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Master Bedroom 12'-2" x 20'-2"
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November/December 2017 Performances
CONTENTS
Purchase tickets at utahsymphony.org or call 801-533-6683
6 Welcome
NOVEMBER 3–4 | 7:30 PM
8 Utah Symphony
RACHMANINOFF’S SYMPHONIC DANCES
10 Board of Trustees 15 Music Director 16 Assistant Conductor 16 Symphony Chorus Director 18 Upcoming Performances 20 A Russian, a Michiganian and a Salt Lake Native
NOVEMBER 10–11 | 7:30 PM
MOZART’S GREAT MASS WITH BRAHMS’ SONGS
22 From Muggles to Outlaws 26 Social Snapshots
NOVEMBER 17–18 7:30 PM | NOV 17 10AM
30 Season Sponsors
RHAPSODY ON A THEME OF PAGANINI FEATURING JON KIMURA PARKER
31–38 Tonight’s Concert(s) 39 Support USUO 40 Thank You 51 Tanner & Crescendo Societies 52 Legacy Giving
NOVEMBER 25–26 | 7:30 PM
MESSIAH SING-IN
54 Administration 59 House Rules 63 Education
DECEMBER 1–2 | 7:30 PM
64 Acknowledgments
SAINT-SAËNS’ “ORGAN” SYMPHONY
Program notes and artist bios for upcoming and past performances are available on utahsymphony.org. @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
ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas OFFICE ASSISTANT Jessica Alder ADMINISTRATIVE ASSISTANT KellieAnn Halvorsen EDITOR Melissa Robison
DECEMBER 8–9 | 7:30 PM
LOUIS LORTIE PERFORMS SAINT-SAËNS’ PIANO CONCERTO NO. 2 DECEMBER 12 | 7:30 PM
HOLIDAY HITS WITH THE MIDTOWN MEN AND UTAH SYMPHONY DECEMBER 15–16 | 7:30 PM
A BROADWAY CHRISTMAS WITH BRIAN STOKES MITCHELL
DECEMBER 19 | 7:30 PM 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
UTAHSYMPHONY.ORG
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LEANN RIMES: TODAY IS CHRISTMAS WITH THE UTAH SYMPHONY DECEMBER 21–23 | 7 PM
HARRY POTTER AND THE CHAMBER OF SECRETS™ IN CONCERT
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WELCOME
Paul Meecham
Thierry Fischer
Kem Gardner
President & CEO
Symphony Music Director
Chair, Board of Trustees
Welcome to Abravanel Hall and this performance of the Utah Symphony. We can think of no better way to enjoy the wonder of the holiday season and promise of the New Year than through the magic of great live music experienced together as a community. The range of concert experiences we’re offering in November and December promises satisfying options for every musical taste. Our Masterworks concerts feature native Utah artists of world-renown, violinist Will Hagen and soprano Celena Shafer, as well as three remarkable guest conductors Matthias Pintscher, Markus Stenz and Mark Wigglesworth who will inspire you and the musicians of the Utah Symphony with their approaches and artistic motivation. Iconic Broadway and Country artists Brian Stokes Mitchell, the Midtown Men, and LeAnn Rimes each join the Utah Symphony in special holiday programs. And we celebrate longstanding holiday traditions of our Messiah Sing-In and Here Comes Santa Claus family programs as well as our newer tradition of Films in Concert with our second year at Hogwarts and Harry Potter and the Chamber of Secrets™ in Concert.
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We also continue our Saint-Saëns festival including his symphonies which the prestigious Hyperion label is recording live at the concerts for future release. The orchestra’s newest CD release, Mahler’s 8th “Symphony of a Thousand” featuring the orchestra with music director Thierry Fischer and the Mormon Tabernacle Choir recorded live at the memorable Utah Symphony 75th anniversary performances in the Salt Lake Tabernacle, will be available November 17th. The perfect holiday gift! In honor of the holiday season, we’d like to express our deep appreciation to all of you for supporting our organization. Because of the generosity of friends like you, we are able to bring the gift of music year-round to our audiences throughout the state and region. Thank you for being our ambassadors and reminding your friends and family of the importance of the work we do. On behalf of all of the musicians, staff and board members at Utah Symphony | Utah Opera, we wish you the happiest of holiday seasons and a joyful 2018!
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 Conner Gray Covington Assistant Conductor
Roberta Zalkind# Associate Principal
OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair
Peter Margulies Gabriel Slesinger††
Barlow Bradford Symphony Chorus Director
Elizabeth Beilman Acting Associate Principal
VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton
Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Leslie Richards†† Whittney Thomas
Robert Stephenson Associate Principal
Sam Elliot Associate Principal
Lissa Stolz
BASS TROMBONE Graeme Mutchler† David Hagee††
Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair
CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair
Ralph Matson Associate Concertmaster
Matthew Johnson Associate Principal
CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
David Park Assistant Concertmaster
John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang
Erin Svoboda Associate Principal
BASS* David Yavornitzky Principal
Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Amanda Kofoed†† Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Lynnette Stewart Bonnie Terry• Julie Wunderle Karen Wyatt•• VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair
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Corbin Johnston Associate Principal James Allyn# Antonio Escobedo†† Benjamin Henderson†† Lee Philip†† Edward Merritt Jens Tenbroek Thomas Zera† HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore
ENGLISH HORN Lissa Stolz
TROMBONE Mark Davidson Principal
TUBA Gary Ofenloch Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal
Lee Livengood
PERCUSSION Keith Carrick Principal
BASS CLARINET Lee Livengood
Eric Hopkins Michael Pape
E-FLAT CLARINET Erin Svoboda
KEYBOARD Jason Hardink Principal
BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Edmund Rollett Acting Principal Alexander Love†† Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal Jeff Luke Associate Principal
LIBRARIANS Clovis Lark Principal Maureen Conroy† Katie Klich†† ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager 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
UTAH SYMPHONY
Utah musicians in concert at the
Gallivan Center
Nathan Royal
7:30 PM Thursday nights
BOARD OF TRUSTEES ELECTED BOARD Kem C. Gardner* Chairman
Alex J. Dunn Brian Greeff Lynnette Hansen Matthew Holland Thomas N. Jacobson Mitra Kashanchi Thomas M. Love* Brad W. Merrill Theodore F. Newlin III* Dee O’Donnell Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Brad Rencher Joanne F. Shiebler* Diane Stewart Naoma Tate Thomas Thatcher
David Utrilla Craig C. Wagstaff Bob Wheaton Kim R. Wilson Thomas Wright
Clark D. Jones Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen*
Patricia A. Richards Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder
Kristen Fletcher Burton L. Gordon Richard G. Horne Ronald W. Jibson
Warren K. McOmber E. Jeffrey Smith Barbara Tanner
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
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 Chairman Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO Jesselie B. Anderson* Doyle L. Arnold* Judith M. Billings Howard S. Clark Gary L. Crocker David Dee*
MUSICIAN REPRESENTATIVES
Mark Davidson* Lissa Stolz* EX OFFICIO
Margaret Sargent Utah Symphony Guild Dr. Robert Fudge Ogden Symphony Ballet Association Judith Vander Heide Ogden Opera Guild *Executive Committee Member
LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Sr. Jon Huntsman, Jr. G. Frank Joklik TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow John Bates HONORARY BOARD Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles NATIONAL ADVISORY COUNCIL
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UTAH SYMPHONY
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MUSIC DIRECTOR
Music Director of the Utah Symphony since 2009 and currently extended to 2022, 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 recording of Mahler’s 1st Symphony, 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.
UTAHSYMPHONY.ORG
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ASSISTANT CONDUCTOR / SYMPHONY CHORUS DIRECTOR Conner Gray Covington begins his position as Assistant Conductor of the Utah Symphony with the 2017–2018 season. He recently completed his tenure as the Rita E. Hauser Conducting Fellow at the Curtis Institute of Music in Philadelphia where he worked closely with the Curtis Symphony Orchestra and the Curtis Opera Theater while also being mentored by Yannick Nézet-Séguin. A twotime recipient of a Career Assistance Award from the Solti Foundation U.S. (2017 and 2014), Covington worked with the Nashville Symphony as a featured conductor in the 2016 Bruno Walter National Conductor Preview presented by the League of American Orchestras.
