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Christopher MCBeth / Artistic Director

CONTENTS

StraVINSKY’S

THE

RAKE’S PROGRESS

/2015

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Contents PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR/ PRODUCTION MANAGER Jackie Medina PROGRAM DESIGNER Patrick Witmer GRAPHIC DESIGNERS Leslie Hanna Ken Magleby Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas OFFICE ASSISTANT Jessica Alder ADMINISTRATIVE ASSISTANT Kyrsten Holland 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.

STRAVINSKY’S

The Rake’s Progress

6 Welcome 8 Testimonial 10 Board of Trustees 12 Season Honorees 13 Season Sponsor 18 Administration 23 Production Sponsors 26 Company / Artistic Staff / Chorus 30 Synopsis 32 Composer & Librettist 34 Director’s Notes 36 “A Measure of Present Justice” by Jeff Counts 43 “The Hogarth Etchings” by Dr. Carol Anderson 48 Utah Symphony 49 House Rules 50 Campaign for Perpetual Motion 54 Crescendo & Tanner Societies 55 Leave a Legacy 56 Education & Community Outreach 58 Corporate & Foundation Donors 60 Individual Donors 64 Classical 89 Broadcasts 66 Acknowledgments

Welcome

At Utah Opera we strive to provide the most compelling, most engaging nights in the theatre imaginable. We are excited to reach for what is creatively possible, and we believe that today’s performance of The Rake’s Progress will provide the proverbial ‘feather in our cap’ of a full season of demonstrating that possibility to you.

our collaboration with Pittsburgh Opera and Portland Opera, the physical production (originally created for San Francisco Opera based on the original production by Glyndebourne Festival Opera and Teatro alla Scala, Milan) features legendary scenic and costume designs by the renowned visual artist David Hockney.

Opera is a synergy of all of the arts, and the very best artistic components come together in this Utah Opera premiere of Russian-American composer Igor Stravinsky’s masterpiece of twentieth-century musical drama, The Rake’s Progress, with its superb poetic libretto by W.H. Auden. The principal artists in our production are highly respected in the operatic field, and our world-class Utah Symphony musicians will be led, for the first time in a Utah Opera production, by Utah Symphony Music Director Thierry Fischer, who is an expert in the interpretation of the music of Stravinsky. Also, thanks to

The future vision for Utah Opera includes building and creating new productions, continuing to partner with other opera companies, and producing chamber opera to build new audiences looking for unique experiences. Recently, a number of individuals have demonstrated their belief in our artistic potential through their leadership in our Campaign for Perpetual Motion (see pages 50–52). We are grateful to all of these great community leaders who help make Utah a wonderful place for opera!

Dave Petersen USUO Board of Trustees Chair

Sincerely,

Melia Tourangeau USUO President & CEO

Christopher McBeth Utah Opera Artistic Director

UTAH OPERA THE RAKE’S PROGRESS 2015

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Utah Opera Season Sponsor:

Testimonial

Verl & Joyce Topham

Lifetime Board

Verl and Joyce Topham have devoted much of their lives and energy to supporting and sustaining the arts and education in Salt Lake City and beyond. Verl Topham had a long and successful career, first as a lawyer and later as the top executive with Utah Power and Light and PacifiCorp. Verl served as the Chairman on the Utah Opera Board and as a Trustee of the Utah Symphony Board before the two companies merged in 2002. He is currently a member of Utah Symphony | Utah Opera’s Lifetime Board. He has served on numerous other community boards, including Westminster College, Economic Development Corporation of Utah, and Utah Athletic Foundation, and he was Chair of the Board of Trustees of the Utah Shakespeare Festival. In 2000, Verl was honored by the Salt Lake Chamber as a Giant in Our City, an award that was created to recognize exceptional and distinguished public service and extraordinary professional achievement. Joyce is a multimedia visual artist. She is also a soprano and a longtime lover of opera and other types of music. Verl and Joyce are both firm believers in a liberal arts education and are delighted that USUO artists share their musicianship with future generations. They support USUO so that audiences throughout the state can enjoy a world-class symphony and opera and that the talent and passion for those art forms will endure.

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.

UTAH OPERA THE RAKE’S PROGRESS 2015

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Board of Trustees ELECTED BOARD David A. Petersen* Chair

Alex J. Dunn Kristen Fletcher* Kem C. Gardner* David Golden Gregory L. Hardy Thomas N. Jacobson Ronald W. Jibson* Laura S. Kaiser Thomas M. Love R. David McMillan Brad W. Merrill Greg Miller Edward B. Moreton Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Mark H. Prothro Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart Naoma Tate

Thomas Thatcher Bob Wheaton John W. Williams

LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon M. Huntsman Jon Huntsman, Jr. G. Frank Joklik

Clark D. Jones Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker Patricia A. Richards*

Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder

TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates

Burton L. Gordon Richard G. Horne Warren K. McOmber

Mardean Peterson E. Jeffery Smith Barbara Tanner

HONORARY BOARD Senator Robert F. Bennett Rodney H. Brady Kim H. Briggs Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano

Geralyn Dreyfous Lisa Eccles Spencer F. Eccles Howard Edwards The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Marilyn H. Neilson

O. Don Ostler Stanley B. Parrish Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith Ardean Watts

William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Melia P. Tourangeau* President & CEO Jesselie B. Anderson Doyle L. Arnold Edward Ashwood Dr. J. Richard Baringer Kirk A. Benson Judith M. Billings Howard S. Clark Gary L. Crocker David L. Dee*

MUSICIAN REPRESENTATIVES

John Eckstein* Travis Peterson* EX OFFICIO

Ann Petersen Utah Symphony Guild Genette Biddulph Ogden Symphony Ballet Association Jennifer Streiff Vivace Judith Vander Heide Ogden Opera Guild *Executive Committee

NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Susan H. Carlyle Chair (Utah) (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

Anthon S. Cannon, Jr. (S. California)

Senator Orrin G. Hatch (Washington, D.C.)

Alvin Richer (Arizona)

UTAH OPERA THE RAKE’S PROGRESS 2015

THANK YOU THANK YOU THANK YOU THANK YOU THANK YOU THANK YOU THANK YOU THANK YOU THANK YOU ONCE IS NOT ENOUGH! Our heartfelt Thank You to our Dedicated Volunteer Network These outstanding individuals have ha earned rave reviews for their performances in roles ranging from serving on our Board of Trustees, Life Trustees and committes to ushering, handling administrative tasks, providing hospitality services, leading tours, assissting with VIP events, running gift shops, fundraising, docents, teaching students, and helping Utah Symphony | Utah Opera run smoothly. For their unďŹ&#x201A;agging committment to this communtyâ&#x20AC;&#x2122;s cultural kaledisoscope, we proudly give them a standing ovation.

Season Honorees Utah Symphony | Utah Opera is grateful to our generous donors who through annual cash gifts and multi-year commitments at the following levels make our programs possible. The following listing reflects contributions and multi-year commitments received between 3/15/2014 and 3/15/2015. M I L L EN I U M $250,0 0 0 & A BOV E

EDWARD ASHWOOD & CANDICE JOHNSON

GAEL BENSON

LAWRENCE T. & JANET T. DEE FOUNDATION

E.R. (ZEKE) & KATHERINE W.† DUMKE

KEM & CAROLYN GARDNER

MR. & MRS. MARTIN GREENBERG

DIANE & HAL BRIERLEY

ANTHONY & RENEE MARLON

PATRICIA A. RICHARDS & WILLIAM K. NICHOLS

CAROL & TED NEWLIN

MARK & DIANNE PROTHRO CORPORATION

SHIEBLER FAMILY FOUNDATION

THEODORE SCHMIDT

NAOMA TATE & THE FAMILY OF HAL TATE

UTAH OPERA THE RAKE’S PROGRESS 2015

Utah Symphony | Utah Opera 2014-15 Season Sponsor

George S. and Dolores Doré Eccles

Eccles Foundation Board of Directors Robert M. Graham • Spencer F. Eccles • Lisa Eccles

The Tradition Continues

or more than 30 years, unwavering support from the George S. and

Dolores Doré Eccles Foundation has been integral to the success of Utah Symphony | Utah Opera. It remains so today!

Season Honorees M I L L EN I U M $250,0 0 0 & A BOV E (C ontinued)

UTAH STATE LEGISLATURE/ UTAH STATE OFFICE OF EDUCATION

JACQUELYN WENTZ

EN CO R E $10 0,0 0 0 & A BOV E

DR. J. R. BARINGER & DR. JEANNETTE J. TOWNSEND

R. HAROLD BURTON FOUNDATION

ROGER & SUSAN HORN

THE RIGHT REVEREND CAROLYN TANNER IRISH

EMMA ECCLES JONES FOUNDATION

FREDERICK Q. LAWSON FOUNDATION

EDWARD & BARBARA MORETON

GIB & SUSAN MYERS

WILLIAM H. & CHRISTINE NELSON

DR. DINESH AND KALPANA PATEL

DELL LOY & LYNNETTE HANSEN

RESTAURANT TAX RAP TAX B R AVO $50,0 0 0 & A BOV E

Scott & Jesselie Anderson Thomas Billings & Judge Judith Billings Patricia Dougall Eager† Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Elaine & Burton L. Gordon Grand & Little America Hotels* Janet Q. Lawson Foundation 14

Montage Deer Valley** Scott & Sydne Parker Frank R. Pignanelli & D’Arcy Dixon Albert J. Roberts IV St. Regis Deer Valley** Wells Fargo Lois A. Zambo

UTAH OPERA THE RAKE’S PROGRESS 2015

Enjoy Locally Owned and Operated Hospitality

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Season Honorees OV ER T U R E $25,0 0 0 & A BOV E

Mr. & Mrs. William C. Bailey

Holland & Hart**

BMW of Murray

Richard K. & Shirley S.

