Prokofiev’s Romeo and Juliet with Utah Shakespeare Festival by Mills Publishing Inc.

MAR – APR / 2015–16 UTAH SYMPHONY SEASON THE SOUND of INSPIRATION

CONTENTS PREPRINT 2 STAGE ARTS STAGE ARTS STAGE ARTS STAGE ARTS OPEN 1/2 V 23 OPEN 1/4 PAGE

11 12 13 14 61

PREPRINT

/upcoming concerts The Music of Mozart May 5

/ 2016 / 7:30PM / ST. Mary’S ChurCh (1505 White Pine Canyon Rd., Park City)

Rei Hotoda, conductor MOZART MOZART MOZART MOZART

Jason Hardink, piano

Divertimento in D Major Piano Concerto No. 13 Eine kleine Nachtmusik Piano Concerto No. 14

Mozart’s The Marriage of Figaro May 7, 9, 11, 13 May 15

/ 2016 / 7:30PM

/ 2016 / 2PM / JaneT Quinney LawSon CaPiToL TheaTre

On the eve of Figaro’s marriage to Susanna, the Count’s wandering eye has landed on the lovely bride-to-be. Servant and master go head to head in Mozart’s comedic masterpiece that brilliantly delivers a timeless message of love and forgiveness.

all-Star evening May 17

/ 2016 / 7PM / abravaneL haLL

Rei Hotoda, conductor

Witness the talent of Utah’s young musicians! The state’s best high school instrumentalists perform side-by-side with the Utah Symphony as one very special young musician performs as soloist.

Gershwin’s Piano Concerto May 20 & 21

/ 2016 / 7:30PM / abravaneL haLL

Cristian Măcelaru, conductor BARBER GERSHWIN DVOŘÁK

Joyce Yang, piano

Essay No. 2 Piano Concerto Symphony No. 6

Mahler’s Symphony no. 9 May 27 & 28

/ 2016 / 7:30PM / abravaneL haLL

Thierry Fischer, conductor MAHLER

Symphony No. 9

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Contents PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow

Saint-Saëns Egyptian Piano Concerto

Rachmaninoff’s Piano Concerto No. 2

ART DIRECTOR / PRODUCTION MANAGER Jackie Medina

March 4–5, 2016

March 25–26, 2016

Holst’s The Planets

Prokofiev’s Romeo and Juliet with Utah Shakespeare Festival

April 8–9, 2016

April 15–16, 2016

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 EDITOR Melissa Robison

Tonight’s Concert

3 Upcoming Performances 6 Welcome 8 Utah Symphony

Let’s Dance

10 Board of Trustees

April 22–23, 2016

16 Testimonial

15 Music Director 17 Season Sponsor 18 Season Honorees 22 Utah Symphony to Carnegie Hall

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.

40 Make It Your Masterpiece

50 Individual Donors

25 Trio 32 Utah Shakespeare Festival 34 Season Sponsors 43 Perpetual Motion 46 Tanner & Crescendo Societies 47 Plan Big 48 Corporate & Foundation Donors 49 Utah Symphony Guild 54 Administration 59 Classical 89 Broadcasts 60 Sound Bites 62 Education 64 Acknowledgments

@UtahSymphony

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. It has been a truly inspirational season for all of us celebrating the 75th anniversary of the Utah Symphony and we hope you take pride as you witness the many ways that Utah Symphony is demonstrating the highest levels of artistic excellence. In acknowledgment of this achievement and your enthusiastic attendance at performances, our 75th Anniversary Signature Sponsor, the George S. and Dolores Doré Eccles Foundation, recently made a remarkable commitment of $3 million to our organization. In addition to supporting our Campaign for Perpetual Motion and ongoing annual fund efforts, this pledge includes a $500,000 challenge grant to help USUO reach our $20 million campaign goal before the end of the 2015–16 season. The generosity

Thierry Fischer Symphony Music Director

of the George S. and Dolores Doré Eccles Foundation has made a remarkable impact on Utah Symphony | Utah Opera over many years that is impossible to overstate. We hope that you will consider helping us meet the matching challenge grant with a new or increased donation to demonstrate what USUO means to you and to our community. Our vision is to be recognized nationally as a leader in artistic excellence, community service, innovative thinking, sound governance, and financial stability. We aspire to be known as a top orchestra and opera company, a renowned summer music festival, a destination for artists, an inspiration for audiences, and the beloved cultural treasure of our entire state and beyond. Thank you for joining us on this invigorating journey of excellence! Sincerely,

Patricia A. Richards Interim President & CEO

David A. Petersen USUO Board of Trustees Chair

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Utah's best musicians at the Gallivan Center

David Halliday

Thursday nights 7:30 PM â&#x20AC;˘ Gallivan Hall

Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda Associate Conductor

Roberta Zalkind Associate Principal

Barlow Bradford Symphony Chorus Director

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

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 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 Karen Wyatt •• VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

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 Corbin Johnston Associate Principal James Allyn Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore OBOE Robert Stephenson Principal James Hall# Associate Principal Titus Underwood†† Acting Associate 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 Leon Chodos Associate Principal Jennifer Rhodes

TIMPANI George Brown Principal

PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy

CONTRABASSOON Leon Chodos

ORCHESTRA PERSONNEL Llewellyn B. Humphreys Acting Director of Orchestra Personnel

