Pagliacci / Gianni Schicchi by Mills Publishing Inc.

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EVERY VOICE TELLS A STORY

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Contents PUBLISHER Mills Publishing, Inc.

PRESIDENT Dan Miller

OFFICE ADMINISTRATOR Cynthia Bell Snow

ART DIRECTOR/ PRODUCTION MANAGER Jackie Medina

GRAPHIC DESIGNERS Ken Magleby Patrick Witmer

ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas

OFFICE ASSISTANT Jessica Alder

ADMINISTRATIVE ASSISTANT KellieAnn Halvorsen

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.

LEONCAVALLO / PUCCINI

PAGLIACCI / GIANNI SCHICCHI

6 Welcome 8 Artistic Director’s Welcome 10 Board of Trustees 15 Opera Gets Real 20 Production Sponsors 22 Synopsis 25 Cast / Artistic Staff 35 Composers & Librettist 36 Taking the Show on the Road 39 New-ish Partners in Crime 42 Commedia and Reality 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

Welcome On behalf of the artists, musicians, board, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to the Janet Quinney Lawson Capitol Theatre and today’s performances of Leoncavallo’s iconic tragedy Pagliacci paired with Puccini’s masterful comedy Gianni Schicchi.

Paul Meecham President & CEO

Kem Gardner USUO Board of Trustees Chair

These archetypal theatrical themes of comedy and tragedy offer us a reflection of the human condition at its most poignant—whether in moments of love, passion, joy and bliss or sorrow, death, jealousy and rage. Opera, with its combination of dramatic narrative, stagecraft, music, and especially the vulnerability of the unamplified human voice, makes it the art form that comes closest to expressing pure emotion. Experiencing these emotions through a shared experience in the theater helps us find a language for feelings that, though they define our lives, can be difficult to talk about. This has been a truly inspirational 40th anniversary season of great opera, most recently with the hugely successful new production of Moby-Dick created by Utah Opera. We hope you take pride in the many ways that Utah Opera is demonstrating the highest levels of artistic excellence. In response to this excellence and your enthusiastic attendance at performances, Elizabeth Solomon has generously pledged a $100,000 challenge grant for new or increased gifts to our organization. Gifts like this, and yours, support artistically rewarding performances and our extensive education and community outreach programs for young people throughout the state. Please consider helping us meet the matching grant with a new or increased donation to demonstrate what Utah Opera means to you and to our community. To all of you who attend our performances and contribute to Utah Symphony | Utah Opera, thank you. It is through your help that we continue to connect the community through great live music! Sincerely,

Paul Meecham

Kem Gardner

President & CEO

Chair, Board of Trustees

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Artistic Director’s Welcome

Dear Utah Opera Friends and Family,

Christopher McBeth Artistic Director

Continuing with this 40th Anniversary season, we bring a pair of Italian operatic standards into one evening that reach from one end of the narrative spectrum to the other. Pagliacci “takes the technique of verismo to it limits” penned one writer. News was traveling faster than ever in the Western world as it neared the end of the 19th century. Real, sensational tales (the equivalent of contemporary tabloid fare) were quick to spread and often subsequently converted into fictional basis for theater and opera. Already we had seen other stories of jealousy resultant in violent ends in the like of Carmen and Otello, so it wasn’t much of a leap and Leoncavallo was happy to adopt the style when it was suggested to him. The concept of a play that mirrors reality is also built into the structure of the opera and it is this very reflection that ultimately drives the protagonists to the story’s violent end. Great stuff, really. Gianni Schicchi is also loosely based on actual history that is given a nod in Dante’s The Divine Comedy. That is where the comparison ends as the pendulum of theater swings completely to comedy. One writer described the piece as “a rollicking, madcap scherzo, overflowing with merry deviltries.” Today it is still considered one of Puccini’s finest works and one of the most popular Italian stage comedies. In combining these two pieces we are treated to the extremes of the art form and, I hope you agree, a complete evening for you. In reflecting on the history of Utah Opera, the choice to present Pagliacci was also driven by the company’s history. The principal protagonist Canio was a signature role of Utah Opera’s founder, Glade Peterson, and one that he sang with this company. In this production we honor his vision for Utah Opera and his legacy as a performer. Returning to Utah Opera are Scott Piper in the role of Canio, Michael Adams in the dual roles of Silvio and Marco, former Utah Opera Resident Artist Aaron Blake playing Beppe and Rinuccio, and Tara Faircloth guiding the storytelling. I’m thrilled to present to you Maestro Timothy Myers, and Utah native Marina Costa-Jackson who plays Nedda and Lauretta making their company debuts. And now…”let’s begin!”

UTAH OPERA 2017–18 SEASON

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Opera Gets Real

Leoncavallo, Puccini and the Rise of Verismo Opera By Michael Clive

In 1883, fate brought two of the The answer came with the Mascagni’s three potential heirs to Italy’s great opera Cavalleria rusticana and with operatic tradition—Giacomo Puccini a single word: verismo, or “reality.” and Pietro Mascagni—to a shabby Until the premiere of this one-act apartment in Milan, where they work in 1890, opera in Italy had been roomed together while studying at dominated by gods and goddesses, the Milan Conservatory. The third, historical dramas, and morally Ruggero Leoncavallo, was in France. elevated allegories. Even bawdy These three men were destined to comedies were based on strictly become friends and rivals who would archetypal characters and behavioral revolutionize Italy’s defining art form. standards that evolved from the In 1890, Leoncavallo’s opera Pagliacci— commedia dell’arte tradition. Breaking sensational in every sense of the word— these rules, Mascagni shocked his would position him, with Mascagni, as contemporary audiences to their the potential new leader in the field. bones: It was said that he took opera But within three years that title would “into the gutter” with his adaptation of clearly belong to Puccini. a gritty short story depicting smalltown life and the tragic consequences The Italian public followed this of a single woman’s abandonment by race with the fervor and tension we everyone around her. associate with sports championships. It all happened in the shadow of a one- When verismo opera became “a man artistic dynasty: Giuseppe Verdi, thing,” Ruggero Leoncavallo was whose final opera, Falstaff, premiered ready. Perhaps because he had lived in Milan in 1893. Born in 1813, Verdi and studied in France, where Bizet’s dominated Italian cultural life through Carmen had already brought sex most of the 19th century, when the and gore into opera, he was quick to country’s unification made its citizens recognize Cavalleria as a way into the even more opera-conscious than future for Italy’s national art form, and before (if that’s possible). When he he lost no time in composing Pagliacci— began composing, bel canto traditions an opera that he “ripped from the ruled Italy’s opera houses, and his headlines.” Based on an actual crime compositions seemed daring, even of passion among a troupe of itinerant revolutionary. But with industrialization actors, it takes those commedia changing the face of Europe and dell’arte archetypes and thrusts them Richard Wagner changing the world’s into a lurid tale of lust, jealousy and ideas about opera, Verdi’s great murder. The killing takes place as a operas seemed to have reached an play within a play, on stage before an end point. What could come next for unsuspecting audience of villagers Italian opera? who think it’s all part of the show.

