THE SOUND of the HUMAN EXPERIENCE
JAN – FEB / 2015–16 UTAH SYMPHONY SEASON
COVER
PREPRINT
The Painful Truth Pain is an unbidden guest, humanity’s shadow companion down through the ages. It is a despoiler of dreams and a thief. Chronic pain can appear suddenly in a person’s life, changing it forever. Dr. Lynn R. Webster puts a face on chronic pain through the lives of his patients, and provides an intimate view of what it is like to live with it. The Painful Truth will open your eyes to the world of those who are stigmatized and marginalized by our society and healthcare system. Yet the new book offers hope and a path forward for those willing to engage in a crusade against the human race’s primal enemy—pain.
“It is not often that you come across a book written by a physician that is filled with more than good advice; it is filled with compassion and understanding for people with pain. From his early childhood, Lynn Webster understood the torment of pain and the importance of just being there and accepting the person in spite of his or her pain. His accounts of his patients are heartfelt, and anyone with pain can relate to the struggles he so perceptively tells.” —Penney Cowan, founder and executive director, American Chronic Pain Association
www.thepainfultruthbook.com
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Contents PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow
New Year’s Celebration
Fischer Conducts Mozart & Mahler
January 2, 2016
January 8–9, 2016
Respighi, Grieg, Schreker & Korngold
Pahud Plays Carmen Fantasy
January 14, 2016
January 29–30, 2016
Jackiw Plays Mendelssohn
75 Years of Bravo! Broadway
February 5–6, 2016
February 12–13, 2016
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 Jody Martin EDITOR Melissa Robison Cover photo: Thierry Fischer 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.
© COPYRIGHT 2016 @UtahSymphony
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Tonight’s Concert
6 Welcome 8 Utah Symphony 10 Board of Trustees 15 Music Director 16 Season Honorees 19 Season Sponsor 21 Maestro Maurice Abravanel 22 Community Collaboration 24 Trio 26 Ballet West Profiles 30 Season Sponsors 40 Healthcare Night at the Symphony 42 Perpetual Motion 44 Utah Symphony Guild 46 Tanner & Crescendo Societies 47 Plan Big 48 Corporate & Foundation Donors 50 Individual Donors 52 Sound Bites 54 Administration 59 Classical 89 Broadcasts 61 House Rules 62 Acknowledgments 64 Upcoming Performances
Ballet West with the Utah Symphony February 26–27, 2016
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Welcome
On behalf of the musicians, board, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and tonight’s concert. As the Utah Symphony nears the half-way point of this landmark 75th Anniversary Season, we pause to reflect and celebrate. The Beethoven Symphonies Festival that opened the season highlighted the excellent ensemble-playing of our musicians while providing a unique opportunity for our patrons to experience the range of Beethoven’s brilliant symphonic writing over an intensive two-week period. Our 75th Anniversary Gala Concert featuring Lang Lang was an exciting night in the concert hall and an amazing party in the lobby for the 2,500 friends in our community who celebrated the orchestra with us. The three world premieres of our 75th Anniversary Commissions—works by acclaimed American composers Nico
Thierry Fischer Symphony Music Director
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Muhly, Andrew Norman, and Augusta Read Thomas—demonstrated truly virtuosic performances by the orchestra. They also garnered extremely positive attention in the national music scene during performances and have been recorded for release this spring. The special projects of this season demand great preparation, concentration, and commitment from the entire orchestra. The resulting artistic excellence is inspiring to all of us: we see those results in enthusiastic audiences; and we hear those results in the unique shared experiences that characterize great, live music. Thank you for joining us, and we hope you take inspiration and pride as you witness some of the many ways that Utah Symphony is demonstrating the highest levels of artistic excellence. Our musicians are ready to reveal unlimited potential as they move mountains with sound. Sincerely,
Patricia A. Richards Interim President & CEO
David A. Petersen USUO Board of Trustees Chair
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
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Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Ralph Matson Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair David Park Assistant Concertmaster Alex Martin Acting Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Hanah Stuart Assistant Principal Second Karen Wyatt •• Leonard Braus • Associate Concertmaster Emeritus Jerry Chiu Joseph Evans LoiAnne Eyring Kristiana Henderson†† Teresa Hicks Lun Jiang Rebekah Johnson Tina Johnson†† Paige Kossuth†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Rebecca Moench Hugh Palmer David Porter Lynn Maxine Rosen Barbara Ann Scowcroft • M. Judd Sheranian # Lynnette Stewart Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Roberta Zalkind Associate Principal 8
Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Kevin Shumway Pegsoon Whang Joyce Yang†† BASS* David Yavornitzky Principal
ENGLISH HORN Lissa Stolz
BASS TROMBONE Graeme Mutchler
CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
TUBA Gary Ofenloch Principal
Erin Svoboda Associate Principal
Eric Hopkins Associate Principal
Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair
Corbin Johnston Associate Principal
Leon Chodos Associate Principal
James Allyn Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera
CONTRABASSOON Leon Chodos
HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore OBOE Robert Stephenson Principal James Hall# Associate Principal Titus Underwood†† Acting Associate Principal
Jennifer Rhodes
HORN Bruce M. Gifford Principal Edmund Rollett Associate Principal
TIMPANI George Brown Principal
PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy Matthew Searing†† ORCHESTRA PERSONNEL Llewellyn B. Humphreys Acting Director of Orchestra Personnel Nathan Lutz Orchestra Personnel Manager
Llewellyn B. Humphreys Ronald L. Beitel Stephen Proser
STAGE MANAGEMENT Chip Dance Production & Stage Manager
TRUMPET Travis Peterson Principal
Mark Barraclough Assistant Stage & Properties Manager
Jeff Luke Associate Principal Peter Margulies Nick Norton TROMBONE Mark Davidson Principal
• First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member
Sam Elliot†† Acting Associate Principal
Lissa Stolz
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Utah musicians on stage at the Gallivan Center
Pat Terry
January 7: Alan Michael Band January 14: Hot House West (formerly known as Hot Club of Zion) January 21: Joe McQueen Quartet January 28: Steve Lyman Quintet
Board of Trustees
ELECTED BOARD David A. Petersen* Chair
Bob Wheaton John W. Williams Thomas Wright
Jesselie B. Anderson Doyle L. Arnold* Edward R. Ashwood Dr. J. Richard Baringer Kirk A. Benson Judith M. Billings Howard S. Clark Gary L. Crocker David Dee*
Alex J. Dunn Kristen Fletcher Kem C. Gardner* David Golden Gregory L. Hardy Thomas N. Jacobson Ronald W. Jibson* Thomas M. Love R. David McMillan Brad W. Merrill Greg Miller Edward B. Moreton Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Shari H. Quinney Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart Naoma Tate Thomas Thatcher
LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Sr. Jon Huntsman, Jr. G. Frank Joklik
Clark D. Jones Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker Patricia A. Richards*
Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder
TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates
Burton L. Gordon Richard G. Horne Warren K. McOmber
Mardean Peterson E. Jeffrey Smith Barbara Tanner
HONORARY BOARD Senator Robert F. Bennett Rodney H. Brady Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous
Lisa Eccles Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Marilyn H. Neilson O. Don Ostler Stanley B. Parrish
Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith Ardean Watts
NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Chair (Utah)
Susan H. Carlyle (Texas)
Harold W. Milner (Nevada)
David L. Brown (S. California)
Robert Dibblee (Virginia)
Marcia Price (Utah)
Anthon S. Cannon, Jr. (S. California)
Senator Orrin G. Hatch (Washington, D.C.)
Alvin Richer (Arizona)
William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Patricia A. Richards* Interim President & CEO
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MUSICIAN REPRESENTATIVES
Travis Peterson* Karen Wyatt* EX OFFICIO
Donna L. Smith Utah Symphony Guild Genette Biddulph Ogden Symphony Ballet Association Dr. Nathaniel Eschler Vivace Judith Vander Heide Ogden Opera Guild *Executive Committee Member
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
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Music Director
Swiss conductor Thierry Fischer recently renewed his contract as Music Director of the Utah Symphony Orchestra, where he has revitalized the music-making and programming, and brought a new energy to the orchestra and organization as a whole. Maestro Fischer was Principal Conductor of the BBC National Orchestra of Wales 2006–12 and returned as a guest conductor at the 2014 BBC Proms. Recent engagements have included the Boston Symphony Orchestra, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande, Frankfurt Radio Symphony, Oslo Philharmonic, Rotterdam Philharmonic, Detroit Symphony, BBC Symphony, and London Sinfonietta. In 2015–16 he makes his debut with the London Philharmonic Orchestra (in subscription at the Royal Festival Hall), having recorded a Beethoven CD with them in 2014. Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
Maestro Fischer has made numerous recordings, many of them for Hyperion Records, whose CD with Maestro Fischer of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus was awarded the International Classical Music Award (opera category) in 2012. Maestro Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and then became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–06. He was Chief Conductor of the Nagoya Philharmonic 2008–11, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.
UTAHSYMPHONY.ORG
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Season Honorees
Utah Symphony | Utah Opera is grateful to our generous donors who through annual cash gifts and multi-year commitments at the following levels make our programs possible. The following listing reflects contributions and multi-year commitments received as of 11/15/2015.
M I LLE N I U M $250,0 0 0 & A B OV E
EDWARD ASHWOOD & CANDICE JOHNSON
GAEL BENSON
LAWRENCE T. & JANET T. DEE FOUNDATION
E.R. (ZEKE) & KATHERINE W.† DUMKE
MR. & MRS. MARTIN GREENBERG
DELL LOY & LYNETTE HANSEN
CAROL & TED NEWLIN
MARK & DIANNE PROTHRO CORPORATION
SHIEBLER FAMILY FOUNDATION
UTAH STATE LEGISLATURE/ UTAH STATE OFFICE OF EDUCATION
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JACQUELYN WENTZ
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Season Honorees
DIANE & HAL BRIERLEY
KEM & CAROLYN GARDNER
ANTHONY & RENEE MARLON
PATRICIA A. RICHARDS & WILLIAM K. NICHOLS
THEODORE SCHMIDT
NAOMA TATE & THE FAMILY OF HAL TATE
UTAHSYMPHONY.ORG
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Season Honorees E N C O R E $10 0, 0 0 0 & A B OV E
DOYLE ARNOLD & ANNE GLARNER
DR. J. R. BARINGER & DR. JEANNETTE J. TOWNSEND
R. HAROLD BURTON FOUNDATION
THIERRY & CATHERINE FISCHER**
ROGER & SUSAN HORN
RONALD & JANET JIBSON
EMMA ECCLES JONES FOUNDATION
FREDERICK Q. LAWSON FOUNDATION
EDWARD & BARBARA MORETON
GIB & SUSAN MYERS
WILLIAM & CHRISTINE NELSON
DR. DINESH & KALPANA PATEL
ANONYMOUS
**
RESTAURANT TAX RAP TAX
B R AVO $ 50, 0 0 0 & A B OV E
Scott & Jesselie Anderson B. W. Bastian Foundation Thomas Billings & Judge Judith Billings Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Grand & Little America Hotels* The Right Reverend Carolyn Tanner Irish** Montage Deer Valley**
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Scott & Sydne Parker Frank R. Pignanelli & D’Arcy Dixon Albert J. Roberts IV St. Regis Deer Valley** Wells Fargo Wheeler Foundation Lois A. Zambo
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Utah Symphony | Utah Opera 2015-16 Season Sponsor
George S. and Dolores Doré Eccles
Eccles Foundation Board of Directors Robert M. Graham • Spencer F. Eccles • Lisa Eccles
The Tradition Continues
F
or more than 30 years, unwavering support from the George S. and
Dolores Doré Eccles Foundation has been integral to the success of Utah Symphony | Utah Opera. It remains so today!
