UTAHOPERA.ORG
The
Lehár’s
Merry WidoW
January 16–24, 2016
Christopher MCBeth / Artistic Director
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Contents PUBLISHER Mills Publishing, Inc.
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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.
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@UtahOpera
LEHÁR’S
THE MERRY WIDOW
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6 Welcome 8 Artistic Director’s Welcome 10 Board of Trustees 15 Costumes of The Merry Widow 16 Season Honorees 22 Staff Spotlight: John Cook 24 Production Sponsors 26 Cast / Artistic Staff / Chorus 34 Synopsis 36 Composer & Librettists 37 “Let’s All Go to Maxim’s” by Jeff Counts 40 “Background of The Merry Widow” by Michael Clive 44 Utah Symphony | Utah Opera Healthcare Night 47 Utah Symphony 48 Education: Utah Opera In-School Programs 49 Campaign for Perpetual Motion 52 Crescendo & Tanner Societies 53 Plan Big 54 Bringing our Creative Community Together 58 Corporate & Foundation Donors 60 Individual Donors 67 Classical 89 Broadcasts 69 Administration 72 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.
5
Welcome
It is our pleasure to welcome you to the Janet Quinney Lawson Capitol Theatre and another Utah Opera performance featuring great, live music and a distinguished, quality production. Over the last few years, the artists, board, and staff of Utah Symphony | Utah Opera have worked very hard to bring our artistry to a new level, and we want the world to know about it.
Patricia A. Richards Interim President & CEO David A. Petersen USUO Board of Trustees Chair
Utah Opera boasts a state of the art facility for set and costume building and is uniquely positioned to maximize this facility for our audiences to enjoy compelling productions created by local artisans. If you were with us for our last presentation of The Merry Widow in May of 2000, you might remember the stunning sets and costumes we created at this facility. This production is one of our most popular rentals and garners press attention whenever it is featured in another city—most recently in Detroit, Michigan and Edmonton, Canada. We are delighted to share these inspired designs by Michael Yeargan and Susan Memmott Allred with our Utah Opera audiences again. Future goals for Utah Opera include building and creating additional new productions through partnerships with other opera companies. These spectacular productions and the presence of professional musicians as well as scenic and costume studios in Utah are possible thanks to the support of many local community leaders, detailed in our Campaign and Season Sponsor listings in this playbill. This great company of artists belongs to our community—it is ours to care for and to preserve, to cherish and to celebrate. Thanks to your support and advocacy, we believe that Utah Symphony | Utah Opera is positioned to shine brightly as Utah’s cultural ambassador for many years to come.
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UTAH OPERA 2015–16 SEASON
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Artistic Director’s Welcome
Dear Utah Opera friends and family, Happy New Year and welcome to the Historic Janet Quinney Lawson Capitol Theatre. Even with the recent Holidays behind us, January is a bustling time of the year, and as the celebrations continue, Utah Opera presents one of the ultimate party pieces…in fact there are three parties in The Merry Widow!
Christopher McBeth Artistic Director
Having recently attended another production of this operetta, I was inclined to reflect on the fact that there have been several presentations of Franz Lehár’s most famous work, which has just celebrated 105 years of existence. Perhaps it is because it is pure fun. Many consider opera that art form “where someone dies at the end.” I suppose this is justified by the fact that so many stories within operas are based on and are, indeed, tragedies. However, tonight’s story...including elements of money, politics, and complicated relationships…is as whimsical as they come. Perhaps another reason The Merry Widow is so popular currently is the lively, up-tempo, hummable music reminiscent of folk tunes…much of it familiar to us as audience members. At a time when so much going on around us in the world requires serious consideration and difficult dialogue, familiar and comfortable sights and sounds can be just the catharsis we need. I know I find the energy and joy in the music and staging of this operetta infectious and can’t help but be in a better mood afterward. The ability of operas to be many things to many people is certain one of the most powerful things about this art form. Sometimes dramatic, sometimes a message, sometimes poignant…tonight…it is a party (or three) with beautiful set, costumes and music. Enjoy!
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UTAH OPERA 2015–16 SEASON
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Board of Trustees
ELECTED BOARD David A. Petersen* Chair
Bob Wheaton John W. Williams Thomas Wright
Jesselie B. Anderson Doyle L. Arnold* Edward R. Ashwood Dr. J. Richard Baringer Kirk A. Benson Judith M. Billings Howard S. Clark Gary L. Crocker David Dee*
Alex J. Dunn Kristen Fletcher Kem C. Gardner* David Golden Gregory L. Hardy Thomas N. Jacobson Ronald W. Jibson* Thomas M. Love R. David McMillan Brad W. Merrill Greg Miller Edward B. Moreton Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Shari H. Quinney Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart Naoma Tate Thomas Thatcher
LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Sr. Jon Huntsman, Jr. G. Frank Joklik
Clark D. Jones Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker Patricia A. Richards*
Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder
TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates
Burton L. Gordon Richard G. Horne Warren K. McOmber
Mardean Peterson E. Jeffrey Smith Barbara Tanner
HONORARY BOARD Senator Robert F. Bennett Rodney H. Brady Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous
Lisa Eccles Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Marilyn H. Neilson O. Don Ostler Stanley B. Parrish
Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith Ardean Watts
William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Patricia A. Richards* Interim President & CEO
MUSICIAN REPRESENTATIVES
Travis Peterson* Karen Wyatt* EX OFFICIO
Donna L. Smith Utah Symphony Guild Genette Biddulph Ogden Symphony Ballet Association Dr. Nathaniel Eschler Vivace Judith Vander Heide Ogden Opera Guild *Executive Committee Member
NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Susan H. Carlyle Chair (Utah) (Texas)
Harold W. Milner (Nevada)
David L. Brown (S. California)
Robert Dibblee (Virginia)
Marcia Price (Utah)
Anthon S. Cannon, Jr. (S. California)
Senator Orrin G. Hatch (Washington, D.C.)
Alvin Richer (Arizona)
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UTAH OPERA 2015–16 SEASON
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A History of the Costumes of The Merry Widow AN INTERVIEW WITH UTAH OPERA’S COSTUME DIRECTOR VERONA GREEN From a collection of perspectives written by community writers providing a ‘backstage’ look at Utah Opera
In 2000, Utah Opera staged The Merry Widow, an operetta by Franz Lehár featuring a tapestry of colorful costumes and rich designs. At the time, the company planned to use the same costumes and set constructed for the San Francisco Opera. It quickly became clear that the stages would not hold the same set, and the rental cost of the costumes designed by Thierry Bosquet, a famous French costume designer, would be “astronomical.” “So the decision was made to build a smaller scale set and costumes,” recalls current Utah Opera Costume Director Verona Green. Ms. Green, who was a member of the original costume design team at Utah Opera, explains that then resident costume designer Susan Allred was given three hours to consult with Bosquet in San Francisco on the design and then just four days in New York to source the fabrics for the show. “The Merry Widow costumes are beautiful on stage,” Ms. Green declares. “There is so much texture and depth to the way that Susan executed these designs. Even though ours were not made of fabrics that were $150 a yard, they don’t look like they came out of some cheap, bland fabric.”
In total, 36 costumes were built for the leads, with each woman needing two ball gowns plus a third outfit, in addition to 84 other women’s dresses. Hats took the milliner an average of 40 hours each to build; 25 men needed tails. “And feathers. We had to order so many feathers!” laughs Ms. Green. “It looked like a herd of birds.” After 15 years of regular use—Utah Opera has rented The Merry Widow costumes out to various opera companies in North America at least eight times—the show was due for a rebuild before the January 2016 production. “We looked at everything to see what was wearing out and what we could fix,” Ms. Green explains. They also considered what could be done to make the pieces more workable for changing casts. Additionally, the staging of the opera’s cancan girls will change with this season’s production. “This time we are going to do it the way it’s written in the libretto where these are dancers who can sing,” she says, so the dresses and hats had to be rebuilt to reflect their expanded role. In short, the costumes you’ll see in Utah Opera’s The Merry Widow reflect the work of six full-time and seven part-time professionals who’ve spent the past nine months refurbishing and altering these original works. Toi toi toi! By Heather L. King
UTAHOPERA.ORG / (801) 533-NOTE
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Season Honorees
Utah Symphony | Utah Opera is grateful to our generous donors who through annual cash gifts and multi-year commitments at the following levels make our programs possible. The following listing reflects contributions and multi-year commitments received as of 11/30/2015.
M I L L EN I U M $250,0 0 0 & A BOV E
EDWARD ASHWOOD & CANDICE JOHNSON
LAWRENCE T. & JANET T. DEE FOUNDATION
MR. & MRS. MARTIN GREENBERG
GAEL BENSON
E.R. (ZEKE) & KATHERINE W.† DUMKE
DELL LOY & LYNETTE HANSEN
CAROL & TED NEWLIN
MARK & DIANNE PROTHRO CORPORATION
SHIEBLER FAMILY FOUNDATION
UTAH STATE LEGISLATURE/ UTAH STATE OFFICE OF EDUCATION
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JACQUELYN WENTZ
UTAH OPERA 2015–16 SEASON
Season Honorees
DIANE & HAL BRIERLEY
KEM & CAROLYN GARDNER
ANTHONY & RENEE MARLON
PATRICIA A. RICHARDS & WILLIAM K. NICHOLS
THEODORE SCHMIDT
NAOMA TATE & THE FAMILY OF HAL TATE
UTAHOPERA.ORG / (801) 533-NOTE
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Season Honorees EN CO R E $10 0,0 0 0 & A BOV E
DOYLE ARNOLD & ANNE GLARNER
DR. J. R. BARINGER & DR. JEANNETTE J. TOWNSEND
R. HAROLD BURTON FOUNDATION
THIERRY & CATHERINE FISCHER**
ROGER & SUSAN HORN
THE RIGHT REVEREND CAROLYN TANNER IRISH**
RONALD & JANET JIBSON
EMMA ECCLES JONES FOUNDATION
FREDERICK Q. LAWSON FOUNDATION
EDWARD & BARBARA MORETON
GIB & SUSAN MYERS
WILLIAM & CHRISTINE NELSON
DR. DINESH & KALPANA PATEL
ANONYMOUS
**
RESTAURANT TAX RAP TAX
B R AVO $50,0 0 0 & A BOV E
Scott & Jesselie Anderson B. W. Bastian Foundation Thomas Billings & Judge Judith Billings Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Grand & Little America Hotels* Montage Deer Valley**
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Scott & Sydne Parker Frank R. Pignanelli & D’Arcy Dixon Albert J. Roberts IV St. Regis Deer Valley** Wells Fargo Wheeler Foundation Lois A. Zambo
UTAH OPERA 2015–16 SEASON
Utah Symphony | Utah Opera 2015-16 Season Sponsor
George S. and Dolores Doré Eccles
Eccles Foundation Board of Directors Robert M. Graham • Spencer F. Eccles • Lisa Eccles
The Tradition Continues
F
or more than 30 years, unwavering support from the George S. and
Dolores Doré Eccles Foundation has been integral to the success of Utah Symphony | Utah Opera. It remains so today!