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Opera Gets Real… continued from page 15

Leoncavallo was the son of a judge, and claimed to remember the actual incident and trial on which Pagliacci was based. It all dated back to his boyhood, and though the accuracy of his recollections is in doubt, it’s clear that they helped him cast a powerful spell in Pagliacci. What’s more, the composer’s brilliant construction of the scenario titillated audiences with its peek at backstage scandal. It mixed the stock opera buffa characters everyone knew—the flirtatious Colombina, her jealous husband Pagliacco, her secret lover Arlecchino, her foolish admirer Taddeo—with their real-life players, and with real-life sex and gore. Critics were uncertain; audiences were enthralled. Leoncavallo’s opera was an instant hit when it premiered the year after Mascagni’s, and has remained popular ever since. If the competition to succeed Verdi had been a horse race, handicappers would have bet heavily on these two, with Puccini given an outside chance. As things worked out, of course, the dark horse would eventually pull ahead. Ambitious and energized by the crisis in Italian opera, Mascagni and Leoncavallo had lunged out of the starting gate. But their early works proved to be the greatest they would ever produce; though Leoncavallo continued to compose, critics agree that Pagliacci is the ultimate embodiment of his talent and inspiration. Puccini’s breakthrough would not come until 1893, with a three-act, three-handkerchief opera about doomed love. UTAHOPERA.ORG / (801) 533-NOTE

Pagliacci & Gianni Schicchi

Opera Gets Real…continued from page 17

Ever the perfectionist and with superb theatrical instincts, Puccini was one of seven librettists who labored over his first major libretto, and it is said he drove the other six crazy with his demands for rewrites. But he was perfecting his craft as well as his first great opera: Manon Lescaut. Unlike his rivals’ entries in the race, this was a full-length romance that stepped back to a picturesque setting in 18th-century France, but with a story line that takes a verismo turn into sexual adventurism and tragedy. It demonstrated his incomparable ability to capture drama and emotion in sweeping melodies. It was the first in a string of hits that put Leoncavallo’s and Mascagni’s later efforts into eclipse. By the time Puccini’s comic confection Gianni Schicchi premiered in New York in 1918, he was an international celebrity and the undisputed leader among composers of Italian opera. For Puccini, Gianni Schicchi was something different: one-third of a triple-bill of one-acters called Il trittico. It’s both raucous and romantic. When all three are presented together, the humor of Gianni Schicchi not only makes us laugh, but also redeems the tension and grimness of two dark verismo dramas—one, Il tabarro, a steamy tale of adultery and death based on a French play; the other, Suor Angelica, depicting the tragic

results of a judgmental family’s unrelenting hypocrisy. Each of these brief operas has earned a life of its own. The delicious humor in Gianni Schicchi has attracted masters of comedy including Zero Mostel (in the title role) and Woody Allen (as director). The story dates back to the turn of the 14th century and the great Italian poet Dante Alighieri, who drew upon his own family lore to include it in Canto 30 of his immortal The Divine Comedy. But the proceedings rollick along with the modernity of a television sitcom. At the heart of it all are two young lovers whose future happiness depends on an inheritance, a prank, and deception. Duplicity is everywhere, and even the glorious aria “O mio babbino caro”—with all the tenderness of a lullaby—is actually a moment of manipulation, as a daughter wraps her father around her little finger to get what she wants. 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-inchief of The Santa Fe Opera.

UTAH OPERA 2017–18 SEASON

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program

Pagliacci & Gianni Schicchi

March 10, 12, 14, 16 | 7:30 pm March 18 | 2 pm Janet Quinney Lawson Capitol Theatre Sung in Italian with English supertitles Supertitle translation by Tara Faircloth

Pagliacci

Composer and Librettist: Ruggero Leoncavallo Premiere: Teatro dal Verme, Milan, May 21, 1892 Previously at Utah Opera: 1981, 1988, 2002

Gianni Schicchi Composed by Giacomo Puccini Libretto by Giovacchino Forzano

Premiere: The Metropolitan Opera, New York, December 14, 1918 Previously at Utah Opera: 1988, 2010

The performance will last approximately two hours and thirty minutes, with one twentyminute intermission. Set and Costumes built by Utah Opera. See page 62 for full list of USUO Administration.

ARTISTIC STAFF Stage Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tara Faircloth Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Timothy Myers Chorus Master . . . . . . . . . . . . . . . . . . . . . . Michaella Calzaretta Set Design . . . . . . . . . . . . . . . . . . . . . . . . . . . Laura Fine Hawkes Costume Design . . . Verona Green & Susan Memmott Allred Lighting Design . . . . . . . . . . . . . . . . . . . . . . . . Matthew Antaky Fight Director . . . . . . . . . . . . . . . . . . . . . . . . Christopher DuVal Wig/Makeup Design . . . . . . . . . . . . . . . . . . . . . . Kate Casalino Asst. Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emilio Casillas Stage Manager . . . . . . . . . . . . . . . . . . . . . . Jayme Marrs Castle Asst. Stage Manager . . . . . . . . . . . . . . . . . . . Melissa Robilotta Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emily Williams Supertitle Musician/Rehearsal Pianist . . . Robert Bosworth** Childrenâ&#x20AC;&#x2122;s Chorus Director . . . . . . . . . . . . . . . Melanie Malinka **Current Utah Opera Resident Artist

A number of US Veterans are special guests of Utah Opera on Monday and Wednesday evenings, as part of annual outreach to veterans in our community.Â Free tickets to select performances are available to veterans through VetTix.org.

UTAHOPERA.ORG / (801) 533-NOTE

Pagliacci

synopsis

PAGLIACCI CAST Canio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scott Piper Nedda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marina Costa-Jackson Tonio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wayne Tigges Beppe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aaron Blake*** Silvio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Adams Choristers of The Madeleine Choir School Utah Opera Chorus *** Previous Utah Opera Resident Artist Utah Symphony

Pagliacci Prologue The actor Tonio is dressed as the stock character Taddeo, servant of Colombina. Seemingly preparing for his performance, he addresses the audience in the aria “Si può?”—”May I?”—and cautions us that actors, like us, are real people with real feelings. Act I With an exuberant, discordant fanfare, a troupe of commedia players enters a small town to the delight of thronging inhabitants. It’s three in the afternoon on the Feast of the Assumption, and the troupe announces that they will be performing at “ventitré ore”—just before sunset. Leading lady Nedda, the troupe’s Colombina, has pride of place on a company cart. As she prepares to step down, Tonio offers his hand but is pushed away by Nedda’s husband, the jealous Canio, who manages the troupe and plays Pagliaccio—the husband of Colombina. A chorus of delighted villagers suggests friendly drinks at the local tavern. Canio and Beppe—the actor who plays Colombina’s lover, Arlecchino—accept. When villagers playfully suggest to Canio that Tonio and Nedda could become lovers, his angry response 22

jolts them and Nedda. But then he regains his composure and leaves with Beppe. As the church bells ring vespers, Nedda is left alone to contemplate her confining life, her romantic yearnings and her fear of the volatile Canio. She contemplates the birds around her, admiring their song and envying their freedom. When Tonio returns and confesses his love for her, she treats him like the fool he plays onstage, contemptuously striking him with a whip. But Tonio knows that Nedda does indeed have a lover: Silvio, who is not a member of the troupe. He divulges this news to Canio, who returns in time to glimpse Silvio taking leave of Nedda after an apparent tryst. Though Canio gives chase, Silvio escapes without being recognized. Alone and tormented by jealousy, Canio prepares for the evening performance, donning his costume and makeup with the famous aria “Vesti la giubba”—”put on the costume.” Act II Townspeople excitedly assemble for the troupe’s performance; Nedda, in costume, takes up the collection. Circulating among the onlookers, she’s able to warn Silvio that he’s in danger. As the play begins, we realize that the line between reality and fiction is blurring: When the comical flirt Colombina’s UTAH OPERA 2017–18 SEASON

Pagliacci & Gianni Schicchi

synopsis

husband leaves his house for the night, Arlecchino, her lover, climbs in the window, making sport of the foolish Taddeo. Then Pagliaccio returns, Arlecchino escapes, and Colombina calls out to him with the same words Nedda used in parting with Silvio: “I will always be yours!” Canio is enraged. As the action onstage becomes more desperately real, the delighted townsfolk are enthralled with its intensity. Nedda tries to maintain the pretense,

addressing her husband by his stage name, Pagliaccio. But Canio is no longer acting. He violently demands that Nedda reveal the identity of her actual lover. Then she, too, abandons the script, swearing she will never divulge his name. Canio grabs a knife from the onstage table and stabs Nedda and then Silvio, who has made his way to the stage to defend her. As the lovers die before the horrified audience, Canio announces “La commedia è finita!”—”The comedy is finished!”

