2016-17 UTAH OPERA SEASON
DONIZETTI’S
LUCIA di
LAMMERMOOR
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Contents
PRESIDENT Dan Miller
OFFICE ADMINISTRATOR Cynthia Bell Snow
ART DIRECTOR/ PRODUCTION MANAGER Jackie Medina
PUBLICATION DESIGNER 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.
© COPYRIGHT 2017
@UtahOpera
DONIZETTI'S
LUCIA DI LAMMERMOOR
25
6 Welcome 8 Artistic Director’s Welcome 10 Board of Trustees 15 Excerpt from “Having an Opera Made of Your Life” 16 Q&A with Nicole Haslett 19 Gothic Themes in Lucia 20 Director’s Note 21 Tagged & Hashtagged! 22 Synopsis 24 Production Sponsors 26 Cast / Artistic Staff / Chorus 33 Composer & Librettist 34 The Musical Pride of Bergamo, Italy 38 Ripped from the Headlines 40 Support USUO 41 Utah Symphony 42 Crescendo & Tanner Societies 43 Legacy Giving 44 Season Honorees 46 Corporate & Foundation Donors 49 Individual Donors 59 Administration 61 After the Curtain Falls 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.
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Welcome Welcome to the Janet Quinney Lawson Capitol Theatre and Utah Opera’s production of Donizetti’s Lucia di Lammermoor. Since 1985, March has been designated Music in Our Schools month (MIOSM) across the nation. Sponsored by the National Association for Music Education, the purpose of MIOSM is to raise awareness of the importance of music education for all children—and to remind citizens that school is where all children should have access to music. Schools and community groups celebrate with creative activities and events.
Paul Meecham President & CEO
Here at USUO, our Education and Outreach initiatives provide the citizens of Utah with one of the most extensive arts education programs by a professional musical arts organization in the United States. Students enjoy the gift of live classical music and the inspiration to develop their own creative capabilities to enhance their lives. Genuine enthusiasm, confident determination, and artistry are vital skills demonstrated in our outreach programs, and we believe every student receives a unique experience by participating. The support we receive from the Utah State Legislature for our education programs is augmented by many individuals, corporations, and foundations, and we are very grateful to all those who believe in arts education. Nevertheless, especially at the district level, some public school music programs face budget cuts and are no longer considered essential, and we urge you as parents and residents to speak to your school education representatives as well as your legislators to emphasize the importance of supporting music in our schools. The arts in schools are one of the reasons Utah is such a wonderful place to live, and we want to keep it that way!
Dave Petersen USUO Board of Trustees Chair
6
Thank you for joining us today. When we see the excited faces of people entering and leaving the Janet Quinney Lawson Capitol Theatre, it is a wonderful reminder of the legacy of our education and outreach programs which have connected our community through great live music for generations.
UTAH OPERA 2016–17 SEASON
2016–17 UTAH OPERA SEASON
PHOTO: Cory Weaver for Lyric Opera of Kansas City
INDULGE WITH ALL YOUR HEART
MOZART’S
DON GIOVANNI MAY
13, 15, 17, 19, 21,
2017 | 7:30 PM
2017 | 2 PM
Janet Quinney Lawson Capitol Theatre
He takes what he wants. And gets what he deserves. Whether it’s an act of lust or an act of violence, Don Giovanni does whatever he wants, to whomever he pleases. You might be surprised by how much his angst and unrest resonate with you in this hypnotic tale of a man who refuses to change, damn the consequences. CONDUCTOR DON GIOVANNI Christopher Larkin Joshua Hopkins DIRECTOR Kristine McIntyre
DONNA ANNA Melinda Whittington
DON OTTAVIO Aaron Blake LEPORELLO Matthew Burns
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Artistic Director’s Welcome
Welcome to the beautiful Janet Quinney Lawson Capitol Theatre. It has been an exciting season of opera so far and now we re-visit one of the repertoire’s gems, Lucia di Lammermoor. For opera fans whose love of the art form revolves around the human voice and the extraordinary feats of which it is capable, this opera is special. Based on one of the prime examples of the Gothic novel, the opera is, likewise, one of the great models of the Italian “bel canto” style. Scene after scene is marked by singing of Herculean feats and towards the end we witness one of the most iconic moments in all of opera. It requires singer actors with the highest level of technique to pull off this masterpiece. We are in for a thrill. Christopher McBeth Artistic Director
I want to point out that the Utah Opera team has been raising the bar with the features in this playbill. In addition to excellent, quick-read articles that will give you context and enrich your experience during the performance, we’ve added a one-page element for afterwards. We’ve discovered this season that opera performances are capable of invoking thought, conversation, and even emotional reaction. So on the page entitled, “After the curtain falls”, you’ll find ideas to aid your post-performance contemplations. Want even more? Please feel free to join me in my Q & A session following each performance in the Capitol Room on the street level near the west lobby entrance. I may even have a special guest with me. Enjoy the performance,
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UTAH OPERA 2016–17 SEASON
EVERY VOICE TELLS A STORY
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Utah Opera’s 40 Anniversary Season Gala AN EVENING WITH RENÉE FLEMING
September 13 ABRAVANEL HALL
40 T H ANNIVERSARY SEASON SPONSOR
2017
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
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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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Excerpt from “Having an Opera Made of Your Life” By Brian Castner
Brian Castner is a best-selling author who chronicled his postIraq war experiences in a memoir, The Long Walk: A Story of War and the Life that Follows. His article about the oddity of having an opera made of his life was published in April 2015 on Literary Hub, which showcases a daily feature from partners across the literary spectrum. Here is an excerpt. Roman gods, doomed lovers, Nixon, and now, to our great surprise, my wife Jessie and I. As I wrote my memoir, I admit that I didn’t have an operatic adaptation in the front of my mind, so when American Lyric Theater contacted me about optioning the book, I was not so much excited as dumbfounded. It was like winning a vacation to a country you’ve never thought of visiting, like Uruguay or Botswana; Jessie pulled out her bucket list and wrote on it “inspire an opera” just so she could then cross it off. After surprise, other emotions crept in. Doubt for sure. The Long Walk is a personal story, about going to war in Iraq as a bomb technician and then coming home a post-traumatic mess, crumbling in front of your family’s eyes. It contains a certain amount of selfinflicted pathos tailor-made for opera, but also plenty of explosions and Humvees and gun fights. How to put that on a stage without a Hollywood budget? And, if I’m honest with myself now, I was also dispirited. In popular usage, the words “operatic” and “tragic” are roughly synonymous, the required minimum bet of misery much greater for opera than memoir. So how should you take it if professionals think your life was awful enough to qualify? The war was bad, I admit, but I didn’t know my war was Wagner bad. But those concerns disappeared once I heard the first treatment. As I have since learned, opera development usually begins with the libretto, and I attended the first dramatic reading. I had no idea what to expect, but what I got was visceral and intense and true, and my defenses were completely unprepared. I thought I had inoculated myself, professionalized the worst experiences of the book through public readings and events, but I was wrong. There is evolutionary power in the physical performance of fear, grief, joy, shouts, tears. It’s how we humans are built. Utah Opera presents The Long Walk chamber opera on March 31 and April 1 at the Jeanné Wagner Theatre. Tickets available at utahopera.org.
