2019 2020 SEASON Jordi Savall February 4, 2020
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PRINCIPAL ARTIST ADRIAN FRY | PHOTO BY BEAU PEARSON
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JORDI SAVALL SPLENDOR OF THE IBERIAN BAROQUE
Virtuoso Series Concert In partnership with the School of Music
Tuesday, February 4, 2020 • 7:00PM Libby Gardner Concert Hall
Please turn off all cell phones, pagers and other noisemakers. The taking of photographs, and audio or video recordings is strictly prohibited.
Program SPLENDOR OF IBERIAN BAROQUE FOLÍAS & CANARIOS
Diego Ortiz : Recercadas La Spagna - Folia IV - Passamezzo antico I - Passamezzo moderno III Ruggiero IX - Romanesca VII - Passamezzo moderno II Tientos & Folías Francisco Correa de Arauxo Batalla de Morales Pedro de San Lorenzo Folía: Obra de 1er Tono, No. 10 Pieces for the Guitar Gaspar Sanz Jácaras & Canarios (Guitar) Pedro Guerrero Moresca Anonymous (& improvisations) Greensleeves to a Ground Juan García de Zéspedes / Traditional from Tixtla (& improvisations) Guaracha * * * Joan Cabanilles Obertura / Corrente italiana Sebastián Aguilera de Heredia Tiento de Batalla Codex Trujillo del Perú / Improvisations Cachúa serranita Santiago de Murcia Fandango (Spanish Baroque harp) Antonio Martín y Coll (& improvisations) Diferencias sobre las Folies d’Espagne Francisco Correa de Arauxo Glosas sobre “Todo el mundo en general” Anonymous (& improvisations) Canarios Antonio Valente (& improvisations) Gallarda Napolitana
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Program HESPÈRION XXI
Jordi Savall, treble & bass viol Lixsania Fernández, tenor viol Juan Manuel Quintana, bass viol Xavier Puertas, violone Xavier Díaz-Latorre, guitar & vihuela Andrew Lawrence-King, Spanish Baroque harp David Mayoral, percussion Direction : Jordi Savall
Photo Credit: ©H.Pouyfourcat
With the support of the Departament de Cultura of the Generalitat de Catalunya and the Institut Ramon Llull
JORDI SAVALL
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Bio JORDI SAVALL For more than fifty years, Jordi Savall, one of the most versatile musical personalities of his generation, has rescued musical gems from the obscurity of neglect and oblivion and given them back for all to enjoy. A tireless researcher into early music, he interprets and performs the repertory both as a gambist and a conductor. His activities as a concert performer, teacher, researcher and creator of new musical and cultural projects have made him a leading figure in the reappraisal of historical music. Together with Montserrat Figueras, he founded the ensembles Hespèrion XXI (1974), La Capella Reial de Catalunya (1987) and Le Concert des Nations (1989), with whom he explores and creates a world of emotion and beauty shared with millions of early music enthusiasts around the world. His essential contribution to Alain Corneau’s film Tous les Matins du Monde, which won a César for the best soundtrack, his busy concert schedule (140 concerts per year), his recordings (6 albums per year) and his own record label, Alia Vox, which he founded with Montserrat Figueras in 1998, Jordi Savall has proved not only that early music does not have to be elitist, but that it can appeal to increasingly diverse and numerous audiences of all ages. As the critic Allan Kozinn wrote in The New York Time (2005), his vast concert and recording career can be described as “not simply a matter of revival, but of imaginative reanimation.” Savall has recorded and released more than 230 discs covering the Medieval, Renaissance, Baroque and Classical music repertories, with a special focus on the Hispanic and Mediterranean musical heritage, receiving many awards and distinctions such as the Midem Classical Award, the International Classical Music Award and the Grammy Award. His concert programmes have made music an instrument of mediation to achieve understanding and peace between different and sometimes warring peoples and cultures. Accordingly, guest artists appearing with his ensembles include Arab, Israeli, Turkish, Greek, Armenian, Afghan, Mexican and North American musicians. In 2008 Jordi Savall was appointed European Union Ambassador for intercultural dialogue and was named “Artist for Peace” under the UNESCO “Good Will Ambassadors” programme. He has played a seminal role in the rediscovery and performance of Una cosa rara and Il burbero di buon cuore by the composer Vicent Martín i Soler. He has also conducted Le Concert des Nations and La Capella Reial de Catalunya in performances of de Monteverdi’s L’Orfeo, Vivaldi’s Farnace, Fux’s Orfeo ed Euridice and Vivaldi’s Il Teuzzone. Jordi Savall’s prolific musical career has brought him the highest national and international distinctions, including honorary doctorates from the Universities of Evora (Portugal), Barcelona (Catalonia), Louvain (Belgium) and Basel (Switzerland), the order of Chevalier de la Légion d’Honneur (France), the Praetorius Music Prize awarded by the Ministry of Culture and Science of Lower Saxony, the Gold Medal of the Generalitat of Catalonia, the Helena Vaz da Silva Award and the prestigious Léonie Sonning Prize, which is considered the Nobel prize of the music world. “Jordi Savall testifies to a common cultural inheritance of infinite variety. He is a man for our time” (The Guardian, 2011).
