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September/October 2017 Performances

CONTENTS

Purchase tickets at utahsymphony.org or call 801-533-6683 6 Welcome

SEPTEMBER 7–8 | 7 PM

8 Utah Symphony

RAIDERS OF THE LOST ARK IN CONCERT

10 Board of Trustees 15 Music Director 16 Tribute to Ardean Watts 20 Social Snapshots

SEPTEMBER 15–16 | 7:30 PM

22 From Humble Beginnings to a Big Life?

AUGUSTIN HADELICH PERFORMS BEETHOVEN’S VIOLIN CONCERTO

25 Camille Saint-Saëns 30 Season Sponsors

31–38 Tonight’s Concert(s)

SEPTEMBER 23–24 | 7:30 PM

39 Support USUO

FISCHER CONDUCTS SAINT-SAËNS & DVOŘÁK

40 Thank You 51 Tanner & Crescendo Societies 52 Legacy Giving

SEPTEMBER 26 | 7 PM

54 Administration

SALUTE TO YOUTH

59 House Rules 63 Education 64 Acknowledgments

OCTOBER 20–21 | 7:30 PM

FISCHER CONDUCTS BEETHOVEN’S FIFTH

OCTOBER 24 | 7 PM

DISNEY IN CONCERT: TIM BURTON’S THE NIGHTMARE BEFORE CHRISTMAS

Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.

OCTOBER 27–28 | 7:30 PM

@UtahSymphony

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

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BROADWAY DIVAS

ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas OFFICE ASSISTANT Jessica Alder ADMINISTRATIVE ASSISTANT KellieAnn Halvorsen EDITOR Melissa Robison

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The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801-467-8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © COPYRIGHT 2017

WELCOME

Paul Meecham

Thierry Fischer

Kem Gardner

President & CEO

Symphony Music Director

Chair, Board of Trustees

On behalf of the board, musicians, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and our 2017–18 Utah Symphony Season. The orchestra returns to Salt Lake City fresh from our Great American Road Trip to three of the four corners of Utah. What a joy and privilege it was to perform great live music outdoors in harmony with the spectacular scenery of our state!

new Films in Concert Series. We hope that you are thrilled by the unique experience of enjoying the movies you love while the musical score is played live! We invite you to return for other concerts, to sample the many sides of the orchestra’s power to connect and inspire through music such as the romantic outpourings of 19th century French composer, Camille Saint-Saëns, or the vocal elegance of Broadway stars on the Entertainment series.

The Utah Symphony has become increasingly recognized over the last decade as one of the nation’s top orchestras, offering artistic and educational experiences at the highest level. As such, we are part of the economy, pride and cohesiveness of our growing community. Music has the power to connect people through a shared experience. It entertains. It lifts spirits. It provides solace. Beyond that, it helps build skills in our youth as they aspire to achieve their potential. Through performance, appreciation, and instruction of music, USUO unites our community in so many ways.

Thank you for your patronage of Utah Symphony | Utah Opera. We are deeply appreciative of your support.

As leaders it is our honor and responsibility to steward this wonderful organization so that it can continue to make a difference in the lives of our citizens. Some of you may be joining us for the first time, perhaps for our

P.S. We remember fondly the remarkable contribution made by Ardean Watts to the artistic growth of Utah Symphony for more than 20 years from the 1950s to 1970s. Turn to p. 16 for a tribute to this unique Utahn.

Our vision is to continue the journey toward ever-greater performance experiences, while at the same time developing in new audiences a passion for symphonic music. We can only accomplish this in partnership with you, who recognize how the performing arts contribute to our quality of life. We hope that you are inspired by our journey and join us for each new success.

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

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

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BOARD OF TRUSTEES ELECTED BOARD Kem C. Gardner* Chairman

David Dee* Alex J. Dunn Lynnette Hansen Matthew Holland Thomas N. Jacobson Tyler Kruzich Thomas M. Love R. David McMillan Brad W. Merrill Theodore F. Newlin III* Dee O’Donnell Dr. Dinesh C. Patel Frank R. Pignanelli Shari H. Quinney Brad Rencher 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

MUSICIAN REPRESENTATIVES

Mark Davidson* Lissa Stolz* EX OFFICIO

Margaret Sargent Utah Symphony Guild Dr. Robert Fudge Ogden Symphony Ballet Association *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

Tribute to Ardean Watts

Utah Symphony Associate Conductor Ardean Watts and Music Director Maurice Abravanel, c. 1968

Ardean Walton Watts, husband of Elna Elaine Brown; father of 8; grandfather of 37; great grandfather of 28; and mentor and friend to thousands, passed away at the age of 89 on July 21, 2017 from complications following surgery. Ardean joined the Utah Symphony as pianist in 1956 due to the endeavors of Maurice Abravanel and was appointed to the additional position of associate conductor in 1968, a position he held until 1979. As conductor of all of the orchestra’s school concerts and most of the Intermountain and in-state tours in the 1970s and many school and out-of-town concerts before that, Ardean was an important part of the organization’s state-wide reach for a generation of Utahns. “Ardean Watts is that magnificent musician who is the pride of your music department and the man thanks to whom I could carry on as music director of the Utah Symphony long after my health would have dictated many times to give up during the past five years.” – Maurice Abravanel at the June 1980 University of Utah Commencement

In addition to his career with the Utah Symphony, Ardean influenced the musical landscape of Utah in nearly every way possible. He was professor of music at the University of Utah, and founded and led the University of Utah Opera Company in 1965 which provided a solid foundation for the Utah Opera’s formation in 1977. He also served as Principal Conductor and later Music Director for Ballet West and Musical Director for Pioneer Memorial Theater. Prior to his career in classical music, he was the director of his own jazz band that performed regularly at the old Saltair. Ardean truly left the world a better place through the energy he generated in whatever cause he was involved. His passion for music and love for people helped many to dig deep into their souls and find the music within themselves. “I did not realize as a youngster that I had the option to be associated with a great symphony orchestra, but when everything in one’s life comes out right – it is a miracle.” – Ardean Watts, as quoted in a 1975 Utah Symphony program feature