Season Honorees OV E R T U R E $25, 0 0 0 & A B OV E
Arnold Machinery Mr. & Mrs. William C. Bailey
Richard K. & Shirley S. Hemingway Foundation
S. J. & Jessie E. Quinney Foundation Simmons Family Foundation
BMW of Murray
Janet Q. Lawson Foundation
Harris H. & Amanda Simmons
BMW of Pleasant Grove
Love Communications*
Stein Eriksen Lodge**
Rebecca Marriott Champion
Carol & Anthony W. Middleton,
Summit Sotheby’s
Chevron Corporation C. Comstock Clayton Foundation Thomas D. Dee III & Dr. Candace Dee
Jr., M.D.
Nora Eccles Treadwell Foundation
OPERA America’s Getty Audience Building Program
Vivint M. Walker & Sue Wallace
Delta Air Lines*
James A. & Marilyn Parke
Jack Wheatley
John H. & Joan B. Firmage
Charles Maxfield & Gloria F. Parrish
John W. Williams
Kristen Fletcher & Dan McPhun Holland & Hart**
Foundation
Workers Compensation Fund
Alice & Frank Puleo
Edward & Marelynn Zipser
Hyatt Escala Lodge at Park City** Tom & Lorie Jacobson Josh & Cherie James G. Frank & Pamela Joklik Robert & Debra Kasirer Katharine Lamb Louis Scowcroft Peery Charitable Foundation Marriott Residence Inn* Pete & Cathy Meldrum Harold W. & Lois Milner Rayna & Glen Mintz Moreton Family Foundation Fred & Lucy Moreton Terrell & Leah Nagata National Endowment for the Arts Park City Chamber/Bureau David A. Petersen Glenn D. Prestwich & Barbara Bentley Promontory Foundation ProTel* David & Shari Quinney Radisson Hotel* Brad & Sara Rencher Dr. Clifford S. Reusch Resorts West* The Joseph & Evelyn Rosenblatt Charitable Fund David & Lois Salisbury Salt Lake City Arts Council
Lori & Theodore Samuels Pauline Collins Sells Sounds of Science Commissioning Club George & Tamie† Speciale Stalwart Films LLC* Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds Barbara Tanner Thomas & Kathy Thatcher Zibby & Jim Tozer Tom & Caroline Tucker Utah Food Services* Utah Hispanic Chamber of Commerce* Utah Symphony Guild U.S. Bancorp Foundation
M A E S T R O $10, 0 0 0 & A B OV E
Adobe Scott & Kathie Amann American Express Ballard Spahr, LLP Haven J. Barlow Family H. Brent & Bonnie Jean Beesley Foundation Berenice J. Bradshaw Charitable Trust Judy Brady & Drew W. Browning BTG Wine Bar* Caffe Molise* Marie Eccles Caine Foundation-Russell Family Chris & Lois Canale CenturyLink Howard & Betty Clark** Daynes Music* Skip Daynes* The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Dr. & Mrs. Ralph Earle Sue Ellis Thomas & Lynn Fey Gastronomy* General Electric Foundation Ann & Gordon Getty Foundation Elaine & Burton L. Gordon Douglas & Connie Hayes Susan & Tom Hodgson Hotel Monaco*
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See pages 48–51 for an additional listing of our generous donors whose support has made this season possible.
* In-Kind Gift ** In-Kind & Cash Gift † Deceased
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Maestro Maurice Abravanel By Heather L. King
meet one like that in life, where you can almost whole-heartedly just follow.” Claudia Norton, bass player with the Utah Symphony since 1967, recalls of Abravanel, “He made you great by just his ability to communicate the idea of the music, and I think everybody understood what he wanted.” Abravanel holds a special place in the hearts of Utahns for taking the part-time community orchestra known as the Utah State Symphony Orchestra and turning it into the world-renowned, 85-person professional Utah Symphony the state boasts today.
Maestro: A distinguished musician, especially a conductor of classical music. A great or distinguished figure in any sphere. Maurice Abravanel is a name beloved to music lovers the world over. Throughout his career, Abravanel conducted orchestras in Berlin, Paris, Austria, and Australia before arriving in New York City to lead the Metropolitan Opera at the age of 33. Two years later, in 1947, he was hired as Music Director for the Utah Symphony where he spent 32 years raising the ensemble to international prominence—leading the symphony on four international tours, in live radio broadcasts and releasing more than 100 commercial recordings with Vanguard, Vox, Angel, and CBS. Of his time spent working with Abravanel, Ardean Watts, former associate conductor of the Utah Symphony remarks, “Maurice is the greatest man I ever met personally. And a person is lucky to UTAHSYMPHONY.ORG
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Additionally, Abravanel lobbied for a permanent home for the orchestra— ultimately realized in September of 1979 when the architectural landmark Symphony Hall opened. Designed by FFKR Architects with acoustical engineering by Dr. Cyril M. Harris, attendees today enjoy a superior experience. The Hall was renamed in honor of Maurice Abravanel in 1993. Abravanel’s legacy with the Utah Symphony also includes the orchestra’s music education program, which under his guidance grew into one of the most extensive arts education programs in the region. For his work, Abravanel received the National Medal of Arts from President Bush in 1991. Says violinist Tom Baron, who played with Utah Symphony from 1968–2015, Abravanel was an inspiration to all those who worked with him. “He left his mark on us, whether we liked it or not, he was a formative influence for all of us. We were better people for having known him, guaranteed, 100%.” 21
Community Collaboration Spotlight: Ballet West Part of the Utah Symphony’s 75th Anniversary celebrations involves sharing the stage with other performing arts organizations in Masterworks collaborations that bring together various artforms. Below, Ballet West’s Artistic Director Adam Sklute talks about music, celebration and the art of dance. By Adam Sklute, Artistic Director, Ballet West Ballet and dance are a melding of several artistic forms of expression. How does the physical art of dance meld with the auditory art of music? To me, dance is a physical and emotional manifestation of music. There is music in all things, even silence. How this music makes us, as human beings, respond and react physically and how we move to it is based on the sound—be it uplifting, saddening, joyous or frightening. In classical ballet, as in classical music, the codified vocabulary is structured based on its history and development over hundreds of years. So the physical and emotional response in ballet to a more classical or baroque piece of music will likely (but not always) be more tightly structured, steps and movementwise, while later, more romantic, or contemporary music will generally bring out a freer dance vocabulary. Ballet West will be showcasing new choreography for its Masterworks collaboration with Utah Symphony, Debussy’s Jeux. How does the creative process unfold as it relates to music, dance and overall vision? Jeux was Debussy’s last orchestral work and he wrote it as a “Dance Poem.” It was originally commissioned in 1912 by Serge Diaghilev, impresario of the famed Ballets Russes, as a vehicle for his star dancer Vaslav Nijinsky to choreograph on himself and two leading ballerinas of the day. It was to be about a chance romantic encounter at night between a young man and two women in the Bois de Boulogne. 22
The ballet premiered in Paris in 1913 to respectable if puzzled reviews both for the suggestive subject matter of the libretto and the complexity of the score. Long held preconceptions about ballet and music were being significantly revolutionized during the era of the Ballets Russes between 1909 and 1929 with Nijinsky leading the way with such works as L’Après Midi d’un Faun (also to a score by Debussy) and Le Sacre du Printemps (to Stravinsky’s epic creation). I have long been fascinated by the works of the Ballets Russes and this period in dance and wanted to explore a reworking of Jeux. I wanted to see how the score and the libretto might lend itself to a modern day setting. Would it still be complicated to listen to? Would it still come across as scandalous? At the time I was planning this re-creation, with almost synchronistic coincidence, Thierry Fisher came to me asking if I would like to collaborate and in particular on a ballet to a piece of music he was fascinated by—Debussy’s Jeux. I remember asking rather ruefully if he knew the libretto and he said he did. We both agreed, however, that this was about art. It was about history, music, dance and how composers and choreographers delved into subject matter. I commissioned choreographer Helen Pickett, who is having great success with her works both abstract and narrative round the world, and she brilliantly adapted the original libretto into a current day setting working deftly with the unorthodox ebbs and flows of Debussy’s brilliant score. UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Community Collaboration Spotlight: Ballet West
How do some dancers use music and dance to celebrate in their personal life?
For someone who enjoys the auditory experience of classical music, what do the form, movement and visual elements of ballet bring to the enjoyment and overall experience? In my opinion, ballet is a complete art form, melding music with visual art and the power of movement through the human body. To see a dancer defy gravity with an amazing leap or balance or turn in conjunction with a beautiful piece of music adds a level of visceral dimension, context and sometimes profundity to the already powerful experience of listening to music.
I think dancers use music in their personal lives much as anyone else does. Dancing is their art and their profession, but just like all human beings it can be an expression of joy and celebration. Honestly, dancers are not different in that way, they don’t automatically express themselves in their daily lives through classical ballet any more than an opera singer or classical musician would. But one thing that all three have in common is a deep love for their art and the physical joy it brings them. I am, however, always struck by the fact that dance is in every culture (and species—human and animal as well I might add). In fact, over the past few years I have been to a number of my dancers’ weddings, each of a different faith and denomination, from Catholic Latin American, Jewish, Swedish Lutheran and more. They were culturally different, but all celebrated with dance and music.
Arrive early and enjoy a fun, behind the music lecture for each of our Masterworks concerts. 6:45 PM in the First Tier Room, Abravanel Hall
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TRIO TRIO is a collection of perspectives gathered by community writers from conductors, guest artists and Utah Symphony musicians surrounding a singular theme. As Utah Symphony celebrates its 75th anniversary season, we asked: “Describe the connection between music and celebration in your life.” By Connie Lewis For Jun Märkl guest conducting means becoming part of a new team and seeing what he might contribute to building an orchestra. He likes exploring the different approaches each orchestra takes, accepting suggestions and trying new repertoires. He enjoys working with the Utah Symphony and only wishes he had more time to explore the beauty of the state.
