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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

(801) 533-NOTE

LEANN RIMES: TODAY IS CHRISTMAS WITH THE UTAH SYMPHONY DECEMBER 21–23 | 7 PM

HARRY POTTER AND THE CHAMBER OF SECRETS™ IN CONCERT

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.

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!

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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

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

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

(801) 533-NOTE

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

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

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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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MASTERWORKS

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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.

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.

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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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Rhapsody on a Theme of Paganini featuring Jon Kimura Parker

program

Rhapsody on a Theme of Paganini featuring Jon Kimura Parker November 17â&#x20AC;&#x201C;18 / 2017 / 7:30PM / ABRAVANEL HALL November 17 / 2017 / 10AM / ABRAVANEL HALL (FINISHING TOUCHES OPEN REHEARSAL)

MARK WIGGLESWORTH, conductor JON KIMURA PARKER, piano

ROSSINI RACHMANINOFF

Overture to The Barber of Seville Rhapsody on a Theme of Paganini, Op. 43 JON KIMURA PARKER, PIANO

/ INTERMISSION /

ELGAR

Symphony No. 1 in A-flat Major, Op. 55 I. II. III. IV.

Andante, nobilmente e semplice - Allegro Allegro molto Adagio Lento - Allegro

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Rhapsody on a Theme of Paganini featuring Jon Kimura Parker

artists’ proﬁles

Internationally renowned and Olivier Award-winning conductor Mark Wigglesworth is one of the outstanding musicians of his generation, as much at home in the opera house as the concert hall. Recognized for his masterly interpretations, his highly detailed performances combine a finely considered architectural structure with great sophistication and rare beauty. Through a broad repertoire ranging from Mozart to Boulez, he has forged enduring relationships with many orchestras and opera houses throughout the world.

Mark Wigglesworth conductor C O N D U C TO R S P O N S O R

Mark has enjoyed a long relationship with English National Opera (Lady Macbeth of Mtsensk, Cosi fan Tutti, Falstaﬀ, Katya Kabanova, Parsifal, Force of Destiny, Magic Flute, Jenufa, Don Giovanni, and Lulu), and operatic engagements elsewhere include The Royal Opera House, Covent Garden (Die Meistersinger von Nürnberg, Rise and Fall of Mahagonny), The Metropolitan Opera (The Marriage of Figaro), as well as at The Bavarian State Opera, Semperoper Dresden, Teatro Real, The Netherlands Opera, La Monnaie, Welsh National Opera, Glyndebourne, and Opera Australia. In 2017 he received the Olivier Award for Outstanding Achievement in Opera. On the concert platform, highlights include performances with the Berlin Philharmonic, Royal Concertgebouw, London Symphony, London Philharmonic, Boston Symphony, New York Philharmonic, Philadelphia Orchestra, Chicago Symphony, Los Angeles Philharmonic, Cleveland Orchestra, Tokyo Symphony, and the Sydney Symphony. His recordings include a critically acclaimed complete cycle of the Shostakovich symphonies with the BBC National Orchestra of Wales and the Netherlands Radio Philharmonic, Mahler’s Sixth and Tenth symphonies with the Melbourne Symphony, a disc of English music with the Sydney Symphony, Britten’s Peter Grimes with Glyndebourne, and the Brahms piano concertos with Stephen Hough. He has written articles for The Guardian and The Independent, made a six-part TV series for the BBC entitled Everything to Play For, and held positions as Associate Conductor of the BBC Symphony, Principal Guest Conductor of the Swedish Radio Symphony, Music Director of the BBC National Orchestra of Wales, and most recently Music Director of English National Opera.

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Rhapsody on a Theme of Paganini featuring Jon Kimura Parker

artists’ proﬁles

Known for his passionate artistry and engaging stage presence, pianist Jon Kimura Parker has performed as guest soloist with the Philadelphia Orchestra and Wolfgang Sawallisch in Carnegie Hall, toured Europe with the Royal Philharmonic Orchestra and Andre Previn, and shared the stage with Jessye Norman at Berlin’s Philharmonie. Conductors he has recently worked with include Teddy Abrams, Pablo Heras-Casado, Claus Peter Flor, Hans Graf, Matthew Halls, Jeffrey Kahane, Peter Oundjian, Larry Rachleff, Bramwell Tovey, Xu Zhong, and Pinchas Zukerman. A true Canadian ambassador of music, Mr. Parker has given command performances for Queen Elizabeth II, the U.S. Supreme Court, and the Prime Ministers of Canada and Japan. He is an Officer of The Order of Canada, his country’s highest civilian honor.