HORN Bruce M. Gifford† Principal

Nathan Lutz Orchestra Personnel Manager

Edmund Rollett Acting Principal Ronald L. Beitel Acting Associate Principal

STAGE MANAGEMENT Chip Dance Production & Stage Manager

Llewellyn B. Humphreys Stephen Proser Alexander Love††

Mark Barraclough Assistant Stage & Properties Manager

TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Nick Norton

• First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

TROMBONE Mark Davidson Principal Sam Elliot†† Acting Associate Principal

Lissa Stolz 8

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Love without limits

Ve rdiâ&#x20AC;&#x2122;s

AIDA

March 12, 14, 16, 18 (7:30 pm), March 20 (2 pm) Janet Quinney Lawson CapitoL theatre

Would you choose love or loyalty? In AncIent egypt, a captive Ethiopian princess, Aida, is torn between her love for the Egyptian commander RadamĂ¨s 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.

Season Sponsor:

Tickets start at $18. UTAHOPERA.ORG

801-355-ARTS (2787)

Board of Trustees

ELECTED BOARD David A. Petersen* Chair

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 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 Bob Wheaton

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 Dâ&#x20AC;&#x2122;Arcy* Treasurer Patricia A. Richards* Interim President & CEO

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. Their CD 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

(801) 533-NOTE

Testimonial

“

This 75th Anniversary represents a remarkable moment in the history of the Utah Symphony. As it builds on such a proud and distinguished past, the musicians, administration, and staff alike are moving forward on an exciting, adventurous, and exhilarating trajectory under the leadership of Maestro Thierry Fischer! It has been a privilege for our foundation to support the growth and development of the Utah Symphony for nearly four decades. Through its successes and challenges alike, we have remained steadfast in our belief that investing in the excellence of the Utah Symphony strengthens the vitality of Utah’s entire arts community now and throughout the future.

”

Lisa Eccles President & COO George S. and Dolores Doré Eccles Foundation Utah Symphony 75th Anniversary Signature Sponsor

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

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Utah Symphony 75th Anniversary Signature Sponsor

George S. and Dolores Doré Eccles Foundation Board of Directors Robert M. Graham • Spencer F. Eccles • Lisa Eccles

ith a tradition of generous support spanning more than three decades, the

George S. and Dolores Doré Eccles Foundation continues to play a key role in the success of Utah Symphony | Utah Opera. Today – as Signature Sponsor of Utah Symphony’s 75th Anniversary – the Eccles Foundation’s unwavering partnership of support is leading the way for Utah Symphony’s exciting future ... one filled with growth, opportunity, innovation and excellence!

ANNIVERSARY UTAHSYMPHONY.ORG

(801) 533-NOTE

Season Honorees M I LLE N I U M $250,0 0 0 & A B OV E

Utah Symphony | Utah Opera is grateful to our generous donors who through annual cash gifts and multi-year commitments make our programs possible. The following listing reflects contributions and multi-year commitments received as of 1/15/2016.

EDWARD ASHWOOD & CANDICE JOHNSON

LAWRENCE T. & JANET T. DEE FOUNDATION

KEM & CAROLYN GARDNER

MR. & MRS. MARTIN GREENBERG

CAROL & TED NEWLIN

MARK & DIANNE PROTHRO CORPORATION

SHIEBLER FAMILY FOUNDATION

UTAH STATE LEGISLATURE/ UTAH STATE OFFICE OF EDUCATION

JACQUELYN WENTZ

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Season Honorees

GAEL BENSON

DIANE & HAL BRIERLEY

E.R. (ZEKE) & KATHERINE W.† DUMKE

ANTHONY & RENEE MARLON

PATRICIA A. RICHARDS & WILLIAM K. NICHOLS

THEODORE SCHMIDT

NAOMA TATE & THE FAMILY OF HAL TATE

UTAHSYMPHONY.ORG

(801) 533-NOTE

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

THE RIGHT REVEREND CAROLYN TANNER IRISH**

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* Montage Deer Valley**

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

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

Arnold Machinery

Richard K. & Shirley S. Hemingway

Mr. & Mrs. William C. Bailey

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

Markosian Family Trust

Summit Sotheby’s

Chevron Corporation

Carol & Anthony W. Middleton,

Nora Eccles Treadwell Foundation

C. Comstock Clayton Foundation Thomas D. Dee III & Dr. Candace Dee Delta Air Lines*

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

Vivint M. Walker & Sue Wallace Jack Wheatley

John H. & Joan B. Firmage

James A. & Marilyn Parke

John W. Williams

Kristen Fletcher & Dan McPhun

Charles Maxfield & Gloria F. Parrish

Workers Compensation Fund

Holland & Hart**

Foundation

Edward & Marelynn Zipser

Alice & Frank Puleo

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 Hyatt Escala Lodge at Park City**

UTAHSYMPHONY.ORG

(801) 533-NOTE

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

See pages 48–52 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 Returns to Carnegie Hall By Heather L. King

As Utah Symphony embarks upon its first performance in Carnegie Hall in more than 40 years, community writer Heather King takes a look at the legacy of Maurice Abravanel and a longtime symphony musician who played under his direction—and at Carnegie— many years ago. Utah Symphony is celebrating its 75th anniversary this season with a host of notable events. Beginning with a gala celebration this past fall, world premieres of commissioned pieces throughout the year and finally in the spring, a return performance at one of music’s most venerable locations—New York City’s Carnegie Hall.

member of Utah Symphony, Eyring recalls fond memories of that first concert.