Jun Märkl Chief Conductor for the Basque National Orchestra and Principal Conductor of Pacific Music Festival
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For Maestro Märkl, making music is always a celebration. “Music celebrates specific moments or seasons in life. Music is about creating unforgettable moments. Music is hard work, but always a celebration. The beauty of the performance communicates with the audience. The orchestra plays for the audience and creates something special they won’t forget,” he described in a phone interview. “Music touches your heart in a profound, deep way that doesn’t happen anywhere else in life. Music is a reason to live. It builds a sense of beauty, a sense of value, a sense of life. It is being alive and being able to experience different levels of pure beauty.” Maestro Märkl notes that his role as a conductor is to use music to communicate on an emotional level with the audience. “Celebration is the excitement of seeing something created live on stage and is a close reflection of what a composer experiences in his life. As conductors we uncover the intent and message of the composers and convey that to the audience. We speak with music and tell a story.”
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
TRIO When Emmanuel Pahud was five years old growing up in France, he heard a tune playing at his neighbor’s house. He hummed that tune over and over, and one day he found out that it was Mozart’s Flute Concerto. The boy was so drawn to it, he started flute lessons that eventually led him to the Paris Conservatory, international competitions, and performing all over the world. Mozart’s concertos and sonatas for flute are still among the acclaimed flautist’s favorite pieces. “I was born on January 17 and so was Mozart. It was a good start for my life as a musician. I really love to rediscover the same excitement every time I perform it on-stage.” Music is a celebration for Mr. Pahud, “I see music as moments when people spend two hours together in a concert hall, not just the 200 people on stage, but also the people listening and taking time from hectic lives to make their lives better.” Emmanuel Pahud The Berlin-based flutist best known for his baroque and classical flute repertory
He views live performance as providing an escape from hardship and unifying us through an experience intrinsic to humanity. “We need this particularly in hard times like we are currently having. As a Frenchman, sensitive to what is happening in Europe, getting together, listening and playing music together, helps us be better human beings. After a concert we are all lighter in our hearts.” Karen Wyatt started the violin at the age of five in a public school program. At 13 her family moved to Belgium when her father was stationed there for the U.S. Navy. For three years, Ms. Wyatt studied with one of the violinists from the Belgian National Symphony. She continued her studies and went to Indiana University, earning a degree in violin performance. After graduation she won a fellowship with the New World Symphony in Miami. Now in her third season with the Utah Symphony, Ms. Wyatt says celebrating music comes after all the hard work. “It is widely understood that winning a job in an orchestra is incredibly difficult. Not only do you need to be at your best on the right day at the right time, a complete group of strangers all need to be in agreement that you are the right person for the job. I feel so lucky to have been chosen to play with this fantastic group of people in this amazing city.”
Karen Wyatt Violinist with the Utah Symphony
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Not only did Ms. Wyatt connect with her fellow orchestra members, she also found a husband in percussionist Mike Pape. They wed earlier this spring. “We have reached a huge milestone in our organization’s history,” she added. “As I reflect on this time of celebration, I am reminded of the long road it took to get here and I now view each day in this city, and each concert with this group as a cause for celebration! Here’s to 75 more years!” /
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Ballet West Profiles Since 2007, Adam Sklute has expanded Ballet West’s repertoire, visibility, and overall outlook with exciting Company premieres, increased touring and public exposure, and greater focus on Ballet West Academy and Ballet West II. Under Sklute’s leadership Ballet West has toured extensively, appearing three times at Washington DC’s Kennedy Center for the Performing Arts to sold out audiences; a weeklong engagement at New York City’s Joyce Theater; Chicago’s Auditorium Theater with two separate programs; twice at New York City Center’s Fall for Dance Festival; and twice at the Chicago Dancing Festival. The Company has also appeared at Wolf Trap National Park for the Performing Arts, The Laguna Dance Festival, Aspen, CO, Dallas, TX, twice in Las Vegas, NV, Minneapolis, MN, and Victoria, BC.
Adam Sklute Artistic Director, Ballet West & Ballet West Academy
Utah Symphony looks forward to their collaboration with Ballet West on February 26-27 at Abravanel Hall.
In 2009, Ballet West graced the cover of Dance Magazine for the first time in 25 years and again was on the cover in 2013. Under Sklute, the Company has garnered numerous reviews and articles in such publications as The New York Times, The Washington Post, Dance Magazine, Ballet Review, and Pointe, to name a few. Ballet West was the subject of the BBC Worldwide Production’s docu-drama television series Breaking Pointe which aired for two seasons on The CW channel. Sklute has introduced Ballet West audiences to such renowned contemporary choreographers as Nicolo Fonte, Jiri Kylián, Mark Morris, and Twyla Tharp, among others, all while expanding the company’s Balanchine repertoire and adding early 20th century Diaghilev-era masterpieces. In addition to reintroducing lost elements of Christensen’s production of The Nutcracker and reconstructing his The Firebird, Sklute conceived and produced his own new versions of Swan Lake, The Sleeping Beauty and Giselle. Sklute has created wildly successful annual programmatic additions to the Season, including Family Series and Innovations programs. All in all, in his eight years as Artistic Director, Sklute has introduced over thirty new works and nearly forty world premieres to Ballet West. A native of Berkeley, California, Sklute began dancing at the age of 16. His early training was at the Oakland Ballet and San Francisco Ballet schools. After only two years of formal study, Sklute became one of the last two artists personally chosen by Robert Joffrey for The Joffrey Ballet. He danced with The Joffrey from 1985 to 2000 and then rose through the ranks to Associate Director in 2005. He became Artistic Director for Ballet West in 2007. Sklute has served on the boards of Chicago’s Dance for Life, Salt Lake Community College, School of the Arts Advisory Board; and the Salt Lake County Cultural Facilities Master Plan Advisory Board. He currently serves on the Board of the Gerald Arpino/Robert Joffrey Foundation. A finalist judge and international representative for numerous ballet competitions including the Youth America Grand Prix, Los Angeles’ Spotlight Awards, The International Ballet Competition, The Japan Grand Prix, and an adjudicator for the American College Dance Festival Association, Sklute was listed as one of the 25 Movers and Shakers of the Utah Arts Scene in 2007. In 2014 he was named one of Utah’s Enlightened 50 and received the Utah National Guard’s Bronze Minuteman Award for outstanding service to Utah and the nation.
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Ballet West Profiles
George Balanchine Choreographer
Born on Staten Island, New York, Gerald Arpino studied ballet with Mary Ann Wells while stationed with the Coast Guard in Seattle, Washington. Arpino first met Robert Joffrey at Well’s school. He studied modern dance with May O’Donnell in whose company he appeared in the 1950’s. In 1956, Arpino became a founding member of the Robert Joffrey Theatre Ballet with Robert Joffrey. He served as codirector of the company’s school, the American Ballet Center, and was the leading dancer until an injury forced him to retire from dancing in 1963. By 1965, he had choreographed five works for the company and become the Joffrey’s co-director and resident choreographer. In the first 25 years of the company’s existence, Arpino created more than a third of all its commissioned ballets. After the death of Robert Joffrey in 1988, Arpino became the Artistic Director of the Joffrey Ballet and in 1995 moved the company to Chicago. In July 2007, he was named Artistic Director Emeritus as the search for a successor began. Arpino suffered from prostrate cancer for seven months before his death on October 29, 2008.
Gerald Arpino Choreographer
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George Balanchine is regarded as one of the foremost contemporary choreographers in the world of ballet. He came to America in 1933 and established the School of American Ballet in 1934. In 1948, Balanchine established the New York City Ballet and presented its first program consisting of Concerto Barocco, Orpheus and Symphony in C. Balanchine served as ballet master for the New York City Ballet from 1948 until his death in 1983, choreographing the majority of the productions the company has introduced since its inception. An authoritative catalog of his works lists 425 works created by Balanchine in his lifetime. Balanchine’s style has been described as neoclassic. A gifted musician himself, his response to the Romantic Classicism was to deemphasize the plot in his ballets, preferring to let “dance and music be the star of the show”. Nevertheless, tantalizing hints of a story color his works in such ballets as Apollo, Harlequinade, Liebesliede Waltzer and La Sonnambula. The New York City Ballet and School of American Ballet remain dedicated to the preservation of Balanchine’s ideals.
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Ballet West Profiles
Helen Pickett was born in San Diego, California. 2016 marks 10 years for Helen as a choreographer, creating over 30 ballets in the U.S. and Europe. In addition to Helen’s contemporary ballet choreography, she has collaborated as a choreographer, coach and actress with installation video artists and filmmakers, including Eve Sussman, Toni Dove and Laurie Simmons. She danced with William Forsythe’s Ballet Frankfurt for 11 years, and performed with the theater company Wooster Group in New York for five years. Helen is the Resident Choreographer for Atlanta Ballet, and will choreograph for the Lyric Opera in 2016, and collaborate with Jeff Beal, composer of House of Cards, on new choreography, in the same year. Helen was nominated for the Isadora Duncan Dance Award in 2013, and was named Best Choreographer of Atlanta in 2014 and 2015. She is the producer and creator of the workshop, Choreographic Essentials. In 2006, Dance Europe published Helen’s article, Helen Pickett Considering Cezanne. She earned her Masters of Fine Arts in Choreographer Hollins11:12 University. www.helenpickett.com UFS_SymphonyAd2012.pdf2011 1 from 12/8/11 AM
A NEW PBS ORIGINAL SERIES
Sundays at 9PM Beginning Jan. 17 The lives of diverse characters intersect behind the front lines of the Civil War in the chaos of a hospital in Union-occupied Alexandria, Virginia.
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Utah Symphony gratefully acknowledges the following generous donors who are making our 2015–16 season possible.
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program
Jackiw plays Mendelssohn
Jackiw plays Mendelssohn February 5 / 2016 / 10AM / ABRAVANEL HALL February 5 & 6 / 2016 / 7:30PM / ABRAVANEL HALL JUN MÄRKL , Con du ctor STEFAN JACKIW , Violin
WEBER
Overture to Der Freischütz
MENDELSSOHN
Violin Concerto in E Minor I. II. III.
Allegro molto appassionato Andante Allegretto non troppo - Allegro molto vivace
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Petrushka
STRAVINSKY
I. II. III. IV. FALLA
The Shrovetide Fair Petrushka’s cell The Moor’s Cell The Fair (Toward Evening)
“Ritual Fire Dance” from El amor brujo
75 TH ANNIVERSARY GUEST CONDUCTOR SPONSOR
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artists’ profi les
Jackiw plays Mendelssohn
Jun Märkl has long been known as a highly respected interpreter of the core Germanic repertoire from both the symphonic and operatic traditions, and more recently for his refined and idiomatic explorations of the French impressionists. His long-standing relationships at the state operas of Vienna, Berlin, Munich, and Semperoper Dresden have in recent years been complemented by his Music Directorships of the Orchestre National de Lyon (2005–11) and MDR Symphony Orchestra Leipzig (to 2012). For the 2014–15 and 2015–16 seasons he is Principal Conductor to the Basque National Orchestra and Principal Conductor of Pacific Music Festival (Japan) for 2015. He guests with the world’s leading orchestras, including the Cleveland Orchestra, Philadelphia Orchestra, NHK Symphony Orchestra, Czech Philharmonic, Munich Philharmonic, Oslo Philharmonic, and Tonhalle Orchester Zürich.
