Messiah Sing-In by Mills Publishing Inc.

2016–17 UTAH SYMPHONY SEASON / NOV – DEC

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THE SOUND of INSPIRATION

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Contents

November & December 2016 Performances Purchase tickets at utahsymphony.org or call 801-533-6683

NOVEMBER 4–5 | 7:30 PM

6 Welcome

DVOŘÁK’S “NEW WORLD” SYMPHONY

8 Utah Symphony 10 Board of Trustees 15 Music Director 16 Memorable Moments 20 Why do we Record?

NOVEMBER 11–12 | 7:30 PM

22 A Day in the Life of a Live Recording

BRAHMS & TCHAIKOVSKY

26 Spotlight: Louis-Philippe Robillard 29 Who we Are 33 Tagged & Hashtagged! NOVEMBER 18–19 | 7:30 PM

34 Season Sponsors

THE MUSIC OF PROKOFIEV

35–42 Today‘s Concert(s) 44 Support USUO 48 Season Honorees 50 Corporate & Foundation Donors

NOVEMBER 26–27 | 7:30 PM

52 Individual Donors

MESSIAH SING-IN

58 Tanner & Crescendo Societies 59 Legacy Giving 62 Administration DECEMBER 2–3 | 7:30 PM

67 House Rules 68 Utah Symphony Guild

DECEMBER 2 | 10 AM

71 Education

BEETHOVEN & RACHMANINOFF

72 Acknowledgments

DECEMBER 9–10 | 7:30 PM DECEMBER 10 | 11 AM

CIRQUE MUSICA HOLIDAY SPECTACULAR! Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.

DECEMBER 23 | 7 PM DECEMBER 24 | 1 PM JANUARY 3 | 6:30 PM

HARRY POTTER AND THE SORCERER’S STONE IN CONCERT

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PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR /PRODUCTION MANAGER Jackie Medina GRAPHIC DESIGNERS Leslie Hanna Ken Magleby Patrick Witmer UTAHSYMPHONY.ORG

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 2016

Welcome

Photo Credit: Brandon Flint

On behalf of the board, musicians, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and today’s Utah Symphony concert. By attending, you are living proof that Utahns are the nation’s premier arts lovers. A survey recently released by the National Endowment for the Arts confirms Utah as the state with the highest percentage of adults in the nation attending live performances. In 2015, nearly 32 percent of Americans attended at least one live music, theater, or dance performance. In Utah, that rate was 51 percent. Congratulations! Utah Symphony | Utah Opera is proud to be a long-standing contributor to the diverse and far-reaching cultural landscape of this state. From its beginning more than 75 years ago, the orchestra has relied on community activism. And because our community has been exceptionally generous in supporting an ambitious artistic vision, the orchestra has grown into one of America’s leading ensembles. Annually USUO performs more than 100 subscription concerts and operas at its home venues and 240 education concerts across

the state. Remarkably, nearly one third of our audience is comprised of students! We take seriously our responsibility for the next generation of Utahns, and believe that our history of instilling a love of great live music in young people throughout our state has contributed to placing Utah as the No. 1 for performing arts attendance. This organization is a state treasure as firmly woven into Utah’s fabric as its red rocks and snow-covered mountains. And like the natural beauty of the state, USUO enriches lives, elevates our community, and is worth cherishing for generations to come. Thank you for all you do to make possible this mission. Sincerely, Paul Meecham President & CEO

Thierry Fischer Symphony Music Director

David Petersen Chair, Board of Trustees

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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†† Paige Kossuth†† 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

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 Walter Zeschin Director of Orchestra Personnel

HORN Edmund Rollett Acting Principal

Nathan Lutz 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 Mark Barraclough Assistant Stage & Properties Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

Sam Elliot†† Acting Associate Principal

Lissa Stolz

UTAH SYMPHONY

Board of Trustees

ELECTED BOARD David A. Petersen* Chair

Naoma Tate Thomas Thatcher 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 Rodney H. Brady Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles

Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Marilyn H. Neilson O. Don Ostler Stanley B. Parrish Marcia Price

David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith Ardean Watts

NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Chair (Utah)

Susan H. Carlyle (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

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

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

Alvin Richer (Arizona)

William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO

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 3 years. He will visit Seoul at least 4 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 Boston Symphony, 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 conducts 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.

UTAHSYMPHONY.ORG

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Memorable Moments at Abravanel Hall CHARLES IVES SYMPHONY CYCLE Explore the symphonic world of American composer (and life insurance salesman) Charles Ives (1874–1954) who is known for synthesizing ideas from American popular music with European religious and art music. Thierry Fischer conducts all four of his symphonies this season, beginning with his Symphony No. 1 on November 4–5 and Symphony No. 3 on November 11–12. Symphony No. 1 combines ideas from famous composers including Tchaikovsky, Schubert, and Dvořák, while you’ll hear many nineteenth-century American hymns in Symphony No. 3. Ives’ remaining symphonies will be performed on January 6–7 (No. 2) and February 17–18 (No. 4)

CONCERTO DEBUT OF CONCERTMASTER MADELINE ADKINS Madeline Adkins recently made her debut as the Utah Symphony’s new concertmaster in September 2016, and she makes her concerto debut with the Utah Symphony on November 18–19 with a performance of Prokofiev’s Violin Concerto No. 2. Experience this lyric and virtuosic work with touches of Russian folk music and imaginative combinations of instruments, including castanets which elicit memories of its 1935 premiere in Madrid.