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Bio HESPÈRION XXI Ancient music’s most important value stems from its ability as a universal artistic language to transmit feelings, emotions and ancestral ideas that even today can enthral the contemporary listener. With a repertoire that encompasses the period between the 10th and 18th centuries, Hespèrion XXI searches continuously for new points of union between the East and West, with a clear desire for integration and for the recovery of international musical heritage, especially that of the Mediterranean basin and with links to the New World. In 1974 Jordi Savall and Montserrat Figueras, together with Lorenzo Alpert and Hopkinson Smith, founded the ancient music ensemble Hespèrion XX in Basel as a way of recovering and disseminating the rich and fascinating musical repertoire prior to the 19th century on the basis of historical criteria and the use of original instruments. The name Hespèrion means “an inhabitant of Hesperia”, which in ancient Greek referred to the two most westerly peninsulas in Europe: the Iberian and the Italian. It was also the name given to the planet Venus as it appeared in the west. At the turn of the 21st century Hespèrion XX became known as Hespèrion XXI. Today Hespèrion XXI is central to the understanding of the music of the period between the Middle Ages and the Baroque. Their labours to recover works, scores, instruments and unpublished documents have a double and incalculable value. On one hand, their rigorous research provides new information and understanding about the historical knowledge of the period, and on the other hand, the exquisite performances enable people to freely enjoy the aesthetic and spiritual delicacy of the works of this period. Right from the beginning Hespèrion XXI set out on a clearly innovative and artistic course that would lead to the establishment of a school in the field of ancient music because they conceived, and continue to conceive, ancient music as an experimental musical tool and with it they seek the maximum beauty and expressiveness in their performances. Any musician in the field of ancient music will have a commitment to the original spirit of each work and has to learn to connect with it by studying the composer, the instruments of the period, the work itself and the circumstances surrounding it. But as a craftsman in the art of music, he is also obliged to make decisions about the piece being played: a musician’s capacity to connect the past with the present and to connect culture with its dissemination depend on his skill, creativity and capacity to transmit emotions. Hespèrion XXI’s repertoire includes, amongst others, the music of the Sephardi Jews, Castilian romances, pieces from the Spanish Golden Age, and Europa de les Nacions. Some of their most celebrated concert programmes are Les Cantigues de Santa Maria d’Alfons X El Savi, La Diàspora Sefardí, the music of Jerusalem, Istanbul, Armenia and the Folías Criollas. Thanks to the outstanding work of numerous musicians and collaborators who have worked with the ensemble over all these years Hespèrion XXI still plays a key role in the recovery and reappraisal of the musical heritage, and one that has great resonance throughout the world. The group has published more than 60 CDs and performs concerts for the whole world, appearing regularly at the great international festivals of ancient music.