Jun Märkl Conductor
Mr. Märkl has been a regular guest at the State Operas of Vienna, Munich, and Semperoper Dresden, and was until 2006 Permanent Conductor of the Bavarian State Opera in Munich. He made his Royal Opera House debut with Götterdämmerung in 1996 and at the Metropolitan Opera with Il Trovatore in 1998, has conducted complete Ring Cycles at the Deutsche Oper and at the New National Theatre in Tokyo, and toured to Japan in 2007 with the Semperoper Dresden (Tannhäuser). Opera projects in 2014–15 include Fidelio in Hamburg and in Cincinnati, Der Rosenkavalier in Budapest, and Idomeneo in Tokyo. Born in Munich, his (German) father was a distinguished concertmaster and his (Japanese) mother a solo pianist. Märkl studied violin, piano, and conducting at the Musikhochschule in Hannover, going on to study with Sergiu Celibidache in Munich and with Gustav Meier in Michigan. In 1986 he won the conducting competition of the Deutsche Musikrat and a year later won a scholarship from the Boston Symphony Orchestra to study at Tanglewood with Leonard Bernstein and Seiji Ozawa. Soon afterwards he had a string of appointments in European opera houses followed by his first music directorships at the Staatstheater in Saarbrücken (1991–94) and at the Der Rosenkavalier (1994–2000).
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artists’ profi les
Jackiw plays Mendelssohn
Violinist Stefan Jackiw is recognized as one of his generation’s most significant artists, captivating audiences with playing that combines poetry and purity with an impeccable technique. Hailed for playing of “uncommon musical substance” that is “striking for its intelligence and sensitivity” (Boston Globe), Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others. In recent seasons, Mr. Jackiw made his Carnegie Hall recital debut performing Stravinsky, Brahms, Strauss and the world premiere of a new work for piano and violin by David Fulmer. Other recent highlights include performances with the St. Louis Symphony under Nicholas McGegan, and with the Rotterdam Philharmonic under Yannick Nézet-Séguin. Mr. Jackiw’s recent return engagements include performances with the Indianapolis Symphony under Krzysztof Urbanski, the Pittsburgh Symphony under Juraj Valcuha, and the Kansas City Symphony under Michael Stern.
Stefan Jackiw Violin
Mr. Jackiw made his European debut age 14 to great critical acclaim, playing the Mendelssohn Violin Concerto with the Philharmonia Orchestra. His sensational performance was featured on the front page of London’s Times, and The Strad reported, “A 14-year-old violinist took the London music world by storm.” Jackiw has also performed abroad with the London Philharmonic, the Orchestre Philharmonique de Strasbourg, the Bournemouth Symphony Orchestra, l’Orchestra del Maggio Musicale Fiorentino, the Royal Liverpool Philharmonic, the Ulster Orchestra of Ireland, the Seoul Philharmonic, and the Deutsches Symphonie-Orchester Berlin. Born in 1985 to physicist parents of Korean and German descent, Mr. Jackiw began playing the violin at the age of four. His teachers have included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. He holds a Bachelor of Arts from Harvard University, as well as an Artist Diploma from the New England Conservatory, and is the recipient of a prestigious Avery Fisher Career Grant. He lives in New York City.
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Carl Maria von Weber (1786–1826)
Overture to Der Freischütz INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets, 3 trombones; timpani; strings PERFORMANCE TIME:
10 minutes
BACKGROUND
Born in 1786 in Eutin, Germany, the opera composer Carl Maria von Weber was—with his compatriot Giacomo Meyerbeer—a leader in the development of the aptly termed “grand opera” form. These epically scaled, spectacular music-dramas were the most elegantly grandiose entertainments of their day. Weber was a musical child whose father, with a backward glance to Leopold Mozart’s successful exploitation of the young Amadeus, sent his son to study with instructors including Michael Haydn. It was under Haydn’s tutelage that Weber published his first composition, a suite of 6 fugues, at age 12. But for the most part, Weber was a self-invented man who led a short, rollicking life. The evidence of his intellectual brilliance is impressive: He wrote music journalism, did early research on European folk music, and learned the highly technical skill of lithographic printing so he could engrave his own works. Through his early teenage years, Weber was precociously writing operas that seemed stage-worthy until they were produced. Despite their failure, these operas continued to hone his craft, and widening professional connections resulted in his appointment as music director at Breslau while he was still in his late teens. Out of his depth but still learning, he resigned his Breslau post in favor of a position as music director to Duke Eugen of Württemberg. The turning point came in 1807, when Weber—by now only 34
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21—earned prominence in an influential circle of leaders in the emerging Romantic movement in the arts and music. Here he met Meyerbeer and was recognized for his excellence as a pianist and guitarist. Though Weber’s passionate nature never cooled, from this time onward it was tempered by a sense of realism and professional discipline. He was happily married and was the most passionate advocate for a German national operatic style, working feverishly for the cause both as a composer and as the director of German opera in Dresden. (A rival company produced Italian operas.) Weber’s continued representation in the opera house and concert hall rests upon three important operas that he composed during the years before his premature death at age 39: Der Freischütz, Euryanthe, and Oberon. Dating from 1821, the first of these, Der Freischütz, is considered the first great Romantic German opera. The third, Oberon, was commissioned by Covent Garden for production in 1826. Against doctor’s orders, Weber travelled to London to help bring it to the stage, even learning English for this purpose. The opera’s premiere was a tremendous success, but Weber paid a terrible price: Shortly before the scheduled date of his return trip to Germany, he was found dead in the lavish guest quarters provided to him by his host, Sir George Smart. WHAT TO LISTEN FOR
One of the innovations in grand operas that Weber helped along was a greater dramatic specificity in the overture: not just in stating musical themes that occur later, but also in creating the atmosphere of the setting and a sense of the incidents that form a stage-worthy dramatic arc. In the case of Der Freischütz, the drama is based on a folk legend concerning a hunter known as a freeshooter who encounters the devil and trades away his soul for the UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
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sake of a few magically infallible bullets. In Weber’s rousing overture we can sense the forests that are the hunter’s haunts, the stress that leads him into temptation, and an eerie sense of the supernatural that made the opera a popular hit. Felix Mendelssohn (1809–1847)
Violin Concerto in E Minor INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets; timpani; strings PERFORMANCE TIME:
27 minutes
BACKGROUND
Back in the 1970s, when your intrepid annotator took his first undergraduate music history course, the professor—a wellregarded musicologist and organist—got a bit melodramatic on the day of the Mendelssohn lecture. “Felix Mendelssohn’s parents saw a ghost,” he told the class gravely. Then he picked up a piece of chalk, held it on its side and wrote M-O-Z-A-R-T on the blackboard in huge, wavy letters, and followed this with tales of Mendelssohn’s Mozartean prowess as a musical prodigy. These days we’re rightly suspicious of such mythology, but for all its hyperbole, it is useful in reminding us of the basics. Felix Mendelssohn was born in Hamburg in 1809, eighteen years after the death of Mozart. Like Mozart’s, Mendelssohn’s genius was evident from earliest childhood. Both had musically talented sisters and parents who were ambitious for their success. But as the scion of a wealthy Jewish family and the grandson of the philosopher Moses Mendelssohn, the young Felix was not viewed as someone whose talents were to be exploited for financial gain, as Leopold Mozart sought to do with Amadeus. Instead, Felix’s father Abraham moved his family UTAHSYMPHONY.ORG
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to Berlin and made their residence there a salon that attracted the most prominent intellectuals of the day. Music and stimulating conversation were constants. Though Abraham and his wife Lea renounced Judaism and were themselves baptized along with their four children as Reformed Christians, the Mendelssohn name and heritage were well known in Europe, and the family never sought to conceal their ethnicity in cultivating their place in European cultural life. Young Felix did not begin piano studies with his mother until the relatively advanced age of six (far older than Mozart), but by then he had been demonstrating his musicality for years; according to another of those irresistible myths, the four-year-old Felix was already in bed for the evening when a visiting pianist pounded an unresolved C-major seventh chord and left it hanging, unresolved. Felix found the lack of finality unbearable. He ran downstairs to the piano, played the tonic chord with equal force, and scampered back to bed. The lesson here: Only a deeply musical soul could be so wounded by an unfinished cadence, and only someone with perfect pitch would know the right key without groping for it. By the time he was in his late teens, he had composed some of his best-known works, demonstrating both superb craftsmanship and a glorious gift for melodies that sing with emotion. Today, six years after the Mendelssohn bicentennial in 2009, we have gained from a thoroughgoing reassessment of the life and career of this remarkable composer, whose works have sometimes been more cherished by the public than by critics. Ironically, the more recent bicentennial observances honoring Richard Wagner, who bore a particular animus toward Mendelssohn (grounded in Wagner’s antiSemitism), have only intensified the renewed MASTERWORKS
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interest in Mendelssohn. The very qualities that make Mendelssohn’s compositions so popular—inspired melodies in abundance, youthful vigor and grace, vivid emotional directness—sometimes led scholars to question their “importance.” Wagner rejected Mendelssohn in particular as a Jewish composer of decorative, sentimental music unworthy of true German culture, and though these views eventually were widely repudiated, they certainly did not help Mendelssohn’s critical standing. Upon reconsideration, we find Mendelssohn to be one of those geniuses who proves that beauty and accessibility do not equate with shallowness. Behind the sunny disposition of his music lies the seriousness of one of the great musical intellects of all time, whose impossible precocity in childhood was on par with Mozart’s. In his tragically short life (he died at age 38 in 1847), Mendelssohn achieved a statesmanlike position in European culture, directing one of the continent’s most important orchestras (the Leipzig Gewandhaus) and spurring revivals of interest in the music of Mozart and J.S. Bach. Most of all, Mendelssohn composed more than his share of indestructible alltime hits of the classical repertoire—works like the violin concerto, the octet, the “Italian” symphony, the incidental music to A Midsummer Night’s Dream with its “Wedding March” now a universal symbol for matrimony. Remarkably for such a popular composer, there is much more about Mendelssohn’s music, especially his majestic choral works, waiting to be discovered. WHAT TO LISTEN FOR
Mendelssohn’s gorgeous violin concerto is one of the three or four most beloved staples of the violin repertory, and is universally regarded as one of the greatest of all violin concertos. Its singing melodies traverse an arc from poetic sadness to sheer joy. Once
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we hear these tunes, they are ours forever. Or do they possess us, as they seem to have possessed Mendelssohn himself? “I would like to write a violin concerto for you next winter,” he famously told his longtime friend, the violinist Ferdinand David, concertmaster of the Leipzig Gewandhaus, in 1838. “One in E minor runs through my head, the beginning of which gives me no peace.” That beginning is the concerto’s dazzling opening, which plunges into a sweetly melancholy statement in the solo violin without the drama-building introduction that precedes the soloist’s entrance in most romantic concertos. This songlike opening statement quickly gives way to a bravura display of notes that swirl downward until the opening theme is restated in the orchestra. From then on, the concerto packs in abundantly virtuosic writing. The movement contains an adventurous, complex development through highly chromatic modulations, introducing a second melody that answers the concerto’s initially melancholy E minor statement with an answer in tranquil, glowing G major. On the way back to the opening E minor theme, Mendelssohn leads the soloist through an innovative cadenza that is fully notated (no improvising allowed). Of this movement’s beautiful features that were modern for their day, note especially the “ricocheting” bow, which oscillates over the strings to voice arpeggios at bullet-speed while the E minor melody is played by the full orchestra. In passages such as this one, the soloist serves as accompanist—but the playing is spectacular. As the excitement of the opening allegro movement subsides, the bassoon continues to sustain its note, a B, as the rest of the orchestra is silent. Moving up a tone to middle C, the bassoon leads us without pause into the concerto’s middle movement, a serene andante in C major. The movement’s lyrical beauty, which UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
program notes
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opens from E minor into C major before incorporating a darker middle section in A minor, incorporates fleet passagework for the soloist. But for many listeners, it serves mainly as a transitional movement between the concerto’s sweetly melancholy opening and its joyful closing movement, an effervescent vivace in E major that sounds like a merry chase through sunny fields. A boisterous coda concludes the concerto. Speaking on the occasion of his 75th birthday in 1906, the great violinist Joseph Joachim aptly described the world’s affection for the Mendelssohn violin concerto: “The Germans have four violin concertos. The greatest, most uncompromising is Beethoven’s. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart’s jewel, is Mendelssohn’s.” Igor Stravinsky (1882—1971)
Petrushka INSTRUMENTATION: 3 flutes, 3rd doubling piccolo, 2 oboes, English horn, 3 clarinets, 3rd doubling bass clarinet, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, bass drum, small snare drum, snare drum, bass drum with attached cymbals, crash cymbals, snare drum without snare, tam tam, tambourine, triangle, xylophone; strings PERFORMANCE TIME:
4/5
he took Rimsky-Korsakov’s suggestion and began work on setting an especially charming tale by Hans Christian Andersen, but even that undertaking seemed jinxed— interrupted as it was by the shattering news of Rimsky-Korsakov’s death in June of 1808. But shortly after that, in 1909, Stravinsky’s career began a sudden and meteoric rise that associated him with another great cultural figure: Serge Diaghilev, the choreographer and impresario who had happened to hear one of Stravinsky’s early compositions, the short orchestral divertissement Fireworks. Seeking a new musical voice for his newly launched Ballets Russes, Diaghilev awarded Stravinsky his first major commission, which proved to be a fateful one: The Firebird. From that point, the trajectory of his rise is almost as famous as the compositions themselves. The shimmering beauty of The Firebird proved sensationally appealing, and its 1910 premiere made Stravinsky a successful composer. Scarcely four years later, the Paris premiere of his daring The Rite of Spring made him internationally famous—and notorious. In between came the charming Petrushka—composed immediately after The Firebird and also based on a Russian folk tale. With these three masterly works Stravinsky’s success was forged in a crucible of dance, thanks to the Ballets Russes and Serge Diaghilev.