UTAH SYMPHONY

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upcoming concerts MOZ ART’S GRE AT M ASS with BR AHMS’ SONGS NOVEMBER 10 & 11

7:30 PM / ABRAVANEL HALL

REPERTOIRE

ARTISTS

BRAHMS (ARR. GLANERT) FOUR PRELUDES AND SERIOUS SONGS MOZART MASS IN C MINOR, “THE GREAT”

MARKUS STENZ CONDUCTOR BARLOW BRADFORD CHORUS DIRECTOR CELENA SHAFER SOPRANO SARAH SHAFER SOPRANO

THOMAS COOLEY TENOR PATRICK CARFIZZI BASS-BARITONE UTAH SYMPHONY CHORUS UNIVERSITY OF UTAH CHOIRS

RHAPSODY ON A THEME OF PAGANINI

featuring JON KIMUR A PARKER NOVEMBER 17 & 18 NOVEMBER 17 10 AM /

7:30 PM / ABRAVANEL HALL ABRAVANEL HALL -

finishing touches open rehearsal

REPERTOIRE

ARTISTS

ROSSINI OVERTURE TO THE BARBER OF SEVILLE RACHMANINOFF RHAPSODY ON A THEME OF PAGANINI ELGAR SYMPHONY NO. 1

MARK WIGGLESWORTH CONDUCTOR JON KIMURA PARKER PIANO

MESSIAH SING-IN NOVEMBER 25 & 26

7:30 PM / ABRAVANEL HALL

REPERTOIRE

HANDEL MESSIAH

Kick off your holiday season with the Messiah Sing-In. This cherished tradition invites all to share in the singing of Handel’s masterpiece with the Utah Symphony and Messiah Chorus. Bring your family, and your score, and join in on the majesty of Handel’s Messiah.

HOLIDAY HITS with THE MIDTOWN MEN AND UTAH SYMPHONY DECEMBER 12

7:30 PM / ABRAVANEL HALL

Christian Hoff / Daniel Reichard / J Robert Spencer / Michael Longoria vocalists

Celebrate the holidays “sixties style” with The Midtown Men—four stars from the original cast of Broadway’s Jersey Boys. Enjoy a thrilling performance with the Utah Symphony featuring yuletide classics such as Winter Wonderland, Let It Snow, and Have Yourself a Merry Little Christmas, as well as their signature renditions of the greatest rock and roll hits of the 1960s.

Signature Performance

Discounts are not available - Not a performance of, not affiliated with the show Jersey Boys.

FAMILY

MASTERWORKS

SPECIAL

ENTERTAINMENT

SIGNATURE

A BROADWAY CHRISTM AS with BRIAN STOKES MITCHELL DECEMBER 15 & 16

7:30 PM / ABRAVANEL HALL

Broadway legend and Tony Award-winner Brian Stokes Mitchell joins the Utah Symphony for a special night of holiday cheer, featuring classic carols and iconic Christmas songs such as White Christmas and You’re a Mean One, Mr. Grinch!

HERE COMES SANTA CL AUS! DECEMBER 16

11 AM & 12:30PM / ABRAVANEL HALL

Nothing sets the holiday scene like hearing your wintry favorites performed live by the Utah Symphony. Kids from one to ninety-two will enjoy the musical gifts on stage, with a joyful sing-along closing out the concert. There may even be a special appearance by the jolly man himself.

L E ANN R IMES: TODAY IS CHR ISTM A S with the UTAH SYMPHONY DECEMBER 19

7:30 PM / ABRAVANEL HALL

Break out the tinsel and hang your stockings because world-renowned grammy Award®-winning vocalist LeAnn Rimes is performing cherished holiday hits and new originals with the Utah Symphony.

Signature Performance

Discounts are not available.

HARRY POT TER AND THE CHA MBER OF SECRE TS ™ in Concert DECEMBER 21, 22 & 23

7 PM / ABRAVANEL HALL

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 bloody writing on a wall announces: The Chamber of Secrets has been opened. Audiences will be able to relive the magic of the film in high-definition on a giant screen while hearing the Utah Symphony perform John Williams’ unforgettable score. HARRY POTTER characters, names and related indicia are © & TM Warner Bros. Entertainment Inc. J.K. ROWLING`S WIZARDING WORLDTM J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s17)

Signature Performance

Discounts are not available.

801-355–NOTE FOR TICKETS UTAHSYMPHONY.ORG call

or visit

(6683)

Social Snapshots Help us tell the story of your Utah Symphony experience. Take out your phone and snap a quick selfie before tonightâ&#x20AC;&#x2122;s performance and post your photos with #UtahSymphony to join the conversation.

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UTAH SYMPHONY

From Humble Beginnings to a Big Life? Introducing Utah Symphony | Utah Opera’ s Chairman of the Board

“From Humble Beginnings to a Big Life?” Those of you who know Kem Gardner understand that this quote from Emily Dickinson aptly describes Utah Symphony | Utah Opera’s new Board of Trustees Chairman. Many of you recognize Kem not only from his long and distinguished career as a developer, but also for the extraordinary leadership he provides to enhance the quality of life for everyone in our community. From the 2002 Olympics to the United Way to Intermountain Healthcare to the Rodeo to Utah Symphony | Utah Opera, his varied interests and commitments demonstrate a desire to make a difference for our community wherever he serves. Kem’s humble beginnings in Star Valley, Wyoming, taught him the value of hard work, which led him on a path to obtaining a law degree from the University of Utah, building a successful career, and becoming engaged in the political and civic life of our community. Along with his wife Carolyn, he started attending Utah Symphony concerts in the Tabernacle’s student section. Those early experiences convinced Mr. Gardner of the need to provide children and students with exposure to quality music. “I’m thrilled to see the impact USUO has on our state, particularly on our youth and the underserved.” A supporter of all of the arts in Utah, Kem is dedicated to investing in the future of our symphony and opera: “It’s been a joy to see the organization thrive in the last several years and to embark on so many meaningful experiences. A personal highlight was the orchestra’s performance at Carnegie Hall in April 2016. I intend to build on that excitement and momentum, and to help the organization achieve even greater heights.” USUO is honored to welcome Kem C. Gardner as our Chairman of the Board beginning with the 2017–18 season, and is deeply grateful for his leadership and service. Leslie Peterson is the Vice President of Development for Utah Symphony | Utah Opera and also the daughter of Utah Opera founder Glade Peterson.