BMW of Pleasant Grove

Hemingway Foundation

Foundation Simmons Family Foundation Stein Eriksen Lodge**

MINI of Murray

Jack & Jan Massimino

Harris H. & Amanda Simmons

Rebecca Marriott Champion

Carol & Anthony W.

Summit Sotheby’s

Chevron Corporation C. Comstock Clayton Foundation Thomas D. Dee III & Dr. Candace Dee John H. & Joan B. Firmage

Middleton, Jr., M.D. OPERA America’s Getty Audience Building Program

Norman C.† & Barbara Tanner Nora Eccles Treadwell Foundation Vivint

James A. Parke

M. Walker & Sue Wallace

Charles Maxfield & Gloria F.

Jack Wheatley

Parrish Foundation

John W. Williams

Thierry & Catherine Fischer**

Alice & Frank Puleo

Workers Compensation Fund

Kristen Fletcher & Dan McPhun

S. J. & Jessie E. Quinney

Edward & Marelynn Zipser

Douglas & Connie Hayes Susan & Tom Hodgson Hotel Monaco* Hyatt Escala Lodge at Park City** Tom & Lorie Jacobson Mr. & Mrs. Ronald W. Jibson G. Frank & Pamela Joklik Jones Waldo** Katharine Lamb Mr. & Mrs. Charles McEvoy Elinor S. McLaren & George M. Klopfer Peter & Cathy Meldrum Harold W. & Lois Milner Rayna & Glen Mintz Moreton Family Foundation Fred & Lucy Moreton Mount Olympus Waters* Mountain Dentistry Sally Boynton Murray Trust National Endowment for the Arts Terrell & Leah Nagata New York Ltd. Park City Chamber/Bureau Mr. David A. Petersen Promontory Foundation ProTel Networks* David & Shari Quinney Residence Inn* Dr. Clifford Reusch The Joseph & Evelyn Rosenblatt

Charitable Fund Salt Lake City Arts Council Lori & Theodore Samuels Peggy & Ben Schapiro Sky Harbor Apartments* Marilyn Sorensen George & Tamie Speciale Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds Zibby & Jim Tozer Thomas & Caroline Tucker Utah Food Services* Utah Hispanic Chamber Of Commerce* Utah Symphony Guild John & Marva Warnock Wheeler Foundation John Williams

M A E S T RO $10,0 0 0 & A BOV E

Adobe Scott & Kathie Amann American Express Anonymous Arnold Machinery Ballard Spahr, LLP** Bambara Restaurant* Haven J. Barlow Family B. W. Bastian Foundation David & Sylvia Batchelder Brent & Bonnie Jean Beesley Foundation Berenice J. Bradshaw Charitable Trust Judy Brady & Drew W. Browning Caffe Molise* Marie Eccles Caine FoundationRussell Family CenturyLink Howard & Betty Clark Daynes Music* Skip Daynes* Delta Air Lines* Dorsey & Whitney LLP The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Sue Ellis Mr. Joseph F. Furlong III Gastronomy, Inc.* GE Foundation Ann & Gordon Getty Foundation

See pages 58–63 for an additional listing of our generous donors whose support has made this season possible.

* In-Kind Gift ** In-Kind & Cash Gift † Deceased

UTAH OPERA THE RAKE’S PROGRESS 2015

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The Rake’s Progress

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UTAH OPERA THE RAKE’S PROGRESS 2015

LIBRETTI

LIBATIONS

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The Rake’s Progress

program

The Rake’s Progress May 9, 11, 13, 15 | 7:30 pm May 17 | 2 pm Janet Quinney Lawson Capitol Theatre By Igor Stravinsky Libretto by W.H. Auden and Chester Kallman Sung in English with English supertitles World Premiere: Venice, September 1951 Utah Opera Premiere The performance will last approximately 3 hours with 2 intermissions.

CAST (in order of appearance) Anne Trulove . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joélle Harvey Tom Rakewell . . . . . . . . . . . . . . . . . . . . . . . . Norman Reinhardt Trulove . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Branch Fields Nick Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mark Schnaible Mother Goose . . . . . . . . . . . . . . . . . . . . . . . . . . Alissa Anderson Baba the Turk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jill Grove Sellem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tyson Miller* Keeper of the Madhouse . . . . . . . . . . . . . . . . . William Tvrdik*

ARTISTIC STAFF

Scenery and costumes owned by Pittsburgh Opera; Production recreated by the San Francisco Opera; Production originally created for the Glyndebourne Festival Opera and Teatro alla Scala, Milan. Scenery and Props built by the San Francisco Opera. Costumes executed by San Francisco Opera Costume Shop and by Teatro alla Scala, Milan. Thank you to The Church of Jesus Christ of Latter-day Saints Orchestra on Temple Square for use of its harpsichord.

Artistic Director . . . . . . . . . . . . . . . . . . . . . Christopher McBeth Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Thierry Fischer Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Roy Rallo Costume/Set Designer . . . . . . . . . . . . . . . . . . . David Hockney Lighting Designer . . . . . . . . . . . . . . . . . . . . Nicholas Cavallaro Wigs/Make-up Designer . . . . . . . . . . . . . . . . . . Yancey J. Quick Chorus Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Caleb Harris Principal Coach/Harpsichord . . . . . . . . . . . . . . Carol Anderson Guest Coach/Pianist . . . . . . . . . . . . . . . . . . . Stephanie Rhodes Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amy Soll Assistant Stage Manager . . . . . . . . . . . . . . . . . . . . Claire Friday 2nd Assistant Stage Manager . . . . . . . . . . . . . . Liana Dillaway

SUPERNUMERARIES Michael Drebot David Lamb Wesley Marshall Nathaniel Woolley * Utah Opera Resident Artist

UTAH OPERA THE RAKE’S PROGRESS 2015

The Rake’s Progress

company Joélle Harvey (Virginia) Anne Trulove

Utah Opera Debut Recently:

Ormindo, Royal Opera, Covent Garden; Death and the Powers, Dallas Opera; La finta giardiniera, Glyndebourne Festival Opera Upcoming:

Fidelio, San Francisco Symphony; Falstaff, Arizona Opera Norman Reinhardt (North Carolina) Tom Rakewell

Utah Opera Debut Recently:

La straniera, Theater an der Wien, Vienna; Così fan tutte, Houston Grand Opera; Die Zauberflöte, Bregenz Festival Upcoming:

Die Entführung aus dem Serail, Théâtre des Champs Elysées, Paris; Eugene Onegin, Houston Grand Opera Branch Fields (Virginia) Trulove

Most Recently at Utah Opera, Falstaff Recently:

The Magic Flute, Anchorage Opera; Salome, Virginia Opera; Street Scene, Opera North Upcoming:

South Pacific, Virginia Repertory Theater Mark Schnaible (Iowa) Nick Shadow

Most Recently at Utah Opera, Il trovatore Recently:

Das Liebesverbot, Oper Leipzig; Faust, Oper Leipzig, Teatro Communale Bolzano; Tosca, Portland Opera, Dayton Opera; Salome, Edmonton Opera; Les contes d’Hoffmann, Siegfried, Den Nye Opera

UTAH OPERA THE RAKE’S PROGRESS 2015

The Rake’s Progress

company Alissa Anderson (Texas) Mother Goose

Utah Opera Debut Recently:

Rigoletto, Opera in the Heights; The Most Happy Fella, Tulsa Opera; Le nozze di Figaro, Opera Santa Barbara; Lysistrata, Fort Worth Opera; Otello, Opera Southwest Jill Grove (Texas) Baba the Turk

Utah Opera Debut Recently:

Elektra, Lyric Opera of Chicago, Michigan Opera Theater; Rusalka, Lyric Opera of Chicago, New Orleans Opera; Peter Grimes, Canadian Opera Company Upcoming:

Wozzeck, Lyric Opera of Chicago; Rusalka, Houston Grand Opera Tyson Miller (Texas) Sellem

Most Recently at Utah Opera, Madame Butterfly Recently:

Current Utah Opera Resident Artist; Abduction from the Seraglio, La Traviata, Turandot, Utah Opera; Peter Grimes, The Picture of Dorian Gray, Aspen Music Festival & School; The Rake’s Progress, Rice University Upcoming:

Apprentice Artist, The Santa Fe Opera William Tvrdik (California) Keeper of the Madhouse

Most Recently at Utah Opera, Madame Butterfly Recently:

Current Utah Opera Resident Artist; Don Pasquale, College Conservatory of Music, Cincinnati; L’amore dei tre re, Queen City Chamber Opera; Il mondo della luna, Cincinnati Chamber Opera Upcoming:

Il trovatore, Cincinnati Opera

UTAH OPERA THE RAKE’S PROGRESS 2015

The Rake’s Progress

artistic staff / chorus

Thierry Fischer (Switzerland) Conductor

Utah Opera Debut Music Director, Utah Symphony Recently:

The Rake’s Progress, Rotterdam; Creon (world premiere by Huub Kerstens), Nederlandse Nationale Reisopera; Carmen, Freiburg Oper Roy Rallo (California) Stage Director

Most Recently at Utah Opera, I Pagliacci Recently:

Ariadne auf Naxos, Opera National de Bordeaux; Don Pasquale, Deutsche Nationaltheater; The Barber of Sevillle, San Francisco Opera Center Upcoming:

The Rake’s Progress, Portland Opera, Pittsburgh Opera; The Barber of Seville, San Francisco Opera Yancey J. Quick (Utah) Wig and Makeup Designer

Most Recently at Utah Opera, Così fan tutte Recently:

Resident Wig and Makeup Designer, Utah Opera; Wig Master, Ballet West; Cosmetologist, Utah Shakespeare Festival; Wig and Makeup Design, Utah Lyric Opera Ensemble; Wig and Makeup Design, Utah Festival & Musical Theatre

T H e a r T o f g o o d e aT i n g .