34 minutes WHAT TO LISTEN FOR
BACKGROUND
Stravinsky, that towering and patriarchal figure looming over 20th-century music, was blessed with a sense of his own greatness and with the mentorship of Nikolai RimskyKorsakov. But in the beginning of his career as a composer, that was nearly all he had going for him, along with precious few published compositions. Idle and worried, UTAHSYMPHONY.ORG
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Set in the highly atmospheric surroundings of a Russian carnival, the action of Petrushka portrays three puppets brought to life by a devious magician: the hapless Petrushka, awkward and wooden; the pretty ballerina, all grace and always en pointe; and the charismatic, exotic Moor, to whom she is attracted. Stravinsky assigns motifs to each character that are fully MASTERWORKS
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recognizable even when we can’t see them—especially the upward arpeggios of Petrushka, doubled a half-step apart, which somehow convey his high hopes and abject pathos in one simple gesture. The vividness and dramatic appeal of Petrushka’s score result not only from Stravinsky’s brilliant interweaving of character motifs, but also from his sophisticated treatment of Russian folk sources. From the ballet’s first moments, we hear orchestral themes based on street-vendors’ cries. Drunkards dance to the traditional “Song of the Bolochobniki” and the enchanted puppets dance to at least three other Russian tunes before the astonished onlookers at the street fair. In Stravinsky’s artful setting, these songs’ origins are recognizable in Russian folk culture, but they belong to the international language of classical music. Manuel de Falla (1876–1946)
“Ritual Fire Dance” from El amor brujo 2 flutes, 2nd doubling piccolo, 3 oboes, 2 clarinets, bassoon; 5 horns, 2 trumpets; timpani, keyboard; strings INSTRUMENTATION:
PERFORMANCE TIME:
4 minutes
BACKGROUND
Manuel de Falla was one of the late-Romantic composers who emerged in the outpouring of nationalist cultural expression before the Spanish Civil War. With his compatriots Albéniz, Granados, and Joaquin Rodrigo—latter-day champion of the concerto and revivifier of Spain’s love-affair with the guitar—he captured the very soul of Spain in his music. How much of Falla’s unique sound can be attributed to his own genius, and how much to the influence 38
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of Spain-besotted Ravel and Debussy, whose work he knew and admired? It’s difficult to guess. Falla’s unexpected modulations and chromatic inventiveness, which invoke close, complex chords and diminished intervals in fantastically expressive ways, can be inferred from the harmonic vocabulary of the French Impressionist composers. But Falla’s sound! Where Impressionist music shimmers with elegant translucency, Falla’s burns with intensity, bright colors and the brilliance of the Iberian sun. Like Stravinsky, Falla came to the attention of Serge Diaghilev and formed an association with the Ballets Russes that elevated his career— in 1917, when Diaghilev saw a performance of what was then a brief, two-scene ballet called The Three-Cornered Hat and asked Falla to expand it into a full-length ballet. Before that, in 1914 and 1915, Falla composed El amor brujo, or “Love, the Magician.” WHAT TO LISTEN FOR
If Stravinsky’s genius makes us want to sit back and contemplate the intricate beauty of his ballet scores, Falla’s makes us want to get up and dance; sitting still while listening to his music is well-nigh impossible. The bright colors, the crisp rhythms, the sheer passion makes the music seem to smolder and finally to burn outright—especially in the case of the “Ritual Fire Dance.” You may be seized by the urge to stand, square your shoulders, arch your back and step lively as you listen.
But then, you’ve had this exhilarating experience before: This dance is the most popular orchestral excerpt from El amor brujo, and it is one you have heard before, perhaps without know just what it was. Though original to Falla, it is drenched in the characteristic sound of Andalusia and the Gypsy music that Falla loved. Notes by Michael Clive UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Healthcare Night at the Symphony
Healthcare Night at the Symphony, March 25, 2016 Since the 1980s, Healthcare Night has been a fundraising effort led by physicians in support of Utah Symphony | Utah Opera (USUO) Education & Outreach. Contributions amounted to over $100,000 in each of the past two years. In addition to supporting USUO’s 40+ ongoing education programs, these gifts also count toward the 1:1 match in private donations required for USUO to receive public education funding from the Utah State Legislature. This season, Healthcare Night returns on March 25 and features internationally acclaimed pianist Kirill Gerstein in Rachmaninoff’s Piano Concerto No. 2. “I’m a burn surgeon and a surgical educator, and I’m also a season subscriber. Making an annual gift to USUO wasn’t enough for me; I wanted to get involved. When I learned about Healthcare Night, I didn’t hesitate to support the effort. I joined the Healthcare Night committee and, together with thirteen other physicians, raise awareness for USUO’s education programs among my professional contacts. USUO is the shining star of Utah’s arts community, and I deeply respect and appreciate the organization’s commitment to touring the entire state to reach more than 145,000 school children each year. And because I’m heavily involved in undergraduate medical education, I’m especially grateful that USUO invites medical students to attend Healthcare Night for free. My participation in USUO—as patron, donor, and volunteer fundraiser—helps move the organization into a vibrant future. I invite you to join me.” Amalia Cochran, M.D. Associate Professor Vice-Chair, Education & Professionalism, Dept. of Surgery University of Utah School of Medicine Healthcare Night sponsorship packages start at $300 and include tickets to the performance and admission to a special post-concert reception. To find out more about Healthcare Night, contact Melanie Steiner-Sherwood, msteinersherwood@usuo.org or 801.869.9001. For information online or to make a contribution, visit utahsymphony.org/support/healthcare-night.
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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Utah Symphony celebrates its 75th anniversary by creating special performances with our arts partners—and by participating in events throughout the community. In 2015–16, we will highlight more than 75 of these community collaborations. Visit usuo.org/festival to see how integral Utah Symphony has become to life in our community.
P E RP ET UAL motion
CAMPAIGN LEADERSHIP Campaign Co-Chairs Scott and Jesselie Anderson Lisa Eccles Kem and Carolyn Gardner Gail Miller and Kim Wilson Bill and Joanne Shiebler
Honorary Co-Chairs Spencer F. Eccles Jon M. Huntsman The Right Reverend Carolyn Tanner Irish
UTAH SYMPHONY | UTAH OPERA IN PERPETUAL MOTION The 2015–16 season has truly been 75 years in the making. We are grateful for the visionary audacity of our founders, the temerity of our community, and the opportunity to celebrate the legacy given to us today. The momentum and impact of The Campaign for Perpetual Motion, a $20 million public campaign to support special projects and our core priorities in our orchestra, artists, and youth, have set the stage for this celebration and allow us to look forward to the next 75 years. The Campaign began with a remarkable $5 million lead gift from the George S. and Dolores Doré Eccles Foundation, whose tradition of support totaling more than $32 million spans three decades. This lead gift was made in addition to a $1 million gift from the Foundation to our Leadership Campaign, which during 2011 and 2012 prepared a solid foundation for the public fundraising effort. More than 35 individuals, corporations, and foundations contributed to the Leadership Campaign, including an extraordinary $4.6 million capstone gift from O.C. Tanner Company. O.C. Tanner also committed an additional $500,000 to our Anniversary season efforts, bringing their total campaign giving to $5.1 million.
