Man of La Mancha by Mills Publishing Inc.

2016-17 UTAH OPERA SEASON

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Contents

PRESIDENT Dan Miller

OFFICE ADMINISTRATOR Cynthia Bell Snow

LEIGH’S

ART DIRECTOR/ PRODUCTION MANAGER

MAN OFLA MANCHA

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.

@UtahOpera

6 Welcome 8 Artistic Director’s Welcome 10 Board of Trustees 15 Man of La Mancha Facts 16 Q&A with Paul Curran 20 Impossible Dream 22 Production Sponsors 24 Cast / Artistic Staff / Ensemble 31 About the Writers 32 Synopsis 34 Is There Any Other Kind of Dream? 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 46 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 Did you know that nearly one-third of our total audience is comprised of students? Utahns have long recognized that a person’s quality of life rests, in part, on the community’s commitment to the arts to inspire the human spirit and motivate the betterment of mankind. Utah Symphony | Utah Opera reflects this value through a deep commitment to education and strives to impact every urban and rural community in the state with our education and outreach programs.

Paul Meecham President & CEO

A vital component of this outreach is Utah Opera’s Resident Artists Program, which offers great training opportunities to support young opera professionals. Among the best and brightest young singers at the beginning of their operatic careers, you can enjoy them in our mainstage performances; and yet their biggest impact is with Utah’s youth. The Resident Artists tour the state presenting age-appropriate educational programming in the schools with an amazing 150 performances between September and May. Their performances are just a few of the many programs we offer to every public school in the state of Utah over a three-to five-year cycle. Our efforts are primarily focused towards underserved districts and are available free of charge to supplement the core music curriculum for Utah students. Last year, we served over 143,000 students with our opera and symphony education programs. Much credit goes to the Utah State Legislature, which values these programs and provides over one-third of the support towards their cost. The remainder of that credit goes to our many individual donors, corporate sponsors and foundation sponsors who cumulatively match the state’s support.

Dave Petersen USUO Board of Trustees Chair

Thank you for your support and advocacy of Utah Symphony | Utah Opera, and please thank your local legislators for their support. It is through your involvement that we are able to connect the community through great live music! Sincerely,

UTAH OPERA 2016–17 SEASON

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

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

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DIRECTOR David Schweizer MEMBERS OF THE UTAH SYMPHONY

Artistic Director’s Welcome Happy New Year and welcome to the beautiful Janet Quinney Lawson Capitol Theatre. Few literary figures have inspired as many and had as much resonance in human history as Cervantes’ Don Quixote. Throughout classical and popular art of all medium be can be found everything from subtle reference to full blown imitation. The themes of the original text are, simply put, timeless and found within every culture. This notion that one can be inspired by and follow one’s ideals in the face of challenge and even cruelty is an idea unique in its ubiquity.

Christopher McBeth Artistic Director

Unforeseen circumstances led to Utah Opera programing this piece at an eleventh hour in planning. As luck would have it, only months before needing to make this decision I was seeing a different show at one of our sister opera companies. I hadn’t seen Man of La Mancha, except on film, and an artist I have long-admired was directing, so I made arrangements to extend my stay and see the performance. I wasn’t prepared for the power of the piece and effect it would have on me. This was no mild-mannered musical theatrical work, it was one that took me on a emotional roller coaster ride. When I left the theater my mind was buzzing remembering the performances, the music, the characters, the ethos. I thought to myself, some company has to present this production again…and soon. Well, as fortune would soon have it, Utah Opera was the company and this year was the opportunity. I am thrilled to share my profound experience with you. I am happy to host the returns to our stage of Maestro Hal France as musical leader and Audrey Babcock as Aldonza. It also gives me great pleasure to have the significant debuts of Paul Curran as director and his design team of Court Watson and David Jacques who have all had major successes around the world. New to our stage you will have the pleasure of experiencing David Pittsinger as Don Quixote and Keith Jameson as Sancho Panza, two extraordinary artists to round out the world-class talent involved in this production. Thank you for joining us in this ‘impossible dream’ come true.

UTAH OPERA 2016–17 SEASON

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Board of Trustees

ELECTED BOARD David A. Petersen* Chair

Naoma Tate Thomas Thatcher 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 Rodney H. Brady Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous

Lisa Eccles Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. 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

stage arts

Man of La Mancha Facts ?

The original lyricist of Man of La Mancha was poet W. H. Auden—he wrote several songs with Mitch Leigh—but the lyrics were discarded for being too overtly satiric and biting, attacking the bourgeois audience. Auden’s lyrics were replaced by those of Tony-award winning lyricist Joe Darion. Unusually for the time, Man of La Mancha was scored for an orchestra with no violins or other traditional orchestral stringed instruments apart from a double bass, instead emphasizing brass, woodwinds, percussion and utilizing flamenco guitars as the only stringed instruments. Man of La Mancha first played at the Goodspeed Opera House in East Haddam, Connecticut in 1965. Rex Harrison was to be the original star of this production, but although Harrison had starred in a musical role in the stage and film versions of My Fair Lady, the musical demands of the role of Don Quixote were considered too heavy for him. Man of La Mancha had its New York premiere on the thrust stage of UTAHOPERA.ORG / (801) 533-NOTE

the ANTA Washington Square Theatre in 1965. It was a smash success for 2,328 performances on Broadway, and won five Tony Awards, including Best Musical. It has been revived four times on Broadway, becoming one of the most enduring works of musical theatre. Man of La Mancha has been translated and performed in German, Swedish, Hebrew, Japanese, Urdu, Icelandic, Gujarit, Uzbekistani, Siamese, Magyar, Slovenian, Swahili, Polish, Finnish, Ukrainian, and nine different dialects of Spanish. Cast albums were recorded in French, Hebrew, Czech, Japanese, Dutch, Polish, Spanish, and German. It’s estimated that Man of La Mancha is produced 300 to 400 times a year worldwide, putting the number of productions somewhere between 12,000 and 18,000 since the show premiered on Broadway in 1965. Among opera companies to present the work are Portland Opera, Baltimore’s Lyric Opera House, Central City Opera, Cedar Rapids Opera Theatre, and Asheville Lyric Opera.