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Program Notes FOLIAS & CANARIOS The Folia is one of the several dances and dance songs of popular origin which developed in the Iberian Peninsula in late Middle Ages and may have been used in their original context for quite some time before they were later assimilated by the courtly polyphonic repertoire, both vocal and instrumental, in the late 15th and in the early 16th century. Its Portuguese origin is confirmed by influential Spanish theorist Francisco de Salinas in his 1577 treatise De musica libri septem, and indeed it was first mentioned in several Portuguese documents of the end of the 15th century, amongst others the plays of the founder of Renaissance Theatre in Portugal, Gil Vicente, in which it is associated with popular characters, usually shepherds or peasants engaging into energetic singing and dancing (hence the name “Folia”, meaning both “wild amusement” and “insanity” in Portuguese), either as an easy way of identifying their social nature to the audience or as a celebration of a happy dénouement of the plot. Furthermore, throughout the 16th and 17th centuries constant references are made in the Portuguese chronicles of the time to groups of peasants being called upon to dance the Folia at the palaces of the upper nobility on the occasion of festive events such as weddings or births. By the early sixteenth century, the bass line of the Folia was already present in a number of polyphonic pieces collected in the Cancionero de Palacio. Similar chord progressions, even when their actual sequence does not entirely coincide with this pattern, or when there is a greater rhythmic and formal freedom in the ultimate structure of the piece, appear in numerous instrumental works of sixteenth-century Spanish music. In his 1553 Trattado de glosas, Diego Ortiz includes several sets of such variations, using the bass line of the Folia - as well as those of the Romanesca, the Passamezzo Antico and the Passamezzo Moderno – precisely as an ostinato harmonic pattern entrusted to the harpsichord, upon which the viol performs highly virtuosic melodic elaborations. The Morisca or Perra mora, a dance with a strong Arab flavour in its characteristic rhythmic design in 5/2 time, is given here in the version attributed to Pedro Guerrero and taken from the so-called Medinaceli Songbook, compiled in the second half of the sixteenth century. Together with the Pésame d’ello, the Zarabanda and the Chacona, it was mentioned by Miguel de Cervantes in his novella La ilustre Fregona as one of the secular dances that were so fashionable in his time that they even managed to “squeeze through the door cracks into the convents of nuns” (“ha intentado … entrar por los resquicios de las casas religiosas”). In England, 16th- and 17th-century composers like William Byrd, John Bull, Thomas Tomkins, and later Christopher Simpson or John Playford, developed a similar tradition of ostinato variations, sometimes choosing the same ground basses as their continental counterparts but often using different ones, each author either inheriting them from previous British musicians or inventing his own for each new piece. Strophic songs on a repeated harmonic pattern, such as the famous Greensleeves, were frequently used for this purpose, as well as independent bass lines with no discant parts attached to them, ranging from merely two notes (as in Bull’s The Bells) to lengthy melodies of a complex intern al structure. A musician linked to the Puebla school, Juan García de Zéspedes (†1678), left us a hilarious Christmas Villancico, Ay que me abraso (literally, “I am burning”) written on the characteristic rhythm of another Mexican dance, the Guaracha, and in which the characters portrayed are panting and sighing because of the excessive heat generated by their emotions at the sight of the newborn Christ. By the last quarter of the 17th century, however, the Folia undergoes a process of further standardization, with the above-given version of the bass line becoming the norm (each of the pitches being assigned a measure-long durational value, in triple meter), as
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Program Notes well as with a standard discant tune associated to the harmonic sequence thus obtained. All over Europe, and throughout the 18th century, it now becomes one of the best loved grounds for highly virtuosic instrumental variations, at the hands of such important composers as Corelli, Alessandro Scarlatti, Vivaldi and Buononcini, in Italy, Marais and D’Anglebert, in France, or Johann Sebastian and Carl Philipp Emanuel Bach, in Germany. Corelli’s La Follia, included in his famous 1700 Op.5 collection of solo Sonatas for violin and continuo, was especially influential in shaping a wide gamut of variation patterns on this theme, which were then widely imitated by countless minor composers. Needless to say, even in its new standardized Baroque version, it remains a staple of the Iberian 17th and 18th-century instrumental repertoire, a particularly charming example being the setting in Antonio Martín y Coll’s manuscript collection Flores de Música (ca. 1690), for instance. Cherubini will later pay homage to its Portuguese origin by using it as the main theme for the overture of his 1798 opera L’hôtellerie portugaise, and even some of the Romantic piano virtuosos, as late as 1867 (Liszt, Rhapsodie espagnole) and 1931 (Rachmaninov, Variations on a theme by Corelli), will use it as a symbol of continuity with a grand tradition of almost three centuries of brilliant variation writing for the keyboard. The Diferencias sobre la Folia are to be found in Antonio Martín y Coll’s manuscript, which represents the early Baroque development of the Folia (second half of the 17th century), and allow more clearly contrasting variations which play on the alternation of slow and fast couplets and the succession of highly virtuoso passages and more or less flowing cantilenas. The choice of instruments for these pieces, which include the bass viol, the treble harp, the guitar and the castanets, is in keeping with the characteristic Iberian sound (Continued on page 12)