Now you can join the momentum and contribute to our 75th anniversary celebrations, as well as the future well-being of USUO, by participating in our grassroots campaign. As Utah’s flagship arts group, Utah Symphony | Utah Opera belongs to the people of Utah. Our patrons and donors have allowed us to reach new heights in artistic excellence over the past 75 years. By becoming a sustaining patron you will help us achieve even more. Find out more at usuo.org/support/grassroots-campaign
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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
PERP ET UA L motion
We are forever grateful to the following leaders whose visionary support secured the permanence of Utah Symphony | Utah Opera through our Leadership Campaign in 2011 and 2012, and who are setting the stage for its bright future as lead supporters of The Campaign for Perpetual Motion. FOUNDING CAMPAIGN DONORS George S. and Dolores Doré Eccles Foundation ($6 Million) O.C. Tanner Company ($5.1 Million) PRINCIPAL GIVING ($1 Million & above) Gael Benson The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation Kem & Carolyn Gardner Larry H. & Gail Miller Family Foundation Mark & Dianne Prothro Questar® Corporation Patricia A. Richards & William K. Nichols Shiebler Family Foundation Sorenson Legacy Foundation Zions Bank LEADERSHIP GIVING (up to $1 Million) Anonymous (2) Anthony & Renee Marlon Scott & Jesselie Anderson Carol & Anthony W. Middleton, Jr., M.D. Doyle Arnold & Anne Glarner Edward & Barbara Moreton Edward Ashwood & Candice Johnson William H. & Christine Nelson Mr. & Mrs. William C. Bailey Carol & Ted Newlin Dr. J. R. Baringer & Dr. Jeanette J. Townsend Scott & Sydne Parker Thomas Billings & Judge Judith Billings Dr. Dinesh & Kalpana Patel R. Harold Burton Foundation Frank R. Pignanelli & D’Arcy Dixon Howard & Betty Clark John & Marcia Price Family Foundation Thomas D. Dee III & Dr. Candace Dee Bert Roberts Deer Valley Resort Theodore Schmidt E.R. (Zeke) & Katherine W.† Dumke The Sam & Diane Stewart Family Foundation Burton & Elaine Gordon Norman C.† & Barbara Tanner Mr. & Mrs. Martin Greenberg The Right Reverend Carolyn Tanner Irish Dell Loy & Lynette Hansen Naoma Tate & the Family of Hal Tate Roger & Susan Horn M. Walker & Sue Wallace Ronald & Janet Jibson Wells Fargo Frederick Q. Lawson Foundation UTAHSYMPHONY.ORG
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You’re You’re Invited... Invited...
Diamond Diamond Jubilee Jubilee Utah Symphony Guild Utah Symphony Utah Symphony Guild Guild rd rd February 23 rd February 23 February 23 Two TwoThousand ThousandSixteen Sixteen
Two Thousand 5:30 pm Sixteen 5:30 pm 5:30 pm
Dinner Dinner& &Silent SilentAuction Auction Performance by Kurt Bestor Performance by Kurt Bestor Performance KurtOrchestra Bestor with members of the Utahby Symphony
with members of the Utah Symphony Orchestra with members of the Utah Symphony Orchestra
Zions Bank Founder's Room Zions Bank Founder's Zions Bank Founder's Room Room 1 South Main Street - 18th Floor 1 South Main Street - 18th Floor 1 South - 18th Floor $75 Main perStreet person
$75 per person $75 per person
Please RSVP to:to: Please RSVP Please RSVP to: Heather Benson Heather Benson
801-554-3071 801-554-3071 heather.symphonyguild@gmail.com or Heather Benson 801-554-3071
heather.symphonyguild@gmail.com or Marlene Dazley 801-278-8695 heather.symphonyguild@gmail.com or Marlene Dazley 801-278-8695 Marlene Dazley 801-278-8695
Utah Symphony Guild Utah Symphony Utah Symphony Guild Guild 44
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
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Tanner & Crescendo Societies Utah Symphony | Utah Opera thanks the members of our Tanner and Crescendo Societies, patrons who have included USUO in their financial and estate planning. Membership is open to all those who express their commitment through a planned gift at any level. Please contact Kate Throneburg at kthroneburg@usuo.org or 801-869-9028 for more information, or visit our website at usuo.giftplans.org.
Tanner Society of Utah Symphony Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers Grace Higson†
Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Joyce Merritt† Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bentley Kenneth A. & Jeraldine S. Randall Robert L.† & Joyce Rice
Mr. & Mrs. Alvin Richer Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffrey & Joyce Smith G. B. & B. F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace
Herbert C. & Wilma Livsey Mrs. Helen F. Lloyd† Gaye Herman Marrash Ms. Wilma F. Marcus† Dr. & Mrs. Louis A. Moench Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Pauline C. Pace† Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn
Helen Sandack† Mr. Grant Schettler Glenda & Robert† Shrader Dr. Robert G. Snow† Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† Kathleen Sargent† JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Afton B. Whitbeck† Edward J. & Marelynn Zipser
Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Patricia Dougall Eager† Mr.† & Mrs.† Sid W. Foulger Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Mr. Ray Horrocks† Richard W. James† Estate Mrs. Avanelle Learned† Ms. Marilyn Lindsay Turid V. Lipman
Crescendo Society of Utah Opera Anonymous Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Dr. Robert H. † & Marianne Harding Burgoyne Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage
Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean Henkels Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Constance Lundberg Gaye Herman Marrash Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin
Pauline C. Pace† Stanley B. & Joyce Parrish Patricia A. Richards & William K. Nichols Mr. & Mrs. Alvin Richer Robert L.† & Joyce Rice Richard G. Sailer† Jeffrey W. Shields G. B. & B. F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser †Deceased
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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Plan Big.
Plan Big.
Your legacy, our future. The legacy you leave should be as powerful as the music you love. By making a planned gift to Utah Symphony | Utah Opera, you can know that your legacy will be state-wide education programs and excellence in both symphonic and operatic music. With your help, our future will be great as our artists continue to garner national acclaim with their performances, renowned recordings, tours across the state and beyond, and meaningful music education programs for the children of Utah. By including USUO in your plans, your legacy will impact the state of Utah through excellent music, in our homes of Abravanel Hall and Capitol Theatre, and on the road.
To learn more about how your estate planning can benefit USUO and you, please call Kate Throneburg at 801-869-9028, or visit us online at usuo.giftplans.org.
UTAHSYMPHONY.ORG
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Corporate & Foundation Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last twelve months. For a listing of season honorees who have made gifts of $10,000 and above see pages 16–20.
$5,000 to $9,999 Anonymous (2) Bambara Restaurant* Bourne-Spafford Foundation Diamond Rental* Discover Financial Services The Jarvis & Constance Doctorow Family Foundation The Dorsey & Whitney Foundation DoubleTree Suites* Spencer F. & Cleone P. Eccles Family Foundation EY Hilton Hotel* Hoak Foundation J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Macy’s Foundation Larry H. Miller Sandy Ford Lincoln Martine* McCarthey Family Foundaton New York LTD Ogden Opera Guild Ruth’s Chris Steak House, Salt Lake City* Sky Harbor Apartments* Union Pacific Foundation Vanguard Charitable Endowment Program Victory Ranch & Conservancy $1,000 to $4,999 Anonymous Advanced Retirement Consultants Bertin Family Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Castle Foundation City Creek Center** Deseret Trust Company
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Durham Jones & Pinegar, P.C. Henry W. & Leslie M. Eskuche Charitable Foundation ExxonMobil Foundation Goldener Hirsch Inns* Goldman Sachs Victor Herbert Foundation Homewood Suites by Hilton* Hyatt Place Hotel* Intermountain Healthcare Jones & Associates Kirton | McConkie Kura Door* Lewis A. Kingsley Foundation Marriott City Center* MedAssets Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation Park Hyatt New York* The Prudential Foundation Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation Squatters Pub Brewery* Stoel Rives Strong & Hanni, PC Summerhays Music* Swire Coca-Cola USA* Bill & Connie Timmons Foundation United Jewish Community Endowment Trust Utah Families Foundation The George B. and Oma E. Wilcox & Gibbs M. and Catherine W. Smith Foundation
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
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Individual Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last twelve months. For a listing of season honorees who have made gifts of $10,000 and above see pages 16–20.
ABRAVANEL & PETERSON SOCIETY $5,000 to $9,999 Anonymous (3) Mr. & Mrs. Alan P. Agle Fred & Linda Babcock E. Wayne & Barbara Baumgardner Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair Carol, Rete & Celine Browning Neill & Linda Brownstein Michael & Vicki Callen Ken & Shelly Coburn Amalia Cochran Marc & Kathryn Cohen Spencer & Cleone† Eccles J. I. “Chip” & Gayle Everest Jack & Marianne Ferraro John F. Foley, M.D. & Dorene Sambado, M.D.** Mr. Joseph F. Furlong III Ray & Howard Grossman David & SandyLee Griswold** John & Dorothy Hancock Robert & Carolee Harmon Gary & Christine Hunter Mary P. Jacobs† & Jerald H. Jacobs Family Dale & Beverly Johnson Robert & Debra Kasirer Roger & Sally Leslie Thomas & Jamie Love Mr. & Mrs. Charles McEvoy Elinor S. McLaren & George M. Klopfer Leslie Peterson & Kevin Higgins Rich & Cherie Meeboer Brooks & Lenna Quinn Dr. Richard & Frances Reiser Mr. & Mrs. Robert Rollo Peggy & Ben Schapiro Mr. & Mrs. D. Brent Scott Stuart & Molly Silloway Elizabeth Solomon Dorotha Smart Melia & Mike Tourangeau Albert & Yvette Ungricht Kathleen Digre & Michael Varner $3,000 to $4,999 Anonymous (2) Robert & Cherry Anderson Richard† & Alice Bass