GIANNI SCHICCHI CAST Gianni Schicchi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wayne Tigges Lauretta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marina Costa-Jackson Zita . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Melissa Parks Rinuccio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aaron Blake*** Gherardo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Oglesby** Nella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Abigail Rethwisch** Betto di Signa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Adams Simone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patrick Blackwell Marco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Darrell Babidge La Ciesca . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Melanie Ashkar** Ser Amantio di Nicolao . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jesús Vicente Murillo** Maestro Spinelloccio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tyler Oliphant Pinellino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dylan Glenn Guccio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel Tuutau Gherardino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jude Payne* Utah Symphony *Student of The Madeleine Choir School ** Current Utah Opera Resident Artist *** Previous Utah Opera Resident Artist

Gianni Schicchi In an elegant chamber in Florence, all the relatives have gathered around the bed of the rich patriarch Buoso Donati. His now-lifeless body lies upon it. As they piously express their love and devotion for the recently departed, it’s clear they are all interested in just one thing: the contents of his will. All have hopes for a legacy, and all have fears that others will beat them to it. Buoso’s UTAHOPERA.ORG / (801) 533-NOTE

brother-in law, the impoverished Betto, has heard that the old man has left everything to a monastery, and this sends the relatives scrambling to find the will. But Buoso’s young nephew Rinuccio believes he has been well remembered, and hopes his inheritance will enable him to marry his beloved Lauretta, the daughter of Gianni Schicchi. 23

Gianni Schicchi

synopsis

As newcomers in the clannish city of Florence, Schicchi and Lauretta are frowned upon by most of Buoso’s family. When Rinuccio finds the will, he withholds the contents until his snobbish cousins accept his engagement to Lauretta. They agree, but with one condition: A legacy from Buoso must leave the couple respectably rich in the eyes of their Florentine neighbors. With Schicchi and Lauretta on the way, the will is unfurled, and its contents leave the family moaning in amazed disappointment: Betto was right. And after all, what need has a monastery for such riches? With wealth seemingly so close yet out of reach, the real bereavement begins. No one can think of a remedy, and an alliance with Schicchi is now unthinkable. When he arrives with Lauretta, father and daughter are shunned…at first. But as Lauretta and all the Donatis well know, Gianni Schicchi is nothing if not crafty. The love-struck Lauretta pleads with him, and Schicchi—despite wanting nothing to do with the Donatis—agrees to look at Buoso’s will as if he were one of their own. Unfortunately, the arrangements seem ironclad. But what if… First, Schicchi sends Lauretta out of the chamber, protecting her from knowledge of his scheme. Then, confirming that only those present know of Buoso’s death, Schicchi orders the body removed to another room. Ready to take Buoso’s place on the deathbed, he instructs the relatives to send for the doctor and the notary. When he reveals his plan to impersonate Buoso and dictate a new will

before dying, the entire family unites to abet him, overcoming all complications and even helping him with the disguise, even though—as Schicchi reminds them— the punishment for falsifying a will is exile from Florence and loss of a hand. When the notary arrives, Schicchi histrionically dictates a new will, declaring all previous versions invalid. As the bequests mount, so do the family’s tense expectations, leading to the climactic moment when he declares that Buoso’s house and the bulk of his estate are to be bequeathed to his “devoted friend Gianni Schicchi.” In the presence of their notary, the horrified family is helpless—but Schicchi now has the dowry he needs to unite his daughter with the man who loves her. As the opera draws to a close, Gianni Schicchi turns to us in the audience, asking us to agree that Buoso’s wealth could find no better purpose. And could any daughter’s loving father disagree? Though the immortal Dante consigned this schemer to hell, when he begs our forgiveness, it is hard to say no. 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 2017–18 SEASON

Pagliacci & Gianni Schicchi

cast

Michael Adams (Texas) Silvio/Betto di Signa Most Recently at Utah Opera, La bohème Recently: Alcina, Washington National Opera, Grand Théâtre de Genève; Manon, Billy Budd, Turandot, Des Moines Metro Opera; Don Giovanni, Madama Butterfly, Washington National Opera; Upcoming: Don Giovanni, Grand Théâtre de Genève; Les pêcheurs de perles, Gran Teatre del Liceu Melanie Ashkar (Virginia) La Ciesca Utah Opera Debut Current Utah Opera Resident Artist Recently: Suor Angelica/Gianni Schicchi, Martina Arroyo’s Prelude to Performance; Eugene Onegin, Utopia Opera; Los Elementos, New York City Opera Upcoming: Die Fledermaus, Utah Opera; Die Zauberflöte, Central City Opera Darrell Babidge (United Kingdom) Marco Most Recently at Utah Opera, Little Women Recently: Gianni Schicchi, Intermountain Opera, Utah Opera; St. Matthew Passion, American Festival Orchestra; B Minor Mass, Boise Baroque Orchestra

Patrick Blackwell (California) Simone Most Recently at Utah Opera, The Marriage of Figaro Recently: Turandot, Knoxville Opera; Madama Butterfly, Opera San Luis Obispo; Tosca, Pacific Opera Project Upcoming: Mahagonny Songspiel, The Seven Deadly Sins, Opéra national du Rhin UTAHOPERA.ORG / (801) 533-NOTE

Pagliacci & Gianni Schicchi

cast

Aaron Blake (California) Beppe/ Rinuccio Most Recently at Utah Opera, Don Giovanni Recently: Die Zauberflöte, Cincinnati Opera; Les contes d'Hoffmann, The Metropolitan Opera; Fellow Travelers, The Prototype Festival Upcoming: Die Zauberflöte, Komische Oper Berlin; Candide, The Atlanta Symphony Dylan Glenn (Utah) Pinellino Utah Opera Debut Recently: Il barbiere di Siviglia, La bohème, Brigham Young University; Le nozze di Figaro, Utah Vocal Arts Academy and Utah Lyric Opera Upcoming: The Mikado, Brigham Young University Marina Costa-Jackson (Nevada) Nedda/Lauretta Utah Opera Debut Recently: Così fan tutte, Seattle Opera; Maria di Rohan, Washington Concert Opera; La traviata, Oper Köln Upcoming: Otello, Savonlinna Opera Festival, Bolshoi Opera Jesús Vicente Murillo (Michigan) Ser Amantio di Nicolao Most Recently at Utah Opera, Moby-Dick Current Utah Opera Resident Artist Recently: Messiah, Utah Symphony; Cyrano, La fanciulla del West, Michigan Opera Theater; La Cenerentola, Opera Louisiane Upcoming: Die Fledermaus, Utah Opera

UTAH OPERA 2017–18 SEASON

Pagliacci & Gianni Schicchi

cast

Christopher Oglesby (Georgia) Gherardo Most Recently at Utah Opera, Moby-Dick Current Utah Opera Resident Artist Recently: La bohème, Utah Opera; Cox & Box, Opera in Concert; The Three Little Pigs, Dallas Opera Upcoming: Die Fledermaus, Utah Opera Melissa Parks (New York) Zita Most Recently at Utah Opera, The Marriage of Figaro Recently: The Music Shop, Nickel City Opera; Elizabeth Cree, Opera Philadelphia; Gianni Schicchi, Salt Marsh Opera Upcoming: Brokeback Mountain, New York City Opera Scott Piper (Michigan) Canio Most Recently at Utah Opera, Il trovatore Recently: Otello, Dayton Opera, Hessisches Staatstheater Wiesbaden, Oper Köln; Il tabarro, Oper Köln; Norma, Hessisches Staatstheater Wiesbaden Upcoming: Cavalleria rusticana/Pagliacci, Madison Opera Abigail Rethwisch (Iowa) Nella Most Recently at Utah Opera, Lucia di Lammermoor Current Utah Opera Resident Artist Recently: Die Fledermaus, The Santa Fe Opera; Great American Road Trip, Messiah, Utah Symphony Upcoming: Die Fledermaus, Utah Opera; Ariadne auf Naxos, The Santa Fe Opera