UTAH SYMPHONY

NOVEMBER 11, 2017 Libby Gardner Concert Hall, University of Utah 11 AM to 1 PM and 2 PM to 5 PM* The auditions are open to the public to experience free of admission charge. *Visit UtahMONCAuditions.org after November 4 for a complete schedule of auditioners. The MONC Utah District Auditions are supported in part by the Utah Division of Arts & Museums, with funding from the State of Utah and National Endowment for the Arts. Additional support is provided by the residents of Salt Lake County through the Zoo, Arts & Parks (ZAP) Program, the Salt Lake City Arts Council, BYU Broadcasting, and the University of Utah School of Music.

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Camille Saint-Saëns example at the form). Additionally, the Utah Symphony will record some of his more wellknown, shorter orchestral works, including “Bacchanale” from Samson et Delila, Danse macabre, and—perhaps his most famous work of all—Carnival of the Animals.

LEGACY OF A CARNIVAL When one thinks of the music of 19th-century French Romantic composer Camille SaintSaëns (1835–1921), what comes to mind? Perhaps the sultry Middle Eastern melodies of Samson et Delila, or the triumphant, brassy finale of the “Organ” Symphony. Perhaps even the glittery, whimsical tunes that permeate Carnival of the Animals. These are all fantastic examples of Saint-Saëns’ unmatched musical style, but there is so much more to this composer than his few most famous works. Saint-Saëns left an immense musical legacy behind, having written five symphonies, five piano concertos, several operas (and operettas), incidental music, a wide breadth of chamber music, and numerous works for solo piano and solo organ. Utah Smyphony’s Saint-Saëns Project focuses mainly on the composer’s five symphonies; only one of which is regularly performed by American orchestras (Symphony No. 3, his final

UTAHSYMPHONY.ORG

(801) 533-NOTE

Saint-Saëns occupied a particularly unique stylistic space in his compositions, bringing the influences of the composers he most admired (Liszt, Wagner, Mendelssohn, and Beethoven, to name a few) as well as the musical idioms of far-flung destinations (including Egypt, Algeria, and Japan) into the sphere of French Romanticism. Similar to the Romantic Movement that took hold in Austria and Germany in the mid-1800s, French Romanticism was marked by a preoccupation with drama on a historical and an individual level, a heightened interest in national identity, and a general expansion or rejection of existing musical structures. As some of his late-19th century contemporaries were forging new paths at the edges of tonal music, Saint-Saëns was firmly rooted in the classical conventions of French composers before him, making him an unusual figure within the framework of the Romantic period. Despite this, his signature use of colorful harmony influenced the French Impressionist composers who would rise to popularity toward the end of his life. The confluence of these seemingly disparate stylistic attributes is what makes Saint-Saëns’ music so intoxicating and irresistible. He is able to seamlessly weave unusual, exotic harmonies and melodic lines into ingrained musical forms, simultaneously surprising and delighting the listener’s ear.

Camille Saint-Saëns

SAINT-SAËNS RECORDING CYCLE Saint-Saëns’ music is clearly worth learning and exploring, but why record so much of it? As our Vice President of Operations and General Manager, Jeff Counts, wrote in a playbill feature last year, recording raises the level of artistic excellence and focus in an ensemble. Beyond that, recording also allows an orchestra to put its distinct interpretation of a work into the world, to stand and be judged among other orchestras’ interpretations. In the case of Saint-Saëns, however, some works have rarely been recorded at all. For example, his Trois tableaux symphoniques après La foi— another non-symphonic orchestral work that will be included in the recording project—has been commercially recorded less than ten times. This recording project on European label Hyperion will make the Utah Symphony the first American orchestra to record all of Saint-Saëns’ five symphonies, giving the orchestra the extraordinary opportunity to become a leading voice in the interpretation of Saint-Saëns’ works.

While many contemporaries and students of Saint-Saëns considered him to be a genius, his influence is certainly felt less in the orchestral world today. For this reason, recording three discs worth of his music will be no easy feat, especially because this music is both technically and artistically difficult. Due to the logistical challenges of live recording, most of the repertoire that will be recorded is piled into consecutive weeks. Recording weeks are exhausting, as players are operating at the highest possible level of artistic awareness. Nevertheless, our musicians are certainly up to the task. Over the past five seasons the Utah Symphony has taken on many symphonic cycles, covering some of the most revered symphonists in history (Beethoven and Brahms) as well as composers who challenged the very idea of what defined a symphony (Mahler and Ives). It is now time to shift the focus to a composer whose works, as Music Director Thierry Fischer has pointed out, truly embody the artistic identity of the Utah Symphony in their audacity, spunk, excellence, bravery, creativity, and—perhaps most importantly— their balance between tradition and diversity. How fitting a challenge to further Saint-Saëns’ legacy. Utah Symphony Artist Logistics Coordinator Erin Lunsford takes care of the many guest artists and guest conductors that perform with the orchestra. She holds a Bachelor of Music in Bassoon Performance from the University of North Carolina, and still enjoys playing bassoon and studying music history in her spare time.

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Fischer conducts Saint-Saëns & Dvořák September 22–23 / 2017 / 7:30PM / ABRAVANEL HALL THIERRY FISCHER, conductor HARRIET KRIJGH, cello

BERLIOZ SAINT-SAËNS

Roman Carnival Overture Symphony No. 2 in A minor, Op. 55 I. II. III. IV.

Allegro marcato Adagio Scherzo presto Prestissimo

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DVOŘÁK

Concerto in B minor for Cello and Orchestra, Op. 104 I. II. III.

Allegro Adagio ma non troppo Finale: Allegro moderato

HARRIET KRIJGH, cello

Tonight’s performance will be recorded for commercial release.