Jon Kimura Parker piano GUEST ARTIST SPONSOR

This season, Mr. Parker performs as concerto soloist with the Ann Arbor, Colorado, National (Washington, D.C.), Pittsburgh, San Diego, Toronto, and Vancouver symphony orchestras, as well as the National Arts Centre Orchestra in Ottawa and the Los Angeles Chamber Orchestra. He gives recitals with ChoLiang Lin and gives concerts throughout the season with the Montrose Trio. Jon Kimura Parker has recorded music of Tchaikovsky, Prokofiev, Chopin and PDQ Bach for Telarc, Mozart for CBC, and Stravinsky, Mozart, Schubert, Schumann, Di Liberto, and Hirtz under his own label. His new CD Fantasy features fantasies of Schubert and Schumann, as well as the sensational Wizard of Oz Fantasy by William Hirtz, receiving this praise from Classical Candor: “The reading is riveting. Parker scores with another favorite recording of the year.” “Jackie” Parker studied with Edward Parker and Keiko Parker privately, Lee Kum-Sing at the Vancouver Academy of Music and the University of British Columbia, Robin Wood at the Victoria Conservatory, Marek Jablonski at the Banff Centre, and Adele Marcus at The Juilliard School. He won the Gold Medal at the 1984 Leeds International Piano Competition. He lives in Houston with his wife, violinist Aloysia Friedmann and their daughter Sophie.

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Rhapsody on a Theme of Paganini featuring Jon Kimura Parker

program notes

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Notes by Michael Clive

Gioachino Rossini (1792–1868)

Overture to The Barber of Seville INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets; percussion; strings. PERFORMANCE TIME: 7

minutes.

BACKGROUND

There’s something oddly modern about the life of Gioachino Rossini. With his compatriots Bellini and Donizetti, all born within seven years of each other, Rossini co-created the great age of bel canto opera in Italy. All were prolific and achieved prominence; Rossini was probably the most famous composer in the world when he retired from opera to live a life of social prominence in Paris. Surprisingly, that retirement came when he was about 40, at the height of his creative powers. But he had another vocational passion to fall back on: gastronomy. Rossini’s combination of amazing cooking skills and A-list cachet would have qualified him as a celebrity chef in today’s foodie culture, but he was more interested in gourmandizing than in cooking. His arrival at a fashionable French restaurant could supposedly strike terror into the kitchen, and the dish “Tournedos Rossini” is said to have been named when Rossini demanded that his concoction of filet mignon and foie gras on toast be prepared in a chafing dish at tableside while he watched—prompting the frightened cook to turn his back, or “tourner le dos,” to avoid the composer’s stern gaze.

The wildly successful Rossini may have had artistic reasons to “turn his back” on his distinguished career in opera: During his lifetime he was most famous for his comic operas, and he remains so to this day. The public and the opera companies always clamored for more, but Rossini cared more about largescale dramatic works such as his Semiramide and William Tell. The recent restoration of his historical drama Maometto II in a definitive performing edition by the late Phillip Gossett reveals it to be one of the most innovative works of 19th-century Italian opera. Rossini labored arduously for months over these operas, but could toss off a slapstick opera buﬀa in three weeks or so. While recent revivals of his more serious music-dramas have revealed their depth and originality, Il Barbiere di Siviglia (The Barber of Seville) remains his most popular opera by far, followed by other confections such as La Cenerentola and La gazza ladra. Barbiere was premiered in in February 1816, one week before Rossini’s 24th birthday. It is, of course, one of the many operas based on Beaumarchais’ plays centering on the Countess and Count Almaviva and the Count’s manservant, jack-of-all trades, and all-round good guy, Figaro. There have been innumerable operatic settings of these plays from the time they were written until the present day, most recently John Corigliano’s The Ghosts of Versailles (1991) and Elena Langer’s Figaro Gets a Divorce (2016). The two staples of the standard repertory are, of course, Mozart’s Le nozze di Figaro and Rossini’s Il Barbiere di Siviglia, but even if we limit ourselves to these two scores, it can be difficult to sort the casts of characters and the swirl of comic events without a scorecard. It helps to remember that even though Rossini was born the year after Mozart’s death and composed