UTAHOPERA.ORG / (801) 533-NOTE
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Q &A with Nicole Haslett By Renée Huang, Public Relations Director
American lyric soprano Nicole Haslett has sung all over the globe from Beijing to Berlin. She makes her Utah Opera debut singing the title role in Lucia di Lammermoor. She reflects on her approach to each role, adjusting to newness, and shares some performance rituals that help keep her grounded. How do you prepare to play a role you’ve sung before? “I have covered the role of Lucia three times, so I have spent a lot of time studying the role. However, performing it and bringing it to life are much different. After all of my research and time living with the role, as well as watching several world-renowned sopranos rehearse and put it on stage, I am thrilled to be able to finally perform Lucia. I am currently reading the novel by Sir Walter Scott to get a feel for the original Scottish story based on a true incident and a real person. Lucia is a vocally and dramatically challenging
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role, and I have spent a lot of time preparing. I think this will be a very rewarding and fun experience.” You are making your Utah Opera debut. What are some thoughts on coming to a new city and performing with a new company for the first time? “I enjoy the opportunity to experience and work in a new city, and I am excited to be in Salt Lake City. Being there for a month is a perfect amount of time to really get a feel for the way of life. I like to use my days off to see the best sights, and I always take recommendations from my friends and colleagues. I’m sure that Salt Lake City will be great! It can sometimes be tricky to adjust to a new environment at the same time as rehearsing for a new and difficult role, but it often only takes a few days to adjust and setting up an environment in my apartment that makes me feel comfortable and is similar to my normal living surroundings helps to expedite the process of me feeling relaxed and cozy.” Describe how you prepare for a rigorous night on stage. “Before a performance, I like to get a great night’s sleep and wake up without an alarm. Then, I like to have a relaxing day and do some light exercise like walking or yoga. I eat a nice, big, nourishing meal and drink a big cup of coffee before going to my dressing room, where I meditate, warm-up slowly, and get ready for the show.” What is your post-performance ritual? “After a performance, I like to have a glass of wine, a nice big meal, laugh with some friends, and most importantly, fall fast asleep!” UTAHOPERA.ORG / (801) 533-NOTE
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Gothic Themes in Lucia By Renée Huang, Public Relations Director
There’s something dark and terrifying that creates a good, Gothic tale that simultaneously satisfies and scares us all. Donizetti’s Lucia di Lammermoor has been called the great Gothic opera for the horror elements that are ever present. Here are some of the classic Gothic themes that permeate the production. Dark and stark – Lucia di Lammermoor is the story of two doomed characters trying to make a life for themselves while struggling against forces beyond their control. Watching their destruction should be very disturbing. But like a train wreck, as an audience member, we cannot tear our eyes away. Rather than redemption, the opera concludes with despair and desolation. Plus, there is a castle—nothing reads Gothic like a gloomy castle. Loss of innocence – The Lucia character is not a young, naïve, and flighty woman. She is intense, and carries herself with a maturity reflective of a much older soul. She seems weighted down by her family’s fate and current life circumstances. It’s little wonder that she seems morbidly fascinated with the dark side. Tragic family conflict – Much like star-crossed Romeo and Juliet, these young lovers can’t control the forces they must deal with. Although Lucia and Edgardo have pledged love to each other, politics and fate are more powerful than their desires. Her brother Lord Enrico has given her hand in marriage to a wealthy man who would secure the Ravenswood estate for the family.
UTAHOPERA.ORG / (801) 533-NOTE
Supernatural curse - There is a strong sense of the supernatural that permeates the opera. Lucia and Edgardo are cursed by the ghost of a woman who died by the fountain where they have been meeting in secret. Lucia’s aria about the ghost in the fountain is a prominent fixture in the opera’s first act. Heroine who goes mad – In Scott’s novel, the author disposes of Lucia in one sentence after she attempts to murder her husband and is found huddled in a corner muttering incoherently. The opera’s most “gothic moment” was created in operatic tradition by Donizetti’s librettist, Salvatore Cammarano. The soprano’s 15-minute roller coaster ride of technical and dramatically extravagant undoing occurs in a blood-drenched nightgown: Gothic opera perfection. Main characters die – Perhaps nothing could be darker or more horrific than the story of a mentally ill heroine who murders her husband, dies a tragic death herself, and has her beloved kill himself out of grief.
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Director's Note By Tom Diamond
Winnipeg-born Tom Diamond is considered one of Canada’s busiest and most sought-after opera directors. He makes his Utah Opera debut directing Lucia di Lammermoor for the first time, and shares a bit of his excitement for the production. Imagine, if you will, the plight of the protagonist and title character of our story, Lucy Ashton [Lucia in Donizetti's Italian score]. She resides with her family in the Lammermoor Hills of Scotland in the 17th century. Lucy is an emotionally vulnerable young lady at a time when women were goods and chattels, and marriages more about accommodating political alliances than about whom they loved. Lucy, having suffered the recent death of her mother, and already perturbed by dreams and superstitions, goes for a walk upon the moors and is confronted by a wild beast. She is rescued by a handsome stranger; they are instantly smitten with each other. But, as great tragedies demand, her beloved turns out to be the mortal enemy of her family. To make matters worse, Lucy’s desperate brother arranges a politically advantageous marriage and lies to her about her true love’s fidelity in order to force her hand to marry his choice for her. Needless to say, things don’t end well! I don’t believe I am spoiling the ending by saying that. In the world of Bel Canto Opera, all the pithy machinations of the libretto are intended to primarily be a pedestal on which thrives what is really important: the beautiful voice. Even the orchestrations of Bel Canto are composed to keep that voice aloft! It is said that Sir Walter Scott’s novel The Bride of Lammermoor (published in 1819) is based on a real incident. Gaetano Donizetti’s famous opera premiered in 1835 and is amongst the most performed operas. One of the things I have learned as an opera director is that there is a reason why things last in the repertoire!
Photo Credit: Kent Miles; Sarah Coburn, 2007 20
So, please sit back and enjoy these great Scots as they sing their hearts out in Italian! Don’t mind that you know our Lucia may not make it to the final curtain. But rest assured you will be astounded the whole evening by the thrilling magnificence of the human voice! UTAH OPERA 2016–17 SEASON
Tagged & Hashtagged! We loved seeing your photos from our 2016–17 season!
#openingnight @utahopera #manoflamancha with @jim.spung —@haileyspung
I can't pose to save my life, but here I am seeing The Man of La Mancha. So excited to be seeing it on opening night. —@little_gray_shrub (And, for the record, you look great!)
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10/10. five stars. two thumbs up. —@lexisaf
Opening night for my boo @pink_insta_ham_ gram in @utahopera Man Of La Mancha! I wish I could be there but I'll be there in spirit. Screaming inappropriately! —@michellehopewell
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Lucia di Lammermoor
synopsis
By Judy Vander Heide
Setting: Scotland, 1700s, Ravenswood Castle in the District of Lammermoor ACT 1 Normanno, gamekeeper and head huntsman (or “ghillie,” as the Scots say), has been sent with his men by Enrico, master of Ravenswood, to apprehend a stranger who has been lurking about the castle grounds. Enrico soon joins the men and shares with Normanno his apprehension about his family’s declining fortunes. He plans to coerce his sister, Lucia, into an advantageous marriage with Arturo, the only person who can assist Enrico in overcoming his political rival, Edgardo, the former master of Ravenswood.