UTAHOPERA.ORG / (801) 533-NOTE

Pagliacci & Gianni Schicchi

cast / artistic staff

Wayne Tigges (Iowa) Tonio/Gianni Schicchi Utah Opera Debut Recently: Der fliegende Holländer; Atlanta Opera, Austin Opera, Virginia Opera; Cavalleria rusticana, Pagliacci; New Orleans Opera; Dead Man Walking, Champion; Washington National Opera Upcoming: An American Soldier (World Premiere); Opera Theatre of Saint Louis; Il barbiere di Siviglia; Michigan Opera Theater; Dead Man Walking; Atlanta Opera Daniel Tuutau (Utah) Guccio Most Recently at Utah Opera, Moby-Dick Recently: Amahl and the Night Visitors, NEXT Ensemble; La bohème, Utah Opera; Carmen, Lyrical Opera Theater Upcoming: St. Matthew Passion, Salt Lake Choral Artists; Falstaff, Lyrical Opera Theater Tyler Oliphant (Utah) Maestro Spinelloccio Most Recently at Utah Opera, Man of La Mancha Recently: Tosca, Opera Idaho; Carmen, Utah Opera; La bohème, Lyrical Opera Productions Upcoming: St. Matthew Passion, Salt Lake Choral Artists; Beethoven Choral Symphony, Great Falls Symphony Tara Faircloth (Texas) Director Most Recently at Utah Opera, Carmen Recently: Carmen, Hawaii Opera Theater; Tosca, Arizona Opera; La rondine, Opera Santa Barbara Upcoming: Il re pastore, Merola Opera Program; The Little Prince, Utah Opera 28

UTAH OPERA 2017–18 SEASON

Pagliacci & Gianni Schicchi

artistic staff

Timothy Myers (Kansas) Conductor Utah Opera Debut Recently: Margherita, Wexford Festival; Salome, Florida Grand Opera; Samson et Dalila, North Carolina Opera Upcoming: West Side Story, Houston Grand Opera; Sweeney Todd, Atlanta Opera Michaella Calzaretta (Iowa) Chorus Master Most Recently at Utah Opera, Moby-Dick Recently: Patience, University Gilbert and Sullivan Society; In Memoriam, Marilynâ&#x20AC;&#x2122;s Room, New Voices Opera; Peter Grimes, Carmen, Indiana University Opera Theater Upcoming: Die Fledermaus, Utah Opera Laura Fine Hawkes (New Mexico) Set Design Utah Opera Debut Recently: Eugene Onegin, Arizona Opera; L'elisir d'amore, Fingerlakes Opera; Carmen, Fingerlakes Opera; Upcoming: Replica, Stages Repertory Theatre Houston; Il re pastore, Merola Opera Program Verona Green (Utah) Costume Design / Pagliacci Most Recently at Utah Opera, Don Giovanni Recently: Costume Director, Utah Opera; Pagliacci, Shreveport Opera

UTAHOPERA.ORG / (801) 533-NOTE

Pagliacci & Gianni Schicchi

artistic staff

Susan Memmott Allred (Utah) Costume Design / Gianni Schicchi Most Recently at Utah Opera, La bohème Recently: PBS Christmas Special with Mormon Tabernacle Choir 2016; Resident Designer, Utah Opera, 1979–2011; Mormon Miracle Pageant; Utah Shakespeare Festival; Southern Utah State College Matthew Antaky (California) Lighting Design Most Recently at Utah Opera, La bohème Recently: Pagliacci, The Seven Deadly Sins, Festival Opera; Les Enfants Terribles, Flight, Opera Parallèle Upcoming: For details visit matthewantakydesign.com Melanie Malinka (Germany) Children’s Choir Director Most Recently at Utah Opera, La bohème (chorus master) Recently: Noye’s Fludde, The Cathedral of the Madeleine; Tosca, Utah Opera (chorus master); Carmen, Utah Opera (children’s chorus) Upcoming: Ballad of Heroes, The Cathedral of the Madeleine; Pueri Cantores Children’s Choir Festival, Manchester, NH

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UTAH OPERA 2017–18 SEASON

Pagliacci & Gianni Schicchi

artistic staff / chorus

Christopher DuVal (California) Fight Director Most Recently at Utah Opera, Carmen Recently: Tosca, Utah Opera; Taming of the Shrew, Colorado Shakespeare Festival; Henry IV Part 1, Oregon Shakespeare Festival Upcoming: Cyrano de Bergerac, Colorado Shakespeare Festival Kate Casalino (New York CIty) Hair & Makeup Design Utah Opera Debut Recently: The Children, Manhattan Theater Club; Love Never Dies (1st National Tour), Networks; Assistant Hair & Makeup Design, Glimmerglass Festival Upcoming: Saint Joan, Manhattan Theater Club; Scare Pair, LA Opera UTAH OPERA CHORUS Alexia Adair Keanu Aiono-Netzler Benjamin Boardman Matthew Castleton Rachel Cooke Chad DeMaris Natalie Easter Paula Fowler Genevieve Gannon Paul Leland Hill Kyleene Johnson Thomas Klassen

Hilary Koolhoven Nelson LeDuc Lynn Maxfield Julie McBeth April Meservy Michael Moyes Daniel Nichols Dale Nielsen Christopher Oglesby Scott Palmer Geneil Perkins Tony Porter

CHORISTERS OF THE MADELEINE CHOIR SCHOOL Mary Crowell Sam Klemesrud Franco Foster Liam Khor-Brogan Kai Gerton Oliver Laughlin Lorraine Hyngstrom Claire Sophie MalinkaTeddy Hyngstrom Thompson Roisin Khor-Brogan Giovanni Nuvan SUPERNUMERARIES Gabriel Allred Nicholas Chaney UTAHOPERA.ORG / (801) 533-NOTE

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Pagliacci & Gianni Schicchi

the madeleine choir school

Located in downtown Salt Lake City, The Madeleine Choir School is far more than a music school. MCS offers students strong character formation and a holistic approach to exceptional age-appropriate learning. Modeled after the historic cathedral schools in Europe, the Choir School music curriculum is unmatched and also provides outstanding instruction in the humanities, mathematics and the sciences, as well as foreign languages, visual arts, theology, and athletics. Students graduate from the Choir School having received an exceptional music education, including intensive vocal training, music theory, music history, and a minimum of two years of violin study. The Madeleine Choir School, a mission of the Roman Catholic Bishop of Salt Lake City and a service of The Cathedral of the Madeleine, is an elementary school for children in Pre-Kindergarten through Grade Eight. Established in 1996, the school continues the cathedral tradition of inspiring young people to become engaged scholars, effective communicators, dedicated liturgical 32

musicians, and responsible world citizens who seek to build a civilization of justice, mercy and love. The choristers in Grades Five through Eight regularly assist with worship life at The Cathedral of the Madeleine and participate in the Annual Concert Series. During the academic year, they can be heard at the Cathedral’s 5:15 p.m. Mass Monday through Thursday, and on Sundays at the 11:00 a.m. Mass. The students travel on international and national performance tours, and regularly collaborate with the Utah Symphony | Utah Opera and other local arts organizations. The Choristers of The Madeleine Choir School were honored to partner with The Utah Symphony on their recently released recording of Gustav Mahler’s Symphony No. 8 also featuring the Mormon Tabernacle Choir. We invite you to visit our campus to gain a first-hand experience of our school. Please visit our website at utmcs. org for a list of scheduled admissions events, or contact our Director of Admissions at admissions@utmcs.org or 801-323-9850 extension #103. UTAH OPERA 2017–18 SEASON