LIVE RECORDING OF PROKOFIEV’S FILM MUSIC The Utah Symphony recently released live recordings of Mahler’s Symphony No. 1 and Dawn to Dust, which featured three world premieres by the Utah Symphony at Abravanel Hall. Next spring Mahler’s Symphony No. 8 with the Mormon Tabernacle Choir will be released on Reference Recordings, but first Thierry Fischer, the Utah Symphony Orchestra and Chorus, the University of Utah choirs, and mezzosoprano Alisa Kolosova record a live performance featuring Prokofiev's music from the films Lieutenant Kijé and Alexander Nevsky on November 18–19.

Purchase tickets at utahsymphony.org or call 801-533-6683 16

UTAH SYMPHONY

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Memorable Moments at Abravanel Hall DECK THE HALLS AT ABRAVANEL HALL Few places are more magical than downtown Salt Lake City and Abravanel Hall during the holidays. The Utah Symphony’s holiday season begins the weekend after Thanksgiving with the annual Messiah Sing-in on November 26–27 and continues with an unforgettable combination of cirque skill and live symphonic music with Cirque Musica Holiday Spectacular on December 9–10. We also continue our annual Saturday morning family concert tradition of Here Comes Santa Claus! on December 17 while starting a new holiday tradition by featuring the first of eight Harry Potter™ films in concert on December 23–24. Also, Celtic Woman makes an appearance on December 21 with the Utah Symphony as part of their “Home for Christmas” holiday tour. BEETHOVEN PIANO CONCERTO CYCLE CONTINUES Audiences have been buzzing about September’s unforgettable opening performances from the Beethoven Piano Concerto Cycle with Jonathan Biss performing Piano Concerto No. 1 and Emanuel Ax performing Piano Concerto No. 5. Next up is Jeffrey Kahane’s performance of Piano Concerto No. 2 on December 2–3 with conductor Hans Graf.

HARRY POTTER AND THE SORCERER’S STONE™

IN CONCERT In September the Utah Symphony announced that the Harry Potter™ Film Concert Series would be coming to Abravanel Hall with the Utah Symphony performing every note from the scores of all eight Harry Potter™ films live while the film plays in high-definition above the orchestra. Both performances of Harry Potter and the Sorcerer’s Stone™ in Concert sold out in record time, signaling that this new annual tradition is one that is not to be missed! An additional performance has been added for January 3. Read ahead about our upcoming performances. Program notes and artist biographies for upcoming concerts are available online at www.utahsymphony.org. UTAHSYMPHONY.ORG

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Why do we Record? By Jeff Counts

On November 18 and 19, Utah Symphony will embark on its fourth live recording in three years, this time featuring two iconic film scores by Prokofiev, “Lieutenant Kijé” and “Alexander Nevsky.” These performances will be captured by Sound Mirror and Reference Recordings, who recorded and released Thierry Fischer’s first CDs as Music Director of Utah Symphony, Mahler Symphony No. 1 “Titan” and “Dawn to Dust,” featuring world premiere commissions by American composers Augusta Read Thomas, Nico Muhly and Andrew Norman. Mahler’s Symphony No. 8 will be released next spring. One question remains in the hearts and minds of audiences upon which I hope to shed some light. Every orchestra has a personality, a set of traits that makes it unique and identifiable to even a novice listener. Dynamic rather than static, these traits are developed and polished over years, many years, during which an orchestra’s ‘sound’ evolves in subtle but meaningful ways. Several obvious factors contribute to this process—periodic changes in leadership and personnel, the building of a new hall, etc.—but quietly important among them is the willingness of an orchestra to embrace certain extracurricular activities. Commissioning, touring and recording can all raise the collective level of an ensemble significantly. The making of recordings, in particular, requires an orchestra to make music in a manner that sharpens the artistic intent of everyone involved, and this very positive surge of energy resonates long after the sessions themselves are over. Orchestras grow noticeably when they record,

and their recordings have the potential distinction of being both the impetus for increased excellence and the lasting proof of it. Put simply, recordings allow an orchestra, normally confined to the ephemerality of live performance, to create something that preserves and celebrates its distinct character for all time. Recordings can also confirm an orchestra’s place in a great international interpretive debate that would not be possible without them. Whose version of Mahler 1 is most convincing? Which version of the Lieutenant Kijé Suite has the most wit and charm? Only orchestras with recordings get to participate in this game because those are the orchestras that have chosen to offer up their work as part of the historical record. Recordings are about taking risks. Recordings are about challenging expectations. Recordings are about crafting a legacy.

UTAH SYMPHONY

2016/17 CULTURAL FESTIVAL

ARTS IN SERVICE TO THE MILITARY

Our 2016â&#x20AC;&#x201C;17 cultural festival shines a spotlight on veterans and current military, focusing on ways our arts community can appreciate and support them. As part of this festival, many local arts organizations will present events on military themes and will also provide access for active and separated military personnel to a variety of arts performances. We will also draw attention to veteransâ&#x20AC;&#x2122; active art-making as a means of self-expression. FESTIVAL HIGHLIGHTS INCLUDE:

The Western US Premiere of The Long Walk by Utah Opera Guest writer events with Brian Castner, author of the memoir The Long Walk Performances and events based on military experiences, produced by Salt Lake Acting Company, Art Access, Ballet West, U of U Creative Writing, and more Annual Veterans Creative Arts Festival at the VA SLC Medical Center Free/discounted tickets to performances and other events for veterans and current military FOR MORE INFORMATION, VISIT

USUO.ORG/FESTIVAL

A Day In The Life Of A Live Recording By Alex Martin

Mahler Symphony No. 8 patch session at the Tabernacle, photo credit Karen Wyatt

The day begins much like any concert weekend. I arrive at the hall around 9 AM for the dress rehearsal which starts at 9:30. After a few minutes of sipping coffee and chatting with colleagues, I get my violin out and warm up with what I’ve decided are the most difficult parts of the concert. The rehearsal is run like most dress rehearsals in that we try to hammer out the last remaining details without tiring ourselves out too much. There have been microphones set up all over the stage for the entire week; an exciting but at times nerve-wracking reminder that this weekend’s performances will become a part of our orchestra’s history and legacy. Once rehearsal has ended, I head home for a light lunch and hopefully a quick nap in anticipation of a late night. After napping