UtahPresents Thanks
for supporting this performance of Jordi Savall: Splendor of the Iberian Baroque
Program Notes of the period, according to prevailing musical taste and practice, particularly in forms such as the Folia, the Fandango and the Jácaras, which retained strong links with their popular origins. The ultimate expression of the Mexican son is the fandango (also called the huapango) a celebration in which all those present are invited to take an active part in the proceedings by dancing, singing and playing their instruments as they gather around the raised platform, which serves not only as a dance floor, but also as the principal percussion instrument and the very hub of the festivities. Fandangos were common on both sides of the Atlantic from the end of the 17th century. Besides Ortiz, many other Iberian composers of instrumental music, writing for the vihuela, the guitar, the harp or the organ, made use of these and other ground basses in their works. In his 1626 Facultad organica, one of the most influential publications of Mannerist keyboard music in the Peninsula, organist Francisco Correa de Arauxo (ca. 1576 - 1654) chose a longer bass melody for a stunningly beautiful set of variations, Todo el mundo en general. Yet another Spanish popular dance pattern to be adopted as a ground bass for instrumental variations in other European countries until the mid-18th century was the Canarios, or Canary, apparently born in the Canary Islands. Often described at first – not always without a certain degree of fascination, one should add – as being “barbaric” and “immoral”, these dances were in many cases gradually transformed into sophisticated courtly items according to the Baroque taste, losing in the process many of their original popular characteristics. But even so they remained at the very centre of the European instrumental repertoire. On the other hand, Italian composers of the late Mannerist and early Baroque periods thouroughly cultivated this genre in their solo and ensemble instrumental works, such as the Gallarda Napolitana Intavolatura de cimbalo (1576) by Antonio Valente, or the various collections published in the first half of the 17th century by Salomone Rossi (1570-ca.1630), Biagio Marini (ca.1587-1663) or Tarquinio Merula (1594 or 95 - 1665), amongst many others. As in practically all genres of instrumental music in the 16th and 17th centuries, we should bear in mind that most of the sets of variations on a ground published during these two centuries were composed by authors who were themselves acclaimed instrumental virtuosos and who wished to present in their publications examples of a technical mastery of their instruments which was generally inseparable from their highly developed improvisatory skills. Not only, as a general rule for the performance practice of this period, were other instrumentalists wishing to play these works expected to add ad libitum ornaments and diminutions to the printed score, but undoubtedly no two renditions of a particular work by the same performer, be it the author himself or any other virtuoso, would be exactly alike. In many ways, a printed version of a Mannerist or Baroque instrumental piece (especially in the case of 16th- and early 17th-century Iberian and Italian music) can be seen exactly like that – as a version, which does not in any way attempt to present a definitive, authoritative text for that work, and which as such is much closer, to some extent, to a live recording of a jazz performance, with all of its spontaneous improvisatory component, than to the 19thcentury ideal of an unchangeable Urtext. In a repertoire based not as much on purely formal or contrapunctal considerations as on a succession of free virtuosic elaborations on a preexisting bass line, the pursuit of true “authenticity” in its modern performance must include the rediscovery of this inexhaustible element of permanent personal creativity. That is why the present program not only is characterized by a constant improvisatory element in the approach to the works performed but even includes a moment of actual collective improvisations. Jordi Savall, Rui Vieira Nery
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JORDI SAVALL
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hoto Credit: ©Toni_Peñarroya
SPONSORS
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The School of Music and UtahPresents thank Virtuoso Series Sponsor
for supporting educational opportunities with Virtuoso Artists
Jordi Savall taught a masterclass with School of Music students who are also participating in the Early Music Ensemble this semester. The Early Music Ensemble, composed of students, professional, and university community musicians performs medieval, Renaissance, and Baroque music on period instruments and some modern instruments with a historical performance practice approach. The masterclass was coordinated by Lisa Chaufty, director of the Early Music Ensemble and Adjunct Assistant Professor in the School of Music. Professor Chaufty has directed the Early Music Ensemble since 2014 and seeks out collaborations from members of the local and national early music community to provide exciting opportunities for her students and all music students at the University of Utah who have an interest in early music.