Conner Gray Covington Assistant Conductor
Dr. Barlow Bradford Symphony Chorus Director
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Covington has also worked with the St. Louis Symphony, Utah Symphony, and Virginia Symphony as a guest conductor and has served as a cover conductor for the Philadelphia Orchestra, Los Angeles Philharmonic, Atlanta Symphony, Kansas City Symphony, and The Florentine Opera Company (Milwaukee, WI). He has also participated in the 6th International David Zinman Conducting Masterclass with the Tonhalle Orchester Zürich. In 2014, Covington was selected by members of the Vienna Philharmonic to attend the Salzburg Festival as a recipient of the Ansbacher Fellowship for Young Conductors. Over the course of his musical career, Dr. Barlow Bradford has distinguished himself as a conductor, composer, arranger, pianist, organist, and teacher. As an orchestral and choral conductor, he co-founded the Utah Chamber Artists in 1991 and has led that organization to international acclaim for its impeccable, nuanced performances and award-winning recordings. Dr. Bradford’s focused, energetic conducting style led to his appointment as Music Director of the Orchestra at Temple Square in Salt Lake City and Associate Director of the Mormon Tabernacle Choir. Prior to that, he was Director of Orchestras at the University of Utah. Arrangements by Bradford have been performed/recorded by the Cleveland Orchestra, San Francisco Symphony, Dallas Symphony, Tucson Symphony Orchestra, New York Choral Artists, Seattle Pacific University, Baylor University, Mormon Tabernacle Choir/ Orchestra at Temple Square, Newfoundland Festival 500, and the San Francisco Gay Men’s Chorus, among others. In addition to his post as Director of the Utah Symphony Chorus, Dr. Bradford continues as Artistic Director of Utah Chamber Artists and serves as the Ellen Neilson Barnes Presidential Chair of Choral Studies at the University of Utah.
UTAH SYMPHONY
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upcoming UTAH SYM PH O NY | UTAH O PE R A performances
HIL ARY HAHN plays DVOŘ ÁK’S VIOLIN CONCERTO JANUARY 5 & 6
7:30 PM / ABRAVANEL HALL
REPERTOIRE
ARTISTS
HAYDN SYMPHONY NO. 8 “LE SOIR” DVOŘÁK SELECTIONS FROM SLAVONIC DANCES VIOLIN CONCERTO
THIERRY FISCHER CONDUCTOR HILARY HAHN VIOLIN
FISCHER conducts R ACHM ANINOFF & STR AVINSK Y JANUARY 12 & 13
7:30 PM / ABRAVANEL HALL
REPERTOIRE
ARTISTS
STRAVINSKY FUNERAL SONG RACHMANINOFF PIANO CONCERTO NO. 1 STRAVINSKY THE FIREBIRD
THIERRY FISCHER CONDUCTOR STEPHEN HOUGH PIANO
HE JAKE
E & GEN GGIE
SCHE
cast:
ER’S
j .q . lawson capitol theatre
JANUARY
20, 22, 24, 26 (7:30 pm) / 28 (2 pm) Since its debut in 2010, Jake Heggie and Gene Scheer’s opera adaptation of Melville’s classic novel has enraptured audiences with its innovative storytelling. Now, come experience this entirely new production created by and for Utah Opera. Don’t miss this incredible combination of astounding visuals and spellbinding music as Utah Opera sweeps you out to sea on a quest fueled by one man’s willingness to risk everything for revenge. Music by Jake Heggie; Libretto by Gene Scheer / Commissioned by The Dallas Opera Company
Kristine McIntyre director Joseph Mechavich conductor Erhard Rom Set Designer Jessica Jahn Costume Designer Joshua Dennis Greenhorn Roger Honeywell Captain Ahab David Adam Moore Starbuck Musa Ngqungwana Queequeg Jasmine Habersham Pip Craig Irvin Stubb Jesus Murillo Captain Gardiner UTAH OPERA CHORUS UTAH SYMPHONY
MOZ ART & HAYDN FEBRUARY 2 & 3
7:30 PM / ABRAVANEL HALL
REPERTOIRE
ARTISTS
MOZART OVERTURE TO COSÌ FAN TUTTE PIANO CONCERTO NO. 9 “JEUNEHOMME” EINE KLEINE NACHTMUSIK HAYDN SYMPHONY NO. 99
PATRICK DUPRÉ QUIGLEY CONDUCTOR RONALD BRAUTIGAM PIANO
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call 801-355–NOTE (6683) or visit
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MASTERWORKS
ENTERTAINMENT
FILMS IN CONCERT
DANCING & ROM ANCING FEBRUARY 9 & 10
7:30 PM / ABRAVANEL HALL
Andy Einhorn conductor / Joan Hess guest artist / Kirby Ward guest artist
The timeless elegance and romance of the golden age of Hollywood musicals will sweep you off your feet with song and dance standards inspired by Fred Astaire, Ginger Rogers, Gene Kelly and “the queen of tap dancing” herself, Eleanor Powell. You’ll be dancing cheek to cheek by the time the concert is over—just in time for Valentine’s Day.
HIGH NOON in Concert FEBRUARY 17
7 PM / ABRAVANEL HALL
Saddle up for the greatest showdown in the history of cinema! In his Oscar-winning role for best actor, Gary Cooper stars as a lawman who stands alone to defend his town against a gang of revenge-seeking outlaws. You’ll be on the edge of your seat as High Noon plays on the big screen while the Utah Symphony performs the intense music of Dimitri Tiomkin’s award-winning score live.
BERNSTEIN AT 100: SYMPHONY NO. 2 with CONR AD TAO FEBRUARY 23 & 24
7:30 PM / ABRAVANEL HALL
REPERTOIRE
ARTISTS
SAINT-SAËNS DANSE MACABRE SYMPHONY NO. 1 BERNSTEIN SYMPHONY NO. 2 “AGE OF ANXIETY”
THIERRY FISCHER CONDUCTOR CONRAD TAO PIANO
BERNSTEIN AT 100: CHICHESTER PSAL MS & DIVERTIMENTO MARCH 2 & 3
7:30 PM / ABRAVANEL HALL
REPERTOIRE
ARTISTS
SAINT-SAËNS SYMPHONY IN A MAJOR BERNSTEIN CHICHESTER PSALMS STRAVINSKY SYMPHONY OF PSALMS BERNSTEIN DIVERTIMENTO FOR ORCHESTRA
THIERRY FISCHER CONDUCTOR BARLOW BRADFORD CHORUS DIRECTOR BOY SOPRANO FROM THE MADELEINE CHOIR SCHOOL UNIVERSITY OF UTAH CHOIRS UTAH SYMPHONY CHORUS
SEASON SPONSOR
A Russian, a Michiganian and a Salt Lake Native By Renée Huang It sounds like the punchline for a joke but Utah Symphony’s three new violins really do hail from vastly different places. Director of Communications Renée Huang (who herself comes from Toronto, Canada) sat down with the newest members of the violin section to learn about the journeys that brought them to Salt Lake City.
Evgenia Zharzhavskaya, Assistant Principal Second Violin BACKGROUND I was born and spent most of my life in St. Petersburg, Russia. I started my musical education playing piano at a very early age and then switched to violin when I was six. I entered the Rimsky-Korsakov School of Music the same year and later continued my studies at the St. Petersburg state conservatory where I got my Bachelor of Music and Master of Music degrees. While still at the conservatory I won a position with the Mariinsky Theatre Orchestra under Valery Gergiev. I also took part in numerous music festivals including Schleswig-Holstein Music Festival in Germany, Verbier Festival in Switzerland, Gustav Mahler Academy in Italy, and Miyazaki Festival in Japan. I moved to Florida in 2010 to study with Elmar Oliveira at Lynn University Conservatory of Music. In 2014 I won a full-time substitute position with the Houston Symphony, where I played for three seasons, and in April of 2017 I won the Assistant Principal Second position with the Utah Symphony. WHY UTAH SYMPHONY? I was drawn to the distinguished sound of the orchestra, great community, and the beauty of Utah.
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HOBBIES I like nature very much so I am very happy to have an excellent opportunity to explore the unbelievable beauty of Utah. I like baking, biking, hiking, reading, dancing salsa, learning self-defense with Krav Maga, and spending time with my dear husband and friends. Bonnie Terry, Section First Violin BACKGROUND I was born and raised here in Salt Lake City. I started violin when I was six and studied with Kris Palmer and Hiroko Primrose. When I was ten, I had the opportunity to solo with the Utah Symphony under the direction of Joseph Silverstein on the annual Salute to Youth Concert. I left home at age 12 to study violin at the Preucil School of Music in Iowa City and then attended high school in Michigan where I graduated from the Interlochen Arts Academy. I did, however, spend one year of high school here at West High (Go Panthers!) where I sang in the Chorale and A Capella, and studied violin with Gerald Elias, then associate concertmaster of the Utah Symphony. I received my bachelor’s degree and performer’s certificate from the Eastman School of Music in Rochester, NY where I studied with William Preucil (concertmaster of the Cleveland Orchestra and a former concertmaster of the Utah Symphony), and master’s degree from the Cleveland Institute
UTAH SYMPHONY
A Russian, a Michiganian and a Salt Lake Native
of Music where I was also a Preucil student. Following grad school I spent a year as a fellow with the New World Symphony in Florida. From there I moved to Tucson, Arizona for three years where I was the concertmaster of the Tucson Symphony Orchestra and taught violin at the University of Arizona. I also spent a year in Charlottesville, VA teaching at the University of Virginia. For the last ten years I have lived in San Antonio, TX as the Associate Concertmaster of the San Antonio Symphony. I have spent the last fourteen summers in Chicago playing with the Grant Park Music Festival Orchestra. WHY UTAH SYMPHONY? I moved here to be closer to my family and because I grew up watching the Utah Symphony play! I couldn’t be happier to be back in the Motherland! My parents, older brother, and younger sister also live and grew up here. My sister plays the violin and is a dance teacher, and my brother plays piano and trumpet. HOBBIES I love to sing, dance (danced as a member of the Children’s Dance Theater from age 4–17), attend SLAC plays, RDT and Ririe Woodbury performances, and hang out with friends and family.