I practice for a bit, but not necessarily that night’s music. I may begin looking at next week’s music or work on music for a project outside of the symphony. Around 5 PM it’s time to eat a light dinner and relax for a bit. If baseball—one of my non-musical passions and a useful calming force—is still being played, I’ll watch a game until it’s time to head to the hall. I try to be dressed and ready by 7 PM for a 7:30 concert. On stage I go over those same tricky parts that I used to warm up for the rehearsal while at the same time conserving precious energy. At times during the concert I forget that we’re being recorded only to be reminded periodically by an ill-timed sneeze or cough that every imperfection, even if not the orchestra’s fault, is being documented. Continued on page 25.

UTAH SYMPHONY

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A Day in the Life of a Live Recording Continued from page 22.

Mahler Symphony No. 8 patch session at the Tabernacle, photo credit Karen Wyatt

Once the concert has ended around 9:30 PM, we all head upstairs for a much-needed, hourlong break. I change out of my tuxedo and into something more comfortable. On a normal weekend, our work night would be over, but on this particular night it is critical that we stay in concentration mode. I do this by continuing to converse with colleagues and munching on the pizza that is often provided to keep us all from fading.

concert (we’re not robots!). But often there are also things out of our control that we have to record again. One of those ill-timed audience coughs may be reason enough to re-record a part of the music. If applause in the concert started before the last note had completely faded out (this is a fairly common occurrence), we will re-record the very end to capture that perfect fade of the last note into silence.

Once back on stage, we have exactly forty minutes to patch things up. It can be tricky to fix everything we have to in that short amount of time. These patches include things that may not have been pristine in the

Finally, shortly after 11 PM, we’ve run out of patch time and our day has ended. We’ve exhausted ourselves doing everything we can and now our product is in the hands of the recording engineers…

UTAHSYMPHONY.ORG

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Spotlight: Louis-Philippe Robillard The Utah Symphony | Utah Opera is delighted to introduce Louis-Philippe Robillard, the newest member of the Utah Symphony. Louis is a cellist, joining us after eight seasons with the Fort Worth Symphony and three years with the New World Symphony following his musical education at the Conservatoire de Musique de Montréal, Canada and at the Mannes School of Music in Manhattan, New York.

Louis-Philippe Robillard Cello

Louis is the youngest in his family and grew up in Canada near Montreal. He comes from a music-loving household though he is the only musician in his family. He remembers hearing the cello for the very first time when he was five years old on his family LP player. He recalls going to kindergarten that day and drawing a picture of the cello that he saw on the LP record and later showing it to his parents saying, “I want to play that.” He started playing and soon discovered his favorite work: Bach’s Cello Suites. “I never get tired of listening to it,” he says. “There is a spiritual, meditative quality to it. Also, as a player, there are so many different ways of interpreting it convincingly.” Louis’s enthusiasm and passion for music, which began with the LP player, is what he says he hopes to bring to the Utah Symphony. Upon joining the Utah Symphony he says that he greatly enjoys working with Thierry Fischer because he finds the energy and passion with which Fischer conducts “inspiring.” Robillard is also an outdoorsman and enjoys the beautiful Utah mountains near his new home in Salt Lake City: “It’s like a dream. I can just get out and 30 minutes later I’m skiing or on the trails.”

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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 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 performed the nationally covered Mighty 5® Tour in 2014, visiting all five national parks UTAHSYMPHONY.ORG

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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 70,000 students annually from all Utah school districts in more than 240 educational outreach concerts 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. 29

/upcoming concerts Tchaikovsky’s Violin Concerto January 6 & 7, 2017 / 7:30 PM / ABRAVANEL HALL Thierry Fischer, conductor Noah Bendix-Balgley, violin

IVES WEBERN TCHAIKOVSKY

Utah Symphony Orchestra

Symphony No. 2 Variations for Orchestra Violin Concerto

Underappreciated in its time, this piece is now an irrefutable star of the violin concerto repertoire. Get lost in the dichotomy of a performance both fierce and emotional, yet supremely under control.

Tristan and Isolde January 13 & 14, 2017 / 7:30 PM / ABRAVANEL HALL Mark Wigglesworth, conductor Francesco Piemontesi, piano

Utah Symphony Orchestra

MOZART Piano Concerto No. 27 WAGNER Tristan and Isolde, an orchestral passion (ARR. HENK DE VLIEGER) The music that drives Wagner’s epic opera of love and tragedy is powerful. Join the Utah Symphony as they perform orchestral excerpts from the score that is often cited as a major influence on the direction of 20th century composition.

Leigh’s Man of La Mancha January 21, 23, 25, 27, 2017 / 7:30 PM January 29, 2017 / 2 PM JANET QUINNEY LAWSON CAPITOL THEATRE

Some call Don Quixote a fool. Others call him a lunatic. But in Man of La Mancha, you might end up calling him an inspiration as you follow the unlikely journey of a man who dreams the impossible dream of a better world all around him. Believe in his dream with this rousing performance by Utah Opera.

Brahms’ Symphony No. 2 February 3 & 4, 2017 / 7:30 PM / ABRAVANEL HALL Thierry Fischer, conductor Narek Hakhnazaryan, cello

BRAHMS SHOSTAKOVICH BRAHMS

Utah Symphony Orchestra

Academic Festival Overture Cello Concerto No. 1 Symphony No. 2

Brahms’ masterful compositions will transport you into a state of rustic bliss.