DONORS Carolyn Abravanel R. Scott and Kathleen Amann* Ari Diamonds Arts Midwest Peter Ashdown Kim Atwater Kathryn Atwood and Jacques D’Astous Gina Bacon Gina Barfuss Byron and Deborah Barkley The Bar Method Cynthia L. Barnes Hillary and Caleb Barney The B. W. Bastian Foundation Kristin Beck Sandi Behnken William and Deborah Beninati John Bergerson* Marney and Peter Billings Tracey Bjarnson The Blocks Bombay House Joe and Sara Bouley Kristine and William Braak Donna and John Branson Stewart Brock R. Harold Burton Foundation Dennis Busch Timothy Butler Darryl and Ann Butt Patricia Callahan Kristine Campbell and David Sandweiss Holly Case The Castle Foundation Mckay Chamberlain Dhiraj Chand Muljibhai and Sharda Chaudhari Sydney Cheek-O’Donnell Chitrakaavya Dance Stacy Chivers Patricia and Geoffrey Christensen Robert Clark Havilah Clarke Community Foundation of Utah
Efren Corado Garcia The Council of Dee Fellows Kim and Pat Crandal Jim Dabakis and Stephen Justesen Mary L. Daines Richard and Wendy Davis Annie and Jahn Davis Patrick and Lynn de Freitas Polly Drolett Dumke Law, LLP Analecia Dumke Zeke Dumke George S. And Dolores Doré Eccles Foundation Eric and Shellie Eide EKA Solutions, Inc. Janet Ellison Scott and Dayna Epperson Isac Kennedy Ernest Every Blooming Thing Fatpipe Inc. Jamie and Thomas Fendler Mike Ferro Inga Filice Julie Fleming-Suttich Joel and Carol Fletcher Michele Schulte Franks Randhir Gandhi and Manisha Shah Andrew and Giselle Garrison Susan Garstang Heather Gee and Robert Wenzel J. Carolyn Gezon Robert and Mary Gilchrist Mila Gleason Goldman Sachs Chet and Carrie Goodwin John and Anabel Greenlee Mary Jane Gregoire John and Ilauna Gurr Shanna and Aaron Hall* Mary Lou Hamill Hampton Inn & Suites /Salt Lake City – University/Foothill Gordon and Connie Hanks Dawn Hansen Janis Hansen
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DONORS Sanjay Patel Tushar Patel Kevan Paul Derek and Kimberly Payne Robert Pendleton Marcella and Michael Plantin Chaipat Pothikamjorn John and Marcia Price Family Foundation Blanca Estela Raphael Margaret Reiser* Traci Reston-Householder Carolyn Rich-Denson Michael Richardson Vicky and Scott Robbins Grant Rust Josephine Rust Salt Lake City Arts Council Salt Lake County Cultural Facilities Support Program
Salt Lake County Zoo, Arts and Parks The Semnani Family Foundation Ashlin Sharp Sallie Dean Shatz Aaron Silverman Trudy Simmons Lakhwinder Singh T. J. Singh Srilatha and Anurag Singh Laura Snow and PierreRichard Prosper Virginia Solomon Krista and James Sorenson Kari Spendlove Steiner Foundation Alice and Kevin Steiner Robin Steiner Sam and Diane Stewart Family Foundation Annie and Cory Strupp*
Valda Tarbet Valerie Telford* Margie and Theron Tempest Gigi and Mark Thorsen Monica Traphagan Kyle Treadway and Greg Pedroza Janzell and Ben Tutor Janell and Stephen Tuttle Annette Tybur University of Utah Guest House & Conference Center Umbrella Theatre Company Utah Division of Arts & Museums Utah Humanities Rebecca Utz and Steve Altman Vicki Varela John and Martha Veranth Vita Bone
Brenda Wadsworth Kenneth Waldram, Jr. Craig W. Wallin Alex Walton Whitney Ward Nathan Webster and Charlotte BoyeChristensen WESTAF Nancy Wilcox Robin Wilks-Dunn and Samuel Dunn Cindy Williams* Kelly and David Winslow* Jody and Wai-Ming Wong* Ariann O. Woolf Brad and Julia Wright Xmission Zions Bank *level UP Member
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STAFF ADVISORY BOARD Brooke Horejsi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Executive Director Ashley Barentine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Light Technician Dennis Busch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Development Specialist Brooke Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ticket Office Manager Janet Graham . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Finance Manager Ryan Ireland. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assistant Box Office Manager Liz Ivkovich. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Director of Development Sheri Jardine. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Communications Manager Joe Killian. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Production Manager Darby Mest. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Event Manager Keven Myhre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Operations Director Travis Stevens. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sound Engineer Josh Stier. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Event Manager Robin Wilks-Dunn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Community Engagement Manager Steve Wimmer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stage Manager
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HEALTHCARE: STORIES OF REPAIR
IN PARTNERSHIP WITH UNIVERSITY OF UTAH HEALTH’S RESILIENCY CENTER AND PROGRAM IN MEDICAL ETHICS AND HUMANITIES
February 7 • Kingsbury Hall
Healthcare: Stories of Repair, the sequel to Fall 2019’s “Healthcare: Stories of Rebellion,” will examine the idea of repair in all its meanings. What does it mean to be healed? How do we cope with the process of repair? What happens when we try to fix something that isn’t broken? This evening of stories, with some storytellers selected from the audience, will bring us together as a community to grapple with complex questions and find comfort in shared experiences.
FLIP FABRIQUE: BLIZZARD February 13 • Kingsbury Hall
FLIP Fabrique brings a fresh take on contemporary circus, creating whimsical, playful shows punctuated by breathtaking acrobatics. With Blizzard, FLIP Fabrique takes you on a crazy and poetic journey in the dead of winter, inviting you to lose yourself in a moment of complete wonder. With performers at the peak of their art and outstanding visual poetry, Blizzard promises to take the stage by storm and blow away everything in its path. BANFF FILM FESTIVAL . . . . . . . . . . . . . . February 18-20, March 2 WE SHALL OVERCOME - A CELEBRATION OF MLK . . . . . . . . March 4 AIRPLAY . . . . . . . . . . . . . . . . . . . . . . . . . . March 14 PHANTOM LIMB COMPANY: FALLING OUT . . . . . . . . . . . . March 20 MEKLIT . . . . . . . . . . . . . . . . . . . . . . . . . March 27 JOHN CAMERON MITCHELL: THE ORIGINS OF LOVE, THE SONGS AND STORIES OF HEDWIG . . . . April 3 ACROSS THE WIDE AND LONESOME PRAIRIE: YOUTH THEATRE AT THE U . April 10-11 RIGOLETTO: UNIVERSITY LYRIC OPERA ENSEMBLE . . . . . . . April 17-18 Tickets and information at utahpresents.org
PATRON INFORMATION •
In the event of an emergency, please walk to the nearest exit and follow instructions given by theatre personnel and ushers. Auditorium exits are clearly marked with lighted exit signs above each door. Move away from the building to a safe place.
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Late-comers will be seated in accordance with the seating guidelines of the individual production.
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Cameras and recording devices are strictly forbidden unless permission for their use is authorized in writing by theatre management.
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Ticket office is located on the lower plaza at Kingsbury Hall, east of the main staircase. For ticket information, call 801-581-7100.
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Children under six are not admitted to performances. All patrons must have a ticket regardless of age. Lap sitting is not allowed.
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Lost and found is located in the ticket office or by asking the house manager. Please leave your name, phone number and description of the lost item with the ticket office (581-7100) or house manager.
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Disabled parking is located on the east side of Kingsbury Hall via Presidents Circle.
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Food and drink are not allowed in the auditorium.
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Please silence mobile phones, watches and any other noise-making devices.