ACT 2 Months have passed, and the wedding of Lucia and Arturo is at hand. Devious Normanno has intercepted letters between Edgardo and Lucia. He also presents a forged document addressed to Lucia, purportedly from Edgardo, stating that he loves another. Lucia crumbles when Enrico threatens himself bodily harm if she does not comply with his demands and describes the dire fate which will befall him if she refuses to marry Arturo.
Lucia is adamantly opposed to the marriage and is defended by Raimondo, a Presbyterian cleric who stoutly asserts that Lucia is hesitant because she is grieving for her recently deceased mother. Normanno blurts out the truth: Lucia, every morning at dawn, has been secretly meeting Edgardo, with whom she has been deeply in love ever since he rescued her from a charging bull.
And so the marriage contract is placed before her; even the kindly chaplain, Raimondo encourages her, insisting that she has no alternative. She signs. Now she meets her future bridegroom, Arturo, for the first time. At this unpropitious moment, Edgardo arrives to claim Lucia as his bride, asserting that they are engaged. When Raimondo shows him the signed marriage contract, Edgardo snatches the ring from her finger, curses her faithlessness and leaves in a fury.
Lucia, accompanied by her maid, Alisa, waits for her rendezvous with Edgardo by a haunted fountain. Although Alisa encourages her to abandon Edgardo, Lucia vehemently asserts her allegiance and refuses to forsake him. When Edgardo arrives, he proposes to approach Enrico to ask for Lucia’s hand in marriage, but Lucia insists that their engagement be kept a secret. They exchange rings and promises.
ACT 3 Joyous wedding guests celebrate the marriage of Arturo and Lucia. The festivities are interrupted when Raimondo enters with the stunning news that Lucia has stabbed Arturo to death and descended into madness. Enter Lucia, bathed in blood, dagger in hand, babbling about her forthcoming marriage to Edgardo, stating that she will see him in heaven. Enrico enters,
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UTAH OPERA 2016–17 SEASON
Lucia di Lammermoor
synopsis
furious with Lucia for ruining his plans, but once he realizes that she has gone mad, is overcome with pity and remorse. Lucia loses consciousness, and dies later that evening. At Ravenswood cemetery, Edgardo awaits his duel with Enrico. When he learns of Lucia’s tragic death as Lucia's funeral cortege passes by, he is
inconsolable and stabs himself, vowing he will meet his beloved in heaven.
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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Production Sponsors Utah Opera gratefully acknowledges the following generous sponsors who have made this production of Donizetti's Lucia di Lammermoor possible.
UTAH OPERA SEASON SPONSOR
PRODUCTION SPONSOR
FREDERICK Q. LAWSON FOUNDATION SET AND COSTUME SPONSOR
EMMA ECCLES JONES FOUNDATION OPERA ARTISTIC DIRECTOR SPONSOR
S.J. AND JESSIE E. QUINNEY FOUNDATION RAY, QUINNEY & NEBEKER FOUNDATION SUPERTITLES SPONSORS
JOANNE SHIEBLER GUEST ARTIST FUND NICOLE HASLETT AS LUCIA
C. COMSTOCK CLAYTON FOUNDATION OPENING NIGHT SPONSOR
NAOMA TATE AND THE FAMILY OF HAL TATE MONDAY PERFORMANCE SPONSOR
J. WONG'S ASIAN BISTRO WEDNESDAY PERFORMANCE SPONSOR
JANET Q. LAWSON FOUNDATION FRIDAY PERFORMANCE SPONSOR
FLORAL SEASON SPONSOR
J. WONG'S ASIAN BISTRO CA S T PA R T Y S P O N S O R
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UTAH OPERA 2016–17 SEASON
program
Lucia di Lammermoor
Lucia di Lammermoor March 11, 13, 15, 17 | 7:30 pm March 19 | 2 pm Janet Quinney Lawson Capitol Theatre by GAETANO DONIZETTI libretto by Salvatore Cammarano Based on Sir Walter Scott’s novel The Bride of Lammermoor Opera performed in Italian with English supertitles World Premiere: 26 September 1835, Teatro San Carlo, Naples Previous Utah Opera Productions: 1981, 1988, 1997, 2007
CAST (in order of appearance) Normanno . . . . . . . . . . . . . . . . . . . . . . . . . . . Christian Sanders* Enrico . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . James Westman Raimondo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Derrick Parker Lucia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nicole Haslett Alisa . . . . . . . . . . . . . . . . . . . . . . . . . . . Aubrey Adams-McMillan Edgardo . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mackenzie Whitney Arturo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tyson Miller** *Current Utah Opera Resident Artist **Former Utah Opera Resident Artist
ARTISTIC STAFF Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gary Thor Wedow Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tom Diamond Set Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert O'Hearn Costume Designer . . . . . . . . . . . . . . . . Susan Memmott Allred Lighting Designer . . . . . . . . . . . . . . . . . . . . Nicholas Cavallaro Wigs and Make-up Designer . . . . . . . . . . . . . . Yancey J. Quick Chorusmaster . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Spassov Musical Preparation . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . Christopher Turbessi Rehearsal Pianist/Supertitle Musician . . . . . Timothy Accurso Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . Kathleen Edwards Assistant Stage Manager . . . . . . . . . . . . . . . . . . Sarah Johnson Costumes constructed by Utah Opera
The performance will last approximately 3 hours with two intermissions. By arrangement with Hendon Music, Inc., a Boosey & Hawkes company, Sole Agent in the U.S., Canada and Mexico for Casa Ricordi/Universal Music Publishing Ricordi S.R.L., publisher and copyright owner.
UTAHOPERA.ORG / (801) 533-NOTE
25
Lucia di Lammermoor
cast
Christian Sanders (Colorado) Normanno Most recently at Utah Opera, Man of La Mancha Current Utah Opera Resident Artist Recently: Manon, Des Moines Metro Opera; Aïda, The Merry Widow, The Marriage of Figaro, Carmen, Utah Opera Upcoming: Billy Budd, A Little Night Music, Des Moines Metro Opera James Westman (Canada) Enrico Most recently at Utah Opera, La traviata Recently: Vanessa, Wexford Festival (Ireland); La traviata, Canadian Opera Company; Tosca, Opéra de Québec Upcoming: Louis Riel, Canadian Opera Company; Derrick Parker (Washington) Raimondo Most recently at Utah Opera, Aïda Recently: Mozart’s Requiem, Utah Symphony; Porgy and Bess, Lyric Opera of Chicago and Baltimore Symphony Orchestra; Showboat, Kentucky Opera
T H e a r T o f g o o d e aT i n g .