Season Honorees OV ER T U R E $25,0 0 0 & A BOV E
Arnold Machinery Mr. & Mrs. William C. Bailey
Richard K. & Shirley S. Hemingway Foundation
S. J. & Jessie E. Quinney Foundation Simmons Family Foundation
BMW of Murray
Janet Q. Lawson Foundation
Harris H. & Amanda Simmons
BMW of Pleasant Grove
Love Communications*
Stein Eriksen Lodge**
Rebecca Marriott Champion
Markosian Family Trust
Summit Sotheby’s
Chevron Corporation
Carol & Anthony W. Middleton,
Nora Eccles Treadwell
C. Comstock Clayton Foundation Thomas D. Dee III & Dr. Candace Dee
Jr., M.D. OPERA America’s Getty Audience Building Program
Foundation Vivint M. Walker & Sue Wallace
Delta Air Lines*
James A. & Marilyn Parke
Jack Wheatley
John H. & Joan B. Firmage
Charles Maxfield & Gloria F.
John W. Williams
Kristen Fletcher & Dan McPhun Holland & Hart**
Parrish Foundation
Workers Compensation Fund
Alice & Frank Puleo
Edward & Marelynn Zipser
Hyatt Escala Lodge at Park City** Tom & Lorie Jacobson Josh & Cherie James G. Frank & Pamela Joklik Robert & Debra Kasirer Katharine Lamb Louis Scowcroft Peery Charitable Foundation Marriott Residence Inn* Pete & Cathy Meldrum Harold W. & Lois Milner Rayna & Glen Mintz Moreton Family Foundation Fred & Lucy Moreton Terrell & Leah Nagata National Endowment for the Arts Park City Chamber/Bureau David A. Petersen Glenn D. Prestwich & Barbara Bentley Promontory Foundation ProTel* David & Shari Quinney Radisson Hotel* Brad & Sara Rencher Dr. Clifford S. Reusch† Resorts West* The Joseph & Evelyn Rosenblatt Charitable Fund David & Lois Salisbury Salt Lake City Arts Council
Lori & Theodore Samuels Pauline Collins Sells Sounds of Science Commissioning Club George & Tamie† Speciale Stalwart Films LLC* Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds Barbara Tanner Zibby & Jim Tozer Tom & Caroline Tucker Utah Food Services* Utah Hispanic Chamber of Commerce* Utah Symphony Guild U.S. Bancorp Foundation
M A E S T RO $10,0 0 0 & A BOV E
Adobe Scott & Kathie Amann American Express Ballard Spahr, LLP Haven J. Barlow Family H. Brent & Bonnie Jean Beesley Foundation Berenice J. Bradshaw Charitable Trust Judy Brady & Drew W. Browning BTG Wine Bar* Caffe Molise* Marie Eccles Caine FoundationRussell Family Chris & Lois Canale CenturyLink Howard & Betty Clark** Daynes Music* Skip Daynes* The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Dr. & Mrs. Ralph Earle Sue Ellis Thomas & Lynn Fey Gastronomy* General Electric Foundation Ann & Gordon Getty Foundation Elaine & Burton L. Gordon Douglas & Connie Hayes Susan & Tom Hodgson
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See pages 58–62 for an additional listing of our generous donors whose support has made this season possible.
* In-Kind Gift ** In-Kind & Cash Gift † Deceased
UTAH OPERA 2015–16 SEASON
Staff Spotlight: John Cook
John Wayne Cook is the scenic artist for Utah Opera. He is a man who loves his work, stating that “It is a blessing to do what I love.” His job is to paint the sets for Utah Opera productions as well as several regional companies across the country. In his spare time he paints drops for Ballet West and works at Bonneville High School as the set design technical advisor. He is there to supervise and lets the students do all of the work and learning.
John Cook Scenic Artist
John started out wanting a career in fine art. He grew up in Idaho and loved drawing and painting. Someone suggested he could use his talent in the theater, something he hadn’t considered before, and that opened up all kinds of possibilities for him. He started at the old Promised Valley Playhouse designing sets for plays like The Student Prince and The Unsinkable Molly Brown and then kept going. “People who live as fine artists take a long time to get there, but a scenic artist can make a career,” he discovered. After doing what he loves for 35 years, John wanted to find a way to share that with others. He set up a mentor program between the University of Utah and Utah Opera. He has fine art students work with him, learning the craft from the ground up. It is an unparalleled experience to work with a world renowned professional company. For John the next challenge is already right around the corner. He will begin working on the sets for Moby-Dick in February. “I’m doing the same thing I did as a kid: creating and using my talent making things, but now as a professional.”
By Connie Lewis
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UTAH OPERA 2015–16 SEASON
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Production Sponsors Utah Opera gratefully acknowledges the following generous sponsors who have made this production of Lehár’s The Merry Widow possible.
PRODUCTION SPONSOR
EMMA ECCLES JONES FOUNDATION OPERA ARTISTIC DIRECTOR SPONSOR
THEODORE SCHMIDT IN LOVING MEMORY OF ELIZABETH SCHMIDT SET AND COSTUME SPONSOR
CONDUCTOR SPONSOR
JOANNE SHIEBLER GUEST ARTIST FUND LEADING LADY SPONSOR
SUPERTITLES SPONSOR
OPENING PERFORMANCE SPONSORS
NAOMA TATE AND THE FAMILY OF HAL TATE PERFORMANCE SPONSORS
FLORAL SEASON SPONSOR
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CA S T PA R T Y S P O N S O R
UTAH OPERA 2015–16 SEASON
The Merry Widow
program
The Merry Widow Jan 16, 18, 20, 22 | 7:30 pm Jan 24 | 2 pm Janet Quinney Lawson Capitol Theatre by Franz LehĂĄr Libretto by Viktor LĂŠon and Leo Stein Opera sung in English with English supertitles World Premiere: Theatre an der Wien, Vienna, Dec. 30, 1905 Previous Utah Opera Productions: 2000, 1985
The performance will last approximately three hours with two intermissions.
CAST (in order of appearance) Baron Zeta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Wanko Hanna Glawari . . . . . . . . . . . . . . . . . . . . . . . . . . Caroline Worra Count Danilo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel Belcher Valencienne . . . . . . . . . . . . . . . . . . . . . . . . . . .Sharin Apostolou Camille . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert McPherson Raoul de St. Brioche . . . . . . . . . . . . . . . . . . . . . . Tyson Miller** Vicomte Cascada . . . . . . . . . . . . . . . . . . . . . . . . . Shea Owens** Bogdanovitch . . . . . . . . . . . . . . . . . . . . . . . . Christian Sanders* Sylviane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jessica Jones* Kromov . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Markel Reed* Olga . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sarah Coit* Pritschitsch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Nakatani Praskovia . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anne Stewart Mark Njegus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Curt Olds
ARTISTIC STAFF
Set & Costumes constructed by Utah Opera. *Current Utah Opera Resident Artist. **Former Utah Opera Resident Artist.