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Pagliacci & Gianni Schicchi

composers / librettist

Ruggero Leoncavallo is best known today for his one-act masterpiece Pagliacci, for which he also wrote the libretto. Leoncavallo was born in Naples and began studying at the conservatory there in 1866. In the late 1870s he wrote both music and libretto for his first opera Chatterton. After the success of Mascagni’s Cavalleria rusticana he was inspired to write Pagliacci, which was a triumph on its 1892 premiere and led to stagings of Chatterton and I Medici. His La bohème in 1897 was overshadowed by the success of Puccini’s version the previous year. His last major success was Zazà in 1900. Around this time, he was increasingly popular in Germany, leading to 1904’s Der Roland von Berlin. Towards the end of his life he turned increasingly towards operetta, starting with La jeunesse de Figaro (1906, New York). His later operas included Goffredo Mameli (1916) and the incomplete Edipo re (1920). Giacomo Puccini was born in Lucca, Italy into a family with a long history of music. From 1880 to 1883 he studied at the Milan Conservatory under Amilcare Ponchielli and Antonio Bazzini. In 1882, Puccini entered a competition for a one-act opera. Although he did not win, Le Villi was later staged in 1884 at the Teatro dal Verme; it also caught the attention of the publisher Giulio Ricordi who commissioned a second opera (Edgar). In 1918, Il trittico premiered. This work is composed of three one-act operas in the style of the Parisian Grand Guignol: a horrific episode (Il tabarro), a sentimental tragedy (Suor Angelica) and a comedy or farce (Gianni Schicchi). Of the three, Gianni Schicchi is the most popular and is sometimes performed as a doublebill with a one-act opera such as Cavalleria rusticana or Pagliacci. Puccini died in Brussels, Belgium in 1924. Turandot, his last opera was left unfinished until the last two scenes were completed by Franco Alfano. Giovacchino Forzano was an Italian playwright, librettist, stage director, and film director. A resourceful writer, he produced opera librettos for most of the major Italian composers of the early twentieth century. In 1914 he met and befriended Giacomo Puccini who asked him to write the librettos for his Il trittico, a collection of three one-act operas. Forzano agreed to write the librettos for two of the works, Suor Angelica and Gianni Schicchi. With the success of Il trittico, Forzano was soon approached by other composers to provide librettos, including Alberto Franchetti, Ruggero Leoncavallo, Ermanno Wolf-Ferrari, Umberto Giordano, and Pietro Mascagni.

UTAHOPERA.ORG / (801) 533-NOTE

Taking the Show on the Road As Utah Opera celebrates its 40th season, it also marks the silver anniversary of a program that introduces many Utah school children to their first taste of opera. By Renée Huang

This fall, Utah Opera’s newest group of Resident Artists prepared their programs and then hit the road for the 25th season of bringing education presentations and outreach concerts to public school students and communities across Utah. It’s fitting that as the opera company celebrates its 40th year of operations that the Utah Opera Resident Artist Program also marks its silver anniversary. Through the program—an extension of the company’s Education Department— four professional singers and a pianist take an integral step between graduate studies and a career, spending their ninemonth residency developing professional skills through performances, coachings, workshops, and master class sessions. Resident Artists also travel throughout the state to perform in-school presentations and teach students about the art of opera. They appear in main stage comprimario roles and serve as principal artist covers—which can often lead to career-altering golden opportunities. Iowa native and current Resident Artist Soprano Abigail Rethwisch stepped in on short notice in March 2017 to sing the title role in Lucia di Lammermoor for the entire run of Utah Opera’s production. “These young professionals have the artistic versatility to sing a wide range of music, and exude an energy that is infectious,” said Utah Opera Artistic Director Christopher McBeth, who, along with Principal Coach Carol Anderson and Director of Education and Outreach Paula Fowler, hand-picks them each winter in a 36

rigorous, nation-wide audition process for the coming school year. “We rely upon Resident Artists to be many students’ first experience with opera and the world of classical music,” said Ms. Fowler. “They are Utah Opera’s ambassadors as they travel around to public schools and communities across the state.” The ensemble travels throughout the state of Utah offering presentations in schools and teaching students about the art form of opera in a fun, accessible way. Artists receive coaching and participate in master classes with Utah Opera’s music staff and guest artists. They also perform in concerts with the Utah Symphony, outreach concerts throughout the state, and often land roles in Utah Opera’s four annual productions. As one of the most engaged school outreach programs in the nation, Utah Symphony | Utah Opera’s Education Department creates and oversees opportunities in music for audiences of all ages, with special emphasis on musical experiences for K–12 students and teachers. As the largest performing arts organization in Utah, USUO promotes a broad public knowledge and appreciation of music through more than 30 state-assisted community outreach programs. One of these includes Utah Opera’s Resident Artist program, where artists perform for more than 70,000 students each year free of charge through the organization’s education and outreach activities. UTAH OPERA 2017–18 SEASON

Pagliacci & Gianni Schicchi

taking the show on the road

MEET THE RESIDENT ARTISTS Iowa native Abigail Rethwisch, soprano, was a member of The Santa Fe Opera Apprentice Program for Singers this past summer, will return this summer, and has spent previous summers as apprentice with Chautauqua Opera and Des Moines Metro Opera. She has gained significant recognition in the Metropolitan Opera National Council Auditions, having been chosen as a regional finalist three times, most recently winning second place in the Great Lakes Region. A Washington, DC native and Lebanese-American, mezzo-soprano Melanie Ashkar has appeared across New York City with New York City Opera, Utopia Opera,and Mannes Opera. Most recently she performed in Suor Angelica/Gianni Schicchi with Martina Arroyo’s Prelude to Performance program. This season for Utah Opera, she will appear in Gianni Schicchi and Die Fledermaus. Tenor Christopher Oglesby made his Utah Opera debut as Parpignol in La bohème this season, with additional appearances in Moby-Dick, Gianni UTAHOPERA.ORG / (801) 533-NOTE

Schicchi, and Die Fledermaus. As an education artist with The Dallas Opera, he performed the role of Bastien in Mozart’s Bastien and Bastienne and Don Giovanni in Davies’ The Three Little Pigs. An active soloist, Mr. Oglesby recently appeared with the Abilene Philharmonic, the Dallas Puccini Society, and Opera Diversitá. Detroit native bass-baritone Jesús Vicente Murillo made his professional debut at the age of eighteen with Michigan Opera Theater as The Android in The Very Last Green Thing. In Utah Opera’s 2017–18 season, he appeared as Captain Gardiner in Moby-Dick, and Ser Amantio di Nicolao in Gianni Schicchi, and performed the bass solos in Messiah with the Utah Symphony. Pianist Robert Bosworth has participated in the Merola Opera Program, Music Academy of the West, and Opera Saratoga. Most recently, he served as Resident Coach with Chicago Summer Opera in 2016 and 2017. In addition to his love for opera, Mr. Bosworth exhibits a strong passion for art song repertoire, and was a pianist for Carnegie Hall Presents: The Song Continues. 37

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New-ish Partners in Crime: Pagliacci and Gianni Schicchi By Paul Dorgan

Gianni Schicchi is the title character of the last of three one-act operas by Giacomo Puccini, which, titled together as Il trittico, premiered at The Metropolitan Opera in 1918: the others are Il tabarro and Suor Angelica, and for two seasons the trio was inseparable. In the 1925–26 season, two things were obvious: the conjoined triplets had been separated; and Schicchi’s postsurgical recovery proved remarkably fast, for there he was in February 1926, sharing the stage with Ruggero Leoncavallo’s Pagliacci. Pagliacci had gone through its own birthing and teething problems at the Met. Its first performance, in December 1893, was with Glück’s Orfeo ed Euridice, while its third was paired with Mascagni’s Cavalleria rusticana. This seems to have been a one-night stand, though it grew into a fairly steady affair despite various flirtations with, for example, Lucia di Lammermoor, shorn of its first act; with the second act of Rossini’s Il barbiere di Siviglia; Massenet’s La Navarraise; Don Pasquale; Donizetti’s La fille du régiment; Hänsel und Gretel; and its most eyebrowraising companion, Verdi’s Il trovatore. Cavalleria/Pagliacci, after some fifty years of flings and affairs at the Met, apparently became united as one in 1947. But it was a marriage of convenience: both needed a partner, and they seemed a perfect match. Each deals with “regular folk”: no mythological gods and goddesses; nor Kings; nor Rulers. Each is set in villages in southern Italy (though Cavalleria is set in Sicily). Each occurs on what Catholics call "Feast Days": Easter in Cavalleria, and August 15 in Pagliacci, which had been unofficially dedicated to Mary, the Mother of God since around the 6th century, had been unofficially dedicated to Mary, the Mother of