D o w n to w n
60 West Market street (350 south) 801-363-0166 www.newyorkerslc.com
Lucia di Lammermoor
cast
Nicole Haslett (New Jersey) Lucia Utah Opera Debut Recently: Die Fledermaus, Cincinnati Opera; Die Zauberflöte, Peter Grimes, Die Liebe der Danae, Carmen, Deutsche Oper Berlin Upcoming: Ariadne auf Naxos, Berkshire Opera Festival; Le prophète and Die Fledermaus, Deutsche Oper Berlin Aubrey Adams-McMillan (Utah) Alisa Most Recently at Utah Opera, Man of La Mancha Recently: Noye's Fludde, Cathedral of the Madeleine; The Barber of Seville, Hansel and Gretel, Utah Lyric Opera Upcoming: Renaissance concert, Utopia Early Music
Mackenzie Whitney (Iowa) Edgardo Utah Opera Debut Recently: Rigoletto; Opera on the James; La bohème, Hawaii Opera Theatre; A Midsummer Night’s Dream, Lakes Area Music Festival Upcoming: Madama Butterfly, Heartbeat Opera; Florencia en el Amazonas, Madison Opera
UTAHOPERA.ORG / (801) 533-NOTE
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Lucia di Lammermoor
cast / artistic staff
Tyson Miller (Texas) Arturo Most Recently at Utah Opera, The Merry Widow Recently: Carmen, El Paso Opera; La fanciulla del West, The Santa Fe Opera The Rake’s Progress, Former Resident Artist, Utah Opera Upcoming: Ariodante, The English Concert ARTISTIC STAFF Gary Thor Wedow (New York) Conductor Most Recently at Utah Opera, Le nozze di Figaro Recently: La cenerentola, San Diego Opera (debut); Mozart Requiem, Alice Tully Hall, The Juilliard School Orchestra and Westminster Choir College Chorus; Orphée et Eurydice, Des Moines Metro Opera Upcoming: The Magic Flute, Madison Opera; War Stories, Opera Philadelphia; Die Fledermaus, Utah Opera Tom Diamond (Canada) Stage Director Utah Opera Debut Recently: Rodelinda, Indiana University Jacobs School of Music; Fidelio, Sarasota Opera, Opera Carolina; Turandot, Opera Carolina, Manitoba Opera; A Midsummer Night’s Dream, Pacific Opera Victoria; Lakmé, Calgary Opera Upcoming: The Enslavement and Liberation of Oksana G, Tapestry New Opera/Toronto (world premiere); Eugene Onegin, Calgary Opera; Roméo et Juliette, Opéra de Montréal
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UTAH OPERA 2016–17 SEASON
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Lucia di Lammermoor
artistic staff
Susan Memmott Allred (Utah) Costume Designer Most Recently at Utah Opera, Carmen Recently: PBS Christmas Special with Mormon Tabernacle Choir 2016; Resident Designer, Utah Opera, 1979–2011; Mormon Miracle Pageant; Utah Shakespeare Festival; Southern Utah State College; Recipient of the Governor’s Award for contribution to the arts in Utah Yancey J. Quick (Utah) Wig and Make-up Designer Most Recently at Utah Opera, Man of La Mancha Recently: Resident Wig and Makeup Designer, Utah Opera; Wig Master, Ballet West; Wig and Makeup Designer, Utah Festival Opera & Musical Theatre Michael Spassov (Canada) Utah Opera Resident Chorusmaster Most Recently at Utah Opera, Man of La Mancha Recently: Capriccio, La fanciulla del West, The Santa Fe Opera; Roméo et Juliette, Atlanta Opera Upcoming: Don Giovanni, Utah Opera
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UTAH OPERA 2016–17 SEASON
Lucia di Lammermoor
chorus / supernumeraries
CHORUS Mandi Barrus Anadine Burrell Matthew Castleton Catherine Coda Clarisse Colao Natalie Easter Paula Fowler Paul Hill Melissa James Tom Klassen Hilary Koolhoven Phil Lammi
Nelson LeDuc Tito Livas Lynn Maxfield Julie McBeth April Meservy Mike Moyes Dan Nichols Dale Nielsen Scott Palmer Gonzalo PeĂąa Geneil Perkins Tony Porter
SUPERNUMERARIES Dominic Barsi Michael Drebot Joe Jenkins Steve Moga
UTAHOPERA.ORG / (801) 533-NOTE
Heidi Robinson Katelin Ruzzamenti Mary Sorensen Mark Sorensen Josh Steed Carolyn Talboys-Klassen Scott Tarbet Kathryn Thompson Sammie Tollestrup Daniel Tuutau Dawn Veree Jillian Weaver
Children: Elinor Gibbs William Glenn Henry Merz Naomi Smith
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GREAT PERFORMANCES AT THE MET
DON GIOVANNI Fri. Mar. 24, 8PM Charismatic baritone Simon Keenlyside stars as the title character in Don Giovanni, bringing his acclaimed interpretation of the role to Great Performances at the Met for the first time.
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Lucia di Lammermoor
Gaetano Donizetti Composer
Salvatore Cammarano Librettist
UTAHOPERA.ORG / (801) 533-NOTE
composer / librettist Domenico Gaetano Maria Donizetti (1797–1848) was was born in a windowless cellar into a poor family of a government clerk in Italy. At the age of 9 he became a protégé of Johann Simon Mayr, maestro di cappella of Bergamo, and later studied music under the renowned Padre Stanislao Mattei, the headmaster of the music school in Bologna. In 1818 Donizetti’s first operas were performed in Venice with modest success. He was developing the bel canto style, writing his hallmark melody lines in a perfect match to Italian lyrics. Donizetti became famous beyond Italy with his opera Anna Bolena. Meanwhile he obtained a teaching position at the Naples Conservatory and had a reputation for his warmth, generosity and devotion to his work. His opera Lucia di Lammermoor captured the style of the day more brilliantly than any other opera. Donizetti went to Paris, and soon after was given the position of the Court Composer in Vienna. His later operas were written to French texts, with the inevitable loss of bel canto smoothness, which was best in his melodies written to Italian lyrics. His last works of “grandopera” scale integrated ballet numbers in spectacular settings. He died of syphilis on April 8, 1848, in Bergamo, Italy. Italian librettist and playwright Salvatore Cammarano (1801–52) was a leading librettist of his time, best known today for his many libretti for Donizetti and Verdi. Born in Naples and trained as a painter and sculptor, he wrote his first libretto in 1832, Belisario (rejected by one composer and later set by Donizetti), and soon went on to work as a poet and stage director for many theatres around Naples. He first collaborated with Donizetti on the hugely successful Lucia di Lammermoor and went on to write libretti for every serious opera Donizetti wrote during the Naples years. Cammarano worked for the Neapolitan royal theatres for the rest of his life, writing libretti for such composers as Mercadante, Cammarano, Pacini, and Verdi. Cammarano was one of the most important operatic poets of his generation. His libretti, all adapted from other sources, were meticulously crafted, and commanded respect from the composers who set them.
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The Musical Pride of Bergamo, Italy The Tragic Bride of Scotland’s Lammermoor By Michael Clive
Gaetano Donizetti, the composer of the landmark bel canto opera Lucia di Lammermoor, made his mark in Italian opera at a time when the rules of the game were strict for both composers and librettists. Solo arias and ensembles, which required beautiful melodies and opportunities for vocal display, had to be arrayed in the approved structure. In comic operas, the characters were variations on archetypes handed down through generations of commedia dell’arte tradition. More serious operas required a high moral purpose and characters of noble birth or character. We’re all familiar with the spectacularly ornamented vocal lines in these operas, with roulades and flourishes that sound all but impossible to sing. The very phrase bel canto, which simply means “beautiful singing,” has become synonymous with these vocal pyrotechnics, and understandably so. They are thrilling to hear for their own sake, and technically difficult to master; the notes come thick and fast, and they must all be delineated with accuracy and without apparent strain, requiring a voice of extreme flexibility and phenomenal breath control. The American diva Beverly Sills displayed these gifts on stage in many roles, including Lucia; later, as general director of her alma mater, New York City Opera, she managed other singers who possessed them. In that capacity she often joked that sopranos in roles such as Lucia would do better if they were paid by the note.
