of his countryman Miguel de Cervantes. The first section of Don Quixote, written some 25 years earlier, includes various character studies and, most notable among them, is The Impertinently Curious Man. In this section of Cervantes’ novel, the nobleman Anselmo asks his good friend and known womanizer, Lothario, to seduce his wife. Such was the resonance of this particular archetype that the term “Lothario” is now a brand used by well-read folk to mark a man who defines himself by his romantic conquests. Molina must have seen in that earlier rake the makings of a literary sensation. At any rate, his Don Juan (Giovanni is Juan in the Italian) was born of rather fertile circumstance. Not unlike the fictional Don Quixote, Don Juan has continued to be an intoxicating fascination for men and women of letters over the intervening centuries. Lord Byron wrote an epic poem on the subject in 1821, but

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Don Giovanni

sisyphus, the seducer?

switched the roles by making the Don an easy target for wanton women. Richard Strauss composed his famous orchestral tone poem Don Juan in 1889 and based his version on Nikolaus Lenau’s retelling of the tale. In Lenau’s hands, Don Juan is not a predator but an idealist who justifies his promiscuity as an earnest search for real love. Pushkin wrote about him. So did Kierkegaard. And let's not forget George Bernard Shaw's 1903 drama/comedy hybrid Man and Superman. Even contemporary filmmakers have taken their turn, like in 1995 when Jeremy Leven used Byron’s material to loosely create the Johnny Depp vehicle Don Juan

Demarco. Most notable, however, if we actually do wish to understand Don Juan and his motivations, was the 1942 philosophical essay by Albert Camus entitled The Myth of Sisyphus. In the essay, Camus attempted to explain his notion of the “absurd,” a conceptualization of man’s search for meaning amidst the chaos of life. This futile search was, for Camus, best described as the conflict between what we want from the world and what we ultimately get. He believed that the meaning we all seek cannot be found in any of the traditional ways (religion, etc.), but he also asserted that an existence without such validation

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Don Giovanni

sisyphus, the seducer?

was not necessarily devoid of purpose and happiness. This absurdity that Camus wants us to understand is best embodied by the plight of poor Sisyphus, the condemned man from Greek mythology who must endlessly repeat the chore of pushing a boulder to the top of a mountain, only to watch it roll back down to the bottom every time. According to Camus, any possible meaning for Sisyphus must reside in the task itself and not in a wished-for result. “The struggle itself toward the heights is enough to fill a man’s heart” he wrote as a conclusion to the essay (which, to be fair, is a much more complex bit of thought than the present distillation can convey), “One must imagine Sisyphus happy.” Must we? Interestingly, Camus also used the fictional Don Juan as an example of the “absurd man” and he did so in a way that might give us some insight into Mozart’s terrible Giovanni. According to Camus, it is not a lack of love that propels Don Juan from one woman to the next, but an innate understanding of love as an unfulfillable quest. The passion he inspires and expires is, each time, quite genuine. It just isn’t lasting and, because of this, it requires repetition to maintain. Camus recounts sadly how those among the women who believe they have conquered the conqueror would say “At last, I have given you love” only to have Don Juan say in return “At last? No, but once more.” It’s a very ungentlemanly thing to think, let alone say, but Camus has a theory about why this man acts the way he does. Camus posits that Don Juan, a man disinclined toward melancholy thanks 34

to the fact that he is entirely ignorant of it, is particularly suited to a life without hope. He just doesn’t need it. He knows himself so well that he’s more than content to live without something as boring and wispy as hope so long as he can also live without limits. Don Juan is a being of pure, unfiltered id, a man not above morality but one outside of it. Quantity is quality for him and his single-mindedness is evidenced by his tendency to use the same seduction tactics from woman to woman. And why not, if it works? Unlike Lenau’s version of the character, the original (and consequently Mozart’s) version does not yearn for the romantic transcendence of “one true love.” He probably couldn’t if wanted to, he’s just too in the moment to notice there might be something better than an endless string of broken hearts (and occasional murders). It is only at what Camus calls “the frontier of death” that Don Juan finally realizes that significant parts of himself are breakable too. Until then, however, we might as well give in and “imagine him happy” too. It’s still infuriating, though, because there is a difference between rocks and people. Sisyphus, for all his sins, is no seducer so it is at least possible to find grace in his futility. But not Don Giovanni. His destructive and repetitive march through time is frankly not as similar to the ancient Greek man’s as Camus would have us believe. And besides, he’s a much bigger jerk. Jeff Counts is Vice President of Operations and General Manager of Utah Symphony. He was program annotator for Utah Symphony from 2010 to 2014 and has been writing articles for Utah Opera for 6 years. UTAH OPERA 2016–17 SEASON

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Thank you for joining Utah Symphony | Utah Opera for the final production of our 2016–17 season. Your support as a patron is invaluable. Please consider taking that support a step further, with a donation to our Annual Fund. In addition to our main-stage performances, our education and outreach programs allow us to connect with over 140,000 children across the state of Utah every single year. We visit each of Utah’s 42 school districts on a three- to five-year rotation. Utah Opera’s Resident Artists travel the state and perform at every school level. For elementary school students, the gameshow-style Who Wants to be an Opera Star is a great introduction to the art form. For secondary school audiences, the Resident Artists introduce concepts from opera through a scenes-and-dialogue program or present shortened and age-appropriate versions of great 38

operas. This year, they are presenting The Elixir of Love, a short, English version of the comic opera by Gaetano Donizetti. For high school choirs, Utah Opera offers young singers the chance to hear our Resident Artists perform arias and ensembles, share insights about opera and singing, and answer student questions in “Opera Up Close.” “My first graders were very engaged in listening and watching the performers sing, dance, and act. After the assembly, all of my students became opera singers on the playground at recess.” – West Valley Elementary School, Granite School District. To offer our education and outreach programs free of charge and to keep our tickets affordable, we rely on donations from patrons like you. Please donate today by visiting usuo.org/give or by calling our Development staff at 801.869.9015. UTAH OPERA 2016–17 SEASON

Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second

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After the Curtain Falls We hope you take this performance home with you. If not in the shape of something from the Opera Boutique, then in continued conversation with your friends, family and those that experienced this with you. Continue your pleasure for hours—even days—by exchanging ideas about it. Here are some topics we suggest: • Is Don Giovanni in Mozart’s opera like the Don Juan we meet in the 1995 Johnny Depp film Don Juan de Marco, who murmurs, “Women sense that I search out the beauty that dwells within them…” A swash-buckling sensualist, a lover of all women who sees the innate beauty of each one? Or: is he a sociopath who treats women as objects, as playthings that will temporarily satisfy his bottomless sexual appetite? A rapist and murderer without a conscience? • Hell has often been presented on the stage. The medieval theatre was rife with “hell mouths”: colorful, flame-filled openings teeming with demons that had firecrackers exploding out of their rears. However, the hell of Don Giovanni is a special kind of hell, a hell without parallel because of the terror of its music. What is your favorite representation of “hell” in a movie or music? • In the story of Mozart’s Don Giovanni, the barriers between the classes are brought to the fore. Characters strain against the limits placed on them by their class, both in terms of permissible behavior and their rights in the pursuit of justice. Mozart’s music ingeniously conjures the liminal political state at the end of the Enlightenment, when philosophers had widely argued for the inherent rights of human beings, but laws and governments had not yet changed to reflect these positions. For the characters in Don Giovanni, the only justice available for the aristocratic rule-breaker of the title had to come from a supernatural source. Do you see this reflected today in media forms, and if so, how and where? • When Mozart composed Don Giovanni, he designated it an opera buffa, or “comic opera.” But in Lorenzo da Ponte’s libretto, the work was subtitled dramma giocoso, a “jolly or playful drama” indicating a work that mixed character types from serious opera with the servants, peasants, elderly buffoons, and other figures more typical of opera buffa. In Don Giovanni, the text and music contain both comic and serious elements, running the gamut from slapstick to high terror. What elements of each do you see in this opera? For each opera, a music scholar puts together a guide that delves into the plot of the opera, the music, the life of the composer, and many other topics. usuoeducation.org

You can visit our blog for more behind-the-scenes stories and conversations. utahopera.org/backstage

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“You are the music while the music lasts.” ~T.S. Eliot Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact 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 Judy Brady & Drew W. Browning Dr. Robert H. † & Marianne Harding Burgoyne Shelly Coburn Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers

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Legacy Giving

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There are many ways to leave a legacy, and for those who would like their legacy to include a long-term gift to Utah Symphony | Utah Opera, there are many options to consider. From leaving a gift in your will to leaving part or all of your IRA to USUO, your financial advisor or estate planning attorney can help you build a gift that can meet your goals and benefit USUO for years to come. You have the ability to build a musical future for the state of Utah. When you leave a gift to USUO in your estate plans, you are building a proud legacy that will inspire tomorrowâ&#x20AC;&#x2122;s musicians and music lovers. For over 75 years, USUO has been a leader in music excellence and community education. Your gift will make a difference. To learn more about how your estate planning can benefit both you and USUO, please call Kate Throneburg at 801-869-9028, or visit us online at usuo.giftplans.org.

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Season Honorees We applaud our generous donors who, through cash gifts and multi-year pledges, make our programs possible. This list reflects commitments received as of March 1, 2017. Millennium $250,000 & above Edward Ashwood & Candice Johnson Gael Benson Diane & Hal Brierley The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation E.R. & Katherine† W. Dumke George S. & Dolores Doré Eccles Foundation Kem & Carolyn Gardner Mr. & Mrs. Martin Greenberg Anthony & Renee Marlon Larry H. & Gail Miller Family Foundation Carol & Ted Newlin O. C. Tanner Company Patricia A. Richards & William K. Nichols James A. & Marilyn Parke Perkins-Prothro Foundation John & Marcia Price Foundation Dominion Questar Corporation Kenneth† & Jerrie Randall Salt Lake County Salt Lake County Zoo, Arts & Parks (ZAP) Theodore Schmidt Shiebler Family Foundation The Sam & Diane Stewart Family Foundation Sam & Diane Stewart Naoma Tate & the Family of Hal Tate Utah State Legislature Utah State Board of Education Jacquelyn Wentz Zions Bank Encore $100,000 & above Anonymous Scott & Kathie Amann Doyle Arnold & Anne Glarner Dr. J. R. Baringer & Dr. Jeannette J. Townsend Thierry & Catherine Fischer** Estate of Grace Higson Roger & Susan Horn The Right Reverend Carolyn Tanner Irish** Emma Eccles Jones Foundation Ronald & Janet Jibson Janet Q. Lawson Foundation

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Thomas D. Dee III & Dr. Candace Dee John H. & Joan B. Firmage Kristen Fletcher & Dan McPhun Carol Holding Holland & Hart** Intuitive Funding Tom & Lorie Jacobson Love Communications* Rebecca Marriott Champion Microsoft Corporation* Carol & Anthony W. Middleton, Jr., M.D. Montage Deer Valley** OPERA America’s Getty Audience Building Program Charles Maxfield & Gloria F. Parrish Foundation Alice & Frank Puleo S. J. & Jessie E. Quinney Foundation Dr. Wallace Ring Simmons Family Foundation Harris H. & Amanda Simmons Stein Eriksen Lodge** Summit Sotheby’s Nora Eccles Treadwell Foundation Utah Symphony Guild Vivint M. Walker & Sue Wallace Wells Fargo Jack Wheatley Workers Compensation Fund Edward & Marelynn Zipser Maestro $10,000 & above Anonymous Adobe American Express Foundation Ballard Spahr, LLP Haven J. Barlow Family B. W. Bastian Foundation H. Brent & Bonnie Jean Beesley Foundation Berenice J. Bradshaw Charitable Trust BTG Wine Bar* Caffe Molise* Marie Eccles Caine Foundation-Russell Family Capital Group CenturyLink