UTAHOPERA.ORG / (801) 533-NOTE

God. Each opera deals with something of grave concern to all Catholics, but especially those 19th-century Italian ones: pre/extramarital sex. Santuzza, the heroine in Cavalleria, confesses she is pregnant; and it's pretty obvious that, in Pagliacci, Nedda is having an adulterous affair with Silvio. Utah Opera produced the Cavalleria/Pagliacci pairing only once, in 1981. Seven years later Pagliacci was paired with Gianni Schicchi; in 2002 it was joined with perhaps the oddest coupling of all: a choreographed version of Carl Orff’s Carmina Burana. In 2010 two-thirds of Puccini’s original Trittico was reunited, when Suor Angelica and Gianni Schicchi were given. Maybe in a future season we’ll get the complete triangle; for Il tabarro, the first of the trio, is as good as anything else Puccini wrote. There’s a certain logic in this pairing of Pagliacci and Gianni Schicchi, since both operas involve criminal activity: murder and forgery. But it does present you, opera lovers, with a philosophical/ethical/judicial question: can you condemn Canio’s murder of his adulterous wife and her lover, while relishing the wily Schicchi’s getting away with the forging of someone else’s will in his own favor? Ponder that, as you enjoy the performances at the Capitol Theatre! A native of Ireland, Dr. Paul Dorgan has worked with Cincinnati Opera, L’Opéra du Montréal, Opera Columbus, Utah Opera, Opera Memphis, and Tampa Opera. He has published articles on operatic subjects, and many American opera companies use his supertitle translations. He has adjudicated for the Metropolitan Opera Auditions and for NATS. Currently Paul Dorgan is a Professor of Music at the University of Utah. 39

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Commedia and Reality By Paula Fowler

Nowhere today can we experience conflict would be worked out through commedia dell’arte performances the a lot of bawdy, raucous action to a way audiences did in Italy 400 years comedic ending. ago: itinerant outdoor acting troupes came into town, set up an outdoor The popular commedia characters stage, hawked miraculous potions, and included Harlequin, the clever servant “drummed up” an audience with an whose costume featured multi-colored actual drum to send the message that diamonds and who yearned for the actors were in town. Then, when Columbina, the clever lady’s maid who the commedia began, the audience juggled many suitors. A third, Pagliaccio, would recognize the elaborately-made- the clown, was one of her suitors, but he up or masked characters as simplified always found his love unrequited. His human types. During the play, these oversized white shirt with its pom-pom characters would get all tangled up in buttons were large because they were a conflict, and there might be some hand-me-downs, an indication of his regular lazzi (sight gags) and acrobatics, status as a youngest son. as well as the “slap-stick” sounds of Harlequin’s split bat with which he Commedia dell-arte no longer thrived threatened violence. Eventually the at the end of the 19th century, when Ruggero Leoncavallo, a contemporary and rival of Puccini’s, elected to make it central in his opera Pagliacci. After the success of Mascagni’s one-act Cavalleria rusticana, Leoncavallo put himself to the task of writing a “verismo” (truth, reality) opera of his own, “verismo” being the term to describe the kind of story popular at the end of the 19th century that dealt with life and love as experienced by real people, full of painful, often violent conflicts. In literature, this movement was called “naturalism;” both styles are infamous for digging into the dregs, wading audiences through the muck, and then ending pessimistically. Commedia’s blatant artificiality (its stock characters and large gestures) aided Leoncavallo, ironically, in his exploration of “verismo” in Pagliacci. He concocted a plot of multiple levels of distance from reality: at the center is an actual commedia about a disastrous love 42

UTAH OPERA 2017–18 SEASON

Pagliacci & Gianni Schicchi

Commedia and Reality

triangle. Surrounding that performance is the backstage story of the personal lives of actors in the commedia, the troupe that travels from town to town performing for communities—in the case of this performance, for a town composed of the opera chorus. Leoncavallo presses further by adding another layer, closer to our reality: the actor Tonio begins the opera by stepping in front of the curtain and directly addressing us. And of course there’s one more level because Tonio is played by an opera singer from our real world, and he is performing a role while pretending he’s not. In his opera-opening speech, Tonio claims that what we’re about to witness is not just a play, but a real story with characters who have real feelings: he suggests there’s no difference between the drama we see on the stage and what goes on in real life. The opposite stance in this argument is presented by Canio, another Commedia actor, the one who plays Pagliaccio, the clown. Canio claims that “life and theatre are not at all the same thing.” “Onstage, if Pagliaccio should catch his wife with another man, he just gives them a funny scolding, or else they beat him up—and the public laughs and applauds.” The opera takes us on a journey that proves Tonio correct. Canio himself recognizes that the love triangle in the commedia resembles his own experience with his wife Nedda and her lover Silvio. Canio proceeds from that realization to blur the barriers between levels of reality when he charges into the crowd watching the commedia to kill both his wife and Silvio. UTAHOPERA.ORG / (801) 533-NOTE

It’s some kind of cherry-picking proof, when a theatrical work presents a thesis about reality, and then its creators choose to prove it with the action they select. The question for us, I suppose, is to decide whether the evidence is compelling enough for us to accept the premise presented for our consideration. Then, under Leoncavallo’s tutelage, we may start always looking for reality whenever we watch a made-up story on stage, even in the most contrived of performances. Paula Fowler is USUO’s Director of Education & Community Outreach. She has been writing opera commentaries for Utah Opera for more than 20 years.

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“I believe that opera and classical music should be accessible to anyone and everyone, regardless of age or race or financial background. Utah Opera was where that was cemented for me—it became an action-based belief, not just a word-based one.” –ABIGAIL LEVIS, FORMER UTAH OPERA RESIDENT ARTIST

EVERY VOICE TELLS A STORY 44

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 Conner Gray Covington Assistant Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second

Roberta Zalkind Associate Principal

Robert Stephenson Associate Principal

Sam Elliot Associate Principal

Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas

Lissa Stolz

BASS TROMBONE Graeme Mutchler† David Hagee††

CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang

Wen Yuan Gu Associate Principal Second

BASS* David Yavornitzky Principal

Evgenia Zharzhavskaya Assistant Principal Second

Corbin Johnston Associate Principal

Karen Wyatt•• 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

James Allyn Antonio Escobedo†† Benjamin Henderson†† Lee Philip†† Edward Merritt Jens Tenbroek Thomas Zera†

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

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 James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair

UTAHOPERA.ORG / (801) 533-NOTE

ENGLISH HORN Lissa Stolz CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell 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 Alexander Love†† Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Gabriel Slesinger††

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 STAGE MANAGEMENT Chip Dance Production & Stage Manager Jeff Herbig Properties Manager & Assistant Stage Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

TROMBONE Mark Davidson Principal

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 Sam & Diane Stewart of Latter-day Saints Family Foundation Perkins-Prothro Foundation Foundation Utah State Legislature Lawrence T. & Janet T. / Utah State Board of John & Marcia Price Dee Foundation Education Foundation Dominion Energy Zions Bank Salt Lake County George S. & Dolores Doré Salt Lake County Zoo, Arts Eccles Foundation & Parks Larry H. & Gail Miller Shiebler Family Family Foundation Foundation

Donations received as of January 12, 2018

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 Michael & Vickie Callen

Stephen C.† & Lynda M. Jacobsen Charles & Crystal Maggelet

James A. & Marilyn Parke Theodore Schmidt Jack Wheatley

OVERTURE $25,000 to $49,999 Scott & Kathie Amann A. Scott & Jesselie Anderson Doyle Arnold & Anne Glarner John & Flora D’Arcy Dean Eggertsen 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 January 12, 2018

UTAHOPERA.ORG / (801) 533-NOTE

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 801-869-9012 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 Berenice Bradshaw Judy & Larry 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 Leslie Peterson & Kevin Higgins 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 Mr. & Mrs. Neill Brownstein** 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 48