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Over the years, the sheer aural spectacle of bel canto operas—along with a perceived naïveté built into the plots—inclined the listening public to enjoy them almost as vocal track meets where singers performed amazing feats of musical athleticism. But in the early years of the 19th century, when these operas were being produced by their three greatest masters—Rossini, Donizetti and Bellini—their heroines were interpreted by women who were as famous for the power of their acting as for their voices. Even today, their names are legendary among operalovers, especially in Italy…names such as Maria Malibran, Giuditta Pasta and Giulia Grisi. When composers wrote florid vocal lines for them, the great profusion of notes was intended not simply to dazzle our ears but to delineate character and intensify emotion. No bel canto composer surpassed Donizetti in his ability to put beautiful music toward these goals, and in Lucia di Lammermoor he brings this style of composition to a new level of dramatic tension and psychological insight. Lucia remains the most famous name in Donizetti’s catalog and probably in the entire bel canto repertory. It has become synonymous with both musical virtuosity and with the evocation of madness in opera. A career like Donizetti’s could have happened nowhere but Italy. He was born in 1797, five years after Rossini, who became one of the most famous celebrities in Europe on the strength of his operas’ popularity. Though Donizetti’s family was not particularly UTAH OPERA 2016–17 SEASON
Lucia di Lammermoor
The Musical Pride of Bergamo, Italy
musical, music—especially opera— was part of the Italian way of life, and Donizetti’s musical gifts showed themselves early. The young Gaetano’s father foresaw a life of relative security for his son as a local musician, and accepted the opportunity extended by the composer Simon Mayr for Gaetano, then nine years old, to receive a full scholarship at Mayr’s music school. Though the boy encountered some problems in the mandatory choir studies, Mayr told father Andrea Donizetti that Gaetano “excelled all others in musical progress.” Donizetti continued to demonstrate remarkable promise in early studies with several prominent music teachers, but he did not share his father’s vision of his musical career, and he enlisted in the army rather than yield to parental pressure to support himself as a music teacher; while the life of a composer seemed just too risky to satisfy Andrea’s concerns for his son’s future, Gaetano shuddered at the prospect of a life spent giving music lessons. In the army Donizetti found time to compose opera on the side while serving honorably in a military regiment. Not only did his first opera, Enrico, Conte di Borgogna, mark its successful premiere during his army service; his second, Zoraide de Granata, received such favorable notice that he was discharged from the army without further military obligation. He was 25, and earned his chops as a working composer by producing a succession of successful comic operas in the style of Rossini during the next six years. UTAHOPERA.ORG / (801) 533-NOTE
Donizetti became a hugely prolific opera composer who, like Rossini, enjoyed fame and financial success in his own lifetime. The first major demonstration of his artistic maturity was the opera Anna Bolena, a romanticized treatment of the tale of Anne Boleyn that showed Donizetti’s flair for applying the rich sensuality of Italian compositional style to a story set far from Italian shores. Donizetti’s bestknown work, Lucia di Lammermoor, accomplished the same artistic union with a gothic romance drawn from a Waverly novel by Sir Walter Scott— an opera full of dark Scottish atmosphere and glorious Italian music. Why a British story by way of Scott? Surprisingly, these novels in verse—full of adventure, gothic romance and period detail—were great favorites for adaptation by Italian opera composers of the 19th century. The first example, Rossini’s La donna del lago (based on Scott’s The Lady of the Lake), was followed by at least two dozen others. In addition, Donizetti seems to have been fascinated with the Tudor period in English history. He followed Anna Bolena with Maria Stuarda (about Mary, Queen of Scots) and Roberto Devereux (about Queen Elizabeth I and her supposed lover, Robert Devereux). An earlier opera, Il castello di Kenilworth, also focuses on Elizabeth I. It’s not hard to understand the appeal of these scenarios for Italian composers: They offer grandeur, exotic locales, colorful characters, and melodramatic story lines. In Rossini, we have to listen hard for the few brief vestiges of Scottish 35
Lucia di Lammermoor
The Musical Pride of Bergamo, Italy
atmosphere; but in Lucia, the sound of Scotland is somewhat more evident, especially in the danceable 6/8 rhythms. We can’t end a consideration of Lucia di Lammermoor without a word about the end of Lucia’s life, which comes in a fabulous, two-part extended aria that made “mad scene” a household phrase. Madding bel canto heroines are sometimes dismissed as fragile, high-strung creatures pushed over the brink by misfortune. (“Driven to distraction” is the phrase often used in period analyses.) But Lucia is more complex than that, and her character lends itself to nuanced interpretation. Her mad scene, with its expressive flute obbligato, is a dramatic tour de force in which Donizetti’s music reveals her unspoken thoughts, contrasting them with the spoken observations
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of her horrified wedding guests as she poignantly relives her past. We recognize the reprised melodies sadly refracted through the prism of her broken mind. Like Shakespeare’s Juliet, she was secretly married in God’s sight before she was forced into a public marriage for familial expediency; and her true husband Edgardo, like Shakespeare’s Romeo, joins her in death after his final, heartbreaking outcry. It is one of the most affecting and beautiful laments in all opera. Michael Clive’s writing on music and the arts has appeared in publications throughout the U.S. and in the U.K., as well as on the Internet (for Classical TV.com and Classical Review) and television (for the PBS series Live From Lincoln Center). He is program annotator for the Utah Symphony, the Louisiana Philharmonic Orchestra and the Pacific Symphony, and is editor-in-chief of The Santa Fe Opera.
