2016–17 UTAH SYMPHONY SEASON / MAY
COVER
THE SOUND of INSPIRATION
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Contents
May 2017 Performances
Purchase tickets at utahsymphony.org or call 801-533-6683
6 Welcome 8 Utah Symphony 10 Board of Trustees 15 Music Director 16 Access to Music 20 Professional Outreach Programs 26 A Post-Concert Talkback 29 Who We Are 30 Season Sponsors 31–38 Today’s Concert(s)
MAY 5–6 | 7:30 PM
RHAPSODY IN BLUE 39 Legacy Giving 41 Support USUO 42 Tanner & Crescendo Societies 44 Season Honorees 46 Corporate & Foundation Donors 47 Individual Donors 54 Administration 59 House Rules 63 Education 64 Acknowledgments MAY 23 | 7:30 PM
ALL-STAR EVENING
Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.
MAY 26–27 | 7:30 PM
@UtahSymphony
PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR /PRODUCTION MANAGER Jackie Medina GRAPHIC DESIGNERS Ken Magleby Patrick Witmer
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THE RITE OF SPRING ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas OFFICE ASSISTANT Jessica Alder ADMINISTRATIVE ASSISTANT Ruth Gainey EDITOR Melissa Robison
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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 2017
5
Welcome
Photo Credit: Brandon Flint
Paul Meecham
Thierry Fischer
David Petersen
President & CEO
Symphony Music Director
Chair, Board of Trustees
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’s hard to believe we’re already approaching the close of our 2016–17 season and we hope you’ve enjoyed your great live music experiences with us as much as we’ve enjoyed bringing them to you. As the warm weather returns, please consider joining us at our summer home at the Deer Valley® Music Festival this July and August. Escape into the music with us to enjoy the world-class talent from our own Utah Symphony, paired with the best in classic rock, country, show tunes, pop, jazz, and of course, chamber and classical music in the mountain charm of Park City.
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And later this summer, the Utah Symphony with Music Director Thierry Fischer will embark on our Great American Road Trip! Similar to our 2014 tour of Utah’s Mighty 5™ National Parks, the tour will include a series of unforgettable free outdoor concerts August 28–September 2, performing in smaller, rural communities set against the backdrop of Utah’s great landscapes. You can learn more about the tour on page 28. Thank you again for joining us today and we hope to see you at this summer’s Deer Valley® Music Festival, on the Great American Road Trip tour, and all of next season as we return to the spectacular acoustics and setting of Abravanel Hall!
UTAH SYMPHONY
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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* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Karen Wyatt Acting Assistant Principal Second Leonard Braus• Associate Concertmaster Emeritus Jerry Chiu• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Amanda Kofoed†† Hye Jin Koh†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Alexander Martin 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
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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 Louis-Philippe Robillard Kevin Shumway Pegsoon Whang 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
TIMPANI George Brown Principal
PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal
Corbin Johnston Associate Principal
Leon Chodos Associate Principal
James Allyn Benjamin Henderson†† Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera#
CONTRABASSOON Leon Chodos
ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel
HORN Edmund Rollett Acting Principal
Andrew Williams Orchestra Personnel Manager
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 The Gerald B. & Barbara F. Stringfellow Chair James Hall Associate Principal
Jennifer Rhodes
Alexander Love†† Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Nick Norton TROMBONE Mark Davidson Principal
Maureen Conroy
STAGE MANAGEMENT Chip Dance Production & Stage Manager Jeff Herbig Properties Manager & Assistant Stage Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member
Sam Elliot Associate Principal
Lissa Stolz
UTAH SYMPHONY
Utah musicians in concert at the
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Thursday nights 7:30 PM Big Band Tuesday's May 23 - Sept. 26, 7:00 pm
Board of Trustees
ELECTED BOARD David A. Petersen* Chair
Naoma Tate Thomas Thatcher Craig C. Wagstaff Bob Wheaton Kim R. Wilson Thomas Wright
Jesselie B. Anderson Doyle L. Arnold* Dr. J. Richard Baringer Judith M. Billings Howard S. Clark Gary L. Crocker David Dee*
Alex J. Dunn Kristen Fletcher Kem C. Gardner* Lynnette Hansen Matthew S. Holland Thomas N. Jacobson Ronald W. Jibson* Tyler Kruzich Thomas M. Love R. David McMillan Brad W. Merrill Theodore F. Newlin III* Dee O’Donnell Dr. Dinesh C. Patel Frank R. Pignanelli Shari H. Quinney Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart
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
E. Jeffrey Smith Barbara Tanner
HONORARY BOARD 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. Edward Moreton 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.)
William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO
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MUSICIAN REPRESENTATIVES
Mark Davidson* Lissa Stolz* EX OFFICIO
Carol Radinger Utah Symphony Guild Paul C. Kunz Ogden Symphony Ballet Association Judith Vander Heide Ogden Opera Guild *Executive Committee Member
UTAH SYMPHONY
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Music Director
Music Director of the Utah Symphony since 2009 and currently extended to 2019, Thierry Fischer has revitalized the orchestra with creative programming, critically acclaimed performances, and new recordings. Highlights of his tenure include a multi-season Haydn symphony cycle; Mahler, Beethoven and Nielsen cycles; and a tour of Utah’s five national parks. In celebration of its 75th anniversary season, the orchestra appeared at Carnegie Hall in April 2016 to critical acclaim and released an album of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas on Reference Recordings. Following a well-reviewed Mahler 1 CD, they recorded Mahler’s 8th Symphony in Utah with the world-renowned Mormon Tabernacle Choir, due for release later this season.
Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
In September 2016 Fischer was appointed Principal Guest Conductor of the Seoul Philharmonic Orchestra, starting January 2017 and running concurrently with his Utah position for an initial three years. He will visit Seoul at least four times a season and will play an important role in the artistic planning. In Summer 2016 Fischer toured with the Chamber Orchestra of Europe, and debuted at the Mostly Mozart Festival in New York and at the Maggio Musicale Festival in Florence. Guesting in the past couple of years has also included the Boston, Atlanta, Cincinnati and Detroit Symphonies, Oslo Philharmonic, Rotterdam Philharmonic, Salzburg Mozarteumorchester, Munich Chamber, Swedish Chamber and the Orchestre de la Suisse Romande, as well as the BBC Symphony at the Barbican and the London Sinfonietta. In Autumn 2016 he conducted the Sao Paulo Philharmonic—his first visit to South America. 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 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.
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Access to Music
Kathryn McDonald-Poelman highlights the Lyon family and the way the “Access to Music” concerts have impacted their lives. The Lyon family is being recognized for their years of service and participation in USUO education programs and concerts. In this remarkable family of six, the love for their children and their connection with music as a source of healing in their lives is apparent. Paula Fowler, USUO’s Director of Education and Community Outreach, has said, “They are an indispensable, joyful part of our Utah Opera extended family. They are a family where everyone is born with music in the veins.” The Lyon family is unlike most families you may ever meet. They are a very musical family and have two sons with autism. But what is most remarkable about them is their outlook on life and the perspective they carry with them in their unique family dynamic, including their 16-year-old son Jarrett, who is nonverbal and requires full-time care. Blair and Kara Lyon have four sons in total who have all been musically active, including Jarrett whom Blair describes as very “musically sensitive.” Their oldest son Allyn runs the music department at Beaver High School, teaching orchestra, choir, band, and guitar; Treyson is currently serving an LDS Continued on page 19.
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Access to Music mission in Mexico and has participated in musical theatre; Andrew is a trained singer with an associate degree in media music; and Jarrett is their youngest. The highlight of their participation with USUO has been the annual “Access to Music” concerts for families with children with special needs, of any age. They have been involved with the “Access to Music” concerts since they started in 2001, and have performed as a family string group to provide pre-concert music for the concerts for many years. “We are so grateful for the Access concerts. These kids can bounce around in their chairs, be loud and enjoy music in this free, uninhibited way and it
makes me think this box of normalcy that the rest of us are stuck in can be really constraining. Jarrett sees the world and hears music in a different way and I think that is really special,” Kara says. Kara was the one who first started the three oldest boys on the piano and is very musical and loves to sing. She uses what Blair calls her “music therapy skills” as she teaches young children to swim, including many with special needs. Blair, Kara’s husband, is music specialist in the Salt Lake City School District and has taught for over 25 years. He said, “Music has always been a part of my life and we wanted that for our children.”
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Professional Outreach Programs in Schools (POPS)
Kathryn McDonald-Poelman examines how USUO’s Education Department makes world-class music accessible to all children in Utah regardless of distance or demographics. Utah Symphony | Utah Opera’s outreach to K–12 schools across the state—a program which constitutes nearly a third of all programming for USUO—continues the tradition of sharing music that changes lives through live orchestra and opera performances for students. Julie Edwards, Utah Symphony violist, said, “you never know who you will touch in one of our performances. I was also once a student hearing a string quartet in a school concert for the first time.” What is a unique achievement on the part of USUO is the outreach not only to urban schools but to every school district across Utah, even in the most rural areas. Michael McDonald, District Arts Coordinator in Eureka, Utah, expressed great appreciation and need for the program: “We have a really small community with high poverty rates and minimal access to fine arts, and so it’s amazing that they can make it out here for a concert and have time with the kids.” In 2016, there were also free symphony and opera performances for community members in areas including Richfield, Ephraim, Randolph, Moab and Monticello. Former Music Director Maurice Abravanel inaugurated the first dedicated arts outreach programs to schools, performing as many school concerts as possible across the Intermountain Continued on page 22 20
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Professional Outreach Programs in Schools (POPS)
Associate Conductor Rei Hotoda at Hillcrest High School.