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Fischer conducts Saint-Saëns & Dvoˇrák

artists’ proﬁles

See page 15 for Thierry Fischer’s Profile Twenty-five year old Harriet Krijgh is one of today’s most exciting and promising young cellists. Her grace and expressiveness touches her audiences as soon as she is on the concert platform. Harriet Krijgh performs with orchestras like Frankfurt and Vienna Radio Symphonies, Bruckner Orchester Linz, Netherlands, and Copenhagen Philharmonic under the batons of Cornelius Meister, Dennis Russell Davies, and Santtu-Matias Rouvali. Other recent highlights have included her debut with London Philharmonic Orchestra, a tour with Academy of St. Martin in the Fields under the baton of Sir Neville Marriner, and performances with Radio orchestras of Berlin, Hamburg, and Vienna, Rotterdam Philharmonic, and Bamberg Symphony Orchestra.

Harriet Krijgh cello

In 2016-17 Ms. Krijgh was featured in a four-concert cycle in Vienna’s Musikverein. Performances brought her to Amsterdam, Den Haag, Budapest, Hamburg, Baden-Baden, and Ludwigshafen. She has participated at the Lucerne, Ghent, Gstaad Festivals, and the first international Chamber Music Festival, Malmö. In quartet she tours with Baiba and Lauma Skride and Lise Berthaud, with the Signum Saxophon Quartet as well as in London’s Wigmore Hall with the Pavel Haas Quartet. For the Capriccio label Ms. Krijgh has recorded Haydn’s cello concertos, a duo CD of French works, the cello sonatas of Brahms and Rachmaninov, and a CD of romantic works with the Deutsche Staatsphilharmonie Rheinland-Pfalz under the baton of Gustavo Gimeno. Ms. Krijgh was born in the Netherlands in 1991. She studied in the class of Lenian Benjamins at the Music College in Utrecht. Later she continued studies with Lilia Schulz-Bayrova at the Vienna Conservatoire and at the Kronberg Academy with Frans Helmerson. Ms. Krijgh plays a Giovanni Paolo Maggini cello from 1620, which is generously loaned to her privately.

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Notes by Michael Clive

Overture. But at heart, Benvenuto Cellini is a drama combining traditional elements of romance and adventure with music of thrilling energy. With a swashbuckling hero who is a sculptor and a death-defying climax based on the casting of a bronze statue, this is not your usual love story—but it leaves audiences breathless. And, yes, the hero gets the girl, and thwarts his enemies in the bargain. Hector Berlioz (1803–1869)

Roman Carnival Overture INSTRUMENTATION: 2 flues, 2nd doubling piccolo, 2 oboes, 2nd doubling English Horn, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets, 2 cornets, 3 trombones; strings percussion

BACKGROUND

It’s almost as if Hector Berlioz led two lives in music. His mature, measured insights as a critic contrast sharply with the almost demonic energy, flamboyance, and ambition of his own compositions. They are characterized a heedless abandon that seems to carry us along like a hurtling toboggan, bouncing along on complex rhythms that prefigure 20th-century polyrhythmic experiments. Today, thankfully—though we still value Berlioz’ critical writing—it is far outweighed by genius manifest in his music. Yet somehow his operas have never entered the mainstream repertory. True, the monumental Les Troyens is so hugely scaled that it taxes the resources of most opera companies. But others, such as his stageworthy Damnation of Faust, have never shaken their reputation as dramatic oddities. In his own day, listeners were scarcely ready for the brashness of Benvenuto Cellini, which forms the basis of his Roman Carnival

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An opera semiseria in two acts (combining elements of seriousness and comedy), Benvenuto Cellini was the first of Berlioz’ operas. He composed it around 1837, but had written about his fascination with Cellini several years earlier his memoirs. Cellini, the great sculptor and metalsmith of the Italian Renaissance, had documented his romantic exploits and near-death scrapes in his own memoirs; in his bold creative soul Berlioz surely saw a kindred spirit. WHAT TO LISTEN FOR

The Roman Carnival Overture is brilliant, sophisticated and colorful; but it is also sheer fun. It’s hard to imagine why the fiery romance depicted in Benvenuto Cellini had to wait until the late 20th century to find widespread success after its initial failure in 1838, but Berlioz knew that the opera was rich with worthwhile music, and composed his Roman Carnival Overture in 1843 from sources within the score. The result is one of his most popular orchestral compositions. As with so much of Berlioz’ music, the steep technical demands of this overture make it an orchestral showpiece. It opens by mobilizing the entire orchestra with a characteristically brilliant flourish. This initial burst of energy gives way to a lyrical passage led by a statement in the English horn, which quotes

Fischer conducts Saint-Saëns & Dvoˇrák

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the theme from the opera’s Act I love duet between the swaggering hero Cellini and his adored Teresa—the only heroine in opera to be wooed and won by successfully pouring molten metal into a cast. The rest of the overture is built upon a lively Italian dance that especially suits Berlioz’ driving rhythms, the saltarello— also employed by Mendelssohn in the last movement of his “Italian” Symphony. As the dance gains pace and momentum, the brasses gain emphasis in Berlioz’ orchestration until the sound seems to gleam with Italian sunshine and the patina of newly cast bronze.

Camille Saint-Saëns (1835–1921)

Symphony No. 2 in A minor, Op. 55 INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, 2nd doubling English Horn, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets, strings; percussion

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.

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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-yearold’s point of view was “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. Saint-Saëns became a protégé of Franz Liszt, who declared him “the world’s greatest organist,” and eventually won the ungrudging admiration of Berlioz, who called him “an absolutely shattering master pianist.” His mastery of the composer’s tools was staggering: encyclopedic knowledge of the orchestral instruments, of music history and theory, of harmony and structure. He was a visionary, co-founding the Société Nationale de Musique for the advancement of French music and appreciating his mentor Liszt as few of his contemporaries did, noting—with remarkable perspicacity—that they celebrated Liszt as the world’s greatest pianist in part because that was easier than appreciating his innovations and importance as a composer. If Saint-Saëns valued innovation and importance in composition, he seemed to

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harbor no illusions about his own gifts as a composer. “First among composers of the second rank” was his famously modest self-assessment, perhaps underestimating his own achievements. But this remark would be echoed later by critics. Did he make it all seem too easy? Throughout his career SaintSaëns produced music with a touch of the old masters and seeming effortlessness, “as a tree produces apples.” His tone poems, operas, symphonies, and concertos mobilize the astounding musical skills he was famous for, but his harmonic and melodic inventiveness— dazzling on their own terms—remained resolutely traditional at a time of musical revolution. By the time of Saint-Saëns’ death in 1921, his style of composition was in the background while experimental forms and atonal exploration were in the foreground.