Utah Symphony Music Director Thierry Fischer explains, “Our performance at Carnegie Hall in spring 2016 demonstrates the growth that we have been able to achieve artistically, and will continue to do as we move forward.”

That evening, the Utah Symphony played the Overture from Candide, Vaughan Williams’ Symphony No. 6, Prokofiev’s Piano Concerto No. 3, and Stravinsky’s Suite from The Firebird. “The Firebird Suite, over time, became a signature piece of Abravanel,” Eyring says.

Utah Symphony’s history at Carnegie began in 1966 when Maurice Abravanel, then conductor of the Utah Symphony, kicked off the company’s debut European tour with a first-ever performance at Carnegie Hall. The concert there opened Carnegie Hall’s 75th anniversary season and introduced the world to its first professional symphony orchestra from the West. On Friday, April 29, 2016, Utah Symphony will again grace the stage of Carnegie Hall, this time to celebrate its own 75th anniversary. The concert will include Colin Currie performing the New York premiere of Andrew Norman’s Switch on a program that opens with Haydn’s Symphony No. 96, “The Miracle”, and Bartók’s suite from The Miraculous Mandarin. The night closes with a performance of selections from Prokofiev’s Romeo & Juliet. The evening will mark historic achievements for Utah Symphony but will be particularly touching for symphony violinist LoiAnne Eyring, who was part of the first performance there 50 years ago. As the longest-standing professional 22

“This was a remarkable event,” remembers Eyring. “There were fabulous receptions and banquets held related to this concert in the Waldorf Astoria. It was a very well-attended, glorious, exciting concert to be a part of.”

“We got rave reviews,” she continues. “No one expected it to be such a fine orchestra. That 1966 tour was the springboard to becoming an international orchestra.” Eyring explains, “We were Abravanel’s instrument and that was something you felt pride in. He wanted the symphony to be his instrument and he conducted for 32 years here. He was a remarkable man and that’s a wonderful legacy.” From her seat in the violin section at Abravanel Hall, Eyring looks out into the hall onto a portrait of Maurice Abravanel. “He was a mentor and a father figure,” she says. “I have a great fondness for looking out and seeing him watching over us.” And when Eyring and the rest of the Utah Symphony take the stage at Carnegie on April 29 she feels, “He will be there watching over us. I think of him often because of what he did here. It’s still remarkable—the legacy.” UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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The Mighty Five Celebrate the centennial of the National Park Service with this stunning visual portrait of Utah’s Mighty Five National Parks set to a score selected and recorded by the Utah Symphony.

Mon. Mar. 14, 7PM & 8:30PM FUNDED BY: • State of Utah Department of Heritage and Arts • Cleone Peterson Eccles Endowment Fund • Wheeler Foundation • George S. and Dolores Doré Eccles Foundation • My Good Fund 24

kued.org

KUED The University of Utah

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Trio By Autumn Thatcher

TRIO is a collection of perspectives gathered by community writers about 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.” “Music speaks instantly. There are no barriers in between. You don’t need to understand music to be able to listen to it and feel it.” ~ matthias pintscher It was at an early age that conductor and composer Matthias Pintscher knew that he would spend his life surrounded by music. The product of art-loving parents, Matthias began playing piano at the age of five. Several years later, he was drawn to the violin. His quest to understand the instrument and the way in which one uses it to shape every note and sound unveiled a curiosity that he continues to attempt to satisfy.

Matthias Pintscher Conductor/Composer

By the age of 14, Matthias was playing as the leader of the second violin section in a youth orchestra. It was being surrounded by so many instruments and hearing their sound come together in unison that led him to pursue conducting. “There was something instantly that touched me. It was being able to touch the sound with your hands, trying to express something through that physical quality of the orchestra. It’s not the piano, it’s not the violin; I would really consider the instrument of the orchestra phenomenon that has totally informed my music making,” Matthias says. Matthias cites the experience of orchestra members working off of each other’s sound as a way to celebrate. He often encourages his students at Julliard to try this approach. “Sometimes, it’s beautiful to have someone be quiet and share by not being actively part of what’s going on. You take it over from someone else that is passing it on to you. Another instrument is using the color or the sound of the note. Then you pick it up and try to match it or contradict it. This is something that is very human, that is an aspect of celebration,” says Matthias. His approach to music is one that is all encompassing, that takes over every aspect of life. That began with immersing himself into the art as a young child and continues to this day in the form of a scholar, composer, and conductor. In this way, life and music are one. “I celebrate in music. Music is life: there is no detachment in between the two. My life is music—it has always been like that.”

UTAHSYMPHONY.ORG

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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

Colin Currie , p ercu s s i on

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.

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

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“Music elevates any celebration because of its ability to make emotions almost palpable. It allows us to express joy and happiness on an even higher level.” ~ lissa stolz Utah Symphony English hornist and oboist Lissa Stolz’s life has been enriched by music since she was a young girl. While growing up in Burlington, Iowa, her mother played the organ in her family’s church, and Lissa herself began playing piano and violin at an early age. She graduated from strings to woodwinds when—encouraged by her parents—she began playing oboe. Lissa was active in her public school’s band, orchestra, and choir. After high school, she played as a member of the double reed ensemble at the University of Iowa. It was there that she fell in love with the sound of the English horn. She later went on to perform with the Civic Orchestra of Chicago, the training orchestra of the Chicago Symphony.