D o w n to w n

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UTAH OPERA THE RAKE’S PROGRESS 2015

The Rake’s Progress

artistic staff / chorus

Caleb Harris (Texas) Opera Chorus Master

Most Recently at Utah Opera, Così fan tutte Recently:

2014–15 Utah Opera Chorus Master; Der Freischütz, Opera Classica Europa; Hansel and Gretel, Emerald City Opera; Die Zauberflöte, Opera Classica Europa CHORUS Mandi Barrus Michael G. Cram Emily Dages Devon Durkee Merrill Flint Paula Fowler Kevin Golub Jennifer Hancock Kristin Jensen Tom Klassen UFS_SymphonyAd2012.pdf

Jared Knowlton Phillip A. Lammi Nelson LeDuc Heather R. Madsen Lynn Maxfield Julie McBeth Christine McDonough Chad Millar Heather Morrey Tony Porter 1

12/8/11

11:12 AM

Alyssa Powers Mark Sorensen Jenny Spencer Carolyn Talboys-Klassen Sammie Tollestrup Austin Toney William Tvrdik Dawn Veree Bryce Weber Kathy Wight

The Rake’s Progress

synopsis

By Judy Vander Heide Act I—The scene is set in 18th-century England

in the garden of the country estate of the Trulove family. Anne Trulove and her fiancé, Tom Rakewell, are enjoying the spring air when Anne’s father sends her into the house so that he can counsel Tom about a prospective position as an accountant. Tom, however, has no interest in work, although he does yearn for money. Upon the withdrawal of Trulove, sly Nick Shadow, a Mephistophelean character, approaches Tom and entices him with the welcome news that the young man is the heir to a fortune. Father Trulove exhorts him to claim his inheritance, so Tom and Nick Shadow depart for London with Tom promising to write to Anne. In a brothel in the city, Tom is introduced to and seduced into a life of hedonism and debauchery. Upon encouragement from Shadow, Tom recites a catechism extolling pleasure for Mother Goose, the madam who subsequently beds him and along with Shadow instructs him in the arts of vice. Having heard nothing from Tom, Anne departs for London to rescue him. Act II—Tom finds life in London tiresome,

wishes he were happy and feels unworthy of Anne. Shadow appears and encourages Tom to marry Baba the Turk, a bearded lady, for only by this action, Shadow asserts, will Tom be truly free. Anne arrives, but Tom bids her to leave since he is already married. With her incessant babble, Baba is proving to be very irritating, so Tom silences her by cramming a wig on her face, rendering her motionless. Tom falls asleep and has a strange and realistic dream about a machine that is capable of turning

rocks into bread, an act which could change the world. Tom is delighted when, upon awakening, Shadow brings him the exact gadget he has imagined, so Tom now plans to market the machine—not knowing that it is a fake. Act III—A few months have passed and Tom’s

ventures, including the stones-to-bread machine, have failed. Everything is up for sale in an auction, including Baba. Anne arrives, having heard of Tom’s ruin. Baba pushes her aside from the pandemonium of the auction, tells her of Tom’s misfortunes and of Tom’s love for her, and bids her to beware of the nefarious Nick Shadow. Leading Tom to a graveyard, Shadow demands Tom’s soul in payment, ordering Tom to end his life by midnight. Suddenly, the devil reverses himself and offers to wager for Tom’s soul in a game of cards. Tom selects the Queen of Hearts and cries out to Anne, who has followed him. Shadow realizes he has lost the game, but out of spite, condemns Tom to eternal madness. Now a resident of Bedlam, Tom, who believes that he is Adonis, is mocked by fellow inmates for his insistence that Venus will visit him. It is Anne who comes, and for a few moments Tom and Anne are once again true lovers. At Tom’s request and to the joy of the inmates, she sings him to sleep before departing with her father. Awaking to find her gone, Tom calls out in despair and dies of grief. Epilogue:

The moral of the story is told as it pertains to Tom, Anne, Shadow, Trulove and Baba. All agree that the devil will find work for idle hands.

Judy Vander Heide is the president of the Ogden Opera Guild, which supports Utah Opera. She also serves on the boards of Utah Symphony | Utah Opera and Opera Volunteers, International and is a proud member of the Crescendo Society of Utah Opera.

UTAH OPERA THE RAKE’S PROGRESS 2015

The Rake’s Progress

composer & librettist

Born in Russia in 1882, Igor Fyodorovich Stravinsky was mentored by Nikolai Rimsky-Korsakov and worked as a composer first in Russia, then in Switzerland and France. After the Russian Revolution, it became impossible for him to return to Russia, and in 1920, he settled in France, where he began to re-examine the music of Mozart and Bach and compose in what many scholars have termed a “Neo-Classical” style. When World War II broke out in 1939, Stravinsky moved to the US, where he taught for a year at Harvard. Shortly after the war ended, Stravinsky began to compose The Rake’s Progress. He was nearly 70 when The Rake’s I chose Wystan Auden as librettist for my opera "The Rake's Progress" because of his special gift Progress premiered in 1951. Stravinsky was a major influence on 20th-century music for versification . . . I simply gave all priority to verse, hoping that we could evolve the theatrical and many consider him the greatest of the century’s composers. form together and that it would inspire Wystan to dramatic poetry. I think he was inspired, and in any case he inspired me . . . I wonder whether any poet since the Elizabethans has made a composer such a beautiful gift . . . Igor Stravinsky

Wystan Hugh Auden (1907–1973), best known as W. H. Auden, is considered by many to be the greatest English poet of the 20th century. He was born in York, England and studied at Oxford, majoring first in biology, and then switching to English. After graduation, Auden worked as a schoolmaster and as a freelance reviewer and essayist. In 1937 he was awarded the King’s Gold Medal for Poetry. As a librettist, Auden is frequently compared to the great Hugo von Hofmannsthal. His libretto for The Rake’s Progress continues to be admired for its beauty, wit, and profundity. Auden is widely considered the 20th century’s finest librettist. W. H. Auden brought Chester Kallman in as co-librettist for The Rake’s Progress. Kallman (1921–1975) was an American poet, librettist, and translator whom Auden had met shortly after his arrival in New York in 1939. Kallman published three collections of poems, Storm at Castelfranco (1956), Absent and Present (1963), and The Sense of Occasion (1971). He wrote the libretto for an opera by Mexican composer Carlos Chávez and translated libretti for a number of operas, among them Bluebeard’s Castle by Béla Bartók and Falstaff by Arrigo Boito. He is best known for being Auden’s lover and lifelong companion, and for his collaborations with Auden on opera libretti and translations.

UTAH OPERA THE RAKE’S PROGRESS 2015

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The Rake’s Progress

director’s notes

I had the great pleasure to assist John Cox on the San Francisco Opera’s 2000 revival of his and David Hockney’s now historic production of The Rake’s Progress. Their take on Stravinsky’s masterpiece was at that time in its 25th year of consistent revival. This Utah Opera production inaugurates its 40th! What is so striking about their collaboration—David Hockney’s first foray into the realm of opera—is that the visual world they manage to create successfully frames the story’s multi-layered journey from bucolic ideal through the depths of hell, providing a setting that helps enhance and clarify the neo-classical contortions of Stravinsky’s score. Part of the key to their success is in David Hockney’s return to the original engravings of William Hogarth that were Stravinsky’s inspiration for the opera’s creation. Hockney had already created a series of etchings inspired by Hogarth in 1963, under a similar title, A Rake’s Progress. That series mirrors the original Hogarth scenes, but in Hockney’s contemporary, abstract vernacular. Hockney’s design for the opera from 1975, on the other hand, references the Hogarth quite directly, follows a clear narrative, incorporates versions of Hogarth’s period costumes, and creates a mostly earthly setting. And yet the place Hockney chooses to locate the opera is clearly artificial. Color is used sparingly, and with specific intent over the course of nine scenes. Instead of costuming the singers naturalistically within this false landscape,

he chooses to make them part of the drawing as well. Cox created a staging that replied to this quality of the design by emphasizing clear, sharp characters, a specificity of gesture, and visually static, yet emotionally vibrant stage pictures. In this way Hockney’s design is inhabited by a series of living pictures, and Stravinsky’s music is allowed to unfold within a carefully organized visual landscape. The result for the audience is that the parable nature of Auden and Kallman’s libretto is made all the more clear. The pastoral, idyllic first scene is invaded by Tom’s Shadow – the mysterious, worldly side of his nature which leads him, the Rakewell, away from Anne, his Truelove. Tom’s journey with his Shadow leads him to the garish bed of Mother Goose’s mystical brothel, to London where Tom’s fame is established then subsumed by the androgynous Baba the Turk. All color is drained from the stage as Tom, having lost track of his True-self, loses everything, faces death and damnation, and ends up in the madhouse of his own sullied mind. The stylized nature of the design and staging emphasizes, as theater always has, that we too inhabit a landscape of our own construction (‘all men are mad, all they say or do is theatre’), and strengthens the libretto’s cautionary advice not to underestimate the danger of identification with Shadow. Roy Rallo is the stage director for this production of The Rake’s Progress.