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Jerry Herman: The Broadway Legacy Concert February 10 & 11, 2017 / 7:30 PM / ABRAVANEL HALL Randall Craig Fleischer, conductor Debbie Gravitte, Klea Blackhurst, Ron Raines, Jason Graae, Scott Coulter, John Boswell, vocalists

From Hello, Dolly! and Mame to Mack and Mabel and La Cage aux Folles, Jerry Herman’s songs have lit up Broadway for decades with toe-tapping, soul-stirring musical showstoppers. Now we’re sharing his great musical legacy with a new generation of music lovers.

Mozart’s Requiem February 17 & 18, 2017 / 7:30 PM / ABRAVANEL HALL Thierry Fischer, conductor Barlow Bradford, chorus director Joélle Harvey, soprano Sarah Coit, mezzo-soprano

MOZART IVES

Benjamin Butterfield, tenor Derrick Parker, bass-baritone University of Utah Choirs Utah Symphony Chorus Utah Symphony Orchestra

Requiem Symphony No. 4

Mozart‘s weighty masterpiece, famously left unfinished at his death, invites you to explore grief, remembrance, and reconciliation.

Brahms’ Symphony No. 4 February 24 & 25, 2017 / 7:30 PM / ABRAVANEL HALL Thierry Fischer, conductor François Leleux, oboe

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Utah Symphony Orchestra

Introduction, Theme, and Variations for Oboe and Orchestra Aquateinte (Utah Symphony commission) Symphony No. 4

Experience this powerful performance, which draws from the rich history of classical music while pushing the form to exciting new heights.

Pokémon: Symphonic Evolutions March 4, 2017 / 7:30 PM / ABRAVANEL HALL Jeron Moore, lead creative Chad Seiter, composer

Susie Benchasil Seiter, conductor Utah Symphony Orchestra

Executive Producer: Princeton Entertainment Organization/Ed Kasses.

Take a symphonic journey with all the sights and sounds of Pokémon! Experience the evolution of Pokémon on giant video screens with the Utah Symphony playing your favorite themes live. Don’t miss this chance to meet-up with fans of all ages.

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2016/17 UTAH SYMPHONY SEASON

December 21, 2016 / 7:30 PM / ABRAVANEL HALL UTAH SYMPHONY ORCHESTRA SUSAN MCFADDEN, MÁIRÉAD CARLIN, ÉAHBHA MCMAHON, TARA MCNEILL guest artist

Celebrate this holiday season with the celestial voices of multi-platinum Irish singing sensation Celtic Woman as they present Home for Christmas with the Utah Symphony. Tickets start at $40 / (801) 533-NOTE (6683) / UTAHSYMPHONY.ORG

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@the_sinsel 10/10 would watch Tchaik’s 5th again. Who could argue?

@jonathanorjack captured the #AbravanelHall stage beautifully during the Soul Unlimited concert.

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UTAH SYMPHONY

Messiah Sing-In

program

Messiah Sing-In November 26–27 / 2016 / 7:30PM / ABRAVANEL HALL ERIC SCHMIDT, Conductor ABIGAIL RETHWISCH, Soprano SARAH COIT, Mezzo-soprano CHRISTIAN SANDERS, Tenor MARKEL REED, Baritone WESTMINSTER CHAMBER SINGERS WESTMINSTER COMMUNITY CHOIR MEMBERS OF THE UTAH SYMPHONY CHORUS

G. SCHIRMER

BAERENREITER

7 10 16 24 27 47 47 66

4 7 12 22 25 45 46 64

79 80 81 82 87 94 94 98

83 84 85 86 93 101 101 105

PART I: PROPHECY AND FULFILLMENT

Sinfonia Comfort ye, comfort ye my people Ev’ry valley shall be exalted And the Glory of the Lord** Thus saith the Lord, the Lord of Hosts But who may abide the day of his coming? Behold, a virgin shall conceive O thou that tellest good tidings to Zion ** For unto us a Child is Born** Pifa “Pastoral symphony” There were shepherds abiding in the field And the angel said unto them And suddenly, there was with the angel Glory to God in the Highest** Rejoice greatly, O daughter of Zion Then shall the eyes of the blind He shall feed his ﬂock…Come unto him His yoke is easy** / INTERMISSION / Continued on the next page. CONCERT SPONSOR

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PART II: PASSION

Behold the Lamb of God** Surely He hath borne our griefs** And with his stripes we are healed** All we like sheep, have gone astray** Why do the nations so furiously rage He that dwelleth in Heaven Thou shalt break them with a rod of iron Hallelujah!** PART III: RESURRECTION AND GLORIFICATION

I know that my Redeemer liveth Since by man came death** Behold, I tell you a mystery The trumpet shall sound Worthy is the Lamb â&#x20AC;&#x201C; Amen**

104 113 117 122 174 188 189 193

113 123 128 135 215 233 234 238

204 210 214 214 237

251 257 260 261 287

**Chorus pieces Thank you to the Mormon Tabernacle Choir for use of the harpsichord and portative organ.

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Messiah Sing-In

artistsâ&#x20AC;&#x2122; proďŹ les

Hailing from Germany, Eric came to Salt Lake City in 2012 to study choral conducting at the University of Utah. Since then, he has performed with numerous groups of the choral landscape of Utah. He currently serves as the Associate Conductor of Utah Chamber Artists, and Music Director of the Westminster College Opera Studio.