2016-17 UTAH OPERA SEASON
PHOTO: Gary David Gold for Opera Saratoga
BATTLE WITH ALL YOUR HEART
JEREMY HOWARD BECK and STEPHANIE FLEIS CHMANN’S
THE LONG WALK Based on the book The Long Walk: A Story of War and the Life that Follows, by Brian Castner
MARCH
31, 2017 | 7:30 PM
APRIL
1,
2017 | 7:30 PM
Rose Wagner Performing Arts Center Jeanné Wagner Theatre
The real fight begins when a soldier comes home. Opera becomes overwhelmingly personal in this contemporary story of an American soldier coping with blast-induced traumatic brain injury after he returns home from duty in Iraq. Based on the book The Long Walk: A Story of War and the Life that Follows, Brian Castner’s best-selling memoir, this opera offers a visceral look at the realities of modern warfare and the unseen battles that rage inside our hearts. Commissioned by American Lyric Theater. CONDUCTOR Steven Osgood
BRIAN Daniel Belcher JESSE Megan Marino
ALL SEATS $46
801.355.ARTS (2787) SEASON SPONSOR:
UTAHOPERA.ORG
DIRECTOR David Schweizer MEMBERS OF THE UTAH SYMPHONY
Ripped from the Headlines Exploring the Intersection between Opera and True Crime By Jeff Counts
Imagine Lucia’s famous “mad scene” as a crime scene. In fact, imagine that you walked into the theater cold, just now, with no real sense of the story and that you arrived just moments before she began to sing about “the sweet sound” of another man’s voice. The evidence would all be there before you. She’s a mess. She seems quite unwell and unaware of where she is. She’s oblivious to the faces of those around her as they openly register the shock to which she has yet to succumb. Yes, they know. And, if that’s not enough, if it all still seems too circumstantial, well, there’s the blood and the body. You know it too. She did it. She killed her brand-new husband. Open and shut. We love this stuff, don’t we? Don’t deny it. On all of our podcast queues and our Netflix queues are programs devoted specifically to intense criminal investigation, both actual and fantastical, and no matter how squeamish we might be about other kinds of “adult” material in our entertainments, we rarely blanch at the lurid details of a homicide case. That’s because all of the facts are necessary if we hope to vicariously participate in “the solve” and a great director or host can string us along for several episodes, even seasons, once they set the hook. Operas, though different from movies and television shows and certainly podcasts in several important ways, are surprisingly effective delivery systems for our True Crime fix. More than any eyewitness account or interrogation video, a well-executed confessional aria connects the listener 38
to the killer on a gut level thanks to the emotional range of the music. That said, murdering in opera is a very common thing, at least as common as drinking or cross-dressing, and this makes any killing “based on actual events” worthy of special mention. Donizetti’s Lucia character (1835) was modelled after Sir Walter Scott’s Lucy (1819) and both fictional ladies derived from a distant real one. Janet Dalrymple was the eldest daughter of a 17th century Scottish Viscount and, according to Scott’s introduction to the 1829 printing of The Bride of Lammermoor, she secretly engaged herself to a man, one Lord Rutherford, whom she knew her parents would find politically and financially unacceptable. Matters came to a head when the parents identified an “appropriate” suitor and inadvertently ignited the public love triangle that precipitated their suddenly acquiescent daughter’s disavowal of the earlier commitment. Vanquished and bereft, Rutherford fled abroad, never to return, and the sanctioned union between Janet and David Dunbar went forward. On the wedding night, Dunbar was discovered “dreadfully wounded, and streaming with blood” with Janet babbling and “dabbled with gore” in a corner. She had clearly lost her mind and kept repeating “Take up your bonny bridegroom” to the guests that gathered at the scene. Janet died just two weeks later on September 12, 1669 (no one bothers to mention how) but Dunbar somehow survived. UTAH OPERA 2016–17 SEASON
Lucia di Lammermoor
Ripped from the Headlines
Though he never spoke of the incident, everyone knew Janet had done it, her broken heart over Rutherford having finally cracked her brain as well. Even with the historical Shakespeare dramas set aside for the moment, additional examples of actual murders (or attempted murders, like Janet’s) in opera libretti are not terribly difficult to find, though a few do hide from plain sight. Leoncavallo’s Pagliacci (1892) was based on a murder trial from the composer’s childhood days that his father, a judge, presided over (this came to light only after Leoncavallo was accused of borrowing the work of another author). Verdi’s Un ballo in maschera (1859) was originally intended to depict the 1792 assassination of King Gustav III of Sweden but Italian censors refused to let the highly political subject stand and Verdi was forced to set the plot in colonial Boston, an awkward compromise to be sure. Lesser-known Francesco Cilea’s Adriana Lecouvreur (1902) took its topic from the real-life French actor of the same name who was apparently poisoned by her rival in 1730. Confirmation of that misdeed has never been found, but the “true-ness” of her death still resonates. Modern opera composers have continued the tradition of re-telling troubling tales of slaughter through music and many are using some very recent material. John Adams (The Death of Klinghoffer, 1991), Jake Heggie (Dead Man Walking, 2000) and Nico Muhly (Two Boys, 2011) have all UTAHOPERA.ORG / (801) 533-NOTE
explored the act and consequences of killing, and the fact that we can remember the actual events leads to strong opinions about the translation of our news into drama. Muhly’s work, in particular, was so current and reflective of our social moment that it was easy to see very familiar faces on the stage. That’s what the best crime dramas do, the non-fictional ones most especially, they confront the watcher with enough “there but for the grace of God go I” potency to keep them invested until the very end. So, yeah, Lucia did it, but she had her reasons. We know this not only because she sings, but because printed Lucy did it before her and poor flesh-and-blood Janet tried to. We are nothing if not students of the game and the stakes are never higher than when the players, the life-takers specifically, are as real as we are. That’s where True Crime and Opera seem to intersect, at that point in all of us where compassion bumps up against the thrill of the hunt. Sure, the opera versions of these stories are compressed and often a little on the nose, but there is no denying how it’s the music that binds us most personally to these fits of inhuman passion. “A chill creeps into my breast!” she says. Ours too, but we can’t get enough of it. 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 six years. 39
Support USUO
Utah Opera’s Resident Artists (left to right), tenor Christian Sanders, soprano Abigail Rethwisch, mezzosoprano Sarah Coit, baritone Markel Reed, and pianist Timothy Accurso, in costume and looking for a ride to a school show of an abridged Elixir of Love by Gaetano Donizetti.
Thank you for joining Utah Opera for this beautiful production. We sincerely appreciate your support as a patron! We ask that you take 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 70,000 children across the state of Utah every single year. We visit each of Utah’s 41 school districts on a three- to five-year rotation. We also perform in the community for a variety of audiences, including those with autism, vision impairment, memory loss, and other special needs. Utah Opera’s Resident Artist program participants, including singers and pianists, spend nine months with Utah Opera as they develop professional skills through mainstage performances with Utah Opera and Utah Symphony, coaching, workshops, and masterclass sessions. They also travel the state and perform in schools and teach students from diverse backgrounds about the art of opera. In just January and February of 2017, Utah Opera’s talented Resident Artists visited 33 schools across Utah, from the Cache School District down to Washington 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. 40
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 Wen Yuan Gu Associate Principal Second Leonard Braus• Associate Concertmaster Emeritus Jerry Chiu• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Amanda Kofoed†† Hye Jin Koh†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian Lynnette Stewart Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Roberta Zalkind Associate Principal
Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal
ENGLISH HORN Lissa Stolz
BASS TROMBONE Graeme Mutchler
CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
TUBA Gary Ofenloch Principal
Erin Svoboda Associate Principal
Eric Hopkins Associate Principal
Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair
Corbin Johnston Associate Principal
Leon Chodos Associate Principal
James Allyn Benjamin Henderson†† Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera#
CONTRABASSOON Leon Chodos
HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore OBOE Robert Stephenson Principal The Gerald B. & Barbara F. Stringfellow Chair James Hall Associate Principal
Jennifer Rhodes
HORN Edmund Rollett Acting Principal Alexander Love†† Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal Jeff Luke Associate Principal
TIMPANI George Brown Principal
PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy ORCHESTRA PERSONNEL Nathan Lutz Interim Director of Orchestra Personnel STAGE MANAGEMENT Chip Dance Production & Stage Manager Jeff Herbig Properties Manager & Assistant Stage Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member
Peter Margulies Nick Norton TROMBONE Mark Davidson Principal Sam Elliot†† Acting Associate Principal
Lissa Stolz
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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 Doyle Arnold & Anne Glarner Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Judy Brady & Drew W. Browning 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
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TANNER SOCIETY OF UTAH SYMPHONY Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Doyle Arnold & Anne Glarner Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith† Brinn Shelly R. Coburn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers
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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
Turid V. Lipman Herbert C. & Wilma Livsey Mrs. Helen F. Lloyd† Gaye Herman Marrash Ms. Wilma F. Marcus† Dianne May 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 Barbara Burnett† Estate Mr. & Mrs. Kenneth E. Coombs Patricia Dougall Eager† Mr.† & Mrs.† Sid W. Foulger Dorothy Freed† Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Mr. Ray Horrocks† Richard W. James† Estate Mrs. Avanelle Learned† Ms. Marilyn Lindsay 42
†Deceased UTAH OPERA 2016–17 SEASON
Legacy Giving
Utah Opera’s production of Carmen. Photo credit Kent Miles.
