Bernstein on Broadway | An American in Paris by Mills Publishing Inc.

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18/19 U TA H SY M

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SEPTEMBER/OCTOBER 2018 PERFORMANCES

CONTENTS

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

6 Welcome 8 Music Director

SEPTEMBER 11 | 7 PM

10 Associate Conductor

59TH ANNUAL SALUTE TO YOUTH

15 Utah Symphony 16 Board of Trustees 20 Preconcert Rituals 26 Tensions and Dichotomies 30 Contemporary Music 34 Season Sponsors

SEPTEMBER 14–15 | 7:30 PM

35–42 Tonight‘s Concert

BERNSTEIN ON BROADWAY

43 Support USUO 44 Donors 51 Annual Cultural Festival 60 Legacy Giving 61 Tanner & Crescendo Societies 62 Administration 67 House Rules

SEPTEMBER 21–22 | 7:30 PM

BEETHOVEN’S “ODE TO JOY”

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

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

ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas Chad Saunders OFFICE ASSISTANT Jessica Alder EDITOR Melissa Robison

SEPTEMBER 28 | 7:30 PM SEPTEMBER 29 | 5:30 PM

AN AMERICAN IN PARIS

OCTOBER 26 | 10 AM & 7:30 PM OCTOBER 27 | 5:30 PM

TCHAIKOVSKY’S 4TH & THE RED VIOLIN

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 2018

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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 tonight’s Utah Symphony concert. Throughout the summer the orchestra enjoyed playing in a variety of locations that celebrate Utah’s natural beauty—at USUO’s official summer home at the Deer Valley® Music Festival and in outdoor venues along the Wasatch Front from Lehi to Huntsville. As the season changes and a new school year begins, we are happy to return to the unparalleled acoustics of this exceptional concert hall, and to perform in schools throughout the state. Did you know that, in addition to the more than 100 subscription concerts and operas performed at USUO home venues every year, our artists present more than 250 education performances statewide? And that nearly one third of our total audience consists of students? Utahns have long recognized the power of the arts to inspire the human spirit and to motivate the betterment of mankind. USUO reflects this value through a deep commitment to music

education and strives to meaningfully impact every community in the state through our education and outreach programs. Here in Abravanel Hall, we joyfully begin a new season of Masterworks with Beethoven’s “Choral” Symphony No. 9 and its climactic “Ode to Joy” paired with a work by this year’s Composer-in-Association Andrew Norman which features Utah Symphony’s own Jason Hardink at the keyboard. Whether you’re joining us for the 59th annual Salute to Youth concert, for the kick-off of the Entertainment Series with Bernstein on Broadway, or for one of the three incomparable Masterworks concerts in September and October featuring worldclass artists playing the best symphonic standards and new works, we guarantee you will leave the concert hall enriched through the shared experience of great live music!

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MUSIC DIRECTOR Music Director of the Utah Symphony since 2009 and recently extended to 2022, Thierry Fischer has revitalized the orchestra with creative programming, critically acclaimed performances, and new recordings. In April 2016 he took the orchestra to Carnegie Hall for the first time in 40 years, and together they have released CDs of Mahler symphonies and newly commissioned works. Since January 2017 Fischer has been Principal Guest Conductor of the Seoul Philharmonic Orchestra.

Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation

Recent guesting has included Boston Symphony, London Philharmonic, Royal Philharmonic, Bergen Philharmonic, Rotterdam Philharmonic, BBC Symphony, Maggio Musicale Firenze, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande, and Sao Paulo Philharmonic, as well as Chamber Orchestra of Europe, Mostly Mozart New York, Scottish Chamber Orchestra, and London Sinfonietta. While Principal Conductor of the BBC National Orchestra of Wales from 2006–2012 Fischer appeared every year at the BBC Proms, toured internationally, and recorded for Hyperion, Signum, and Orfeo. His recording of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus won the ICMA Award in 2012 (opera category). In 2014 he released a Beethoven disc with the London Philharmonic on the Aparte label. 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 from 2001–2006. He was Chief Conductor of the Nagoya Philharmonic from 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

UTAH SYMPHONY

ASSOCIATE CONDUCTOR Conner Gray Covington begins his second season with the Utah Symphony as Associate Conductor. In his first season as Assistant Conductor, Covington conducted over 80 performances of classical, education, film, pops, and family concerts as well as tours throughout the state. Prior to his tenure in Utah, he was 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 Philadelphia Orchestra Music Director Yannick NézetSéguin. Covington began his career as Assistant Conductor of the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program.