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Howard & Betty Clark** Daynes Music* Skip Daynes* Delta Air Lines* The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Dr. & Mrs. Ralph Earle Sue Ellis Chip & Gayle Everest Robert & Elisha Finney General Electric Foundation Ann & Gordon Getty Foundation Elaine & Burton L. Gordon Richard K. & Shirley S. Hemingway Foundation Susan & Tom Hodgson Chuck & Kathie Horman Hyatt Centric Park City** G. Frank & Pamela Joklik Robert & Debra Kasirer Marriott Residence Inn* McCarthey Family Foundaton Charles & Pat McEvoy Pete & Cathy Meldrum Harold W. & Lois Milner Moreton Family Foundation Fred & Lucy Moreton Terrell & Leah Nagata National Endowment for the Arts Ogden Opera Guild Park City Chamber/Bureau David A. Petersen Leslie Peterson & Kevin Higgins Promontory Foundation David & Shari Quinney Radisson Hotel* Brad & Sara Rencher Resorts West* The Joseph & Evelyn Rosenblatt Charitable Fund Lori & Theodore Samuels Ben & Peggy Schapiro George & Tamie† Speciale Jennifer Speers Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds

Corporate & Foundation Donors Zibby & Jim Tozer Tom† & Caroline Tucker Utah Food Services* Utah Hispanic Chamber of Commerce* *In-kind gift **In-kind & cash gift † Deceased CORPORATE & FOUNDATION DONORS $5,000 to $9,999 Anonymous (2) Art Works for Kids! Bambara Restaurant* Diamond Rental* Discover Financial Services The Dorsey & Whitney Foundation Spencer F. & Cleone P. Eccles Family Foundation Finca* J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Martine* Louis Scowcroft Peery Charitable Foundation Raymond James & Associates Ruth’s Chris Steak House, Salt Lake City* Salt Lake City Arts Council Sky Harbor Apartments* Union Pacific Foundation U.S. Bancorp Foundation Utah Autism Foundation Vanguard Charitable Endowment Program Victory Ranch & Conservancy $1,000 to $4,999 Anonymous Advanced Retirement Consultants Rodney H. & Carolyn Hansen Brady Charitable Foundation Bertin Family Foundation Castle Foundation City Creek Center Deseret Trust Company Henry W. & Leslie M. Eskuche Charitable Foundation ExxonMobil Foundation FatPipe Networks Five Penny Floral* Goldman Sachs

Victor Herbert Foundation Hotel Park City* Jones & Associates Lewis A. Kingsley Foundation Macy’s Marriott City Center* Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation The Prudential Foundation Ray, Quinney & Nebeker Foundation Scoggins & Scoggins Violin Shop* Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation Squatters Pub Brewery* Strong & Hanni, PC Summerhays Music* Swire Coca-Cola USA* UMA Financial Services Inc. United Jewish Community Endowment Trust The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation $500 to $999 Aspen Roofing Babcock Design Group, Inc. Cedars-Sinai Medical Center JP Morgan Charitable Giving Fund The JP Morgan Chase Foundation Millcreek Coffee Roasters* Sad Foundation Wasatch Funds Winfield Foundation $150 to $499 Benevity Community Impact Fund European Tastees LLC* Hospira, Inc. Securities Litigation Network For Good Omni Flux Price Waterhouse Coopers Rockwell Collins Matching Gift Program The Neilson Family Trust United Way of The Great Salt Lake Area Utah Symphony Youth Guild Utah Valley Eye Center

UTAH OPERA 2016–17 SEASON

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

Utah Opera Season Sponsor | 2016-17 Photo, Kent Miles for Utah Opera

Individual Donors ABRAVANEL & PETERSON SOCIETY Members of the Maurice Abravanel and Glade Peterson Societies pay tribute to our founders through their financial commitment while enjoying exclusive benefits. For more information call 801-869-9001. $5,000 to $9,999 Anonymous (4) Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair Carol, Rete & Celine Browning Judy & Larry Brownstein Neill & Linda Brownstein Thomas Christofferson Amalia Cochran Marc & Kathryn Cohen David & Karen Dee Spencer & Cleone† Eccles Tom Farkas Jack & Marianne Ferraro Joseph & Dixie Furlong Susan Glasmann & Richard Dudley David & SandyLee Griswold** Ray & Howard Grossman Mary P. Jacobs† & Jerald H. Jacobs Family Jeanne Kimball Paul Meecham & Laura Leach Rayna & Glen Mintz Nathan & Karen B. Morgan Stephen & Mary Nichols Dr. Thomas Parks & Dr. Patricia Legant Brooks & Lenna Quinn Dr. & Mrs. Marvin L. Rallison James & Gail Riepe Robert & Kim Rollo Eric & Shirley Schoenholz Suzanne Scott Stuart & Molly Silloway Lynn Suksdorf Alexander & Sarah Uhle Albert & Yvette Ungricht

Kathleen Digre & Michael Varner Chris & Lisa Young $3,000 to $4,999 Anonymous (4) Craig & Joanna Adamson Robert W. Brandt Jonathan & Julie Bullen Mark & Marci Casp Edward & Carleen Clark Gary & Debbi Cook David & Sandra Cope** Mr. & Mrs. Kenneth R. Cutler Mike Deputy Carol & Greg Easton Mr. & Mrs. Robert Ehrlich Midge Farkas Peter Fillerup† Flynn Family Foundation Dixie & Robert Huefner C. Chauncey & Emily Hall Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Mr. & Mrs. Jerry Huffman Jeffrey L. Giese, M.D. & Mary E. Gesicki Dr. & Mrs. Michael A. Kalm James & Penny Keras Hanko & Laura Kiessner Harrison & Elaine Levy Bill Ligety & Cyndi Sharp Christopher & Julie McBeth Michael & Julie McFadden Rich & Cherie Meeboer Richard & Ginni Mithoff Mr. & Mrs. Ralph Muller James & Ann Neal Marilyn H. Neilson Alvin† & Helene Richer William G. Schwartz & Joann Givan Thomas & Gayle Sherry Gibbs & Catherine W. Smith Dawn & Mitch Taubin Verl & Joyce Topham Mr. & Mrs. Vincent Trotta Susan & David† Wagstaff Ardean & Elna Watts