Hannah Linz, Section Second Violin BACKGROUND I grew up in a musical family as the youngest of four children in Okemos, Michigan. I began playing the violin at age three and the piano at age five. After having won competitions for solo playing and chamber music, as well as attending summer music programs, I went on to pursue a degree in violin performance at Indiana University Jacobs School of Music, studying privately with Ik-Hwan Bae, Jorja Fleezanis, and Alexander Kerr. WHY UTAH SYMPHONY? I am joining the Utah Symphony after having performed with the Dallas Symphony for two seasons as a Jaap van Zweden Scholar, and as a substitute member of The Philadelphia Orchestra. I am thrilled to join the Utah Symphony not only because it is a great orchestra with a fantastic music director, but I also enjoy the incredible natural beauty that this state has to offer. I am excited to get to know Utah and explore this gorgeous state. HOBBIES In my free time, I enjoy cooking, reading, and watching movies. Renée Huang is the Director of Communications and Digital Media.
UTAHSYMPHONY.ORG
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From Muggles to Outlaws Utah Symphony’s new “Films in Concert” series unites unlikely heroes. Some of the most beloved tales in cinematic history play out on the big screen as the orchestra performs the gripping soundtracks live. Director of Communications Renée Huang explores what else makes the experience captivating for audiences of all ages. Building upon the audience excitement for film screenings coupled with live orchestra playing the soundtrack, the Utah Symphony proudly announced the creation of a Films in Concert series on its 2017–18 season featuring four orchestra presentations paired with motion pictures on the big screen at Abravanel Hall. Just in time for the holidays, the second film in the Harry Potter Film Concert Series takes to the Abravanel Hall stage in three performance dates, December 21, 22 and 23. In Harry Potter and the Chamber of Secrets™, cars fly, trees fight back and a mysterious house-elf comes to warn Harry Potter at the start of his second year at Hogwarts. Adventure and danger await when writing on the wall announces: The Chamber of Secrets has been opened. “This film series shows our commitment to creating exciting programming that inspires a whole new generation of symphony goers,” said Utah Symphony | Utah Opera President and CEO Paul Meecham. “There is nothing quite like the immersive experience of watching a feature film on the giant screen while the soundtrack is played by a live orchestra.” The Utah Symphony’s 2017–18 season opened in September with Raiders of the Lost Ark, the first in the epic adventure chronicles of Indiana Jones. Tim Burton’s delightful animated film, The Nightmare Before Christmas, screened before Halloween. Utah Symphony’s Films in Concert series concludes on February 17, 2018 with a world-premiere screening of award-winning Western classic, High Noon, with live orchestra playing the soundtrack. In his Oscar-winning role for best actor, Gary Cooper stars as a lawman who stands alone to defend his town against a gang of revenge-seeking outlaws. Continued on page 25…
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Whether you travel through the magical window stroll or enjoy whimsical shopping, The Grand presents an unforgettable holiday experience. GRANDAMERICA.COM
From Muggles to Outlaws Enjoy this gripping, award-winning classic with an added sense of suspense as the Utah Symphony performs live the critically-acclaimed score by Dimitri Tiomkin. This film presentation is in collaboration with Go West! Art of the American Frontier, a festival focused on Western art from the Buffalo Bill Center of the West, December 3, 2017– March 11, 2018, at the Utah Museum of Fine Arts (UMFA). Go West! Art of the American Frontier presents a century of art from an extraordinary era of exploration. Featuring 90 works by artist-explorers and Plains Indian tribes, it chronicles a pivotal period from 1830–1930 in which cultures were merging, clashing, and finding fortune or hardship in a changing American landscape. Paintings and sculptures by George Catlin, Albert Bierstadt, Frederic Remington, Charles Russell, and N.C. Wyeth document the journeys that would solidify our popular understanding of the American West. Objects made by Sioux, Cheyenne, and other Native American tribes reflect the rich cultural heritage of the Native peoples who struggled against encroachment into their lands. The diversity of works presented demonstrates how artists took part in shaping contemporary views of this layered and complex history. This exhibition is organized by the Buffalo Bill Center of the West, in Cody Wyoming. For more information on the festival, visit umfa.utah.edu.
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♥ @lizzypalmatier Jake’s first Utah Symphony concert! We watched Indiana Jones while the Utah Symphony played the soundtrack through the entire movie. (Shout out to @tuba_matt who performed the Tuba part) So much fun! #UtahSymphony #IndianaJones
♥ @elise_gubler Renée Fleming with the Utah Symphony! My heart, head, and ears were in heaven. It was amazing. So beautiful. Sad for him, lucky for me, Melissa’s husband was out of town and I got to take his ticket tonight and join this lovely friend of mine. It is also the 40th Anniversary of the Utah Opera so it was the night for a fancy fundraising gala. No, we did not attend, but it was fun to see all the people gussied up.
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program
Rachmaninoff’s Symphonic Dances
Rachmaninoff’s Symphonic Dances November 3–4 / 2017 / 7:30PM / ABRAVANEL HALL MATTHIAS PINTSCHER, conductor WILLIAM HAGEN, violin
RAVEL
Ma Mère l’Oye (Mother Goose) Prélude I. Danse du rouet et scène II. Pavane de la belle au bois dormant III. Les entretiens de la belle et de la bête IV. Petit Poucet V. Laideronnette, impératrice des Pagodes VI. Le jardin féerique
SAINT-SAËNS
Introduction and Rondo capriccioso in A minor for Violin and Orchestra, Op. 28 WILLIAM HAGEN, violin
RAVEL
Tzigane WILLIAM HAGEN, violin
/ INTERMISSION /
RACHMANINOFF
Symphonic Dances, Op. 45 I. II. III.
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Non allegro Andante con moto (Tempo di valse) Lento assai - Allegro vivace
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artists’ profiles
Matthias Pintscher is the Music Director of the Ensemble Intercontemporain and became Principal Conductor of the Lucerne Festival Academy Orchestra at the start of the 2016–17 season. He is currently in his eighth year as Artistin-Association with the BBC Scottish Symphony Orchestra.
Matthias Pintscher conductor C O N D U C TO R S P O N S O R
In the 2017–18 season, Pintscher makes several significant debuts including with the Royal Concertgebouw Orchestra, London Symphony Orchestra, Berlin Radio Symphony, Finnish Radio Symphony, and the Gulbenkian Orchestra in Lisbon. Pintscher and the Ensemble Intercontemporain recently brought an ambitious presentation of Pierre Boulez’ Répons to the Park Avenue Armory in New York and perform a number of concerts on tour in London (Royal Festival Hall), Vienna (Konzerthaus), and Cologne (Philharmonie). In addition, they will be joined by alumni of the Lucerne Festival in a special multi-media Messiaen project which will be performed in four cities. Return guest engagements this season include the Los Angeles Philharmonic in both a subscription week and at the Hollywood Bowl, Atlanta Symphony Orchestra, Utah Symphony, Saint Paul Chamber Orchestra (where he premieres Salvatore Sciarrino’s new piano concerto with Jonathan Biss), Orchestre de la Suisse Romande, Frankfurt Radio Symphony, and the Mahler Chamber Orchestra conducting Beethoven’s Ninth Symphony. An enthusiastic supporter of and mentor to students and young musicians, Pintscher will also work with the Karajan Academy of the Berlin Philharmonic, culminating in a concert at the Philharmonie. Matthias Pintscher began his musical training in conducting, studying with Peter Eötvös in his early twenties, during which time composing soon took a more prominent role in his life. He began to divide his time equally between conducting and composing, rapidly gaining critical acclaim in both areas of activity. As a composer, Pintscher’s music is championed by some of today’s finest performing artists, orchestras, and conductors. His works have been performed by such orchestras as the Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Berlin Philharmonic, London Symphony Orchestra, and the Orchestre de Paris. Bärenreiter is his exclusive publisher, and recordings of his compositions can be found on Kairos, EMI, Teldec, Wergo, and Winter & Winter. Pintscher has been on the composition faculty of the Juilliard School since 2014.
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Rachmaninoff’s Symphonic Dances
artists’ profiles
The riveting 24-year-old American violinist William Hagen was the third-prize winner of the 2015 Queen Elisabeth International Music Competition, making him the highestranking American since 1980. Already a seasoned international performer, William has been hailed as a “brilliant virtuoso…a standout” (The Dallas Morning News) with “an intellectual command of line and score, and just the right amount of power” (violinist.com). He recently received the 1735 “Sennhauser” Guarneri del Gesú on a long-term loan from the Stradivari Society. His 2017–18 season features performances of Korngold with Christoph Eschenbach and the Frankfurt Radio Symphony, Saint-Saëns and Ravel with Matthias Pintscher and the Utah Symphony, Brahms with Andrew Gourlay and the Fort Worth Symphony, and Prokofiev No. 1 with Pablo Rus Broseta and the Seattle Symphony. William Hagen violin GUEST ARTIST SPONSOR
Since his professional debut at age nine with the Utah Symphony, with Keith Lockhart conducting, William has performed with conductors Marin Alsop, Christian Arming, Placido Domingo, Miguel Harth-Bedoya, Fabio Mechetti, Ward Stare, Michel Tabachnik, Arie van Beek, and Hugh Wolff; and with the symphony orchestras of Albany, Buffalo, Fort Worth, Jacksonville, St. Louis, Utah, and with the Aspen Philharmonic at the Aspen Music Festival. Abroad, he has performed with the Brussels Philharmonic, the National Orchestra of Belgium, the ORF Radio-Sinfonieorchester and with the Orchestre Philharmonique Royal de Liège in a tour of Belgium. He has also performed in Japan with the Yokohama Sinfonietta and the Sendai Philharmonic. A native of Utah, William first heard the violin at the age of three and began lessons at four. At age 10 he entered the studio of Robert Lipsett at the Colburn Community School of Performing Arts, commuting to Los Angeles every week for lessons. After studying with Itzhak Perlman at the Juilliard School for two years, William returned to Los Angeles in 2012 to continue studying with Robert Lipsett at the Colburn Conservatory of Music. He is an alumnus of the Verbier Academy and the Perlman Music Program, and spent many summers at the Aspen Music Festival and School.
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Rachmaninoff’s Symphonic Dances
program notes
1/5
Notes by Michael Clive
Maurice Ravel (1875–1937)
Ma Mère l’Oye (Mother Goose) 2 flutes, 2nd doubling piccolo, nd 2 oboes, 2 doubling english horn, 2 bassoons, 2nd doubling contrabassoon; 2 horns; strings; percussion; celeste, strings. INSTRUMENTATION:
PERFORMANCE TIME: 28
minutes.
BACKGROUND
The fairy tales of Ravel’s musical narratives are drawn from the traditional French Ma Mère l’Oye as edited by Charles Perrault in 1697. Though these became associated with the English phrase “Mother Goose,” the literal “Mother Egg” seems more closely related to the image of the Russian nesting Matryushka dolls and the folk tales of Baba Yaga that eventually made their way throughout Europe and across the Atlantic. WHAT TO LISTEN FOR
When we listen to Ravel’s Ma Mère l’Oye, or to other transcendent works categorized as child-appropriate—such as Janáček’s opera The Cunning Little Vixen, Mozart’s The Magic Flute, the early books of Bartók’s piano course Mikrokosmos, Ravel’s own L’enfant et les sortilèges—we hear music that communicates with a degree of emotional purity and directness that all music aspires to achieve. In writing music for children, great composers like Benjamin Britten and Sergei Prokofiev knew that nothing is more difficult than simplicity, and that their “children’s music” must be uncompromising in its appeal to adult listeners. If a fairy tale or an
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adventure story fails to convince a grownup, why should a child believe it? Ah, but if it can persuade a child, the loveliness of the telling will fairly break our hearts as adults. With Baba Yaga in mind, it is appropriate for us to think of the tales she inspired that we’ve grown up with on this side of the Atlantic— tales such as Hansel and Gretel, and Little Red Riding Hood—as we listen to the movements of Ma Mère l’Oye. While the poetry of the music enchants us, the Mère l’Oye stories can jolt us with their bluntness. For example, the movement we choose to know as “The Princess of the Pagodas” is more accurately translated as “Little Ugly Girl, Empress of the Pagodes.” The sound is mysterious and exotic; the prevailing tone is not darkness, but wonder. And the glorious orchestration bears all the hallmarks that have placed Ravel among the greatest of orchestral colorists: elegance, translucency, and surprise. From Perrault’s more expansive text, Ravel chooses five episodes: •
•
•
The Pavane of the Sleeping Beauty. The pavane’s slow, stately tempo seems to convey a sense of antiquity, as in Ravel’s earlier Pavane for a Dead Princess. But in this suite the Pavane conveys sweetness and delicacy. Tom Thumb. This section of the suite is programmatic, narrating Tom’s comically catastrophic walk through the woods, with twittering birds eating the breadcrumbs with which Tom marked his way home. The Princess of the Pagodas. Here the pagodas are not structures but “pagodes,” little people whom the
UTAH SYMPHONY
Rachmaninoff’s Symphonic Dances
•
•
program notes
princess encounters in a distant land after she’s been rendered ugly by a wicked witch whose spell is ultimately reversed. Are those rapidly repeated pairs of notes the mincing footsteps of the pagodes? And are those bewitching four final chords the declaration of the princess’ beauty now returned to her? Beauty and the Beast, or Conversations of Beauty and the Beast. Many fairy tales exalt the virtue of abstaining from lying and the courage of speaking the truth. But this quintessentially French tale, set in Ravel’s gently blossoming musical narrative, goes further—making the moral courage of truth-telling a means of achieving an intimacy that eventually transcends the body’s physical defects and grows into love. Of course, its time signature is waltz tempo, the most intimate of dances. The Fairy Garden. Though this section is not specifically programmatic, it vividly depicts a setting that would merit quite a story—a miraculous garden of blessed souls and beautiful flowers, where the sun never sets and life is eternally happy.
Camille Saint-Saëns (1835–1921)
Introduction and Rondo capriccioso in A minor for Violin and Orchestra, Op. 28 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets; timpani; strings; solo violin. PERFORMANCE TIME: 9
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BACKGROUND
Born in 1835, when the Romantic era was still young, the spectacularly gifted Saint-Saëns lived through one of the most turbulent periods in music history. The magisterial music critic Harold C. Schonberg, who reigned for two decades at The New York Times, described him as the greatest of all music prodigies, outpacing even Mozart and Mendelssohn. As an adult, Saint-Saëns recalled experiencing the aleatoric sounds of early childhood as music; his description of a two-year-old’s overheard “symphony of the kettle,” with its slow, eventful crescendo, is vivid. He began composing at age 3, and performed one of Beethoven’s violin sonatas in a Paris salon at age 4; by age 10, in a legendary concert at the Salle Pleyel, he followed his performance of a movement from Beethoven’s C minor piano concerto with an offer to play any of Beethoven’s 32 piano sonatas from memory. “This young man knows everything, but he lacks in experience,” noted Berlioz—not a surprising observation, considering the age of the “young man” in question. WHAT TO LISTEN FOR
Saint-Saëns was born into the great age of instrumental showmanship, when charismatic pianists and violinist created the template for today’s rock stars, complete with rioting, blissed-out audiences. By the time Paganini died, Saint-Saëns was five, well aware of the Paganini legend, and already giving concerts of his own. Liszt, a magician of the keyboard who was 24 years Saint-Saëns’ senior, was a longtime friend and mentor. Saint-Saëns was 28 when he created the Introduction and Rondo capriccioso for a third superstar, the Spanish violinist Pablo de Sarasate. We can hear this cultural context
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Rachmaninoff’s Symphonic Dances
program notes
in every bar of the work, which is a superbly constructed showcase for superstar violin playing. To call it a vehicle for virtuosity does not diminish the sheer joy of listening. But the Rondo is, in fact, much more than that. Saint-Saëns originally intended it as the finale of his first violin concerto, and its structure—a tension-building, slow initial theme leading to dramatic and showy main theme—is beautifully detailed and concertoready. It also happens to meet the primary requirements of the musical caprice: a portentous introduction, a shift in tempo, a change of mood, and a sense of emotional spontaneity, all couched in virtuoso playing. The “introduction” section is slow and lyrical, with upward-arching arpeggios for the violin exposed against block chords in the orchestra. When the pace of the playing shifts for the first time, it’s not tempo so much as the note values that change, from flowing to peppery solo playing against a thumping andante in the orchestra. Then, as the finish line comes into view, the tempo accelerates to animato and we hear the rousing finale for which Saint-Saëns has primed us, complete with fingerwork of dazzling rapidity. Maurice Ravel (1875–1937)
Tzigane 2 flutes, 2nd doubling piccolo, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, trumpet; percussion; harp; celeste; strings; solo violin. INSTRUMENTATION:
PERFORMANCE TIME: 10
BACKGROUND
minutes.
In his great early novella Tonio Kröger,
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the Nobel Prize-winning writer Thomas Mann invokes a theme that we hear again and again in French music of Ravel’s era: the dangerous lure of Gypsy culture. Wir sind nicht Zigeuner im grünen Wagen! is the insistent motto of Tonio’s father. “We are not Gypsies in a green wagon!” What could be worse? No, the Krögers were the opposite—a respectable family, descendants of the eminent Consul Kröger. Gypsies represented not only a wanton way of life, but also the temptation to reject rules and bourgeois convention. A wary fascination with southern European and Gypsy culture was one of the few points of commonality between German and French arts of the late 19th and early 20th centuries. German and Austrian composers had their formal rigor, discipline and precision; the French had their elegance, refinement and irony. But for both cultures, the Gypsy represented the dangerous “other”: heedless sensuality, overt passion, unchecked emotional expression. This was catnip for composers such as Edouard Lalo in his Symphonie espagnole, Georges Bizet in Carmen, and Massenet in his rejoinder to Carmen, called La Navarraise. The same Gypsy-Spanish elements crop up in every phase of the works of Mann and Ravel, who both had deeper links than their compatriots to Spanish and Gypsy culture. Like Mann, Ravel was influenced by a mother who was of Spanish ancestry. He grew up three miles from the French-Spanish border, and his lullabies were traditional Spanish songs. When he used Spanish forms such as the Bolero and the Pavane, he did so as a native, not a tourist. The heat, the sun, the light, the overt sensuality—
UTAH SYMPHONY
Rachmaninoff’s Symphonic Dances
program notes
French composers conflated these elements of Spanish culture with Romani and Magyar musical traditions that fascinated composers from Haydn to Brahms. The “Gypsy violin” was the essence of this tradition, and its flamboyance was of special fascination to the great violinists and violin composers of the late 19th and early 20th centuries. This is where the Spanish and Hungarian musical folkways irresistibly combine. Pablo de Sarasate, Niccolò Paganini and Fritz Kreisler were among the composers in whose virtuoso showpieces we can recognize Thomas Mann’s Zigeuner: Sarasate’s catalog includes Zigeunerweisen (“Gypsy Airs”), and Kreisler gave us his Zigeuner Capriccio. To this list we can add Ravel and his Tzigane. Mainstream composers did not use such terms lightly; Brahms and Haydn before him revered “Gypsy music,” and Brahms’ Hungarian Rhapsodies are among his most enduringly popular compositions. Tzigane means Gypsy, as do the German Zigeuner and the Hungarian Cigány. But the vocabulary used for describing compositions such as Ravel’s spectacular violin showpiece Tzigane has been changing in recent years to reflect greater sensitivity to the Roma people that were formerly identified with the vague and pejorative term “Gypsy.” WHAT TO LISTEN FOR
Tzigane belongs to a popular genre of violin solo modeled on Romani traditions of violin playing, characterized by passionate emotionalism, vigorous bowing, a willingness to let the strings growl, and technical daring. A sense of perilously freewheeling improvisation prevails—we can imagine the fiddler almost dancing, eyes closed, hair flying. When we listen to Romani music, we intuitively know that is not based
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on a written musical score, but rather on generations of tradition and the feelings of the moment. Yet Ravel creates this effect in a written score that is typically and dauntingly precise. This is the sound of unplanned, passionate expression we expect in a piece called Tzigane, but crafted to a level beyond our expectations. Ravel composed Tzigane on commission from the Hungarian violinist Jelly d’Arányi, the great-niece of legendary violinist Joseph Joachim. It is almost never performed as originally scored, for violin and piano with luthéal, a mechanical attachment for piano that has all but disappeared. Developed in Belgium, the luthéal was available to Ravel on pianos by the French maker Pleyel, and he used it to add a tangy, zither-like texture to the piano accompaniment in Tzigane; a few months after completing this version early in 1924, he orchestrated the piano part, and in this scoring it has secured a place as one of the most brilliant and popular of violin showpieces. This is no-holds-barred music, affectionate and idiomatically correct, yet with a hint of parody in its extreme virtuosity—as with Mozart’s arias for the Queen of the Night in The Magic Flute, Richard Strauss’ stunner for the coquette Zerbinetta in Ariadne auf Naxos, and Broadway songs like “Hernando’s Hideaway” and “Whatever Lola Wants,” which are affectionate parodies of formal Argentinian tangos. More than one interpreter of Tzigane has expressed astonishment at Ravel’s understanding of just how far it was possible to push an instrument he did not himself play. Like the Mozart and Strauss examples, it seems like an ultimate statement of its genre.
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program notes
Sergei Rachmaninoff (1873–1943)
Symphonic Dances, Op. 45 INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; percussion; harp; piano; strings. PERFORMANCE TIME: 35
minutes.
BACKGROUND
To many American listeners, critics’ insistence that Rachmaninoff was an “old-fashioned” composer simply doesn’t compute. And this apparent disconnect may have an ironic explanation: Though he was considered even in his lifetime to be the last composer clinging to the style and traditions of the Russian Romantics, he did so with melodies and harmonies that were became influential in the popular sphere. At the end of his life he was a Los Angeles neighbor of Igor Stravinsky, a compatriot who was far more modern and influential in the classical realm. But it was Rachmaninoff whose music we hear today in Hollywood and Broadway productions. His compositions were adapted as pop songs and inspired others. In the concert hall, with compositions such as the Symphonic Dances, we hear a style of musical presentation that is unmistakably and thrillingly Romantic. WHAT TO LISTEN FOR
Thrilling, yes—in the opulence of its instrumental textures, its orchestral depth, its dramatic contrasts. But Symphonic Dances has also been termed “Rachmaninoff Lite” in
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its departure from the sweeping lyricism of the concerto and symphony melodies. “Taut” or “lean” might be better descriptors. Whether it was homesickness or the introspection of a man nearing the end of his life (Rachmaninoff tended to look on the dark side), the composer chose relatively austere themes as the basis for the three movements of Symphonic Dances. Listening, we can infer at least a suggestion of an autumnal backward glance in its religious sources and especially in its first movement, when Rachmaninoff returns to his life’s watershed moment. Here he quotes a theme from his first symphony, the calamitous failure that triggered a paralyzing depression that threatened to end his composing career. He followed three years of “composer’s block” with his phenomenally successful Piano Concerto No. 2, turning disaster into triumph. In the second movement, marked tempo di valse, we hear hints of characteristic lyricism, but these are contrasted with austere rhythmic passages. The third movement confirms the serious and even religious nature of this composition, with its quotation of a 13th-century Dies irae chant. As we listen, we can only wonder how the Symphonic Dances might have fared on stage if its composer and prospective choreographer, Michel Fokine, had survived to realize their original vision for the music as a ballet score. (Fokine predeceased Rachmaninoff by a year.) The music was later choreographed by Peter Martins as the ballet Symphonic Dances, which premiered in 1994. It also exists in a sparkling two-piano version.
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Thank You Members of Maestro and above support the symphony or opera through major gifts of $10,000 or more, and enjoy exclusive Utah Symphony | Utah Opera benefits throughout the season. For more information, please call 801-869-9010.
MAESTRO $10,000 to $24,999 Dr. J. R. Baringer & Dr. Jeannette J. Townsend Haven J. Barlow Family Thomas Billings & Judge Judith Billings Mr. & Mrs. Jim Blair Judy Brady & Drew W. Browning Estate of Berenice Bradshaw Estate of Barbara Burnett Howard & Betty Clark Pat & Sherry Duncan Dr. & Mrs. Ralph Earle Sue Ellis J. I. “Chip” & Gayle Everest Martin & Jane Greenberg Douglas & Connie Hayes
Susan & Tom Hodgson The Right Reverend Carolyn Tanner Irish G. Frank & Pamela Joklik Robert & Debra Kasirer Bill Ligety & Cyndi Sharp Estate of Gaye Herman Marrash Mr. & Mrs. Charles McEvoy Harold W. & Lois Milner Terrell & Leah Nagata William & Christine Nelson Norman C. & Barbara L. Tanner Trusts Dr. Dinesh & Kalpana Patel Leslie Peterson & Kevin Higgins Frank R. Pignanelli & D’Arcy Dixon
Alice & Frank Puleo Stephen & Cydney Quinn David & Shari Quinney Brad & Sara Rencher Richard & Carmen Rogers Lori & Theodore Samuels Mr. & Mrs. D. Brent Scott George & Tamie† Speciale Jennifer Speers Mr. & Mrs. G. B. Stringfellow Thomas & Marilyn Sutton James R. & Susan Swartz Jonathan & Anne Symonds Thomas & Caroline Tucker Kathleen Digre & Michael Varner
Mr. Joseph F. Furlong III Mr. & Mrs. Eric Garen David & Lisa Genecov Andrea Golding Ray & Howard Grossman Dennis & Sarah Hancock Julie & Dave Hirz Chuck & Kathie Horman Jon & Karen Huntsman Jon & Mary Kaye Huntsman Mary P. Jacobs & Jerald H. Jacobs Family Mr. James Keras & Mrs. Penny Keras Jeanne Kimball Mr. & Mrs. Christopher J. Lansing Elizabeth & Michael Liess Mr. & Mrs. Wayne Lyski David & Nickie McDowell Paul Meecham & Laura Leach Carol & Anthony W. Middleton, Jr., M.D.
James & Ann Neal James & Marianne Nelson Charles & Amy Newhall Howard & Nancy Parker Dr. Thomas Parks & Dr. Patricia Legant Brooks & Lenna Quinn Dr. & Mrs. Marvin L. Rallison Patricia A. Richards & William K. Nichols James & Gail Riepe Dr. Wallace Ring Peggy & Ben Schapiro Dewelynn Selberg Stuart & Molly Silloway Tim Terrell Thomas & Kathy Thatcher Albert & Yvette Ungricht E. Woolston & Connie Jo Hepworth-Woolston Chris & Lisa Young
ALLEGRO $5,000 to $9,999 Anonymous (3) Mr. & Mrs. Alan P. Agle Ross Anderson Edward Ashwood & Candice Johnson Mr. & Mrs. William C. Bailey Dr. & Mrs. Clisto Beaty Carol, Rete & Celine Browning Judy & Larry Brownstein Mr. & Mrs. Neill Brownstein Chris & Lois Canale Thomas Christofferson Joseph Cleary Amalia Cochran Marc & Kathryn Cohen Mr. & Mrs. Kenneth R. Cutler Spencer & Cleone Eccles Midge Farkas Jack & Marianne Ferraro Robert & Elisha Finney Susan F. Fleming
Donations received as of September 20, 2017
UTAHSYMPHONY.ORG
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Thank You ABRAVANEL & PETERSON SOCIETY $4,000 to $4,999 Members of the Maurice Abravanel & Glade Peterson Societies pay tribute to our founders through an annual financial commitment of $4,000 or more, while enjoying benefits throughout the season. For more information, please call 801-869-9028. Anonymous Debbie & Gary Cook Michael & Sheila Deputy Mr. & Mrs. Robert Ehrlich Dr. & Mrs. Bradford D. Hare Annette & Joseph Jarvis Ronald & Janet Jibson
Laura Kiessner Allison Kitching Harrison & Elaine Levy Thomas & Jamie Love Keith & Vicki Maio Michael & Julie McFadden Stephen & Mary Nichols
Thomas & Gayle Sherry Diana & Paul Smith Verl & Joyce Topham Karen Urankar Dr. Ralph & Judith Vander Heide Ardean† & Elna Watts
ABRAVANEL OR PETERSON SOCIETY $2,500 to $3,999 Members of the Maurice Abravanel or Glade Peterson Society support the symphony or opera through annual gifts of $2,500 or more and enjoy symphony or opera benefits throughout the season. For more information, please call 801-869-9028. Anonymous (5) Craig & Joanna Adamson Fran Akita Robert & Cherry Anderson Robert Baker E. Wayne & Barbara Baumgardner Melissa J. Bentley, M.D. Mr. & Mrs. William Bierer Robert W. Brandt† David Brown Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Kelly Burt Mark & Marcy Casp Hal & Cecile Christiansen Edward & Carleen Clark Raymond & Diana Compton Sandra & David Cope Dr. & Mrs. Thomas Coppin
Ruth Davidson Graeme Dayton David & Karen Gardner Dee Thomas D. Dee III & Dr. Candace Dee Margarita Donnelly Carol & Greg Easton Janet Ellison Neone F. Jones Family Blake & Linda Fisher Laura Forsgren Drs. Fran & Cliff Foster Robert & Annie-Lewis Garda Diana George Jeffrey L. Giese, M.D. & Mary E. Gesicki The James S. Gulbrandsen, Sr. Family C. Chauncey & Emily Hall Kenneth & Kate Handley
David & Judi Harris Lisanne & Don Hendricks Debbie Horton Sunny & Wes Howell Dixie & Robert Huefner Mr. & Mrs. Jerry Huffman Sherry & Jim Hulse Scott Huntsman M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Maxine & Bruce Johnson Catherine Kanter Susan Keyes Merele & Howard Kosowky Donald L. & Alice A. Lappe Victoria McNeil Le Vine Herbert C. & Wilma S. Livsey Patricia & Mark Lucas Milt & Carol Lynnes Donations received as of September 20, 2017
44
UTAH SYMPHONY
Thank You ABRAVANEL OR PETERSON SOCIETY $2,500 to $3,999 Anonymous David & Donna Lyon Jed & Kathryn Marti Zelda Marzec Christopher & Julie McBeth George & Nancy Melling Dr. Jean H. & Dr. Richard R. Miller Mr. & Mrs. Richard Mithoff Dr. Louis A. Moench & Deborah Moench Marilyn & Rulon Neilson Thomas & Barbara O’Byrne O. Don & Barbara Ostler Dr. S. Keith & Barbara Petersen
Dan & June Ragan W. E. & Harriet R. Rasmussen Dr. Richard & Frances Reiser Joyce Rice Kenneth Roach & Cindy Powell Lousje & Keith Rooker Thomas Safran Mark & Loulu Saltzman John F. Foley, M.D. & Dorene Sambado, M.D. Margaret P. Sargent Shirley & Eric Schoenholz Barbara & Paul Schwartz William G. Schwartz & Joann Givan
Christine St. Andre Dawn & Mitch Taubin Richard & Janet Thompson Mr. & Mrs. Glen R. Traylor Susan & David† Wagstaff John & Susan Walker Bryan & Diana Watabe Suzanne Weaver & Charles Boynton David & Jerre Winder Catherine Wong Gayle & Sam Youngblood
Dr. & Mrs. Michael A. Kalm Carl & Gillean Kjeldsberg Val Lambson Guttorm & Claudia Landro Anne Lee & Claude Halter Dr. Vivan S. Lee & Mr. Benedict Kingsbury James Lether Lisa & James Levy Ronald W. Tharp & Kate F. Little Dennis & Pat Lombardi Ross & Kathleen Matthews Daniel & Noemi P. Mattis George & Lina Mendelson Brad & Trish Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville David Mortensen & RoseMarie Brittner Mahyera
Dan & Janet Myers Michael & Leslie O’Malley Robert & Catherine Pedersen Mr. David A. Petersen Victor & Elizabeth Pollak Jana Ramacher Gina Rieke Grant Schettler Gibbs & Catherine W. Smith Payam Tristani Rachel Varat-Navarro Susan Warshaw Erik & Linda Watts Dan & Amy Wilcox Norman & Kathy Younker Laurie Zeller Michael & Olga Zhdanov
PATRON $1,500 to $2,449 Anonymous (2) Barry Bergquist Shauna Bona Mr. & Mrs. Lee Forrest Carter David & Carol Coulter Kathleen & Frank Dougherty Katherine W.† & E. R. Dumke, Jr. Robert S. Felt, M.D. William Fickling Heidi Gardner The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Fdn. Ronald & Kaye Gunnell Arlen Hale Drs. Carolyn & Joshua Hickman Caroline & David Hundley James Hynes Drs. Randy & Elizabeth Jensen
Donations received as of September 20, 2017
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Thank You FRIEND $1,000 to $1,499 Anonymous (5) Carolyn Abravanel Madeline Adkins & John Forrest Christine A. Allred Drs. Crystal & Dustin Armstrong Curtis Atkisson, Jr. Diane Banks & Dr. Mark Bromberg Roger & Karen Blaylock Dana Carroll & Jeannine Marlowe Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Denise Corr Dorothy B. Cromer† James & Rula Dickson Margaret Dreyfous Alice Edvalson Naomi K. Feigal Ralph & Rose Gochnour Dr. & Mrs. John Greenlee Geraldine Hanni
John Edward Henderson Connie C. Holbrook Todd & Tatiana James Dale & Beverly Johnson Jocelyn Johnson Chester & Marilyn Johnson Robert & Karla Knox Greg Larson Sheryl Laukat Tiffany & Mark Lemons Peter Margulies & Louis Vickerman Edward & Grace McDonough Clifton & Terri McIntosh Mr. & Mrs. Michael Mealey Lex Hemphill & Nancy Melich Hal & JeNeal Miller Mary Muir Oren & Liz Nelson Timothy F. Buehner Richard O’Brien Mary Jane O’Connor Ruth & William Ohlsen Linda S. Pembroke
Rori & Nancy Piggott David Porter Keith & Nancy Rattie David & Lois Salisbury Janet Schaap James Schnitz Mr. August L. Schultz Annabelle & Dennis Shrieve Barbara Slaymaker Dorotha Smart Dr. & Mrs. Michael H. Stevens Amy Sullivan & Alex Bocock Douglas & Susan Terry Craig & Christy Wagstaff M. Walker & Sue Wallace Gerard & Sheila Walsh Judith Warner Mary & Scott Wieler Margaret & Gary Wirth Marsha & Richard Workman John & Jean Yablonski Kathie & Hugh Zumbro
Donations received as of September 20, 2017
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
46
UTAH SYMPHONY
Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT
Annual Fund
Utah Symphony | Utah Opera is grateful to the corporations, foundations & public institutions that sustain our mission and to those who have pledged multi-year gifts (recognized in bold). For more information, please call 801-869-9013.
ENCORE $100,000 & ABOVE The Church of Jesus Christ of Latter-day Saints Dominion Energy Emma Eccles Jones Foundation The Florence J. Gillmor Foundation George S. & Dolores Doré Eccles Foundation Janet Q. Lawson Foundation
Larry H. & Gail Miller Family Foundation John & Marcia Price Foundation Marriner S. Eccles Foundation O.C. Tanner Utah State Legislature / Utah State Board of Education Salt Lake County Shiebler Family Foundation
Sorenson Legacy Foundation State of Utah Summit County Restaurant Tax/ RAP Tax The Tony & Renee Marlon Charitable Foundation Utah Division of Arts & Museums Zions Bank
Lawrence T. & Janet T. Dee Foundation
Grand & Little America Hotels* Sinclair Oil Corporation
BRAVO $50,000 to $99,999 Carol Franc Buck Foundation Chevron Corporation
OVERTURE $25,000 to $49,999 Anonymous Arnold Machinery B.M.W. of Murray C. Comstock Clayton Foundation Charles Maxfield & Gloria F. Parrish Foundation Deer Valley Resort** FJ Management, Inc. The Beesley Family Foundation
Montage Deer Valley** Harris H. & Amanda P. Simmons Foundation Nora Eccles Treadwell Foundation R. Harold Burton Foundation S. J. & Jessie E. Quinney Foundation The Sam & Diane Stewart Family Foundation
Simmons Family Foundation Stein Eriksen Lodge** Summit Sotheby’s Vivint.SmartHome Wells Fargo Advisors, LLC Wells Fargo Foundation Workers Compensation Fund
Donations received as of September 20, 2017
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Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT
MAESTRO $10,000 to $24,999 Adobe Ann & Gordon Getty Foundation B. W. Bastian Foundation Brent & Bonnie Jean Beesley Foundation Caffé Molise* CenturyLink Community Foundation of the Lowcountry Haven J. Barlow Family
Hyatt Centric Park City** Marie Eccles Caine FoundationRussell Family Marriott International, Inc. McCarthey Family Foundaton Merrill Lynch Wealth Management Merrill Lynch Coast Access LLC The New Yorker Opera America
Park City Chamber Bureau Promontory Foundation Richard K. & Shirley S. Hemingway Foundation Salt Lake City Arts Council The Swartz Foundation U.S. Bancorp Foundation Union Pacific Foundation University of Utah Health
The Dorsey & Whitney Foundation Flynn Family Foundation Holland & Hart Huntsman International LLC J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Macy’s Martine* Patricia Dougall Eager Trust Pro Helvetia, The Swiss Arts Council
Raymond James & Associates Resorts West by Natural Retreats* Spencer F. & Cleone P. Eccles Family Foundation St. Regis/Deer Crest Club Utah Autism Foundation Utah Office of Tourism The Val A. Green & Edith D. Green Foundation Victory Ranch & Conservancy
Graystone Consulting Henry W. & Leslie M. Eskuche Charitable Foundation Jones & Associates Love Communications Millcreek Coffee Roasters* Nebeker Family Foundation Park City Foundation Peczuh Printing Ray, Quinney & Nebeker Foundation Robert S. Carter Foundation
Rodney H. & Carolyn Hansen Brady Charitable Foundation Snell & Wilmer LLP Snow, Christensen & Martineau Foundation Squatters Pub* Stay Park City Stoel Rives TraskBritt P.C. Wells Fargo Zuvii*
PATRON $5,000 to $9,999 Anonymous (2) The Aaron Copland Fund for Music, Inc. Bambara* Bessemer Trust Berenice J. Bradshaw Trust The Capital Group The Foundation for Jewish Philanthropy Deluxe Corporation Foundation Discover Financial Services
FRIEND $2,500 & ABOVE Anonymous Art Works for Kids! Bertin Family Foundation Boeing Employees Community Fund Castle Foundation Chevron Matching Employee Fund Cope & Cope Investments, LLC D’Addario Foundation Diamond Rental ExxonMobil Foundation Fanwood Foundation George Q. Morris Foundation * In-kind donation only ** In-kind and cash donation
UTAHSYMPHONY.ORG
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Donations received as of September 20, 2017
49
Thank You DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps ensure the long-term wellbeing and stability of USUO, and through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9028. Anonymous Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation
Thomas & Candace Dee Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation
Kenneth†& Jerrie Randall The Evelyn Rosenblatt Young Artist Award Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner M. Walker & Sue Wallace
GIFTS MADE IN HONOR OF Dr. J. R. Baringer & Dr. Jeannette J. Townsend Neill & Linda Brownstein
Herond & Gaylen Hoyt Pamela Robinson-Harris & Jeff Harris
The Right Reverend Carolyn Tanner Irish
GIFTS MADE IN MEMORY OF Jay T. Ball Janet Bennett Robert H. Burgoyne, M.D. Jeffrey L. Chaney Kathie Dalton Charles Dean Dean E. Eggertsen Loraine L. Felton Rosalie Frost Ursula Gleason Joanne Johnson Muriel Lindquist Panos Johnson
Joseph S. Kowlton Valice M. Laramee Sonja Margulies Frank & Maxine McIntyre Bill Peters Mardean Peterson John A. Reinertsen Alvin Richer Kathryn Romney J. Ryan Selberg Bert Schaap Aurelia H. Schettler
Catharine Schettler Ben Schippen Claudia Silver-Huff Hope B. Stevens Patrick L. Wade Robert Van Wagenen Nadine Ward Ardean Watts John W. Williams Lawrence Young Martin Zwick
Donations received as of September 20, 2017
50
UTAH SYMPHONY
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 Edward† & Edith† Brinn Shelly Coburn Captain Raymond & Diana Compton Anne C. Ewers Flemming & Lana Jensen
James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bentley Kenneth A.† & Jeraldine S. Randall Mr.† & Mrs. Alvin Richer
Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffery & Joyce Smith G.B. & B.F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace
Dianne May Dr. & Mrs. Louis A Moench Jerry & Marcia McClain Jim& Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn
Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser
Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Ms. Marilyn Lindsay Turid V. Lipman Herbert C. & Wilma Livsey
CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn 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 Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin
Stanley B. & Joyce Parrish Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Jeffrey W. Shields G.B. & B.F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser
†Deceased
UTAHSYMPHONY.ORG
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LEGACY GIVING
Leave a lasting legacy of excellent music. When you make a gift through your estate, either now or at the end of your life, you provide invaluable support to Utah Symphony | Utah Opera. Your financial advisor or estate planning attorney can help you build a gift that can meet goals for you or your heirs, and provide USUO with the resources that create incredible music. Help USUO preserve our future of performing favorite symphonic and operatic works and new works for years to come. To learn more about how 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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ADMINISTRATION ADMINISTRATION Paul Meecham
Kate Throneburg
Mike Lund
David Green
Heather Weinstock
Manager of Special Events & DVMF Donor Relations
Jim Hadley
Senior Vice President & COO
Julie McBeth
Alina Osika
President & CEO
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
Director of Individual Giving
Manager of Corporate Partnerships
Lisa Poppleton
Grants Manager
Chelsea Kauffman
Annual Fund Coordinator
Director of Information Technologies Controller
Alison Mockli
Payroll & Benefits Manager
Jared Mollenkopf
Patron Information Systems Manager
Julie Cameron
Accounts Payable Clerk
Development Coordinator
EDUCATION Paula Fowler
MARKETING & COMMUNICATIONS Jon Miles
Beverly Hawkins
Steven Finkelstein
Director of Education & Community Outreach
Conner Gray Covington
Vice President of Marketing & Public Relations
Symphony Education Manager
Barlow Bradford
RenĂŠe Huang
Symphony Education Assistant
Assistant Conductor
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
Director of Communications & Digital Media
Chad Call
Marketing Manager - Audience Development
Mike Call
Website Manager
Aaron Sain
Director of Creative and Brand Strategy
Kathleen Sykes
Digital Content Producer
Tyler Bloomquist
Junior Graphic Designer
PATRON SERVICES Nina Starling
Chip Dance
Director of Patron Engagement
Jeff Herbig
Sales Manager
Production & Stage Manager Properties Manager & Assistant Stage Manager
Melissa Robison
Faith Myers
Andrew J. Wilson
Patron Services Manager
Robb Trujillo
Program Publication & Front of House Manager
Group Sales Associate
Erin Lunsford
Patron Services Assistant
Artist Logistics Coordinator
0PERA ARTISTIC Christopher McBeth
Opera Artistic Director
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
Natalie Cope
Director of Major Gifts
Ellesse Hargreaves Rachel Campbell
Marketing Manager - Patron Loyalty
Kyleene Johnson Paul Hill
Opera Education Assistant
OPERA TECHNICAL Jared Porter
Senior Technical Director
Kyle Coyer
Technical Director
Kelly Nickle
Properties Master
Lane Latimer
Assistant Props
Keith Ladanye
Production Carpenter
Travis Stevens Carpenter
Dusty Terrell
Scenic Charge Artist
COSTUMES Verona Green
Costume Director
Melonie Fitch
Rentals Supervisor
Jessica Cetrone Kierstin Gibbs LisaAnn DeLapp
Sarah Pehrson Jackie Seethaler Powell Smith
Rentals Assistants
Nick Barker Mat Jagiello Mara Lefler Rhea Miller Pat Murnin Anthony Roberts Ananda Spike
Tailor
Sales Associates
Ticket Agents
ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan
Vice President of Finance & CFO
Amanda Reiser Meyer Wardrobe Supervisor
Milivoj Poletan Tiffany Lent
Cutter/Draper
Donna Thomas
Milliner & Crafts Artisan
Chris Chadwick Yoojean Song Connie Warner Stitchers
Yancey J. Quick 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.