exotic melodies in a scene that wordlessly but graphically evokes an orgy’s escalation from alluring to shocking to horrifying. Many of these effects retain a sense of freshness, if not modernity, because SaintSaëns’ compositional mastery made him difficult to copy. And, let’s face it: he loved drama and color, and he found it where other composers didn’t think to look. His evocation of the ancient god Phaethon taking his father’s chariot for a joy-ride around the sun will resonate with any teenager who borrowed the family sedan and then lied about it; his “aquarium” in the Carnival of the Animals seems uncannily descriptive to anyone who owns a fishtank. All of these powers—coloristic, melodic, descriptive—are present in his symphonies, though the storytelling aspect is not.

WHAT TO LISTEN FOR

It’s interesting to note that when Saint-Saëns composed his Symphony No. 2, in the 1870s, the young Bizet—who, unlike SaintSaëns, was considered an innovator with a rebellious streak—composed his Symphony in C. Many listeners and critics hear parallels in these works even though Bizet had not made his symphony public. The word most often associated with both is “freshness,” and the sound of both is sunny and vernal. Saint-Saëns infuses the symphony with energy not only with delightful melodies, but with contrasting tempos. The tautly constructed opening fugato movement is followed by a compelling adagio, brief and graceful. With its joyous moto perpetuo finale, the symphony’s overall effect is that of a fabulous French meringue, spectacularly aerated and utterly delicious. One could never guess that the monumental Organ Symphony would be Saint-Saëns’ next symphonic composition.

The rules of musical conversation are full of useful rules for bluffers, like the advice Hawkeye Pierce gave Radar O’Reilly to impress a nurse who loved classical music: just smile and say “Aah, Bach.” Another safe and impressive tactic is to refer to any composer’s output in terms of early, middle and late period, indicating a preference for one or another. But this doesn’t really work with Saint-Saëns, whose style remained steady through his long, productive career, and wasn’t really “modern” even in his own day. When we listen to his music we hear his sure sense of color and control of forms, and his inventiveness in the creation of dramatic musical effects and expressive melodies was truly fantastic. One can’t imagine how a few deft, slowly paced notes in Omphale’s Spinning Wheel could create the sense of the wheel’s blinding speed; in his opera Samson et Dalila he interweaves

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with the work’s merits. “I have…written a cello-concerto, but am sorry to this day I did so, and I never intend to write another,” he told one of his composition students. “…As a solo instrument [the cello] isn’t much good.”

Antonin Dvoˇvák (1841—1904)

Concerto in B minor for Cello and Orchestra, Op. 104 INSTRUMENTATION: 2 flutes, 2nds doubling piccolo, 2 oboes, 2 clarinets, 2 bassoons; 3 horns, 2 trumpets, 3 trombones, tuba; strings; percussion

BACKGROUND

Dvořák’s Cello Concerto in B minor is one of pieces that is said to have “changed everything.” Yes, other masterpieces for the cello preceded it—notably Bach’s six suites for unaccompanied cello. Among Romanticera composers, Schumann and Saint-Saëns wrote important cello concertos. But before Dvořák wrote this concerto for his friend Hanuš Wihan, the instrument was viewed mainly as suitable for chamber music or as a team player in the orchestra. And Dvořák himself seemed to find the cello somewhat problematic, complaining of a “nasal” upper register and a lower register that could sound hoarse. In fact, the composer had started a cello concerto in A major almost 30 years earlier, but never completed it. Over the years, his grumblings about the cello and this concerto have become almost legendary, perhaps because they are so starkly at odds

It’s difficult to reconcile this backstory with the passion and brilliance that distinguish Dvořák’s cello concerto. Today we encounter nothing in this work that hints at revolution, or at discontent with the instrument. The concerto presents itself in the traditional romantic mold of three movements. As was customary, the tempos are arranged in fast-slow-fast sequence. The long, stately introduction that precedes the solo cello’s entrance could even have been called oldfashioned when it was composed in 1894 and 1895. What was there about this concerto that astounded early listeners? In fact, it was Dvořák’s success in elevating the cello to the level of the violin or piano as a solo instrument. This is a concerto not of intimacy but of grandeur and passion, imbued with a sense of importance and a human dimension in the solo voice that we now take for granted in cello compositions. Dvořák’s success in writing with unprecedented expressiveness for the cello may have been, in part, a matter of timing: Pablo Casals, the brilliant Catalan cellist destined to bring new global popularity to the cello, was 18 and already well-established in his early European career when Dvořák composed his concerto. Dvořák himself was inspired by the playing and composing of Victor Herbert, whom he heard in New York; the Irish-born Herbert, a mainstay of the Golden Age of Operetta, had arrived there as an immigrant in 1883 and won acclaim as a cello soloist and composer. Now we revere the cello as one of those instruments that, in the hands of the right

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composer and soloist, sing in an ineffably human way. The violin and the clarinet are two others, but the cello stands alone in its depth and the burnished, grainy quality of its tonal surface; it can rejoice, but its serious side is never far away. Dvořák built upon these characteristics as no composer ever had, eulogizing his sister-in-law, Josefina Kaunitzová, in the concerto’s melodies. Josefina was the great unrequited love of Dvořák’s earlier years; he eventually married her sister. Dvořák’s friend Johannes Brahms recognized the cello concerto as a breakthrough for the instrument, and potentially for all music. “Why on earth didn’t I know that one could write a cello concerto like this?” he reportedly asked on his deathbed. (His beautiful double concerto for violin and cello draws far less on the cello’s emotional range. “Had I known, I would have written one long ago.” Almost 80 years later, editor and author Stephen Greco added his voice retrospectively: “Alas the cello,” he wrote in an elegy after Casals’ death in 1973, “With her subtle hips and winy voice/That only some can savor…” It’s doubtful he could have captured the dark richness of the cello in those lines if Dvořák had not done so first in this concerto. WHAT TO LISTEN FOR