Suzanne Weaver & Charles Boynton David & Jerre Winder Gayle & Sam Youngblood $2,000 to $2,999 Anonymous (4) Robert & Cherry Anderson David & Rebecca Bateman E. Wayne & Barbara Baumgardner Dr. Melissa Bentley Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Luann & James Campbell Chris & Lois Canale Coley & Jennifer Clark Shelly Coburn Raymond & Diana Compton Dr. & Mrs. Thomas Coppin David & Carol Coulter Margarita Donnelly Howard Edwards Neone F. Jones Family Thomas & Lynn Fey Robert & Annie-Lewis Garda Heidi Gardner Mr. & Mrs. Eric Garen The James S. Gulbrandsen, Sr. Family Dennis & Sarah Hancock John B. & Joan Hanna Richard Herbert Debbie Horton Sunny & Wes Howell Scott Huntsman Jay & Julie Jacobson Annette & Joseph Jarvis Sharon Jenkins Drs. Randy & Elizabeth Jensen M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Pauline WeggelandJohnson James R. Jones & Family Catherine Kanter J. Allen & Charlene Kimball

UTAH OPERA 2016–17 SEASON

Individual Donors Merele & Howard Kosowsky Val Lambson Donald L. & Alice A. Lappe Dr. Vivien Lee Paul Lehman Roger Leslie James Lether Lisa & James Levy Elizabeth & Michael Liess Herbert C. Wilma S. Livsey Milt & Carol Lynnes David & Donna Lyon Mr. & Mrs. Wayne Lyski Lisa K. Mariano Jed & Kathryn Marti Daniel & Noemi P. Mattis Warren K. & Virginia G. McOmber George & Nancy Melling Brad & Trish Merrill Dr. Louis A. & Deborah Moench Barry & Kathy Mower Daniel & Janet Myers Thomas & Barbara O’Byrne Jason Olsen & Tim Thorpe O. Don & Barbara Ostler Linda S. Pembroke Dr. & Mrs. S. Keith Petersen Jon Poesch Victor & Elizabeth Pollak Dr. Glenn D. Prestwick & Dr. Barbara Bentley Dan & June Ragan W. E. & Harriet R. Rasmussen Dr. Barbara S. Reid Kenneth Roach & Cindy Powell Tom & Jeanne Rueger Thomas Safran David & Lois Salisbury Mark & Loulu Saltzman Margaret Sargent

Deborah & Brian Smith Christine St. Andre Larry R. & Sheila F. Stevens Steve & Betty Sullentrop Mr. & Mrs. Glen R. Traylor Dr. Ralph & Judith Vander Heide John & Susan Walker Susan Warshaw Bryan & Diana Watabe Jeremy & Hila Wenokur E. Art Woolston & Connie Jo Hepworth-Woolston Caroline & Thomas Wright

Janet Ellison Naomi K. Feigal Robert S. Felt, M.D. Susan Gillett Rose & Ralph Gochnour Robert & Joyce† Graham Dr. Elizabeth Hammond Lex Hemphill & Nancy Melich John Edward Henderson Steve Hogan & Michelle Wright Connie C. Holbrook Kay Howells David & Caroline Hundley PATRONS Todd & Tatiana James Maxine & Bruce Johnson $1,000 to $1,999 Chester & Marilyn Johnson Anonymous (2) Dr. Dale & Beverly Johnson Christine A. Allred Mr. & Mrs. Melvyn L. Drs. Crystal & Dustin Lefkowitz Armstrong Susan Keyes Graham & Janet Baker Allison Kitching Diane Banks & Carl & Gillean Kjeldsberg Dr. Mark Bromberg Robert & Karla Knox Mr. Barry Bergquist Julie Korenberg, Ph.D, M.D. & Mr. & Mrs. William Bierer Stefan Pulst, M.D. Reverend James Blaine Gary & Suzanne Larsen Shauna Bona Dennis & Pat Lombardi Jim & Marilyn Brezovec Edward & Grace McDonough Timothy F. Buehner Clifton & Terri McIntosh Foundation Johanna & Jack McManemin Mr. & Mrs. William D. Callister, David & Colleen Merrill Jr. Dr. Nicole L. Mihalopoulos & Bartell & Kathleen Cardon Joshua Scoville Mr. & Mrs. Lee Forrest Carter Dr. Jean H. & Dr. Richard R. Michael & Beth Chardack Miller William J. Coles & Dr. Joan John & Mary Ann Nelson L. Coles Oren & Liz Nelson Dr. & Mrs. David Coppin Ruth & William Ohlsen James & Rula Dickson Blaine & Shari Palmer Margaret Dreyfous Ann G. Petersen Alice Edvalson Nancy & Rori Piggot

Utah Symphony | Utah Opera is the proud recipient of Charity Navigator’s highest rating for sound fiscal management, commitment to accountability and transparency, and adherence to good governance and best practices—all of which allow us to execute our mission in a responsible way.