UTAHOPERA.ORG / (801) 533-NOTE
Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gerald Steichen Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Gately Assistant Director/Choreographer . . . . . . . . . . . . . . Kyle Lang Chorus Master . . . . . . . . . . . . . . . . . . . . . . . . Susanne Sheston Set Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Yeargan Costume Designer . . . . . . . . . . . . . . . . Susan Memmott Allred Lighting Designer . . . . . . . . . . . . . . . . . . . . Nicholas Cavallaro Wigs/Make-up Designer . . . . . . . . . . . . . . . . . . Yancey J. Quick Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristin Roach Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julie Chin Assistant Stage Manager . . . . . . . . . . . . . . Vanessa Chumbley 2nd Assistant Stage Manager . . . . . . . . . . . . . . . Joseph Killian Supertitle Musician . . . . . . . . . . . . . . . . . . . . Timothy Accurso* 25
The Merry Widow
cast
Michael Wanko (New York) Baron Zeta Most Recently at Utah Opera, Tosca Recently: The Barber of Seville, Utah Opera; The Elixir of Love, Opera on the James; The Marriage of Figaro, Austin Lyric Opera; The Mikado, Michigan Opera Theatre Caroline Worra (New York) Hanna Glawari Utah Opera Debut Recently: The Long Walk, Opera Saratoga (World Premiere); Amleto, Baltimore Concert Opera and Opera Southwest; Lizzie Borden, Boston Lyric Opera and Tanglewood Upcoming: A Streetcar Named Desire, Tulsa Opera; The Poe Project: Buried Alive and Embedded, Fort Worth Opera; Peter Grimes, The Princeton Festival; Greek, Boston Lyric Opera Daniel Belcher (Missouri) Count Danilo Most Recently at Utah Opera, Turandot Recently: Armide, Royal Opera House, Versailles; Opera Atelier; The Magic Flute, Opera Colorado; The Long Walk, Opera Saratoga Upcoming: The Scarlet Letter, Opera Colorado; The Mikado, Chautauqua Opera Robert McPherson (Washington) Camille Most Recently at Utah Opera, The Barber of Seville Recently: Armida, La juive, Rossini’s Otello, Opera Vlaandaren; Anna Bolena, Welsh National Opera; Wozzeck, Houston Symphony Upcoming: Les pêcheurs de perles, New Israeli Opera; Le nozze di Figaro, Metropolitan Opera 26
UTAH OPERA 2015–16 SEASON
The Merry Widow
cast
Sharin Apostolou (New York) Valencienne Most Recently at Utah Opera, Falstaff Recently: My Fair Lady, Ash Lawn Opera; The Pirates of Penzance, Pensacola Opera; Carousel, The Glimmerglass Festival Upcoming: The Mikado, Anchorage Opera; The Merry Widow, Pensacola Opera Tyson Miller (Texas) Raoul de St. Brioche Most Recently at Utah Opera, The Rake’s Progress Recently: Salome, The Santa Fe Opera; The Abduction from the Seraglio, La Traviata, Utah Opera Upcoming: La fanciulla del West , The Santa Fe Opera; Capriccio, The Santa Fe Opera Shea Owens (Arizona) Vicomte Cascada Most Recently at Utah Opera, Turandot Recently: Christmas Concert, Opera Birmingham and Arizona Opera; The Impresario & Le Rossignol, The Santa Fe Opera; Written in the Stars, The Santa Fe Opera Upcoming: The Face on the Barroom Floor, Grand Junction Symphony Orchestra Christian Sanders (Colorado) Bogdanovich Utah Opera Debut Recently: Current Utah Opera Resident Artist; Il barbiere di Siviglia, Opera de Tijuana; Turandot, Opera Company of Middlebury; The Picture of Dorian Gray, Aspen Opera Theatre; Upcoming: Aida, Utah Opera
UTAHOPERA.ORG / (801) 533-NOTE
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The Merry Widow
cast
Jessica E. Jones (Idaho) Sylviane Utah Opera Debut Recently: Current Utah Opera Resident Artist; Lucia di Lammermoor, Opera in the Heights; Die Zauberflöte, Opera Saratoga; L’elisir d’amore, Crested Butte Music Festival Upcoming: The Marriage of Figaro, Utah Opera Markel Reed (North Carolina) Kromov Utah Opera Debut Recently: Current Utah Opera Resident Artist; Tosca, Utah Opera; Le nozze di Figaro, Bronx Opera; Don Giovanni, Soo Opera Theatre Upcoming: The Marriage of Figaro, Utah Opera Sarah Coit (Florida) Olga Most Recently at Utah Opera, The Child and the Enchantments Recently: Current Utah Opera Resident Artist; Emmeline, La Rondine, Opera Theatre of St. Louis Upcoming: Don Giovanni and Roméo et Juliette, The Santa Fe Opera Kevin Nakatani (California) Pritschitsch Most Recently at Utah Opera, Tosca Recently: La bohème and How to Succeed in Business Without Really Trying, Utah Festival Opera & Musical Theatre; Il barbiere di Siviglia, Opera Idaho Upcoming: Gianni Schicchi and Ragtime, Utah Festival Opera & Musical Theatre
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UTAH OPERA 2015–16 SEASON
The Merry Widow
cast / artistic staff
Anne Stewart Mark (Utah) Praskovia Utah Opera Debut Recently: The Music Man, Emma, Noises Off, Les Misérables, The Three Musketeers, Pioneer Theatre Company; The Clean House, Nine, Going to St. Ives, Salt Lake Acting Company Curt Olds (New York) Njegus Utah Opera Debut Recently: The Magic Flute, Hawaii Opera Theatre; Pirates of Penzance, Nashville Opera; My Fair Lady, Ash Lawn Opera Upcoming: The Pirates of Penzance, Atlanta Opera; The Mikado, Anchorage Opera Gerald Steichen (Oklahoma) Conductor Most Recently at Utah Opera, The Barber of Seville Recently: The Merry Widow, Michigan Opera Theater; Madama Butterfly, Anchorage Opera; Guest Conductor, Oregon Symphony, Macon Symphony Upcoming: Music Director, Ridgefield Symphony Orchestra; Pianist/Conductor, Harare International Festival of the Arts David Gately (Washington) Director Most Recently at Utah Opera, Little Women Recently: Aida, Opera Colorado; La fanciulla del West, Des Moines Metro Opera; La Traviata, Fort Worth Opera Upcoming: Showboat, Kentucky Opera; Il barbiere di Siviglia, Fort Worth Opera
UTAHOPERA.ORG / (801) 533-NOTE
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The Merry Widow
artistic staff
Kyle Lang (Maryland) Assistant Director and Choreographer Utah Opera Debut Recently: La bohème, Virginia Opera, Director; Don Quixote and the Duchess, Central City Opera, Director; La traviata, Fort Worth Opera, Choreographer Upcoming: Tosca, San Diego Opera, Assistant Director; The Merry Widow, Boston Lyric Opera, Choreographer Susanne Sheston (Iowa) Chorus Master Most Recently at Utah Opera, The Barber of Seville Recently: Cold Mountain, The Santa Fe Opera; Daughter of the Regiment, The Santa Fe Opera; Rigoletto, The Santa Fe Opera Upcoming: Roméo et Juliette, The Santa Fe Opera; La fanciulla del West, The Santa Fe Opera Susan Memmott Allred (Utah) Costume Designer Most Recently at Utah Opera, Tosca Recently: PBS Christmas special with Mormon Tabernacle Choir 2015; Resident Designer, Utah Opera, 1979–2011; Mormon Miracle Pageant; Utah Shakespeare Festival; Southern Utah State University Upcoming: The Marriage of Figaro, Utah Opera
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UTAH OPERA 2015–16 SEASON
The Merry Widow
UTAH OPERA CHORUS Sidnei Alferes Anadine Burrell Cody Carlson Michael G. Cram Merrill Flint Paula Fowler Kevin Golub Jennifer Hancock Jayson Henderson Kristin Jensen Karissa Kim Tom Klassen Hillary Koolhoven Phillip A. Lammi Nelson LeDuc Steve Mathews Julie McBeth Christine McDonough Heather Morrey Michael Moyes Daniel Nichols Gonzalo A. Peña Ruth Rogers
chorus / dancers
Mark Sorensen Carolyn Talboys-Klassen Scott Tarbet Sammie Tollestrup Daniel Tuutau Gioconda A. Vaca Dawn Veree Jillian Sky Weaver Kathy Wight Ruth Wortley Brooke Yadon DANCERS Amelia Rose Moore, Frou-Frou Rebecca Palmer, Clo-Clo Katelin Ruzzamenti, Margot Breeanne Saxton, Jou-Jou Samantha Stuck, Lolo Alicia Trump, Dodo Jacob Fields Max Hall Michael Hernandez Timothy Zechariah Knoll
UTAH OPERA Open prior to and during the intermission of Utah Opera performances. Located in the Capitol Theatre lobby.
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UTAH OPERA 2015–16 SEASON
Love without limits
Ve rdi’s
AIDA
March 12, 14, 16, 18 (7:30 pm), March 20 (2 pm) Janet Quinney Lawson CapitoL theatre
Would you choose love or loyalty? In AncIent egypt, a captive Ethiopian princess, Aida, is torn between her love for the Egyptian commander RadamĂŠs and her loyalty to her own father and country. The lovers must fend off the schemes of a fiercely jealous Egyptian princess and decide whether true love trumps honor and duty.
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The Merry Widow
synopsis
The Merry Widow by Franz Lehár ACT I Pontevedrian Embassy, Paris, turn of the 20th century A diplomatic reception taking place at the Pontevedrian Embassy has been promulgated by Ambassador Zeta in the hopes that his Parisian guests will raise money on behalf of the insolvent nation of Pontevedro. Unperturbed that his lovely young wife, Valencienne, is flirting with dashing Camille de Rosillon, the elderly pompous Baron Zeta assumes her behavior is intended only to further the Pontevedrian cause. Camille, however, has intentions other than the welfare of Pontevedro and inscribes “I love you” on Valencienne’s fan—the subsequent loss of which is destined to provide much contretemps in the next few days. The wealthy attractive widow, Hanna Glawari, enters, and Zeta proceeds with his plan that she should marry Danilo Danilovich, the Embassy Secretary, a charming libertine renowned for his dissolute behavior. Such a marriage would ensure the widow’s fortune would remain in Pontevedro. Meanwhile Valencienne is inconsolable that she has lost her fan that bears the indiscreet message from Camille. Now Danilo arrives from Maxim’s, his usual haunt, and he and Hanna reminisce about their mutual past. Although they were once deeply in love, Hanna, the daughter of a poor farmer, was considered unfit 34
for marriage by Danilo’s aristocratic family. Clearly the two are still in love, but Danilo refuses to acknowledge his feelings although he does promise Zeta that he will prevent any foreign fortune seekers from marrying Hanna. When she selects him for a ladies’ choice dance, he complies and, although they are estranged for the moment, she has difficulty disguising her feelings for him. ACT II Madame Glawari’s Mansion Hanna is giving a party, and in honor of Pontevedro she sings the beloved folk song, Vilja. When Danilo arrives late, Ambassador Zeta encourages him to keep all Frenchmen away from the widow. It is revealed that Camille is in love, and Zeta yearns to know with whom, hoping the Parisian will forgo any suit of Hanna. Enter the troublesome “mystery” fan. Zeta seeks to learn the identity of its owner, while Hanna assumes Danilo has composed the damning inscription. Camille comes into possession of the fan and Valencienne insists upon writing on the back of it, “I am a virtuous wife.” The ever amorous Camille persuades her to enter a gazebo so that they might be alone. Unfortunately, Camille has been seen by Zeta, but Valencienne’s presence is undetected when Hanna hastily takes her place. Intent on protecting Valencienne’s good name, Hanna announces her own engagement to Camille—who is flabbergasted—and Danilo leaves in a snit for Maxim’s. UTAH OPERA 2015–16 SEASON
The Merry Widow
synopsis
ACT III Maxim’s At Maxim’s, Camille and Valencienne disappear, and the revelry begins with the arrival of Zeta and the Pontevedrians. Valencienne and the grisettes perform a can-can dance to the delight of the crowd. Only Danilo is not charmed and insists to Hanna that she must not marry Camille. She reveals that she was only protecting another woman’s reputation when she and Camille were found in the gazebo, and that she has no intention of marrying the Parisian. The missing fan has been found and Zeta recognizes it as his wife’s. Enraged, he proclaims that he is divorcing Valencienne and offers marriage to Hanna. The assembly is further shocked when Hanna confesses that according to her deceased husband’s will, she will lose her fortune
if she remarries. As all other suitors lose interest in the prospect of a destitute Hanna, Danilo feels free to propose, for the widow can be assured that he has no ulterior motive and is not a fortune seeker. She accepts gladly. Hanna clarifies that upon remarriage, her fortune will revert to her new husband. Zeta is satisfied that her inheritance will remain in Pontevedro and forgives Valencienne when she shows him the back of her fan on which is written “I am a respectable wife.” All is bliss between the couples and everyone rejoices.