Andrea Golding Dr. Louis A Moench & Ray & Howard Grossman Deborah Moench Dennis & Sarah Hancock James & Anne Neal Julie & Dave Hirz James & Marianne Nelson Chuck & Kathie Horman Howard & Nancy Parker Jon & Karen Huntsman Dr. Thomas Parks & Dr. Jon & Mary Kaye Huntsman Patricia Legant Mary P. Jacobs & Jerald H. Brooks & Lenna Quinn Jacobs Family David & Shari Quinney Mr. James Keras & Mrs. Penny Dr. & Mrs. Marvin L. Rallison Keras Dr. Wallace Ring Jeanne Kimball Peggy & Ben Schapiro Allison Kitching Dewelynn Selberg Katherine Lamb Brent & Lisa Shafer Mr. & Mrs. Christopher J. Stuart & Molly Silloway Lansing Tim Terrell Elizabeth & Michael Liess Albert & Yvette Ungricht Mr. & Mrs. Wayne Lyski Dr. Ralph & Judith Vander David & Nickie McDowell Heide Michael & Julie McFadden E. Woolston & Connie Jo Paul Meecham & Laura Leach Hepworth-Woolston Carol & Anthony W. Chris & Lisa Young Middleton Jr., M.D. Donations received as of January 12, 2018 UTAH OPERA 2017–18 SEASON

Photo, Kent Miles for Utah Opera

Thank You ABRAVANEL & PETERSON SOCIETY $2,500 to $4,999 Members of the Maurice Abravanel and/or Glade Peterson Societies pay tribute to our founders through annual gifts of $2,500 or more, while enjoying 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 Dr. Thomas D. & Joanne D. Coppin Ruth Davidson Graeme Dayton David & Karen Gardner Dee Thomas D. Dee III & Dr. Candace Dee Margarita Donnelly Carol & Greg Easton Mr. & Mrs. Robert Ehrlich Janet Ellison 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 Dixie & Robert Huefner Mr. & Mrs. Jerry Huffman Sherry & Jim Hulse Scott Huntsman Annette & Joseph Jarvis Ronald & Janet Jibson M. Craig & Rebecca Johns Jill Johnson Bryce & Karen† Johnson Maxine & Bruce Johnson Neone F. Jones Susan Keyes & Jim Sulat Laura Kiessner Merele & Howard Kosowky 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 Keith & Vicki Maio Jed & Kathryn Marti 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 Victor & Elizabeth Pollak 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 Dewelynn H. Selberg Thomas & Gayle Sherry Diana & Paul Smith Gibbs† & Catherine W. Smith Christine St. Andre & Cliff Hardesty Richard & Janet Thompson Verl & Joyce Topham Mr. & Mrs. Glen R. Traylor Karen Urankar Joseph Urban Susan & David† Wagstaff John & Susan Walker Susan Warshaw Bryan & Diana Watabe Ardean† & Elna Watts Suzanne Weaver & Charles Boynton David & Jerre Winder Catherine Wong Gayle & Sam Youngblood

Donations received as of January 12, 2018 50

UTAH OPERA 2017–18 SEASON

Thank You PATRON $1,500 to $2,449 Anonymous (2) Madeline Adkins & John Forrest Barry Bergquist Roger & Karen Blaylock Shauna Bona Mr. & Mrs. Lee Forrest Carter Dr. & Mrs. Thomas Coppin David & Carol Coulter Donald Dalton Kathleen & Frank Dougherty Ashby & Anne Cullimore Decker Katherine W.† & E.R. Dumke, Jr. Spencer & Cleone Eccles Donald Dalton 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 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. Vivian S. Lee & Mr. Benedict Kingsbury James Lether Lisa & James Levy Ronald W. Tharp & Kate F. Little Peter† & Susan Loffler Ross & Kathleen Matthews Warren K. & Virginia G. McOmber

Utah Arts Festival 2018

George & Linda Mendelson Brad & Trish Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville David Mortensen & RoseMarie Brittner Mahyera Michael & Leslie O’Malley Robert & Catherine Pedersen Mr. David A. Petersen Jana Ramacher Grant Schettler Jill & Richard Sheinberg Barbara Slaymaker Payam Tristani Ann & Steven Tyler Rachel Varat-Navarro Erik & Linda Watts Dan & Amy Wilcox Norman & Kathy Younker Laurie Zeller Michael & Olga Zhdanov Kathie & Hugh Zumbro

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Thank You FRIEND $1,000 to $1,499 Anonymous (5) Carolyn Abravanel Christine A. Allred Drs. Crystal & Dustin Armstrong Curtis Atkisson, Jr. Diane Banks & Dr. Mark Bromberg Mr. & Mrs. William D. Callister, Jr. Dana Carroll & Jeannine Marlowe Po & Beatrice Chang Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Gloria Comiskey Dr. & Mrs. David Coppin Denise Corr Dorothy B. Cromer James & Rula Dickson Margaret Dreyfous Alice Edvalson Eric & Shellie Eide Carolyn & Tom Fey Naomi K. Feigal Harry Franta† David & Ann George Robert & Mary Gilchrist Ralph & Rose Gochnour John Graham Mr. & Mrs. Richard R. Graham Geraldine Hanni

John Edward Henderson Connie C. Holbrook Jay & Julie Jacobson Todd & Tatiana James Dale & Beverly Johnson Jocelyn Johnson Chester & Marilyn Johnson Paulette Katzenbach Thomas H. Klassen & Carolyn Talboys-Klassen Robert & Karla Knox Greg Larson Sheryl Laukat Mr. & Mrs. Melvyn L. Lekowitz Tiffany & Mark Lemons Allan & Kay Lipman 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 Dan & Janet Myers 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 Dr. Barbara S. Reid Gina Rieke Theodore Rokich Mr. & Mrs. Robert Rollo David & Louis Salisbury Janet Schaap James Schnitz Mr. August L. Schultz Frances & Ron Schwarz Annabelle & Dennis Shrieve Sandra Sigman Dorotha Smart Mercedes Smith Larry R. & Sheila F. Stevens Dr. & Mrs. Michael H. Stevens Hope Stevens Walter & Lorraine Stuecken Amy Sullivan & Alex Bocock Douglas & Susan Terry Gail Tomlinson Craig & Christy Wagstaff M. Walker & Sue Wallace Gerard & Sheila Walsh Mary & Scott Wieler Margaret & Gary Wirth Marsha & Richard Workman John & Jean Yablonski

Donations received as of January 12, 2018 * In-kind donation ** In-kind and cash donation

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 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 Frederick Q. Lawson Foundation Huntsman 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 January 12, 2018

UTAHOPERA.ORG / (801) 533-NOTE

Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT

MAESTRO $10,000 to $24,999 Adobe Bambara* Bank of Utah B.W. Bastian Foundation R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine Foundation– Russell Family CenturyLink Community Foundation of the Lowcountry

PATRON $5,000 to $9,999 Art Works for Kids! Bessemer Trust The Capital Group Deluxe Corporation Foundation Discover Financial Services The Dorsey & Whitney Foundation Patricia Dougall Eager Trust Spencer F. & Cleone P. Eccles Family Foundation

The Katherine W. Dumke National Endowment for the & Ezekiel R. Dumke, Jr. Arts Foundation Ogden Opera Guild Every Blooming Thing* Park City Chamber Bureau Gastronomy* Promontory Foundation Anne & Gordon Getty Salt Lake City Arts Council Foundation The Swartz Foundation Richard K. & Shirley S. Union Pacific Foundation Hemingway Foundation University of Utah Health Hyatt Centric Park City** Utah Office of Tourism McCarthey Family Foundation Workers Compensation Fund Merrill Lynch Wealth Management

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 Macy’s 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

LOVE Communications Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Park City Foundation Park City Community Foundation Peczuh Printing* Prime Steakhouse* Ray, Quinney & Nebeker Foundation Rocky Mountain Power 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*

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 Fanwood Foundation Graystone Consulting

* In-kind donation ** In-kind and cash donation

Donations received as of January 12, 2018 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 & Barbara 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 Anita Alcabes Jay T. Ball Dr. Ray Beckham Janet Bennett Winifred Bradley Robert H. Burgoyne, M.D. Jeffrey L. Chaney Kathie Dalton Charles Dean Dean E. Eggertsen Loraine L. Felton Harry E. Franta 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 Frank & Shirley Russell Bert Schaap Aurelia H. Schettler Catherine Schettler Ben Schippen J. Ryan Selberg Ann O’Neill Shigeoka, M.D. Claudia Silver-Huff

Phyllis Sims Rebecca “Becky” Sharp Sorensen Hope B. Stevens Patrick L. Wade Robert Van Wagenen Nadine Ward Marie Watkins Ardean Watts John W. Williams Lawrence Young Dr. I. Zelitt Martin Zwick