UTAHOPERA.ORG / (801) 533-NOTE

Individual Donors Keith & Nancy Rattie James & Anna Romano Richard C. & Margaret V. Romano Lousje & Keith Rooker Bertram H.† & Janet Schaap Ralph & Gwen Schamel Mr. Grant Schettler Mr. August L. Schultz Daniel & Angela Shaeffer Dennis & Annabelle Shrieve Barbara Slaymaker Dr. Otto F. Smith & Mrs. June Smith Dr. & Mrs. Michael H. Stevens Amy Sullivan & Alex Bocock Douglas & Susan Terry Carol A. Thomas Mrs. Rachel J. Varat- Navarro Mr. & Mrs. Brad E. Walton Nadine Ward† Charles & Ellen Wells Margaret & Gary Wirth Marsha & Richard Workman Norman & Kathy Younker* Michael & Olga Zhdanov Mr. & Mrs. Hugh Zumbro $500 to $999 Thomas & Carolee Baron Reed & Jeanne Benson Leora Blau Elise T. Bowers Carolyn Brady Marianne Burgoyne Frederick & Nancy Carter B. & Sharon Child Ed Cody Hal & Pamela Cole Pilar & Christopher Dechet Ashby & Anne Decker Kathleen & Frank Dougherty Jim Duane Eric & Shellie Eide Mary Erickson & Ann Thomas Laura Falk & Pete Cullen Ms. Carolyn C. Fredin Ernst & Marianne Friedrich James & Barbara T. Gaddis

Quinn & Julie Gardner Richard Greene Anabel & John Greenlee Elizabeth & Ted Gurney Mr. John Gurr Hillary Hahn & Jeff Counts Matthew Hansen Robert & Marcia Harris Jonathan Hart Margaret & Jeffrey Hatch Courtney Henley Eric Hopkins Virginia Huber Peggy Hudson James & Jeanne Jardine Eldon Jenkins & Amy Calara Jeff & Rachel Jensen Sara & Jason Johnson Umur Kavlakoglu Liz King Tim & Angela Laros Guttorm & Claudia Landro Mel & Wendy Lavitt Claudia Laycock Ted & Carol Levy Carol & Gene Linder Dennis & Patricia Lombardi John Lucas Yuki MacQueen Marjorie Mansouri Susan Marquardt Robin & Nassir Marrouche Peggy McElvain Jerilyn McIntyre & W. Smith Nick & Suzanne Mihalopoulos Louis & Deborah Moench Dr. Michaela Mohr Gregg & Kristin Ostrander John Steven Ott Paula Paterson John & Barbara Patrick David & Elodie Payne L Tom & Barbara Perry Joan C. Peterson Mr. Norm& L. Peterson Troy & Helena Piantes Mr. Ronald Rencher Catherine Rowan

Sandefur Schmidt Deborah Simmons Val Singleton Lynn & Kathy Skene John & Patricia Sorenson Roger & Shirley Sorenson Linda & Michael Sossenheimer Susan Southam Strong & Hanni Gaylia Tanner Gail Tomlinson Fred Tripp Veloy & Carol Varner Roy Vincent Jodi & Thomas Wagner James Warenski Janell & Frank Weinstock Charles & Ellen Wells Lynnette Loveland Amy Wood $150 to $499 Angela Aalbers Ms. Madeline Adkins Dennis & Louise Ahern Franklin & Elizabeth Alex Dan Allcott Rosemary Anastasion Diane Anderson & Karen Glick Karen Anderson Mark & Georgia Anderson Paul Apel Ronald Apfelbaum & Kathleen Murray Robert & Lois Archuleta Ann & Dennis Austin Phillip & Frances Bach Lewis & Nancy Baker Scott Barasch Bryce & Margaret Barker Judy Barking Almina Barksdale Joyce & John Barnes Nannette Barnes Lynn & Diane Barnett Lawrence & Amanda Barusch Randy Bathemess

UTAH OPERA 2016–17 SEASON

Individual Donors Mary Ann & Thomas Bauman Leroy & Carolyn Bearnson Mary Beckerle & David Murrell Charles & Mary Behrens Michael Behring & Debra Marin Barbara Belnap William & Deborah Beninati Gordon & Marilyn Bennett Francine & Robert Bennion Joseph & Barbara Bentley Shirley Benzley Robert & Charlene Bereskin Richard & Elizabeth Berman Earle & Linda Bevins Sue Bhanos Friederike Biggs Milla Bilbrey Ann & Jay Bjorklund Rev. James Blaine Jed Boal Brent Bogden Nina Boguslavsky Louis Borgenicht & Jodie Plant Thomas Bowen & Martha Brace Sue Wilkes Bradford Ms. Sharon Bresin Rodger & Cleo Brimhall Carol A. Brown Susan Brown Kent & Linda Bryan Matthew Bryan & Jason Taylor Susan Burdett Kathryn & John Burnham Fred & Debbie Burr Craig Buschmann Scott & Jean Calder Christie Canfield George & Corrine Cannon George Cannon Suzanne Case Barbara Christensen Catherine Christensen Don & Arda Christensen Ray & Jeanne Christensen

UTAHOPERA.ORG / (801) 533-NOTE

Clark & Gwen Christian Ms. Lynne H. Church Jay Clark James Clarke Orson & Dianne Clay Patricia & John Clay Linda Cochran Beth Cole Jeri Garner Collings Alene Cook Hilary Coon & Jim Yehle Carla Coonradt Rita Cornish Julie & James Crittenden Ronald & Carole Cutler Jeffery Dalebout David & Donna Dalton Abhijit Dasgupta Mr. Andrew A. Davis Elizabeth Deforest Gentry Densley Alison Desano Carleton Detar & Laurel Casjens Tim Dick Timothy Dick Mary & Robert Dillon Karen Dixon Jennifer Doherty Meredith & Stephen Drechsel Judith Eagan Barbara Echols Kathryn Egan & Claire Turner Charlotte & Eugene England Tessa Epstein Debbie Ess James P. Felt Barbara & Michael Fordham Dr. Elizabeth L Frank Wayne & Aileen Freckleton B. & Kathryn Gardner Joseph & Constance Gates Ann & David George Katharina Gerstenberger Catherine Gerwels Ray & Harriett Gesteland Chris & Vicki Ghicadus