UTAH OPERA THE RAKE’S PROGRESS 2015

The Rake’s Progress

A Measure…

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A Measure of Present Justice By Jeff Counts Labels

Stravinsky would loathe the classifications we apply to his various “style periods” and likely might argue that, as consumers of his and other artists’ work, we do so at our own experiential peril. We know this about him thanks to his long, productive and highly public life, during which he enjoyed the rare opportunity of witnessing (and even responding to) the academic segmentation of his output. In a fantastic article for English National Opera’s series of informative guides (No. 43, 1991), author Brian Trowell recounted an interview Stravinsky gave to Houston Post writer Hubert Roussel. Roussel apparently asked the composer about “neoclassicism” and Stravinsky immediately bristled, calling the term a “label that means nothing whatever” and sarcastically offering a fitting anatomical location for such words. Roussel had clearly touched a nerve. The idea that Stravinsky was either the leader of or (worse) merely a member of a defined compositional movement akin to Schoenberg’s or Wagner’s or Debussy’s was something the composer himself did not find amusing. But still…

Despite his objections, neo-classicism was such a movement and Stravinsky was a confident and effective practitioner of it. The term itself, in this context, should not be confused with the Age of Enlightenment fascination with antiquity in architecture and the visual arts. From today’s musical/historical perspective, it describes a trend that began in the 1920s as a reaction to the perceived excess of late Romantic expression when composers like Stravinsky, Prokofiev, Hindemith and others 36

sought inspiration in the formal and stylistic conventions of the 17th and 18th centuries. Haydn and Mozart became rich sources of raw material for the systematic stripping-down of the large orchestrations and structural densities of the day (Bach too was a frequent font of imitative solace, which begs the question of whether “neo-baroque” is not more often the appropriate moniker), and the neo-classicists soon perfected the pastiche techniques that earned them both praise and scorn. The two sides of that critical coin would often exist side by side in the same performance reviews for Stravinsky, such was the confusion over his dedication to making the old new again. Regardless of his source material, or maybe because of it, he was occasionally chastised for not rendering his Mozartian evocations accurately enough, as if by drawing upon the wisdom of a past master, Stravinsky had turned from creator to translator and had therefore abandoned the abstract artistic standard for a clinically literal one. He seemed fully aware of the question at hand when he wrote in Themes and Episodes, “Can a composer re-use the past and at the same time move in a forward direction?” To the Music

The answer to that question was “yes,” according to Stravinsky, but he felt disinclined to defend the point too strenuously. Since he didn’t hold with the notion of arbitrary (to him, anyhow) categories and their preconceptions, he was right not to. In truth, he never once set out to write “neo-classical” music, only music, so the fuss over expectations had to have been bewildering and frustrating for him. UTAH OPERA THE RAKE’S PROGRESS 2015

The Rake’s Progress

A Measure…

The above quoted question and its answer were part of a program note Stravinsky wrote for The Rake’s Progress 13 years after its 1951 premiere. He said he was inspired by the Hogarth lithographs to create a “period” piece, one that would “assume the conventions of the period as well.” The conventions Stravinsky was referring to were those of an 18th century “number” opera, which he described as “one in which the dramatic progress depends on the succession of separate pieces—recitatives and arias, duets, trios, choruses, instrumental interludes.” He admitted that he had no intention of reforming or transforming the long-standing ideals, but rather hoped to revive them in a progressive setting. Ever self-aware, Stravinsky further conceded, “…for a long time The Rake seemed to have been created for no other purpose than

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journalistic debates concerning…the validity of the approach. If the opera contains imitations, however—especially of Mozart, as has been said—I will gladly allow the charge if I may thereby release people from the argument and bring them to the music.” Let’s go there ourselves for a moment, to the music. If we consent to the notion that Stravinsky’s “neo-classical” period is a real thing for scholars and writers to parse (sorry, Maestro), then we must also accept that The Rake’s Progress was the end of it. There are no convenient diary entries that exclaim the transition (like maybe “The Rake is finished and so is my neo-classical phase. On to serialism!”), but he did clearly move into other, more recognizably “modern” compositional areas

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A Measure…

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after this opera. Certainly, Stravinsky did indeed “re-use the past” for The Rake’s Progress in a way that now feels summative, like a final, eloquent statement of principle. On the subject of influences, he referred only to Gluck specifically but we do know that he also made a study of the Mozart/da Ponte collaborations (Figaro, Giovanni and Così) and was particularly fond of the continuous narrative design in Verdi’s Falstaff. This might lead one to see exactly what he himself identified as a common observation after the premiere, that The Rake was not much more than a collection of “imitations.” The imitations are there, sure, and as we have seen, Stravinsky permits them (Mozart, at least) in his program note, but to judge this music simply by recounting a few of its ingredients is to miss the genius of it entirely.

Progress, so if his Mozartian moments weren’t sufficiently Mozartian for some commentators, it is because they were also intentionally Stravinskian. The recitatives, for instance, are especially surprising for their use of the harpsichord (expected) in the composer’s signature harmonic and rhythmic language (decidedly not expected). Truly in those instances are the innovations of the previous centuries magically reborn in his.

Stravinsky, in his elaborate use of established operatic conventions, succeeded in his wish to make the familiar newly so. His own personal conventions as a composer had themselves become canon by the time he wrote The Rake’s

Jeff Counts is Vice President of Operations and General Manager of Utah Symphony. He was program annotator for Utah Symphony from 2010 to 2014 and has been writing articles for Utah Opera for five years.

“…in any case,” Stravinsky continued in 1964, “I am not concerned with the future of my opera. I only ask for it a measure of present justice.” No mention of the past there, so let’s take our leave of it too and enjoy The Rake’s Progress for what it is— wonderful dramatic music and a classic in its own right—and allow the debates to sort themselves.

Q&A

Do you have questions to ask or comments to share about tonight’s performance and Utah Opera?

Please join Christopher McBeth in the Capitol Room after each performance for a Question & Answer session.

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The Rake’s Progress

The Hogarth Etchings

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The Hogarth Etchings By Dr. Carol Anderson The works of a 17th-century visual artist are surprisingly of central importance to Igor Stravinsky’s twentieth-century operatic masterpiece The Rake’s Progress. Painter, printmaker, and cartoonist William Hogarth (1697–1764) was the leading artistic figure of British art in the mid-eighteenth century and a proponent of the Rococo style in Britain. Though no self-respecting British artist would ever openly admit the worth of French Rococo art, thanks to heavy anti-French political sentiment, Hogarth’s 1753 treatise, The Analysis of Beauty, praised the curving lines and ornate detail of Rococo painting as the standard of artistic excellence. This philosophy was in direct contrast to the ideals of earlier generations of artists, who emphasized classical Greek and Roman elements of straight lines and elegant geometrical proportions. Hogarth’s main legacies were in the areas of series art (early cartoons) and copyright law. Born in London in 1697 to Richard Hogarth, a teacher and writer of limited means, and Anne Gibbons, Hogarth’s childhood was a rough and poverty-stricken one. His father spent several years in debtor’s prison, owing money from an unsuccessful commercial venture, a Latin-speaking coffeehouse. To help support his struggling family, young William began an apprenticeship with the London engraver Ellis Gamble in 1713. There he learned the craft of engraving, particularly the engraving of trade cards, an eighteenth-century form of business advertising. By 1720 he was a fully-trained engraver with his own thriving engraving business. Hogarth also

UTAH OPERA THE RAKE’S PROGRESS 2015

expanded his artistic training to include drawing and painting, studying at Sir James Thornhill’s art academy in St. Martin’s Lane, Covent Garden. In 1729 he further formalized his association with Thornhill by marrying his mentor’s daughter Jane. The marriage was a long and happy one, though it produced no offspring. Still, Jane and William advocated for children throughout their life, fostering orphaned children and supporting the Foundling Hospital in London. Portraiture was a large part of Hogarth’s output throughout his career, but particularly during the 1720s and early 1730s. Reflecting the rise of the Protestant middle class and merchant class after Cromwell’s Glorious Revolution of 1688, Hogarth’s subjects often came from the middle class or even lower class rather than the aristocracy. One of Hogarth’s most famous (and most sensational) portraits of this period was a sketch of the condemned murderer Sarah Malcolm, made when he visited her in prison just three days before her hanging. Notwithstanding the quality and popularity of his portraiture, Hogarth’s place in art (and consequently, operatic) history was secured through his satirical painting and “moralizing art,” or art that communicates strong moral commentary. Subjects of his satire range from political and economic corruption to the theatrical and musical tastes of the day. Each of his “Modern Moral Subjects” consists of a series of paintings which tell a story of corruption, typically ending with tragic demise, punishment, or some other type of degradation. Hogarth’s series art was the predecessor to

The Rake’s Progress

The Hogarth Etchings

the modern comic strip or storyboard and influenced much of the satirical and political cartoonists of following centuries. Both the satirical and moralizing works were full of details and allegorical symbols that would speak to Hogarth’s audience, many of whom were staunch and upright Protestants. An early moralizing series was A Harlot’s Progress, created in 1731, which depicted the progressive corruption and subsequent death of an innocent country maiden. The huge success of this series led to a follow-up entitled A Rake’s Progress. Many contemporary (and competitive) engravers created their own copies of these works and were profiting from pirated versions of Hogarth’s work. An astute businessman as well as a fine artist, Hogarth began to lobby in Parliament for an artist’s right to control his own work. In 1735 the Engraver’s Act, also known as “Hogarth’s Act,” was passed, the first example of copyright law. After assuring ownership of his intellectual property, he sold direct subscription of these and other morality series to interested parties at a reasonable rate. He enjoyed a comfortable income throughout his life through this innovative practice in combination with his commissions from portrait paintings.