Eric Schmidt Conductor

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As an educator, Eric works as a faculty member at The Madeleine Choir School and as adjunct music faculty at Westminster College. Last season, he made his conducting debut on the Cathedral of the Madeleine concert series and was invited to conduct the chamber choir of his alma mater in Germany. During his time at the University of Utah, Eric performed with international award-winning choirs and was invited to direct several masterworks with The Choral Arts Society of Utah. He conducts professional recordings for choir and orchestra in California and Utah, while also serving as Choral Director at the First Presbyterian Church in Salt Lake City. Eric holds a Doctor of Musical Arts in choral conducting from the University of Utah and a Master of Education in music and mathematics from the University of Osnabruck, Germany.

Messiah Sing-In

artists’ proﬁles

Abigail Rethwisch

Abigail Rethwisch joins Utah Opera as a Resident Artist after spending the summer as an Apprentice Artist with Chautauqua Opera, where she sang Annina and covered Violetta in La traviata and performed as a guest artist with the Chautauqua Symphony. She has gained significant recognition in the Metropolitan Opera National Council Auditions, having been chosen as a regional finalist three times, most recently in the Great Lakes Region, where she won Second Place. Ms. Rethwisch’s young artist training includes a residency with Tri-Cities Opera, three summers as an apprentice with Des Moines Metro Opera, and a Fellowship at the CoOPERAtive Program. She holds a Bachelor of Music in Music Education from Simpson College and a Master of Music degree in Vocal Performance from Florida State University. As a Resident Artist with Utah Opera, she performs as Frasquita in Carmen, Antonia in Man of La Mancha, Alisa in Lucia di Lammermoor, and will be feautured in The Long Walk.

Soprano

Sarah Coit Mezzo-soprano

Mezzo-soprano Sarah Coit is a native of Spring Hill, Florida. Her repertoire includes such roles as Nancy in Albert Herring, Rosina in The Barber of Seville, Shepherd/Cat/Squirrel in L’enfant et let sortilèges, Sister Helen Prejean in Dead Man Walking, the title role in Giulio Cesare, and the Waitress in the World Premiere of Michael Ching’s Speed Dating Tonight. She spent the summer of 2015 as a Gerdine Young Artist with Opera Theatre of St. Louis where she covered Richard in the American Premiere of Handel’s Richard the Lionheart. This past summer, she was an Apprentice Singer at the Santa Fe Opera where she covered Erika in Barber’s Vanessa and was 2nd cover of Zerlina in Don Giovanni. Sarah holds degrees in Music Studies and Theatre Performance from the University of South Florida and a Master of Music degree from the University of Michigan. As a Resident Artist with Utah Opera, she performed last season as Shepherd/White Cat/Squirrel in L’enfant et les sortilèges, Olga in The Merry Widow, and a mezzo-soprano soloist in Beethoven’s 9th Symphony. This season she will be Mercédès in Carmen, a member of the ensemble in Man of La Mancha, Zerlina in Don Giovanni, and a mezzo-soprano soloist in Mozart’s Requiem.

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Messiah Sing-In

Christian Sanders Tenor

artists’ proﬁles

Tenor Christian Sanders has a “…voice whose color belies his age. Someone to watch!” (SanDiego.com). Mr. Sanders’ operatic repertoire encompasses the roles of Tom Rakewell in Stravinsky’s The Rake’s Progress, the title role in Britten’s Albert Herring, Rodolfo in La Bohème, Laurie in Adamo’s Little Women, Tamino in Mozart’s Die Zauberﬂöte, and Prince Charmant in Cendrillon by Massenet. He appeared as the Prison Chaplain in the World Premiere of Theodore Morrison’s Oscar with the Santa Fe Opera alongside world-renowned countertenor David Daniels, and last year sang the Messenger in Verdi’s Aida, and Don Curzio in Mozart’s Le Nozze di Figaro as a Resident Artist with Utah Opera. Mr. Sanders also sang the title role in The Picture of Dorian Gray at the Aspen Music Festival and School. Mr. Sanders holds a Masters of Music degree from Rice University and a Bachelors of Arts magna cum laude in Music with a minor in Cell and Molecular Biology from Point Loma Nazarene University. As a Resident Artist with Utah Opera, he performed last season as Bogdanovich in The Merry Widow, Messenger in Aïda, and Don Curzio in The Marriage of Figaro and this season as Remendado in Carmen, the Padre in Man of La Mancha, Normanno in Lucia di Lammermoor, and Castleman in The Long Walk. Baritone Markel Reed is a passionate interpreter of the operatic repertoire who has established himself as a wonderful conveyer of the works of Mozart, as well as those of French and Bel Canto composers. Notable roles include Figaro in Il Barbiere di Siviglia, Leporello in Don Giovanni, Papageno in Die Zauberﬂöte, Schaunard in La Bohème, and Guglielmo in Così fan tutte. He has performed with Kentucky Opera, Lyric Opera Studio Weimar, Bronx Opera and the Lyric Opera of Chicago. Mr. Reed is an alumnus of University of Kentucky Opera Theatre. As a Resident Artist with Utah Opera, he performed last season in Tosca and The Merry Widow and this season as Dancairo in Carmen, Head Muleteer in Man of La Mancha, and Masetto in Don Giovanni.

Markel Reed Baritone

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PHOTO: Gary David Gold for Opera Saratoga

2016/17 UTAH OPERA SEASON

JEREMY HOWARD BECK and STEPHANIE FLEISCHMANN’S

THE LONG WALK MARCH

31, 2017 | 7:30 PM

APRIL

2017 | 7:30 PM

Rose Wagner Performing Arts Center Jeanné Wagner Theatre The real fight begins when a soldier comes home. Opera becomes overwhelmingly personal in this contemporary story of an American soldier coping with blast-induced traumatic brain injury after he returns home from duty in Iraq. Based on the book The Long Walk: A Story of War and the Life that Follows, Brian Castner’s best-selling memoir, this opera offers a visceral look at the realities of modern warfare and the unseen battles that rage inside our hearts. Commissioned by American Lyric Theater.