Conner Gray Covington Associate Conductor

Covington has also worked with the symphonies of St. Louis, Virginia, and Monterey (California) as a guest conductor and will make debuts with the Kansas City Symphony and the Portland (Maine) Symphony in the 2018–19 season. He has served as a cover conductor for the Philadelphia Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony, Atlanta Symphony, Kansas City Symphony, The Florentine Opera Company (Milwaukee, W.I.), and the Britt Festival Orchestra (Jacksonville, O.R.). Born in Louisiana, Covington grew up in East Tennessee and began playing the violin at age 11. He went on to study violin with Dr. Martha Walvoord and conducting with Dr. Clifton Evans at the University of Texas at Arlington where he graduated summa cum laude with a degree in violin performance. He continued his studies with Neil Varon at the Eastman School of Music where he earned a Master of Music in orchestral conducting and was awarded the Walter Hagen Conducting Prize.

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 Associate Conductor

Elizabeth Beilman Acting Associate Principal

ENGLISH HORN Lissa Stolz

BASS TROMBONE Graeme Mutchler

Barlow Bradford Symphony Chorus Director

Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Whittney Thomas

CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell

TUBA Gary Ofenloch Principal

VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton

CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair

Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair

Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang

Ralph Matson† Associate Concertmaster David Porter Acting Associate Concertmaster

Erin Svoboda Associate Principal

TIMPANI George Brown# Principal Eric Hopkins Acting Principal

Lee Livengood

Michael Pape Acting Associate Principal

BASS CLARINET Lee Livengood

PERCUSSION Keith Carrick Principal

E-FLAT CLARINET Erin Svoboda

Michael Pape Stephen Kehner††

David Park Assistant Concertmaster

BASS* David Yavornitzky Principal

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

Claude Halter Principal Second

Corbin Johnston Associate Principal

Leon Chodos Associate Principal

LIBRARIANS Clovis Lark Principal

Wen Yuan Gu Associate Principal Second

James Allyn Benjamin Henderson†† Edward Merritt Jens Tenbroek Thomas Zera

Jennifer Rhodes

Katie Klich††

CONTRABASSOON Leon Chodos

ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel

Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt•• Joseph Evans LoiAnne Eyring Laura Ha• Lun Jiang Rebekah Johnson Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Ju Hyung Shin• Lynnette Stewart Bonnie Terry• Julie Wunderle

HARP Louise Vickerman† Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair

UTAHSYMPHONY.ORG

Alexander Love†† Acting Associate Principal

Andrew Williams Orchestra Personnel Manager

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

STAGE MANAGEMENT Chip Dance Production & Stage Manager

Caitlyn Valovick Moore

TRUMPET Travis Peterson Principal

PICCOLO Caitlyn Valovick Moore

Jeff Luke Associate Principal

Jeff Herbig Properties Manager & Assistant Stage Manager

OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair

Peter Margulies Gabriel Slesinger††

Robert Stephenson Associate Principal

Sam Elliot Associate Principal

Lisa Byrnes Associate Principal

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

HORN Edmund Rollett Acting Principal

KEYBOARD Jason Hardink Principal

TROMBONE Mark Davidson Principal

• First Violin •• Second Violin * String Seating Rotates † On Leave # Sabbatical †† Substitute Member

Lissa Stolz

(801) 533-NOTE

BOARD OF TRUSTEES ELECTED BOARD Kem C. Gardner* Chairman

Alex J. Dunn Brian Greeff Stephen Tanner Irish Thomas N. Jacobson Mitra Kashanchi Thomas M. Love* Abigail E. Magrane Brad W. Merrill Robin J. Milne Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Brad Rencher Miguel R. Rovira Joanne F. Shiebler* Naoma Tate

Thomas Thatcher David Utrilla Bob Wheaton Kim R. Wilson Thomas Wright Henry C. Wurts