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note: A “rake,” short for “rakehell,” was a term popular in Georgian England for a morally bankrupt man. The typical rakish character, often found in Restoration comedies, inherits a fortune that he squanders on profligate living, particularly womanizing. Some rakes are reformed through the love of a good woman, while others would continue their licentious behaviors unrepentant. Hogarth’s first painting in the series depicts our anti-hero, Tom Rakewell, coming into his inheritance. We see him measured for new clothing at the same time he is rejecting his pregnant fiancée, Sarah, who is holding his ring. Her mother stands behind her, holding the love letters Tom has sent Sarah.

For A Rake’s Progress, Hogarth envisioned the tale of his anti-hero in eight vignettes. A side

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The Rake’s Progress

The Hogarth Etchings

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In the next painting, Tom is shown at his levée in London, surrounded by sycophants and acquaintances. The levée was a morning “dressing” ceremony, where a nobleman would interact with various hangers-on while being readied by his servants for the day’s events. In the third scene, Tom’s debased behavior reaches a low point, as he participates in a drunken orgy at the Rose Tavern. Paintings 4, 5 and 6 depict Tom’s desperate attempts to salvage his lifestyle. Number four shows Sarah, now employed as a milliner, saving Tom from debt collectors as he travels in a sedan chair. In the fifth scene, he marries an aged and ugly but wealthy woman, while Sarah looks on, with Tom and Sarah’s illegitimate child crawling at the feet of the nuptial couple. Next we see Tom, with his wig lying on the floor next to him, pleading for divine assistance, having lost his second fortune at the gambling tables.

The seventh scene finds our “hero” thrown in debtor’s prison. His furious wife harangues him, while the ever-faithful Sarah swoons nearby. Finally, Tom loses his mind completely, and ends his days in the Bethlem Royal Hospital for the mentally ill, commonly known as Bedlam. Sarah cradles his mindless body and weeps for his fate, but Tom does not recognize her. UTAH OPERA THE RAKE’S PROGRESS 2015

William Hogarth enjoyed a prosperous and successful career through the latter decades of his life. His gifts of paintings to the Foundling Hospital, where he served on the board of governors, and to St. Bartholomew’s Hospital were some of the first examples of art to be exhibited as part of a public building, rather than in a private collection. He replaced his brother-in-law John Thornhill as Serjeant Painter to the British monarchy in 1857 and held this prestigious appointment until his death in 1864. Igor Stravinsky viewed a set of Rake’s Progress engravings in March of 1947 while they were on exhibit at the Art Institute of Chicago. For a number of years Stravinsky had been toying with the idea of an opera in English, the language of his adopted country. Stravinsky at this time was in the height of his neo-classical period, where he was channeling Baroque and Classical musical aesthetics through the lens of modern tonal expansion. It’s likely that the time period so colorfully depicted in the engravings appealed to Stravinsky’s compositional focus. His neighbor in Los Angeles, author Aldous Huxley, suggested the poet Wystan Hugh Auden, who proved adept at creating the stylized poetic forms Stravinsky envisioned to complement his pseudo-classical musical style. As they worked through the scenario 45

taste is grand

The Rake’s Progress

The Hogarth Etchings

of the opera, they reordered Hogarth’s work symmetrically (1, 3, 2, 4, 5, 7, 6, 8) and altered a few details, particularly in episodes 4 and 6. This highly successful collaboration, full of respect, admiration, and collegiality, led to one of the most important operas of the 20th century. Note: Dr. Anderson has created more extensive online learning materials about this opera. Visit them, and follow links to view all of Hogarth’s A Rake’s Progress paintings at utahopera.orgonlinelearning.

UTAH OPERA THE RAKE’S PROGRESS 2015

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You will also find links in the materials to visual artist David Hockney’s series of etchings inspired by Hogarth’s work; Hockney created the set design you will see in Utah Opera’s production. Dr. Carol Anderson has been principal coach of the Utah Opera since 2003, and spends her summers as a member of the music staff of the world-renowned Santa Fe Opera. She holds a Doctorate of Musical Arts degree in keyboard collaborative arts from the University of Southern California.

Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Jerry Steichen Principal Pops Conductor Vladimir Kulenovic Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Ralph Matson Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair

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We are grateful for the momentum of The Campaign for Perpetual Motion, a $20 million public campaign to celebrate Utah Symphony’s 75th Anniversary in 2015–16. We have exciting plans leading up to this anniversary—including recording, broadcasting, and touring at the state and national levels.

Scott and Jesselie Anderson Lisa Eccles Kem and Carolyn Gardner Gail Miller and Kim Wilson Bill and Joanne Shiebler

Honorary Co-Chairs Spencer F. Eccles Jon M. Huntsman The Right Reverend Carolyn Tanner Irish

We launched these plans with our unprecedented tour to Southern Utah last August, providing a once-in-a-lifetime musical experience to visitors and citizens of those communities against the backdrop of Utah’s Mighty 5® National Parks. If you weren’t able to join us on this historic tour, we hope you observed with pride the national attention it received in the press and classical music world. The Campaign began with a remarkable $5 million lead gift from the George S. and Dolores Doré Eccles Foundation, whose tradition of support totaling more than $32 million spans three decades. This lead gift was made in addition to a $1 million gift from the Foundation to our Leadership Campaign, which during 2011 and 2012 prepared a solid foundation for the public fundraising effort. More than 35 individuals, corporations, and foundations contributed to the Leadership Campaign, including an extraordinary $4.6 million capstone gift from O.C. Tanner Company. O.C. Tanner recently committed an additional $500,000 to our Anniversary season efforts, bringing their total compaign giving to $5.1 million. Stay tuned for more—we know you will continue to be proud of our plans to build and showcase your world-class symphony and opera throughout Utah and beyond. Find out more at usuo.org/support.

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Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Patricia Dougall Eager† Mr.† & Mrs.† Sid W. Foulger Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Mr. Ray Horrocks† Richard W. James† Estate Mrs. Avanelle Learned† Ms. Marilyn Lindsay Turid V. Lipman

UTAH OPERA THE RAKE’S PROGRESS 2015

Leave a Legacy with Planned Giving There are few places where you can go to hear world-class voices alongside a world-class orchestra set to inspiring dramatic narratives. Utah Symphony | Utah Opera offers this and more to audiences across the state of Utah. Your commitment to Utah Symphony | Utah Opera through a planned gift can allow us to continue to engage, astound, and delight current and future audiences. By including USUO in your estate plans, you can extend our legacy and safeguard our future as the premier arts organization of the Intermountain West. With smart planning, you may actually increase the size of your estate and/or reduce the tax burden on your heirs. Just as importantly, your gift will be a meaningful contribution for the future of USUO. To find out how you can begin preparing for your future and ours, visit our new planned giving website at usuo.giftplans.org! To learn more about the various ways you can become a member of our Tanner and Crescendo Societies, please call Leslie Peterson at 801-869-9012, or visit us online at usuo.org/support.

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UTAH OPERA

OUT ON THE TOWN

dining guide THE NEW YORKER 60 West Market Street. SLC’s premier dining establishment. Modern American cuisine is featured in refined dishes and approachable comfort food. From classic to innovative, from contemporary seafood to Angus Beef steaks – the menu provides options for every taste. Served in a casually elegant setting with impeccable service. Private dining rooms for corporate and social events. Lunch & Dinner. No membership required. L, D, LL, AT, RR, CC, VS. 801.363.0166

Consistently Rated “Tops”–Zagat 60 W. Market Street • 801.363.0166

Salt Lake City’s #1

MARKET STREET GRILL DOWNTOWN 48

Most Popular Restaurant

West Market Street. Unanimous favorites for seafood dining, providing exceptional service and award winning. The contemporary menu features the highest quality available. Select from an abundant offering of fresh seafood flown in daily, Angus Beef steaks, and a variety of non-seafood dishes. Open 7 days a week serving breakfast, lunch, dinner, Sunday Brunch. B, L, D, C, AT, S, LL, CC, VS. 801.322.4668

MARTINE 22 East 100 South. Award winning ambience, located in a historic brownstone. Martine offers Salt Lake City a sophisticated dining experience kept simple. Locally sourced ingredients, pre-event $25 three course prix fixe. Extensive bar and wine service. martinecafe.com L, D, T, LL, RA, CC, VS. 801-363-9328

–Zagat

48 W. Market Street (340 South) 801.322.4668

• An intimate euro café • Free Valet Parking 22 East 100 South

Phone • 801.363.9328 www.martinecafe.com Top Photo: Image licensed by Ingram Image

B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections

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Corporate & Foundation Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last year with gifts up to $10,000. The following listing reflects contributions received between 3/15/2014 and 3/15/2015. For a listing of our season honorees, who have made gifts of $10,000 and above, see pages 12–16.