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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
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complementary appetizer or dessert with entrée 801.238.4748 | 255 S West Temple
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Phone Phone• •801.363.9328 801.363.9328 www.martinecafe.com www.martinecafe.com Top TopPhoto: Photo:Image Imagelicensed licensed byby Ingram Ingram Image Image
MARTINE 22 East 100 South. Exceptional ambience, located in a historic brownstone. Martine offers Salt Lake City a sophisticated dining experience kept simple. Conveniently located on First South around the corner from the Eccles Theater. Extensive bar and wine service. martinecafe.com L, D, T, LL, RA, CC, VS. 801-363-9328 SPENCER’S 255 South West Temple, SLC. Winner of Wine Spectator’s Award of Excellence and Best of State for Fine Dining, enjoy locally sourced Prime steaks and sustainable seafood dishes from Executive Chef Sebastian Lowrey. Seasonal cocktails, inspired desserts, and exceptional service complement your meal. L, D, S, T, LL, RA, CC, VS. 801-238-4748 | Reservations at Opentable.com
SQUATTERS PUB BREWERY 147 West Broadway SLC. Join us before and after the show for eclectic daily specials and traditional pub favorites such as bacon topped meatloaf, pizzas and a delicious array of burgers, all paired with our world-class beer and welcoming atmosphere. L, S, AT, LL, D, CC, VS. 801-363-2739
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20
utahpresents.org
HOSPITALITY SO GOOD, YOU’LL GIVE US A STANDING OVATION.
The closest place to stay after the show. 801-587-1000 | universityguesthouse.com
GIRLS IN STEM BECOME WOMEN WHO CHANGE THE WORLD
MEET THE WOMEN WHO ARE CHANGING THE WORLD WITH SCIENCE, TECHNOLOGY, ENGINEERING AND MATHEMATICS: LUCIANNE WALKOWICZ, ASTRONOMER AT THE ADLER PLANETARIUM; BONNIE ROSS, HEAD OF HALO GAME STUDIO AT MICROSOFT; NICKI PALMER, CHIEF NETWORK ENGINEERING OFFICER AT VERIZON; MAYA GUPTA, RESEARCH SCIENTIST AT GOOGLE; LISA SEACAT DELUCA, DISTINGUISHED ENGINEER AT IBM; TIERA FLETCHER, STRUCTURAL ANALYSIS ENGINEER AT BOEING; AND DANIELLE MERFELD, CHIEF TECHNOLOGY OFFICER AT GE RENEWABLE ENERGY
Preprint
FOLLOW @SHECANSTEM ON INSTAGRAM.
2020 Season
June 1 - October 10
RICHARD III • THE COMEDY OF ERRORS • PERICLES THE PIRATES OF PENZANCE • ONE MAN, TWO GUVNORS INTO THE BREECHES! • DESPERATE MEASURES CYMBELINE • SHAKESPEARE’S WORST!
800-PLAYTIX • bard.org • #utahshakes René Thornton Jr. as Henry Condell in The Book of Will, 2019
Let
WONDER BE YOUR GUIDE
581 N MAIN STREET • CEDAR CITY • (435) 586-5124 • WWW.VISITCEDARCITY.COM
Preprint
PTC RAISES THE BAR ON PROFESSIONAL ARTS IN SLC WITH STUNNING THEATRE THAT INCLUDES RECENT BROADWAY SMASH HITS, WORLD PREMIERES LIKE “ASS” BY ELLEN SIMON, AND HISTORICAL DRAMAS THAT INSPIRE LIKE “MARY STUART.”
DEC. 6 - DEC. 21, 2019 Broadway’s smash hit about the play that can’t get anything right!
OCT. 18 & 19, 2019 CONCERT PRODUCTION 3 PERFORMANCES ONLY!
FEB. 21 - MAR. 7, 2020
MAY 6 - MAY 23, 2020
2018 TONY AWARD BEST MUSICAL REVIVAL!
NOMINATED FOR 9 TONY AWARDS INCLUDING BEST MUSICAL!
Tickets to “Mary Stuart,” “Once On This Island,” “Ass,” and “Something Rotten!” go on sale October 9, 2019.
801.581.6961 • pioneertheatre.org Pioneer Theatre Company is a fully-professional theatre conveniently located on the University of Utah campus, with plenty of free parking.