West. Abravanel later became the principal advocate for the Professional Outreach Programs in the Schools (POPS) funding from the Utah State Legislature, funds USUO outreach and other professional arts organizations. Musicians of the Utah Symphony and the Utah Opera Resident Artists are able to travel to all school districts in the state (on three year cycles) because of this program. Sarah Coit, a Utah Opera Resident Artist, said, “Last season we went to a school where there were only five kids, but they were so enthusiastic and fun! And knowing they may never have this experience otherwise is special for us too.” The USUO education program also provides many unique opportunities for students to learn more about music and to grow as artists themselves, including personal instruction before or after school concerts through “Musicians in the Classroom,” and masterclasses with visiting world-class guest artists. For budding musicians, opportunities to perform in Abravanel Hall with the Utah Symphony are also available through the Salute to Youth and All-Star Evening annual concerts. With more than 40 in-school concerts and ten 5th grade concerts at Abravanel Hall taking place every season, over 140,000 kids benefit from the USUO education programs each year.
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UTAH SYMPHONY
Recharge your weekend with thrilling performances from Utah Symphony’s 2017–18 Masterworks Season SEASON HIGHLIGHTS INCLUDE:
GRAMMY® Award-winning violinist Hilary Hahn plays Dvořák’s Violin Concerto
Tchaikovsky’s “Little Russian” & Prokofiev with Conrad Tao
A centennial birthday celebration of the great American conductor/composer Leonard Bernstein
U.S. Premiere, Utah Symphony Commission Reflections / Reflets III by Tristan Murail
Maestro Fischer and the Utah Symphony will become the first American orchestra to record all of the symphonies by the revered French master Saint-Saëns
Rachmaninoff’s Rhapsody on a Theme of Paganini with Jon Kimura Parker
subscribe and SAVE up to 30% on tickets MASTERWORKS SUBSCRIPTIONS START AT ONLY $103.50
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RAIDERS OF THE LOST ARK IN CONCERT SEPTEMBER 7–8 / 2017
7 PM / ABRAVANEL HALL
Raiders of the Lost Ark licensed by Lucasfilm Ltd and Paramount Pictures. Motion Picture, Artwork, Photos © 1981 Lucasfilm Ltd. All Rights Reserved.
DISNEY IN CONCERT: TIM BURTON’S THE NIGHTMARE BEFORE CHRISTMAS OCTOBER 24 / 2017 7 PM / ABRAVANEL HALL Presentation made under license from Buena Vista Concerts, a division of ABC Inc. © All rights reserved.
HARRY POTTER AND THE CHAMBER OF SECRETS™ IN CONCERT DECEMBER 21, 22, 23 / 2017
7 PM / ABRAVANEL HALL
HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. J.K. ROWLING`S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s17)
HIGH NOON IN CONCERT FEBRUARY 17 / 2018 7 PM / ABRAVANEL HALL
SE A SON SPONSOR:
A Post-Concert Talkback in Your Own Living Room
We hope you take this performance home with you. If not in the shape of something from the Utah Symphony Guild Gift Shop, then in continued conversation with your friends, family and those who experienced this with you. Continue your pleasure for hours—even days—by exchanging ideas about it. Here are some topics we suggest: • May 5–6 | George Gershwin was without question one of the most beloved songwriters of all time. In their own way, many of his songs are the equal of those by Franz Schubert (1797–1828), a claim underscored by Robert Marsh’s observation that “his greatest songs blend a vocal line of extraordinary flexibility and beauty with words that accent, amplify, and illuminate the musical ideas in a manner one takes for granted in the German Lied, but is unaccustomed to find in a form regarded as popular art. In his music we hear the New York of the 1920s as clearly and forcefully as in Mozart we hear the Vienna of the 1780s. If it is the function of music to transform universal elements of human experience to art, one cannot slight his achievement.” What artist or composer would you say typifies the music of our time today? May 23 | Did you play an instrument as a child? Do you still play? What do you remember first sparking your own interest in music? •
May 26–27 | In 1913 the fully staged ballet of Stravinsky’s The Rite of Spring was met with hysteria, arguments, and fighting. In 1914 people greeted it as a work of sheer genius. That second time it was played as an orchestral work at the symphony. Has there ever been a piece of music or art that has created a visceral response in you? Can you imagine a different reaction if that work were presented in a different medium? Stravinsky was, like his great visual art contemporary Picasso, a restless, protean genius, incapable of treading water. Despite the occasional attempt, he never again attained the savage, cathartic energy of The Rite of Spring, nor the spectacular succès de scandale it created. What similar characteristics or circumstances shared by Picasso and Stravinsky might have led them to become such brilliant artists? Visit “The Musicians Lounge” to read behind-the-scenes interviews with our artists and musicians. utahsymphony.org/blog/
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UTAH SYMPHONY
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Who We Are
Founded during the Great Depression as a Works Progress Administration orchestra under Roosevelt’s New Deal, the Utah Symphony today is the premier provider of symphonic music in the Intermountain West and one of only 15 year-round professional orchestras in the nation. Recognized as a leading American ensemble largely because of the efforts of Maurice Abravanel (Music Director 1947–1979), the Utah Symphony released over 100 recordings during his tenure, including the first complete recording of all of Gustav Mahler’s symphonies by an American orchestra. Named the orchestra’s seventh music director in 2009, Thierry Fischer renewed the orchestra’s commitment to Abravanel’s legacy of artistic excellence and an active recording schedule, as evidenced by the recent, live recording of Mahler’s Symphony No. 1 “Titan” (2015) and the release of three Utah Symphony commissions by American composers Andrew Norman, Nico Muhly, and Augusta Read Thomas (2016). Building on a history of seven international tours, Maestro Fischer and the Utah Symphony presented the nationally covered Mighty 5TM Tour in 2014, visiting all five national parks
in Utah and, in 2016, impressed audiences at New York City’s esteemed Carnegie Hall. Under Maestro Fischer’s inspiring leadership, the Utah Symphony features leading musicians and internationally recognized soloists through refreshed and ambitious programming; as a result, the orchestra is attracting increased audiences and unprecedented community support. In addition to more than 65 subscription concerts in its home venue, Abravanel Hall in Salt Lake City, the Utah Symphony plays for Utah Opera’s four annual productions for 20 opera performances; presents the six-week Deer Valley® Music Festival each summer in Park City, Utah; and performs numerous outreach concerts throughout the state, drawing an audience of over 350,000 each year. The 40+ education outreach programs developed by Utah Symphony | Utah Opera (USUO), the orchestra’s parent organization, reach approximately 140,000 students annually from all Utah school districts in more than 240 educational outreach performances and activities. With its many subscription, education, and outreach concerts and tours, the Utah Symphony is one of the most engaged orchestras in the nation.
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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Season Sponsors
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UTAH SYMPHONY
Rhapsody in Blue
program
Rhapsody in Blue May 5–6 / 2017 / 7:30PM / ABRAVANEL HALL KAZUKI YAMADA, Conductor BENYAMIN NUSS, Piano
COPLAND
El Salón México
GERSHWIN
Rhapsody in Blue BENYAMIN NUSS, Piano
/ INTERMISSION /
RIMSKY-KORSAKOV
Scheherazade, Opus 35 I. II. III. IV.
The Sea and Sinbad’s Ship The Tale of Prince Kalendar The Young Prince and the Princess The Festival at Baghdad. The Sea. The Ship Goes to Pieces on a Rock.
MADELINE ADKINS, Violin
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MASTERWORKS
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Rhapsody in Blue
artists’ profiles
Kazuki Yamada is Principal Conductor and Artistic Director of Orchestre Philharmonique de Monte Carlo, a post that began in the 2016–17 season. He has additionally held the title of Principal Guest Conductor of Orchestre de la Suissee Romande since his sensational debut with the orchestra in 2010, which was one of his first appearances in Europe. In Japan, he holds the additional titles of Permanent Conductor of Japan Philharmonic, Music Partner with both Sendai Philharmonic and Ensemble Orchestral Kanazawa, and Music Director of Yokohama Sinfonietta, an ensemble he founded whilst still a student.