$5,000 to $9,999 Anonymous (3) Bourne-Spafford Foundation Discover Financial Services Doubletree Suites* Durham Jones & Pinegar, P.C. The Jarvis & Constance Doctorow Family Foundation Spencer F. & Cleone P. Eccles Family Foundation EY Henry W. & Leslie M. Eskuche Charitable Foundation Hoak Foundation Hyatt Place Hotel* Every Blooming Thing* Fabian & Clendenin Goldener Hirsch Inns* Larry H. Miller Ford/Lincoln Sandy Macy’s Martine* Marriott City Center* McCarthey Family Foundation Rasmussen Landscapes* Ruth’s Chris Steak House, Salt Lake City* Stoel Rives Union Pacific Foundation U. S. Bancorp Foundation Victory Ranch Club $1,000 to $4,999 Advanced Retirement Consultants Bertin Family Foundation Timothy F. Buehner Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Robert S. Carter Foundation

Castle Foundation Chevron Humankind Matching Gift Fund City Creek Center Deseret Trust Company Epic Brewery* ExxonMobil Foundation Fidelity Charitable Gift Fund Goldman, Sachs & Co. Victor Herbert Foundation Hilton Hotel* Thomas A. & Lucille B. Horne Foundation Intermountain Healthcare J. Wong’s Thai & Chinese Bistro* Jones & Associates Jones Waldo Park City Kirton | McConkie M Lazy M Foundation Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation The Prudential Foundation Ray, Quinney & Nebeker Foundation The Charles & Annaley Redd Foundation Shilo Inn* Ruth’s Chris Steak House/Hotel Park City* Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation Squatters Pub Brewery* Strong & Hanni, PC Swire Coca-Cola, USA* Bill & Connie Timmons Foundation United Jewish Community Endowment Trust Utah Families Foundation Wasatch Advisors

UTAH OPERA THE RAKE’S PROGRESS 2015

Individual Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last year with gifts up to $10,000. The following listing reflects contributions received between 3/15/2014 and 3/15/2015. For a listing of our season honorees, who have made gifts of $10,000 and above, see pages 12–16. ABRAVANEL & PETERSON SOCIETY $5,000 to $9,999 Anonymous (2) Doyle Arnold & Anne Glarner Mr. & Mrs. Michael Callen Mr. & Mrs. Chris Canale Hal M. † & Aileen H. Clyde Ken & Shelly Coburn Marc & Kathryn Cohen Patricia Dougall Eager Trust Dr. & Mrs. Ralph Earle Spencer & Cleone† Eccles Thomas & Lynn Fey John & Dorothy Hancock Gary & Christine Hunter Mary P. Jacobs & Jerald H. Jacobs Family Julie Koch John & Adrian McNamara Rich & Cherie Meeboer Brooks & Lenna Quinn James & Gail Riepe Stuart & Molly Silloway Janet Sloan Gibbs & Catherine W. Smith David & Susan Spafford Thomas & Kathy Thatcher Melia & Mike Tourangeau Albert & Yvette Ungricht Kathleen Digre & Michael Varner M. Walker & Sue Wallace Tom & Wendy Wirth

Robert & Debra Kasirer Hanko & Laura Kiessner Jeanne Kimball Elizabeth & Michael Liess Peter & Susan Loffler David & Donna Lyon Mr. & Mrs. Wayne Lyski Daniel & Noemi P. Mattis Michael & Julie McFadden Jennifer & Mike McKee Richard & Jayne Middleton Mr. & Mrs. Richard Mithoff Marilyn H. Neilson Leslie Peterson & Kevin Higgins Dr. Glenn Prestwich & Dr. Barbara Bentley Mr. & Mrs. Alvin Richer Dr. Wallace Ring Richard & Carmen Rogers Mr. & Mrs. Robert Rollo Henry & Kathie Roenigk James Romano Estate of Kathy Lynn Sargent William G. Schwartz & Joann Givan Elizabeth Solomon Verl & Joyce Topham Dr. Jeannette J. Townsend Mr. & Mrs. Glen R. Traylor Mr. & Mrs. Vincent Trotta Dr. Ralph & Judith Vander Heide Ardean & Elna Watts Jeremy & Hila Wenokur David & Jerre Winder Ms. Gayle Youngblood

$3,000 to $4,999 Anonymous (3) E. Wayne & Barbara Baumgardner Dr. & Mrs. Clisto Beaty Charles Black* Robert W. Brandt Brian Burka & Dr. J. Hussong Mr. & Mrs. Neill Brownstein Jonathan & Julie Bullen Mr. & Mrs. William D. Callister, Jr. Mark Casp Hal & Cecile Christiansen Edward & Carleen Clark Amalia Cochran Debbi & Gary Cook Mr. & Mrs. Kenneth R. Cutler Mr. James Davidson B. Gale† & Ann Dick J. I. “Chip” & Gayle Everest Midge & Tom Farkas Jack & Marianne Ferraro Robert & Elisha Finney Drs. Fran & Cliff Foster Robert & Annie-Lewis Garda Mr. & Mrs. Eric Garen Jeffrey L. Giese, M.D. & Mary E. Gesicki Shari Gottlieb Ray & Howard Grossman Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Annette & Joseph Jarvis Mr. & Mrs. Kent Jones

$2,000 to $2,999 Anonymous (7) Craig & Joanna Adamson Robert & Cherry Anderson Drs. Wolfgang & Jeanne Baehr Richard & Alice Bass Mr. & Mrs. William Bierer Anneli Bowen, M.D. & Glen M. Bowen M.D. Richard & Suzanne Burbidge Lindsay & Carla Carlisle Robyn Carter Raymond & Diana Compton Dr. & Mrs. J. Michael Dean James & Rula Dickson Mr. & Mrs. Robert Ehrlich Robert S. Felt, M.D. Blake & Linda Fisher John F. Foley, M.D. Dorene Sambado, M.D. Heidi Gardner Stuart & Diana George Randin Graves David & SandyLee Griswold** Dennis & Sarah Hancock John B. & Joan Hanna Kenneth & Geraldine Hanni Sunny & Wes Howell Dixie S. & Robert P. Huefner Jay & Julie Jacobson M. Craig & Rebecca Johns Bryce & Karen† Johnson Dale & Beverly Johnson

Neone F. Jones Family James R. Jones & Family J. Allen & Charlene Kimball Carl & Gillean Kjeldsberg Donald L. & Alice A. Lappe Paul Lehman Roger Leslie James Lether Harrison & Elaine Levy Bill Ligety & Cyndi Sharp Herbert C. & Wilma S. Livsey Daniel Lofgren Milt & Carol Lynnes Jed & Kathryn Marti David Mash David & Nickie McDowell Warren K. & Virginia G. McOmber George & Nancy Melling Linda Mendelson Matt & Andrea Mitton Dr. Louis A. Moench & Deborah Moench Mr. & Mrs. Barry Mower Dan & Janet Myers Rachel L. Oberg Bradley Olch Joseph† & Dorothy Ann Palmer Dr. Thomas Parks & Dr. Patricia Legant Linda S. Pembroke Chase† & Grethe Peterson Jon Poesch Victor & Elizabeth Pollak Dan & June Ragan Dr. & Mrs. Marvin L. Rallison Dr. Richard & Frances Reiser Gina Rieke Frank & Helen Risch David & Lois Salisbury Mark & Loulu Saltzman Margaret P. Sargent Bertram H. & Janet Schaap Deborah Schiller Mr. & Mrs. Eric Schoenholz K. Gary & Lynda Shields Gibbs & Catherine W. Smith Christine St. Andre & Cliff Hardesty Jerry Steichen Drs. Gerald B. & Nancy Ahlstrom Stephanz JoLynda Stillman Mr. & Mrs. G. B. Stringfellow Bill & Connie Timmons Foundation Ann Marie & William Thomas Frederic & Marilyn Wagner David J. † & Susan Wagstaff John & Susan Walker Gerard & Sheila Walsh Bryan & Diana Watabe Suzanne Weaver $1,000 to $1,999 Anonymous (4) Carolyn Abravanel Fran Akita Christine A. Allred Alex Bocock & Amy Sullivan Joseph & Margaret Anderson Drs. Crystal & Dustin Armstrong Daniel & Sheila Barnett UTAH OPERA THE RAKE’S PROGRESS 2015

Individual Donors David Bateman Mr. Barry Bergquist James & Marilyn Brezovec Mr. & Mrs. Lee Forrest Carter William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Dr. & Mrs. Thomas Coppin Carol Coulter Margaret Dreyfous Alice Edvalson Howard Edwards Dr. Richard J. & Barbara N. Eliason Naomi K. Feigal Edward B. & Deborah Felt Robert & Elisha Finney Ralph & Rose Gochnour Mr. & Mrs. Richard R. Graham Robert & Joyce Graham Anabel Greenlee Geoffery Grinney C. Chauncey & Emily Hall Robert & Marcia Harris Lex Hemphill & Nancy Melich John Edward Henderson Mr. John P. Hill, Esq. Connie C. Holbrook The Steven Horton Family Bob† & Ursula Hoshaw Kay Howells Mr. & Mrs. Jerry Huffman Ms. Caroline Hundley Scott Huntsman Todd & Tatiana James Drs. Randy & Elizabeth Jensen Jill Johnson Chester & Marilyn Johnson Mr. & Mrs. Clark D. Jones Mr. & Mrs. Alan D. Kerschner Eunice Kronstadt Mr. & Mrs. Melvyn L. Lefkowitz Mac & Ann MacQuoid Rick Mastain Christopher & Julie McBeth Michael Geary Janet O. Minden Dr. Michaela S. Mohr Mary Muir Oren & Liz Nelson Stephen & Mary Nichols Dr. & Mrs. Richard T. O’Brien Mary Jane O’Connor Ann G. Petersen Rori & Nancy Piggot Eugene & Pamela Podsiadlo W. E. & Harriet R. Rasmussen Mr. & Mrs. William K. Reagan Dr. Barbara S. Reid Angela Shaeffer Mr. August L. Schultz Mr. & Mrs. D. Brent Scott David & Claudia Seiter Karen Shepherd Margot L. Shott Barbara Slaymaker Dorotha Smart Dr. Otto F. Smith & Mrs. June Smith Brian & Deborah Smith Dr. & Mrs. Michael H. Stevens Douglas & Susan Terry Ann Jarcho Thomas Carol A. Thomas Robb Trujillo Mrs. Rachel J. Varat-Navarro William & Donna R. Vogel