Composed in traditional sonata form, this is a big concerto with a big sound. Its extended introductory section quickly establishes a mood of high drama, with a primary and secondary theme stated in the orchestra; the primary theme recurs throughout the first movement. The aural stakes are high by the time the sound of the orchestra recedes into silence, clearing the way for the cello’s solo entrance—a passage that almost growls at us in its seriousness. It is spontaneous, yet portentous. The movement also quickly

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presents us with virtuosic display, with spectacular triple-stop chords, double-stops, and parallel octaves. Following an impressive passage of trills and a high octave on B, the movement concludes with an emphatic restatement of the initial theme. In the second movement—an extended, contemplative adagio—we hear the melody of Dvořák’s song “Lasst mich allein,” one of his sister-in-law Josefina’s favorites. This theme returns at the end of the concerto, interrupting the momentum of the finale. Here the typically energetic final movement, propelled until this point by dancing rhythms, gives way to a a melancholy passage in which the solo cello is joined by a solo violin. Dvořák biographer Otakar Sourek takes special note of this reprised theme as a tribute to Josefina, who was ill while the concerto was being composed. He suggests a romantic subtext: In the concerto’s closing—written when Dvořák had returned to Bohemia from New York—this section, slow and sad, conveys the sense of a love duet that is almost operatic in its drama. It takes on added emphasis coming, as it does, just when we expect to hear the concerto’s fastest music: a climactic final presto. On matters of fingering, bowing, cadenzas and the like, Dvořák solicited advice from his friend Hanuš Wihan, the cellist to whom the concerto is dedicated. But he rejected almost all the help he was given, and insisted that the concerto be played as written. That fact, along with Wihan’s failure to play its premiere, was long taken as evidence that the two erstwhile friends had fallen out. Happily, we now know that Wihan and Dvořák maintained their cordial relationship, and Wihan’s creditable edition of the concerto is sometimes performed as a matter of historical interest.

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PATRON $1,500 to $2,449 E. Wayne & Barbara Baumgardner Mary Beckerle & David Murrell Barry Bergquist Shauna Bona Mr. & Mrs. Lee Forrest Carter C. Floyd & Mary Anne Cooper Katherine W.† & E. R. Dumke, Jr. Robert S. Felt, M.D. Heidi Gardner Kenneth & Kate Handley Drs. Carolyn & Joshua Hickman Kay Howells Caroline & David Hundley James Hynes Drs. Randy & Elizabeth Jensen Dr. & Mrs. Michael A. Kalm J. Allen & Charlene Kimball

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Carl & Gillean Kjeldsberg Val Lambson Guttorm & Claudia Landro Anne Lee & Claude Halter Dr. Vivan S. Lee & Mr. Benedict Kingsbury James Lether Dennis & Pat Lombardi Ross & Kathleen Matthews Daniel & Noemi P. Mattis Warren K. & Virginia G. McOmber George & Linda Mendelson Dr. Nicole L. Mihalopoulos & Joshua Scoville Dr. Jean H. & Dr. Richard R. Miller Dan & Janet Myers Robert & Catherine Pedersen

(801) 533-NOTE

Victor & Elizabeth Pollak Jana Ramacher Gina Rieke Grant Schettler Gibbs & Catherine W. Smith Christine St. Andre & Cliff Hardesty Ronald W. Tharp & Kate F. Little Rachel Varat-Navarro Susan Warshaw Erik & Linda Watts Dan & Amy Wilcox Caroline & Thomas Wright Norman & Kathy Younker Laurie Zeller & Matthew Kaiser Michael & Olga Zhdanov

Thank You FRIEND $1,000 to $1,499 Madeline Adkins & John Forrest Fran Akita Christine A. Allred Anonymous (5) Drs. Crystal & Dustin Armstrong Curtis Atkisson, Jr. Diane Banks & Dr. Mark Bromberg Mr. & Mrs. William Bierer 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. Cromerâ&#x20AC; James & Rula Dickson Margaret Dreyfous

Alice Edvalson Ralph & Rose Gochnour Dr. & Mrs. John Greenlee John Edward Henderson Connie C. Holbrook Todd & Tatiana James Dale & Beverly Johnson Chester & Marilyn Johnson Gary & Suzanne Larsen Sheryl Laukat Tiffany & Mark Lemons Peter Margulies & Louise Vickerman Edward & Grace McDonough Clifton & Terri McIntosh Mr. & Mrs. Michael Mealey Lex Hemphill & Nancy Melich Hal & JeNeal Miller Mary Muir Oren & Liz Nelson Ruth & William Ohlsen Linda S. Pembroke

Rori & Nancy Piggott David Porter Frederick Quinn Keith & Nancy Rattie Aden Ross Janet Schaap James Schnitz Mr. August L. Schultz William G. Schwartz & Joann Givan Annabelle & Dennis Shrieve Barbara Slaymaker Dr. & Mrs. Michael H. Stevens Amy Sullivan & Alex Bocock Douglas & Susan Terry M. Walker & Sue Wallace Judith Warner Margaret & Gary Wirth Marsha & Richard Workman John & Jean Yablonski Kathie & Hugh Zumbro

Donations received as of July 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 & 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 George S. & Dolores Doré Eccles Foundation Emma Eccles Jones Foundation Janet Q. Lawson Foundation Larry H. & Gail Miller Family Foundation

Utah Division of Arts & Museums / National Endowment for the Arts O.C. Tanner John & Marcia Price Foundation Salt Lake County Salt Lake County Zoo, Arts & Parks

Shiebler Family Foundation Utah State Legislature / Utah State Board of Education Sorenson Legacy Foundation Summit County Restaurant Tax / RAP Tax Zions Bank

BRAVO $50,000 & $99,999 Carol Franc Buck Foundation FJ Management, Inc. Frederick Q. Lawson Lawrence T. & Janet T. The Florence J. Gillmor Foundation Dee Foundation Foundation Sinclair Oil Corporation Marriner S. Eccles Foundation Grand & Little America Hotels* OVERTURE $25,000 to $49,999 Arnold Machinery Brent & Bonnie Jean Beesley Foundation R. Harold Burton Foundation Chevron Corporation C. Comstock Clayton Foundation Deer Valley Resort** Nora Eccles Treadwell Foundation