Q &A with Paul Curran Paul Curran is the stage director for this production of ‘Man of La Mancha’. His work has appeared in opera houses throughout the world. really has formed a lot of what I do as a director as I always try to make my shows at one with the music, as well as text and dramaturgy. I still read music, which really helps.

How has your background in classical music (you play the clarinet!) and training as a ballet dancer informed you as a director? I played clarinet as a kid but haven’t picked one up since I was 16. But it

As a dancer discipline is a must—simply doesn’t work without it. So as a director I will generally always be the first person in the rehearsal room in the morning— being late drives me crazy—and am usually a little bit “over” prepared before day one. The discipline of dance, particularly classical dance, has also made me quite comfortable working with large numbers. I’m always amazed

to see some directors traumatized by a chorus or ensemble and hand them over to their assistant. I LOVE working with big groups of people—so many opinions and so much energy. In this production the whole cast is on stage throughout—it is their story they are creating so there is no reason for them ever to leave. It takes enormous concentration on their part. Share your first opera experience and when you realized you wanted to work in the artform. The first opera I saw was Alban Berg’s Wozzeck when I was 15 years old. It’s a story of disenfranchised blue collar workers struggling with an unfair system that is pitted against them. It felt exactly like the daily grind in the projects where I grew up so I never thought it was in any way elitist or unintelligible. In fact, I loved it so much I stood through all six performances—then went back later in the season when it was revived (this time conducted by Simon Rattle…he wasn’t a “Sir” then.) I knew I wanted to be in opera from when I was a student and tearing tickets on the doors of English National Opera for four years. I saw everything—every night and in several different productions. When I studied at drama school—acting and directing—I knew I would go into opera in any case. I have always loved music and the human voice. How has your approach to “Man of La Mancha” made it “abundantly clear” (as stated by Opera News) that this production is well-suited for the operatic forum? Because Man of La Mancha is a very “big” piece about very large issues. It is not some simple cheery story UTAHOPERA.ORG / (801) 533-NOTE

2016-17 UTAH OPERA SEASON

LOVE WITH ALL YOUR HEART DONIZET TI’S

LUCIA di LAMMERMOOR

MARCH

11, 13, 15, 17, 19,

2017 | 7:30 PM

2017 | 2:00 PM

Janet Quinney Lawson Capitol Theatre

Romance balanced on the edge of a knife. The soldier Edgardo and the noblewoman Lucia are in love. Marriage follows. The only problem is it’s between Lucia and someone else — against her will. It’s more than enough to drive her deadly insane. Experience the dark side of love in this gothic production by Utah Opera. LUCIA Nicole Haslett

U TAH OPER A CHORUS

ENRICO James Westman

U TAH SYMPHONY

CONDUCTOR Gary Thor Wedow

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.

TICKETS FROM $21-89

801.355.ARTS (2787) SEASON SPONSOR:

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Q &A with Paul Curran to make us only smile. There IS a lot of wonderful humor in it, but it is all contrasted with the dark side of the story of this group of prisoners awaiting trial and probable death at the hands of the Inquisition. It feels very operatic in how it makes certain moments enormously reflective and deep and in how it moves us very easily without ever getting gratuitously sentimental.

it’s a stretch in terms of complete reality but so is singing your way through life, isn’t it!?

Describe the role of set design—or lack thereof— in the overall context of the opera. You have worked with Court Watson before so how have you both informed the scenery in a way that might surprise audiences? My approach was simple—driven by circumstances and finances. I was challenged to make the piece work for an audience today within a small budget without losing the “magic of theatre” that is innate within the piece. I chose to use the piece’s own structure of “a play within a play” and make it a bunch of modern prisoners brought into an empty theatre whilst they’re “selected” for questioning. Of course

What is it like to direct a production like this one compared with a more traditional opera like “La traviata” or “La bohème”? It is no different at all. The challenges are the same—only the actors and audiences are different. The story, text and music are all exactly the same no matter where you perform them. Same with the traditional opera repertoire—the challenges do not get any easier the bigger the opera house. My main goal is to tell the story—the best and most moving and interesting way I can. I hope this story will be clear to tonight’s audience, but if it isn’t perhaps it will make them think. And then, maybe, I’ve done a better job.

UTAHOPERA.ORG / (801) 533-NOTE

The prisoners never put on a full costume—only effects of a character and that is how they convince us to move into the world of our imagination and believe their made up story as if it were actually happening. The very basis of theatre, perhaps.

Impossible Dream by Carol Anderson

What makes a song a classic? Sometimes it’s a rendition by a particular artist, or a historical context in which a song is created. Greatness can come from a response to musical creativity or a brilliant use of text. But sometimes all those elements come together in a way that is surprising and rewarding as in the most popular song from Man of La Mancha, “The Quest.” Arguably one of the greatest musical theater anthems of all time, “The Impossible Dream” was nearly a casualty of the creative process several times over. Man of La Mancha is an adaptation of a teleplay by Dale Wasserman, a successful scriptwriter and playwright. A lifelong obsession with Spain, and a lengthy sojourn in Madrid drew Wasserman to the subject of Miguel Cervantes and his immortal character Don Quixote. Dale Wasserman spent the months of April and May 1959 in a small town in Switzerland, hammering out the script of I, Don Quixote in isolation using his trusty Olivetti typewriter. He speaks in his account, The Impossible Musical, of his constant surprise at the profound intimacy of the words he was putting to paper. While writing Don Quixote’s vigil speech, he was conflicted by the depth of the feelings he was expressing. “I stop abruptly, trouble[d] by such lofty philosophizing. I strike it out. Put it back. Twice.” To dream the impossible dream, To fight the unbeatable foe, This is man’s privilege, And the only life worth living.