Mr. & Mrs. Brad E. Walton Susan Warshaw Pam & Jonathan Weisberg Michael & Judy Wolfe Mr. & Mrs. E. A. Woolston Mr. & Mrs. Hugh Zumbro $500 to $999 Anonymous (5) John C. Abercrombie Patricia Andersen Mr. & Mrs. David Anderson Ronald I. Apfelbaum, M.D. & Kathleen A. Murray, M.D. Daniel & Sheila Barnett Kyle & Melissa Barnett Reverend James Blaine Roger & Karen Blaylock Marianne Burgoyne Antonio & Linda Capobianco Mr. & Mrs. Fred L. Carter, Jr. Anna Cervania Po Cheng & Beatrice Chang Barbara Christensen Orson C. & Dianne Clay Dr. & Mrs. Hal S. Cole Milada Copeland & William French Denise Corr Norm & Kris Davis Robert DeBry Drs. Pilar & Christopher Dechet Ashby & Anne Cullimore Decker Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Josephine Divver Lorie Dudley Eric & Shellie Eide Janet Ellison Leah B. Felt Samuel & Erika Finlayson Drs. Norman & Carol Foster Carolyn C. Fredin Theresa A. Georgi Mr. & Mrs. David Golden Mr. & Mrs. Theodore Gurney, Jr. Mark & Kimberly Haroldsen Sandra & Henry Harris Jonathan Hart Richard & Darlene Hirschi Leo & Harriet Hopf Chuck & Kathie Horman Robert & Virginia Huber Nelson James Eldon Jenkins & Amy Calara Jeff & Rachel Jensen Cosette Joesten David & Donna Johnson Maxine & Bruce Johnson James & Anne Johnson Drs. Sara & Jason Johnson Thomas H. Klassen & Carolyn Talboys-Klassen Pat Koch Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Tim & Angela Laros Nelean Meadows Layne Herbert & Helga Lloyd Uri Loewenstein & Elizabeth Tashjian Dennis & Pat Lombardi Thomas J. Martin PhD Clifton & Terri McIntosh Dan McKnight Johanna & Jack McManemin

UTAH OPERA THE RAKE’S PROGRESS 2015

Hal & JeNeal Miller Richard & Jean Miller Richard & Anita Miner Robert & Dianne Miner David & Suzanne Moore Mary Muir Faye Muntz & Harlan Muntz Renate B. Nebeker David & Debra Neff John & Mary Ann Nelson Ellen Opprecht David & Elodie Payne Mr. & Mrs. L. Tom Perry Joan C. Peterson Anne E. Palmer Laszlo & Sandra Preysz Tom & Karma Ramsey Annelie Rathke Mr. Bill Reagan Angela Richens Kenneth Roach & Cindy Powell Dr. John W. Rose & Ms. Carolyn A. Pedone Don & Noreen Rouillard Catherine Rowan Bertram H. & Janet Schaap Sandefur Schmidt Darrell Schrick Jackie Seethaler Deborah Simmons Val & Barbara Singleton Stuart & Suzanne Slingerland Mr. & Mrs. J. Leon Sorenson Roger & Shirley Sorenson Susan Chausow Southam Mildred Sparks Diana Major Spencer Gordon Steyaert William & Carol Stinner Lisa Stout & Greg Miyatake Dr. Paula M. Swaner Dr. Jennifer Van Horn William & Donna R. Vogel Harold & Emily Vonk Nadine Ward Dr. James C. Warenski Judith Warner Elaine & Joe Weis Catherine Wong John & Jean Yablonski Frank & Betty Yanowitz Norman & Kathy Younker $150-$499 Anonymous (22) James & Christiane Adams Eva-Maria Adolphi Robyn Airmet Dr. & Mrs. Ernst T. Ajax Mr. & Mrs. Franklin Alex Elizabeth & Dean Andersen Craig W. & Joan R. Anderson Dr. & Mrs. Jeffrey L. Anderson Christine & Marco Andrei Mr. & Mrs. Robert Archuleta Jayne V. Arellano Eugene Arner Lois & Stephen Baar Ms. Kathleen Badalian Mr. & Mrs. Lewis Baker Judy Barking Govert Bassett Brian Bateman Randy Bathemess

Individual Donors Mary Ann Bauman Leroy & Barbara Bearnson Mary Beckerle & David Murrell Michael Behring & Debra Marin Streghina & Bobó Bell Michael & Janet Bennett Francine R. Bennion C. Verl & Shirley M. Benzley Robert & Charlene Bereskin Dan Bethel Sue Bhanos Eric & Tanya Blake Shari & Keith Bloom Dr. & Mrs. H. Allan Bloomer Brent Bogden Josephine Boswell Thomas Bowen & Martha Brace Elise Bowers Mr. Robert Boyle Mark Briesacher Vern & Dawn Brimley W. Robert & Connie P. Brinton Mark & Diane Bromberg Dr. & Mrs. Wallace B. Brown Susan Brown Judy & Larry Brownstein John & Kathryn Burnham Fred Burr Mr. & Mrs. Christopher L. Burton Walter & Julie Busse Thomas H. & Mary Ellen B. Caine Mr. & Mrs. David R. Campbell Luann & James Campbell Christie E. Canfield Luzmaria Cardenas Bartell & Kathleen Cardon Roger & Sharon Carrier Frederic Catoni Mr. & Mrs. Don M. Christensen Edward & Claudia Christensen MaryBeth Jarvis Clark John & Patricia Clay James Clayton Judge Henry Clayton Amy Coady John Coffin Tony Colby Vernon & Ila Cook Hilary Coon & Jim Yehle David & Sandra Cope Dorothy B. Cromer Richard & Julie Cummings Ronald & Carole Cutler Darwin & Sarah Cuvelier Kevin Damon William & Bonnie Daniloff Dave & Ariane Dansie Raymond & Rolinda Dardano Mr. James Davidson Mr. & Mrs. Merrill Day Harold & Sonja Decker Klancy & Noel DeNevers Catherine deVries, M.D. Linda & John Des Barres Mr. & Mrs. Richard Dibblee James & Rula Dickson Mary Dillon Mrs. Suzanne C. Driggs Mr. & Mrs. James E. Duane Vernon Dwire Candice Dwyer John & Arlene Edwards John Erickson Mr. & Mrs. Steven Ericson

Robert P. & Mary Evans Rick & Alix Farnell Richard A. & Carol M. Fay Richard & Joyce Ferrone Omni Flux Ariel Bybee & James E. Ford Harry Franta Ernst Friedrich, M.D. & Marianne Friedrich, Phd. Keith & Phyllis Frogley Ann Futch Spencer & Patricia Gaines Al Galik Mr. & Mrs. B. Delworth Gardner Dennis & Sherrie Gardner Quinn & Julie Gardner Martin & Sheila Gelman Dr. Jennifer Genzen David & Ann George Deanna Gerber Catherine Gerwels Raymond & Harriett Gesteland Dr. & Mrs. Chris Ghicadus Pete Giacoma Kristi & Joseph Gilbert William L. Glad Scott & Robin Gochnour John & Beth Goebel Lawrence & Suzanne Goldsmith Abby Gottsegen & Leonard Haas Melvin & Diane Gourdin Dr. & Mrs. William R. Gray Paul “Hap” & Ann† Green Tammy Green Paul & Janet Griffin Karen McArthur & Bernard Grosser Marshall Summers-Gunn & Tim Gunn John & Ilauna Gurr Arlen Hale Jeff & Ellen Hall Mary Hammer Dr. Elizabeth Hammond Janet Y. Hammond Karen E. Hannahs Susan Hardy Misty Harper Alene Harrison Rob Harter Dr. Mary Elizabeth Hartnett Mr. & Mrs. Clyde E. Harvey Linda Haslam Beverly Hawkins Mr. & Mrs. Jim Haynes Frank Heath Laura & Clayton Heckler Jeannine Heil Susan Hendry Douglas & Sandra Hill Richard & Ruth Ann Hills Kathryn Hoge Ronald & Judith Holdaway Mr. & Mrs. John W. Holt Ron & Marsha Houston Tina & Larry Howard Gerald Huber Dean & Kathleen Hughes Randy & Nikki Huizenga Marcus Hunt Michael & Stacy Hurst Gil† & Thelma Iker Gordon Irving Eric & Becky Jacobson Dr. Richard & Helene Jaffe James & Jeanne Jardine

Michelle Jenkins Dr. & Mrs. Joseph D. Jensen Joanna & Jim Johnston Elmer Johnson Jeffery O. Johnson Robert & Mary Johnson Rodney Johnson Mr. & Mrs. Seth Johnson Virginia Johnson Laura & Chuck Kaiser Ryan & Diane Kamerath Saria Karhunen Dr. Siegfried & Ellen Karsten James & Lucille Kastanis Sylvia Katzman Umur Kavlakoglu Kristen Keefe & Herbert Hayashi Howard Keen Jeffrey & Jemina Keller Scott & Susan Kenney Michael & Margaret King Donald Kirk Robert Knox Saul Komisar Wendy Kuo David & Sandra Lamb Guttorm & Claudia Landro Clarann Larsen Gary & Suzanne Larsen Robert & Nila Lee Bruce Leisz Dr. Giavonni M. Lewis Gina Lewis Richard & Carol Liddiard Katherine P. Liddle Otto Liebergesell Cameron Liljenquist Lisa & Sean Lindberg Gene & Carol Linder Gary & Sandra K. Lindstrom Allan & Kay Lipman Frederick Liu Herbert C. & Wilma S. Livsey Julius & Marion Lloyd Uri Loewenstein & Elizabeth Tashjian Richard & Connie Loomis Marilyn Lott Dr. & Mrs. Dean F. Luddington Kathy Lynch G. Macglaughlin & D. Costley Dr. Nicole Maclaren Jennifer Malherbe Dr. & Mrs. Ned L. Mangelson Mark & Libby Haslam Susan R. Marquardt Robin & Nassir Marrouche Dr. & Mrs. Fumisuke Matsuo Norma Matheson Dale & Carol Matuska Beverly J. McCurdie Ralph & Peggy McElvain Jerilyn McIntyre & David Smith Heather McMaster Macoy & Marjorie McMurray Warren K. & Virginia G. McOmber Clyde Meadows Sanford Meek Edward G. “Skip” & Patricia Mencimer Ron & Tamara Meyers Paula Michniewicz Nicole L. Mihalopoulos & Joshua Scoville Jean H. & Richard R. Miller Robert L. Miller Roland Byron Miller