Pete Giacoma Charles & Arlene Gibson Julie Gitlin Mr. & Mrs. Blaine Glad Douglas Gould Melvin & Diane Gourdin William & Sylvia Gray Laura & Lawrence Green Tammy Green & Alberto De La Torre Karen & Dave Gribbin Paul & Janet Griffin Kevin & Donna Gruneich Doug & Norine Halbe Devon & Dianne Hale Blake & Melony Hamilton Harlan & Julia Hammond Karen Hannahs Ms. Lauri Hansen Scott Hansen & Peggy Norton Caleb Harris Dixie L Harris Virginia Harris Ms. Alene Harrison Clyde & Merilyn Harvey Ms. Linda Haslam Doug Hattery Linda Anton Hayward John & Jean Henkels Craig & Tiffany Hess John P. Hill, Esq Lewis Hitchner Audrey & Lee Hollaar Ms. Elaine Holt John & Marilyn Holt Rachael Jacoby, MD Richard G Horne Judith & Donald Horwitz Ursula Hoshaw Ronald & Marsha Houston John & Kathleen Howarth Jesse & Diane Hunsaker Cynthia Huntsalong Nancy Huntsman Mr. Albert Imesch Summer Irvin & Paul Thurston Mr. Gordon Irving Brent & Eve James

Individual Donors Anne Jennings Joseph & Karen Jensen Elaine Jeppesen Cosette Joesten Nick Johnson Owen & Joyce Johnson Rodney & Janice Johnson Veedrienne & M. Gordon Johnson Ms. Virginia Johnson Kimberli Jones Lynn & Debbie Jorde Siegfried & Ellen Karsten Lucille & Jim Kastanis Kristen Keefe & Herbert Hayashi Scott & Susan Kenney Jeanne Kesler Lillian Khor Marvin & Lois Kimball Ellen King Philip & Angela Kithas Thomas Klassen & Carolyn Talboys-Klassen Michael & Lucy Knorr Les Kratter Veronica Kulig & James Boesch Gary Lambert Bruce & Margaret Landesman Glen & Karen Leonard Marc Levy Gina Lewis & Chris Hayes Katherine Liddle Ms. Ingie Lignell Gary Lindstrom Herbert & Helga Lloyd Kimberly D. Lobdell Karen Lobrot Susan Loffler Nicola Longo Jeramy Lopez Ms. Marilyn R. Lott Philip Lowe Nancy & George Lower Randall & Margaret Mackey Penelope Mathews & David Horner

Mary Mathewson Mr. George T. Mattena Mrs. Dianne Taylor May Donald & Donna Mcarthur Ms. Heather Mcmaster Vanene McShane & Doris Christensen Sanford Meek Reed & Colleen Merrell Ron & Tamara Meyers Paula Michniewicz Dan Miller Larry & Roselle Miller Mr. Robert L Miller Mike Mills Janet O. Minden Richard & Anita Miner David & Suzanne Moore Jane & William Moore William M. Moore Patricia & James Morgan John & Amy Mulderig Faye & Harlan Muntz Sara Lee Neill Richard Nelson Marv Neuman Gerald Nichols Jonathan Niedfeldt Ann & William Nisbet Merrill & Josephine Oaks Maura & Serge Olszanskyj Ellen & Keith Opprecht Lee Osborne & Marilyn Heinrich Deborah Overton Brent & Julie Palfreyman Mr. Adrian Palmer Cheryl & Michael Palmer Dorothy Palmer Boyd & Arline Parker William & Ruth Ann Parker Helen C. Patterson Suzanne & James Patterson Kayleen & Don Paul Robert & Catherine Pedersen Anne Pendo & Duncan Edwards

Thea Peters-Brannon & Bob Brannon Helen & Richard Petersen Kelvin Peterson Valeri & Galina Pianykh Richard & Ursula Pimentel Nancy & Jerry Pitstick Lisa Poppleton & Jim Stringfellow Marilyn Poulson Sandra & Laszlo Preysz Erin Price Matthew & Maria Proser Irene Pruss Dan Purjes James Quan Jeff & Melissa Quigley Laura & Bruce Raile Arthur & Susan Ralph Jana Ramacher Brent Rammell Jack & Itha Rampton Randy Rasmussen Hildegard Rayner William Reagan & Mariclare Reagan-Klein Delia & Craig Reece Richard & Frances Reiser Tim Rice & Kathy Mead John & Gayle Richards J. & Mary Ridges Milton & Charmane Riggs Jim & Bonita Robertson Gary Rodgers Allen Rogers Richard & Frances Rogers John Rose & Carolyn Pedone Ms. Genevieve Maire Rosol Dr. Aden Ross Michael & Allene Ross Virginia & Gerald Rothstein Patricia Rothwell Jerry & Linda Rowley Charles & Carolyn Rozwat Gail Rushing Ellen Rye Marelle Sanderson Mrs. Debra Saunders

UTAH OPERA 2016â&#x20AC;&#x201C;17 SEASON

Individual Donors

Peggy Saunders & Karl Seashore Mary Schofield Darrell Schrick Susan Schulte John Schwiebert & Ann Jefferds Harry & Becky Senekjian Clark & Judie Sessions Richard & Jill Sheinberg Scott & Luke Sherner M. Tom & Junko Shimizu Glenda Shrader Aharon & Julie Shulimson Stephanie Silas Jeff & Connie Silliman Ms. Bonne H. Simmons Mrs. Margaret M. Simmons Brad Simons Stuart & Suzanne Slingerland Jill & Phillip Smith Kenneth & Carol Smith Laurie Williams Sowby Wayne Sowers Kenneth & Claudia Sperling Robert & Elaine Sperry Michael & Robert Stahulak Isaac & Maddy Stein Pamela & Larry Stevenson Lori & William Stratton Annie & Cory Strupp Mr. Briant Summerhays Jeannette Swent Lois Swick Robert & Rebecca Sykes

Kim & Carolyn Taylor Lucy Taylor Renae Taylor Isabella Tcaciuc & Thomas Bosteels Jon & Gail Tensfeldt Lisa Thomson Reverend Robb Trujillo Yevgene Tuchinsky William & Patricia Tueting Nancy Umemura Karen & Richard Urankar Ken Uy Sheila M Van Frank Robert & Shirley Van Wagenen Claudio Vianello Miguel Villalobos Beverly & Richard Villata William & Donna Vogel Deanna Wankier Susan & Deck Waters Johanna Weichert Werner & Dorothy Weixler Lauri Welch Bonnie White & Maryanne Hunter James & Lynette White Marilyn & Paul Whitehead Sheila Whitney Helen Wight James Wilcox Alex Wilding Brian Wilkin Bill Williams Mr. George A. Williams