The script was picked up for CBS’s anthology series DuPont Show of the Month; Lee J. Cobb was cast as

Cervantes, with Colleen Dewhurst joining as a last-minute Aldonza. The final dress rehearsal of the teleplay exceeded the broadcast allotment by eight minutes. An exhausted Wasserman was tasked with cutting his play, and chose for excision, among other moments, Don Quixote’s answer to Aldonza’s key question, “What does it mean—quest?” He describes Lee Cobb’s reaction to the script cuts thus: …From the glowering look he turned on us in the booth, [we] knew we were in trouble. Cobb left the set and broke a rule by charging up the stairs and into the booth. He loomed over me, a big, big, man, and a furious one. “Put it back,” he growled. I was genuinely bewildered. “Put what back?” “That [expletive] speech.” “Which [expletive] speech?” “That [expletive] impossible dream speech.” I turned helplessly to the director [Karl Genus], who came to my rescue. “Put it back,” said Karl. “I know a spot in Act One where we can pick up the time without cutting.” For a second time, this impassioned speech of hope was saved from the refuse pile. After several years of diversions, plans for the musical adaptation of I, Don Quixote began to move forward. Albert Marre, director of the Broadway run of Kismet, telephoned Wasserman, asking for a face-to-face meeting. Marre

UTAH OPERA 2016–17 SEASON

Impossible Dream promised he had the right composer in mind, Mitch Leigh, whose principal claim to fame at this point was the jingle “Nobody doesn’t like Sara Lee.” Marre and Wasserman tightened the book of Man of La Mancha, and Marre suggested the great poet (and experienced librettist) W. H. Auden as the lyricist.

of writing and re-writing “The Quest,” fully aware that it was the “fulcrum of the whole show.” An early draft of “The Impossible Dream” concluded with the following lines:

W.H. Auden proved a challenging collaborator from the beginning, as he was somewhat of an expert on the Don Quixote source material, and Wasserman never pretended that his work was in any way a faithful rendition of that great novel. Auden’s lyrics were biting and satirical, and often anachronistic. Wasserman was convinced that any lyricist would find the hook “the impossible dream” impossible to resist. Auden took Quixote’s “Song of the Quest” in a completely different direction: Once the voice has quietly spoken, every knight

Those three words, “the impossible dream,” are now a permanent part of our language. Used to describe everything from Olympic dreams to a political candidacy, the focus of the phrase has become the ’dream.‘ But Dale Wasserman says it best- “the operative word is not ‘dream,” the operative word is ‘impossible!‘” The message of this legendary song is to continue to strive for what may never come about, because the very effort we put towards the “impossible” can bring about great change in a complex world.

Must ride alone

One the quest appointed him into the unknown One to seek the healing waters, one the dark

Tower to assail,

One to find the lost princess, one to find the grail.

Auden’s lack of connection to Wasserman’s original intent throughout the collaboration led to a financial settlement and a parting of the ways. Once again, the “impossible dream” speech remained, though the dream of a librettist seemed now to hover just out of reach. Auden’s replacement was Joe Darion, a lyricist who was as different from Auden as one could imagine. A self-taught wordsmith, Joe Darion was familiar with Wasserman’s play and was eager to work on the musical adaptation. Darion tells

UTAHOPERA.ORG / (801) 533-NOTE

My impossible dreams will come true,

I’ll be loved by my love though I’m far.

No matter how worn and how weary,

I will reach that unreachable star.

While he was wrestling with this lyric, his wife came and peered over his shoulder at his paper. She “pulled it out from under my pencil—I have that sheet of paper, and there’s a pencil mark down it—and said ‘you idiot, don’t you know when you’re finished? Leave it alone.’ ”

And the world will be better for this,

That one man, scorned and covered with scars, Still strove, with his last ounce of courage,

To reach the unreachable stars!

Dr. Carol Anderson has been principal coach of the Utah Opera since 2003, and spends her summers as a member of the music staff of The Santa Fe Opera. She holds a Doctorate of Musical Arts degree in keyboard collaborative arts from the University of Southern California. 21

Production Sponsors Utah Opera gratefully acknowledges the following generous sponsors who have made this production of Leigh’s Man of La Mancha possible.

SET AND COSTUME SPONSOR

EMMA ECCLES JONES FOUNDATION OPERA ARTISTIC DIRECTOR SPONSOR

PATRICIA A. RICHARDS AND WILLIAM K. NICHOLS OPENING NIGHT SPONSOR

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UTAH OPERA 2016–17 SEASON

Man of La Mancha

program

Man of La Mancha January 21, 23, 25, 27 | 7:30 pm January 29 | 2 pm Janet Quinney Lawson Capitol Theatre Written by Dale Wasserman Music by Mitch Leigh Lyrics by Joe Darion Setting: Spain, Late 16th Century Utah Opera Premiere

ENSEMBLE

CAST (in order of appearance)

Aubrey Adams-McMillan Mandi Barrus Joey Branca Alexandra Camastro Sarah Coit* Natalie Easter Jillian Joy Hilary Koolhoven Ava Kostia Clara Hurtado Lee Tito Livas William Richardson Joshua Robinson Jessica Surprenant

Don Quixote/Cervantes . . . . . . . . . . . . . . . . . David Pittsinger Sancho Panza/Cervantesâ&#x20AC;&#x2122; Man Servant . . . . . Keith Jameson Aldonza/Dulcinea . . . . . . . . . . . . . . . . . . . . . . Audrey Babcock Innkeeper/The Governor . . . . . . . . . . . . . . . . . Brannon Killgo Dr. Carrasco/The Duke/Knight of Mirrors . . . Kevin Nakatani The Padre . . . . . . . . . . . . . . . . . . . . . . . . . . . .Christian Sanders* The Barber/Moor . . . . . . . . . . . . . . . . . . . . . . . . . Anthony Buck Antonia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Abigail Rethwisch* Housekeeper . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rebecca Cole Pedro, Head Muleteer . . . . . . . . . . . . . . . . . . . . . Markel Reed* Maria, the Innkeeperâ&#x20AC;&#x2122;s wife . . . . . . . . . . . . . . . . Melissa James Fermina/Moorish Dancer . . . . . . . . . . . . . . . . Jessica Kennedy Captain of the Inquisition . . . . . . . . . . . . . . . . . . Tyler Oliphant