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Charles Black Robert W. Brandt Jonathan & Julie Bullen Brian Burka & Dr. Jerry Hussong Lindsay & Carla Carlisle Robyn Carter Mark & Marcy Casp Dr. H. Sam & Kuiweon Cho Hal & Cecile Christiansen Edward & Carleen Clark Mr. & Mrs. Kenneth R. Cutler Gary & Debbi Cook Mike Deputy B. Gale† & Ann† Dick Midge & Tom Farkas Flynn Family Foundation Jeffrey L. Giese, M.D. & Mary E. Gesicki Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Annette & Joseph Jarvis James & Penny Keras Hanko & Laura Kiessner Jeanne Kimball Paul Lehman Herbert C. & Wilma S. Livsey Peter & Susan Loffler Daniel Lofgren David & Donna Lyon Mr. & Mrs. Wayne Lyski Mac & Ann MacQuoid David Mash Richard & Anne Mastain Daniel & Noemi P. Mattis Michael & Julie McFadden Hallie & Ted McFetridge Richard & Jayne Middleton Mr. & Mrs. Richard Mithoff Marilyn H. Neilson Christie Mullen Mr. & Mrs. Alvin Richer Gina Rieke Dr. Wallace Ring Richard & Carmen Rogers William G. Schwartz & Joann Givan Marilyn Sorensen Verl & Joyce Topham Mr. & Mrs. Glen R. Traylor Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff Ardean & Elna Watts Suzanne Weaver Jeremy & Hila Wenokur David & Jerre Winder Gayle & Sam Youngblood
$2,000 to $2,999 Anonymous (4) Craig & Joanna Adamson Fran Akita Drs. Wolfgang & Jeanne Baehr Dr. Melissa Bentley Anneli Bowen, M.D. & Glen M. Bowen M.D. Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Mr. & Mrs. William D. Callister, Jr. Paul & Denise Christian Raymond & Diana Compton David & Sandra Cope** Dr. & Mrs. Thomas Coppin David & Karen Dee Margarita Donnelly Robert Edwards Mr. & Mrs. Robert Ehrlich Neone F. Jones Family Robert S. Felt, M.D. William Fickling Blake & Linda Fisher Sarah Foshee Robert & Annie-Lewis Garda Heidi Gardner Diana George Susan Glassman & Richard Dudley Randin Graves The James S. Gulbrandsen, Sr. Family C. Chauncey & Emily Hall Dennis & Sarah Hancock John B. & Joan Hanna Geraldine Hanni Richard & Norma Herbert Sunny & Wes Howell Dixie & Robert Huefner Jay & Julie Jacobson M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Pauline Weggeland-Johnson James R. Jones & Family Mr. & Mrs. Alan D. Kerschner Susan Keyes & Jim Sulat J. Allen & Charlene Kimball Carl & Gillean Kjeldsberg Mr. Darryl Korn & Ms. Jeannie Sias Mr. & Mrs. Christopher J. Lansing Donald L. & Alice A. Lappe James Lether Harrison & Elaine Levy
Elizabeth & Michael Liess Bill Ligety & Cyndi Sharp Mr. & Mrs. Kit Lokey Jed & Kathryn Marti David & Nickie McDowell Mike & Jennifer McKee Warren K. & Virginia G. McOmber Mr. & Mrs. Michael Mealey George & Nancy Melling George & Linda Mendelson Matt & Andrea Mitton Dr. Louis A. Moench & Deborah Moench Barry & Kathy Mower Mr. & Mrs. Ralph Muller Dan & Janet Myers James & Ann Neal Rachel L. Oberg Dr. & Mrs. Richard T. O’Brien Thomas & Barbara O’Byrne Bradley Olch O. Don & Barbara B. Ostler Dr. Thomas Parks & Dr. Patricia Legant Linda S. Pembroke Joel & Diana Peterson Dr. & Mrs. S. Keith Petersen Jon Poesch Victor & Elizabeth Pollak Steven Price Dan & June Ragan Dr. & Mrs. Marvin L. Rallison Thomas Safran Mark & Loulu Saltzman Margaret P. Sargent Shirley & Eric Schoenholz K. Gary & Lynda Shields Gibbs & Catherine W. Smith Christine St. Andre & Cliff Hardesty Larry R. & Sheila F. Stevens Gerald & Barbara Stringfellow Karen Urankar William & Donna R. Vogel John & Susan Walker Gerard & Sheila Walsh Susan Warshaw Bryan & Diana Watabe $1,000 to $1,999 Anonymous (3) Carolyn Abravanel Christine A. Allred Patricia Andersen Joseph & Margaret Anderson
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Individual Donors
Drs. Crystal & Dustin Armstrong David & Rebecca Bateman Barry Bergquist C. Kim & Jane Blair Rodney & Carolyn Brady Timothy F. Buehner Foundation Mr. & Mrs. Lee Forrest Carter William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Carol Coulter Margaret Dreyfous Howard Edwards Dr. Richard J. & Barbara N. Eliason Naomi K. Feigal Mr. & Mrs. Eric Garen Michael & Catherine Geary Ralph & Rose Gochnour Robert Graham Dr. & Mrs. John E. Greenlee Robert & Marcia Harris Dr. Alan B. Hayes Lex Hemphill & Nancy Melich John Edward Henderson Mr. John P. Hill, Esq. Steve Hogan & Michelle Wright Connie C. Holbrook The Steven Horton Family Kay Howells Mr. & Mrs. Jerry Huffman David & Caroline Hundley Todd & Tatiana James Drs. Randy & Elizabeth Jensen Maxine & Bruce Johnson
Chester & Marilyn Johnson Mr. & Mrs. Clark D. Jones Dr. & Mrs. Michael A. Kalm Umur Kavlakoglu Travis & Erin Kester Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Lisa & James Levy Christopher & Julie McBeth Oren & Liz Nelson Stephen & Mary Nichols Mary Jane O’Connor Ruth & William Ohlsen Barbara Patterson Rori & Nancy Piggott W. E. & Harriet R. Rasmussen Mr. Bill Reagan Debra Saunders Ralph & Gwen Schamel Grant Schettler Deborah Schiller Mr. August L. Schultz Bradley Senet Angela Shaeffer Karen Shepherd Margot L. Shott† Barbara Slaymaker Otto Smith Phillip & Jill Smith Elizabeth Sullentrop Amy Sullivan & Alex Bocock Douglas & Susan Terry Carol A. Thomas Mr. & Mrs. Vincent Trotta Robb Trujillo Rachel Varat-Navarro Mr. & Mrs. Brad E. Walton Pam & Jonathan Weisberg
Michael & Judy Wolfe E. Art Woolston & Connie Jo Hepworth-Woolston Marsha & Richard Workman Mr. & Mrs. Hugh Zumbro In Honor of Barbara & Steven Anderson Paula J. Fowler David Park Mark & Dianne Prothro Patricia A. Richards Susan Schulman Erin Svoboda In Memory Of Mary & Connie Anderson Jay T. Ball Berry Banks David Wells Bennett Mikhail Boguslavsky Robert H. Burgoyne, M.D. Stewart Collins Kathie Dalton Ann Dick John R. Dudley Carolyn Edwards Ed Epstein Loraine L. Felton Neva Langley Fickling Calvin Gaddis Anton Gasca Patricia Glad Gloris Goff Herold L. “Huck” & Mary E. Gregory Carolyn Harmon Judith Ann Harris Duane Hatch Steve Horton
Mary Louis Scanlan Humbert Eric Johnson Howard Keen Tony Larimer Robert Louis Beverly Love Clyde Dennis Meadows Chester Memmott Jean Moseley Joseph Palmer Scott Pathakis Chase N. Peterson Klaus Rathke Kathy Sargent Shirley Sargent Ruth Schwager Ryan Selberg Dr. Ann O’Neill Shigeoka Robert P. Shrader Joseph Silverstein David Bennett Smith Tamie Speciale John Henry “Jack” Totzke Roger Van Frank David Wagstaff Rick Wallace Marjorie Whitney Sandra Wilkins Bruce Woodward Rosemary Zidow *In-kind gift **In-kind & cash gift † Deceased Donations as received between 11/15/14 to 11/15/15
T H e a r T o f g o o d e aT i n g .
D o w n to w n
60 West Market street (350 south) 801-363-0166 www.newyorkerslc.com
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Sound Bites: The Romantic Era The Utah Symphony will explore various Romantic Era composers throughout January and February, including Respighi, Grieg, Schreker, Korngold, and Weber. But what does Romanticism really mean? By Anna Allen
AN AGE OF CONTRASTS Wagner once said of himself, “I am not made like other people…I must have brilliance and beauty and light.” It is this focus on the individual that defined the Romantic Era. Unlike the Classical Period before it, which showed more restraint, the Romantic Period valued self-expression and musical exploration. Composers from this period range from Brahms, who had more of a Classical style, to Tchaikovsky, whose music is chiefly focused on emotion. As Phil Goulding states in his book, Classical Music: The 50 Greatest Composers and Their 1,000 Greatest Works, “It was an age of contrasts for the composers…given the prevailing drive for individual expression and emotion. There was the intimacy of Chopin…the thundering piano concertos of Liszt, the lyrical love songs of Schumann, the dazzling orchestration of Berlioz, the restraint of Mendelssohn, and the dramatic brooding of Wagner.” With such a broad range of sounds and styles, there’s something for everyone from the Romantic period. WHAT’S IN A NAME? Did you know: Although some Romantic works expressed ideas of “romance,” meaning love (or perhaps an unhealthy obsession, in the case of Berlioz) the term “romantic” actually has a different meaning when referring to the Romantic period of
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music. Phil C. Goulding explains, “The period takes its name from the medieval stories and poems called ‘romances,’ which centered on heroic figures and were written not in formal scholars’ Latin but in the language of the people—Italian, French, and Spanish.” THE MARKSMAN One important component of music from the Romantic period was a sense of nationalism. Karl Maria von Weber exemplified this quality in his work Der Freischütz (The Marksman). Weber wanted to make a truly German opera and he found just the inspiration he was looking for in an old folktale. In true Romantic form, Weber used different types of sounds in the opera to represent different ideas or themes. The opera’s story itself is also very typical of the period, showing the timeless battle between good and evil. The piece was met with unanimous praise, and (perhaps it’s no coincidence) two years after the premiere of Der Freischütz, Weber went to visit one of the great (also German) Romantic influences, Beethoven. Apparently Beethoven, who was generally described as being quite disagreeable, was kind and friendly with his fellow composer. In a letter to his wife, Weber describes the visit saying, “He received me with an affection that was touching…We dined together very cheerfully and pleasurably.”
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
PhoTo bY Jeff GoldberG/eSTo.
Utah Symphony at Carnegie Hall Friday, April 29, 2016
Stern Auditorium / PerelmAn StAge At CArnegie HAll 57tH Street And SeventH Avenue, new York, new York
tHierrY FiSCHer, c onduc tor
Haydn Bartók andrew norman ProkoFIeV
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Colin Currie , percu ssion
Symphony No. 96 “The Miracle” Suite from The Miraculous Mandarin Switch (Utah Symphony commission, NY Premiere) Selections from Romeo & Juliet
Utah Symphony returns to Carnegie Hall for the first time since 1975. Plan now to join us in New York City for this thrilling performance on one of the world’s grandest stages. For tickets, visit the Carnegie Hall box office, CarnegieHall.org, or call CarnegieCharge at (212) 247-7800. For viP package information call (801) 869-9011.