Jody Williams Karan Williams & Lawrence Mason Jean & E. Willis Barbara Wirostko Jeralie Wirthlin Carol & Carol Withrow Katherine Wonnacott Jay & Jean Wright Robert & Karen Young Tolford & Mary Young Whit & Rosemary Young James & Nataliya Ziter Lawrence Zubel IN HONOR OF Dr. J. R. Baringer & Dr. Jeannette J. Townsend George Brown Paula J. Fowler Pam Harris Abe & Arline Markosian David Park Mark & Dianne Prothro Clark T. Randt, Jr. Patricia A. Richards Bill & Joanne Shiebler Kevin Sohma

*In-kind gift **In-kind & cash gift † Deceased Gifts as of March 1, 2017

“Music is the art which is most nigh to tears and memory.” ~Oscar Wilde IN MEMORY OF Jay T. Ball Mikhail Boguslavsky Ann Dick Ed Epstein Loraine L. Felton Neva Langley Fickling Herold L. “Huck” & Mary E. Gregory Judith Ann Harris

Roger Hock Marian Holbrook Steve Horton Winona Simonsen Jensen Eric Johnson Joan McEvoy Maxine & Frank McIntyre

Dr. Walter Needham Bill Peters Russell Alan Peters Chase N. Peterson Mardean Peterson Kenneth Randall Dr. Clifford Reusch Alvin Richer Bert Schaap

Ann O’Neill Shigeoka Ben Shippen Maestro Joseph Silverstein Barbara Singleton Tamie Speciale Marjorie Whitney John W. Williams Merrill L. Wilson, M.D.

UTAH OPERA 2016–17 SEASON

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Administration ADMINISTRATION Paul Meecham President & CEO David Green Senior Vice President & COO Julie McBeth Executive Assistant to the CEO Ali Snow Executive Assistant to the COO & Office Manager 0PERA ARTISTIC Christopher McBeth Opera Artistic Director Michael Spassov Opera Chorus Master Carol Anderson Principal Coach Michelle Peterson Opera Company Manager Mandi Titcomb Opera Production Coordinator OPERA TECHNICAL Jared Porter Opera Technical Director Kelly Nickle Properties Master Lane Latimer Assistant Props Keith Ladanye Production Carpenter Travis Stevens Carpenter COSTUMES Verona Green Costume Director Melonie Fitch Rentals Supervisor Kierstin Gibbs LisaAnn DeLapp Rentals Assistants Amanda Reiser Meyer Wardrobe Supervisor Milivoj Poletan Tailor Tara DeGrey Cutter/Draper Anna Marie Coronado Milliner & Crafts Artisan Chris Chadwick Yoojean Song Connie Warner Stitchers Yancey J. Quick Wigs/Make-up Designer Shelley Carpenter Daniel Hill Michelle Laino Wigs/Make-up Crew

UTAHOPERA.ORG / (801) 533-NOTE

SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director Anthony Tolokan Vice President of Symphony Artistic Planning Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director Walt Zeschin Director of Orchestra Personnel Andrew Williams Personnel Manager Lance Jensen Executive Assistant to the Music Director and Symphony Chorus Manager SYMPHONY OPERATIONS Jeff Counts Vice President of Operations & General Manager Cassandra Dozet Director of Operations Chip Dance Production & Stage Manager Melissa Robison Program Publication & Front of House Manager Erin Lunsford Artist Logistics Coordinator DEVELOPMENT Leslie Peterson Vice President of Development Hillary Hahn Senior Director of Institutional Gifts Natalie Cope Director of Special Events & DVMF Community Relations Alina Osika Manager of Corporate Partnerships Lisa Poppleton Grants Manager Kate Throneburg Manager of Individual Giving Heather Weinstock Manager of Special Events Steven Finklestein Development Coordinator MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations RenĂŠe Huang Director of Communications & Digital Media Chad Call Marketing Manager

Mike Call Website Manager Aaron Sain Graphic Design & Branding Manager PATRON SERVICES Nina Richards Starling Director of Ticket Sales & Patron Services Faith Myers Sales Manager Andrew J. Wilson Patron Services Manager Robb Trujillo Group Sales Associate Ellesse Hargreaves Patron Services Assistant Jackie Seethaler Powell Smith Sales Associates Nick Barker Christina Frena Mara Lefler Rhea Miller Ananda Spike Ticket Agents ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO Mike Lund Director of Information Technologies Jordan Wells Controller Alison Mockli Payroll & Benefits Manager Jared Mollenkopf Patron Information Systems Manager Julie Cameron Accounts Payable Clerk EDUCATION Paula Fowler Director of Education & Community Outreach Beverly Hawkins Symphony Education Manager Kyleene Johnson Symphony Education Assistant Timothy Accurso Sarah Coit Markel Reed Abigail Rethwisch Christian Sanders Utah Opera Resident Artists

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

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2017 / DEER VALLEY ® MUSIC FESTIVAL

Education Events The USUO Education Department offers events that provide access for our community members to professional musicians and music-making.

PRO-AM CLINICS July 8 (strings); July 15 (woodwinds); July 29 (brass) Amateur musicians can hone their musical skills under the mentorship of Utah Symphony musicians. Clinics will be held at Park City High School (1750 Kearns Blvd), from 3–5 pm on select Saturdays in July. • Cost is $25 per musician • Registration will begin online May 22 at DeerValleyMusicFestival.org

FAMILY INSTRUMENT PETTING ZOO Friday, July 28 (6–7 pm) • • • •

Preceding the DISNEY IN CONCERT A DREAM IS A WISH concert Instruments provided by Summerhays Music Behind Snow Park Lodge Ticket Office Available to all ticket holders

PLAZAFEST • July 1: Utah Conservatory Patriotic Kids Camp will sing patriotic tunes on the plaza before the Patriotic Celebration concert. • Wednesdays: Young instrumentalists offer pre-performance music at St. Mary’s Church concerts. • August 5: The Park City Rockers @ Utah Conservatory will perform on the plaza preceding the Classical Mystery Tour concert.