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.
Q&A
Do you have questions to ask or comments to share about tonight’s performance and Utah Opera?
Please join Christopher McBeth in the Capitol Room after each performance for a Question & Answer session.
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The Merry Widow
Franz Lehár Composer
composer and librettists
Franz Lehár (1870–1948) was an Austro-Hungarian composer. He was born in the northern part of Komárom, Kingdom of Hungary, Austria-Hungary (now Komárno, Slovakia), the eldest son of Franz Lehár (senior) (1838–1898), an Austrian bandmaster in the Infantry Regiment No. 50 of the Austro-Hungarian Army, and Christine Neubrandt (1849–1906), a Hungarian woman from a family of German descent. Lehár studied violin at the Prague Conservatory, and was advised by Antonín Dvořák to focus on composition. He is now most famous for his operettas—the most successful of which is The Merry Widow (Die Lustige Witwe)—but he also wrote sonatas, symphonic poems and marches. Additionally, he composed a number of waltzes (the most popular being Gold und Silber, composed for Princess Pauline von Metternich’s “Gold and Silver” Ball, January 1902), some of which were drawn from his famous operettas. He died aged 78 in 1948 in Bad Ischl, near Salzburg, and was buried there.
Viktor Léon Librettist
Viktor Léon (1858–1940), born Victor Hirschfeld, was a well-known Jewish Austrian-Hungarian librettist. Hirschfeld began a career as a journalist, and then branched out in the theatre under the pseudonym that was to become familiar—Viktor Léon. He wrote librettos for Johann Strauss, Zamara, Joseph Hellmesberger, Jr., Alphons Czibulka, Rudolf Dellinger and Franz von Suppé. Léon remained active well into the 20th century, providing the libretto for Lehár’s Das Land des Lächelns (1930), among other works. Although not particularly successful himself, his career brought him in contact with the biggest stars of Viennese opera during his time. Léon’s property was confiscated after Austria’s annexation by Nazi Germany in 1938. He died of starvation while in hiding in 1940 at the age of 82.
Leo Stein Librettist
Leo Stein, born Leo Rosenstein (1861–1921), was a playwright and librettist of operettas in the latter part of the 19th and early 20th centuries, including works adapted for a number of Broadway productions. Stein wrote libretti for Johann Strauss Jr, Franz Lehár, Emmerich Kálmán, and Oskar Nedbal. A selection of his works includes Wiener Blut (1899), Die Lustige Witwe (1905), Der Graf von Luxemburg (1909) and Die Csárdásfürstin (1915).
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UTAH OPERA 2015–16 SEASON
The Merry Widow
let’s all go to maxim’s
Let’s All Go To Maxim’s Place of Interest Maxim’s is a restaurant in the 8th arrondissement but it is not only that. It is also a symbol of Parisian fin-desiècle splendor and, according to its own website, a true temple of the Art Nouveau aesthetic. What began as a modest bistro in 1893 soon bloomed into a legendary landmark after Maxim’s second owner, Eugène Cornuché, created a highly successful business plan that included always having “a beauty sitting by the window, in view from the sidewalk.” Cornuché understood that women— lots of them—were key to his success. Once the dancers were hired and the courtesans began to gather there, the moneyed men of the city followed. Today, Maxim’s is more than just “fashionable,” it’s a “brand.” A brand owned and nurtured since 1981 by Pierre Cardin, to be exact, and the Maxim’s name now graces dinner boats and locations in other European capitols. Though Maxim’s, as a concept, has certainly grown beyond its address, the Belle Époque charm of the original location remains. Many international celebrities are drawn to occupy the tables once haunted by Marcel Proust and Jean Cocteau and it is no secret that divas have always loved the place. That line can be traced from Maria Callas to Brigitte Bardot to Barbara Streisand to, of course, Lady Gaga.
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Piece of Music No wonder the Danilo character of Lehár’s story sings so fondly of Maxim’s. The siren call of Cornuché’s ladies is too much to deny and, frankly, he hardly even tries. After bemoaning the demands of his job at the embassy and the constant pull of attention towards his homeland, Danilo tells us “I’m off to Chez Maxim, there I am always at home.” He sings about how the women there help him “forget the dear Fatherland” and that he knows them all by their nicknames. According to Danilo, the “Grisettes” of Maxim’s “drink champagne” and “frequently carouse” and he can’t wait to get back to “hugging and kissing with all these sweeties.” It’s a perfectly operatic scene, given that the man doing the singing is both the past and future love interest of the story’s heroine. It seems the pretend nation of Pontevedro is quite small indeed and dear Hanna has had few options beyond her rich and recently dead husband. Danilo before, Danilo again. True love. Melodically speaking, the descending notes of the “I’m off to Chez Maxim” portion of the aria are as striking as they are simple. The passage adopts an innocently folkish aspect and has an immediately endearing quality that guarantees the popularity of the aria. In fact, there is no denying that when the title “The Merry Widow” is invoked in today’s theatrical world, it is done so with great delight thanks to the oft-excerpted Waltz and Danilo’s “Da
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The Merry Widow
let’s all go to maxim’s
geh’ ich zu Maxim” moment. Danilo’s rapturous tribute to Maxim’s and the bygone decadence of late 19th-century Paris speaks to us at the DNA level, if not for the carousing then at least for the dreamy, time-halting atmosphere on offer there. That Lehár chose Maxim’s as a principal location for his opera was due, in part, to his particular experience in the city as a poor musician. According to Nicholas Slonimsky and others, Lehár included the vocal tribute as humble thanks to the ownership of Maxim’s for showing him kindness during those hardscrabble days. Regardless of the impetus, the aria and the opera as a whole have done much for the restaurant’s current standing as a historical beacon, though maybe not as much as Pierre Cardin’s money. Point of Dispute The first movement of Dmitri Shostakovich’s 7th Symphony depicts the march of the German Army on Leningrad in the winter of 1940. The resulting siege would last some 900 days and Shostakovich, like so many artists under Soviet suspicion, found a measure of pure, non-political patriotism in himself and his suffering countrymen during those dark years. The melody that represents the Germans comes quietly after a distant snare drum herald and builds slowly and inexorably, Bolero-like, over the course of many repetitions. It was an incredibly daring and controversial way
38
to portray an invasion and interesting in this context for the notes that comprise the tune. The middle part of the “German Army” melodic sequence is a direct quote of the “I’m off to Chez Maxim” section of Danilo’s aria. One needs only to listen once to this theme to hear it clearly and smile at the audacity of the gesture. Think about it! Shostakovich chose to represent the German invaders with a fragment from an Austrian operetta that celebrated, even pined for, the virtues of life in Paris. If Hitler had indeed been a fan of the tune, as many believed, then Shostakovich really deserves extra credit for this bit of dismissive pluck. One Shostakovich biographer, the unfortunately doubtable Solomon Volkov, stated that the quote was intended as a private reference to the name of the composer’s young son, Maxim, but it seems unlikely that Shostakovich would have connected his son, in name or in any other way, with German aggression. Fellow composer Bela Bartók was living in New York City when Shostakovich 7 had its U.S. premiere and was broadcast over the radio. Bartók was poor, sickly and not particularly popular outside his small circle of devoted international colleagues and, perhaps not surprisingly, he found the immediate popularity of the new symphony preposterous. He thought the monotonous “Maxim” march music of the first movement was especially banal. His son Peter later recalled him counting the
UTAH OPERA 2015–16 SEASON
The Merry Widow
let’s all go to maxim’s
repetitions out loud with increasing frustration. Whether or not Bartók was still bitter about Shostakovich’s success when he wrote his masterful Concerto for Orchestra one year later is debatable. What isn’t debatable is that he inserted a parody version of the Shostakovich “Maxim” theme into the fourth movement. Like Volkov, Peter Bartók was quick to classify it as a joke but, in truth, it sounds too darkly colored to be nonchalant. No, to even the most generous ear, it sounds like Bartók senior was making a statement with his use of the “Maxim” fragment, one that was as pejorative as it was hilarious.
So, if not simply a restaurant, what is Maxim’s really, in the end? Is it a melody, a protest, a possibly overstated protest of a protest? Let’s meet Danilo there and see for ourselves. Don’t try to just walk in though. Reservations are required.
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 five years.