Donations received as of January 12, 2018 UTAHOPERA.ORG / (801) 533-NOTE

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 2017â&#x20AC;&#x201C;18 SEASON

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“You are the music while the music lasts.” ~T.S. Eliot Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact Kate Throneburg at kthroneburg@usuo.org or 801-869-9028 for more information, or visit our website at usuo.giftplans.org. CRESCENDO SOCIETY OF UTAH OPERA Anonymous Edward Ashwood & Candice Johnson 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

Herbert C. & Wilma Livsey 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 Edward Ashwood & Candice Johnson 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

†Deceased

UTAHOPERA.ORG / (801) 533-NOTE

Administration ADMINISTRATION Paul Meecham

SYMPHONY ARTISTIC Thierry Fischer

Chad Call

President & CEO

Symphony Music Director

David Green

Anthony Tolokan

Mike Call

Senior Vice President & COO

Vice President of Symphony Artistic Planning

Kathleen Sykes

Executive Assistant to the CEO

Conner Gray Covington

Ali Snow

Assistant Conductor

Steven Jerman

Executive Assistant to the COO & Office Manager

Symphony Chorus Director

Julie McBeth

0PERA ARTISTIC Christopher McBeth Opera Artistic Director

Michaella Calzaretta Opera Chorus Master

Carol Anderson Principal Coach

Michelle Peterson Opera Company Manager

Mandi Titcomb Opera Production Coordinator

Barlow Bradford Walt Zeschin Director of Orchestra Personnel

Andrew Williams Orchestra Personnel Manager

Website Manager Digital Content Producer Junior Graphic Designer

PATRON SERVICES Nina Starling Director of Patron Engagement

Faith Myers Sales Manager

Lance Jensen

Andrew J. Wilson

Executive Assistant to the Music Director & Symphony Chorus Manager

Robb Trujillo

SYMPHONY OPERATIONS Jeff Counts Vice President of Operations & General Manager

Cassandra Dozet

OPERA TECHNICAL Jared Porter

Director of Operations

Senior Technical Director

Program Publication & Front of House Director

Kyle Coyer

Marketing Manager - Audience Development

Melissa Robison

Technical Director

Chip Dance

Kelly Nickle

Production & Stage Manager

Patron Services Manager Group Sales Associate

Ellesse Hargreaves Patron Services Assistant

Rachel Campbell Marketing Manager - Patron Loyalty

Genevieve Gannon Sarah Pehrson Jackie Seethaler Powell Smith Sales Associates

Properties Master

Jeff Herbig

Keith Ladanye

Properties Manager & Assistant Stage Manager

Nicholas Barker Mateusz Jagiello Ellen Lewis Rhea Miller Ananda Spike

Erin Lunsford

Ticket Agents

Production Carpenter

Travis Stevens Carpenter

Artist Logistics Coordinator

Dusty Terrell

DEVELOPMENT Leslie Peterson

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Vice President of Development

Vice President of Finance & CFO

Hillary Hahn

Mike Lund

Senior Director of Institutional Gifts

Director of Information Technologies

Melonie Fitch

Kate Throneburg

Joan Shiflett

Rentals Supervisor

Director of Individual Giving

Controller

Jessica Cetrone Kierstin Gibbs LisaAnn DeLapp

Heather Weinstock

Alison Mockli

Manager of Special Events & DVMF Donor Relations

Payroll & Benefits Manager

Jared Mollenkopf

Rentals Assistants

Alina Osika

Patron Information Systems Manager

Scenic Charge Artist

COSTUMES Verona Green Costume Director

Amanda Reiser Meyer Wardrobe Supervisor

Milivoj Poletan Tailor

Tiffany Lent Cutter/Draper

Donna Thomas

Manager of Corporate Partnerships

Lisa Poppleton Grants Manager

Chelsea Kauffman Annual Fund Coordinator

Steven Finkelstein Development Coordinator

Milliner & Crafts Artisan

Chris Chadwick Yoojean Song Connie Warner Stitchers

MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations

Krissa Lent Bailey Rapier Lesli Spencer

Renée Huang

Wigs/Make-up Crew

Aaron Sain

Director of Communications & Digital Media Director of Creative and Brand Strategy

EDUCATION Paula Fowler Director of Education & Community Outreach

Beverly Hawkins Symphony Education Manager

Kyleene Johnson Symphony Education Assistant

Paul Hill Opera Education Assistant

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

OUT OUT ON ON THE THE TOWN TOWN OUT ON THE TOWN

dining dining guide guide dining guide THE THENEW NEWYORKER YORKER60 60West WestMarket MarketStreet. Street.SLC’s SLC’s premier premierdining diningestablishment. establishment.Modern ModernAmerican American MARTINE 22 100 South. Exceptional ambience, MARTINE 22East East 100 South. Exceptional ambience, cuisine cuisineisisfeatured featured ininrefined refined dishes dishes and andapproachable approachable located in aahistoric brownstone. Martine located infood. historic brownstone. Martineoffers offers Salt comfort comfortfood. From Fromclassic classictotoinnovative, innovative, from fromSalt Lake City experience kept Lake Cityaasophisticated sophisticated dining experience kept– simple. simple. contemporary contemporary seafood seafoodtodining to Angus Angus Beef Beefsteaks steaks –the the Conveniently located on First South around the corner Conveniently located on First South around the corner menu menuprovides providesoptions optionsfor forevery everytaste. taste.Served Servedininaa from the Eccles Theater. Extensive bar and wine service. from the Eccles Theater. Extensive bar and wine service. casually casuallyelegant elegantsetting settingwith withimpeccable impeccableservice. service. martinecafe.com L,L,D, T,T,corporate LL, RA, VS. 801-363-9328 martinecafe.com D, LL, RA,CC, CC,and VS. 801-363-9328 Private Privatedining diningrooms rooms for for corporate and social socialevents. events. Lunch Lunch&&Dinner. Dinner.No Nomembership membershiprequired. required.L,L,D,D,LL, LL,AT, AT, RR, RR,CC, CC,VS. VS.801.363.0166 801.363.0166

Consistently Rated Rated“Tops” “Tops”–Zagat –Zagat • anConsistently american contemporary café • 6060W.W.Independent Market MarketStreet Street• •801.363.0166 801.363.0166 Local, Chef Owned

22 East 100 South Phone • 801.363.9328 www.martinecafe.com

Salt SaltLake LakeCity’s City’s#1 #1

MARKET MARKETSTREET STREETGRILL GRILLDOWNTOWN DOWNTOWN48 48 SPENCER’S 255Unanimous South West Temple,for SLC. West WestMarket MarketStreet. Street. Unanimous favorites favorites forseafood seafood

Whether it’s before or after service the showand or award an evening dining, dining,providing providing exceptional exceptional service and award winning. winning. dinner with friendsmenu and family—enjoy cutquality steaks, The Thecontemporary contemporary menu features featuresthe thehand highest highest quality fresh seafood, locally-crafted beers, classically available. available. Select Select from froman anabundant abundant offering offering ofoffresh fresh inspired cocktails and an award wine list. seafood seafoodflown flowninindaily, daily, Angus Angus Beef Beefwinning steaks, steaks,and andaa variety variety VS. 801-238-4748 ofL,D,ST,C,LL,RA,CC, ofnon-seafood non-seafooddishes. dishes. Open Open7 7days daysaaweek weekserving serving breakfast, breakfast,lunch, lunch,dinner, dinner,Sunday SundayBrunch. Brunch.B,B,L,L,D,D,C,C,AT, AT,S,S, LL, LL,CC, CC,VS. VS.801.322.4668 801.322.4668

MARTINE MARTINE22 22East 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 $25 three three course course prix prix fixe. fixe. as bacon topped meatloaf, pizzas and a 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

Most MostPopular PopularRestaurant Restaurant –Zagat –Zagat

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 Top Photo: Photo: Image Image licensed licensed byby Ingram Ingram Image 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

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 NATIONAL PR SERVICES

Provided by Shuman Associates, New York City

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

ADVERTISING SERVICES

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

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