BRIAN Daniel Belcher

CONDUCTOR Steven Osgood

JESSE Megan Marino

DIRECTOR David Schweizer

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ALL SEATS $46

801.355.ARTS (2787)

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U TA H O P E R A S E A S O N S P O N S O R :

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Messiah Sing-In

program notes

George Frideric Handel (1685–1759)

Messiah INSTRUMENTATION: 2 oboes, bassoon; 2 trumpets; timpani, harpsichord; strings

BACKGROUND

Messiah is the most popular and frequently performed oratorio ever written; we all know and love it. Composed in an intense burst of inspiration fairly late in Handel’s career, Messiah has inspired jazz, soul and Dixieland versions. Individual choruses and solo passages have gained the familiarity of pop songs. For Handel himself and for millions of listeners, it is not only a thrilling entertainment but also a deep expression of religious faith that sounds no matter how many times we have heard it. Yet it was also a commercial imperative for Handel, who was a canny entrepreneur and investor as well as a musical genius. After a hugely successful run writing and producing his own operas, Handel turned to the oratorio form when the public taste for his operas was fading. Messiah is the foremost example of what became known as the English oratorio, in which Handel combined religious texts with elements of intense drama. What exactly is English oratorio about?

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At the most basic level, oratorio is religious music with a story sung by a chorus and/or soloists, accompanied by an orchestra and/ or an organ. The choral forces are usually the familiar four-part SATB mix—soprano, alto, tenor, bass—that you know if you sang chorus in high school or in church, or if you watched “Glee” on television. Without their consistently religious themes and their lack of staging, many of Handel’s oratorios would be indistinguishable from his operas; in fact, some of which are religious stories. Most of his oratorios combine biblical and non-biblical texts, though Messiah is drawn entirely from the Bible. Despite the commercial considerations that were never far from Handel’s mind, Messiah is first and foremost an expression of faith. Of the glorious melodies that pour forth from it, Handel said that the heavens seemed to open to him as he composed. As a result, Messiah has gained a household familiarity that is rare among classical compositions— especially such long ones. Once Thanksgiving is over, Messiah seems to be everywhere, in both concert and sing-along formats. With this kind of familiarity, it’s always instructive and often surprising to take a second look—especially considering that behind the gloriously hummable melodies of favorite passages like the Hallelujah Chorus and “For Unto Us,” oratorio as a genre has grown rarer in the nearly three centuries since Handel wrote Messiah. WHAT TO LISTEN FOR

The drama and beauty of Messiah ﬂow first from its beautiful melodies, which inspire us while capturing the revelatory emotions described in the text. But they also gain

Messiah Sing-In

program notes

extraordinary intensity through the baroque compositional technique of “word painting,” in which the ﬂow of notes in the music actually seems to replicate a shape or contour that the notes describe. One frequently cited example of word painting occurs early in Part I, in the tenor aria “Every valley shall be exalted.” Every valley shall be exalted And every mountain and hill made low The crooked, straight And the rough places plain. On the word “mountain,” the tenor’s voice rises to a high F#, creating a literal peak of sound; then it drops by an octave, showing how the mountain is made low. On “crooked,” the melodic line vacillates between the jagged C# and the straight B, coming to rest on the straight B. Similarly, the word “exalted” is raised up by an octave in its final syllable. Messiah teems with effects like these, which deepen our experience of the text with almost palpable realism. For example, slightly later in Part I, in the chorus “And He shall purify,” note the way the articulations on the word “purify” leap like the ﬂames of the refiner’s fire in the text. The effect of word painting can even focus on a single syllable—as when, two choruses later in “O thou that tellest good tidings to Zion,” the alto soloist leaps up a

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fourth on the word up: “get thee up unto the high mountains.” For many listeners, a climactic and favorite painterly effect is the heavenly ﬂuttering of wings when angels appear to the shepherds by night, as conveyed by arpeggios in the strings: “And suddenly there was with the angel a multitude of the heavenly host praising God, and saying…” This moment, which forms a dramatic climax about two-thirds of the way through Part I, is as graphic and immediate as a movie; think of Handel’s score as the CGI of its day. For all of its vividness, Handel’s mastery of word painting accounts for just part of the dramatic impact of Messiah. It combines with his gift for melody and a sympathetic understanding of psychology that appeals to us in a way that is less literal, but more deeply human. When we hear the soprano soloist singing “Come unto Him, all ye that…are heavy laden,” who can fail to take comfort at the tenderness of her vocal line? Equally intense are the passages of joyful anticipation and of triumph, as in the prophecy expressed in “For unto Us” and in the glorious “Hallelujah” chorus, which so overwhelmed Handel’s contemporary audiences that, we are told, they spontaneously rose to their feet in awe—a tradition that persists to this day in many parts of the world.

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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 September 20, 2016. Millenium $250,000 & above Edward Ashwood & Candice Johnson Gael Benson Diane & Hal Brierley The Church of Jesus Christ of Latter Day Saints Foundation Lawrence T. & Janet T. Dee Foundation E.R. & Katherine W. Dumke George S. & Dolores DorĂŠ Eccles Foundation Kem & Carolyn Gardner Mr. & Mrs. Martin Greenberg Anthony & Renee Marlon Larry H. & Gail Miller Family Foundation Carol & Ted Newlin O. C. Tanner Company Patricia A. Richards & William K. Nichols James A. & Marilyn Parke Perkins-Prothro Foundation John & Marcia Price Foundation Questar Corporation Salt Lake County Theodore Schmidt Shiebler Family Foundation Sorenson Legacy Foundation The Sam & Diane Stewart Family Foundation Sam & Diane Stewart Naoma Tate & the Family of Hal Tate Utah State Legislature Utah State Board of Education Jacquelyn Wentz ZAP Zions Bank Encore $100,000 & above Anonymous Doyle Arnold & Anne Glarner Dr. J. R. Baringer & Dr. Jeannette J. Townsend Thierry & Catherine Fischer** Roger & Susan Horn The Right Reverend Carolyn Tanner Irish** Emma Eccles Jones Foundation Ronald & Janet Jibson