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The Merry Widow
background of the merry widow
Background of The Merry Widow The “Grand Duchy of Pontevedro”— doesn’t that fictional name sound an awful lot like “Montenegro?” Could any self-respecting French diplomat be called Raoul de St. Brioche? And didn’t the real Montenegro incorporate a principality called Zeta, which just happens to be the fictional name of the Pontevedrin ambassador? Welcome to the world of The Merry Widow and of Viennese operetta, where any resemblance to actual events or persons living or dead is purely coincidental (wink), and where the affairs of state are love affairs. Leave your cares at the door. Nothing that happens here is to be taken very seriously, except for the lush outpouring of rapturous melodies, opulent vocal display, and amusing silliness. As sweetly caloric and deliciously traditional as Herr Sacher’s torte, Viennese operetta depicts a world of bygone elegance, romantic complications and practical jokes. Franz Lehár, composer of The Merry Widow, is one of two composers commonly cited as “king of Viennese operetta”—the other being Johann Strauss, Jr. Together their masterworks— Strauss’s Die Fledermaus (1874) and Lehár’s The Merry Widow (1905)—bracket the golden age of a genre that had more international significance and musical heft than we now acknowledge. Recent doyennes of the opera stage, including Joan Sutherland and Beverly Sills, sang the praises of operetta and gloried in roles such as The Merry Widow’s eponymous Hanna Glawari. The 40
tuneful abundance and carefree spirit of Viennese operetta informed the giddy, hyperactive French operettas of Jacques Offenbach and the deft social satires of Gilbert and Sullivan. It even migrated to America with Victor Herbert, Irish-born and Germanraised, who composed such American favorites as Babes in Toyland and Sweethearts. Herbert’s hit Mlle. Modiste premiered on Broadway the same year as The Merry Widow in Vienna. The genre’s sure-fire combination of romance, nostalgia and humor proved transferable to New World culture in operettas such as Rudolf Friml and Herbert Stothart’s Rose-Marie, set in an idealized Canadian frontier with a cast including miners and fugitives rather than aristocrats. On Hollywood’s silver screen (1936), Jeanette MacDonald and Nelson Eddy played the operetta’s romantic leads, a French Canadian girl and the Mountie who wins her. Its “Indian Love Call” became their signature song. The man behind The Merry Widow, Franz Lehár, was a native of Hungary and son of a bandleader in the Austro-Hungarian armed forces. While his younger brother Anton entered cadet school in Vienna to follow his father’s military career path, Franz gravitated toward the musical side of his father’s vocation, studying violin at the Prague conservatory. There he was advised by the great Czech composer Antonin Dvořák to focus on composition. But Franz, reasoning that he could always study composition later (and responding to practical and parental pressures), continued through graduation as a UTAH OPERA 2015–16 SEASON
Love without limits Love without limits
M ozart’s Lehár’s
MERRY FIGARO WIDOW
The
the marriage of
May 7, 9, 11, 13 (7:30 PM), May 15 (2 PM) JANET QUINNEY LAWSON CAPITOL THEATRE
January 16,18,20,22 (7:30 PM ), January 24 (2 PM )
Would you forgive a cheating spouse or make them pay? JANET QUINNEY LAWSON CAPITOL THEATRE
on theprice eve of figaro’s to susanna, the Count’s wandering What would youmarriage pay for love? eye has landed on the lovely bride-to-be. Servant and master go head to head, and even the Countess herself must spring into battle when , is beautiful, wealthy and attracting a lot of attention she learns of her husband’s plans. From the breathless opening notes of from suitors looking to cash in. A former love interest, Danilo, returns, but does the overture to the touching final curtain, Mozart’s comedic masterpiece not seem interested in money or in competing with other men for Hanna’s brilliantly delivers a timeless message of love and forgiveness. affection. Flirtations and accusations fly, swept along by Lehár’s magical score, featuring the famous “Vija” song, the “Merry Widow Waltz,” and more! Season Sponsor:
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The Merry Widow
background of the merry widow
violin major and then joined his father’s band in Vienna as assistant bandmaster in 1888. Quick, sustained success as a bandleader—in 1890 he became the youngest bandmaster in the AustroHungarian Army, and was appointed first Kapellmeister with the naval forces in Poland in 1894—gave him the freedom and confidence to compose. Though his first opera was less than a raging success, his career turned toward the theater. In 1902 he became conductor at Vienna’s historic Theater an der Wien, and his operetta Wiener Frauen was premiered there later that year. Today his fame rests on his many popular operettas, but he also composed popular ceremonial marches, symphonic poems and sonatas. The immediate and enduring success of Lehár’s operettas is due in part to his nostalgic backward gaze. He composed in an era when Vienna, classical music, and the world were in transition. For people like the tradition-loving Austrian haute bourgeoisie, these were terrifying times: Industrialization had fundamentally changed the pace and texture of city life. Wagner’s music-dramas and esthetic philosophy, once controversial, had long since revolutionized the opera stage and pointed the way toward new musical styles. Freud’s ideas were beginning to attract notice. The year after the premiere of The Merry Widow, composer Richard Strauss unleashed his shocking adaptation of Oscar Wilde’s Salome upon the world of opera. The blithe gaiety of widow Hanna Glawari’s world, like that inhabited by operetta characters stretching back to Die Fledermaus, could not be further from all that. She and 42
her stage-mates, elegant grown-ups all, behave like high school students scheming and double-crossing each other before prom night. But the dramatic conceit upon which The Merry Widow rests is not without substance. Hanna Glawari, our heroine, returns to Pontevedro and to the suitor who rejected her when she was young and poor, but now she is a glamorous, still-youthful widow of enormous wealth…so rich, in fact, that she could single-handedly solve her homeland’s fiscal crisis—if only she would marry one of its citizens. In the hands of the Swiss writer Friedrich Dürrenmatt, this premise became a fascinating study in the nature of conscience and complicity, as the returning rich widow demanded the execution of her young seducer. Dürrenmatt’s stage treatment became the chilling 1964 feature film The Visit, starring Ingrid Bergman and Anthony Quinn. Before that came the Marx Brothers’ anarchic 1933 satire Duck Soup, in which the rich widow is Mrs. Teasdale, played by the majestically naive Margaret Dumont. Will Mrs. Teasdale’s millions save the tiny republic of Freedonia? Perhaps—if the war triggered by her rival suitors doesn’t destroy it first.
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.
UTAH OPERA 2015–16 SEASON
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Utah Symphony | Utah Opera Healthcare Night Photo Credit:
March 25, 2016 | 7:30 pm | Abravanel Hall Since the 1980s, Healthcare Night has been a fundraising effort led by physicians in support of Utah Symphony | Utah Opera (USUO) Education & Outreach. Contributions amounted to over $100,000 in each of the past two years. In addition to supporting USUO’s 40+ ongoing education programs, these gifts also count toward the 1:1 match in private donations required for USUO to receive public education funding from the Utah State Legislature. This season, Healthcare Night returns on March 25 and features internationally acclaimed pianist Kirill Gerstein in Rachmaninoff’s Piano Concerto No. 2. “I’m a burn surgeon and a surgical educator, and I’m also a season subscriber. Making an annual gift to USUO wasn’t enough for me; I wanted to get involved. When I learned about Healthcare Night, I didn’t hesitate to support the effort. I joined the Healthcare Night committee and, together with thirteen other physicians, raise awareness for USUO’s education programs among my professional contacts. USUO is the shining star of Utah’s arts community, and I deeply respect and appreciate the organization’s commitment to touring the entire state to reach more than 145,000 school children each year. And because I’m heavily involved in undergraduate medical education, I’m especially grateful that USUO invites medical students to attend Healthcare Night for free. My participation in USUO—as patron, donor, and volunteer fundraiser—helps move the organization into a vibrant future. I invite you to join me.” Amalia Cochran, M.D. Associate Professor Vice-Chair, Education & Professionalism, Dept. of Surgery University of Utah School of Medicine Healthcare Night sponsorship packages start at $300 and include tickets to the performance and admission to a special post-concert reception. To find out more about Healthcare Night, contact Melanie Steiner-Sherwood, msteinersherwood@usuo.org or 801.869.9001. For information online or to make a contribution, visit utahsymphony.org/support/healthcare-night. 44
UTAH OPERA 2015–16 SEASON
PhoTo bY Jeff GoldberG/eSTo.
Utah Symphony at Carnegie Hall Friday, April 29, 2016
Stern Auditorium / PerelmAn StAge At CArnegie HAll 57tH Street And SeventH Avenue, new York, new York
tHierrY FiSCHer, c o nd uc t o r
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Symphony No. 96 “The Miracle” Suite from The Miraculous Mandarin Switch (Utah Symphony commission, NY Premiere) Selections from Romeo & Juliet
Utah Symphony returns to Carnegie Hall for the first time since 1975. Plan now to join us in New York City for this thrilling performance on one of the world’s grandest stages. For tickets, visit the Carnegie Hall box office, CarnegieHall.org, or call CarnegieCharge at (212) 247-7800. For viP package information call (801) 869-9011.
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6-2016
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* Ralph Matson Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair David Park Assistant Concertmaster Alex Martin Acting Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Hanah Stuart Assistant Principal Second Karen Wyatt •• Leonard Braus • Associate Concertmaster Emeritus Jerry Chiu Joseph Evans LoiAnne Eyring Kristiana Henderson†† Teresa Hicks Lun Jiang Rebekah Johnson Tina Johnson†† Paige Kossuth†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Rebecca Moench Hugh Palmer David Porter Lynn Maxine Rosen Barbara Ann Scowcroft • M. Judd Sheranian # Lynnette Stewart Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair
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 Kevin Shumway Pegsoon Whang Joyce Yang†† 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 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 James Hall# Associate Principal Titus Underwood†† Acting Associate Principal
Jennifer Rhodes
HORN Bruce M. Gifford Principal Edmund Rollett Associate Principal
TIMPANI George Brown Principal
PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy Matthew Searing†† ORCHESTRA PERSONNEL Llewellyn B. Humphreys Acting Director of Orchestra Personnel Nathan Lutz Orchestra Personnel Manager
Llewellyn B. Humphreys Ronald L. Beitel Stephen Proser
STAGE MANAGEMENT Chip Dance Production & Stage Manager
TRUMPET Travis Peterson Principal
Mark Barraclough Assistant Stage & Properties Manager
Jeff Luke Associate Principal Peter Margulies Nick Norton TROMBONE Mark Davidson Principal
• First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member
Sam Elliot†† Acting Associate Principal
Lissa Stolz
Roberta Zalkind Associate Principal UTAHOPERA.ORG / (801) 533-NOTE
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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 2015–16 season, they have already performed in Daggett, Uintah, Duchesne and South Sanpete School Districts. In the spring, they will perform in Washington, Iron, Garfield and Sevier 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.