ARTISTIC STAFF Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hal France Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Curran Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kyle Lang Set & Costume Designer . . . . . . . . . . . . . . . . . . . Court Watson Lighting Designer . . . . . . . . . . . . . . . . . David Martin Jacques Assistant Lighting Designer . . . . . . . . . . . . . . . . Jennifer Kwan Wigs/Make-up Designer . . . . . . . . . . . . . . . . . . Yancey J. Quick Chorus Master . . . . . . . . . . . . . . . . . . . . . . . . . Michael Spassov Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . Emily Williams** Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . Lisa Anderson Assistant Stage Manager . . . . . . . . . . . . . . . . . . Annie Brantley The performance will last approximately 2.5 hours with one intermission. Sets & Costumes constructed by Utah Opera *Current Utah Opera Resident Artist **Former Utah Opera Resident Artist

UTAHOPERA.ORG / (801) 533-NOTE

Man of La Mancha

cast

David Pittsinger (Connecticut) Don Quixote/Cervantes Utah Opera Debut Recently: Kiss Me Kate, Théâtre du Châtelet; Appomattox, Washington National Opera; Manon, Dallas Opera Upcoming: Charon de Bergerac, Metropolitan Opera; A Quiet Place, Montreal Symphony Keith Jameson (South Carolina) Sancho Panza Utah Opera Debut Recently: Le nozze di Figaro, Washington National Opera; A Midsummer Night’s Dream, Palau de les Arts Reina Sofia; Becoming Santa Claus (World premiere), The Dallas Opera Upcoming: Eugene Onegin, Lyric Opera of Chicago; Zémire et Azor, Opera Saratoga Audrey Babcock (California) Aldonza/Dulcinea Most Recently at Utah Opera, Little Women Recently: Don Giovanni, New Orleans Opera; La voix humaine, CalArts; Manon, Dallas Opera Upcoming: Carmen, Fort Worth and Dayton Operas; Rigoletto, Palm Beach Opera; The Cradle Will Rock, Saratoga Opera

UTAH OPERA 2016–17 SEASON

Man of La Mancha

cast

Brannon Killgo (Indiana) Innkeeper/The Governor Utah Opera Debut Recently: Sister Act,The Pirate Queen, Oklahoma!, Hale Centre Theatre; Man of La Mancha, Hale Center Theater Orem; Les Miserables, Hale Centre Theatre; The Phantom of the Opera, Brigham Young University Upcoming: Peter and the Starcatcher, Hale Center Theater Orem Kevin Nakatani (California) Dr. Carrasco/The Duke/Knight of Mirrors Most Recently at Utah Opera, Carmen Recently: Songs They Won’t Let Us Sing, Oregon Cabaret Theatre; Gianni Schicchi, Ragtime, Utah Festival Opera & Musical Theatre Upcoming; Hunchback of Notre Dame, Pirates of Penzance, Rex, Utah Festival Opera & Musical Theatre Christian Sanders (Colorado) The Padre Most Recently at Utah Opera, Carmen Current Utah Opera Resident Artist Recently: Manon, Des Moines Metro Opera; Aïda, The Merry Widow, The Marriage of Figaro, Utah Opera Upcoming: Lucia di Lammermoor, The Long Walk, Utah Opera Billy Budd, The Long Walk, Des Moines Metro Opera Anthony Buck (Utah) Barber/Moor Most Recently at Utah Opera, Carmen Recently: A Christmas Carol, Sinfonia of Salt Lake; Die Fledermaus, Utah Lyric Opera Ensemble; Idomeneo, Paradigm Chamber Orchestra Upcoming: L’elisir d’amore, Paradigm Chamber Orchestra; La rondine, Utah Lyric Opera Ensemble UTAHOPERA.ORG / (801) 533-NOTE

Man of La Mancha

cast

Abigail Rethwisch (Iowa) Antonia Most Recently at Utah Opera, Carmen Current Utah Opera Resident Artist Recently: La traviata, Chautauqua Opera; Sweeney Todd, Tri-Cities Opera

Becky Cole (Utah) Housekeeper Utah Opera Debut Recently: Little Shop of Horrors, The Egyptian Theater (in partnership w/ The Ziegfeld Theater); Saturday's Voyeur 2016, Salt Lake Acting Company; Young Frankenstein, The Egyptian Theater (in partnership w/ The Ziegfeld Theater) Markel Reed (North Carolina) Pedro/Head Muleteer Most Recently at Utah Opera, Carmen Current Utah Opera Resident Artist Recently: Il barbiere di Siviglia, Soo Opera Theatre; Tosca, Utah Opera; Le nozze di Figaro, Bronx Opera

Melissa James (Utah) Maria/the Innkeeper’s Wife Most Recently at Utah Opera, Carmen Recently: Aïda, Pearl Fishers, Utah Opera; Madame Butterfly, Turandot, Florencia en el Amazonas, Utah Opera Upcoming: Don Giovanni, Utah Opera

UTAH OPERA 2016–17 SEASON

Man of La Mancha

cast / artistic staff

Jessica Kennedy ( Oregon) Fermina Utah Opera Debut Recently: Di Goldene Kale, National Yiddish Theater; Man of La Mancha, Pioneer Theatre Company

Tyler Oliphant (Utah) Captain of the Inquisition Most Recently at Utah Opera, Carmen Recently: La bohème, Lyrical Opera Theater; Noye’s Fludde, Cathedral of the Madeleine; La traviata, Opera Idaho Upcoming: Tosca, Opera Idaho; Elijah, Idaho State Civic Orchestra artistic staff Hal France (Nebraska) Conductor Most Recently at Utah Opera, Lucia di Lammermoor Recently: Rigoletto, Hawaii Opera Theater; Showboat, Portland Opera; Macbeth, Chautauqua Opera Upcoming: The Pirates of Penzance, Lyric Opera of Kansas City; Stranger From Paradise, Opera Omaha—World Premiere; David Lang’s The Difficulty of Crossing a Field, Little Match Girl Passion, Portland Opera