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Intuitive Funding Charles Maxfield & Gloria F. Parrish Foundation Montage Deer Valley** Moreton Family Foundation Perkins-Prothro Foundation S. J. & Jessie E. Quinney Foundation Simmons Family Foundation Stein Eriksen Lodge**

(801) 533-NOTE

The Sam & Diane Stewart Family Foundation Summit Sotheby’s Utah Symphony Guild Vivint.SmartHome Wells Fargo Foundation Workers Compensation Fund

DAYS of OPERA

elebrating the

40th anniversary season of Utah Opera with

UTAH SYMPHONY | UTAH OPERA CU LTU R AL FESTIVAL

40 days of local opera events

september 1 — october 15

culminating in our production of Puccini’s La bohème

visit utahopera.org /festival for a complete listing of events 4 0 TH A N N I V E R S A R Y S E A S O N S P O N S O R

UTAH SYMPHONY

Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT

MAESTRO $10,000 to $24,999 Adobe American Express Charitable Fund Haven J. Barlow Family Foundation B. W. Bastian Foundation Caffé Molise* The Capital Group CenturyLink Marie Eccles Caine Foundation-Russell Family

Ann & Gordon Getty Foundation Richard K. & Shirley S. Hemingway Foundation Hyatt Centric Park City** McCarthey Family Foundation Merrill Lynch Wealth Management National Endowment for the Arts

Ogden Opera Guild Park City Chamber Bureau Promontory Foundation Salt Lake City Arts Council St. Regis Deer Valley / Deer Crest Club The Swartz Foundation Norman C. Tanner & Barbara L. Tanner Trust Union Pacific Foundation University of Utah Health Utah Office of Tourism

Spencer F. & Cleone P. Eccles Family Foundation Flynn Family Foundation Holland & Hart Leavitt Group Insurance LOVE Communications Macy’s Martine* Millcreek Cacao Roasters*

Pro Helvetia, The Swiss Arts Council Raymond James & Associates Resorts West by Natural Retreats* U.S. Bancorp Foundation Utah Autism Foundation Victory Ranch & Conservancy J. Wong’s Thai & Chinese Bistro*

Henry W. & Leslie M. Eskuche Charitable Foundation ExxonMobile Foundation FatPipe Networks Graystone Consulting Jones & Associates Jones Waldo Park City George Q. Morris Foundation Nebeker Family Foundation

Ray, Quinney & Nebeker Foundation Snell & Wilmer LLP Snow, Christensen & Martineau Foundation Squatters Pub* Stay Park City Stoel Rives Zuvii*

PATRON $5,000 to $9,999 Art Works for Kids! Bambara* Rodney H. & Carolyn Hansen Brady Charitable Foundation Deluxe Corporation Foundation Discover Financial Services The Dorsey & Whitney Foundation FRIEND $2,500 & ABOVE Bertin Family Foundation Boeing Employees Community Fund Robert S. Carter Foundation Castle Foundation City Creek Center Cope & Cope Investments D’Addario Foundation * In-kind donation only ** In-kind and cash donation

UTAHSYMPHONY.ORG

(801) 533-NOTE

Donations received as of July 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 well-being & stability of USUO, & 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 Dr. Robert H. Burgoyne M.D. Jeffrey L. Chaney Kathie Dalton 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 Ben Shippen Claudia Silver-Huff Patrick L. Wade Robert Van Wagenen Nadine Ward John W. Williams Martin Zwick

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 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 Kenneith 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 Hardling 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

(801) 533-NOTE

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.

UTAH SYMPHONY

Selection, Value and Style

The Hinckley Report all under one roof.

Fridays, 7:30PM From a panel of leading Utah experts to your home, The Hinckley Report brings political insiders and journalists to the table to discuss the most pressing issues facing our state.

F U R N I T U R E • E L E C T R O N I C S • A P P L I A N C E S • F L O O R I N G • M AT T R E S S E S

Syracuse 801-774-2800 • Orem 801-227-8800 • South Salt Lake 801-461-3800 Draper 801-567-2200 • Riverdale/Ogden 801-622-7400 • Murray 801-261-6800 Open 11 Hours A Day • 6 Days A Week Monday-Saturday 10am – 9pm Closed Sundays Shop on-line rcwilley.com FUNDED BY George S. and Dolores Doré Eccles Foundation • Cleone Peterson Eccles Endowment Fund

ADMINISTRATION ADMINISTRATION Paul Meecham

Natalie Cope

David Green

Director of Individual Giving

President & CEO Senior Vice President & COO

Kate Throneburg

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Heather Weinstock

Mike Lund

Director of Major Gifts

Vice President of Finance & CFO Director of Information Technologies

Executive Assistant to the CEO

Manager of Special Events & DVMF Donor Relations

Ali Snow

Alina Osika

Payroll & Benefits Manager

Lisa Poppleton

Patron Information Systems Manager

Chelsea Kauffman

Accounts Payable Clerk

Julie McBeth

Executive Assistant to the COO & Office Manager

Manager of Corporate Partnerships

SYMPHONY ARTISTIC Thierry Fischer

Grants Manager

Anthony Tolokan

Steven Finkelstein

Conner Gray Covington

MARKETING & COMMUNICATIONS Jon Miles

Symphony Music Director Vice President of Symphony Artistic Planning Assistant Conductor