PERP ET UA L motion
CAMPAIGN LEADERSHIP Campaign Co-Chairs Scott and Jesselie Anderson Lisa Eccles Kem and Carolyn Gardner Gail Miller and Kim Wilson Bill and Joanne Shiebler
Honorary Co-Chairs Spencer F. Eccles Jon M. Huntsman The Right Reverend Carolyn Tanner Irish
UTAH SYMPHONY | UTAH OPERA IN PERPETUAL MOTION
The 2015–16 season has truly been 75 years in the making. We are grateful for the visionary audacity of our founders, the temerity of our community, and the opportunity to celebrate the legacy given to us today. The momentum and impact of The Campaign for Perpetual Motion, a $20 million public campaign to support special projects and our core priorities in our orchestra, artists, and youth, have set the stage for this celebration and allow us to look forward to the next 75 years. The Campaign began with a remarkable $5 million lead gift from the George S. and Dolores Doré Eccles Foundation, whose tradition of support totaling more than $32 million spans three decades. This lead gift was made in addition to a $1 million gift from the Foundation to our Leadership Campaign, which during 2011 and 2012 prepared a solid foundation for the public fundraising effort. More than 35 individuals, corporations, and foundations contributed to the Leadership Campaign, including an extraordinary $4.6 million capstone gift from O.C. Tanner Company. O.C. Tanner also committed an additional $500,000 to our Anniversary season efforts, bringing their total campaign giving to $5.1 million.
Now you can join the momentum and contribute to our 75th anniversary celebrations, as well as the future well-being of USUO, by participating in our grassroots campaign. As Utah’s flagship arts group, Utah Symphony | Utah Opera belongs to the people of Utah. Our patrons and donors have allowed us to reach new heights in artistic excellence over the past 75 years. By becoming a sustaining patron you will help us achieve even more. Find out more at usuo.org/support/grassroots-campaign UTAHOPERA.ORG / (801) 533-NOTE
49
P E RP ET UAL motion
We are forever grateful to the following leaders whose visionary support secured the permanence of Utah Symphony | Utah Opera through our Leadership Campaign in 2011 and 2012, and who are setting the stage for its bright future as lead supporters of The Campaign for Perpetual Motion. FOUNDING CAMPAIGN DONORS George S. and Dolores Doré Eccles Foundation ($6 Million) O.C. Tanner Company ($5.1 Million) PRINCIPAL GIVING ($1 Million & above) Gael Benson The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation Kem & Carolyn Gardner Larry H. & Gail Miller Family Foundation Mark & Dianne Prothro Questar® Corporation Patricia A. Richards & William K. Nichols Shiebler Family Foundation Sorenson Legacy Foundation Zions Bank LEADERSHIP GIVING (up to $1 Million) Anonymous (2) Anthony & Renee Marlon Scott & Jesselie Anderson Carol & Anthony W. Middleton, Jr., M.D. Doyle Arnold & Anne Glarner Edward & Barbara Moreton Edward Ashwood & Candice Johnson William H. & Christine Nelson Mr. & Mrs. William C. Bailey Carol & Ted Newlin Dr. J. R. Baringer & Dr. Jeanette J. Townsend Scott & Sydne Parker Thomas Billings & Judge Judith Billings Dr. Dinesh & Kalpana Patel R. Harold Burton Foundation Frank R. Pignanelli & D’Arcy Dixon Howard & Betty Clark John & Marcia Price Family Foundation Thomas D. Dee III & Dr. Candace Dee Bert Roberts Deer Valley Resort Theodore Schmidt E.R. (Zeke) & Katherine W.† Dumke The Sam & Diane Stewart Family Foundation Burton & Elaine Gordon Norman C.† & Barbara Tanner Mr. & Mrs. Martin Greenberg The Right Reverend Carolyn Tanner Irish Dell Loy & Lynette Hansen Naoma Tate & the Family of Hal Tate Roger & Susan Horn M. Walker & Sue Wallace Ronald & Janet Jibson Wells Fargo Frederick Q. Lawson Foundation
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UTAH OPERA 2015–16 SEASON
Visit usuo.org/festival to see how integral Utah Symphony has become to life in our community. Cultural Festival sponsor
Photos provided by musicians of the Utah Symphony.
Utah Symphony celebrates its 75th anniversary by creating special performances with our arts partners—and by participating in events throughout the community. In 2015–16, we will highlight more than 75 of these community collaborations.
Crescendo & Tanner Societies Utah Symphony | Utah Opera thanks the members of our Tanner and Crescendo Societies, patrons who have included USUO in their financial and estate planning. Membership is open to all those who express their commitment through a planned gift at any level. Please contact Kate Throneburg at kthroneburg@usuo.org or 801-869-9028 for more information, or visit our website at usuo.giftplans.org.
Crescendo Society of Utah Opera Anonymous Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Dr. Robert H. † & Marianne Harding Burgoyne Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage Joseph & Pat Gartman
Paul (Hap) & Ann† Green John & Jean Henkels Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Constance Lundberg Gaye Herman Marrash Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin Pauline C. Pace† Stanley B. & Joyce Parrish
Patricia A. Richards & William K. Nichols Mr. & Mrs. Alvin Richer Robert L.† & Joyce Rice Richard G. Sailer† Jeffrey W. Shields G. B. & B. F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser
Tanner Society of Utah Symphony Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers Grace Higson† Flemming & Lana Jensen
James Read Lether Daniel & Noemi P. Mattis Joyce Merritt† Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bentley Kenneth A. & Jeraldine S. Randall Robert L.† & Joyce Rice
Mr. & Mrs. Alvin Richer Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffrey & Joyce Smith G. B. & B. F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace
Herbert C. & Wilma Livsey Mrs. Helen F. Lloyd† Gaye Herman Marrash Ms. Wilma F. Marcus† Dr. & Mrs. Louis A. Moench Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Pauline C. Pace† Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn
Helen Sandack† Mr. Grant Schettler Glenda & Robert† Shrader Dr. Robert G. Snow† Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† Kathleen Sargent† JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Afton B. Whitbeck† Edward J. & Marelynn Zipser
Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Patricia Dougall Eager† Mr.† & Mrs.† Sid W. Foulger Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Mr. Ray Horrocks† Richard W. James† Estate Mrs. Avanelle Learned† Ms. Marilyn Lindsay Turid V. Lipman
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†Deceased
UTAH OPERA 2015–16 SEASON
Plan Big.
Plan Big.
For nearly 40 years, Utah Opera has brought big voices and big productions to Utah audiences. The legacy you leave should be as powerful as the music you love. Utah Opera has brought to life the operas of the world’s best and brightest composers, and by including Utah Symphony | Utah Opera in your estate planning we will continue to reach new heights of artistic excellence. With Utah Symphony musicians in the pit at Capitol Theatre and the most talented artists on stage, your planning means a big future for Utah Symphony | Utah Opera. Imagine our future, with a national reputation on the rise, tours across the state and beyond, renowned recordings, and extraordinary music education programs for the children of Utah. By including USUO in your plans, your legacy will impact the state of Utah through excellent music, in our homes of Abravanel Hall and Capitol Theatre, and on the road. To learn more about how your estate planning can benefit USUO and you, please call Kate Throneburg at 801-869-9028, or visit us online at usuo.giftplans.org.
UTAHOPERA.ORG / (801) 533-NOTE
53
Bringing Our Creative Community Together
Salt Lake has a thriving community of creatives who help make this a great place to live. This has been confirmed over and over as I’ve worked with individuals and organizations in our community as part of Utah Opera’s Creative Community program.
Utah Opera’s costume racks contain over 45 complete productions organized by historical period so they can be easily accessed for rentals and future productions.
Utah Opera Resident Artist Jessica Jones performs alongside a fashion presentation prepared by Vanessa di Palma Wright.
Opera is an art form that brings many different modes of creative expression together. On any given day at the Utah Opera Production Studios (downtown on 400 West) you’ll find a team of talented tailors, stitchers, drapers, and designers creating costumes for an opera. If you walk to the back of the studios you’ll find painters and carpenters creating stunning scenery. The rehearsal hall is filled with singers, dancers, and actors who use their talents to bring stories to life through opera. Finally, when the opera production makes it to the Capitol Theatre, the addition of the Utah Symphony orchestra members helps tie it all together. At the heart of our Creative Community initiative is this spirit of unity and of bringing creative people together Continued on page 57.
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
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UTAH OPERA 2015–16 SEASON
Bringing Our Creative Community Together
surrounding a singular common interest: opera. But it has evolved into so much more—it has been a catalyst to connect creative individuals together and build new relationships. For example, on opening night of Puccini’s Tosca we partnered with Farasha Boutique and Vida Tequila to host a rooftop soirée on the outdoor terrace of Janet Quinney Lawson Capitol Theatre. Costumes from Utah Opera’s costume shop were featured next to contemporary fashion as Utah Opera’s Resident Artists performed alongside a beautiful fashion presentation prepared by Vanessa di Palma Wright and Farasha’s designers. One of my favorite projects that is still to come is being developed in collaboration with The Bee. This great organization, dubbed “True Stories from the Hive,” promotes individuals telling their stories in a live performance setting. Over the past year they’ve created quite a catalogue of tales about individuals in our community, and we’re working with them to turn a handful of them into short operas. Composers from The Salty Cricket Composer Collective and a few local bands will set the stories to music, and then animators from local schools will turn these operas into videos with the help of Impatient Cow. Sometime next spring, we’ll bring it all together for an event that celebrates the stories and creativity in our community.