UTAHOPERA.ORG / (801) 533-NOTE

Man of La Mancha

artistic staff

Paul Curran (United Kingdom) Director Utah Opera Debut Recently: La donna del lago, Metropolitan Opera; A Midsummer Night’s Dream, Palau Valencia; La traviata , Opera Philadelphia Upcoming: The Golden Cockerel, The Santa Fe Opera; Tosca, Canadian Opera Company Court Watson (New York) Set & Costume Designer Utah Opera Debut Recently: Hänsel & Gretel, Spamalot, Salzburger Landestheater; La bohème, Wolf Trap Opera; Die Fledermaus, Salzburger Landestheater / Opéra Nice Côte d’Azur; Baden Baden 1927, Gotham Chamber Opera; Les Contes d’Hoffmann, National Center for Performing Arts Beijing Upcoming: Carmen, Opera Columbus; Samson & Dalila, Virginia Opera

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UTAH OPERA 2016–17 SEASON

Man of La Mancha

artistic staff

David Martin Jacques (California) Lighting Designer Utah Opera Debut Recently: The Ballad of Baby Doe, Central City Opera; A Midsummer Nightâ&#x20AC;&#x2122;s Dream, Palau de les Arts, Valencia; Ainadamar, Thornton School Of Music Upcoming: The Perfect American, Long Beach Opera; The Invention of Morel, Chicago Opera Theatre Yancey J. Quick (Utah) Wig and Make-up Designer Most Recently at Utah Opera, Carmen Recently: Resident Wig and Makeup Designer, Utah Opera; Wig Master, Ballet West; Wig and Makeup Designer, Utah Festival Opera & Musical Theatre Michael Spassov (Canada) Chorusmaster Most Recently at Utah Opera, Carmen Recently: Capriccio, La fanciulla del West, The Santa Fe Opera; RomĂŠo et Juliette, Atlanta Opera Upcoming: Lucia di Lammermoor, Don Giovanni, Utah Opera

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Man of La Mancha

ensemble

Aubrey AdamsMcMillan

Mandi Barrus

Joey Branca

Alexandra Camastro

Sarah Coit*

Natalie Easter

Jillian Joy

Hilary Koolhoven

Ava Kostia

Clara Hurtado Lee

Tito Livas

William Richardson

Joshua Robinson

Jessica Surprenant

*Current Utah Opera Resident Artist 30

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

Man of La Mancha

about the writers

BOOK: Dale Wasserman (1914–2008) was born in Rhinelander, Wisconsin. Wasserman entered the world of professional theatre at age nineteen. During his life, he wore almost every theatre hat from lighting designer to producer and director. His abrupt career change to writer saw success in every performance venue. His theatre credits include, One Flew Over the Cuckoo’s Nest, How I Saved the Whole Damn World, and A Walk in the Sky. He received over forty-five awards including Emmys, Tonys, Ellys, and Robys. Wasserman first wrote Man of La Mancha as the ninety-minute television drama, I, Don Quixote, that won considerable acclaim and many awards. It was not until Wasserman joined forces with lyricist Joe Darion and songwriter Mitch Leigh that it became Man of La Mancha. MUSIC: Mitch Leigh (1928–2014) was an American musical theatre composer and theatrical producer. He graduated from Yale in 1951 with a Bachelor of Music, and in 1952 received his Master of Music under Paul Hindemith. He began his career as a jazz musician and writer of commercials for radio and television. In 1965 Leigh teamed with lyricist Joe Darion and writer Dale Wasserman for Man of La Mancha which ran for 2,328 performances. It followed with many Broadway hits including the 1985 revival of The King and I starring Yul Brynner. Leigh also composed the jingle: “Nobody Doesn’t Like Sara Lee.” He established Music Makers, Inc., in 1957 as a radio and television commercial production house and was its creative director. He also composed the instrumental music for the ABC Color Logo (1962–65) and the Benson and Hedges theme “The Dis-Advantages Of You”, which reached the Top 40 for The Brass Ring, 1967. LYRICS: Joe Darion, (1917–2001) was an American musical theatre lyricist, most famous for Man of La Mancha, which earned him two Tony Awards for: Best Lyricist with collaborator ‘Mitch Leigh’ winning for Best Composer, and for his lyrics as part of a Best Musical win. As a songwriter, he wrote such hits as “Changing Partners” and “Ricochet.” As an author, he also wrote the Broadway stage score for Shinbone Alley. Darion was born in New York City and educated at City College of New York. Joining ASCAP in 1951, he wrote for radio, TV, films, theatre and concerts. His chief musical collaborators include George Kleinsinger, Ezra Laderman, Guy Wood, John Benson Brooks, Herman Krasnow, and Mitchell Leigh. His popular-song compositions also include “A Woman Wouldn’t Be a Woman,” “Toujours Gai,” “Christmas Is a Feeling In Your Heart,” “The Growing-Up Tree,” “The Ho Ho Song,” “The Midnight Train,” “The Lollipop Tree,” “The Goonie Bird Song,” and “Little Red Train to the Zoo“.