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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 January 20, 2017. Millennium $250,000 & above Edward Ashwood & Candice Johnson Gael Benson Diane & Hal Brierley The Church of Jesus Christ of Latterday 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 Sorenson Legacy 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
Thierry & Catherine Fischer** Roger & Susan Horn The Right Reverend Carolyn Tanner Irish** Emma Eccles Jones Foundation Ronald & Janet Jibson Edward & Barbara Moreton Gib & Susan Myers William & Christine Nelson Dr. Dinesh & Kalpana Patel Summit County Restaurant Tax/RAP Tax Utah Division of Arts & Museums /NEA
Encore $100,000 & above Anonymous Scott & Kathie Amann Doyle Arnold & Anne Glarner Dr. J. R. Baringer & Dr. Jeannette J. Townsend
Overture $25,000 & above Anonymous in Honor of the March of Dimes Arnold Machinery Mr. & Mrs. William C. Bailey BMW of Murray
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Bravo $50,000 & above Anonymous Scott & Jesselie Anderson Thomas Billings & Judge Judith Billings Deer Valley Resort** Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Grand & Little America Hotels* Douglas & Connie Hayes Huntsman Corporation Jon M. & Karen Huntsman Family Frederick Q. Lawson Foundation Scott & Sydne Parker Frank R. Pignanelli & D’Arcy Dixon Albert J. Roberts IV Sinclair Oil Company St. Regis Deer Valley** Gerald & Barbara Stringfellow Norman C. & Barbara L. Tanner Charitable Trust David Wall* Lois A. Zambo
UTAH OPERA 2016–17 SEASON
Season Honorees BMW of Pleasant Grove Judy Brady & Drew W. Browning R. Harold Burton Foundation Michael & Vickie Callen Chevron Corporation C. Comstock Clayton Foundation John & Flora D’Arcy Thomas D. Dee III & Dr. Candace Dee John H. & Joan B. Firmage Kristen Fletcher & Dan McPhun Carol Holding Holland & Hart** Tom & Lorie Jacobson Janet Q. Lawson Foundation Love Communications* Markosian Family Trust 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 John W. Williams† Workers Compensation Fund Edward & Marelynn Zipser Maestro $10,000 & above Anonymous Adobe American Express Foundation Ballard Spahr, LLP Haven J. Barlow Family UTAHOPERA.ORG / (801) 533-NOTE
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 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** Josh & Cherie James Robert & Debra Kasirer Katharine Lamb 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 Glenn D. Prestwich & Barbara Bentley Promontory Foundation 45
Corporate & Foundation Donors / Individual Donors
David & Shari Quinney Radisson Hotel* Brad & Sara Rencher Dr. Clifford S. Reusch† Resorts West* The Joseph & Evelyn Rosenblatt Charitable Fund Lori & Theodore Samuels Ben & Peggy Schapiro Sounds of Science Commissioning Club George & Tamie† Speciale Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds 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* The Aaron Copland Fund for Music Diamond Rental* Discover Financial Services The Dorsey & Whitney Foundation Spencer F. & Cleone P. Eccles Family Foundation EY Finca* Intermountain Healthcare J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Martine* 46
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 Byrne 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* MedAssets Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation 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
2017 SEASON k ENTERTAINMENT
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Corporate & Foundation Donors / Individual Donors The Prudential Foundation Ray, Quinney & Nebeker Foundation Scoggins & Scoggins Violin Shop* Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation sPower 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 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) Fred & Linda Babcock 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 David & SandyLee Griswold** Ray & Howard Grossman Mary P. Jacobs† & Jerald H. Jacobs Family G. Frank & Pamela Joklik UTAHOPERA.ORG / (801) 533-NOTE
Jeanne Kimball Paul Meecham & Laura Leach Rayna & Glen Mintz Nathan & Karen B. Morgan Dr. Thomas Parks & Dr. Patricia Legant Brooks & Lenna Quinn 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 $3,000 to $4,999 Anonymous (4) Craig & Joanna Adamson Robert W. Brandt Jonathan & Julie Bullen Richard & Suzanne Burbidge Mark & Marci Casp Rebecca Marriott Champion 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 C. Chauncey & Emily Hall Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Mr. & Mrs. Jerry Huffman Jeffrey L. Giese, M.D. & Mary E. Gesicki Dale & Beverly Johnson James & Penny Keras Hanko & Laura Kiessner Harrison & Elaine Levy Bill Ligety & Cyndi Sharp Herbert C. & Wilma S. Livsey Daniel & Noemi P. Mattis 49
Individual Donors Christopher & Julie McBeth Michael & Julie McFadden Rich & Cherie Meeboer Richard & Ginni Mithoff Mr. & Mrs. Ralph Muller James & Ann Neal Marilyn H. Neilson Alvin† and Helene Richer James & Anna Romano William G. Schwartz & Joann Givan Thomas & Gayle Sherry Gibbs & Catherine W. Smith Elizabeth Solomon Dawn & Mitch Taubin Verl & Joyce Topham Mr. & Mrs. Vincent Trotta Susan & David† Wagstaff Ardean & Elna Watts Suzanne Weaver & Charles Boynton David & Jerre Winder Chris & Lisa Young Gayle & Sam Youngblood $2,000 to $2,999 Anonymous (4) Robert & Cherry Anderson David & Rebecca Bateman E. Wayne & Barbara Baumgardner Dr. Melissa Bentley Anneli Bowen, M.D. & Glen M. Bowen M.D. Mr. & Mrs. John Brubaker Luann & James Campbell Chris & Lois Canale Coley & Jennifer Clark Shelly Coburn Raymond & Diana Compton Dr. & Mrs. Thomas Coppin
David & Carol Coulter James & Rula Dickson Margarita Donnelly Howard Edwards Neone F. Jones Family Thomas & Lynn Fey Robert & Annie-Lewis Garda Heidi Gardner Mr. & Mrs. Eric Garen Mark Gavre & Gudrun Mirin Diana George Susan Glassman & Richard Dudley Randin Graves The James S. Gulbrandsen, Sr. Family Dennis & Sarah Hancock John B. & Joan Hanna Geraldine Hanni Richard Herbert Sunny & Wes Howell Dixie & Robert Huefner Jay & Julie Jacobson Annette & Joseph Jarvis Sharon Jenkins M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Pauline Weggeland-Johnson James R. Jones & Family Catherine Kanter J. Allen & Charlene Kimball Merele & Howard Kosowsky Val Lambson Donald L. & Alice A. Lappe Mr. & Mrs. Melvyn L. Lefkowitz Paul Lehman Roger Leslie James Lether Lisa & James Levy
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.