UTAHOPERA.ORG / (801) 533-NOTE
As I’ve been reminded with Creative Community, innovation can come from unexpected places, and we should be grateful for the high level of creativity and art in our community. The arts are incredibly important for our community because they encourage creativity and innovation. Art motivates us and touches our souls. It evokes emotions to encourage thinking and conversation. It helps us see the world differently. I couldn’t imagine our community without all the art and artists who help bring beauty and inspiration to our lives. Visit utahopera.org to see upcoming events associated with Creative Community. If you have a creative idea and would like to get involved, please reach out to me! Thank you to the many organizations and individuals who have generously donated their time and resources to support Utah Opera’s Creative Community (http://www.utahopera.org/ watch-listen-learn/creative-community) program. Creative Community is funded by The Getty Foundation through Opera America’s Building Opera Audiences grant program.
Jon Miles is Vice President of Marketing and Public Relations. If you have a creative idea or would like to get involved, you can reach him at jmiles@usuo.org.
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Corporate & Foundation Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last twelve months. For a listing of season honorees who have made gifts of $10,000 and above see pages 16–20.
$5,000 to $9,999 Anonymous (2) Bambara Restaurant* Bourne-Spafford Foundation Diamond Rental* Discover Financial Services The Jarvis & Constance Doctorow Family Foundation The Dorsey & Whitney Foundation Spencer F. & Cleone P. Eccles Family Foundation EY Hilton Hotel* Hoak Foundation J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Macy’s Foundation Larry H. Miller Sandy Ford Lincoln Martine* McCarthey Family Foundaton New York LTD Ogden Opera Guild Ruth’s Chris Steak House, Salt Lake City* Sky Harbor Apartments* Union Pacific Foundation Vanguard Charitable Endowment Program Victory Ranch & Conservancy $1,000 to $4,999 Anonymous Advanced Retirement Consultants Bertin Family Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Castle Foundation City Creek Center** Deseret Trust Company Durham Jones & Pinegar, P.C.
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Henry W. & Leslie M. Eskuche Charitable Foundation ExxonMobil Foundation Goldener Hirsch Inns* Goldman Sachs Victor Herbert Foundation Homewood Suites by Hilton* Hyatt Place Hotel* Intermountain Healthcare Jones & Associates Kirton | McConkie Kura Door* Lewis A. Kingsley Foundation Marriott City Center* MedAssets Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation Park Hyatt New York* The Prudential Foundation Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation Squatters Pub Brewery* Stoel Rives Strong & Hanni, PC Summerhays Music* Swire Coca-Cola USA* Bill & Connie Timmons Foundation United Jewish Community Endowment Trust Utah Families Foundation The George B. and Oma E. Wilcox & Gibbs M. and Catherine W. Smith Foundation
UTAH OPERA 2015–16 SEASON
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Individual Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last twelve months. For a listing of season honorees who have made gifts of $10,000 and above see pages 16–20.
ABRAVANEL & PETERSON SOCIETY $5,000 to $9,999 Anonymous (3) Mr. & Mrs. Alan P. Agle Fred & Linda Babcock E. Wayne & Barbara Baumgardner Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair Carol, Rete & Celine Browning Neill & Linda Brownstein Michael & Vicki Callen Ken & Shelly Coburn* Amalia Cochran Marc & Kathryn Cohen Spencer & Cleone† Eccles J. I. “Chip” & Gayle Everest Jack & Marianne Ferraro John F. Foley, M.D. & Dorene Sambado, M.D.** Mr. Joseph F. Furlong III Ray & Howard Grossman David & SandyLee Griswold** John & Dorothy Hancock Robert & Carolee Harmon Gary & Christine Hunter Mary P. Jacobs† & Jerald H. Jacobs Family Dale & Beverly Johnson Robert & Debra Kasirer Roger & Sally Leslie Thomas & Jamie Love Mr. & Mrs. Charles McEvoy Elinor S. McLaren & George M. Klopfer Leslie Peterson & Kevin Higgins Rich & Cherie Meeboer Brooks & Lenna Quinn Dr. Richard & Frances Reiser Mr. & Mrs. Robert Rollo Peggy & Ben Schapiro Mr. & Mrs. D. Brent Scott Stuart & Molly Silloway Elizabeth Solomon
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Dorotha Smart Melia & Mike Tourangeau Albert & Yvette Ungricht Kathleen Digre & Michael Varner $3,000 to $4,999 Anonymous (2) Robert & Cherry Anderson Richard† & Alice Bass Charles Black Robert W. Brandt Jonathan & Julie Bullen Brian Burka & Dr. Jerry Hussong Lindsay & Carla Carlisle Robyn Carter Mark & Marcy Casp Dr. H. Sam & Kuiweon Cho Hal & Cecile Christiansen Edward & Carleen Clark Mr. & Mrs. Kenneth R. Cutler Gary & Debbi Cook Mike Deputy B. Gale† & Ann† Dick Midge & Tom Farkas Flynn Family Foundation Jeffrey L. Giese, M.D. & Mary E. Gesicki Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Annette & Joseph Jarvis James & Penny Keras Hanko & Laura Kiessner Jeanne Kimball Paul Lehman Herbert C. & Wilma S. Livsey Peter & Susan Loffler Daniel Lofgren David & Donna Lyon Mr. & Mrs. Wayne Lyski Mac & Ann MacQuoid David Mash Richard & Anne Mastain Daniel & Noemi P. Mattis Michael & Julie McFadden Hallie & Ted McFetridge Richard & Jayne Middleton
Mr. & Mrs. Richard Mithoff Marilyn H. Neilson Christie Mullen Mr. & Mrs. Alvin Richer Gina Rieke Dr. Wallace Ring Richard & Carmen Rogers William G. Schwartz & Joann Givan Marilyn Sorensen Verl & Joyce Topham Mr. & Mrs. Glen R. Traylor Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff Ardean & Elna Watts Suzanne Weaver Jeremy & Hila Wenokur David & Jerre Winder Gayle & Sam Youngblood $2,000 to $2,999 Anonymous (4) Craig & Joanna Adamson Fran Akita Drs. Wolfgang & Jeanne Baehr Dr. Melissa Bentley Anneli Bowen, M.D. & Glen M. Bowen M.D. Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Mr. & Mrs. William D. Callister, Jr. Paul & Denise Christian Raymond & Diana Compton David & Sandra Cope** Dr. & Mrs. Thomas Coppin David & Karen Dee Margarita Donnelly Robert Edwards Mr. & Mrs. Robert Ehrlich Neone F. Jones Family Robert S. Felt, M.D. William Fickling Blake & Linda Fisher Sarah Foshee Robert & Annie-Lewis Garda
Heidi Gardner Diana George Susan Glassman & Richard Dudley Randin Graves The James S. Gulbrandsen, Sr. Family C. Chauncey & Emily Hall Dennis & Sarah Hancock John B. & Joan Hanna Geraldine Hanni Richard & Norma Herbert Sunny & Wes Howell Dixie & Robert Huefner Jay & Julie Jacobson M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Pauline WeggelandJohnson James R. Jones & Family Mr. & Mrs. Alan D. Kerschner Susan Keyes & Jim Sulat J. Allen & Charlene Kimball Carl & Gillean Kjeldsberg Mr. Darryl Korn & Ms. Jeannie Sias Mr. & Mrs. Christopher J. Lansing Donald L. & Alice A. Lappe James Lether Harrison & Elaine Levy Elizabeth & Michael Liess Bill Ligety & Cyndi Sharp Mr. & Mrs. Kit Lokey Jed & Kathryn Marti David & Nickie McDowell Mike & Jennifer McKee Warren K. & Virginia G. McOmber Mr. & Mrs. Michael Mealey George & Nancy Melling George & Linda Mendelson Matt & Andrea Mitton Dr. Louis A. Moench & Deborah Moench Barry & Kathy Mower Mr. & Mrs. Ralph Muller
UTAH OPERA 2015–16 SEASON
OUT ON THE TOWN
dining guide THE NEW YORKER 60 West Market Street. SLC’s premier dining establishment. Modern American cuisine is featured in refined dishes and approachable comfort food. From classic to innovative, from contemporary seafood to Angus Beef steaks – the menu provides options for every taste. Served in a casually elegant setting with impeccable service. Private dining rooms for corporate and social events. Lunch & Dinner. No membership required. L, D, LL, AT, RR, CC, VS. 801.363.0166
Consistently Rated “Tops”–Zagat 60 W. Market Street • 801.363.0166
Salt Lake City’s #1
MARKET STREET GRILL DOWNTOWN 48
Most Popular Restaurant
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
–Zagat
48 W. Market Street (340 South) 801.322.4668
• An intimate euro café • Free Valet Parking 22 East 100 South
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
THANK YOU TO OUR ADVERTISERS Ad Council Adib’s Rug Gallery Aristo’s Bambara BMW of Murray | Pleasant Grove Caffè Molise Challenger Schools City Creek Living Country Hills Eye Center Everything Blooming Thing Hale Centre Theatre Humane Society of Utah Janet Gray Studios KUED
Little America Hotel MAC Martine Minky Couture New Yorker Parsons Behle & Latimer RC Willey Residence Inn Sagewood at Daybreak Salt Lake for the Performing Arts Security National Mortgage Sinclair Sky Harbor Spectacle
SunRiver Tuacahn United Way University Credit Union University of Utah Healthcare Utah Festival Opera Utah Food Service Webster Media LLC Zions Bank If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833
Individual Donors Continued from page 60.