Edward & Barbara Moreton Gib & Susan Myers William & Christine Nelson Dr. Dinesh & Kalpana Patel Summit County Restaurant Tax/Rap Tax Utah Division of Arts & Museums /NEA Bravo $50,000 & above Anonymous Scott & Jesselie Anderson Thomas Billings & Judge Judith Billings Deer Valley Resort** Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Grand & Little America Hotels* Douglas & Connie Hayes Huntsman Corporation Jon M. & Karen Huntsman Family Frederick Q. Lawson Foundation Scott & Sydne Parker Frank R. Pignanelli & Dâ&#x20AC;&#x2122;Arcy Dixon Albert J. Roberts IV St. Regis Deer Valley** Sinclair Oil Company Gerald & Barbara Stringfellow Norman C. & Barbara L. Tanner Charitable Trust David Wall* Lois A. Zambo Overture $25,000 & above Anonymous in Honor of the March of Dimes Scott & Kathie Amann Arnold Machinery Mr. & Mrs. William C. Bailey BMW of Murray BMW of Pleasant Grove Judy Brady & Drew W. Browning R. Harold Burton Foundation Michael & Vickie Callen Chevron Corporation C. Comstock Clayton Foundation

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Season Honorees John & Flora D’Arcy Thomas D. Dee III & Dr. Candace Dee John H. & Joan B. Firmage Kristen Fletcher & Dan McPhun Holland & Hart** Richard K. & Shirley S. Hemingway Foundation Carol Holding Tom & Lorie Jacobson Janet Q. Lawson Foundation Love Communications* Markosian Family Trust Microsoft Corporation* Carol & Anthony W. Middleton, Jr., M.D. Montage Deer Valley** OPERA America’s Getty Audience Building Program Charles Maxfield & Gloria F. Parrish Foundation Alice & Frank Puleo S. J. & Jessie E. Quinney Foundation Dr. Wallace Ring Simmons Family Foundation Harris H. & Amanda Simmons Stein Eriksen Lodge** Summit Sotheby’s Nora Eccles Treadwell Foundation Utah Symphony Guild Vivint M. Walker & Sue Wallace Wells Fargo Jack Wheatley John W. Williams† Workers Compensation Fund Edward & Marelynn Zipser Maestro $10,000 & above Anonymous Adobe American Express Ballard Spahr, LLP Haven J. Barlow Family B. W. Bastian Foundation H. Brent & Bonnie Jean Beesley Foundation Berenice J. Bradshaw Charitable Trust BTG Wine Bar*

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Caffe Molise* Marie Eccles Caine Foundation-Russell Family Chris & Lois Canale Capital Group Howard & Betty Clark** Daynes Music* Skip Daynes* Delta Air Lines* The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Dr. & Mrs. Ralph Earle Sue Ellis Chip & Gayle Everest Robert & Elisha Finney General Electric Foundation Ann & Gordon Getty Foundation Goldman Sachs Elaine & Burton L. Gordon Susan & Tom Hodgson Chuck & Kathie Horman Hyatt Centric Park City** Josh & Cherie James Robert & Debra Kasirer Katharine Lamb 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 Glenn D. Prestwich & Barbara Bentley Promontory Foundation David & Shari Quinney Radisson Hotel* Brad & Sara Rencher Dr. Clifford S. Reusch† Resorts West* The Joseph & Evelyn Rosenblatt Charitable Fund

Season Honorees / Corporate & Foundation Donors Lori & Theodore Samuels Ben & Peggy Schapiro Pauline Collins Sells Sounds of Science Commissioning Club George & Tamie† Speciale Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds Zibby & Jim Tozer Tom & Caroline Tucker Utah Food Services* Utah Hispanic Chamber of Commerce* U.S. Bancorp Foundation *In-kind gift **In-kind & cash gift † Deceased CORPORATE & FOUNDATION DONORS

$5,000 to $9,999 Anonymous (2) Art Works for Kids! Bambara Restaurant* Bourne-Spafford Foundation The Aaron Copland Fund for Music Diamond Rental* Discover Financial Services The Jarvis & Constance Doctorow Family Foundation The Dorsey & Whitney Foundation Spencer F. & Cleone P. Eccles Family Foundation EY Finca* Intermountain Healthcare J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Macy’s Foundation Martine* Microsoft* 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 Rodney H. & Carolyn Hansen Brady Charitable Foundation Bertin Family Foundation Byrne Foundation Castle Foundation City Creek Center Deseret Trust Company Henry W. & Leslie M. Eskuche Charitable Foundation ExxonMobil Foundation FatPipe Networks Five Penny Floral* Victor Herbert Foundation Homewood Suites by Hilton* Hotel Park City* Intermountain Healthcare Jones & Associates 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 The Prudential Foundation Ray, Quinney & Nebeker Foundation Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation sPower Squatters Pub Brewery* Strong & Hanni, PC Summerhays Music* Swire Coca-Cola USA* Bill & Connie Timmons Foundation UMA Financial Services Inc. United Jewish Community Endowment Trust The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation

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$5,000 to $9,999 Anonymous (4) Fred & Linda Babcock 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 John F. Foley, M.D. & Dorene Sambado, M.D.** Joseph & Dixie Furlong 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 G. Frank & Pamela Joklik Jeanne Kimball Thomas & Jamie Love Paul Meecham & Laura Leach Rayna & Glen Mintz Nathan & Karen B. Morgan Dr. Thomas Parks & Dr. Patricia Legant Leslie Peterson & Kevin Higgins Brooks & Lenna Quinn Dr. Richard & Frances Reiser James & Gail Riepe Robert & Kim Rollo Eric & Shirley Schoenholz Suzanne Scott

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Individual Donors Jed & Kathryn Marti Christopher & Julie McBeth Warren K. & Virginia G. McOmber George & Nancy Melling 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 Ann G. Petersen Dr. & Mrs. S. Keith Petersen Jon Poesch Victor & Elizabeth Pollak Dan & June Ragan Dr. & Mrs. Marvin L. Rallison W. E. & Harriet R. Rasmussen Dr. Barbara S. Reid Joyce Rice Kenneth Roach & Cindy Powell Tom & Jeanne Rueger Thomas Safran Mark & Loulu Saltzman K. Gary† & Lynda† Shields Deborah & Brian Smith Christine St. Andre Larry R. & Sheila F. Stevens Steve & Betty Sullentrop Mr. & Mrs. Glen R. Traylor John & Susan Walker Susan Warshaw Bryan & Diana Watabe Jeremy & Hila Wenokur Caroline & Thomas Wright PATRONS

$1,000 to $1,999 Anonymous (2) Carolyn Abravanel Fran Akita Christine A. Allred Patricia Andersen

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Drs. Crystal & Dustin Armstrong Graham & Janet Baker 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 Margaret Dreyfous Alice Edvalson Janet Ellison Naomi K. Feigal Robert S. Felt, M.D. Susan Gillett Rose & Ralph Gochnour Robert & Joyce† Graham Dr. & Mrs. John Greenlee Arlen Hale Dr. Elizabeth Hammond Lex Hemphill & Nancy Melich John Edward Henderson Steve Hogan & Michelle Wright Connie C. Holbrook Patricia Horton Kay Howells David & Caroline Hundley Todd & Tatiana James Drs. Randy & Elizabeth Jensen Maxine & Bruce Johnson Chester & Marilyn Johnson Dr. & Mrs. Michael A. Kalm Umur Kavlakoglu Susan Keyes Allison Kitching Carl & Gillean Kjeldsberg Robert & Karla Knox Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D.

I’VE NEVER UNDERSTOOD WHY MY HUMAN WON’T LEAVE THE HOUSE WITHOUT HER LEASH. I THINK SHE’S AFRAlD OF GETTING LOST. BUT IT’S OK, I KIND OF LIKE SHOWING HER AROUND. — HARPER adopted 08-18-09

Individual Donors Tim & Angela Laros Gary & Suzanne Larsen Dr. Vivian Lee Dennis & Pat Lombardi Peter Margulies & Louise Vickerman 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 Stephen & Mary Nichols Ruth & William Ohlsen Blaine & Shari Palmer Nancy & Rori Piggot Mr. Steven Price Keith & Nancy Rattie 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 Donations as received as of 9/20/2015

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“Music is the art which is most nigh to tears and memory.” ~Oscar Wilde IN HONOR OF

Dr. J. R. Baringer & Dr. Jeannette J. Townsend George Brown Paula J. Fowler Abe & Arline Markosian David Park Mark & Dianne Prothro Clark T. Randt, Jr. Patricia A. Richards Bill & Joanne Shiebler Kevin Sohma 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 Russell Alan Peters Chase N. Peterson Mardean Peterson Kenneth Randall Dr. Clifford Reusch Ann O’Neill Shigeoka Maestro Joseph Silverstein Barbara Singleton Tamie Speciale Marjorie Whitney John W. Williams Merrill L. Wilson, M.D

Tanner & Crescendo Societies

“You are the music while the music lasts.” ~T.S. Eliot Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. 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) Doyle Arnold & Anne Glarner Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers

Grace Higson† Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Joyce Merritt† Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bentley Kenneth A.† & Jeraldine S. Randall

Robert L.† & Joyce Rice Mr. & Mrs. Alvin Richer Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffrey & Joyce Smith G. B. & B. F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace

Herbert C. & Wilma Livsey Mrs. Helen F. Lloyd† Gaye Herman Marrash Ms. Wilma F. Marcus† Dr. & Mrs. Louis A. Moench Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Pauline C. Pace† Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn

Helen Sandack† Mr. Grant Schettler Glenda & Robert† Shrader Dr. Robert G. Snow† Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† Kathleen Sargent† JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Afton B. Whitbeck† Edward J. & Marelynn Zipser

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

CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Judy Brady & Drew W. Browning Dr. Robert H. † & Marianne Harding Burgoyne Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage

Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean Henkels Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Constance Lundberg Gaye Herman Marrash Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin Pauline C. Pace†

Stanley B. & Joyce Parrish Patricia A. Richards & William K. Nichols Mr. & Mrs. Alvin Richer Robert L.† & Joyce Rice Richard G. Sailer† Jeffrey W. Shields G. B. & B. F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser †Deceased

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Legacy Giving

There are many ways to leave a legacy, and for those who would like their legacy to include a long-term gift to Utah Symphony | Utah Opera, there are many options to consider. From leaving a gift in your will to leaving part or all of your IRA to USUO, your financial advisor or estate planning attorney can help you build a gift that can meet your goals and benefit USUO for years to come. You have the ability to build a musical future for the state of Utah. When you leave a gift to USUO in your estate plans, you are building a proud legacy that will inspire tomorrowâ&#x20AC;&#x2122;s musicians and music lovers. For over 75 years, USUO has been a leader in music excellence and community education. Your gift will make a difference. To learn more about how your estate planning can benefit both you and USUO, please call Kate Throneburg at 801-869-9028, or visit us online at usuo.giftplans.org.

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