Kazuki Yamada Conductor C O N D U C TO R S P O N S O R
Yamada appears regularly as a guest with such orchestras as Orchestre de Paris, Rundfunk Sinfonieorchester Berlin, St. Petersburg Philharmonic, Czech Philharmonic, Helsinki Philharmonic, Royal Stockholm Philharmonic, Gothenburg Symphony, Orchestra Sinfonica Nazionale della RAI, Utah Symphony and Tonkünstler-Orchester at the Vienna Musikverein. He has worked with Emanuel Ax, Boris Berezovsky, Håkan Hardenberger, Nobuko Imai, Daishin Kashimoto, Alexander Kniazev, Xavier de Maistre, Steven Osborne, Vadim Repin, Baiba Skride, Jean-Yves Thibaudet, Simon Trpčeski and Frank Peter Zimmermann. He is active in the field of opera, and is strongly supported by Seiji Ozawa. In August 2012 he conducted a semistaged production of Honegger’s Jeanne d´Arc, with Saito Kinen Orchestra. The Jeanne d’Arc project was also a huge hit in spring 2015 in Côme de Bellescize’s staged version at the new Philharmonie de Paris, with Orchestre de Paris. The character of Joan of Arc was performed by the French actress Marion Cotillard, and the production received high critical praise. Now a resident in Berlin, Yamada was born in Kanagawa, Japan, in 1979. In 2009, he was the winner of the 51st Besançon International Competition for young conductors.
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Rhapsody in Blue
artists’ profiles
Pianist Benyamin Nuss was born in Bergisch-Gladbach, Germany on June 20, 1989. At the age of six, he began piano lessons. He was inspired and encouraged by his father, trombonist Ludwig Nuss, an internationally renowned jazz musician. Benyamin grew up with music from many different genres, but he really made classical music and jazz his passion. Inspired by “Doctor Gradus ad Parnassum” from Claude Debussy’s Children’s Corner, he began at the age of ten to study Debussy, and soon after the works of Maurice Ravel.
Benyamin Nuss Piano
How elegantly and emotionally Benyamin internalizes music is demonstrated by his first prizes at the 2005 Steinway & Sons National Young Artists Piano Competition and the 2005 Prix d’Amadeo de Paris competition, as well as his “Best of NRW” grant from the Hochbegabten-Stiftung (Foundation for the Gifted). Benyamin Nuss has been studying at the Cologne/Aachen Conservatory with Professor Ilya Scheps since 2008. Besides his love for classical music and jazz, he’s always had a passion for video games and video game music. He was the featured soloist in the award-winning Symphonic Fantasies recording—his first CD released by Deutsche Grammophon—which is a tribute to the legendary composer Nobuo Uematsu, who scored the music for the Final Fantasy games. In 2010, Benyamin completed a well-received tour through Germany, where he played in most of the country’s major concert halls, including Berlin Philharmonie, Frankfurt Alte Oper, Hamburg Laeiz Halle, Stuttgart Leiderhalle, and many more. He appeared as a major soloist in the “Symphonic Fantasties” and “Distant World” concerts in Tokyo, Chicago, Cologne, and Stockholm. Since then, Nuss has played solo performances on television, including in Stars von Morgen with Rolando Villazon, and has performed for German Chancellor Angela Merkel. In 2012, he recorded his second CD for Deutsche Grammophon—Exotica—which was equally successful and was followed by celebrated concerts in Tokyo and Singapore. Recently, he has done recordings and performances for radio, performing Gershwin’s Piano Concerto in F with Deutsche Radio Philharmonie Saarbrücken, as well as Gershwin’s Rhapsody in Blue and Ravel’s Piano Concerto in G with WDR Rundfunk Orchester. Besides his outstanding abilities as a classical performer, Benyamin is a gifted composer. Two of his compositions can be heard on the recording Exotica. Apart from classical concerts, he also performs his music with his own jazz quartet or in trio with his father Ludwig Nuss and the great bass player John Goldsby.
MASTERWORKS
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Rhapsody in Blue
program notes
1/5
Notes by Michael Clive
Aaron Copland (1900–1990)
El Salón México INSTRUMENTATION: 3 flutes, 3 oboes, 4 clarinets, 3 bassoons; 4 horns, 3 trumpets, 3 trombones, tuba; strings; percussion. PERFORMANCE TIME:
11 minutes
Aaron Copland’s music is often described as quintessentially American, with a spacious quality that evokes wide-open skies and endless prairies. In El Salón México we hear something quite different. Listeners who know their harmony will note more parallel thirds than the open fourths characteristic of the “Copland sound.” The sexy brasses are frankly imitative of a mariachi band. The rhythms have a trailing effect that evokes dancers in close embrace, letting their steps linger. There’s warmth but also a hint of melancholy, a sense of the past echoing in the dance rhythms we hear. And yet that unmistakable Copland sound is still there. The charm of El Salón México is constant, but attitudes toward it have varied with time. Copland began composing it in 1932, when he was 32, and even at that age he looked the part of “dean of American composers” that was accorded to him throughout his career—studious-looking, bespectacled, thoughtful and dignified, with a reticent air. His respectful curiosity regarding the cultures of the Americas was typical of the informed liberal views of his day (he was aligned with left-wing politics) and he had a particular fascination with Mexico, having befriended the Mexican composers Carlos Chavez and Silvestre Revueltas. One year after Copland completed the work, in 1937, Chavez conducted its premiere with the Mexico Symphony Orchestra.
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In his autobiography, written with the assistance of Vivian Perlis, Copland provides vivid background on the seemingly real-life inspiration for El Salón México: Perhaps my piece might never have been written if it hadn’t been for the existence of the Salón México. I remember reading about it for the first time in a tourist guide book: “Harlem-type nightclub for the peepul [sic], grand Cuban orchestra. Three halls: one for people dressed in your way, one for people dressed in overalls but shod, and one for the barefoot.” When I got there, I also found a sign on the wall which said: “Please don’t throw lighted cigarette butts on the floor so the ladies don’t burn their feet.” …In some inexplicable way, while milling about in those crowded halls, one really felt a live contact with the Mexican people—the atomic sense one sometimes gets in far-off places, of suddenly knowing the essence of a people—their humanity, their separate shyness, their dignity and unique charm. In this picturesque account Chavez and his colleagues detected more than a whiff of condescension, and from our later vantage point it is easy to see why. The fact is, throughout Central and South America, serious composers of that era were far more successfully integrating European classicism with their own national cultures than American composers were. It must also be noted that later research has failed to turn up any actual Salón México of the kind Copland described, or of a guidebook citing “peepul” and “people dressed in your way.” This raises the possibility that Copland’s memories of his dance hall experience—like the composition itself—were composites that arose from his creative imagination. MASTERWORKS
Rhapsody in Blue
program notes
For all of that, the music itself is beautiful, respectful and deeply evocative, mixing aristocratic, urban and peasant styles with equal seriousness. The melodic sources are Mexican folk songs including “La Jesusita,” “El mosco,” and “El malacate.” The haunting motif that provides the melodic signature of El Salón México is based on “El palo verde.” Oddly, it sounds more like a ballad than a dance tune. George Gershwin (1898–1937)
Rhapsody in Blue INSTRUMENTATION: 2 flutes. 2 oboes, 3 clarinets, 2 bassoons; 3 horns, 3 trumpets, 3 trombones, tuba; strings; percussion; solo piano PERFORMANCE TIME:
15 minutes
We all know George Gershwin, or at least we think we do: the American troubadour who wrote “Swanee” when he was 19 and never looked back…the magician of musical theater whose endless torrent of melodies lit the lights of Broadway…the serious classical composer of the Concerto in F and Porgy and Bess, whose Rhapsody in Blue defined a new genre of composition uniting jazz and European idioms. Tirelessly prolific, Gershwin was not yet 39 when he died in 1937, seemingly having lived more life and written more music than most composers could in two or three lifetimes. His career spanned Tin Pan Alley, the legitimate theater and the opera house. Which was the real George Gershwin? And now, almost 120 years after his birth, what is his place in classical music? To answer unanswerable questions such as these, critics and music historians often start with the magisterial writings of the late Nicolas Slonimsky, whose brilliantly concise descriptions and razor-edged MASTERWORKS
2/5
judgments made distinguished musicians tremble—even, it was said, if they had been dead for hundreds of years. Slonimksy’s use of adjectives was so precisely barbed that it inspired a cult of musical detectives who sought to decode the language in the thousands of articles he edited for Baker’s Biographical Dictionary of Musicians, a standard reference in the profession. They focused on the first two or three words of any given entry, where Slonimsky was liable to embed a veiled value judgment—often of extreme harshness. For example, here is how he opens his entry on Tchaikovsky (quoted from the seventh edition, published in 1984: Tchaikovsky, Piotr Ilyich, famous Russian composer; b.Votkinsk, Viatka district, May 7, 1840; By limiting his description to the word “famous,” Slonimsky was damning with faint praise, implying that Tchaikovsky is popular but overrated. And here is how he opens his entry on George Gershwin: Gershwin, George, immensely gifted American composer; b. Brooklyn, N.Y., Sept 26, 1898; Slonimsky uses Gershwin’s prodigious talent as a springboard to position him editorially in the pantheon of composers. In Slonimsky’s scarily hierarchical world of musical prestige ratings, Gershwin occupies a position far above Tchaikovsky’s when gauged on merit alone. By age 16 Gershwin was already working in Tin Pan Alley music stores, demonstrating sheet music on the piano and absorbing the songwriter’s craft. His early piano studies with Ernest Hutcheson and Charles Hambitzer in NewYork did not amount to much, and one gathers that even his early study of harmonic theory with Edward 35
Rhapsody in Blue
program notes
Kilenyi and Rubin Goldmark merely formalized principles he was already using intuitively. But throughout his career Gershwin maintained a serious, disciplined application to music education, continuing private lessons in counterpoint with Henry Cowell and Wallingford Riegger. During the last years of his life, Slonimsky notes, “he applied himself with great earnestness to studying with Joseph Schillinger in an attempt to organize his technique in a scientific manner; some of Schillinger’s methods he applied in Porgy and Bess.” Gershwin also joined the migration of American composers who studied with Nadia Boulanger in Paris. Boulanger, who helped scores of prominent composers find their own distinctive voice, reportedly advised Gershwin that she had nothing to teach him and sent him home to continue composing. Despite the insecurity that continually drove him to seek validation from theoreticians with classical credentials, Gershwin’s career was an unbroken string of successes in both the classical and popular realms—setting a precedent that would later be followed by other Americans including Leonard Bernstein, Andre Previn, John Williams and Alex North. Gershwin’s Rhapsody in Blue is still described by many as the most popular and widely performed of all American classical works. Gershwin composed Rhapsody in Blue as a commission for the influential conductorproducer Paul Whiteman, who asked him for a piece with the characteristics of a classical piano concerto, but suitable for inclusion in an all-jazz concert. Originally scored for solo piano and jazz band, Rhapsody in Blue combines elements of classical music with jazz effects and formal elements including “blue notes”—especially flatted third and seventh notes of the diatonic scale.