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UTAH SYMPHONY
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HOUSE RULES
ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Abravanel Hall. Ask at the Coat Check for details.
WHEELCHAIR SEATING Ample wheelchair seating is available. Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager.
LATECOMERS In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating will be used. During some productions late seating may not occur until an intermission 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 Utah Symphony | Utah Opera welcomes children eight years of age and older. Some concerts, including Family Matinees and special programs, are open to children of all ages. Please call 801533-6683 for a list of these special performances.
UTAHSYMPHONY.ORG
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All children, regardless of age, must have their own tickets for all performances. No babes-in-arms are allowed unless specifically indicated.
QUIET PLEASE As a courtesy to performers on stage and to other audience members, please turn off cell phones, pagers, beeping watches, or any other noisemaking device. Also, please refrain from allowing concession items such as candy wrappers and water bottles to become noisy during the performance.
CLEANLINESS Thank you for placing all refuse in trash receptacles as you exit the theatre.
COPYRIGHT ADHERENCE In compliance with copyright laws, it is strictly prohibited to take any photographs or any audio or video recordings of the performance.
NEED EXTRA LEG ROOM? Let us know when making reservations; we can help.
EMERGENCY INFORMATION In the event of an emergency, please remain seated and wait for instructions. Emergency exits are located on both sides of the house. Please identify the exit closest to your location.
59
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2017/18 UTAH SYMPHONY SEASON
DO YOU LOVE MUSIC AND KIDS?
Volunteer with Utah Symphony to teach kids about symphony concerts or help run a kids’ music program. Two of Utah Symphony’s programs for youth need volunteers who would like to share their love of music with students. UTAH SYMPHONY 5TH GRADE CONCERTS are made more memorable because of the talents of our docents, who visit classrooms to prepare students for a concert in Abravanel Hall. We provide the materials and train docents in their use. Docents visit nearly every school that sends 5th grade students and teachers to our concerts at Abravanel Hall, serving schools in the Alpine, Canyons, Davis, Granite, Jordan, Salt Lake and Tooele school districts. To learn more, contact Beverly Hawkins at bhawkins@usuo.org.
“Love this program!” — Utah Symphony Docent
tools to look good and smart at our presentations.”
— Utah Symphony Docent
THE MUSIC OUTREACH PROGRAM
program in Rose Park. Volunteers help with set up, class organization and logistics. Ability to play the violin (even a little) is helpful but not necessary. Contact Doyle Clayburn at dcsunset13@gmail.com if you’re interested in helping with this program. All lives can be enriched by the arts. Share your love of music with our young people. Please support our Education and Community Outreach programs. By donating you help provide arts events for students, aid classroom teachers, invest in the future citizens of Utah, and support your Utah Symphony and Utah Opera. Donate today! Contact our Development Department at (801) 869-9015.
ACKNOWLEDGMENTS UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR
Melissa Robison PROGRAM NOTES ANNOTATOR
Michael Clive Cultural writer Michael Clive is program annotator for the Utah Symphony, the Louisiana Philharmonic Orchestra and the Pacific Symphony, and is editor-in-chief of The Santa Fe Opera.
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Redeemable at any Market Street Restaurant or Fish Market 64
UTAH SYMPHONY
OUT ON THE TOWN
dining guide THE NEW YORKER 60 West Market Street. SLC’s
255 South West Temple, SLC. SPENCER’S premier dining establishment. Modern American
Whether before in orrefined after the showand or an evening cuisine isit’s featured dishes approachable dinner with friends and family—enjoy handfrom cut steaks, comfort food. From classic to innovative, fresh seafood, locally-crafted beers, classically contemporary seafood to Angus Beef steaks – the inspired cocktails and anfor award wine list. menu provides options everywinning taste. Served in a L,D,ST,C,LL,RA,CC, VS. 801-238-4748 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 SQUATTERS PUB BREWERY 147 West MARKETSLC. STREET GRILLand DOWNTOWN Broadway Join us before after the show 48 for West Market Unanimous favorites seafood eclectic dailyStreet. specials and traditional pubfor favorites dining, providing exceptional service and award winning. such as bacon topped meatloaf, pizzas and a delicious The contemporary highest quality array of burgers, all menu pairedfeatures with ourthe world-class beer available. Selectatmosphere. from an abundant offering of fresh and welcoming L, S, AT ,LL, D, CC, VS seafood flown in daily, Angus Beef steaks, and a variety 801-363-2739 of non-seafood dishes. Open 7 days a week serving breakfast, lunch, dinner, Sunday Brunch. B, L, D, C, AT, S, LL, CC, VS. 801.322.4668 MARTINE 22 East 100 South. Exceptional ambience, located in a historic Martine offers Salt MARTINE 22 Eastbrownstone. 100 South. Award winning ambience, Lake Cityinaasophisticated dining experience kept located historic brownstone. Martine offers Salt Lake simple. Convenientlydining located on First kept South around City a sophisticated experience simple. Locally the corner from the Eccles Theater. Extensive sourced ingredients, pre-event $25 three coursebar prixand fixe. wine service. martinecafe.com L, D, T, LL, RA, CC, VS. Extensive bar and wine service. martinecafe.com 801-363-9328 L, D, T, LL, RA, CC, VS. 801-363-9328
Consistently Rated “Tops”
COMPLIMENTARY VALET AND SELF-PARKING FOR–Zagat ALL GUESTS 255 S • WEST TEMPLE 60801.238.4748 W. Market Street 801.363.0166 RESERVATIONS AT OPENTABLE.COM
Salt Lake City’s #1 Most Popular Restaurant
–Zagat SINCE
1989 W. Market Salt Lake48• Airport • ParkStreet City (340 South) squatters.com 801.322.4668
Open until Midnight Sun-Thur Fri-Sat until 1:00 am
• An intimate euro café • Free Valet Parking • an american contemporary café • 22 East 100 South
Local, Independent Chef Owned Phone • 801.363.9328 www.martinecafe.com 22 East 100 South
Top Photo: Image licensed by Ingram Image Phone • 801.363.9328 www.martinecafe.com
B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take C-Children’s MenubySR-Senior Menu AT-After-Theatre Top Out Photo: Image licensed Ingram Image LL-Liquor Required Accepted CC-Credit Cards Selections B-BreakfastLicensee L-LunchRR-Reservations D-Dinner S-Open SundayRA-Reservations DL-Delivery T-Take Out C-Children’s MenuAccepted SR-SeniorVS-Vegetarian Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections
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