MUSICAL THEATRE AUDITION MASTERCLASS Saturday, July 1 (2–3:30 pm) Guest conductor Jerry Steichen will conduct a musical theatre audition masterclass for students of Utah Conservatory and Egyptian YouTheatre. Class will be held at Utah Conservatory (4593 Silver Springs Dr). Audience attendance is free and open to the public.

for more info about deer valley® music festival education events:

DeerValleyMusicFestival.org

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 MARKET STREET GRILL DOWNTOWN 48

West Market Street. Unanimous favorites for seafood dining, providing exceptional service and award winning. The contemporary menu features the highest quality available. Select from an abundant offering of fresh seafood flown in daily, Angus Beef steaks, and a variety THE THE NEW NEWYORKER YORKER 60 60West West Market Market Street. Street. SLC’s SLC’s of non-seafood dishes. Open 7 days a week serving premier premierdining dining establishment. establishment. Modern Modern American American breakfast, lunch, dinner, Sunday Brunch. B, ambience, L, D, C, AT, S, MARTINE 22 East 100 South. Exceptional cuisine cuisine isfeatured featured ininrefined refineddishes dishesand andapproachable approachable LL, CC,isVS. located infood. a801.322.4668 historic brownstone. Martine offers comfort comfortfood. From Fromclassic classictotoinnovative, innovative, from fromSalt Lake City a sophisticated dining experience kept MARTINE 22 East 100 South. Exceptional ambience, contemporary contemporaryseafood seafoodtotoAngus AngusBeef Beefsteaks steaks – simple. –the the Conveniently located onfor First South around the corner located in a historic brownstone. Martine offers menu menuprovides provides options options forevery every taste. taste. Served Served inSalt inaa from the Eccles Theater. Extensive bar and wine service. Lake City a sophisticated dining experience kept simple. casually casuallyelegant elegantsetting settingwith withimpeccable impeccableservice. service. martinecafe.com L, D, T, corporate LL, RA, CC, and VS. 801-363-9328 Conveniently located on First South around the events. corner Private Privatedining diningrooms rooms for for corporate and social social events. from the Eccles Theater. Extensive bar and service. Lunch Lunch&&Dinner. Dinner.No Nomembership membershiprequired. required.wine L,L,D,D,LL, LL,AT, AT, martinecafe.com L, D, T, LL, RA, CC, VS. 801-363-9328 RR, RR,CC, CC,VS. VS.801.363.0166 801.363.0166

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Salt SaltLake LakeCity’s City’s#1 #1

Top Photo: Image licensed by Ingram Image

B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre MARKET MARKET STREET STREET GRILL GRILL DOWNTOWN DOWNTOWN 48 48 Most Popular Popular Restaurant Restaurant LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit CardsMost Accepted VS-Vegetarian Selections West WestMarket Market Street. Street. Unanimous Unanimous favorites favorites for forseafood seafood –Zagat –Zagat dining, dining,providing providingexceptional exceptionalservice serviceand andaward awardwinning. winning.

4848W.W.Market MarketStreet Street(340 (340South) South) 801.322.4668 801.322.4668

The Thecontemporary contemporarymenu menufeatures featuresthe thehighest highestquality quality available. available.Select Selectfrom froman anabundant abundantoffering offeringofoffresh fresh seafood seafoodflown flowninindaily, daily,Angus AngusBeef Beefsteaks, steaks,and andaavariety variety ofofnon-seafood non-seafooddishes. dishes.Open Open7 7days daysaaweek weekserving serving breakfast, breakfast,lunch, lunch,dinner, dinner,Sunday SundayBrunch. Brunch.B,B,L,L,D,D,C,C,AT, AT,S,S, LL, LL,CC, CC,VS. VS.801.322.4668 801.322.4668

MARTINE MARTINE22 22East East100 100South. South.Award Awardwinning winningambience, ambience, located locatedininaahistoric historicbrownstone. brownstone.Martine Martineoffers offersSalt SaltLake Lake City Cityaasophisticated sophisticateddining diningexperience experiencekept keptsimple. simple.Locally Locally sourced sourcedingredients, ingredients,pre-event pre-event$25 $25three threecourse courseprix prixfixe. fixe. Extensive Extensivebar barand andwine wineservice. service.martinecafe.com martinecafe.com L,L,D,D,T,T,LL, LL,RA, RA,CC, CC,VS. VS.801-363-9328 801-363-9328

• •An Anintimate intimateeuro eurocafé café• • Free FreeValet ValetParking Parking 22 22East East100 100South South

Phone Phone• •801.363.9328 801.363.9328 www.martinecafe.com www.martinecafe.com

TRUE STORIES TOLD LIVE at KINGSBURY HALL Tickets available at kingtix.org. Top TopPhoto: Photo:Image Imagelicensed licensedbybyIngram IngramImage Image

B-Breakfast B-BreakfastL-Lunch L-LunchD-Dinner D-DinnerS-Open S-OpenSunday SundayDL-Delivery DL-DeliveryT-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre LL-Liquor LL-LiquorLicensee LicenseeRR-Reservations RR-ReservationsRequired RequiredRA-Reservations RA-ReservationsAccepted AcceptedCC-Credit CC-CreditCards CardsAccepted AcceptedVS-Vegetarian VS-VegetarianSelections Selections

30 MAY

KUER 90.1 Presents: Between Worlds Kingsbury Hall 1395 Presidents Circle, Salt Lake City, UT 6:30pm Doors Open, 7:00pm Stories Begin Hosted by Dame Wilburn Presented by: