COVER
G E HE JA K
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EVERY VOICE TELLS A STORY
JANUARY
20, 22, 24, 26, 28
JANET QUINNEY LAWSON CAPITOL THEATRE
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Contents PUBLISHER Mills Publishing, Inc.
PRESIDENT Dan Miller
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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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21
JAKE HEGGIE & GENE SCHEER’S
MOBY-DICK 6 Welcome 8 Artistic Director’s Welcome 10 Board of Trustees 15 Janet Quinney Lawson Foundation 17 Synopsis 20 Production Sponsors 22 Cast / Artistic Staff 29 Composer & Librettist 31 November in the Soul 34 Utah Opera’s Second Chapter 36 The Nuts and Bolts of Opera 40 Director’s Note: Heart of Darkness 42 Every Voice Tells a Story 44 Support USUO 45 Utah Symphony 46 Thank You 60 Legacy Giving 61 Crescendo & Tanner Societies 62 Administration 64 Acknowledgments 65 Education
PRELUDE LECTURES Prelude lectures by principal coach Carol Anderson offer insights before each Utah Opera production. This introduction includes historical context, musical highlights, and a behind-the-scenes perspective. Preludes are free with your opera ticket and begin one hour before curtain in the Capitol Room.
@UtahOpera
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Welcome Welcome to the Janet Quinney Lawson Capitol Theatre and the center piece production of Utah Opera’s 40th Anniversary Season.
Paul Meecham President & CEO
Kem Gardner USUO Board of Trustees Chair
We are honored to bring you this new production of American composer Jake Heggie’s and librettist Gene Scheer’s Moby-Dick, the first new production since the original which has been seen in many large opera houses and on PBS’s Great Performances. Since the work’s debut in 2010, Christopher McBeth has been eager to create a production suited to opera stages of varying sizes, thereby introducing this powerful, modern masterpiece to many more audiences throughout the world. He has assembled an impressive creative team including director Kristine McIntyre, choreographer Daniel Charon, conductor Joseph Mechavich, and two internationally renowned designers, Erhard Rom and Jessica Jahn, as set and costumes designers, respectively. They’ve been working closely with Utah Opera’s highly respected scenic and costume artisans over the past several years to bring this new production to reality and to draw attention to Utah Opera as one of the nation’s leading regional companies. This production is already scheduled for presentation in other communities throughout the United States and in Europe thanks to our co-producers, Pittsburgh Opera, Opera San José, Chicago Opera Theater, and Gran Teatre del Liceu, Barcelona. We are grateful not only to these partner companies but also to our many sponsors including Utah Opera 40th Anniversary Season Sponsor the George S. and Dolores Doré Eccles Foundation, Moby-Dick Production Sponsor the Janet Q. Lawson Foundation, and Presenting Sponsor the AHE/CI Trust, with additional significant support from the Carol Franc Buck Foundation and the National Endowment for the Arts. Please see p. 20 for a full list of production sponsors and pp. 46–59 for a list of the many generous contributors who support the year-round operations of Utah Symphony | Utah Opera. Thank you for joining us for this important event in Utah Opera’s history and for the role you play in this dynamic community which values great art as an important aspect to an elevated quality of life. Sincerely,
6
Paul Meecham
Kem Gardner
President & CEO
Chair, Board of Trustees UTAH OPERA 2017–18 SEASON
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Artistic Director’s Welcome Dear Utah Opera Friends and Family, On a special night in April of 2010, I and other members of Utah Opera staff were present at something extraordinary: the birth of a new American Opera classic. The opera was Moby-Dick, of course, and it seemed like the opera world was there that night with a high level of anticipation to see what two of our country’s finest creators in words, music, and theater—composer Jake Heggie and librettist Gene Scheer—had produced. At the end of the performance it was clear that we had been witnesses to something wonderful.
Christopher McBeth Artistic Director
Shortly thereafter, I made up my mind that this opera needed to be presented at the Janet Quinney Lawson Capitol Theatre. Utah Opera’s audiences deserved to have the same experience that I had enjoyed. As I explored how to do this, it became clear that to make this happen for our community, and for others, a new production needed to be created. While the original production was astonishing, this was an opera that deserved another production that would allow the opera to be presented by as many theaters as possible. After discussing the idea with the work’s creators and attaining their blessing, dialogue began with our director, Kristine McIntyre, who has created some of Utah Opera’s most exciting offerings and has worked on other operas by Jake Heggie. The dream began to take form. Epic creative meetings occurred between Ms. McIntyre and award-winning designers, Erhard Rom and Jessica Jahn, in New York and over Skype, and tonight we see the result of their efforts. Working with some of the finest artisans in the industry on staff at Utah Opera, this artistic team has brought us something truly special. I am sincerely grateful to the opera’s creators, the director and designers, and our first-rate staff for bringing this dream to life. I am also eternally grateful to the donors who believed in and generously sponsored this project, allowing us to dream, to create, and to show you and the opera world what Utah Opera is capable of doing. With appreciation,
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UTAH OPERA 2017–18 SEASON
EVERY VOICE TELLS A STORY
LEO
PUC 'S / O L L VA N CA
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MARCH
10, 12, 14, 16, 18
JANET QUINNEY LAWSON CAPITOL THEATRE
enjoy a sensational double-bill performance featuring Leoncavallo’s Pagliacci, an emotionally intense masterpiece of passion, infidelity and murder. Then, heartbreak turns into laughter as Utah Opera explores the lighter side of Puccini with Gianni Schicchi. Watch, listen, and laugh, where you’ll find comedy in the chaos.
4 0 TH A N N I V E R S A R Y S E A S O N S P O N S O R
Tickets:
UTAHOPERA.ORG 801-533-6683
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Board of Trustees ELECTED BOARD Kem C. Gardner* Chairman
David Dee* Alex J. Dunn Brian Greeff Lynnette Hansen Matthew Holland Thomas N. Jacobson Mitra Kashanchi Thomas M. Love* Brad W. Merrill Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Brad Rencher Joanne F. Shiebler* Naoma Tate Thomas Thatcher
David Utrilla Craig C. Wagstaff Bob Wheaton Kim R. Wilson Thomas Wright
Clark D. Jones Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen*
Patricia A. Richards Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder
Kristen Fletcher Burton L. Gordon Richard G. Horne Ronald W. Jibson
Warren K. McOmber E. Jeffrey Smith Barbara Tanner
Spencer F. Eccles Th e 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
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 Chairman Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO Jesselie B. Anderson* Doyle L. Arnold* Judith M. Billings Howard S. Clark Gary L. Crocker
MUSICIAN REPRESENTATIVES
Elizabeth Beilman* Mark Davidson* EX OFFICIO
Margaret Sargent Utah Symphony Guild Dr. Robert Fudge Ogden Symphony Ballet Association *Executive Committee Member
LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Sr. Jon Huntsman, Jr. G. Frank Joklik TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow John Bates HONORARY BOARD Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles NATIONAL ADVISORY COUNCIL
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UTAH OPERA 2017–18 SEASON
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JOIN US IN THANKING THE JANET QUINNEY LAWSON FOUNDATION JOIN US IN THANKING THE JANET QUINNEY LAWSON FOUNDATION
Art Festival that ran concurrent with the Art Festival thatGames. ran concurrent with the 2002 Olympic Her donation 2002 Olympic Games. Her donation helped support the Utah Symphony | helped support Utah Symphony | Utah Opera and the Ballet West in creating Utah Opera and Ballet West in creating works that demonstrated the artistry works that demonstrated the artistry and rich cultural sophistication of Utah and rich cultural sophistication of Utah to visitors from around the world. to visitors from around the world.
Janet Quinney Lawson was a modern-day Janet Quinney Lawson was a modern-day renaissance woman, a conservationist, a renaissance a conservationist, a pioneer riverwoman, rafter, champion golfer, and pioneer river rafter, champion golfer, and an Olympic-level skier. Her zest for life was an Olympic-level Her Janet zest forwas lifeborn was evident to all whoskier. met her. evident to all who met her. Janet was born to Jessie Eccles and S.J. Quinney in 1922 to Eccles S.J. Quinney in 1922 in Jessie Salt Lake City.and Throughout her life she in Salt Lake City. Throughout her life shearts annually supported many charities and annually supported many charities and arts organizations including Utah Symphony | organizations including Utah Symphony | Utah Opera, The Nature Conservancy, Hogle Utah Opera, The Nature Conservancy, Hogle Zoo, Girl Scouts, Utah State University, and Zoo, Scouts, Utah State University, and BalletGirl West. Ballet West. In 2002, Janet and her family underwrote In Janet and her family the2002, Cultural Olympiad, part of underwrote the Olympics the Cultural Olympiad, part of the Olympics UTAHOPERA.ORG / (801) 533-NOTE
Janet died in 2008 at the age of 86, Janet died in 2008 the age of 86, and was active in theatcommunity until and was active in the community her final days. The Janet Quinney until Lawher final days. The Janet Quinney Lawson Capitol Theatre stands as a tribute son Capitol Theatre stands as a tribute to her lifelong desire for preserving to lifelong desire preserving andher strengthening theforarts in Utah. It and strengthening the arts Utah. It is in this historical light thatinthe Janet is in this historical light that the Janet Quinney Lawson Foundation supports Quinney Lawson Foundation supports Utah Opera and this magnificent proUtah Opera and this magnificent production of Moby-Dick, which will resoduction of Moby-Dick, which will resonate through the opera industry across nate through opera across the nation, as well the as here inindustry Utah. Janet’s the nation, as well as here in Utah. Janet’s Foundation and the members of her family Foundation and members of her family are delighted to the continue to strengthen the are delighted to continue to strengthen the arts in our community and underwrite this arts in our community wonderful work. Bravo and Utahunderwrite Opera! this wonderful work. Bravo Utah Opera!
Utah Symphony | Utah Opera Utah Symphony | Utah Opera gratefully recognizes the JANET gratefully recognizes the JANET QUINNEY LAWSON FOUNDATION QUINNEY LAWSON FOUNDATION and thanks the family for their vision and thanks the family for their vision and investment in our organization, and investment in our organization, especially for the support of this especially for the support of this new production of Moby-Dick. new production of Moby-Dick. 15
EVERY VOICE TELLS A STORY JOH
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12, 14, 16, 18, 20
JANET QUINNEY LAWSON CAPITOL THEATRE
take a lot of champagne. Combine it with a cast of outrageous characters. Add in a bat costume. Now stir it into a gigantic party, and you have a recipe for something ridiculously fun. Join Utah Opera for a lavish costumed spectacle that celebrates the close of our 40th Anniversary the best way we know how—with an uproarious production of the ultimate party opera.
4 0 TH A N N I V E R S A R Y S E A S O N S P O N S O R
Tickets:
UTAHOPERA.ORG 801-533-6683
or
Moby-Dick
synopsis
By Judy Vander Heide with contributions by Kristine McIntyre
Moby-Dick by Jake Heggie, libretto by Gene Scheer ACT ONE: On board the Pequod, one week at sea out of Nantucket Captain Ahab gazes out to sea in the early morning hours while his crew sleeps below deck. Harpooneer Queequeg, a South Sea Islander, wakens Greenhorn (Ishmael in Melville’s novel) with his praying. “All hands” is sounded and the ship’s sails are raised while first mate Starbuck and third mate Flask discuss the Captain’s enigmatic absences. The crew sings of whaling and fortunes to be made and Ahab appears to tell them that the real reason for the voyage is to hunt for Moby-Dick, the white whale that severed his leg. He commands that no whales are to be taken until Moby-Dick is sighted, and nails a gold coin to the masthead for the first man who sights the monster. All cry out “Death to Moby-Dick.” Starbuck finds the mission to be blasphemous, but Ahab is unmoved. Starbuck tutors Greenhorn in the art of whaling but is overcome with emotion, fearing he may never again see his wife and son. Suddenly, Stubb sights a pod of whales and Ahab arrives to forbid the hunt: Moby-Dick is the true target. The Pequod sails on, with Greenhorn and Queequeg as lookouts. Ahab is oblivious to the splendor of the scene before him. Starbuck fears that Ahab has become unhinged and is truly mad. Continued on the next page… UTAHOPERA.ORG / (801) 533-NOTE
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Moby-Dick
synopsis
Three months later
The Next Day
Months have passed with no whales captured, and boredom has set in. Stubb teases Pip, the cabin boy, but too much caviling within the crew incites a brawl. Fortunately a whale is sighted, and Starbuck convinces Ahab that the men must hunt. In the process, a whaleboat capsizes and young Pip goes missing.
The storm has passed. From a whaling vessel nearby, Captain Gardiner solicits the Pequod for help to find his twelve-year-old son who has been washed overboard. When Ahab stonily refuses, Pip calls out that he, too, is lost and cuts himself, spilling blood on Ahab. As the Pequod sails on, Ahab baptizes his harpoon with Pip’s blood. Below deck, Greenhorn considers the insanity that has afflicted those on board the Pequod.
The men render the slaughtered whale, and the oil is poured into leaking barrels. Pip is sorely missed and feared dead. Starbuck urges Ahab to put into the nearest port to repair the leaking barrels. But Ahab thinks only of Moby-Dick, and a violent quarrel with Starbuck ensues. As Ahab points a gun at Starbuck, a cry goes up that Queequeg has rescued Pip. Starbuck, still fearing he will never again see his family, stealthily enters Ahab’s cabin and considers killing the Captain. He finds he cannot and departs. ACT TWO: One Year Later As a storm approaches, the crew sings while Greenhorn and Queequeg talk of voyaging together to the Pacific Islander’s home. Queequeg suddenly falls ill and is taken below deck. He tells Greenhorn that he is dying and requests a coffin be crafted for him. Ahab, who thinks always and only of sighting Moby-Dick, demands to be lifted aloft to keep a lookout. A massive storm surrounds the ship while lightning bolts bounce around the deck. When St. Elmo’s Fire engulfs the mast and the sails, Ahab encourages the crew by claiming it is a sign from Heaven.
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On deck, Captain Ahab reflects to Starbuck about his forty years at sea and wonders if his life’s journey has had purpose. Sensing a kindred spirit in Starbuck, Ahab is about to agree to return home to Nantucket when he spies Moby-Dick. He orders the whaling boats lowered, and the hunt is on. Ahab insists that Starbuck remain behind on the Pequod. The great whale destroys two boats, tossing men into the sea, and then assails the Pequod herself. All crew members are lost save Ahab, who ferociously attacks the whale, only to be dragged down under the waves. Days later, Captain Gardiner finds Greenhorn half dead, lying on top of Queequeg’s floating coffin. He is the lone survivor of the ill-fated voyage.
Judy Vander Heide is the president of the Ogden Opera Guild, which supports Utah Opera. She also serves on the board of Opera Volunteers International and is a proud member of the Crescendo Society of Utah Opera.
UTAH OPERA 2017–18 SEASON
UTAH OPERA 40TH ANNIVERSARY SEASON SPONSOR
Enriching excellence in the arts in Utah for more than half a century. Utah Opera’s Carmen 2016 – Photo by Dana Sohm
Production Sponsors Utah Opera gratefully acknowledges the following generous sponsors who have made this production of Moby-Dick possible. 40TH ANNIVERSARY SEASON SPONSOR
PRODUCTION SPONSOR
JANET QUINNEY LAWSON FOUNDATION
PRESENTING SPONSOR
AHE/CI TRUST
OPERA ARTISTIC DIRECTOR SPONSOR
EMMA ECCLES JONES FOUNDATION
OPERA CONDUCTOR SPONSOR
PATRICIA A. RICHARDS & WILLIAM K. NICHOLS
OPENING PERFORMANCE SPONSOR
CAROL FRANC BUCK FOUNDATION
S U P P O R T E D I N PA R T B Y A N A WA R D F R O M
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UTAH OPERA 2017–18 SEASON
Moby-Dick
program
Moby-Dick January 20, 22, 24, 26 | 7:30 pm January 28 | 2 pm Janet Quinney Lawson Capitol Theatre Jake Heggie, Composer, Gene Scheer, Librettist Based on Herman Melville’s novel Moby-Dick Sung in English Premiere: The Dallas Opera April 30, 2010 Utah Opera Premiere
CAST Captain Ahab . . . . . . . . . . . . . . . . . . . . . . . . . Roger Honeywell Greenhorn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joshua Dennis Starbuck . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Adam Moore Queequeg . . . . . . . . . . . . . . . . . . . . . . . . . . Musa Ngqungwana Flask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joseph Gaines Stubb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Craig Irvin Pip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jasmine Habersham Captain Gardiner/Spanish Sailor . . . . . Jesús Vicente Murillo* Daggoo . . . . . . . . . . . . . . . . . . . . . . . . Babatunde Akinboboye Tashtego . . . . . . . . . . . . . . . . . . . . . . . . . . Keanu Aiono-Netzler Nantucket Sailor . . . . . . . . . . . . . . . . . . . . . . . . . . Anthony Buck
ARTISTIC STAFF
This production is a co-production with Pittsburgh Opera, Opera San José, Chicago Opera Theater, and Gran Teatre del Liceu, Barcelona. Scenery and costumes constructed by Utah Opera. The performance will last approximately 2:40 hours, with one twenty-minute intermission. *Current Utah Opera Resident Artist
UTAHOPERA.ORG / (801) 533-NOTE
Stage Director . . . . . . . . . . . . . . . . . . . . . . . . . . Kristine McIntyre Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . Joseph Mechavich Chorus Master . . . . . . . . . . . . . . . . . . . . . . Michaella Calzaretta Set Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Erhard Rom Costume Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jessica Jahn Lighting Design . . . . . . . . . . . . . . . . . . . . . . . . . Marcus Dilliard Choreographer . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel Charon Assist. to the Choreographer . . . . . . . . . . . . . . . Natalie Desch Properties Master . . . . . . . . . . . . . . . . . . . . . . . . . . . Kelly Nickle Wig/Makeup Design . . . . . . . . . . . . . . . . . . . . . Yancey J. Quick Asst. Director . . . . . . . . . . . . . . . . . . . . . . . . . Octavio Cardenas Stage Manager . . . . . . . . . . . . . . . . . . Erin Thompson-Janszen Asst. Stage Manager . . . . . . . . . . . . . . . . . . . . . . Emily E. Duffin 2nd Asst. Stage Manager . . . . . . . . . . . . . . . . . Annie Brantley Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . Stephanie Rhodes Supertitle Musician/Rehearsal Pianist . . . . Robert Bosworth*
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Moby-Di ck
cast
Roger Honeywell (Canada) Captain Ahab Most Recently at Utah Opera, The Flying Dutchman Recently: La fanciulla del West, Virginia Opera; Co ld Mountain, Opera North Carolina Opera, The Santa Fe Opera; Billy Budd, Des Moines Metro Opera Upcoming: Moby-Dick, Pittsburgh Opera; Das Rheingold, Opéra de Montréal Joshua Dennis (California) Greenhorn Utah Opera Debut Recently: La traviata, Seattle Opera, Opera Columbus, Opera Idaho; Roméo et Juliette, Minnesota Opera Upcoming: Rigoletto, Minnesota Opera David Adam Moore (Texas) Starbuck Most Recently at Utah Opera, Così fan tutte Recently: The Exterminating Angel, Metropolitan Opera, Royal Opera House Covent Garden, Salzburger Festspiele; A Midsummer Night’s Dream, Teatro alla Scala; Eugene Onegin, Arizona Opera Upcoming: Winterreise, Portland Opera; A Streetcar Named Desire, Teatro Colón, Buenos Aires Musa Ngqungwana (South Africa) Queequeg Utah Opera Debut Recently: Porgy and Bess, Glimmerglass Festival; Aida, English National Opera; Tosca, Canadian Opera Company Upcoming: Moby-Dick, Pittsburgh Opera; Carmen, Opera Philadelphia
22
UTAH OPERA 2017–18 SEASON
UTAH SYMPHONY B E R N S T E I N AT 10 0
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Composer, conductor, educator, and humanitarian Leonard Bernstein captured the sound of mid-century urban America and became one of the undeniable giants of 20th-century music.
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UTAHSYMPHONY.ORG \ 801-533–NOTE (6683) SEASON SPONSOR
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Moby-Di ck
cast
Joseph Gaines (Colorado) Flask Most Recently at Utah Opera, Le nozze di Figaro Recently: Elizabeth Cree, Opera Philadelphia; Les contes d’Hoffmann, Hawaii Opera Theater; Falstaff, Resonance Works Pittsburgh Upcoming: Turandot, San Diego Opera Craig Irvin (Iowa) Stubb Most Recently with Utah Opera, Le nozze di Figaro Recently: Arabella, Canadian Opera Company; Carmen, Fort Worth Opera; Dinner at 8, Minnesota Opera Upcoming: Dinner at 8, Wexford Festival; Silent Night, Austin Opera Jasmine Habersham (Georgia) Pip Utah Opera Debut Recently: Die Zauberflöte, Cincinnati Opera; The Mikado, Kentucky Opera; Porgy and Bess, Utah Festival Opera Upcoming: Out of Darkness: Two Remain, Atlanta Opera Jesús Vicente Murillo (Michigan) Captain Gardiner/Spanish Sailor Utah Opera Debut Current Utah Opera Resident Artist Recently: Messiah, Utah Symphony Cyrano, La fanciulla del West, Michigan Opera Theater; La Cenerentola, Opera Louisiane Upcoming: Gianni Schicchi, Die Fledermaus, Utah Opera
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UTAH OPERA 2017–18 SEASON
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Moby-Di ck
cast / artistic staff Keanu Aiono-Netzler (Utah) Tashtego Utah Opera Debut Recently: Amahl and the Night Visitors, La traviata, University of Utah; Dialogues des Carmélites, La Musica Lirica Upcoming: Candide, University of Utah Babatunde Akinboboye (Nigeria) Daggoo Utah Opera Debut Recently: La rondine, Il barbiere di Siviglia, Opera San José; La bohème, Opera San Luis Obispo; Moby-Dick, Los Angeles Opera Upcoming: An American Soldier, Opera Theatre of St. Louis Anthony Buck (Utah) Nantucket Sailor Most Recently at Utah Opera, Man of La Mancha Recently: La rondine, University of Utah; Tamerlano, Standing Opera; Carmen, Utah Opera Upcoming: St. Matthew Passion, Salt Lake Choral Artists; Così fan tutte, Utah Vocal Arts Academy ARTISTIC STAFF Kristine McIntyre (Oregon) Stage Director Most Recently at Utah Opera, Don Giovanni Recently: Billy Budd, Des Moines Metro Opera; Dead Man Walking, Lyric Opera of Kansas City; Ja ne Eyre (World Premiere), Center for Contemporary Opera, NY Upcoming: Moby-Dick, Pittsburgh Opera; Florencia en el Amazonas, Madison Opera
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artistic staff Joseph Mechavich (Philadelphia) Conductor Most Recently at Utah Opera, Madama Butterfly Recently: Dead Man Walking, Kentucky Opera; Turandot, Calgary Opera; Riders of the Purple Sage, Arizona Opera Upcoming: Florencia en el Amazonas, San Diego Opera; Out of Darkness: Two Remain, Atlanta Opera Michaella Calzaretta (Iowa) Chorus Master Utah Opera Debut Recently: Patience, University Gilbert and Sullivan Society; In Memoriam, Marilyn’s Room, New Voices Opera; Peter Grimes, Carmen, Indiana University Opera Theater Upcoming: Pagliacci, Die Fledermaus, Utah Opera Erhard Rom (New Jersey) Set Designer Utah Opera Debut Recently: The Shining (World Premiere), Minnesota Opera; Nixon in China, Royal Swedish Opera; Lucia di Lammermoor, San Francisco Opera; Eugene Onegin, Lyric Opera of Kansas City Upcoming: Si lent Night, Washington National Opera, Glimmerglass Festival; The Marriage of Figaro, San Francisco Opera Jessica Jahn (Brooklyn) Costume Designer Most Recently at Utah Opera, Il trovatore Recently: The Siege of Calais, Glimmerglass Festival; Norma, Lyric Opera of Chicago; Dead Man Walking, Washington National Opera Upcoming: West Side Story, Norma, Houston Grand Opera
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artistic staff
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Marcus Dilliard (Pennsylvania) Lighting Designer Utah Opera Debut Recently: Manon, Opera Santa Barbara; Seder, Hartford Stage Company; Refugia, The Guthrie Theater Upcoming: Florencia en el Amazonas, Madison Opera; Thaïs, Minnesota Opera Daniel Charon (Minnesota) Choreographer Most Recently at Utah Opera, Aïda Recently: Artistic Director, Ririe-Woodbury Dance Company; Faust, Minnesota Opera; Th e Elephant Man, Minnesota Opera; The Barber of Seville, Orpheus and Eurydice, Opera Colorado; Le sacre du printemps, The Metropolitan Opera Yancey J. Quick (Utah) Wig and Make-up Designer Most Recently at Utah Opera, Lucia di Lammermoor Recently: Resident Wig and Makeup Designer, Utah Opera; Wig Master, Ballet West; Wi g and Makeup Designer, Utah Festival Opera & Musical Theatre UTAH OPERA CHORUS Keanu Aiono-Netzler Frederick Brind Benjamin R. Boardman Anthony Buck Cody Carlson Matthew Castleton Merrill Flint Steven Finkelstein Kevin Golub
Elijah Hancock Gregory Harrison Paul Leland Hill Thomas Klassen Phillip A. Lammi Nelson LeDuc Edward Lopez Steve Mathews Garrett Medlock
Michael Moyes Jesús Vicente Murillo* Daniel Nichols Christopher Oglesby* Scott Palmer Gonzalo Peña Tony Porter Dallin Richards Mark Sorensen
Josh Steed Mitchell Sturges Scott Tarbet Daniel Tuutau Austin Toney David Wilkinson
DANCERS Florian Alberge John Allen
Juan Carlos Claudio Daniel Clifton
SUPERNUMERARY Steve Moga 28
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composer / librettist
Jake Heggie is the composer of the operas Dead Man Walking, Moby-Dick, It’s A Wonderful Life, Great Scott, Three Decembers, Out of Darkness: Two Remain, and the choral opera, The Radio Hour, among others. He has also composed nearly 300 songs, as well as chamber, choral and orchestral works. The operas— most created with writers Terrence McNally or Gene Scheer—have been produced on five continents. MobyDick (Scheer) was telecast throughout the United States as part of Great Performances’ 40th Season and released on DVD (EuroArts). Dead Man Walking (McNally) has received nearly 50 international productions and has Jack Heggie been recorded twice. Three Decembers has received composer nearly 20 international productions. The composer was recently awarded the Eddie Medora King prize from the UT Austin Butler School of Music, and the Champion Award from the San Francisco Gay Men’s Chorus. A Guggenheim Fellow, Mr. Heggie has served as a mentor for the Washington National Opera’s American Opera Initiative and is a frequent guest artist at universities, conservatories and festivals throughout the USA and Canada. Mr. Heggie and Gene Scheer are currently at work on If I Were You, based on the Faustian story by Julian Green, for the Merola Opera Program’s 2019 season. jakeheggie.com Gene Scheer’s work is noted for its scope and versatility. With the composer Jake Heggie, he has collaborated on many projects, including the critically acclaimed 2010 Dallas Opera world premiere, MobyDick, starring Ben Heppner as Captain Ahab; Three Decembers (Houston Grand Opera), which starred Frederica von Stade; and the lyric drama To Hell and Back (Philharmonia Baroque Orchestra), which featured Patti LuPone. Other works by Mr. Scheer and Mr. Heggie include Camille Claudel: Into the fire, a song cycle premiered by Joyce DiDonato and the Alexander String Quartet. Mr. Scheer worked as librettist with Tobias Gene Scheer Picker on An American Tragedy, which premiered at librettist The Metropolitan Opera in 2005. Other collaborations include the lyrics for Wynton Marsalis’s It Never Goes Away, featured in Mr. Marsalis’s work Congo Square. In December of 2016 Mr. Scheer and Jake Heggie premiered an operatic adaptation of It’s a Wonderful Life for the Houston Grand Opera. Also a composer in his own right, Mr. Scheer has written a number of songs for singers such as Renée Fleming, Sylvia McNair, Stephanie Blythe, Jennifer Larmore, Denyce Graves, and Nathan Gunn. The distinguished documentary filmmaker, Ken Burns, prominently featured Mr. Scheer’s song “American Anthem” (as sung by Norah Jones) in his Emmy Awardwinning World War II documentary for PBS entitled The War. UTAHOPERA.ORG / (801) 533-NOTE
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November in the Soul The Great Gamble of Literary Opera By Jeff Counts
Melville spends the entire first chapter of Moby-Dick, short though it is, presenting a case for man’s deep connection to water, how we are all drawn to it as if by some divining rod made from our bones. “Nothing will content them but the extremest limit of the land,” he writes of us and, upon even modest reflection, we must admit that he’s correct. In the case of Ishmael, Melville is referring to the ocean and its periodic but undeniable lure. For the rest of us, he could be talking about just about any reasonably significant body of water and all we must do to prove the point is think back to every place we have lived. Even if a given location was far from the coast, we always knew where the nearest lake or river was and, given the chance, we visited them often. We are land-bound creatures, sure, but we have always been fascinated by the “watery part of the world.” For Melville to make this observation in 1851 was maybe not so surprising. After all, if not for navigable water, humanity would have had no way to cross the globe back then. Water was life. He could not have known (though he may have been wise enough to suspect) that we would continue to hear Homer’s Sirens long after we ceased to depend on their domain, but his words really do linger with a wistful accuracy after over a century and a half. A writer has unlimited space to craft such a construct. In Melville’s case, it took just over five gorgeously dense pages, but he could have easily
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spent much more time on it, given the luxuries of scale available to him as a novelist. The point here is that the power of words to convey deep meaning is, in the right hands, often enhanced by profusion and the grand novel form is nothing if not a study in this kind of breadth. How then does an opera turn this material into an entirely different kind of art without diminishing the impact of the original themes, both large and small? Opera has an impressive set of luxuries at its disposal too, but none that make easy work of literary nuance. Narrative compression is, by necessity, the law in this particular land so, for a 600-page book to become a 3-hour work of musical drama, certain sacrifices have
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to be made. But how can subtext ever be as effective as plain old text? Jake Heggie and Gene Scheer certainly weren’t the first to travel this road. Many contemporary artists have successfully tackled the literary novel in pursuit of new operatic ideals and the list is quite distinguished. It includes Mark Adamo’s Little Women, Ricky Ian Gordon’s The Grapes of Wrath, Carlisle Floyd’s Of Mice and Men, Rodion Shchedrin’s Dead Souls, John Harbison’s The Great Gatsby…it goes on. But, again, how did they do it? What got left out? Re-ordered? Replaced? If we take The Grapes of Wrath (co-produced by Utah Opera in 2007) as an example, we find plenty of compromises, or perhaps licenses, to ponder. Steinbeck’s 1939 novel is a somber read, and not a thing that immediately lends itself to song. But in Gordon’s and librettist Michael Korie’s hands, the flat affect of Steinbeck’s prose is rendered in couplets and set to a score that is as much a product of Broadway as traditional opera. The characters all get highly individualized musical treatments that, in certain ways, flesh them out more than the book does. A prime example is Noah’s departure from the family. The river where he chooses to remain in the book is the one he where drowns himself in the opera, an act which is vividly depicted. It’s a powerful operatic moment, but it’s completely unique to the Gordon/ Korie vision for the story. This kind of expansion, even amidst all of the required plot contractions, is an arguably necessary component of the transition from page to stage.
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Like Melville, Steinbeck had an open canvas upon which to describe his protagonists and we must assume that the questions he leaves unanswered have been left so by design. Noah’s inability to go even one step further in the book was not suicidal, but the opera iteration of his journey needed it to be. It was a big chance to take, one among many in this kind of project. But different types of drama have different mechanisms for moving us through their beats, and in order to keep a thematic thread taut during the translation new, often more direct, devices must be fashioned. Possibly even more illustrative of the dilemmas at play in this risky game are the experiences of Mark Adamo as he worked on Little Women. Alcott’s novel is episodic and static in a way that didn’t make sense to Adamo musically. He didn’t want to tell the story through another rote succession of ‘scenes’ but had trouble finding anyone who agreed with him at first. But Adamo’s desire to focus on, and in some sense, create the arc of the character Jo won the day in the end. According to the composer, the critical moment in the development of his idea came from a viewing of the 1949 film version of Little Women when he realized that “It’s really about abandonment” and that Jo’s evolution from resistance to acceptance mattered most and had to be the structural hook for his opera. It was a spark which, it’s worth mentioning, brought yet a third art form into the mix, and it created space for Adamo’s fresh perspective on Alcott’s work. Jo thrives equally well under his care.
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What is true for Steinbeck is true for most. The vocabulary of music is just not well suited to literary language, at least not without some tinkering. This is how, if you’ve read MobyDick (really read it, I mean, not just attempted to read it like most of us), you will recognize everything you experience in Jake Heggie’s account. The madness, the adventure, the profound commentary on human frailty and the limits of loyalty. It’s all there. Nothing is forsaken, because the deep messages of literature need not always suffer from their various renderings. In fact, when stripped down to their elemental parts and delivered simply by live voices, some
of these messages can be achieve a clarity unknown to their originator. We know that Melville’s words were a mirror for his specific soul. But they also reflect ours and their immense power, their allegorical richness, is wielded with great respect in this excellent opera. So, then, let us put aside our preconceptions and “quietly take to the ship.” The sea is calling. 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 since 2010. You can follow Jeff as host of "Ghost Light Podcast."
Utah Opera’s Second Chapter By Leslie Peterson
In our program for La bohème, Leslie Peterson shared memories of her father and his founding of Utah Opera. Here, she continues Utah Opera's story with the arrival of its second General Director, Anne Ewers. Anne Ewers arrived in Salt Lake City in 1991 from Boston with her boundless energy, commitment to excellence, and a distinctive laugh that often punctuated conversations. Her background as a stage director influenced her vision to share lesser known works, both old and new, as well as American works, with Utah audiences. Among them were Floyd’s Of Mice and Men, Moore’s The Ballad of Baby Doe, Monteverdi’s The Coronation of Poppea, and our Utah Centennial commission, Dreamkeepers, by composer David
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Carlson and librettist Aden Ross. These performances set the stage for our American Opera Initiative represented by Moby-Dick today. Another addition from Anne’s era is our Resident Artist Program. Nearly 200 singers and pianists have participated over the last 20 years, introducing young people from all over Utah to opera, and performing secondary roles in mainstage operas. Among those that are enjoying outstanding careers are Aaron Blake, Don Ottavio in Don Giovanni, and Dominick Chenes, Don José in Carmen last season.
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Utah Opera‘s Second Chapter
2002 Cultural Olympiad Ambassadors Frederick Quinney Lawson, Janet Quinney Lawson with Anne Ewers, next to portait of S.J. Quinney. (Photo by: Scott Peterson)
Acquired in 1996 and located behind West High School, our Production Studios house our costumes, sets, and props, and provide much needed rehearsal space. The 90,000-square foot, state-of-the-art space is the envy of much larger companies, and allows our artisans to construct sets and costumes for productions such as Moby-Dick. Community collaborations also flourished during Anne’s time. Britten’s Trilogy of Church Parables was performed as part of the Cathedral of the Madeleine Festival, and we initiated an annual cultural festival. We also faced our share of challenges, including performance mishaps which became, as Anne used to say, ”a tragedy today, an anecdote tomorrow.” In a performance of Faust, Mephisto kept getting too close to the flash pots for his dramatic entrance and his cape caught fire…just another reminder that performing opera can sometimes be hell. During one of several performances of Hansel & Gretel in Ogden, we experienced a technical glitch, and UTAHOPERA.ORG / (801) 533-NOTE
instead of flying through the woods, the witch did a belly flop across the stage, crashing and burning before her time. Through good times and bad, Anne brought tenacity, persistence, and discipline to her role. Today, when things don’t go my way, I recall Anne’s admonition to not “get my knickers in a knot!” Early in Anne’s tenure, we sat at my mom’s dining room table discussing ideas for the future while overlooking the Salt Lake valley that was similarly expanding in new directions. I like to think that Utah Opera has been inspired by Utah’s grand vistas, generous people, and bold spirit, and that, likewise, Utah has been impacted by the beauty, creativity and industry of Utah Opera. As the daughter of Utah Opera's founder, Leslie Peterson grew up attending opera in some of Europe’s most storied halls and also appeared on the stage as a regular member of the children’s chorus at the Zurich Opera House. She is the Vice President of Development for Utah Symphony | Utah Opera. 35
The Nuts and Bolts of Opera By Lisa Poppleton
The “skeleton” for the Moby-Dick set as of mid-November 2017, Utah Opera Scenic Studios. Photo credit: Lisa Poppleton
A section of ocean drop for Moby-Dick, painted by Utah Opera Scenic Charge Artist Dusty Terrell; in the background—a drop for Ballet West’s The Nutcracker. Photo credit: Dusty Terrell
Walking eastward through the costume racks of the Utah Opera Costume Shop, you arrive at a solid door that exits the world of brocades, linens, and velvets and enters the wood, steel, and aluminum wardrobe of the Scenic Studio. Hard to believe that 22 years ago, prior to the purchase of these Production Studios, Utah Opera’s costume, scenic, and properties studios were strewn in separate locations across a 50-mile span from Ogden to South Salt Lake. How did these elements ever come together onstage for an opera?
operations, and the potential benefits of housing these necessary opera enterprises under one roof. With a $500,000 lead gift from the George S. and Dolores Doré Eccles Foundation, a capital campaign was launched in 1995 to purchase and start renovating a dilapidated warehouse north of West High. Phase two of this major project was completed in 2002, adding among other features in this state-of-the-art facility a soaring 30-foot assembly bay to accommodate the building of sets, and increased space for their storage.
In the early 1990s, Utah Opera General Director Anne Ewers recognized the inefficiencies of such widely dispersed 36
Today’s flourishing set construction and rental activity at the Production Studios is overseen by Senior Technical Director Jared Porter, who manages UTAH OPERA 2017–18 SEASON
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the company’s projects in coordination with Opera Artistic Director Christopher McBeth. Sixteen sets currently comprise the inventory, with scenery for Moby-Dick and Pagliacci/ Gianni Schicchi to be completed this season. Some have been built here at Utah Opera, and others were purchased when the price was right and the opera in question was scheduled for an upcoming season. Utah Opera’s set for The Barber of Seville, the most successful rental property owned by the company, was purchased for $9,000, and has brought in $287,000 in rental revenue over the past 21 years. Other profitable sets include those for Rigoletto, The Merry Widow, and La traviata—all mainstays in the popular opera repertoire, not surprisingly. How well a set is engineered for transport is also a major consideration in its rental value. Our Barber of Seville set easily loads into one semi-truck, an advantage for shipping out of a location like Salt Lake City that doesn’t generate much shipping traffic. The reputation of Utah Opera’s Scenic Studio for quality work frequently outweighs concerns over distance and shipping costs, however, as evidenced by its construction of new sets on commission for far-flung companies such as Sarasota Opera (Florida), Vancouver Opera, Arizona Opera, and Hawaii Opera Theatre in recent years. In fact, the company’s new production of Moby-Dick marks the first time Utah Opera has constructed a new set for UTAHOPERA.ORG / (801) 533-NOTE
itself since the 2008 recession. Throughout this hiatus in building for Utah Opera productions, the Scenic Studio has remained in full-time operation mode through the rebuilding or repair of its own inventory, building for other opera and theatre companies, and for such diverse organizations as the Sundance Film Festival, and USANA and Stampin’ Up conventions. Concurrently with the building of Moby-Dick since summer 2017, Utah Opera Scenic Studio artisans have also been constructing Ballet West’s new production drops for The Nutcracker. A third project, wrapped up earlier this fall, consisted of re-builds of the Terroride and Frightmare decor at Lagoon amusement park, completed just in time for Halloween. “Work at the shop is so steady that we have to turn away business,” remarks Mr. Porter. Opera Artistic Director Christopher McBeth credits the senior technical director for much of this success. “Utah Opera is regularly approached by other companies who want us to build their new productions. We now have an extraordinary team in our Scenic Studio—the finest collection of talent in our history. Jared excels in establishing good working relationships, for example, with the engineers at Lagoon, who assisted our own crew in resolving some difficult mechanical issues with the Moby-Dick set. I can see further projects on the horizon with Lagoon.” During a recent interview with Opera News magazine, Mr. McBeth was asked “What is it like to be an opera company 37
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that still has a scenic studio?” In an industry where a lot of companies have bowed to financial pressure and closed their set enterprises, Utah Opera has maintained a stable setbuilding and rental operation through flexibility and ingenuity in seeking new sources of revenue. Mr. McBeth views the building of the Moby-Dick and Pagliacci/Gianni Schicchi sets in 2017–18 as the harbinger of rejuvenated set building for Utah Opera’s own productions. “We are continuing to look for operas that need a new production, that are
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ripe to be re-imagined artistically. This not only includes new American works, but also the classic ‘warhorses.’ Audiences want to see the latter in fresh, original interpretations, and right now, there are many excellent, newly established stage directors out there. It’s time to realize their vision.”
Lisa Poppleton is currently Grants Manager for Utah Symphony | Utah Opera. She worked for Utah Opera during the decade prior to the merger of the two organizations, filling various positions in development and marketing from 1991–2002.
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Director's Note: Heart of Darkness By Kristine McIntyre
In his epic novel Moby-Dick, Melville tells not only a story about whaling but explores the great questions of the 19th century: What is man’s place in the universe? What is his relationship to nature? And what are the limits of honor, duty, and friendship? The novel is a journey into the heart of darkness where the veneer of society is slowly stripped away until only the primal elements remain. In their retelling, Jake Heggie and Gene Scheer have given us a version at once grand and intimate, powered both by large chorus scenes and a series of beautiful arias and duets. We strived to create a production which is dynamic, epic in scope, and replete with stunning visuals but which also allows the human elements of the story to flourish. Erhard Rom, Jessica Jahn and I have designed a world which immediately captures the celestial and universal elements of the story. The large curved wall of the set evokes the sea and the contours of a boat and displays a map of the voyage of the Pequod. The ship
itself is represented by its most iconic elements: a mast, a compass, a corner of a sail and a large prow which rotates on the central disc to create the many different scenes and provide different views of the Pequod. The production will trace the entire journey of the crew, both literal and psychological, as they travel through the seasons from the cold waters of the Atlantic to the heat of the tropics, shedding their dark winter clothing and their connection to their New England home as the journey unfolds. The costume designs are based on extensive photo research and each principal and chorus character will evoke a real 19th century whaler and represent the variety and diversity of Melville’s crew. Daniel Charon will create exciting movement sequences to tell the physical story of the opera and we will take advantage of all the levels that are built into the set to create compelling stage pictures that capture the vibrant life of the Pequod. In this character-driven production we will explore the entire emotional journey of the crew as they enter deeper and deeper into the heart of Ahab’s obsession. In the end, MobyDick will rise from below, where he has been all along, and all elements of the ship and Ahab will be destroyed, leaving only Ishmael to tell his tale.
Utah Opera gratefully acknowledges the following generous sponsors FLORAL SEASON SPONSOR
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UTAH OPERA 2017–18 SEASON
Every Voice Tells a Story Memories of the Utah Opera By Kathleen Sykes
Every voice tells a story—and for 40 years, members of our community have been telling ours. Here are some memories people associated with Utah Opera have shared with us over the years. Visit the 40th Anniversary Season display in our lobby to read more memories and see photos from Utah Opera's history. over her head. Running right behind her, Glade caught the piece in stride and they didn’t break a step or rhythm. It was a sight that could only have happened in a movie scene.
Utah Opera's 10th Anniversary Celebration. Photo by Rolf Kay.
Gunter and Carol Radinger While we have had many wonderful experiences during our association with the hundreds of fabulous people we have met at Utah Opera, here are two of our favorite memories: The first is when Carol was president of the Opera Guild, the VIP receptions were held after the first performance and on the stage. People could see the sets up close and personal. Also, refreshments were served on stage, so the decorations from the Founders’ Room were moved there. Carol was assigned the task of carrying a large two-piece vase full of flowers from upstairs to the backstage entrance and onto the stage. As she and Glade Peterson were running to the stage, the top piece of the vase came off and flew 42
For myself, I must say that my experiences as a super in 28 operas combine as a composite event that I will always cherish. The supers are given some of the most wonderful costumes to wear, are on stage with some of the best artists and people in the business, and develop lasting friendships with many of them. This is my most memorable experience. Of course, going to the performances has to be among the most obvious and memorable activities that we have done. The associations we have with fellow audience members, staff, and others are cherished and can never be understated. Our lives have been enriched beyond measure since the day Glade asked us to become involved in his marvelous dream. Billie Lukas Poulos He gathered singers along the way and the money in order to do it. La bohème was the very first opera that we did and I’ll never forget it as long as I live. I was up in a tree picking apples at my home in Holladay, and I get a call from Glade and Glade says “Billie, in 2 hours I want you to be down here for an audition.” and I said 2 hours? I’m UTAH OPERA 2017–18 SEASON
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picking apples! So I went down and I just became Mimì…. [Glade] was a very charismatic man… he was drawn to people. And they were drawn to him. And this glorious voice, I mean he would melt you. But I think that Glade just had a certain home town feeling that really appealed to people like the legislature, and so I think that’s really what got this thing off the ground. Jim Johnson I was unemployed, looking for a job when I saw an ad for chorus members for the nascent, Utah Opera Company. I had never heard an opera let alone sung in one. I met Glade Peterson in a room adjacent to Daynes Music where I was informed that this was a volunteer opportunity not a paid
gig. After an audition he wished me luck on my job search and invited me to join the chorus. I found a job and joined the chorus under the direction of Bob Zabriskie in the attic of the U of U music building. From there I sang through four seasons beginning with La bohème in English and ending with La bohème in Italian. In those four years I sang in fourteen different productions. I started in Kingsbury Hall and ended in the Capitol Theatre. Glade was a great leader treating even the chorus with respect and friendship. Glade made opera accessible and appealing to Utah and me. Kathleen Sykes is the digital content producer for Utah Symphony | Utah Opera. When she’s not writing articles, she’s busy snapping photos and posting them to @utahopera.
“I LOVED YOUR PERFORMANCE TODAY. IT WAS SO EXPRESSIVE AND FUN. I THINK YOU ARE THE BEST OPERA SINGERS I HAVE EVER HEARD.” –ROSALEE, SOUTHERN UTAH CHARTER SCHOOL STUDENT “P.S. ARE THERE ANY OPERA SONGS ABOUT UNICORNS?”
EVERY VOICE TELLS A STORY
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UTAH OPERA 2017–18 SEASON
Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair
Conner Gray Covington Assistant Conductor
Roberta Zalkind# Associate Principal
Barlow Bradford Symphony Chorus Director
Elizabeth Beilman Acting Associate Principal
VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton
Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Leslie Richards†† Whittney Thomas
Robert Stephenson Associate Principal
Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair
CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair
CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
Ralph Matson Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Amanda Kofoed†† Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Lynnette Stewart Bonnie Terry• Julie Wunderle Karen Wyatt•• VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair
Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn# Antonio Escobedo†† Benjamin Henderson†† Lee Philip†† Edward Merritt Jens Tenbroek Thomas Zera† HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore
Lissa Stolz ENGLISH HORN Lissa Stolz
Erin Svoboda Associate Principal Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Edmund Rollett Acting Principal
TROMBONE Mark Davidson Principal Sam Elliot Associate Principal BASS TROMBONE Graeme Mutchler† David Hagee†† TUBA Gary Ofenloch Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy† Katie Klich†† ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager
Alexander Love†† Acting Associate Principal
STAGE MANAGEMENT Chip Dance Production & Stage Manager
Llewellyn B. Humphreys Brian Blanchard Stephen Proser
Jeff Herbig Properties Manager & Assistant Stage Manager
TRUMPET Travis Peterson Principal
• First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member
Jeff Luke Associate Principal Peter Margulies Gabriel Slesinger††
UTAHOPERA.ORG / (801) 533-NOTE
45
Thank You MILLENNIUM DONORS $250,000 & above We are grateful to those individuals, corporations, foundations, and public institutions who have given $250,000 or more as a one-time gift or as a multi-year pledge during the past five years to either the annual fund or to a combination of annual fund and endowment. Their generous support sustains and enhances our artistic excellence. Thank you.
INDIVIDUALS Gael Benson
Kem & Carolyn Gardner
Theodore Schmidt
Diane & Hal Brierley
Anthony & Renee Marlon
E.R. & Katherine† W. Dumke
James A. & Marilyn Parke
Naoma Tate & the Family of Hal Tate
The Right Reverend Carolyn Tanner Irish
Patricia A. Richards & William K. Nichols
Jacquelyn Wentz
CORPORATIONS, FOUNDATIONS & PUBLIC SUPPORT The Church of Jesus Christ O.C. Tanner of Latter-day Saints Perkins-Prothro Foundation Foundation Lawrence T. & Janet T. John & Marcia Price Dee Foundation Foundation Dominion Energy Salt Lake County George S. & Dolores Doré Salt Lake County Zoo, Eccles Foundation Arts & Parks Larry H. & Gail Miller Shiebler Family Family Foundation Foundation
Sam & Diane Stewart Family Foundation Utah State Legislature / Utah State Board of Education Zions Bank
Donations received as of November 13, 2017
46
UTAH OPERA 2017–18 SEASON
Thank You INDIVIDUAL GIVING Annual Fund Utah Symphony | Utah Opera is grateful to the individuals who support our mission with annual gifts and those who have pledged multi-year gifts (recognized in bold) to the annual fund.
ENCORE $100,000 & above Anonymous Estate of Edith C. Brinn Kem & Carolyn Gardner
Anthony & Renee Marlon Kenneth† & Jerrie Randall Elizabeth Solomon
Naoma Tate & the Family of Hal Tate Jacquelyn Wentz
BRAVO $50,000 to $99,999 Anonymous Diane & Hal Brierley
Stephen C.† & Lynda M. James A. & Marilyn Parke Jacobsen Theodore Schmidt Charles & Crystal Maggelet Jack Wheatley
OVERTURE $25,000 to $49,999 Scott & Kathie Amann A. Scott & Jesselie Anderson Doyle Arnold & Anne Glarner Michael & Vickie Callen John & Flora D’Arcy Thierry & Catherine Fischer**
Kristen Fletcher & Dan McPhun Elaine & Burton L. Gordon Tom & Lorie Jacobson Rebecca Marriott Champion Edward & Barbara Moreton Fred & Lucy Moreton Carol & Ted Newlin
Albert J. Roberts IV Harris H. & Amanda Simmons Sam & Diane Stewart Jim & Zibby Tozer Edward & Marelynn Zipser
Donations received as of November 13, 2017
UTAHOPERA.ORG / (801) 533-NOTE
47
Thank You Members of Maestro and above support the symphony or opera through major gifts of $10,000 or more, and enjoy exclusive Utah Symphony | Utah Opera benefits throughout the season. For more information, please call 801-869-9010. MAESTRO $10,000 to $24,999 Dr. J. R. Baringer & Dr. Jeannette J. Townsend Haven J. Barlow Family Thomas Billings & Judge Judith Billings Mr. & Mrs. Jim Blair Judy Brady & Drew W. Browning Estate of Bernice Bradshaw Judy & Larry Brownstein Neill & Linda Brownstein** Estate of Barbara Burnett Howard & Betty Clark Pat & Sherry Duncan Dr. & Mrs. Ralph Earle Sue Ellis J. I. “Chip” & Gayle Everest Martin & Jane Greenberg Douglas & Connie Hayes
Susan & Tom Hodgson The Right Reverend Carolyn Tanner Irish G. Frank & Pamela Joklik Robert & Debra Kasirer Bill Ligety & Cyndi Sharp Estate of Gay Herman Marrash Mr. & Mrs. Charles McEvoy Harold W. & Lois Milner Terrell & Leah Nagata William & Christine Nelson Patricia A. Richards & William K. Nichols Norman C. & Barbara L. Tanner Trusts Dr. Dinesh & Kalpana Patel Frank R. Pignanelli & D’Arcy Dixon Alice & Frank Puleo
Stephen & Cydney Quinn Brad & Sara Rencher James & Gail Riepe Richard & Carmen Rogers Lori & Theodore Samuels Mr. & Mrs. D. Brent Scott George & Tami† Speciale Jennifer Speers Mr. & Mrs. G. B. Stringfellow Thomas & Marilyn Sutton James R. Susan Swartz Jonathan & Anne Symonds Beth Thornton Thomas† & Caroline Tucker Kathleen Digre & Michael Varner
ALLEGRO $5,000 to $9,999 Anonymous (3) Mr. & Mrs. Alan P. Agle Ross Anderson Edward Ashwood & Candice Johnson Mr. & Mrs. William C. Bailey Dr. & Mrs. Clisto Beaty Carol, Rete, & Celine Browning Chris & Lois Canale Thomas Christofferson Joseph Cleary Marc & Kathryn Cohen Mr. & Mrs. Kenneth R. Cutler Michael & Sheila Deputy Spencer & Cleone† Eccles Midge Farkas Jack & Marianne Ferraro Robert & Elisha Finney Susan F. Fleming Mr. Joseph F. Furlong III Mr. & Mrs. Eric Garen*
David & Lisa Genecov Andrea Golding Ray & Howard Grossman Dennis & Sarah Hancock Julie & Dave Hirz Chuck & Kathie Horman Jon & Karen Huntsman Jon & Mary Kaye Huntsman Mary P. Jacobs† & Jerald H. Jacobs Family Mr. James Keras & Mrs. Penny Keras Jeanne Kimball Katherine Lamb Mr. & Mrs. Christopher J. Lansing Elizabeth & Michael Liess Mr. & Mrs. Wayne Lyski David & Nickie McDowell Michael & Julie McFadden Paul Meecham & Laura Leach Carol & Anthony W. Middleton Jr., M.D.
Dr. Louis A Moench & Deborah Moench James & Anne Neal James & Marianne Nelson Howard & Nancy Parker Dr. Thomas Parks & Dr. Patricia Legant Brooks & Lenna Quinn David & Shari Quinney Dr. & Mrs. Marvin L. Rallison Dr. Wallace Ring Peggy & Ben Schapiro Dewelynn Selberg Stuart & Molly Silloway Tim Terrell Albert & Yvette Ungricht Dr. Ralph & Judith Vander Heide E. Woolston & Connie Jo Hepworth-Woolston Chris & Lisa Young
Donations received as of November 13, 2017 48
UTAH OPERA 2017–18 SEASON
Photo, Kent Miles for Utah Opera
Thank You ABRAVANEL & PETERSON SOCIETIES $2,500 to 4,999 Members of the Maurice Abravanel or Glade Peterson Societies support the symphony or opera through annual gifts of $2,500 or more and enjoy symphony or opera benefits throughout the season. For more information, please call 801-869-9028. Anonymous (7) Craig & Joanna Adamson Fran Akita Robert & Cherry Anderson Robert Baker E. Wayne & Barbara Baumgardner Melissa J. Bentley, M.D. Mr. & Mrs. William Bierer Robert W. Brandt† David Brown Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Kelly Burt Mark & Marcy Casp Hal & Cecile Christiansen Edward & Carleen Clark Amalia Cochran Raymond & Diana Compton Debbi & Gary Cook Sandra & David Cope Ruth Davidson Graeme Dayton David & Karen Gardner Dee Thomas D. Dee III & Dr. Candace Dee Margarita Donnelly Carol & Greg Easton Janet Ellison Mr. & Mrs. Robert Ehrlich Blake & Linda Fisher Laura Forsgren Drs. Fran & Cliff Foster Robert & Annie-Lewis Garda Diana George Jeffrey L. Giese, M.D. & Mary E Gesicki David & SandyLee Griswold* The James S. Gulbrandsen,Sr. Family C. Chauncey & Emily Hall
Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare David & Judi Harris Jeff & Peggy Hatch Lisanne & Don Hendricks Debbie Horton Sunny & Wes Howell Mr. & Mrs. Jerry Huffman Dixie & Robert Huefner Sherry & Jim Hulse Annette & Joseph Jarvis Ronald & Janet Jibson M. Craig & Rebecca Johns Bryce & Karen† Johnson Maxine & Bruce Johnson Neone F. Jones Susan Keyes & Jim Sulat Laura Kiessner Allison Kitching Merele & Howard Kosowsky Val Lambson Donald L. & Alice A. Lappe Victoria McNeil Le Vine Paul Lehman Harrison & Elaine Levy Herbert C. & Wilma S. Livsey Thomas & Jamie Love Patricia & Mark Lucas Milt & Carol Lynnes David & Donna Lyon Jed & Kathryn Marti Keith & Vicki Maio Zelda Marzec Daniel & Noemi P. Mattis Christopher & Julie McBeth George & Nancy Melling Dr. Jean H. & Dr. Richard R.Miller Mr. & Mrs. Richard Mithoff Marilyn H. Neilson Stephen & Mary Nichols
Thomas & Barbara O’Byrne O. Don & Barbara Ostler Dr. S. Keith & Barbara Petersen Leslie Peterson & Kevin Higgins Dan & June Ragan W.E. & Harriet R. Rasmussen Dr. Richard & Frances Reiser Joyce Rice James & Anna Romano Kenneth Roach & Cindy Powell Lousje & Keith Rooker Thomas Safran Mark & Loulu Saltzman John F. Foley, M.D. & Dorene Sambado, M.D. Margaret P. Sargent Shirley & Eric Schoenholz Barbara & Paul Schwartz William G. Schwartz & Joann Givan Thomas & Gayle Sherry Diana & Paul Smith Christine St. Andre & Cliff Hardesty Richard & Janet Thompson Verl & Joyce Topham Mr. & Mrs. Glen R. Traylor Karen Uranker Joseph Urban Susan & David† Wagstaff John & Susan Walker Bryan & Diana Watabe Ardean† & Elna Watts Suzanne Weaver & Charles Boynton David & Jerre Winder Catherine Wong Gayle & Sam Youngblood
Donations received as of November 13, 2017 50
UTAH OPERA 2017–18 SEASON
Thank You PATRON $1,500 to $2,449 Anonymous (2) Barry Bergquist Shauna Bona Mr. & Mrs. Lee Forrest Carter Dr. & Mrs. Thomas Coppin David & Carol Coulter Kathleen & Frank Dougherty Katherine W.† & E.R. Dumke, Jr. Robert S. Felt, M.D. William Fickling Heidi Gardner Dr. & Mrs. John Greenlee Ronald & Kaye Gunnell Arlen Hale Drs. Carolyn & Joshua Hickman Caroline & David Hundley Scott Huntsman James Hynes Drs. Randy & Elizabeth Jensen Dr. & Mrs. Michael A. Kalm
Carl & Gillean Kjeldsberg Guttorm & Claudia Landro Tim & Angela Laros Gary & Suzanne Larsen Anne Lee & Claude Halter Dr. Vivan S. Lee & Mr. Benedict Kingsbury James Lether Lisa & James Levy Ronald W. Tharp & Kate F. Little Ross & Kathleen Matthews Daniel & Noemi P Mattis Warren K. & Virginia G. McOmber George & Linda Mendelson Brad & Trish Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville David Mortensen & RoseMarie Brittner Mahyera
Michael & Leslie O’Malley Ann G. Petersen Robert & Catherine Pedersen Mr. David A. Petersen Victor & Elizabeth Pollak Jana Ramacher Grant Schettler Jill & Richard Sheinberg Barbara Slaymaker Gibbs† & Catherine W. Smith Payam Tristani Rachel Varat-Navarro Susan Warshaw Erik & Linda Watts Dan & Amy Wilcox Norman & Kathy Younker Laurie Zeller Michael & Olga Zhdanov
Donations received as of November 13, 2017
Thank You FRIEND $1,000 to $1,499 Anonymous (5) Carolyn Abravanel Madeline Adkins & John Forrest Christine A. Allred Curtis Atkisson, Jr. Diane Banks & Dr. Mark Bromberg Roger & Karen Blaylock Dana Carroll & Jeannine Marlowe Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Gloria Comiskey Dr. & Mrs. David Coppin Denise Corr James & Rula Dickson Margaret Dreyfous Alice Edvalson Eric & Shellie Eide Carolyn & Tom Fey Naomi K. Feigal David & Ann George Ralph & Rose Gochnour John Graham Geraldine Hanni
Jay & Julie Jacobson Todd & Tatiana James Dale & Beverly Johnson Jocelyn Johnson Chester & Marilyn Johnson Robert & Karla Knox Greg Larson Sheryl Laukat Mr. & Mrs. Melvyn L Lekowitz Tiffany & Mark Lemons Dennis & Pat Lombardi John Lucas Julie & John Lund Yuki MacQueen Peter Margulies & Louis Vickerman Edward & Grace McDonough Clifton & Terri McIntosh Mr. & Mrs. Michael Mealey Lex Hemphill & Nancy Melich Hal & JeNeal Miller Harold & Dylan Miller Mary Muir Oren & Liz Nelson Charles & Amy Newhall Richard O’Brien Mary Jane O’Connor
Ruth & William Ohlsen Linda S. Pembroke Rori & Nancy Piggott David Porter Keith & Nancy Rattie Gina Rieke Theodore Rokich David & Lois Salisbury Janet Schaap James Schnitz Mr. August L. Schultz Frances & Ron Schwarz Annabelle & Dennis Shrieve Dorotha Smart Dr. & Mrs. Michael H. Stevens Hope Stevens Amy Sullivan & Alex Bocock Douglas & Susan Terry Gail Tomlinson Craig & Christy Wagstaff M. Walker & Sue Wallace Mary & Scott Wieler Margaret & Gary Wirth Marsha & Richard Workman Kathie & Hugh Zumbro
* In-kind donation ** In-kind and cash donation Donations received as of November 13, 2017
52
UTAH OPERA 2017–18 SEASON
Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT
Annual Fund Utah Symphony | Utah Opera is grateful to the corporations, foundations, & public institutions that sustain our mission and to those who have pledged multi-year gifts (recognized in bold). For more information, please call 801-869-9013. ENCORE $100,000 & ABOVE AHE/CI Trust The Church of Jesus Christ of Latter-day Saints Dominion Energy George S. & Dolores Doré Eccles Foundation The Florence J. Gillmor Foundation Emma Eccles Jones Foundation Janet Q. Lawson Foundation
The Tony & Renee Marlon Charitable Foundation Larry H. & Gail Miller Family Foundation O.C. Tanner Company Perkins-Prothro Foundation John & Marcia Price Foundation Salt Lake County Salt Lake County Zoo, Arts & Parks
Shiebler Family Foundation Sorenson Legacy Foundation State of Utah Summit County Restaurant Tax / RAP Tax Utah Division of Arts & Museums /National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank
BRAVO $50,000 to $99,999 Carol Franc Buck Foundation Lawrence T. & Janet T. Dee Foundation
Marriner S. Eccles Foundation FJ Management, Inc.
Grand & Little America Hotels* Utah Symphony Guild
OVERTURE $25,000 to $49,999 Arnold Machinery B.M.W. of Murray | B.M.W. of Pleasant Grove The Brent & Bonnie Jean Beesley Foundation Chevron Corporation C. Comstock Clayton Foundation Deer Valley Resort** Moreton Family Foundation
Perkins-Prothro Foundation Montage Deer Valley** Charles Maxfield & Gloria F. Parrish Foundation S.J. & Jessie E. Quinney Foundation Simmons Family Foundation Harris H. & Amanda P. Simmons Foundation Stein Eriksen Lodge**
The Sam & Diane Stewart Family Foundation Summit Sotheby’s Nora Eccles Treadwell Foundation Vivint.SmartHome Wells Fargo Foundation
Donations received as of November 13, 2017
UTAHOPERA.ORG / (801) 533-NOTE
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Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT
MAESTRO $10,000 to $24,999 Adobe Bambara* B.W. Bastian Foundation R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine Foundation – Russell Family CenturyLink Community Foundation of the Lowcountry Every Blooming Thing*
Anne & Gordon Getty Foundation Richard K. & Shirley S. Hemingway Foundation Hyatt Centric Park City** McCarthey Family Foundation Merrill Lynch Wealth Management National Endowment for the Arts
The New Yorker* Park City Chamber Bureau Promontory Foundation Salt Lake City Arts Council The Swartz Foundation Union Pacific Foundation University of Utah Health Utah Office of Tourism Workers Compensation Fund
Spencer F. & Cleone P. Eccles Family Foundation Flynn Family Foundation The Val. A. Green & Edith D. Green Foundation Holland & Hart** Huntsman International LLC J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Martine*
Pro Helvetia, The Swiss Arts Council Raymond James & Associates Resorts West by Natural Retreats* St. Regis / Deer Crest Club U.S. Bancorp Foundation Utah Autism Foundation Victory Ranch & Conservancy
PATRON $5,000 to $9,999 Art Works for Kids! Bessemer Trust Berenice J. Bradshaw Trust The Capital Group Deluxe Corporation Foundation Discover Financial Services The Dorsey & Whitney Foundation Patricia Dougall Eager Trust
FRIEND $2,500 to $4,999 Bertin Family Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Boeing Employees Community Fund Robert S. Carter Foundation Castle Foundation Cope & Cope Investments, LLC D’Addario Foundation Diamond Rental* Henry W. & Leslie M. Eskuche Charitable Foundation * In-kind donation
Fanwood Foundation Graystone Consulting LOVE Communications Macy’s Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Park City Foundation Peczuh Printing* Ray, Quinney & Nebeker Foundation Sinclair Oil Corporation Snell & Wilmer
Snow, Christensen & Martineau Foundation Squatters Pub* Stay Park City Stoel Rives Swire Coca-Cola, USA* TraskBritt P.C. The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Fdn. Zuvii*
Donations received as of November 13, 2017
** In-kind and cash donation
54
UTAH OPERA 2017–18 SEASON
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Thank You DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being and stability of USUO and, through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9028 Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation
Thomas & Candace Dee Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Bambara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation
Kenneth† & Jerrie Randall The Evelyn Rosenblatt Young Artist Award Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner M. Walker & Sue Wallace
GIFTS MADE IN HONOR OF Dr. J. R. Baringer & Dr. Jeannette J. Townsend Neill & Linda Brownstein
Herond & Gaylen Hoyt Pamela Robinson-Harris & Jeff Harris
Joanne & Bill Shiebler The Right Reverend Carolyn Tanner Irish
GIFTS MADE IN MEMORY OF Jay T. Ball Janet Bennett Robert H. Burgoyne, M.D. Jeffrey L. Chaney Kathie Dalton Charles Dean Loraine L. Felton Rosalie Frost Ursula Gleason Joanne Johnson Muriel Lindquist Panos Johnson Joseph S. Knowlton
Valice M. Laramee Sonja Margulies Frank & Maxine McIntyre Bill Peters Glade & Mardean Peterson John A. Reinertsen Alvin Richer Kathryn Romney J. Ryan Selberg Bert Schaap Aurelia H. Schettler Catherine Schettler Ben Schippen
Rebecca “Becky” Sharp Sorensen Ann O’Neill Shigeoka, M.D. Claudia Silver-Huff Hope B. Stevens Patrick L. Wade Robert Van Wagenen Nadine Ward Ardean Watts John W. Williams Lawrence Young Martin Zwick
Donations received as of November 13, 2017
UTAHOPERA.ORG / (801) 533-NOTE
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Legacy Giving Leave a lasting legacy of excellent music. When you make a gift through your estate, either now or at the end of your life, you provide invaluable support to Utah Symphony | Utah Opera. Your financial advisor or estate planning attorney can help you build a gift that can meet goals for you or your heirs, and provide USUO with the resources that create incredible music. Help USUO preserve our future of performing favorite symphonic and operatic works and new works for years to come.
Photo credit: Kent Miles, Utah Opera, Don Giovanni, May 2017
To learn more about how 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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UTAH OPERA 2017–18 SEASON
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 Mr. & Mrs. William C. Bailey Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn 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 Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin
Stanley B. & Joyce Parrish Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer 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) Doyle Arnold & Anne Glarner Dr. J. Richard Baringer Haven J. Barlow Shelly Coburn Captain Raymond & Diana Compton Anne C. Ewers Flemming & Lana Jensen
James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bentley Kenneth A.† & Jeraldine S. Randall
Mr.† & Mrs. Alvin Richer Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffery & Joyce Smith G.B. & B.F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace
Dianne May Dr. & Mrs. Louis A Moench Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn
Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin JoLynda Stillman Edwin† & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser
Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H. † & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Ms. Marilyn Lindsay Turid V. Lipman Herbert C. & Wilma Livsey
†Deceased
UTAHOPERA.ORG / (801) 533-NOTE
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Administration ADMINISTRATION Paul Meecham
Yancey J. Quick Daniel Hill Michelle Laino Baylee Rapier
Mike Call
Senior Vice President & COO
Wigs/Make-up Crew
Julie McBeth
Kathleen Sykes
SYMPHONY ARTISTIC Thierry Fischer
President & CEO
David Green Executive Assistant to the CEO
Ali Snow Executive Assistant to the COO & Office Manager
0PERA ARTISTIC Christopher McBeth Opera Artistic Director
Carol Anderson Principal Coach
Michelle Peterson Opera Company Manager
Mandi Titcomb
Symphony Music Director
Anthony Tolokan Vice President of Symphony Artistic Planning
Conner Gray Covington Assistant Conductor
Barlow Bradford Symphony Chorus Director
Walt Zeschin Director of Orchestra Personnel
Andrew Williams
Opera Production Coordinator
Orchestra Personnel Manager
OPERA TECHNICAL Jared Porter
Executive Assistant to the Music Director & Symphony Chorus Manager
Senior Technical Director
Kyle Coyer Technical Director
Kelly Nickle Properties Master
Lane Latimer Assistant Props
Keith Ladanye Production Carpenter
Travis Stevens Carpenter
Dusty Terrell Scenic Charge Artist
Mark Jensen Brooke Morgan Baylee Rapier William McDonald Nicholas Redington Robert Asay Painters
David Ballard Dan Gorder Stephanie Ball Mark Barraclough Tony Johnson
Lance Jensen
SYMPHONY OPERATIONS Jeff Counts Vice President of Operations & General Manager
Cassandra Dozet Director of Operations
Chip Dance Production & Stage Manager
Jeff Herbig Properties Manager & Assistant Stage Manager
Melissa Robison Program Publication & Front of House Manager
Rentals Assistants
Amanda Reiser Meyer Wardrobe Supervisor
Milivoj Poletan Tailor
Tiffany Lent Cutter/Draper
DEVELOPMENT Leslie Peterson Vice President of Development
Hillary Hahn Senior Director of Institutional Gifts
Natalie Cope Director of Major Gifts Director of Individual Giving Manager of Special Events & DVMF Donor Relations
Alina Osika Manager of Corporate Partnerships
Lisa Poppleton Grants Manager
Chelsea Kauffman Annual Fund Coordinator
Steven Finkelstein Development Coordinator
MARKETING & COMMUNICATIONS Jon Miles
Donna Thomas
Vice President of Marketing & Public Relations
Milliner & Crafts Artisan
Renée Huang
Chris Chadwick Yoojean Song Connie Warner Stitchers
62
Steven Jerman Junior Graphic Designer
PATRON SERVICES Nina Starling Director of Patron Engagement
Faith Myers Sales Manager
Andrew J. Wilson Patron Services Manager
Robb Trujillo Group Sales Associate
Ellesse Hargreaves Patron Services Assistant
Rachel Campbell Marketing Manager - Patron Loyalty
Genevieve Gannon Sarah Pehrson Jackie Seethaler Powell Smith Sales Associates
Nick Barker Mat Jagiello Mara Lefler Rhea Miller Pat Murnin Anthony Roberts Ananda Spike Ticket Agents
Vice President of Finance & CFO
Heather Weinstock
Jessica Cetrone Kierstin Gibbs LisaAnn DeLapp
Digital Content Producer
Artist Logistics Coordinator
COSTUMES Verona Green Rentals Supervisor
Director of Creative and Brand Strategy
ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan
Carpenters/Welders
Melonie Fitch
Aaron Sain
Erin Lunsford
Kate Throneburg
Costume Director
Website Manager
Director of Communications & Digital Media
Chad Call Marketing Manager - Audience Development
Mike Lund Director of Information Technologies
Joan Shiflett Controller
Alison Mockli Payroll & Benefits Manager
Jared Mollenkopf Patron Information Systems Manager
Julie Cameron Accounts Payable Clerk
EDUCATION Paula Fowler Director of Education & Community Outreach
Beverly Hawkins Symphony Education Manager
Kyleene Johnson Symphony Education Assistant
Paul Hill Opera Education Assistant
Melanie Ashkar Robert Bosworth Jesús Vicente Murillo Christopher Oglesby Abigail Rethwisch Utah Opera Resident Artist 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. UTAH OPERA 2017–18 SEASON
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MARTINE MARTINE22 22East East 100 100BREWERY South. South.Award Awardwinning winning ambience, ambience, SQUATTERS PUB 147 West located locatedininaaSLC. historic historic brownstone. Martine Martine offers Salt Salt Lake Lake Broadway Joinbrownstone. us before and after offers the show for City Cityaasophisticated sophisticated dining dining experience experience kept simple.Locally Locally eclectic daily specials and traditionalkept pubsimple. favorites such sourced sourced ingredients, ingredients, pre-event pre-event $25 $25three three courseprix prix fixe. fixe. as bacon topped meatloaf, pizzas and acourse delicious array Extensive Extensive bar bar and wine wine service. service. martinecafe.com martinecafe.com of burgers, alland paired with our world-class beer and L,welcoming L,D,D,T,T,LL, LL,RA, RA, CC, CC,VS. VS.801-363-9328 801-363-9328 atmosphere. L, S, AT ,LL, D, CC, VS
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4848W.W.Market MarketStreet Street(340 (340South) South) COMPLIMENTARY VALET AND SELF-PARKING FOR ALL GUESTS 801.322.4668 801.322.4668 801.238.4748 255 S WEST TEMPLE RESERVATIONS AT OPENTABLE.COM
• •An Anintimate intimateeuro eurocafé café• • Free FreeValet ValetParking Parking 22 22East East100 100South South
Phone Phone• •801.363.9328 801.363.9328 www.martinecafe.com www.martinecafe.com Top TopPhoto: Photo:Image Imagelicensed licensedbybyIngram IngramImage Image
801-363-2739 B-Breakfast B-BreakfastL-Lunch L-LunchD-Dinner D-DinnerS-Open S-OpenSunday SundayDL-Delivery DL-DeliveryT-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre
LL-Liquor LL-LiquorLicensee LicenseeRR-Reservations RR-ReservationsRequired RequiredRA-Reservations RA-ReservationsAccepted AcceptedCC-Credit CC-CreditCards CardsAccepted AcceptedVS-Vegetarian VS-VegetarianSelections Selections 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 Top Photo: Image licensed by Ingram Image
… u o Y k n a Th to our advertisers Ad Council BMW of Murray | Pleasant Grove Caffè Molise Challenger School City Creek Living Classical 89 Every Blooming Thing The Grand America Hotel Hamilton Park Interiors Homewood Suites Humane Society of Utah J. Wong’s Thai and Chinese Bistro Jerry Seiner Cadillac KUED KUER
Legacy Village Sugar House Little America Hotel New Yorker OC Tanner Ogden’s Own Distillery RC Willey Residence Inn Marriott San Francisco Design Sky Harbor Suites Summit Sotheby’s International Realty Tuacahn Amphitheatre University Credit Union Utah Festival Opera Utah Food Services Zions Bank
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Acknowledgments UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR
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relax and enjoy our complimentary shuttle! The New Yorker is a Salt Lake City icon that set the stage for fine dining in Utah and has been providing fresh, innovative food and outstanding hospitality in a warm, inviting atmosphere for decades of diners. Enjoy delicious food, relax and ride our complimentary shuttle to Abravanel Hall, Capitol Theatre and the new Eccles Theatre. Ride back and enjoy dessert and a nightcap, a cozy way to end your evening out on the town!
R E S TA U R A N T / D O W N T O W N
60 West Market Street (340 S) • Salt Lake City • 801.363.0166 Open Monday – Saturday at 5 pm, closed Sundays Reservations recommended – newyorkerslc.com
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Provided by Love Communications, Salt Lake City 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.
Redeemable at any Market Street Restaurant or Fish Market 64
UTAH OPERA 2017–18 SEASON
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 2017–18 season, they have already performed in Rich, Cache, North Summit, Millard, Juab and Tintic schools. In the spring, they will perform in Piute and Iron schools and will perform for additional schools in Tintic and Tooele schools. 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.
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