Dan & Janet Myers James & Ann Neal Rachel L. Oberg Dr. & Mrs. Richard T. O’Brien Thomas & Barbara O’Byrne Bradley Olch O. Don & Barbara B. Ostler Dr. Thomas Parks & Dr. Patricia Legant Linda S. Pembroke Joel & Diana Peterson Dr. & Mrs. S. Keith Petersen Jon Poesch Victor & Elizabeth Pollak Steven Price Dan & June Ragan Dr. & Mrs. Marvin L. Rallison Thomas Safran Mark & Loulu Saltzman Margaret P. Sargent Shirley & Eric Schoenholz K. Gary & Lynda Shields Gibbs & Catherine W. Smith Christine St. Andre & Cliff Hardesty Larry R. & Sheila F. Stevens Gerald & Barbara Stringfellow Karen Urankar William & Donna R. Vogel John & Susan Walker Gerard & Sheila Walsh Susan Warshaw Bryan & Diana Watabe $1,000 to $1,999 Anonymous (3) Carolyn Abravanel Christine A. Allred Patricia Andersen Joseph & Margaret Anderson Drs. Crystal & Dustin Armstrong David & Rebecca Bateman Barry Bergquist C. Kim & Jane Blair Rodney & Carolyn Brady
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Timothy F. Buehner Foundation Mr. & Mrs. Lee Forrest Carter William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Carol Coulter Margaret Dreyfous Howard Edwards Dr. Richard J. & Barbara N. Eliason Naomi K. Feigal Mr. & Mrs. Eric Garen Michael & Catherine Geary Ralph & Rose Gochnour Robert Graham Dr. & Mrs. John E. Greenlee Robert & Marcia Harris Dr. Alan B. Hayes Lex Hemphill & Nancy Melich John Edward Henderson Mr. John P. Hill, Esq. Steve Hogan & Michelle Wright Connie C. Holbrook The Steven Horton Family Kay Howells Mr. & Mrs. Jerry Huffman David & Caroline Hundley Todd & Tatiana James Drs. Randy & Elizabeth Jensen Maxine & Bruce Johnson Chester & Marilyn Johnson Mr. & Mrs. Clark D. Jones Dr. & Mrs. Michael A. Kalm Umur Kavlakoglu Travis & Erin Kester Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Lisa & James Levy Christopher & Julie McBeth Oren & Liz Nelson Stephen & Mary Nichols Mary Jane O’Connor Ruth & William Ohlsen Barbara Patterson
Rori & Nancy Piggott W. E. & Harriet R. Rasmussen Mr. Bill Reagan Debra Saunders Ralph & Gwen Schamel Grant Schettler Deborah Schiller Mr. August L. Schultz Bradley Senet Angela Shaeffer Karen Shepherd Margot L. Shott† Barbara Slaymaker Otto Smith Phillip & Jill Smith Elizabeth Sullentrop Amy Sullivan & Alex Bocock Douglas & Susan Terry Carol A. Thomas Mr. & Mrs. Vincent Trotta Robb Trujillo Rachel Varat-Navarro Mr. & Mrs. Brad E. Walton Pam & Jonathan Weisberg Michael & Judy Wolfe E. Art Woolston & Connie Jo HepworthWoolston Marsha & Richard Workman Mr. & Mrs. Hugh Zumbro In Honor of Barbara & Steven Anderson Paula J. Fowler Abraham & Arline Markosian David Park Mark & Dianne Prothro Patricia A. Richards Susan Schulman Erin Svoboda In Memory Of Mary & Connie Anderson Jay T. Ball Berry Banks David Wells Bennett Mikhail Boguslavsky Robert H. Burgoyne, M.D. Stewart Collins
Kathie Dalton Ann Dick John R. Dudley Carolyn Edwards Ed Epstein Loraine L. Felton Neva Langley Fickling Calvin Gaddis Anton Gasca Patricia Glad Gloris Goff Herold L. “Huck” & Mary E. Gregory Carolyn Harmon Judith Ann Harris Duane Hatch Steve Horton Mary Louis Scanlan Humbert Eric Johnson Howard Keen Tony Larimer Robert Louis Beverly Love Clyde Dennis Meadows Chester Memmott Jean Moseley Joseph Palmer Scott Pathakis Chase N. Peterson Klaus Rathke Dr. Clifford Reusch Kathy Sargent Shirley Sargent Ruth Schwager Ryan Selberg Dr. Ann O’Neill Shigeoka Robert P. Shrader Joseph Silverstein David Bennett Smith Tamie Speciale John Henry “Jack” Totzke Roger Van Frank David Wagstaff Rick Wallace Marjorie Whitney Sandra Wilkins Bruce Woodward Rosemary Zidow *In-kind gift **In-kind & cash gift † Deceased Donations as received between 11/30/14 and 11/30/15
UTAH OPERA 2015–16 SEASON
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Classical 89 Broadcasts
January 2 | 9:30 AM
January 30 | 9:30 AM
TCHAIKOVSKY Symphony No. 6, Mvt. I Thierry Fischer, Conductor (recorded 4/12/13)
TCHAIKOVSKY Symphony No. 6, Mvt. II Thierry Fischer, Conductor (recorded 4/12/13)
January 9 | 9:30 AM
February 6 | 9:30 AM
TCHAIKOVSKY Suite from The Sleeping Beauty, Mvts. I–V Thierry Fischer, Conductor (recorded 4/12/13)
TCHAIKOVSKY Symphony No. 6, Mvt. IV Thierry Fischer, Conductor (recorded 4/12/13)
January 16 | 9:30 AM
February 13 | 9:30 AM
TCHAIKOVSKY Piano Concerto No. 1, Mvt. III: Allegro con fuoco Conrad Tao, Piano Thierry Fischer, Conductor (recorded 4/12/13)
BERLIOZ Symphonie fantastique, Mvts. IV, V Thierry Fischer, Conductor (recorded 4/27/13)
January 23 | 9:30 AM TCHAIKOVSKY Symphony No. 5, Mvt. IV Thierry Fischer, Conductor (recorded 4/12/13)
February 20 | 9:30 AM DVOŘÁK Violin Concerto Augustin Hadelich, Violin Vladimir Kulenovic, Conductor (recorded 5/25/13)
February 27 | 9:30 AM DVOŘÁK Slavonic Dances, Opus 72, Nos. 1-4 Vladimir Kulenovic, Conductor (recorded 5/25/13)
classical89.org 89.1 & 89.5 fm
UTAHOPERA.ORG / (801) 533-NOTE
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A NEW PBS ORIGINAL SERIES
Sundays at 9PM Beginning Jan. 17 The lives of diverse characters intersect behind the front lines of the Civil War in the chaos of a hospital in Union-occupied Alexandria, Virginia.
Administration ADMINISTRATION Patricia A. Richards Interim President & CEO David Green Senior Vice President & COO Julie McBeth Executive Assistant to the CEO Jessica Chapman Executive Assistant to the COO & Office Manager SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director Anthony Tolokan Vice President of Symphony Artistic Planning Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director Llew Humphreys Director of Orchestra Personnel Nathan Lutz Orchestra Personnel Manager Lance Jensen Executive Assistant to the Music Director and Symphony Chorus Manager SYMPHONY OPERATIONS Jeff Counts Vice President of Operations & General Manager Cassandra Dozet Operations Manager Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager Melissa Robison Program Publication & Front of House Manager Erin Lunsford Artist Logistics Coordinator 0PERA ARTISTIC Christopher McBeth Opera Artistic Director Carol Anderson Principal Coach Michelle Peterson Opera Company Manager Shaun Tritchler Assistant Company Manager DEVELOPMENT Leslie Peterson Vice President of Development Hillary Hahn Senior Director of Institutional Gifts Natalie Cope Director of Special Events & DVMF Community Relations Melanie Steiner-Sherwood Director of Individual Gifts Kwynn Everest Manager of Corporate Partnerships UTAHOPERA.ORG / (801) 533-NOTE
Lisa Poppleton Grants Manager Kate Throneburg Manager of Individual Gifts Conor Bentley Development Manager Heather Weinstock Special Events Coordinator MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations Renée Huang Director of Public Relations Chad Call Marketing Manager Aaron Sain Graphic Design & Branding Manager Mike Call Website Manager Ginamarie Marsala Marketing Communications Manager PATRON SERVICES Nina Richards Director of Ticket Sales & Patron Services Natalie Thorpe Patron Services Manager Faith Myers Sales Manager Andrew J. Wilson Patron Services & Group Sales Assistant Ellesse Hargreaves Patron Services Coordinator Jackie Seethaler Garry Smith Powell Smith Robb Trujillo Sales Associates Nick Barker Maren Christensen Ivan Fantini Hilary Hancock Emily O’Connor Aubrey Shirts Ticket Agents ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO Mike Lund Director of Information Technologies SaraLyn Pitts 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 Mandi Titcomb Education Fellow Timothy Accurso Sarah Coit Jessica Jones Markel Reed Christian Sanders Utah Opera Resident Artists OPERA TECHNICAL Jared Porter Opera Technical Director Nathan Kluthe Assistant Technical Director Kelly Nickle Properties Master Lane Latimer Assistant Props Keith Ladanye Production Carpenter John Cook Scene Shop Manager & Scenic Artist COSTUMES Verona Green Costume Director Melonie Fitch Assistant Rentals Supervisor Kierstin Gibbs LisaAnn DeLapp Rentals Assistants Milivoj Poletan Tailor Tara DeGray Cutter/Draper Anna Marie Coronado Milliner & Crafts Artisan Chris Hamberg Yoojean Song Connie Warner Stitchers Yancey J. Quick Wigs/Make-up Designer Shelley Carpenter Tanner Crawford Daniel Hill Michelle Laino Wigs/Make-up Crew
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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TRADITIONAL | CONTEMPORARY
2014 2009
2008
2010 DINING AWARDS WINNER
ARISTOSSLC.COM | #ARISTOSSLC | FEATURED ON FOOD NETWORK 224 S 1300 E, SLC • 801.581.0888 •Serving lunch Monday -Saturday • Dinner Nightly • Live Bouzouki Music every Thursday night
Acknowledgments UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR
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
Tanner, llc LEGAL REPRESENTATION PROVIDED BY
Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, llp Holland & Hart, llp Jones Waldo GOVERNMENTAL RELATIONS REPRESENTATIVE Frank Pignanelli, Esq. National PR Services Provided By Shuman & Associates, New York City. Advertising Services Provided By Love Communications, Salt Lake City. Utah Symphony | Utah Opera is funded by the Utah Arts Council, 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, and the Utah Humanities Council. 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.
drop - in classes available call for placement class 3065 South Imperial Street (1700 East) Salt Lake City, Utah 84106
(801)455-8557
Janet Muse Gray, Director www.janetgraystudios.com 72
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 2015–16 SEASON
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