Lissa Stolz English Horn

She vividly recalls her first time playing the English horn as part of Civic Orchestra’s performance of Stravinsky’s Rite of Spring. It was then that she knew she belonged in music. “Playing such a powerful piece on the beautiful stage of Chicago’s Orchestra Hall cemented my desire to be an orchestral musician. The Rite of Spring is still my favorite piece to perform,” says Lissa. As a member of the Utah Symphony, Lissa enjoys the way in which music elevates any celebration. “Music, in itself, is a celebration of life. Classical music is a celebration of the human capacity for good. In a world with so much unfortunate ugliness and suffering, I’m thankful to be a part of a group of people who come together to create such beauty and share it with others.”

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“Music is the world’s universal language, which can portray a thousand pictures. The fact that I can share my ideas with an audience is my cause for celebration.” ~ teo gheorghiu Teo Gheorghiu happened upon the piano at the age of four when his mother brought one home to learn on. The busyness of life kept her from dedicating the time that she needed to learning, but a young Teo did not face such obstacles. Curious about the instrument and the sounds that came from it, Teo began playing on the piano and enjoyed it so much that he received piano lessons for his fifth birthday. Once he began his studies, he did not look back. “I’ve loved music ever since I can remember, but I first consciously realized I had a talent for playing the piano when I joined the Purcell School for young musicians when I was nine,” explains Teo. Teo Gheorghiu Piano

He enjoyed the experience of being among like-minded peers. It was not long before Teo was performing concerts and eventually starred in Vitus, a film about a young prodigy pianist. It was while working with Hamish Milne at the Royal Academy in London that Teo found his calling. “It became absolutely clear that I wanted music not only to be my career, but my main dedication in life,” he says. Because Teo lives and breathes music, he sees it as a natural element of celebration. “Music is undoubtedly the most omnipresent aspect of my life whether I am making it myself or listening to some. If there is something to celebrate I am sure to put a fitting record on and let the good times begin,” he says. Teo sees his ability to conjure up and create “a wealth of life’s emotions and images in the way I perceive them personally” as a way for him to celebrate life through music. Though he enjoys listening to the works of others, he is grateful that he is free to come up with his own music. For him, being able to share his ideas through music with captive listeners is the ultimate celebration.

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program

Prokoﬁev’s Romeo and Juliet with Utah Shakespeare Festival

Prokoﬁev’s Romeo and Juliet with Utah Shakespeare Festival April 15 & 16 / 2016 / 7:30PM / ABRAVANEL HALL THIERRY FISCHER, Conductor DAVID IVERS, Director/Adaptor BETSY MUGAVERO, Juliet CLAIRE WARDEN, Lady Capulet PHILIP HUBBARD, Friar Lawrence/Prince

PROKOFIEV

Music from Romeo and Juliet, Opus 64 (Text by William Shakespeare) Morning Dance Child Juliet The Nurse Montagues and Capulets Madrigal Minuet Masked Ball Romeo and Juliet- Balcony Scene / INTERMISSION / Folk Dance Danse Friar Lawrence The Death of Tybalt Romeo at Juliet’s before Parting Romeo at the Tomb of Juliet The Death of Juliet

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MASTERWORKS

Prokoﬁev’s Romeo and Juliet with Utah Shakespeare Festival

artists’ proﬁles

See page 15 for Thierry Fischer’s proﬁle. Although David is entering his 6th season as Artistic Director for The Utah Shakespeare Festival, he has been with the company for 19 seasons appearing in and/or directing in almost 50 productions. He spent 10 years as a resident artist (acting/directing) with the prestigious Denver Center Theatre Company and continues his work as a director at many of our nation’s top regional theatres including: The Guthrie Theatre, The Oregon Shakespeare Festival, Berkeley Repertory Theatre, South Coast Rep, and Pioneer Theatre Company. His work has also appeared at The Alabama Shakespeare Festival, ACT Seattle, Portland Center Stage, Artists Rep, and others. He’s served as the Associate Artistic Director and Head of Education for Portland Repertory Theatre and has taught and/or directed at some of the finest universities and colleges in our nation. David Ivers Director/Adaptor

Betsy Mugavero Juliet

MASTERWORKS

His first TEDx talk aired in April of 2015.

Betsy Mugavero is thrilled to be working with the Utah Symphony! Betsy is a professional actor who works in many different cities, all over the country. Favorite credits include: five seasons at Utah Shakespeare Festival (Amadeus, Charley’s Aunt, Two Gentlemen of Verona, A Midsummer Night’s Dream, and the Regional Premiere of Peter and the Starcatcher, among others); Idaho Shakespeare Festival (As You Like It, Romeo and Juliet, Noises Oﬀ!); Great Lakes Theater in Cleveland for which she won a Best Actress Award for her performance as Rosalind in As You Like It; Pennsylvania Shakespeare Festival, the Folger Theater in Washington D.C. and more. She is a member of Actors Equity Association, holds a BA from Temple University and an MFA from the University of California, Irvine. Many thanks Utah for inviting Betsy back into your beauty and to David Ivers for this unique opportunity. All her love to Q, H and family.

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Prokoﬁev’s Romeo and Juliet with Utah Shakespeare Festival

Claire’s Off-Broadway credits include Engaging Shaw (Abingdon Theatre), The Libertine (Kirk Theatre), and A Persistent Memory (Beckett Theatre - May 2016). Other New York & Regional credits include One Man, Two Guvnors (Berkeley Rep/South Coast Rep), Edward IV (American Shakespeare Center), Outside Mullingar (FST), Henry V (as Henry V), (Accidental Shakespeare), A Midsummer Night’s Dream, Hamlet & Henry V (The Shakespeare Forum), Romeo and Juliet (Stoneham Theatre), Other Desert Cities (Lake Dillon Theatre), A Moon for the Misbegotten (Luna Stage), Mary Stuart (Theatreworks), Lost In Yonkers (New Harmony Theatre), and Humble Boy (Publick Theatre). Favorite United Kingdom credits include The Trojan Women, Women of the Sidhe, A Midsummer Night’s Dream, and Aladdin. Claire has starred in the films I Can I Will I Did, Freedom Fighter, The Factory & Departure, and the TV documentary Jack the Ripper—An Ongoing Mystery for the Discovery Channel.

Claire Warden Lady Capulet

Claire is the Director of Engagement for the Shakespeare Forum in New York City and Company Fight Assistant at Shakespeare and Company, Massachusetts. clairewarden.com

Phil Hubbard Friar Lawrence/Prince

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Phil Hubbard is the head of the MFA Acting Program at UNLV (University of Nevada Las Vegas) where he teaches acting and speech for the stage. He has appeared at the Utah Shakespeare Festival in over 25 productions spanning 10 seasons, including: Claudius in Hamlet, Sir Toby Belch in Twelfth Night, Capulet in Romeo and Juliet, Wagner in Room Service, Exeter in Henry V, John Dickinson in 1776, Lord Hastings in Richard III, Owen Glendower in Henry IV, Part I, and Corin in As You Like It. He has appeared in many Nevada Conservatory Theatre (UNLV/Las Vegas) productions including: King Lear (Lear), Annie (Warbucks), A Man For All Seasons (Henry VIII), Hamlet (Claudius), Tartuﬀe (Orgon), Inherit the Wind (Reverend Brown), Company (Larry) and many others. His other regional credits include appearances at the Oregon Shakespeare Festival, PCPA Theatrefest, and The Muni Opera. He received his MFA in Acting at Southern Methodist University in Dallas, Texas.

MASTERWORKS

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Prokoﬁev’s Romeo and Juliet with Utah Shakespeare Festival

program notes

Sergei Prokofiev (1891–1953)

Music from Romeo and Juliet INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, snare drum, wood block, bass drum, suspended cymbal, tambourine, glockenspiel, triangle, tenor saxophone, xylophone, piano; strings PERFORMANCE TIME:

40 minutes

BACKGROUND

Shakespeare’s play Romeo and Juliet is the most popular, enduring and influential of all love stories—a sweeping claim and diﬃcult to prove, but also irrefutable common sense. This tragic romance gives us the world’s paradigmatic “star-crossed lovers”—a phrase that originates in Shakespeare’s prologue to the play. Musicologists tell us that there are about 75 versions of Romeo and Juliet’s story in the opera literature alone (with only those by Bellini and Gounod in the standard repertory). In ballet, Prokofiev’s setting stands apart as the great musical narrative of the story, but Tchaikovsky’s tone poem, condensed and moody, is also effective when danced. These quintessential young lovers have invaded every form and style of art. No genre is exempt—not even rock, which gave us Bob Hamilton and Freddie Gorman’s song “Just Like Romeo and Juliet,” a hit single for The Reflections in 1964. Like those of his compatriots Tchaikovsky and Stravinsky, Prokofiev’s great ballet scores, Romeo and Juliet and Cinderella, work as abstract music in the concert hall without the benefit of dance or text. But just a glance at the names of the dances is enough to remind us of Prokofiev’s greatness as a storyteller; UTAHSYMPHONY.ORG

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the music compels us with the ebbs and flows of the unseen story as well as its sheer beauty. Prokofiev’s narrative powers can come as a bit of a shock to some American listeners, because the quirks of history have tended to fragment our view of his talents, especially during the Cold War. Prokofiev and Igor Stravinsky were the two giants of Russian classical music born in the last quarter of the 19th century; to their names we can add Sergei Rachmaninoff, born in 1873, perhaps the last of the late Romantics; and Dmitri Shostakovich, born in 1906. All were virtuoso pianists; all survived Russia’s Bolshevik revolution and faced state mediation of their artistic lives in the USSR, where artistic expression— like pretty much everything else—was considered an instrumentality of the state. Rachmaninoff and Stravinsky lived and died as expatriates; Prokofiev, though he traveled extensively outside Russia, returned there. For Shostakovich, who was denounced by the Kremlin after the success of his satirical opera Lady Macbeth of the Mtsensk District, the attempt to leave Russia might well have meant death for the composer and his family. In the decades after their deaths, their respective reputations in the West seemed to have settled into a consistent hierarchy, like the finish of a musical horserace—with the aristocratic Stravinsky, authoritative and statesmanlike, ahead of the rest. He is followed by Prokofiev and Shostakovich in second and third places, and with the melancholy Rachmaninoff in a luxurious but uncomfortable niche of his own. (He died in his adopted state of California after a disappointing piano tour of the U.S.) Looking beyond the pointlessness of viewing music as a competition, it’s no coincidence MASTERWORKS

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Prokoﬁev’s Romeo and Juliet with Utah Shakespeare Festival

program notes

that their stature corresponded to the amount of time they spent away from the homeland. According to prevailing wisdom, the cosmopolitan Stravinsky bestrode the various styles of 20th-century music and all that came before it; Prokofiev’s music, brash and avant-garde in his youth, settled into a more dignified maturity; and Shostakovich, with his own and his family’s survival at stake in the Stalinist regime, was forced by the USSR’s cultural bureaucracy to compromise his art. But that way of thinking unexpectedly changed in the late 1970s, and has been unsettled since. The music of Prokofiev and Shostakovich and their relationship with the Soviet cultural apparatus had to be reconsidered when Shostakovich’s shocking memoir, Testimony, was spirited into the West and published in translation by a colleague of Shostakovich’s, the musicologist Solomon Volkov in 1979. The controversy surrounding this volume not only forced us to reevaluate Shostakovich’s most important compositions, but also revealed that even Prokofiev’s admirers tend to know only a part of his musical output, as if there were three Prokofievs: the master of the piano who wrote some of the most important piano concertos and sonatas of the 20th century; the sophisticated, lapidary symphonist; and the theatrical composer whose riveting narrative compositions—such as the ballets Romeo and Juliet and Cinderella and the operas War and Peace, The Gambler, The Love for Three Oranges—are acknowledged for their greatness but rarely seen on American stages. Since its premiere in 1936, Prokofiev’s charming Peter and the Wolf has been presented in the U.S. far more often than any of his other works. The prodigiously gifted Prokofiev earned a reputation as something of a musical 36

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firebrand early in life. Just a year after beginning his formal music training at age 11 with the eminent Ukrainian-born composer Reinhold Glière, he entered the Moscow Conservatory; his written recollections of this period, as well as his early compositions, suggest that Prokofiev was not a troublemaker, but possessed a musical mind that was questing and eager to experiment with new trends in tonality, harmony and rhythm. In his “Classical” Symphony, written when he was 25, we hear both his mastery of the past (it is considered an homage to Haydn) and his eagerness for the future. By then, Prokofiev had already earned a reputation as a rising young composer. He had signed a contract with the music publisher Boris P. Jurgenson five years earlier, and at age 22 had traveled to London and Paris. Nine years younger than Stravinsky, he met Stravinsky’s patron Diaghilev in London and composed several short ballet scores for him; the following year, Stravinsky’s association with Diaghilev’s Ballets Russes would catapult the older composer to international notoriety after the Paris premiere of The Rite of Spring. Musicologists are puzzled as to why Prokofiev was allowed to travel so freely, and why he chose to return. And while there is plenty of background commentary to analyze, most of it fails to consider the depth of the attachment that Russian artists seem to feel for their homeland; all too often, if they cannot be happy there, neither can they be happy anywhere else. For us, in listening to Romeo and Juliet, Prokofiev’s travels in the early 1920s crucially gave him experience to draw upon in composing this ballet score more than a decade later. He completed most of it in 1935. The ballet was composed based on a synopsis by Adrian Piotrovsky and Sergey Radlov. UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Prokoﬁev’s Romeo and Juliet with Utah Shakespeare Festival

program notes

WHAT TO LISTEN FOR

One reason for the stunning effectiveness of the Romeo and Juliet score is Prokofiev’s superb mastery in balancing lyricism and tension. The melodic appeal, the romanticism, and the sensuality of young love never flag throughout the ballet. Yet there is a sense of foreboding and darkness, too. It might have wound up a bit less dark, but things did not go exactly as planned for the composer. As work proceeded on Romeo and Juliet, the Soviet government’s tyrannical mediation of staged musical events could not have been more ominous to its creators. Their original scenario included a happy ending—a departure from Shakespeare’s original storyline that may have been invented on the tenuous assumption that love’s triumph would be deemed more beneficial to the Soviet people than tragedy and death. The atmosphere was tense in anticipation of the ballet’s eventual staging, and led to Radlov’s departure from the Kirov Ballet in 1934. When a new agreement was reached for a production at the Moscow’s Bolshoi Theatre, the closest thing to a state concert hall, even the scenario’s happy ending provoked controversy among government’s artistic watchdogs. In 1936, when the famous Pravda editorials condemning Shostakovich’s Lady Macbeth of the Mtsensk District were published, the tensions rose still further. The eminent music historian Joseph Horowitz has reconstructed concert programs that include the original score, with Romeo and Juliet joyfully reunited. Whether this approach is as convincing as the more familiar tragic ending is up to the individual listener. In his autobiography, Prokofiev notes: “There was quite a fuss at the time about our attempts to give Romeo and Juliet a happy UTAHSYMPHONY.ORG

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ending…the reasons for this bit of barbarism were purely choreographic: living people can dance, the dying cannot. But what really caused me to change my mind about the whole thing was a remark someone made to me about the ballet: ‘Strictly speaking, your music does not express any real joy at the end.’ That was quite true. After several conferences with the choreographers, it was found that the tragic ending could be expressed in the dance and in due time the music for that ending was written.” Not until 1938 was the ballet finally premiered in Brno, Czechoslovakia—without fanfare, but now recomposed with a tragic ending that conforms more closely to Shakespeare’s. The Russian premiere was held at the Kirov Theater in 1940. Listeners will recognize Prokofiev’s nowfamiliar rhythmic pliancy and the vivid, almost visceral physicality of this music, along with a plangent sound that makes it sound antique, modern and timeless all at once. His inclusion of unexpected instruments, combining the old and the new— tenor saxophone, cornet, viola d’amore, mandolin—creates an aural curtain that hangs like a palace tapestry. The magnificent Russian prima ballerina Galina Ulanova, who created the role of Juliet, commented in her own memoirs that at the time they were learning the choreography, the love music in Romeo and Juliet did not seem romantic to the dancers. To modern listeners, there is no more compelling representation of love’s realities, its physical ardor and emotional torment, than this ballet. The balcony scene is one of the most romantic moments in music— Prokofiev’s uncanny musical rendition of the line “It is the East, and Juliet is the sun.” MASTERWORKS

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Prokoﬁev’s Romeo and Juliet with Utah Shakespeare Festival

utah shakespeare festival

Our conversation with David Ivers, Artistic Director of Utah Shakespeare Festival.

Theatre can be seen as a melding of several artistic forms of expression. How does the physical manifest itself in relation to the music itself? Our cue for staging and “physicalizing” Romeo and Juliet will be taken from the emotional weight and resonance of Prokofiev’s composition. The power of his music coupled with the dynamic power of Shakespeare’s verse creates an unparalleled sensory experience that embraces, as you say, several forms of expression. Our stage action will realize itself in rehearsal as the scope of the music dictates. It’s very exciting stuff. Utah Shakespeare Festival will be showcasing actors onstage in its Masterworks collaboration with Utah Symphony, Prokofiev’s Romeo and Juliet. How does the creative process unfold as it relates to music, theatre and overall vision? The creative process in producing this kind of program is somewhat new to me so it’s revealing itself in very unexpected ways. On certain days, using the music as the inspiration for all, I’m called to use certain passages from Romeo and Juliet over others. Right now, at the time of writing this (January) I’m still familiarizing myself with how Prokofiev is telling this story for us. It’s an aural experience that quickly can become emotional and I’m interested in supporting that notion. I don’t ever want Shakespeare’s language to “compete” with the music and vice-versa. Working with Thierry so far has been an absolute dream. He’s a maverick and an adventurer with great virtuosity. We both are open to leaving a bit of this unknown until we all get in a room. That is the best sort of collaboration and usually (knock wood) produces the most engaging product.

MASTERWORKS

For someone who enjoys the auditory experience of classical music, what do the form, movement, and visual elements of theatre bring to the enjoyment and overall experience? I believe the Theatre enhances our ability to tell stories. It adds another dimension to the human experience. The heart beat doubles when a live orchestra is accompanied by a live actor. These two artistic disciplines working in harmony together help cement how powerful and celebratory the live experience can be. The audience is implicated into the experience, they are complicit and that above all is both gratifying and humbling. How do some actors use music and dance to celebrate in their personal life? I personally use all sorts of music to celebrate my victories and my challenges. I find both inspiration and humility in the masterworks and I often utilize movement and song as a way to “warm-up” before a performance. All artistic disciplines inform each other as every culture does for humankind. To be ignorant of this, or simply to ignore it is disrespectful; it robs oneself of celebrating the best of who we are. We must tell stories as humankind. Just as in Science, Technology, and Math, we must explore, research, and develop or we cease to be relevant. The same is true of the arts and I am grateful to be part of a multi-disciplinary celebration that reminds us all how inspiring and relevant the geniuses creating these works were. I’m in awe every time I hear/see Romeo and Juliet, I’m in awe every time I hear Prokofiev: To experience both live executed by some of the best in our field? That’s how I like to celebrate our human accomplishments.

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Make It Your Masterpiece

Utah Symphony | Utah Opera’s 75th Anniversary Signature Sponsor, the George S. and Dolores Doré Eccles Foundation, has challenged us to raise an additional $500,000 this season, which the foundation will match one-to-one. We invite you to make it your masterpiece by contributing to the Annual Fund to help us rise to this challenge. The Annual Fund supports the general operations of USUO, including our educational outreach. Together with our main-stage performances, these programs are at the core of our vision to connect the community through great live music: USUO visits each of Utah’s forty-two school districts on a three- to five-year rotation and reaches roughly 25% of the entire state’s K-12 student and teacher populations annually to supplement arts education. USUO also partners with schools, medical facilities, and families to provide performances to our neighbors, friends, and relatives with autism, vision impairments, memory loss, and other special needs, serving differently-abled individuals in our community who have fewer opportunities to attend cultural events. In addition, USUO musicians give more than 1,000 hours of instructional time annually to children, averaging almost three hours per day, every day. This makes USUO one of the largest providers of professional music education in the United States. To offer educational outreach programs free of charge, we rely on institutional support and donations by individuals like you. Please join our grassroots giving campaign by becoming a sustaining patron today: Pledge your support or document a planned gift, and make this season your masterpiece. Please visit usuo.org/support/grassroots-campaign or contact the USUO Development team at 801-869-9015. Your new or increased support will help us meet our goal to raise an additional $500,000 to support our mission to provide great live music to all Utahns.

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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UTAH SYMPHONY | UTAH OPERA IN PERPETUAL MOTION

Spencer F. Eccles Jon M. Huntsman The Right Reverend Carolyn Tanner Irish

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. The Foundation has pledged an additional $1 million during our 75th anniversary season, along with a challenge to us to raise an additional $500,000 in new and increased gifts, which they will match dollar for dollar. 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 UTAHSYMPHONY.ORG

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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 ($7 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 (3) 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 Roger & Susan Horn Naoma Tate & the Family of Hal Tate Ronald & Janet Jibson M. Walker & Sue Wallace Frederick Q. Lawson Foundation Wells Fargo

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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

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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

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Plan Big.

Maurice Abravanel planned big, imagining that Utah Symphony could become a year-round orchestra that reached into every corner of the state of Utah, all while maintaining the highest standard of musicianship. Today, Utah Symphony | Utah Opera is the premier arts organization of the Intermountain West, unmatched in the reach of our statewide education programs and excellence in both symphonic and operatic music. Imagine our future, with a national reputation on the rise, tours across the state and beyond, renowned recordings, and extraordinary music education programs for the children of Utah. All this while performing with the best voices and musicians in our homes of Abravanel Hall and Janet Quinney Lawson Capitol Theatre, and on the road. By including USUO in your plans, your legacy will carry us forward, providing us with the support to build on our legacy.

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

(801) 533-NOTE

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 18–21.

$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 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 Louis Scowcroft Peery Charitable Foundation Ruth’s Chris Steak House, Salt Lake City* Salt Lake City Arts Council 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 Byrne Foundation Castle Foundation City Creek Center* Deseret Trust Company

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* Prime Steakhouse Park City* The Prudential Foundation Ray, Quinney & Nebeker 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 Utah Medical Association Financial Services The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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THE UTAH SYMPHONY GUILD CONGRATULATES THE UTAH SYMPHONY ON ITS 75TH ANNIVERSARY SEASON. THE GUILD IS PROUD TO CONTINUE SUPPORTING THE SYMPHONY FOR MEMBERSHIP INFORMATION, PLEASE VISIT THE GIFT SHOP LOCATED IN THE LOBBY OR ONLINE AT: WWW.UTAHSYMPHONYGUILD.ORG

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Donna Smith | Guild President | 2015-2016 Season

www.utahsymphonyguild.org

Guild Programs include: Utah Symphony Youth Guild Outreach Violin Program School Docent Program Finishing Touches

utahsymphonyguild

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 18–21. ABRAVANEL & PETERSON SOCIETY $5,000 to $9,999 Anonymous (4) 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 Jeffrey L. Giese, M.D. & Mary E. Gesicki David & SandyLee Griswold** Ray & Howard Grossman 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. Thomas Parks & Dr. Patricia Legant 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) Craig & Joanna Adamson Robert & Cherry Anderson Richard† & Alice Bass Charles Black Robert W. Brandt Larry & Judy Brownstein 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 Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare 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 (5) 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 Mr. & Mrs. Eric Garen c Diana George Susan Glassman & Richard Dudley Randin Graves

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Individual Donors 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 Annette & Joseph Jarvis M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Pauline WeggelandJohnson 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 Jason Olsen & Tim Thorpe

O. Don & Barbara B. Ostler 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 Dr. Barbara S. Reid Joyce Rice Kenneth Roach & Cindy Powell James & Anna Romano 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 E. Art Woolston & Connie Jo HepworthWoolston $1,000 to $1,999 Anonymous (3) Carolyn Abravanel Christine A. Allred Patricia Andersen Joseph & Margaret Anderson Drs. Crystal & Dustin Armstrong Gaylen Atkinson Graham & Janet Baker David & Rebecca Bateman Barry Bergquist C. Kim & Jane Blair Rodney & Carolyn Brady Timothy F. Buehner Foundation Mr. & Mrs. Lee Forrest Carter Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Carol Coulter

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

UTAHSYMPHONY.ORG

(801) 533-NOTE

Individual Donors James & Rula Dickson Margaret Dreyfous Howard Edwards Dr. Richard J. & Barbara N. Eliason** Naomi K. Feigal Mark Gavre & Gudrun Mirin Michael & Catherine Geary Ralph & Rose Gochnour Robert Graham Dr. & Mrs. John E. Greenlee Hillary Hahn & Jeff Counts Alan & Jeanne Hall Foundation 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 Peter Margulies Christopher & Julie McBeth Nicole Mihalopoulos Oren & Liz Nelson Stephen & Mary Nichols Mary Jane O’Connor Ruth & William Ohlsen Whitney Olch 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

Marsha & Richard Workman Michael & Olga Zhdanov Mr. & Mrs. Hugh Zumbro In Honor of Barbara & Steven Anderson Paula J. Fowler Abe & Arline Markosian David Park Mark & Dianne Prothro Patricia A. Richards Susan Schulman Erin Svoboda In Memory Of Gary & 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 Winona Simonsen Jensen Eric Johnson Howard Keen Tony Larimer Robert Louis Beverly Love Clyde Dennis Meadows Chester Memmott Jean Moseley Joseph Palmer Scott Pathakis Chase N. Peterson Kenneth Randall Klaus Rathke Dr. Clifford Reusch 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 1/15/15 to 1/15/16

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

OUT ON THE TOWN

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

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

Salt Lake City’s #1

MARKET STREET GRILL DOWNTOWN 48