Annual Fund Coordinator Development Coordinator

Barlow Bradford

Vice President of Marketing & Public Relations

Walt Zeschin

Renée Huang

Symphony Chorus Director Director of Orchestra Personnel

Andrew Williams

Orchestra Personnel Manager

Lance Jensen

Executive Assistant to the Music Director and Symphony Chorus Manager

SYMPHONY OPERATIONS Jeff Counts

Vice President of Operations & General Manager

Cassandra Dozet

Director of Operations

Chip Dance

Production & Stage Manager

Jeff Herbig

Properties Manager & Assistant Stage Manager

Melissa Robison

Program Publication & Front of House Manager

Erin Lunsford

Director of Communications & Digital Media

Chad Call

Marketing Manager

Mike Call

Website Manager

Aaron Sain

Graphic Design & Branding Manager

Kathleen Sykes

Digital Content Producer

Tyler Bloomquist

Junior Graphic Designer

PATRON SERVICES Nina Richards Starling

Director of Ticket Sales & Patron Services

Faith Myers

Sales Manager

Opera Company Manager

Mandi Titcomb

Opera Production Coordinator

DEVELOPMENT Leslie Peterson

Vice President of Development

Hillary Hahn

Director of Education & Community Outreach

Beverly Hawkins

Symphony Education Manager

Kyleene Johnson

Symphony Education Assistant

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

COSTUMES Verona Green

Rentals Supervisor

Group Sales Associate

Risa Bean Joshua Figueroa Jackie Seethaler Powell Smith Elliott Wood

Michelle Peterson

EDUCATION Paula Fowler

Robb Trujillo

0PERA ARTISTIC Christopher McBeth Principal Coach

Julie Cameron

Costume Director

Patron Services Manager

Ellesse Hargreaves

Carol Anderson

Jared Mollenkopf

Andrew J. Wilson

Artist Logistics Coordinator

Opera Artistic Director

Alison Mockli

Patron Services Assistant

Sales Associates

Nick Barker Mara Lefler Rhea Miller Nava Payandeh Anthony Roberts Ry’lee Scott Ananda Spike Ticket Agents

Senior Director of Institutional Gifts

Melonie Fitch

Kierstin Gibbs LisaAnn DeLapp

Rentals Assistants

Amanda Reiser Meyer Wardrobe Supervisor

Milivoj Poletan Tailor

Tara DeGrey

Cutter/Draper

Chris Chadwick Yoojean Song Connie Warner Stitchers

Yancey J. Quick

Wigs/Make-up Designer

Shelley Carpenter Daniel Hill Michelle Laino

Wigs/Make-up Crew

We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.

UTAH SYMPHONY

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HOUSE RULES

ASSISTIVE LISTENING DEVICES

QUIET PLEASE

Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Abravanel Hall. Ask at the Coat Check for details.

As a courtesy to performers on stage and to other audience members, please turn off cell phones, pagers, beeping watches, or any other noisemaking device. Also, please refrain from allowing concession items such as candy wrappers and water bottles to become noisy during the performance.

WHEELCHAIR SEATING Ample wheelchair seating is available. Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager.

LATECOMERS In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating will be used. During some productions late seating may not occur until an intermission after which time you may be seated by an usher in an alternate section. When traveling to performances, please allow ample time for traffic delays, road construction, and parking.

YOUNG CHILDREN As a courtesy to other audience members, please ensure that children at performances are not disruptive during the show. Babes-in-arms are not allowed in the hall during performances unless specifically indicated.

UTAHSYMPHONY.ORG

(801) 533-NOTE

CLEANLINESS Thank you for placing all refuse in trash receptacles as you exit the theatre.

COPYRIGHT ADHERENCE In compliance with copyright laws, it is strictly prohibited to take any photographs or any audio or video recordings of the performance.

NEED EXTRA LEG ROOM? Let us know when making reservations; we can help.

EMERGENCY INFORMATION In the event of an emergency, please remain seated and wait for instructions. Emergency exits are located on both sides of the house. Please identify the exit closest to your location.

EVERY VOICE TELLS A STORY G E HE JA K

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JANUARY

20, 22, 24, 26, 28

COMMISSIONED BY THE DALLAS OPERA COMPANY

JANET QUINNEY LAWSON CAPITOL THEATRE

since its debut in 2010, Jake Heggie and Gene Scheer’s opera adaptation of Melville’s classic novel has enraptured audiences. 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.

4 0 TH A N N I V E R S A R Y S E A S O N S P O N S O R

Tickets:

UTAHOPERA.ORG 801-533-6683

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U TA H SY M P H O N Y P R E S E N T

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An invitation to join the

UTAH SYMPHONY YOUTH GUILD

AS MUSIC DIRECTOR OF THE UTAH SYMPHONY, I invite all families with children between the ages of 8 and 18 to join the Utah Symphony Youth Guild. The Youth Guild fosters musical interest through education events, provides service and competition opportunities, and encourages attendance at Utah Symphony and Utah Opera performances by providing specially discounted ticket vouchers.

Thierry Fischer, Utah Symphony Music Director THE YOUTH GUILD offers an array of

inspiring opportunities for your family. Join us for the Salute to Youth concert on September 26 when the Youth Guild Committee will be in the Abravanel Hall lobby before the concert and during intermission to answer your questions about the Youth Guild. SE A SON SPONSOR:

TO JOIN THE UTAH SYMPHONY YOUTH GUILD, OR TO LEARN MORE, PLEASE VISIT: usuoeducation.org/youth-guild or call the Education Department at 801-869-9092.

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.

HUDSON PRINTING COMPANY www.hudsonprinting.com 241 West 1700 South Salt Lake City, UT 84115 801-486-4611 AUDITING AND ACCOUNTING SERVICES PROVIDED BY

Tanner, llc LEGAL REPRESENTATION PROVIDED BY

relax and enjoy our complimentary shuttle! The New Yorker is a Salt Lake City icon that set the stage for fine dining in Utah and has been providing fresh, innovative food and outstanding hospitality in a warm, inviting atmosphere for decades of diners. Enjoy delicious food, relax and ride our complimentary shuttle to Abravanel Hall, Capitol Theatre and the new Eccles Theatre. Ride back and enjoy dessert and a nightcap, a cozy way to end your evening out on the town!

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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

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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

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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

… u o Y k n a Th to our advertisers Ad Council Adib’s Rug Gallery Arnold Machinery BMW of Murray / Pleasant Grove Caffè Molise Challenger Schools The Children’s Hour City Creek Living Classical 89 Eldredge Furniture Every Blooming Thing Excellence in the Community Grand America Hamilton Park KUED Larry H. Miller Lexus

Legacy Village of Sugarhouse Little America Millcreek Gardens Nature Conservancy New Yorker OC Tanner RC Wiley Home Furnishings Rowland Hall Ruby’s Inn Summit Vista The Metropolitan Opera University Credit Union Utah Food Services Utah Museum of Fine Art Zions Bank

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