Lead SponSor
Tour SponSor
Sam and diane Stewart 7 5 th a n n i v e r S a r y S i g n a T u r e S p o n S o r
preSenTing SponSor
Administration ADMINISTRATION Patricia A. Richards Interim President & CEO David Green Senior Vice President & COO Julie McBeth Executive Assistant to the CEO Jessica Chapman Executive Assistant to the COO & Office Manager SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director Anthony Tolokan Vice President of Symphony Artistic Planning Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director Llew Humphreys Director of Orchestra Personnel Nathan Lutz Orchestra Personnel Manager Lance Jensen Executive Assistant to the Music Director and Symphony Chorus Manager SYMPHONY OPERATIONS Jeff Counts Vice President of Operations & General Manager Cassandra Dozet Operations Manager Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager Melissa Robison Program Publication & Front of House Manager Erin Lunsford Artist Logistics Coordinator 0PERA ARTISTIC Christopher McBeth Opera Artistic Director Carol Anderson Principal Coach Michelle Peterson Opera Company Manager Shaun Tritchler Production Coordinator DEVELOPMENT Leslie Peterson Vice President of Development Hillary Hahn Senior Director of Institutional Gifts Natalie Cope Director of Special Events & DVMF Community Relations Melanie Steiner-Sherwood Annual Giving Manager Kwynn Everest Manager of Corporate Partnerships
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Lisa Poppleton Grants Manager Kate Throneburg Development Manager Conor Bentley Development Coordinator Heather Weinstock Special Events Coordinator MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations Renée Huang Director of Public Relations Chad Call Marketing Manager Aaron Sain Graphic Design & Branding Manager Mike Call Website Manager Ginamarie Marsala Marketing Communications Manager PATRON SERVICES Nina Richards Director of Ticket Sales & Patron Services Natalie Thorpe Patron Services Manager Faith Myers Sales Manager Andrew J. Wilson Patron Services & Group Sales Assistant Ellesse Hargreaves Patron Services Coordinator Jackie Seethaler Garry Smith Powell Smith Robb Trujillo Sales Associates Nick Barker Maren Christensen Ivan Fantini Hilary Hancock Emily O’Connor Aubrey Shirts Ticket Agents ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO Mike Lund Director of Information Technologies SaraLyn Pitts Controller Alison Mockli Payroll & Benefits Manager Jared Mollenkopf Patron Information Systems Manager Julie Cameron Accounts Payable Clerk
EDUCATION Paula Fowler Director of Education & Community Outreach Beverly Hawkins Symphony Education Manager Tracy Hansford Education Coordinator Mandi Titcomb Education Fellow Timothy Accurso Sarah Coit Jessica Jones Markel Reed Christian Sanders Resident Artists OPERA TECHNICAL Jared Porter Opera Technical Director Nathan Kluthe Assistant Technical Director Kelly Nickle Properties Master Lane Latimer Assistant Props Keith Ladanye Production Carpenter John Cook Scene Shop Manager & Scenic Artist COSTUMES Verona Green Costume Director Melonie Fitch Assistant Rentals Supervisor Kierstin Gibbs LisaAnn DeLapp Rentals Assistants Milivoj Poletan Tailor Tara DeGray Cutter/Draper Anna Marie Coronado Milliner & Crafts Artisan Chris Hamberg Yoojean Song Connie Warner Stitchers Yancey J. Quick Wigs/Make-up Designer Shelley Carpenter Tanner Crawford Daniel Hill Michelle Laino Wigs/Make-up Crew
We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
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Classical 89 Broadcasts
January 2 | 9:30 AM
January 30 | 9:30 AM
January 9 | 9:30 AM
February 6 | 9:30 AM
January 16 | 9:30 AM
February 13 | 9:30 AM
TCHAIKOVSKY Symphony No. 6, Mvt. I Thierry Fischer, Conductor (recorded 4/12/13) TCHAIKOVSKY Suite from The Sleeping Beauty, Mvts. I-V Thierry Fischer, Conductor (recorded 4/12/13) TCHAIKOVSKY Piano Concerto No. 1, Mvt. III: Allegro con fuoco Conrad Tao, Piano Thierry Fischer, Conductor (recorded 4/12/13)
January 23 | 9:30 AM
TCHAIKOVSKY Symphony No. 5, Mvt. IV Thierry Fischer, Conductor (recorded 4/12/13)
TCHAIKOVSKY Symphony No. 6, Mvt. II Thierry Fischer, Conductor (recorded 4/12/13) TCHAIKOVSKY Symphony No. 6, Mvt. IV Thierry Fischer, Conductor (recorded 4/12/13) BERLIOZ Symphonie fantastique, Mvts. IV, V Thierry Fischer, Conductor (recorded 4/27/13)
February 20 | 9:30 AM
DVOŘÁK Violin Concerto Augustin Hadelich, Violin Vladimir Kulenovic, Conductor (recorded 5/25/13)
February 27 | 9:30 AM
DVOŘÁK Slavonic Dances, Opus 72, Nos. 1-4 Vladimir Kulenovic, Conductor (recorded 5/25/13)
classical89.org UTAHSYMPHONY.ORG 89.1 & 89.5 fm
/
by Autumn Thatcher (801) 533-NOTE
59
What do YOU remember about 5th grade?
If you grew up along the Wasatch Front, your memories might include a field trip to abravanel hall to hear the utah Symphony. the tradition continues. each year most of the 5th graders in Canyons, davis, Granite, Jordan, murray, Salt Lake and tooele school districts ride their yellow school buses to hear the talented, professional musicians of our orchestra perform in the acoustical splendor of abravanel hall. before students come to the concert, their teachers receive materials about the concert and a trained utah Symphony docent visits their school to help prepare them for the concert. Slides are projected above the orchestra before and during the concert to entertain and help keep the learning lively. In 2014–15, 20,290 students and 958 teachers attended our 5th Grade Concerts.
for the 2015–16 concerts, utah Symphony associate Conductor rei hotoda has programmed music that depicts and celebrates the beauty of nature. We’re looking forward to sharing these musical impressions with this year’s audiences. Fifth grade concerts take place between February 3 and april 5, 2016.
Please suPPort our education & community outreach Programs. by donating you help provide arts events for students, aid classroom teachers, invest in the future citizens of utah, and support your utah Symphony and utah opera. donate today! Contact our development department at (801) 869-9015.
House Rules ASSISTIVE LISTENING DEVICES: Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Abravanel Hall. Ask at the Coat Check for details. WHEELCHAIR SEATING: Ample wheelchair seating is available. Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager. LATECOMERS: In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating will be used. During some productions late seating may not occur until an intermission. When traveling to performances, please allow ample time for traffic delays, road construction, and parking. YOUNG CHILDREN: As a courtesy to other audience members, please ensure that children at performances are not disruptive during the show. Babes-in-arms are not allowed in the hall during performances unless specifically indicated.
QUIET PLEASE: As a courtesy to performers on stage and to other audience members, please turn off cell phones, pagers, beeping watches, or any other noisemaking device. Also, please refrain from allowing concession items such as candy wrappers and water bottles to become noisy during the performance. CLEANLINESS: Thank you for placing all refuse in trash receptacles as you exit the theatre. COPYRIGHT ADHERENCE: In compliance with copyright laws, it is strictly prohibited to take any photographs or any audio or video recordings of the performance. NEED EXTRA LEG ROOM? Let us know when making reservations; we can help. EMERGENCY INFORMATION: In the event of an emergency, please remain seated and wait for instructions. Emergency exits are located on both sides of the house. Please identify the exit closest to your location.
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 MARKET STREET GRILL DOWNTOWN 48
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
Consistently Rated “Tops”–Zagat 60 W. Market Street • 801.363.0166
Salt Lake City’s #1 Most Popular Restaurant –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
Acknowledgments UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR
Melissa Robison
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Ballard Spahr Andrews & Ingersoll, LLP Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo GOVERNMENTAL RELATIONS REPRESENTATIVE Frank Pignanelli, Esq. NATIONAL PR SERVICES Provided By Shuman & Associates, New York City ADVERTISING SERVICES By Love Communications, Salt Lake City. Utah Symphony | Utah Opera is funded by the Utah Division of Arts & Museums, 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. The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief. Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts.
801-485-1107 62
By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
THANK YOU TO OUR ADVERTISERS
Bambara Caffè Molise Challenger School City Creek Living Daynes Music Durham Jones & Pinegar Excellence in the Community Fleming’s Humane Society KUED Little America Hotel New Yorker
Parsons Behle & Latimer Plan B Theatre Protel Networks RC Willey Ruth’s Chris Sagewood at Daybreak Salt Lake School for the Performing Arts Security National Mortgage Sinclair Tuacahn United Way
University Credit Union University of Utah Health Care Utah Food Services Webster Media Zions Bank If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833
/upcoming concerts Saint-Saëns’ “Egyptian” Piano Concerto March 4 & 5
/ 2016
7:30PM
AbrAvAnEl HAll
Matthias Pintscher, conductor MATTHIAS PInTSCHEr SAInT-SAËnS rAvEl DEbUSSY
Teo Gheorghiu, piano
Idyll for Orchestra (2014) Piano Concerto No. 5 “Egyptian” Alborado del gracioso La mer
verdi’s Aida March 12, 14, 16, 18 March 20
/ 2016
2PM
/ 2016
7:30PM
JAnET QUInnEY lAwSon CAPITol THEATrE
In Ancient Egypt, a captive Ethiopian princess, Aida, is torn between her love for the Egyptian commander Radamès and her loyalty to her own father and country. The lovers must fend off the schemes of a fiercely jealous Egyptian princess and decide whether true love trumps honor and duty.
The Probably Untrue Story of Mary (who) Had a little lamb March 19
/ 2016
11AM & 12:30PM
Rei Hotoda, conductor
AbrAvAnEl HAll
Micah Levy, composer & narrator
Follow along with Mary and her little lamb, Petunia, as they set out on a journey that goes well beyond the nursery rhyme. Join in the fun and laughter while learning about various instruments and musical compositions in a clever and unexpected way.
rachmaninoff’s Piano Concerto no. 2 March 25 & 26
/ 2016
Robert Spano, conductor wAGnEr rACHMAnInoFF rESPIGHI rESPIGHI
7:30PM
AbrAvAnEl HAll
Kirill Gerstein, piano “Good Friday Spell” from Parsifal Piano Concerto No. 2 Fountains of Rome Pines of Rome
/upcoming concerts Holst’s The Planets – An HD odyssey April 8 & 9
/ 2016
7:30PM
AbrAvAnEl HAll
Hans Graf, conductor lIGETI SCrIAbIn HolST
Women Of Utah Symphony Chorus
Atmosphéres Poem of Ecstasy The Planets
Prokofiev’s Romeo & Juliet with Utah Shakespeare Festival April 15 & 16
/ 2016
7:30PM
AbrAvAnEl HAll
Thierry Fischer, conductor Actors from Utah Shakespeare Festival r. STrAUSS ProKoFIEv
Suite from Der Rosenkavalier Selections from Romeo & Juliet
let’s Dance! April 22 & 23
/ 2016
7:30PM
Jeff Tyzik, conductor Stephen Edward Sayer, Chandrea Roettig, Patricio Touceda, Eva Lucero, Forest Walsh, Melissa Shahin, dancers
AbrAvAnEl HAll
Ted Louis Levy, tap dancer Michael Lynche, vocalist Julie Jo Huges, vocalist
Don your dancing shoes and be prepared to bounce in your seat as conductor Jeff Tyzik and the Utah Symphony are joined by renowned dancers and singers for an evening full of swinging musical favorites.
The life & Times of beethoven April 23
/ 2016
11AM & 12:30PM
Rei Hotoda, conductor Michael Boudewyns, guest artist
AbrAvAnEl HAll
Really Inventive Stuff, theatre company
The entire family will enjoy the music of Beethoven’s Fifth Symphony while learning the story behind this iconic composer. Creative narration and physical performance explain what it was like for Beethoven to go deaf and how he and his music overcame that unique challenge.
CHOOSE ANy 4+ PERFORMANCES and SAvE 20%. ReseRve youR seats today at
utahsymphony.oRg oR call 801-533-NOTE (6683)
THREE DELICIOUS COURSES ONE INCREDIBLE EVENING
Prime Time EXPERIENCE OUR
DINNER MENU
offered nightly until 6:30pm 3 —COURSE MENU STARTING AT
$ 44. 95
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