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Man of La Mancha

synopsis

By Judy Vander Heide

Prison in Seville, Spain, at the end of the 16th century Miguel de Cervantes, playwright, poet, actor, and tax collector, has been arrested by the Spanish Inquisition for his attempt to collect taxes from the Catholic Church. Accompanied by his manservant, he is imprisoned in a seedy dungeon. There, he is dragged before his fellow prisoners, who threaten to subject him to a mock trial and who plan to confiscate his possessions, including the uncompleted manuscript of a novel, Don Quixote. Cervantes, seeking to save the manuscript, proposes his defense in the form of a play. The “court” agrees, and Cervantes and his manservant don make-up and costumes, transforming themselves into Don Quixote and Sancho Panza. They then play out the story with the prisoners taking the roles of other characters. Cervantes, as Don Quixote, a spindly and awkward figure, with his squire, the rotund bumpkin, Sancho Panza, ride forth to do battle with evil-doers in the name of chivalry. As they ride along the plains of La Mancha on their spavined nags, they spy a windmill in the distance and battle the “Great Enchanter.” Back on the road after the battle, the knight errant discusses with his faithful servant the importance of struggling against evil and restoring chivalry. Having seen a castle—actually an inn—in the distance, the pair proceeds to seek lodging there. 32

In the courtyard of the inn, the serving maid, Aldonza, is propositioned by a rough gang of muleteers. Don Quixote asks for chambers but grumbles that there are no dwarfs to welcome them. The innkeeper humors him because Quixote appears to be a gentleman. Don Quixote addresses the muleteers as Lords and Ladies, which causes much laughter, but he takes no offense as his attention has been captured by Aldonza; he immediately calls her his Lady “Dulcinea.” Aldonza is confused and angered by Quixote’s refusal to see her as she really is. The padre and Dr. Carrasco arrive at the inn and are frustrated by Quixote’s lunatic logic. They are interrupted by the arrival of an itinerant barber, and Quixote confiscates his shaving basin, believing it is the “Golden Helmet” of Mambrino and requests the innkeeper to knight him. Aldonza challenges him about his aberrant behavior and Quixote answers with his quest for “The Impossible Dream.” Aldonza has been swept up in Don Quixote’s idealism but is brought swiftly back to earth when the muleteers savagely beat and ravage her. Unaware of what has happened to his Lady Dulcinea, Quixote and Sancho depart from the inn in search of more adventures. To their great misfortune, they are set upon by a gang of gypsies and, bereft of their possessions, are forced to return to the inn.

UTAH OPERA 2016–17 SEASON

Man of La Mancha

synopsis

Aldonza sings her rejection and disillusionment with the Don Quixote credo while the Knight of the Mirrors defeats Quixote in a fight, revealing the idealistic knight to be “naught but an aging fool.” The knight reveals himself as Dr. Carrasco, sent by Quixote’s family to bring him to his senses. Now at home, the deluded Don Quixote lies dying. Aldonza, having followed, breaks into his chamber and pleads with him to restore the dream. He rises gamely to reaffirm his quest and then collapses. When Sancho addresses her as Aldonza, she declares that her name is Dulcinea.

Back in the dungeon, Cervantes’ tale of the gallant knight has deeply impacted his fellow prisoners, and they return his precious manuscript. Now the jailers of the Inquisition summon Cervantes and Sancho to face yet another trial, this one with the Inquisition. Left behind, the remaining prisoners sing “The Impossible Dream.”

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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Is There Any Other Kind of Dream? Understanding Don Quixote as a Popular Culture Icon By Jeff Counts

Miguel De Cervantes, courtesty of Biography.com

Let’s count the ways. Dozens of books. Multiple stage plays. Countless works of musical art. Numerous film adaptations from almost as far back as cameras go. And a Picasso. Miguel de Cervantes published Don Quixote in two parts way back in 1605 and 1615 and, though he could not have possibly known it then, he created one of history’s most potent cultural touchstones in the process. There is something immediately appealing in the antics of his story’s delusional antihero and, face it, we all keep room in our hearts for the lovable loser archetype because we have all mistaken the windmills of our world for monsters on occasion. More to the point, though, there is an elemental quality to the comical craziness of Don Quixote that can be bent to reflect the defining mood of virtually any era. As satire, the novel is a moral mirror of uncommonly powerful timelessness. Artists of all disciplines were drawn to the Quixote flame from the start. Dramatic imitations were produced even before the second half of the novel was available and one such, 34

The History of Cardenio, has been attributed to Shakespeare. It’s lost now so speculation is all we have, but based on what he did with the character of Falstaff, imagine what the bard might have been capable of with Don Quixote. Compared to the playwrights, it took a bit longer for other novelists to pressgang Quixote into their service, especially since there really was no such thing as a novelist in the modern sense when Cervantes wrote his groundbreaking book. The list of literary works that mined Don Quixote for inspiration is staggering and ongoing. Gustave Flaubert’s Madame Bovary. Fyodor Dostoyevsky’s The Idiot. Salman Rushdie’s The Moor’s Last Sigh. Whatever the level of the homage, each of the authors was attempting more than a simple re-casting of a known character with new materials. They desperately hoped to re-capture the genuine essence of that character, a character Dostoyevsky described as “beautiful only because he is ridiculous.”

Don Quixote, Picasso

Picasso has so many “most famous” works, but his Don Quixote might actually own the claim. You’ve seen it. Don UTAH OPERA 2016–17 SEASON

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Man of La Mancha

Is There Any Other Kind of Dream?

Quixote and Sancho Panza sit blackly saddled against a stark white backdrop that includes the sun and four distant windmills. Like the casual sketch-work of so many great painters, it looks like it could have been done in either 5 minutes or 5 years. That’s how spontaneous yet at the same time penetrating it seems, even at a glance. Picasso made the drawing for the cover of Les Lettres Francaises in August of 1955. It was created in celebration of the 350th anniversary of the Cervantes novel and, thanks to the well-worn enthusiasm for the subject, the picture has become nearly as ubiquitous as the book. The story of the magazine commission would be good enough, were it not for the wonderful mystery that shrouds the provenance of the drawing. There is some scholarly opinion on the topic that presumes Picasso painted the image years before, in 1947, and gave it to a pilot who did him a favor during the Spanish Civil War. Set that bit of intrigue against the fact that there was available throughout Spain in the early 1950s a funny little nut and bolt sculpture of Don Quixote that looked very much like the Picasso version in 3 dimensions. The craftsman’s name is unknown and we don’t know if Picasso ever saw the trinket but imagine that either one (or both, somehow) of these theories is true. The idea that Don Quixote was already alive both in Picasso’s mind and/or for sale as a gift shop talisman of Spanish pride long before the anniversary year of 1955 proves just how important the fabled lunatic was. Cinematic tributes to Cervantes are also legion. Filmmakers were exploring the story literally in France, Italy and America in the early years of the 20th century, but many others later set the scenes in variously oblique ways. George C. Scott UTAHOPERA.ORG / (801) 533-NOTE