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UTAH OPERA 2016–17 SEASON
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Individual Donors Elizabeth & Michael Liess Milt & Carol Lynnes David & Donna Lyon Mr. & Mrs. Wayne Lyski Lisa K. Mariano Jed & Kathryn Marti 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 Dan & June Ragan Dr. & Mrs. Marvin L. Rallison W. E. & Harriet R. Rasmussen Dr. Barbara S. Reid Joyce Rice Kenneth Roach & Cindy Powell Tom & Jeanne Rueger Thomas Safran David & Lois Salisbury Mark & Loulu Saltzman Margaret Sargent K. Gary† & Lynda† Shields 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 HepworthWoolston Caroline & Thomas Wright
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PATRONS
$1,000 to $1,999 Anonymous (2) Carolyn Abravanel Fran Akita Christine A. Allred Patricia Andersen Drs. Crystal & Dustin Armstrong Graham & Janet Baker Diane Banks & Dr. Mark Bromberg Mr. Barry Bergquist Mr. & Mrs. William Bierer Reverend James Blaine Shauna Bona Jim & Marilyn Brezovec Timothy F. Buehner Foundation Mr. & Mrs. William D. Callister, Jr. Bartell & Kathleen Cardon Mr. & Mrs. Lee Forrest Carter Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Margaret Dreyfous Alice Edvalson Janet Ellison Naomi K. Feigal Robert S. Felt, M.D. Susan Gillett Rose & Ralph Gochnour Robert & Joyce† Graham Dr. & Mrs. John Greenlee Arlen Hale Dr. Elizabeth Hammond Lex Hemphill & Nancy Melich John Edward Henderson Steve Hogan & Michelle Wright Connie C. Holbrook Patricia Horton Kay Howells David & Caroline Hundley Todd & Tatiana James Drs. Randy & Elizabeth Jensen Maxine & Bruce Johnson Chester & Marilyn Johnson UTAH OPERA 2016–17 SEASON
Individual Donors Dr. & Mrs. Michael A. Kalm Umur Kavlakoglu Susan Keyes Allison Kitching Carl & Gillean Kjeldsberg Robert & Karla Knox Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Tim & Angela Laros Gary & Suzanne Larsen Dr. Vivian Lee Dennis & Pat Lombardi Peter Margulies & Louise Vickerman Edward & Grace McDonough Clifton & Terri McIntosh Johanna & Jack McManemin David & Colleen Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville Dr. Jean H. & Dr. Richard R. Miller John & Mary Ann Nelson Oren & Liz Nelson Stephen & Mary Nichols Ruth & William Ohlsen Blaine & Shari Palmer Ann G. Petersen Nancy & Rori Piggot Mr. Steven Price
Keith & Nancy Rattie 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 *In-kind gift **In-kind & cash gift † Deceased Gifts as of 1/20/17
“Music is the art which is most nigh to tears and memory.” ~Oscar Wilde 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 54
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 Nadine Ward 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 Jessica Chapman 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 Tiffanie Fe 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 Nathan Lutz Interim Director of Orchestra Personnel 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 Jeff Herbig Properties Manager & Assistant 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 Melissa Klein Director of Individual Giving Alina Osika Manager of Corporate Partnerships Lisa Poppleton Grants Manager Kate Throneburg Manager of Individual Giving Heather Weinstock Manager of Special Events Steven Finkelstein Development Coordinator MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations RenĂŠe Huang Director of Public Relations Chad Call Marketing Manager Mike Call Website Manager
Ginamarie Marsala Marketing Communications Manager Aaron Sain Graphic Design & Branding Manager Tyler Bloomquist Junior Graphic Designer 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 Risa Bean Joshua Figueroa Jackie Seethaler Powell Smith Elliott Wood 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 SaraLyn Greenwood 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 Tracy Hansford Education Coordinator Kyleene Johnson 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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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 who experienced this performance with you. Continue your pleasure for hours—even days—by exchanging ideas about it. Here are some topics we can suggest: • Europe was experiencing a romantic fascination with Scotland at the time Lucia di Lammermoor was composed, evidenced by the fact that five libretti based on Sir Walter Scott’s The Bride of Lammermoor were already in existence when Donizetti was composing his opera. Can you think of modern examples that point to a continued fascination? What do you think made/ makes it such a compelling setting? • One of the methods of extending a book’s popularity in the 19th century was to create an operatic version of it. These days, a popular book or series is more likely to become a movie, examples being the Twilight and Hunger Games novels. Sir Walter Scott was so popular in the 19th century that there were at least 50 libretti based on his work, which makes Scott second only to William Shakespeare in the rankings of writers whose works inspired operas. What is your favorite movie/musical/opera based on a book and why? What book would you like to see made into a movie, musical or opera? • The “mad scene” toward the end of the opera is one of the most famous scenes in opera. Each time directors stage Lucia di Lammermoor, they have the opportunity to re-imagine this scene. What in this production made the mad scene particularly powerful? Given the opportunity to stage such a famous scene, what would you have done differently?
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/onlinelearning
You can visit our blog for more behind-the-scenes stories and conversations. utahopera.org/backstage
UTAHOPERA.ORG / (801) 533-NOTE
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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 of non-seafood dishes. Open 7 days a week serving breakfast, lunch, dinner, Sunday Brunch. B, L, D, C, AT, S, LL, CC, VS. 801.322.4668
MARTINE 22 East 100 South. Award winning ambience, located in a historic brownstone. Martine offers Salt Lake City a sophisticated dining experience kept simple. Locally sourced ingredients, pre-event $25 three course prix fixe. Extensive bar and wine service. martinecafe.com L, D, T, LL, RA, CC, VS. 801-363-9328
Consistently Rated “Tops”–Zagat 60 W. Market Street • 801.363.0166
Salt Lake City’s #1 Most Popular Restaurant –Zagat
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Phone • 801.363.9328 www.martinecafe.com 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 LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections
Substance over sound bites. Listen every day on >
THANK YOU TO OUR ADVERTISERS
Acknowledgments UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR
Adib’s Rug Gallery Challenger School City Creek Living Classical 89 Darling Me Avenue Every Blooming Thing Five Wives Vodka Grand America Hale Centre Theatre Hamilton Park J. Wong’s Asian Bistro KUED KUER Little America Hotel MAC Martine New Yorker RC Willey Residence Inn | Marriott Ruth’s Chris Steak House San Francisco Design Security National Mortgage Sky Harbor Suites Summit Vista The Madeleine Choir School Tuacahn Amphitheatre United Way University Federal Credit Union University of Utah Health Care Utah Festival Opera & Musical TheatreUtah Food Service Utah Food Services Utah Shakespeare Festival Zions Bank If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833
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Provided by Love Communications, Salt Lake City Utah Symphony | Utah Opera is funded by the Utah Division of Arts & Museums, Professional Outreach Programs in the Schools (POPS), Salt Lake City Arts Council, Salt Lake County Zoo, Arts, and Parks Tax (ZAP), Summit County Restaurant Tax, Summit County Recreation, Arts and Parks Tax (RAP), Park City Chamber Bureau. The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief. Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.
UTAH OPERA 2016–17 SEASON
2016/17 CULTURAL FESTIVAL
ARTS IN SERVICE TO THE MILITARY
Our 2016–17 cultural festival shines a spotlight on veterans and current military, focusing on ways our arts community can appreciate and support them. As part of this festival, many local arts organizations will present events on military themes and will also provide access for active and separated military personnel to a variety of arts performances. We will also draw attention to veterans’ active art-making as a means of self-expression. FESTIVAL HIGHLIGHTS INCLUDE:
The Western US Premiere of The Long Walk by Utah Opera Guest writer events with Brian Castner, author of the memoir The Long Walk Performances and events based on military experiences, produced by Salt Lake Acting Company, Art Access, Ballet West, U of U Creative Writing, and more Annual Veterans Creative Arts Festival at the VA SLC Medical Center Free/discounted tickets to performances and other events for veterans and current military FOR MORE INFORMATION, VISIT
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