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3/5
The premiere, when Gershwin was 25, took place in New York with the Palais Royal Orchestra under Paul Whiteman’s baton. Billed as “An Experiment in Modern Music,” the event attracted such luminaries as John Phillip Sousa and Sergei Rachmaninoff. The program was, as the title suggests, long and tedious, with a repetitive program and didactic commentary by Whiteman himself. The audience’s attention was reportedly wandering until the Rhapsody’s opening clarinet glissando brought an electrified hush to the hall. Not surprisingly, the work’s melodic richness and the rhythmic drive of its brilliantly animated development kept them spellbound. According to the account Gershwin reported to his first biographer, Isaac Goldberg, the Rhapsody was inspired by a train ride he took only five weeks before the piece was due. “It was on the train, with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer—I frequently hear music in the very heart of the noise… And there I suddenly heard, and even saw on paper— the complete construction of the Rhapsody, from beginning to end.” Nikolai Rimsky-Korsakov (1844—1908)
Scheherazade, Opus 35 INSTRUMENTATION: 3 flutes, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets. 3 trombones, tuba; strings; percussion PERFORMANCE TIME: 47
minutes
Its exotic, piquant melodies evoke faraway lands. Its brilliantly colorful scoring and scintillating harmonies beguile the ear. And its spectacular displays of orchestral virtuosity are undeniably thrilling. Small wonder that Scheherazade is RimskyKorsakov’s most enduringly popular work. It MASTERWORKS
Rhapsody in Blue
program notes
brings together the elements that most suited his musical talents: his obsession with travel and the sea, the Russian fascination with sunny southern climes, a dramatically shifting narrative line, and the call for a broadly descriptive orchestral palette. Scheherazade’s germination began in 1887 with the death of the composer’s friend Alexander Borodin, a seminal figure in Russian music and, with Rimsky-Korsakov, a member of the “Mighty Five.” But in a broader sense, it can be traced to Rimsky’s childhood. His experience of life was constrained by parents who sheltered him, but his imagination was fired by the older brother he idolized, and by the tradition of naval service in his family dating back generations. By age 12, Nikolai had ventured outside the confines of the town of Tikhvin only three times, but his brother was seeing the world in service to the Russian navy. Nikolai pored over letters from his older brother, and despite never having seen the sea, he became obsessed by it, immersing himself in nautical references and studying the fine points of naval practice, even constructing a model brig. In his early teens his gifts for literature and music, though strong, appear to have been sidelined, but the unusual depth of Rimsky’s talent for music did not go unrecognized by those around him. His brother encouraged him to continue his piano studies, and at age 15 he began studies with a new teacher who urged him to compose more seriously than he had as a precocious 10-year-old. When he was 18, he not only graduated from the School of Mathematical and Navigational Sciences in St. Petersburg; he also met César Cui, Mily Balakirev and Modest Mussorgsky, all major Russian composers in their 20s. His career began with a combination of military and cultural MASTERWORKS
4/5
elements that would be impossible to duplicate today, studying music while on naval commission, on a 32-month cruise. Having seen the lands then known as the Orient, Rimsky first tried to capture their spirit in his “Antar” Symphony in 1868, based on a French volume of Arab melodies he borrowed from his friend Alexander Borodin. But after taking his wife and young son on a trip that included the Crimean towns of Sevastapol and Bakhchisaray, he was deeply affected by his firsthand experience of foreign cultures teeming with sounds and music—“the coffee houses, the shouts of... vendors, the chanting of the muezzins on the minarets, the services in the mosques, and the oriental music.” These inspired him to revise the “Antar” Symphony. When Borodin died, the 42-year-old Rimsky—by then firmly established as a composer—was deeply affected by the loss of his friend and musical ally. He tabled his own work to finish Borodin’s incomplete opera Prince Igor. But his immersion in Borodin’s music, inspired by distant Russian realms and Polovtsian folkways, seems to have reignited his musical wanderlust, and he soon began work on the “oriental fantasy” that became Scheherazade. It is an orchestral suite of symphonic scope based on The Arabian Nights, a compilation of Arabic, Persian and Indian stories that had already been part of world culture for a millennium. Scheherazade opens with a brassy warning, ominous and loud, with a distinctive tang we can’t quite place. The melody is spiced with chromaticism. East Asian? Arabian? Before we can be sure, this blaring statement is suddenly hushed, giving way to the ethereal voice of a lone violin. It is the voice of a woman, backed by harp chords that surround her like diaphanous veils. Of course 37
Rhapsody in Blue
program notes
she is the beautiful Scheherazade, and in a matter of seconds she has transported us to a setting whose exoticism is beyond anything we could imagine without Rimsky’s brilliance. The newlywed Scheherazade is beguiling her husband and us with vivid tales of sultans, princes and the voyager Sinbad known to us as The Thousand and One Nights. The four movements of Scheherazade bear names based on incidents in the course of The Thousand and One Nights, but Rimsky’s observations in his memoirs confirm that the musical passages correspond not to individual plot details, but to a general sense of the overall narrative, with the listener invited to visualize a more specific scenario. In the first movement, “The Sea and Sinbad’s Ship,” we can easily supply it from the very beginning, when two oppositional themes—the overbearing, brass-dominated announcement of Sultan Shahriyar and Scheherazade’s beautiful violin theme, introduced by a woodwind choir and tinged with melancholy before it blossoms into storytelling mode. Underlying both themes we can hear the ebbing, swelling sea. In the second movement, “The Tale of Prince Kalendar,” Rimsky-Korsakov’s version of an “oriental” melody migrates through the orchestra in alternation with tutti iterations played in unison. In this as in all of the movements, brasses provide brightness and throw the textures and colors of other orchestral choirs into relief. A whirling theme by a solo clarinet captures the spinning motion of the Kalendar tribal dervishes. But the many stories of The Thousand and One Nights are ultimately the story of a single romance, as Scheherazade’s wisdom and charm prove even more important
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5/5
than her beauty in saving her life and redeeming the sultan from his bitterness— and in the suite’s third movement we sense the gathering triumph of romance in the onrushing lyricism of “The Young Prince and the Princess.” This plays out in deft contrapuntal melodies riposting between high and low strings, woodwinds and harp. This tapestry of themes culminates in a series of figures that are hushed, yet seem on the verge of bursting with tense energy. The final movement, “The Festival at Baghdad,” is the most episodic of all and the most climactic in its dynamics and scoring. Dance rhythms are spiced with tambourine and cymbal, then further emphasized with bass and snare drums as their momentum increases. We hear the gathering energy of Sinbad’s sea-tossed ship until it is finally broken to pieces. And we hear final reprises of both Scheherazade’s and Sultan Shahriyar’s themes until they are finally resolved in the suite’s finale—the sultan pacified, Scheherazade serenely triumphant. To listen to this orchestral spectacle is to experience one of Western music’s great feats of orchestration. The New Zealandbased musicologist Paul Serotsky calls Rimsky-Korsakov “...the Master Magician of orchestration, surpassing even Wagner and Berlioz.” (Rimsky-Korsakov closely studied Berlioz’s Treatise on Orchestration and later wrote his own text on the subject.) “The music of Scheherazade,” notes Serotsky, “is like a magic carpet: It can transport you to another world.” In his autobiography, Rimsky bristled at the idea that his masterly evocation of color and texture was a surface feature of the score; rather, he deemed it the very essence of the music itself, no less than melody or harmony.
MASTERWORKS
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Associate Conductor Rei Hotoda conducts Utah Symphony’s 2016 All-Star Evening
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TANNER SOCIETY OF UTAH SYMPHONY Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Doyle Arnold & Anne Glarner Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Shelly Coburn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers
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Season Honorees We applaud our generous donors who, through cash gifts and multi-year pledges, make our programs possible. This list reflects commitments received as of as of March 1, 2017. William & Christine Nelson Dr. Dinesh & Kalpana Patel Elizabeth Solomon Sorenson Legacy Foundation Summit County Restaurant Tax/RAP Tax Utah Division of Arts & Museums /NEA
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Sue Ellis Chip & Gayle Everest Robert & Elisha Finney General Electric Foundation Ann & Gordon Getty Foundation Elaine & Burton L. Gordon Richard K. & Shirley S. Hemingway Foundation Susan & Tom Hodgson Chuck & Kathie Horman Hyatt Centric Park City** G. Frank & Pamela Joklik Robert & Debra Kasirer Marriott Residence Inn* McCarthey Family Foundaton Charles & Pat McEvoy Pete & Cathy Meldrum Harold W. & Lois Milner Moreton Family Foundation Fred & Lucy Moreton Terrell & Leah Nagata National Endowment for the Arts Ogden Opera Guild Park City Chamber/Bureau David A. Petersen Leslie Peterson & Kevin Higgins Promontory Foundation David & Shari Quinney Radisson Hotel* Brad & Sara Rencher Resorts West* The Joseph & Evelyn Rosenblatt Charitable Fund Lori & Theodore Samuels Ben & Peggy Schapiro George & Tamie† Speciale Jennifer Speers Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds Zibby & Jim Tozer Tom† & Caroline Tucker Utah Food Services* Utah Hispanic Chamber of Commerce* *In-kind gift **In-kind & cash gift † Deceased
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Corporate & Foundation Donors CORPORATE & FOUNDATION DONORS $5,000 to $9,999 Anonymous (2) Art Works for Kids! Bambara Restaurant* Diamond Rental* Discover Financial Services The Dorsey & Whitney Foundation Spencer F. & Cleone P. Eccles Family Foundation Finca* J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Martine* Louis Scowcroft Peery Charitable Foundation Raymond James & Associates Ruth’s Chris Steak House, Salt Lake City* Salt Lake City Arts Council Sky Harbor Apartments* Union Pacific Foundation U.S. Bancorp Foundation Utah Autism Foundation Vanguard Charitable Endowment Program Victory Ranch & Conservancy $1,000 to $4,999 Anonymous Advanced Retirement Consultants Rodney H. & Carolyn Hansen Brady Charitable Foundation Bertin Family Foundation Castle Foundation City Creek Center Deseret Trust Company Henry W. & Leslie M. Eskuche Charitable Foundation ExxonMobil Foundation FatPipe Networks Five Penny Floral* Goldman Sachs Victor Herbert Foundation Hotel Park City* Jones & Associates Lewis A. Kingsley Foundation Macy’s
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Marriott City Center* Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation The Prudential Foundation Ray, Quinney & Nebeker Foundation Scoggins & Scoggins Violin Shop* Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation Squatters Pub Brewery* Strong & Hanni, PC Summerhays Music* Swire Coca-Cola USA* UMA Financial Services Inc. United Jewish Community Endowment Trust The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation $500 to $999 Aspen Roofing Babcock Design Group, Inc. Cedars-Sinai Medical Center JP Morgan Charitable Giving Fund The JP Morgan Chase Foundation Millcreek Coffee Roasters* Sad Foundation Wasatch Funds Winfield Foundation $150 to $499 Benevity Community Impact Fund European Tastees LLC* Hospira, Inc. Securities Litigation Network For Good Omni Flux Price Waterhouse Coopers Rockwell Collins Matching Gift Program The Neilson Family Trust United Way of The Great Salt Lake Area Utah Symphony Youth Guild Utah Valley Eye Center
UTAH SYMPHONY
Individual Donors ABRAVANEL & PETERSON SOCIETY Members of the Maurice Abravanel and Glade Peterson Societies pay tribute to our founders through their financial commitment while enjoying exclusive benefits. For more information call 801-869-9001. $5,000 to $9,999 Anonymous (4) Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair Carol, Rete & Celine Browning Judy & Larry Brownstein Neill & Linda Brownstein Thomas Christofferson Amalia Cochran Marc & Kathryn Cohen David & Karen Dee Spencer & Cleone† Eccles Tom Farkas Jack & Marianne Ferraro Joseph & Dixie Furlong Susan Glasmann & Richard Dudley David & SandyLee Griswold** Ray & Howard Grossman Mary P. Jacobs† & Jerald H. Jacobs Family Jeanne Kimball Paul Meecham & Laura Leach Rayna & Glen Mintz Nathan & Karen B. Morgan Stephen & Mary Nichols Dr. Thomas Parks & Dr. Patricia Legant Brooks & Lenna Quinn Dr. & Mrs. Marvin L. Rallison James & Gail Riepe Robert & Kim Rollo Eric & Shirley Schoenholz Suzanne Scott Stuart & Molly Silloway Lynn Suksdorf
UTAHSYMPHONY.ORG
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Alexander & Sarah Uhle Albert & Yvette Ungricht Kathleen Digre & Michael Varner Chris & Lisa Young $3,000 to $4,999 Anonymous (4) Craig & Joanna Adamson Robert W. Brandt Jonathan & Julie Bullen Mark & Marci Casp Edward & Carleen Clark Gary & Debbi Cook David & Sandra Cope** Mr. & Mrs. Kenneth R. Cutler Mike Deputy Carol & Greg Easton Mr. & Mrs. Robert Ehrlich Midge Farkas Peter Fillerup† Flynn Family Foundation Dixie & Robert Huefner C. Chauncey & Emily Hall Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Mr. & Mrs. Jerry Huffman Jeffrey L. Giese, M.D. & Mary E. Gesicki Dr. & Mrs. Michael A. Kalm James & Penny Keras Hanko & Laura Kiessner Harrison & Elaine Levy Bill Ligety & Cyndi Sharp Christopher & Julie McBeth Michael & Julie McFadden Rich & Cherie Meeboer Richard & Ginni Mithoff Mr. & Mrs. Ralph Muller James & Ann Neal Marilyn H. Neilson Alvin† & Helene Richer William G. Schwartz & Joann Givan Thomas & Gayle Sherry
(801) 533-NOTE
Gibbs & Catherine W. Smith Dawn & Mitch Taubin Verl & Joyce Topham Mr. & Mrs. Vincent Trotta Susan & David† Wagstaff Ardean & Elna Watts Suzanne Weaver & Charles Boynton David & Jerre Winder Gayle & Sam Youngblood $2,000 to $2,999 Anonymous (4) Robert & Cherry Anderson David & Rebecca Bateman E. Wayne & Barbara Baumgardner Dr. Melissa Bentley Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Luann & James Campbell Chris & Lois Canale Coley & Jennifer Clark Shelly Coburn Raymond & Diana Compton Dr. & Mrs. Thomas Coppin David & Carol Coulter Margarita Donnelly Howard Edwards Neone F. Jones Family Thomas & Lynn Fey Robert & Annie-Lewis Garda Heidi Gardner Mr. & Mrs. Eric Garen The James S. Gulbrandsen, Sr. Family Dennis & Sarah Hancock John B. & Joan Hanna Richard Herbert Debbie Horton Sunny & Wes Howell Scott Huntsman Jay & Julie Jacobson Annette & Joseph Jarvis Sharon Jenkins
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Individual Donors Drs. Randy & Elizabeth Jensen M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Pauline Weggeland-Johnson James R. Jones & Family Catherine Kanter J. Allen & Charlene Kimball Merele & Howard Kosowsky Val Lambson Donald L. & Alice A. Lappe Dr. Vivien Lee Paul Lehman Roger Leslie James Lether Lisa & James Levy Elizabeth & Michael Liess Herbert C. Wilma S. Livsey Milt & Carol Lynnes David & Donna Lyon Mr. & Mrs. Wayne Lyski Lisa K. Mariano Jed & Kathryn Marti Daniel & Noemi P. Mattis Warren K. & Virginia G. McOmber George & Nancy Melling Brad & Trish Merrill Dr. Louis A. & Deborah Moench Barry & Kathy Mower Daniel & Janet Myers Thomas & Barbara O’Byrne Jason Olsen & Tim Thorpe O. Don & Barbara Ostler Linda S. Pembroke Dr. & Mrs. S. Keith Petersen Jon Poesch Victor & Elizabeth Pollak Dr. Glenn D. Prestwick & Dr. Barbara Bentley Dan & June Ragan W. E. & Harriet R. Rasmussen Dr. Barbara S. Reid
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Kenneth Roach & Cindy Powell Tom & Jeanne Rueger Thomas Safran David & Lois Salisbury Mark & Loulu Saltzman Margaret Sargent Deborah & Brian Smith Christine St. Andre Larry R. & Sheila F. Stevens Steve & Betty Sullentrop Mr. & Mrs. Glen R. Traylor Dr. Ralph & Judith Vander Heide John & Susan Walker Susan Warshaw Bryan & Diana Watabe Jeremy & Hila Wenokur E. Art Woolston & Connie Jo Hepworth-Woolston Caroline & Thomas Wright PATRONS $1,000 to $1,999 Anonymous (2) Christine A. Allred Drs. Crystal & Dustin Armstrong Graham & Janet Baker Diane Banks & Dr. Mark Bromberg Mr. Barry Bergquist Mr. & Mrs. William Bierer Reverend James Blaine Shauna Bona Jim & Marilyn Brezovec Timothy F. Buehner Foundation Mr. & Mrs. William D. Callister, Jr. Bartell & Kathleen Cardon Mr. & Mrs. Lee Forrest Carter Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin James & Rula Dickson
Margaret Dreyfous Alice Edvalson Janet Ellison Naomi K. Feigal Robert S. Felt, M.D. Susan Gillett Rose & Ralph Gochnour Robert & Joyce† Graham Dr. Elizabeth Hammond Lex Hemphill & Nancy Melich John Edward Henderson Steve Hogan & Michelle Wright Connie C. Holbrook Kay Howells David & Caroline Hundley Todd & Tatiana James Maxine & Bruce Johnson Chester & Marilyn Johnson Dr. Dale & Beverly Johnson Mr. & Mrs. Melvyn L. Lefkowitz Susan Keyes Allison Kitching Carl & Gillean Kjeldsberg Robert & Karla Knox Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Gary & Suzanne Larsen Dennis & Pat Lombardi Edward & Grace McDonough Clifton & Terri McIntosh Johanna & Jack McManemin David & Colleen Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville Dr. Jean H. & Dr. Richard R. Miller John & Mary Ann Nelson Oren & Liz Nelson Ruth & William Ohlsen Blaine & Shari Palmer Ann G. Petersen Nancy & Rori Piggot
UTAH SYMPHONY
Individual Donors Keith & Nancy Rattie James & Anna Romano Richard C. & Margaret V. Romano Lousje & Keith Rooker Bertram H.†& Janet Schaap Ralph & Gwen Schamel Mr. Grant Schettler Mr. August L. Schultz Daniel & Angela Shaeffer Dennis & Annabelle Shrieve Barbara Slaymaker Dr. Otto F. Smith & Mrs. June Smith Dr. & Mrs. Michael H. Stevens Amy Sullivan & Alex Bocock Douglas & Susan Terry Carol A. Thomas Mrs. Rachel J. Varat- Navarro Mr. & Mrs. Brad E. Walton Nadine Ward†Charles & Ellen Wells Margaret & Gary Wirth Marsha & Richard Workman Norman & Kathy Younker* Michael & Olga Zhdanov Mr. & Mrs. Hugh Zumbro $500 to $999 Thomas & Carolee Baron Reed & Jeanne Benson Leora Blau Elise T. Bowers Carolyn Brady Marianne Burgoyne Frederick & Nancy Carter B. & Sharon Child Ed Cody Hal & Pamela Cole Pilar & Christopher Dechet Ashby & Anne Decker Kathleen & Frank Dougherty Jim Duane Eric & Shellie Eide
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Mary Erickson & Ann Thomas Laura Falk & Pete Cullen Ms. Carolyn C. Fredin Ernst & Marianne Friedrich James & Barbara T. Gaddis Quinn & Julie Gardner Richard Greene Anabel & John Greenlee Elizabeth & Ted Gurney Mr. John Gurr Hillary Hahn & Jeff Counts Matthew Hansen Robert & Marcia Harris Jonathan Hart Margaret & Jeffrey Hatch Courtney Henley Eric Hopkins Virginia Huber Peggy Hudson James & Jeanne Jardine Eldon Jenkins & Amy Calara Jeff & Rachel Jensen Sara & Jason Johnson Umur Kavlakoglu Liz King Tim & Angela Laros Guttorm & Claudia Landro Mel & Wendy Lavitt Claudia Laycock Ted & Carol Levy Carol & Gene Linder Dennis & Patricia Lombardi John Lucas Yuki MacQueen Marjorie Mansouri Susan Marquardt Robin & Nassir Marrouche Peggy McElvain Jerilyn McIntyre & W. Smith Nick & Suzanne Mihalopoulos Louis & Deborah Moench Dr. Michaela Mohr Gregg & Kristin Ostrander John Steven Ott
(801) 533-NOTE
Paula Paterson John & Barbara Patrick David & Elodie Payne L Tom & Barbara Perry Joan C. Peterson Mr. Norm& L. Peterson Troy & Helena Piantes Mr. Ronald Rencher Catherine Rowan Sandefur Schmidt Deborah Simmons Val Singleton Lynn & Kathy Skene John & Patricia Sorenson Roger & Shirley Sorenson Linda & Michael Sossenheimer Susan Southam Strong & Hanni Gaylia Tanner Gail Tomlinson Fred Tripp Veloy & Carol Varner Roy Vincent Jodi & Thomas Wagner James Warenski Janell & Frank Weinstock Charles & Ellen Wells Lynnette Loveland Amy Wood $150 to $499 Angela Aalbers Ms. Madeline Adkins Dennis & Louise Ahern Franklin & Elizabeth Alex Dan Allcott Rosemary Anastasion Diane Anderson & Karen Glick Karen Anderson Mark & Georgia Anderson Paul Apel Ronald Apfelbaum & Kathleen Murray Robert & Lois Archuleta
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Individual Donors Ann & Dennis Austin Phillip & Frances Bach Lewis & Nancy Baker Scott Barasch Bryce & Margaret Barker Judy Barking Almina Barksdale Joyce & John Barnes Nannette Barnes Lynn & Diane Barnett Lawrence & Amanda Barusch Randy Bathemess Mary Ann & Thomas Bauman Leroy & Carolyn Bearnson Mary Beckerle & David Murrell Charles & Mary Behrens Michael Behring & Debra Marin Barbara Belnap William & Deborah Beninati Gordon & Marilyn Bennett Francine & Robert Bennion Joseph & Barbara Bentley Shirley Benzley Robert & Charlene Bereskin Richard & Elizabeth Berman Earle & Linda Bevins Sue Bhanos Friederike Biggs Milla Bilbrey Ann & Jay Bjorklund Rev. James Blaine Jed Boal Brent Bogden Nina Boguslavsky Louis Borgenicht & Jodie Plant Thomas Bowen & Martha Brace Sue Wilkes Bradford Ms. Sharon Bresin Rodger & Cleo Brimhall Carol A. Brown Susan Brown
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Kent & Linda Bryan Matthew Bryan & Jason Taylor Susan Burdett Kathryn & John Burnham Fred & Debbie Burr Craig Buschmann Scott & Jean Calder Christie Canfield George & Corrine Cannon George Cannon Suzanne Case Barbara Christensen Catherine Christensen Don & Arda Christensen Ray & Jeanne Christensen Clark & Gwen Christian Ms. Lynne H. Church Jay Clark James Clarke Orson & Dianne Clay Patricia & John Clay Linda Cochran Beth Cole Jeri Garner Collings Alene Cook Hilary Coon & Jim Yehle Carla Coonradt Rita Cornish Julie & James Crittenden Ronald & Carole Cutler Jeffery Dalebout David & Donna Dalton Abhijit Dasgupta Mr. Andrew A. Davis Elizabeth Deforest Gentry Densley Alison Desano Carleton Detar & Laurel Casjens Tim Dick Timothy Dick Mary & Robert Dillon Karen Dixon
Jennifer Doherty Meredith & Stephen Drechsel Judith Eagan Barbara Echols Kathryn Egan & Claire Turner Charlotte & Eugene England Tessa Epstein Debbie Ess James P. Felt Barbara & Michael Fordham Dr. Elizabeth L Frank Wayne & Aileen Freckleton B. & Kathryn Gardner Joseph & Constance Gates Ann & David George Katharina Gerstenberger Catherine Gerwels Ray & Harriett Gesteland Chris & Vicki Ghicadus Pete Giacoma Charles & Arlene Gibson Julie Gitlin Mr. & Mrs. Blaine Glad Douglas Gould Melvin & Diane Gourdin William & Sylvia Gray Laura & Lawrence Green Tammy Green & Alberto De La Torre Karen & Dave Gribbin Paul & Janet Griffin Kevin & Donna Gruneich Doug & Norine Halbe Devon & Dianne Hale Blake & Melony Hamilton Harlan & Julia Hammond Karen Hannahs Ms. Lauri Hansen Scott Hansen & Peggy Norton Caleb Harris Dixie L Harris Virginia Harris
UTAH SYMPHONY
Individual Donors Ms. Alene Harrison Clyde & Merilyn Harvey Ms. Linda Haslam Doug Hattery Linda Anton Hayward John & Jean Henkels Craig & Tiffany Hess John P. Hill, Esq Lewis Hitchner Audrey & Lee Hollaar Ms. Elaine Holt John & Marilyn Holt Rachael Jacoby, MD Richard G Horne Judith & Donald Horwitz Ursula Hoshaw Ronald & Marsha Houston John & Kathleen Howarth Jesse & Diane Hunsaker Cynthia Huntsalong Nancy Huntsman Mr. Albert Imesch Summer Irvin & Paul Thurston Mr. Gordon Irving Brent & Eve James Anne Jennings Joseph & Karen Jensen Elaine Jeppesen Cosette Joesten Nick Johnson Owen & Joyce Johnson Rodney & Janice Johnson Veedrienne & M. Gordon Johnson Ms. Virginia Johnson Kimberli Jones Lynn & Debbie Jorde Siegfried & Ellen Karsten Lucille & Jim Kastanis Kristen Keefe & Herbert Hayashi Scott & Susan Kenney Jeanne Kesler
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Lillian Khor Marvin & Lois Kimball Ellen King Philip & Angela Kithas Thomas Klassen & Carolyn Talboys-Klassen Michael & Lucy Knorr Les Kratter Veronica Kulig & James Boesch Gary Lambert Bruce & Margaret Landesman Glen & Karen Leonard Marc Levy Gina Lewis & Chris Hayes Katherine Liddle Ms. Ingie Lignell Gary Lindstrom Herbert & Helga Lloyd Kimberly D. Lobdell Karen Lobrot Susan Loffler Nicola Longo Jeramy Lopez Ms. Marilyn R. Lott Philip Lowe Nancy & George Lower Randall & Margaret Mackey Penelope Mathews & David Horner Mary Mathewson Mr. George T. Mattena Mrs. Dianne Taylor May Donald & Donna Mcarthur Ms. Heather Mcmaster Vanene McShane & Doris Christensen Sanford Meek Reed & Colleen Merrell Ron & Tamara Meyers Paula Michniewicz Dan Miller Larry & Roselle Miller Mr. Robert L Miller
(801) 533-NOTE
Mike Mills Janet O. Minden Richard & Anita Miner David & Suzanne Moore Jane & William Moore William M. Moore Patricia & James Morgan John & Amy Mulderig Faye & Harlan Muntz Sara Lee Neill Richard Nelson Marv Neuman Gerald Nichols Jonathan Niedfeldt Ann & William Nisbet Merrill & Josephine Oaks Maura & Serge Olszanskyj Ellen & Keith Opprecht Lee Osborne & Marilyn Heinrich Deborah Overton Brent & Julie Palfreyman Mr. Adrian Palmer Cheryl & Michael Palmer Dorothy Palmer Boyd & Arline Parker William & Ruth Ann Parker Helen C. Patterson Suzanne & James Patterson Kayleen & Don Paul Robert & Catherine Pedersen Anne Pendo & Duncan Edwards Thea Peters-Brannon & Bob Brannon Helen & Richard Petersen Kelvin Peterson Valeri & Galina Pianykh Richard & Ursula Pimentel Nancy & Jerry Pitstick Lisa Poppleton & Jim Stringfellow Marilyn Poulson Sandra & Laszlo Preysz Erin Price
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Individual Donors Matthew & Maria Proser Irene Pruss Dan Purjes James Quan Jeff & Melissa Quigley Laura & Bruce Raile Arthur & Susan Ralph Jana Ramacher Brent Rammell Jack & Itha Rampton Randy Rasmussen Hildegard Rayner William Reagan & Mariclare Reagan-Klein Delia & Craig Reece Richard & Frances Reiser Tim Rice & Kathy Mead John & Gayle Richards J. & Mary Ridges Milton & Charmane Riggs Jim & Bonita Robertson Gary Rodgers Allen Rogers Richard & Frances Rogers John Rose & Carolyn Pedone Ms. Genevieve Maire Rosol Dr. Aden Ross Michael & Allene Ross Virginia & Gerald Rothstein Patricia Rothwell Jerry & Linda Rowley Charles & Carolyn Rozwat Gail Rushing Ellen Rye Marelle Sanderson Mrs. Debra Saunders Peggy Saunders & Karl Seashore Mary Schofield Darrell Schrick Susan Schulte John Schwiebert & Ann Jefferds Harry & Becky Senekjian Clark & Judie Sessions Richard & Jill Sheinberg Scott & Luke Sherner
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M. Tom & Junko Shimizu Glenda Shrader Aharon & Julie Shulimson Stephanie Silas Jeff & Connie Silliman Ms. Bonne H. Simmons Mrs. Margaret M. Simmons Brad Simons Stuart & Suzanne Slingerland Jill & Phillip Smith Kenneth & Carol Smith Laurie Williams Sowby Wayne Sowers Kenneth & Claudia Sperling Robert & Elaine Sperry Michael & Robert Stahulak Isaac & Maddy Stein Pamela & Larry Stevenson Lori & William Stratton Annie & Cory Strupp Mr. Briant Summerhays Jeannette Swent Lois Swick Robert & Rebecca Sykes Kim & Carolyn Taylor Lucy Taylor Renae Taylor Isabella Tcaciuc & Thomas Bosteels Jon & Gail Tensfeldt Lisa Thomson Reverend Robb Trujillo Yevgene Tuchinsky William & Patricia Tueting Nancy Umemura Karen & Richard Urankar Ken Uy Sheila M Van Frank Robert & Shirley Van Wagenen Claudio Vianello Miguel Villalobos Beverly & Richard Villata William & Donna Vogel Deanna Wankier Susan & Deck Waters Johanna Weichert Werner & Dorothy Weixler
Lauri Welch Bonnie White & Maryanne Hunter James & Lynette White Marilyn & Paul Whitehead Sheila Whitney Helen Wight James Wilcox Alex Wilding Brian Wilkin Bill Williams Mr. George A. Williams Jody Williams Karan Williams & Lawrence Mason Jean & E. Willis Barbara Wirostko Jeralie Wirthlin Carol & Carol Withrow Katherine Wonnacott Jay & Jean Wright Robert & Karen Young Tolford & Mary Young Whit & Rosemary Young James & Nataliya Ziter Lawrence Zubel IN HONOR OF Dr. J. R. Baringer & Dr. Jeannette J. Townsend George Brown Paula J. Fowler Pam Harris Abe & Arline Markosian David Park Mark & Dianne Prothro Clark T. Randt, Jr. Patricia A. Richards Bill & Joanne Shiebler Kevin Sohma *In-kind gift **In-kind & cash gift †Deceased Gifts as of March 1, 2017
UTAH SYMPHONY
Individual Donors “Music is the art which is most nigh to tears and memory.” ~Oscar Wilde IN MEMORY OF
Jay T. Ball Mikhail Boguslavsky Ann Dick Ed Epstein Loraine L. Felton Neva Langley Fickling Herold L. “Huck” & Mary E. Gregory Judith Ann Harris Roger Hock Marian Holbrook Steve Horton Winona Simonsen Jensen Eric Johnson Joan McEvoy Maxine & Frank McIntyre Dr. Walter Needham
Bill Peters Russell Alan Peters Chase N. Peterson Mardean Peterson Kenneth Randall Dr. Clifford Reusch Alvin Richer Bert Schaap Ann O’Neill Shigeoka Ben Shippen Maestro Joseph Silverstein Barbara Singleton Tamie Speciale Marjorie Whitney John W. Williams Merrill L. Wilson, M.D
Administration ADMINISTRATION Paul Meecham President & CEO David Green Senior Vice President & COO Julie McBeth Executive Assistant to the CEO Ali Snow 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 Walt Zeschin Director of Orchestra Personnel Andrew Williams 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 Director of Operations Chip Dance Production & Stage Manager Jeff Herbig Properties Manager & Assistant Stage Manager Melissa Robison Program Publication & Front of House Manager Erin Lunsford Artist Logistics Coordinator 0PERA ARTISTIC Christopher McBeth Opera Artistic Director Michael Spassov Opera Chorus Master Carol Anderson Principal Coach Michelle Peterson Opera Company Manager Mandi Titcomb Opera Production Coordinator DEVELOPMENT Leslie Peterson Vice President of Development Hillary Hahn Senior Director of Institutional Gifts
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Natalie Cope Director of Special Events & DVMF Community Relations Alina Osika Manager of Corporate Partnerships Lisa Poppleton Grants Manager Kate Throneburg Manager of Individual Giving Heather Weinstock Manager of Special Events Steven Finkelstein Development Coordinator MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations RenĂŠe Huang Director of Communications & Digital Media Chad Call Marketing Manager Mike Call Website Manager Aaron Sain Graphic Design & Branding Manager Tyler Bloomquist Junior Graphic Designer PATRON SERVICES Nina Richards Starling Director of Ticket Sales & Patron Services Faith Myers Sales Manager Andrew J. Wilson Patron Services Manager Robb Trujillo Group Sales Associate Ellesse Hargreaves Patron Services Assistant Risa Bean Joshua Figueroa Jackie Seethaler Powell Smith Elliott Wood Sales Associates Nick Barker Christina Frena Mara Lefler Rhea Miller Ananda Spike Ticket Agents ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO Mike Lund Director of Information Technologies Jordan Wells 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 Kyleene Johnson Symphony Education Assistant Timothy Accurso Sarah Coit Markel Reed Abigail Rethwisch Christian Sanders Utah Opera Resident Artists OPERA TECHNICAL Jared Porter Opera Technical Director Kelly Nickle Properties Master Lane Latimer Assistant Props Keith Ladanye Production Carpenter Travis Stevens Carpenter COSTUMES Verona Green Costume Director Melonie Fitch Rentals Supervisor Kierstin Gibbs LisaAnn DeLapp Rentals Assistants Amanda Reiser Meyer Wardrobe Supervisor Milivoj Poletan Tailor Tara DeGrey Cutter/Draper Anna Marie Coronado Milliner & Crafts Artisan Chris Chadwick Yoojean Song Connie Warner Stitchers Yancey J. Quick Wigs/Make-up Designer Shelley Carpenter 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
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House Rules
ASSISTIVE LISTENING DEVICES
QUIET PLEASE
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.
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.
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 after which time you may be seated by an usher in an alternate section. 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.
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(801) 533-NOTE
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.
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TRUE STORIES TOLD LIVE at KINGSBURY HALL Tickets available at kingtix.org.
30 MAY
KUER 90.1 Presents: Between Worlds Kingsbury Hall 1395 Presidents Circle, Salt Lake City, UT 6:30pm Doors Open, 7:00pm Stories Begin Hosted by Dame Wilburn Presented by:
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DEC 31 through ~ FEB 4
APR 15 through ~ MAY 20
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2017 / DEER VALLEY ® MUSIC FESTIVAL
Education Events The USUO Education Department offers events that provide access for our community members to professional musicians and music-making.
PRO-AM CLINICS July 8 (strings); July 15 (woodwinds); July 29 (brass) Amateur musicians can hone their musical skills under the mentorship of Utah Symphony musicians. Clinics will be held at Park City High School (1750 Kearns Blvd), from 3–5 pm on select Saturdays in July. • Cost is $25 per musician • Registration will begin online May 22 at DeerValleyMusicFestival.org
FAMILY INSTRUMENT PETTING ZOO Friday, July 28 (6–7 pm) • • • •
Preceding the DISNEY IN CONCERT: A DREAM IS A WISH concert Instruments provided by Summerhays Music Behind Snow Park Lodge Ticket Office Available to all ticket holders
PLAZAFEST • July 1: Utah Conservatory Patriotic Kids Camp will sing patriotic tunes on the plaza before the Patriotic Celebration concert. • Wednesdays: Young instrumentalists offer pre-performance music at St. Mary’s Church concerts. • August 5: The Park City Rockers @ Utah Conservatory will perform on the plaza preceding the Classical Mystery Tour concert.
MUSICAL THEATRE AUDITION MASTERCLASS Saturday, July 1 (2–3:30 pm) Guest conductor Jerry Steichen will conduct a musical theatre audition masterclass for students of Utah Conservatory and Egyptian YouTheatre. Class will be held at Utah Conservatory (4593 Silver Springs Dr). Audience attendance is free and open to the public.
for more info about deer valley® music festival education events:
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Acknowledgments UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR
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Provided 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. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.
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UTAH SYMPHONY
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 THE THE NEW NEWYORKER YORKER 60 60West West Market Market Street. Street. SLC’s SLC’s of non-seafood dishes. Open 7 days a week serving premier premierdining dining establishment. establishment. Modern Modern American American breakfast, lunch, dinner, Sunday Brunch. B, L, D, C, AT, S, MARTINE 22 East 100 South. Exceptional ambience, cuisine cuisine isfeatured featured ininrefined refined dishes dishes and andapproachable approachable LL, CC,isVS. located infood. a801.322.4668 historic brownstone. Martine offers comfort comfortfood. From Fromclassic classictotoinnovative, innovative, from fromSalt Lake City a sophisticated experience kept MARTINE 22 East 100 South. Exceptional ambience, contemporary contemporary seafood seafood todining to Angus Angus Beef Beefsteaks steaks – simple. –the the Conveniently located onfor First South around the corner located in a historic brownstone. Martine offers menu menuprovides provides options options forevery every taste. taste. Served Served inSalt inaa from the Eccles Theater. Extensive bar andservice. wine Lake City a sophisticated dining experience keptservice. simple. casually casually elegant elegant setting settingwith with impeccable impeccable service. martinecafe.com L, D, T, corporate LL, RA, CC, and VS. 801-363-9328 Conveniently located on First South around the events. corner Private Privatedining diningrooms rooms for for corporate and social social events. from Eccles Theater. Extensive bar and wine service. Lunch Lunchthe &&Dinner. Dinner.No Nomembership membership required. required. L,L,D,D,LL, LL,AT, AT, martinecafe.com L, D, T, LL, RA, CC, VS. 801-363-9328 RR, RR,CC, CC,VS. VS.801.363.0166 801.363.0166
Consistently Rated “Tops”–Zagat 60 W. Market Street • 801.363.0166
Salt Lake City’s #1
Popular Restaurant OUT OUT ON ON Most THE THE TOWN TOWN –Zagat
48 W.guide Market Street (340 South) dining dining guide 801.322.4668
Consistently Rated Rated“Tops” “Tops”–Zagat –Zagat • anConsistently american contemporary café • 6060W.W.Independent Market MarketStreet Street• •801.363.0166 801.363.0166 Local, Chef Owned
22 East 100 South Phone • 801.363.9328 www.martinecafe.com
Salt SaltLake LakeCity’s City’s#1 #1
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 MARKET MARKET STREET STREET GRILL GRILL DOWNTOWN DOWNTOWN 48 48 Most Popular Popular Restaurant Restaurant LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit CardsMost Accepted VS-Vegetarian Selections West WestMarket Market Street. Street. Unanimous Unanimous favorites favorites for forseafood seafood –Zagat –Zagat dining, dining,providing providingexceptional exceptionalservice serviceand andaward awardwinning. winning. The Thecontemporary contemporarymenu menufeatures featuresthe thehighest highestquality quality available. available.Select Selectfrom froman anabundant abundantoffering offeringofoffresh fresh seafood seafoodflown flowninindaily, daily,Angus AngusBeef Beefsteaks, steaks,and andaavariety variety ofofnon-seafood non-seafooddishes. dishes.Open Open7 7days daysaaweek weekserving serving breakfast, breakfast,lunch, lunch,dinner, dinner,Sunday SundayBrunch. Brunch.B,B,L,L,D,D,C,C,AT, AT,S,S, LL, LL,CC, CC,VS. VS.801.322.4668 801.322.4668
4848W.W.Market MarketStreet Street(340 (340South) South) 801.322.4668 801.322.4668
THANK YOU TO OUR ADVERTISERS
MARTINE MARTINE22 22East East100 100South. South.Award Awardwinning winningambience, ambience,
located locatedininaahistoric historicbrownstone. brownstone.Martine Martineoffers offersSalt SaltLake Lake City Cityaasophisticated sophisticateddining diningexperience experiencekept keptsimple. simple.Locally Locally sourced sourced ingredients, ingredients, pre-event pre-event$25 $25three threecourse courseprix prixfixe. fixe. Adib’s Rug Gallery Extensive Extensivebar barand andwine wineservice. service.martinecafe.com martinecafe.com The Bachauer Piano Festival 2017 L,L,D,D,T,T,LL, LL,RA, RA,CC, CC,VS. VS.801-363-9328 801-363-9328
• •An Anintimate intimateeuro eurocafé café• • Free FreeValet ValetParking Parking
22East East100 100South South Little America 22 Phone Phone• •801.363.9328 801.363.9328 www.martinecafe.com www.martinecafe.com Millcreek Coffee Roasters Top TopPhoto: Photo:Image Imagelicensed licensed byby Ingram Ingram Image Image Challenger Moran Eye Center B-Breakfast B-BreakfastSchool L-Lunch L-LunchD-Dinner D-DinnerS-Open S-OpenSunday SundayDL-Delivery DL-DeliveryT-Take T-Take Out OutC-Children’s C-Children’s Menu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre LL-Liquor LL-Liquor Licensee RR-ReservationsRequired RequiredRA-Reservations RA-ReservationsAccepted Accepted CC-Credit CC-CreditCards CardsAccepted AcceptedVS-Vegetarian VS-VegetarianSelections Selections City CreekLicensee LivingRR-Reservations New Yorker Classical 89 RC Willey David Dee Fine Arts San Francisco Design Daynes Music Security National Mortgage Excellence in the Community Summit Vista Five Wives Vodka Tuacahn Amphitheatre Grand America University Federal Credit Union Hale Centre Theatre University of Utah Health Care Hamilton Park Interiors Utah Food Service Humane Society of Utah Zions Bank K&R Interiors KUED If you would like to place an ad in this KUER program, please contact Dan Miller at Larry H. Miller Lexus Mills Publishing, Inc. 801-467-8833
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