starred in They Might Be Giants in 1971, a film that depicted a man who thought he was Sherlock Holmes and saw “windmills” everywhere that were ripe for tilting at. Consider also director Terry Gilliam of Twelve Monkeys and Brazil fame. He’s been struggling to mount a big-budget production of Don Quixote since 1998. The first attempt starred Jean Rochefort and Johnny Depp and it failed spectacularly enough that a documentary (Lost in La Mancha, 2002) was made to chronicle the tribulations. The fact that the latter film was originally intended as a behind-the-scenes puff piece stands as testament to Gilliam’s devotion to the project. He was more than happy to share his travails with us, and the irony of his situation is too obvious to comment upon further. A second try starring John Hurt, Depp and Ewan McGregor was proposed in 2005 but it stalled out just as quickly. As of this moment, Gilliam is at it again, this time with Michael Palin and Adam Driver in the cast of a new version called The Man Who Killed Don Quixote. More delays were announced in September. Gilliam, ever the optimist, has stated that “It is not dead. I will be dead before this film is.” Don Quixote is clearly more than a book, and always has been. He occupies a space in our global consciousness that lies somewhere between intellect and impulse. He is the immortal fool and we adore him. Who among us would not don the same armor and mount the same steed if it meant we might somehow outpace our demons? 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. 37

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Utah Opera’s production of Carmen. Photo credit Kent Miles.

Thank you for joining Utah Symphony | Utah Opera for this new and exciting 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 140,000 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. In our 2015–16 season alone, Utah Opera’s Resident Artists and Utah Symphony’s musicians performed in 99 community collaborations. In just September through December of 2016, Utah Opera’s talented Resident Artists visited nearly 70 schools across Utah, from Weber County down to Monument Valley! 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 801-869-9001.

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

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

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

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Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

Wen Yuan Gu Associate Principal Second

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Leon Chodos Associate Principal

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James Allyn Benjamin Henderson†† Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera#

CONTRABASSOON Leon Chodos

Karen Wyatt•• Jerry Chiu• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† 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

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

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 • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

Jeff Luke Associate Principal Peter Margulies Nick Norton TROMBONE Mark Davidson Principal Sam Elliot†† Acting Associate Principal

Lissa Stolz

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S ALT L AK E M AGA ZIN E WILL A N N O UN CE WIN N ER S ONL INE

Libretti & Libations Utah Opera presents Libretti & Libations, craft cocktails created by Salt Lake City’s top mixologists inspired by the imagination and adventure of Leigh’s Man of La Mancha at Capitol Theatre from January 21 – January 29, 2017.

# U TA HO PER A SIPS

Post a photo of your libation of choice (tag #UtahOperaSips) and you’ll be entered to win a pair of tickets to the weekend performance of Man of La Mancha. Visit all participating Libretti & Libations restaurants (utahopera.org/libations) to submit multiple entries before January 21. Step 1: Enjoy a craft cocktail inspired by Man of La Mancha Step 2: Post a pic on Twitter or Instagram with #utahoperasips Step 3: Hit the next hotspot for another Libretti & Libations cocktail

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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 can suggest: • Considering that Man of La Mancha was written during the middle of the Civil Rights movement in the 1960s, the same year as Martin Luther King Jr.’s “I Have a Dream” speech, what connections would you make between this period of American history and the themes in the musical? Are there other periods of history where these themes might have the same relevance? Why? • Don Quixote says that he lives in order to “add some measure of grace to the world” while Aldonza believes that “the world’s a dungheap and we are maggots that crawl on it.” Whose view of the world and humanity is more aligned with yours? Why? • Playwright Dale Wasserman has said about Don Quixote that “He lays down the melancholy burden of sanity and conceives the strangest project ever imagined…to become a knight-errant and sally forth into the world to right all wrongs.” What does the playwright mean by “the melancholy burden of sanity”? What is the difference between sanity and madness? How do we know if a person is sane or crazy? Is sanity more defined by behavior, psychology/thoughts, or science and medicine? • What do you think happens to Don Quixote/Cervantes at the end of the musical? Is he executed or released at his Spanish Inquisition trial? Do we have any information in the script that provides the answer? If we look closely at the themes of the musical, how does his ultimate fate affect our understanding of what the musical says to its audience about hope and despair? 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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Crescendo & Tanner Societies

“You are the music while the music lasts.” ~T.S. Eliot Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact 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

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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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†Deceased 42

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Legacy Giving

Utah Opera Resident Artists perform school show Who Wants to be an Opera Star while touring Grand and San Juan counties in November 2016.

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 December 1, 2016. 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 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 Encore $100,000 & above Anonymous Scott & Kathie Amann Doyle Arnold & Anne Glarner Dr. J. R. Baringer & Dr. Jeannette J. Townsend 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 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 Overture $25,000 & above Anonymous in Honor of the March of Dimes Arnold Machinery Mr. & Mrs. William C. Bailey BMW of Murray 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

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Season Honorees 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

General Electric Foundation Ann & Gordon Getty Foundation Goldman Sachs 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 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*

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 Howard & Betty Clark** Daynes Music* Skip Daynes* Delta Air Lines* The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Dr. & Mrs. Ralph Earle *In-kind gift Sue Ellis **In-kind & cash gift Chip & Gayle Everest † Deceased Robert & Elisha Finney

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Corporate & Foundation Donors / Individual Donors

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 Macy’s Foundation 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 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* Hyatt Place Downtown* Intermountain Healthcare Jones & Associates Lewis A. Kingsley Foundation Marriott City Center* MedAssets Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation 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* Bill & Connie Timmons Foundation UMA Financial Services Inc. United Jewish Community Endowment Trust The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation ABRAVANEL & PETERSON SOCIETY

$5,000 to $9,999 Anonymous (4) Fred & Linda Babcock Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair Carol, Rete & Celine Browning

UTAH OPERA 2016–17 SEASON

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

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T H A N K YOU T O OU R 2017 S E A S ON S P ONS OR