UTAH OPERA THE RAKE’S PROGRESS 2015

Individual Donors Charlotte Miller D. Allen Miller Dan P. Miller Jay D. Clark & Janine Miner Richard Mitchell & Carol Berrey Dave Moore & Mary Mallon Susan Moore Ted Moore & Julie Hartley-Moore Roger & Kari Morandi Sue Morgan Janet Morley Tom & Jean R. Moseley Mitchell Mounteer John Mulderig Janene Muller J. Larry & Romanie Murdock Dalmas & Joann Nelson Nicola Nelson Mr. & Mrs. L. J. Newell Dr. & Mrs. John H. Newton Elder & Mrs. Dallin H. Oaks Dr. & Mrs. Merrill C. Oaks Thomas & Barbara O’Byrne Karen Oelerich Daniel Ogura Patti O’Keefe Don E. & Sandra Lee Olsen Ferron & Donna Lee Olson Keith & Patricia Olson Maura & Serge Olszanskyj Carolyn L. Orthner Lee K. Osborne John Steven Ott Ralph & Kay Packard Brent Palfreyman Blaine & Shari Palmer Dr. Cheryl Ann & Mr. Michael Palmer J.J. Palmer Mr. & Mrs. Donald M. Pantone Kay Papulak Jeffrey Paris William & Carole Pariseau Mrs. Paula S. Paterson John & Barbara Patrick Mr. & Mrs. James Patterson Robert Peiser Sonja Penttila & Lewis Boynton Mr. & Mrs. Dean Peters Don & Carolyn Petersen Normand L. Peterson Karen K. Pierce Nancy G. Pitstick Milavoj Poletan Dr. & Mrs. Robert L. Poulson Joan Proctor Glen & Dorothy Purdie Dan Purjes Jeff Quigley Jana Ramacher Daniel Rapp Hildegard & Angela Rayner Delia & Craig Reece Ralph & Rita Reese Thomas & Ginger Reeve Ronald Rencher Tim Rice Drs. John & Gayle Richards Mr. David S. Richardson Milton & Charman Riggs Dr. & Mrs. Delbert G. Ririe Delia Rochon Mr. Theodore Rokich Marilynn Roskelley & Paul Dorius Thomas & Shirley Rossa Gerry & Ginny Rothstein

Patricia Curtis Rothwell Gail T. Rushing Mr. & Mrs. Leonard Russon Edwin Rutan Rachel Sabin Mr. & Mrs. Paul S. Sagers Juergen & Cheryl Sass Max & Teri Savage Lyda Sayge Sarah Scheuller Kristina Schmidt Dr. & Mrs. Frederick Schnell James Schnitz Susan Schulman John Schumacher Dr. & Mrs. Kent M. Seal Catherine Seale Roger & Connie Seegmiller Harry & Becky Senekjian Clark & Judith Sessions M. Tom & Junko Shimizu Glenda Shrader Sandra Sigman Sargent Stephanie Silas Howard Silliman Dr. Robert & Denise Silver Bonne Simmons Mrs. Margaret M. Simmons Brad Simons Allen & Karen Sims Deborah & Brian Smith Jill Smith Marion & Nicholas Smith John & Geraldine Snow Tom Sobchack Paul & Carol Sonntag Diane Soule Michael Stahulak Thomas Steigerwalt Mr. & Mrs. Larry Stevens Stewart Barlow Jeffrey Stone Kathleen Stout Annie & Cory Strupp Briant Summerhays Harold Sutherland Jeannette Swent Gaylia Tanner Max Tanner Dr. & Mrs. Robert Tayler Lucy C. Taylor James & Carolyn Taylor Dr. & Mrs. Kim Y. Taylor Isabella Tcaciuc Richard B. Teerlink Jon & Gail Tensfeldt Joe & Evalyn Terry Teresa & Doug Thornberg Mr. & Mrs. Larry R. Thornock John & Frances Tornquist Fred Tripp Jerry Van Os Shirley Van Wagenen Michael & Carolyn Verkler Karl Voelkerding Mr. & Mrs. Clark Waddoups Susan Waters Werner & Dorothy Weixler Lauri Welch Charles & Ellen Wells Dr. & Mrs. James White Henry O. Whiteside Vincent & Virginia Wickwar John P. Wier James Wilcox

UTAH OPERA THE RAKE’S PROGRESS 2015

Brian Wilkin Dr. George A. Williams Jody L. Williams Gary Williams E. McKay & Jean Willis Glenn & Connie Wimer Doris Woodward Kent Young Marjorie Young In Honor of Barbara & Steven Anderson H. Brent & Bonnie Jean Beesley Dr. & Mrs. Joseph C. Bentley Paula J. Fowler Carolyn Tanner Irish Mark & Dianne Prothro Patricia A. Richards Susan Schulman Barbara Ann Scowcroft William & Joanne Shiebler Joe V. Siciliano Erin Svoboda Melia Tourangeau In Memory Of Gary & Connie Anderson Jay T. Ball Berry Banks David Wells Bennett Robert H. Burgoyne, M.D. Stewart Collins Kathie Dalton John R. Dudley Carolyn Edwards Loraine L. Felton Neva Langley Fickling Calvin Gaddis Anton Gasca Patricia Glad Herold L. “Huck” Gregory Carolyn Harmon Duane Hatch Steve Horton Mary Louis Scanlan Humbert Howard Keen Robert Louis Beverly Love Clyde Dennis Meadows Jean Moseley Joseph Palmer Scott Pathakis Chase N. Peterson Klaus Rathke Kathy Sargent Shirley Sargent Ruth Schwager Ryan Selberg Dr. Ann O’Neill Shigeoka Robert P. Shrader David Bennett Smith John Henry “Jack” Totzke Roger Van Frank Rick Wallace Sandra Wilkins Rosemary Zidow *In-kind gift **In-kind & cash gift Donations as received between 3/15/2014 & 3/15/2015

Classical 89 Broadcasts May 2 | 9:30 AM SCHUBERT Symphony No. 3, Mvt. II Matthew Halls, Conductor (recorded 7/31/14) May 9 | 9:30 AM MOZART Symphony No. 36, Mvt. I Thierry Fischer, Conductor (recorded 8/6/14) May 16 | 9:30 AM BEETHOVEN Symphony No. 2, Mvt. III Thierry Fischer, Conductor (recorded 8/6/14) May 23 | 9:30 AM BRAHMS Piano Concerto No. 2 Thierry Fischer, Conductor Yefim Bronfman, Piano (recorded 9/19/14) May 30 | 9:30 AM HANDEL Harp Concerto No. 6, Mvt I Vladimir Kulenovich, Conductor Caroline Richards, Harp (recorded 9/30/14) June 6 | 9:30 AM MOZART Sinfonia Concertante, Mvt. I Vladimir Kulenovic, Conductor Margaret Ivory, Violin Rebecca Epperson, Viola (recorded 9/30/14) June 13 | 9:30 AM SAINT-SAËNS Introduction and Rondo Capriccioso Vladimir Kulenovic, Conductor Karen Ferry, Violin (recorded 9/30/14)

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June 20 | 9:30 AM CHOPIN Piano Concerto No. 2, Mvt. III Vladimir Kulenovic, Conductor Sanne Christensen, Piano (recorded 9/30/14) June 27 | 9:30 AM BEETHOVEN Violin Concerto, Mvt. I Vladimir Kulenovic, Conductor Shenae Anderson, Violin (recorded 9/30/14) July 4 | 9:30 AM MOZART Rondo for Piano & Orchestra llan Volkov, Conductor Marc-André Hamelin, Piano (recorded 11/7/14) July 11 | 9:30 AM STRAUSS Burleske in D minor llan Volkov, Conductor Marc-André Hamelin, Piano (recorded 11/7/14) July 18 | 9:30 AM MAHLER Symphony No. 2, “Resurrection” Thierry Fischer, Conductor Celena Shafer, Soprano; Jennifer Johnson Cano, Mezzo-Soprano; Utah Symphony Chorus; Utah Chamber Artists; University of Utah A Cappella Choir; University of Utah Chamber Choir (recorded 11/14/14) July 25 | 9:30 AM BEETHOVEN Symphony No. 9, “Choral” Thierry Fischer, Conductor Celena Shafer, Soprano; Cynthia Hanna, Mezzo-Soprano; Chad Shelton, Tenor; Michael Dean, Bass-baritone; Utah Symphony Chorus (recorded 12/6/14)

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Acknowledgments UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR

Melissa Robison

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Utah Symphony | Utah Opera is funded by the Utah Arts Council, Professional Outreach Programs in the Schools (pops), Salt Lake City Arts Council, Salt Lake County Zoo, Arts, and Parks Tax (ZAP), Summit County Restaurant Tax, Summit County Recreation, Arts and Parks Tax (RAP), Park City Chamber Bureau, and the Utah Humanities Council. Utah Symphony | Utah Opera is an equal opportunity employer. Utah Symphony | Utah Opera policy prohibits unlawful discrimination based on race, color, creed, sex, marital status, sexual orientation, age, national origin, ancestry, handicap, disability, medical condition, or any other consideration made unlawful by federal, state, or local laws. 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.

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