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Rhapsody on a Theme of Paganini featuring Jon Kimura Parker

program notes

his Beaumarchais opera three decades later than Mozart, the action takes place earlier in the cycle—when the Count and Countess first meet, and Figaro facilitates their courtship. In Mozart’s opera, they’ve been married for years and the count is philandering. WHAT TO LISTEN FOR

Both Mozart’s and Rossini’s settings have been called the ultimate opera buﬀa, but the title fits Rossini’s opera more aptly; while Rossini produced a perfect example of this comic form, Mozart developed it to a point where the term is no longer sufficient. His psychological probing, character development and exploration of the nature of love are not to be found in Rossini’s Barbiere; these were concerns Rossini reserved for his longer, more serious works. Still, his admiration of Mozart produced one of the all-time great tributes of music history: Rossini famously described Mozart as the inspiration of his youth, the despair of his maturity, and the consolation of his old age.

None of these considerations really matter very much when we sit back and enjoy the melodic effervescence of the overture to Il Barbiere di Siviglia. No one brings up a curtain—or introduces a concert—like Rossini. His ever-popular overtures go far beyond the genre’s typical purposes of setting an appropriate mood and whetting the audience’s appetite for the music and the drama to come, often breaking convention along the way. In overtures by other composers, major musical themes that will return later as full-blown arias are previewed, giving a sense of the action as well as the music. But the overture to Il Barbiere di Siviglia, one of the two or three most popular Rossini ever wrote, doesn’t give us any hints. The reason: He originally composed it three years earlier for another opera, Aureliano in Palmira, a turgid historical drama set in the time of the crusades.

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As it turned out, the swashbuckling drama of Aureliana was well adapted to Barber, offering a sense of boisterous action. The opera’s main plot devices, including disguises revealed, are well conveyed, and Rossini’s patented long-held crescendos build a sense of tension that reflect the comedy’s hoaxes and escapes. Rossini spoofed his own reliance on these dramatically calibrated buildups of volume and tempo, nicknaming them “Monsieur Crescendo.” But a puzzling question remains: do we hear the abundant humor in the Barbiere overture only because we can anticipate the slapstick comedy in store later in the opera? Sergei Rachmaninoff (1873–1943)

Rhapsody on a Theme of Paganini, Op. 43 INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets, 3 trombones, tuba; percussion; harp; strings; solo piano PERFORMANCE TIME:

23 minutes.

BACKGROUND

Was Rachmaninoff the greatest pianist who ever lived? We will never know. But this unanswerable question is the subject of renewed interest among music historians and keyboard fanciers. Not so long ago, the thrilling power and sheer dazzle of Rachmaninoff’s piano works, along with their gloriously lush, unrestrained romanticism, began to encounter resistance from some piano purists. But listeners who cherish great pianism have joined with scholars who have rediscovered lost Rachmaninoff piano rolls, reconsidered his recordings, and reevaluated contemporary accounts of his

Rhapsody on a Theme of Paganini featuring Jon Kimura Parker

program notes

concerts. These reveal not just the pianist of legend with tremendous hands capable of thundering power and speed, but also a poetic, aristocratic interpreter whose subtleties in performance matched the dense layering and structural ingenuity of his compositions. Which is not to gainsay the appeal of Rachmaninoff’s technical brilliance. In his Rhapsody on a Theme of Paganini we have a perfect convergence of all the elements of instrumental virtuosity: a melodic subject drawn from a violin caprice by Niccolo Paganini, the violinist who helped invent the very idea of the classical virtuoso superstar; an extraordinary suite of variations designed to showcase both compositional and performance skills; a heroic expansion of the original melody’s scale and dynamic range; and special attention to Rachmaninoff’s particular gifts as a pianist— the blazing speed and thundering power that thrilled his audiences. Rachmaninoff was essentially a figure of the 20th century, the last of the Russian romantics. But his sound was rooted in the 1800s and in the Russian nationalist tradition dating back to Glinka and Tchaikovsky. He trained as a performer and composer in Moscow and St. Petersburg, focusing on the piano in both disciplines. But all expectations for his future life, including his life in music, were shattered by the Russian revolution of 1917, when Rachmaninoff’s aristocratic family lost their long-held estate with its traditional way of life. He became a citizen of the United States and died here while touring as a concert pianist, just three days before his 70th birthday. He composed the Rhapsody in 1934, when he had already written four full-length concertos, and despite his frequent bouts of self-doubt, he had every reason to be confident of its success and formal excellence.

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WHAT TO LISTEN FOR

Not just a collection of variations on a theme, the Rhapsody is a concertante that is formally constructed, with the 24 variations dividing themselves into three movements in which most of the variations, like Paganini’s original theme, are stated and developed in A minor. The result closely resembles a concerto with traditional fast, slow and faster movements. Listeners who cannot quite place the formal title of the Rhapsody will immediately recognize Paganini’s familiar main subject, which is the best-known and -loved of his set of 24 violin caprices. It’s built upon a pair of peppery A-minor phrases that sound vaguely demonic, especially on the violin. The melody starts with an emphatic A, and then, after a quick four-note figure, jumps up to E—then drops an octave to a lower E, repeats the four-note figure starting on E rather than A to arrive back where it began. This basic progression—start on the tonic, jump up a fifth, drop an octave and jump up a fourth to the tonic again—is often called “circular,” and it could be repeated in an endless loop if a counterbalancing phrase didn’t intervene… eventually resolving it on the same tonic note. In Rachmaninoff’s treatment of this theme, the first ten variations form an opening movement, with another theme—a quotation of the Dies irae theme of the Latin mass—arising in variations 7, 10, 22 and 24. Variation 11 consists of a slow, poetic transition that leads us into a slow movement that moves gradually from D minor to D-flat minor, culminating in the most famous musical interlude in the entire Rhapsody, variation 18. You’ll be lost in the beauties of Rachmaninoff’s lush romanticism when this variation, vernal and ecstatic, soars forth, literally turning the original theme on its head—a direct

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Rhapsody on a Theme of Paganini featuring Jon Kimura Parker

program notes

inversion of Paganini’s original A-minor subject. Understanding its potential popularity, Rachmaninoff is reported to have quipped “this [variation] is for my agent.” It is often played as a stand-alone work. But the entire composition, as well, has been popular since its premiere in Baltimore in 1934. When Bruno Walter led the New York Philharmonic in the Rhapsody’s first New York performance, Rachmaninoff was at the keyboard and writer Robert A. Simon commented in The New Yorker that “The Rachmaninoff variations, written with all the composer’s skill, turned out to be the most successful novelty that the Philharmonic Symphony has had since Mr. Toscanini overwhelmed the subscribers with Ravel’s Bolero.” Edward Elgar (1857–1934)

Symphony No. 1 in A-ﬂat Major, Op. 55 INSTRUMENTATION: 3 flutes, 3rd doubling piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; percussion; harp; strings. PERFORMANCE TIME:

52 minutes.

BACKGROUND

Robert Sherman, the trailblazing classical music commentator who was a programmer and host on classical radio for almost six decades, came up with some surprising features for station WQXR. One of the oddest, dating from the 1970s, was a contest challenging listeners to come with descriptive anagrams based on the initials of their favorite composers—a three-word

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phrase that would match the composer’s three-letter monogram. He cited this one as a particular favorite: Edward William Elgar

Elgar Was Enigmatic

Sherman’s delight hung on the word “enigmatic,” which cleverly referenced the composition that may be Elgar’s most famous—the Enigma Variations, which he composed in 1898 and 1899—though the Pomp and Circumstance marches are seasonal favorites at graduation time. His concertos for violin and cello, too, are esteemed works in the standard repertory. But the word “enigma” resonates because the real enigmas are Elgar himself and the England’s oddly isolated position in the tradition of European classical music. Only 21 miles of the English Channel separate the English town of Dover from the French town of Calais, but Great Britain’s musical traditions can seem far more distant from the European mainland. Who are the great British composers? Of course there are Purcell and the German-born Handel, an adopted favorite son, and the 20th-century giant Benjamin Britten, to name three. Many critics would include Sir Edward Elgar in this group. But Elgar felt that his own compositional style was more aligned with European influences; born in 1857, he was largely self-taught and kept his distance from British musical circles, which were dominated by academics and suspicious of his Roman Catholic faith. But in the most famous photographic portrait of Elgar he appears every inch the English country squire — impeccably groomed, spectacularly mustachioed and posed as if to take his place on an equestrian statue in Trafalgar Square.

Rhapsody on a Theme of Paganini featuring Jon Kimura Parker

program notes

One of two symphonies that Elgar wrote, the Symphony No. 1 was completed about nine years after the Enigma Variations. But he had begun work on it almost a decade earlier. Thus it was not only contemporaneous with Enigma, but also shared the vein of biographical inspiration that seemed to mobilize Elgar’s expressive gifts: close friends in the case of Enigma, and a war hero in the case of the Symphony. The subject of the symphony was the celebrated British military hero Major General Charles George Gordon, who in service to Her Majesty racked up a seemingly endless series of victories against long odds in the Asian and African reaches of Queen Victoria’s Empire. Musicologists invariably compare Elgar’s fascination with Gordon to Beethoven’s preoccupation with Napoleon, who was the original subject of the Eroica symphony; the link to Enigma finds completion in Elgar’s letters about it to his friend and publisher August Jaeger, who was the biographical subject of the key variation in Enigma. WHAT TO LISTEN FOR

If the Symphony No. 1 began with biographical inspiration, it soon progressed beyond it. In fact, Elgar went further than Beethoven in rejecting not just his original premise for the symphony but also the idea of programmatic music: In this work we hear abstract music that Elgar described as “simple,” meaning that it describes nothing other than itself.

The first performances of Elgar’s Symphony No. 1 conveyed a sense of special importance that came as a joyful shock to the English public. The press coverage was so effusive that we can rely upon contemporary press accounts for descriptions of the symphony’s sonic impressions; many listeners and performers, including the premiere’s conductor, the Halle Orchestra’s

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Hans Richter, were moved to tears by their participation. In reading these accounts, it seems clear that the cause for critical rejoicing was in hearing an English symphony that at last sounded international rather than English. The Manchester Guardian critic described the symphony as sublime, calling it “the noblest [work] ever penned for instruments by an English composer.” The London Times called it “a great work of art, which is lofty in conception…and must stand as a landmark in the development of the younger school of English music.” Richter described the symphony’s stately adagio as one such as Beethoven might have written. Even the lone dissenting English critic, writing for London’s Musical Times magazine, described the symphony in international terms, finding it “derivative” of Mendelssohn, Brahms and Wagner. The symphony immediately drew notice and widespread performances in continental Europe and in America. When it was performed in New York under the leadership of Walter Damrosch, the New York Times continued the internationalist theme, noting the influences of Wagner, Brahms and Verdi. The Times critic concluded that “it is not only an original work, but one of the most original and important that has been added to the stock of recent music.” A little more than a century has elapsed since the strengths of this symphony powered it across the English Channel and the Atlantic. It remains popular in England but is more rarely programmed in American concert halls. Meanwhile, Elgar’s contemporary Gustav Holst—whose work is most often described as “quintessentially English”—has been more widely embraced by concert programmers in the U.S. Judging from his Symphony No. 1, it may be time for another campaign to bring the enigmatic Elgar out of isolation.

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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

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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

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

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

UTAHSYMPHONY.ORG

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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

(801) 533-NOTE

Donations received as of September 20, 2017

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

Kennethâ&#x20AC; & 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

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.

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

(801) 533-NOTE

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.

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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

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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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Provided by Love Communications, Salt Lake City The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief. Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.

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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