Individual Donors

Judy & Larry Brownstein Neill & Linda Brownstein Thomas Christofferson Amalia Cochran Marc & Kathryn Cohen David & Karen Dee Spencer & Cleone† Eccles Tom Farkas Jack & Marianne Ferraro John F. Foley, M.D. & Dorene Sambado, M.D.** Joseph & Dixie Furlong Jeffrey L. Giese, M.D. & Mary E. Gesicki David & SandyLee Griswold** Ray & Howard Grossman John & Dorothy Hancock Robert & Carolee Harmon Gary & Christine Hunter Mary P. Jacobs† & Jerald H. Jacobs Family Dale & Beverly Johnson G. Frank & Pamela Joklik Jeanne Kimball Thomas & Jamie Love Paul Meecham & Laura Leach Rayna & Glen Mintz Nathan & Karen B. Morgan Dr. Thomas Parks & Dr. Patricia Legant Brooks & Lenna Quinn Dr. Richard & Frances Reiser 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

UTAHOPERA.ORG / (801) 533-NOTE

Robert W. Brandt Jonathan & Julie Bullen Richard & Suzanne Burbidge Lindsay & Carla Carlisle Mark & Marci Casp Rebecca Marriott Champion Paul & Denise Christian 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 James & Penny Keras Hanko & Laura Kiessner Harrison & Elaine Levy Bill Ligety & Cyndi Sharp Herbert C. & Wilma S. Livsey Daniel & Noemi P. Mattis Michael & Julie McFadden Rich & Cherie Meeboer Richard & Jayne Middleton Richard & Ginni Mithoff Mr. & Mrs. Ralph Muller James & Ann Neal Marilyn H. Neilson Alvin† & Helene Richer James & Anna Romano David & Lois Salisbury William G. Schwartz & Joann Givan Thomas & Gayle Sherry Gibbs & Catherine W. Smith Elizabeth Solomon Marilyn Sorensen

Individual Donors

Dawn & Mitch Taubin Verl & Joyce Topham Mr. & Mrs. Vincent Trotta Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff Ardean & Elna Watts Suzanne Weaver & Charles Boynton David & Jerre Winder E. Art Woolston & Connie Jo HepworthWoolston 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 Elizabeth & Michael Liess Milt & Carol Lynnes

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.

UTAH OPERA 2016–17 SEASON

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Individual Donors

David & Donna Lyon Mr. & Mrs. Wayne Lyski Lisa K. Mariano Jed & Kathryn Marti Christopher & Julie McBeth 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 Ann G. Petersen 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 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 John & Susan Walker Susan Warshaw Bryan & Diana Watabe Jeremy & Hila Wenokur Caroline & Thomas Wright

PATRONS

$1,000 to $1,999 Anonymous (2) Carolyn Abravanel Fran Akita Christine A. Allred Patricia Andersen Drs. Crystal & Dustin Armstrong Graham & Janet Baker 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

UTAH OPERA 2016–17 SEASON

Individual Donors

Maxine & Bruce Johnson Chester & Marilyn Johnson 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 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 12/1/16

“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 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 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 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 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

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 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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UTAH OPERA IN-SCHOOL PRESENTATIONS

utah opera resident artist programs are offered on a 3–5 year rotating schedule to every school in the state of Utah. Our Resident Artists perform daily in schools along the Wasatch Front; during four weeks each season, they travel to communities outside the metropolitan area. In the 2016–17 season, they have already performed in Wayne, Garfield, Grand, San Juan and Carbon schools. In the spring, they will perform in Washington schools as well as more schools in Grand and San Juan School Districts. Their programs are age-appropriate and support the core curriculum.

WHO WANTS TO BE AN OPERA STAR?

OPERA UP CLOSE for high school choral music classes

for elementary school assemblies

FREEZE-FRAME: THE ELIXIR OF LOVE for secondary school assemblies

For more information about these and other Utah Opera Education programs please visit www.usuoeducation.org

FEEDBACK FROM THE SCHOOLS From a student at Riverview Elementary (Nebo School DiStrict):

From a teacher at Fremont Elementary (DaviS School DiStrict):

I love how you got the audience excited, you weren’t nervous, you were great actors, you have amazing expression, you memorized your lines, and even sang in Italian! But above all it was just really fun.

Your program inspired me to try to incorporate more music into my curriculum.

From the principal at Enterprise Elementary (WaShiNgtoN School DiStrict): The students participated and were able to really enjoy everything presented. They were engaged and are still singing in the halls.

From a teacher at Duchesne High School (DucheSNe School DiStrict): Thanks so much for sending your fabulous troupe to our school. We LOVED them and the kids ate up everything they said and did.

WE INVITE YOU TO SUPPORT OUR EDUCATION AND COMMUNITY OUTREACH PROGRAMS. By donating, you can help provide arts events for students and classroom teachers, invest in the future citizens of Utah, and support your Utah Opera. Contact our Development Department at (801) 869-9015.

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

Stream KUER’s Classical Station on your mobile device. Download the KUER app from the App Store or Google Play. Visit kuer.org/app for details

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 Bambara Bank of American Fork Challenger School City Creek Living Classical 89 Darling Me Avenue Every Blooming Thing Grand America Hale Centre Theatre Hamilton Park Interiors KUED KUER Little America MAC The Madeleine Choir School Martine New Yorker OC Tanner RC Willey Residence Inn San Francisco Design Security National Mortgage Sky Harbor Suites Tuacahn Amphitheatre University Federal Credit Union University of Utah Health Care Utah Festival Opera & Musical Theatre Utah Food Services Zion’s Bank If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833

Melissa Robison HUDSON PRINTING COMPANY www.hudsonprinting.com 241 West 1700 South Salt Lake City, UT 84115 801-486-4611 AUDITING AND ACCOUNTING SERVICES PROVIDED BY

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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 2016â&#x20AC;&#x201C;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 veteransâ&#x20AC;&#x2122; 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

USUO.ORG/FESTIVAL

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