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

Howard S. Clark Kristen Fletcher Burton L. Gordon Richard G. Horne

Ron Jibson Warren K. McOmber E. Jeffery 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 Dâ&#x20AC;&#x2122;Arcy* Treasurer Paul Meecham* President & CEO Jesselie B. Anderson* Doyle L. Arnold* Judith M. Billings Gary L. Crocker David L. Dee*

MUSICIAN REPRESENTATIVES

Elizabeth Beilman* Mark Davidson* EX OFFICIO

Henriette Mohebbi Utah Symphony Guild Dr. Robert Fudge Ogden Symphony Ballet Association *Executive Committee Member

LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow John Bates HONORARY BOARD Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles NATIONAL ADVISORY COUNCIL

UTAH SYMPHONY

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PINK MARTINI’S JOY TO THE WORLD: A HOLIDAY THE UTAH SPECTACULAR WITH SYMPHONY

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Pre-Concert Rituals

By Renée Huang, Director of Communications

Professional musicians spend much of their lives on the road performing in concert venues around the globe. Amid their hectic travel schedules, rehearsals, practice time, and adjustments to different time zones, cultures, and climates, regular routine is sacrificed. We asked two of our guest artists to share what pre-concert rituals help keep them grounded. Philippe Quint My pre-concert rituals differ from performance to performance. I try to individually judge necessities for every single concert. There are three main factors that play into this: travel, time changes, and repertoire. I always try to arrive to performances as early as possible to get accustomed to time differences and climate/ temperature changes. The same is also necessary for my instrument! Playing on an old instrument (1708 “Ruby” Stradivari violin) means that the instrument might also be impacted by such changes. If it’s new repertoire or a world premiere of a piece that no one has ever heard, it is possible that I will practice the entire time during the engagement. I try to stay away from coffee as it only gives a temporary artificial boost and can make me jittery and anxious rather than alert. In general, I consider myself to be quite a hyper individual with enough adrenaline that does not need to be mixed with caffeine. I am very careful with my diet as well. Depending on the time of the concert, I try to stay away from spicy or acidic foods. Right before going onstage, I prefer to be alone in my dressing room with water supplies and reduce any communications to minimum. I know a lot of folks believe that artists’ lives are very glamorous, with exotic travel, accolades, and being a momentary hero of the day. But the background story is that while the thrill of performance is inimitable by all means, life on the road is all about discipline, ability to withstand pressures, and keeping yourself in check at all times.

UTAH SYMPHONY

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Pre-Concert Rituals

By Renée Huang, Director of Communications

Joélle Harvey On performance day, I wake up with my daughter in the morning, and then we read and have breakfast. After that we go to a park or playground for a couple of hours. Lunchtime is at home and followed by a nap for both of us! Post-nap is making sure that my music, gown, make up, etc. are in order and that my daughter’s babysitter has everything he or she needs!

2018/19 UTAH SYMPHONY SEASON

# #UTAHSYMPHONY

JOIN US IN WELCOMING THE 2018–19 UTAH OPERA RESIDENT ARTISTS

tenor

CHRISTOPHER OGLESBY

pianist

ROBERT BOSWORTH

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bass-baritone

JESÚS VICENTE MURILLO

mezzo-soprano

MELANIE ASHKAR

NEW RESIDENT ARTIST soprano Grace Kahl joins returning artists mezzo-soprano Melanie Ashkar, tenor Christopher Oglesby, baritone Jesús Vicente Murillo, and pianist Robert Bosworth for Utah Opera’s 2018-19 season. soprano

GRACE KAHL

Nearly every day of the school year, Utah Opera’s Resident Artists perform age-appropriate programs designed to introduce students to the art form of opera. They perform in scores of schools in the metropolitan area, and this year will tour North Sanpete, Sevier, Washington, Emery, Carbon, Duchesne, and Uinta School Districts. MORE INFORMATION ABOUT THE RESIDENT ARTISTS AND UTAH OPERA EDUCATION PROGRAMS CAN BE FOUND AT

USUOEDUCATION.ORG

Tensions and Dichotomies

By Andrew Norman

Andrew Norman is a Los Angeles-based composer of orchestral, chamber, and vocal music. His work draws on an eclectic mix of sounds and notational practices from both the avant-garde and classical traditions. He is the Utah Symphony’s Composer-in-Association for the 2018–19 season.

A look inside Suspend Suspend is a 20-minute fantasy for piano and orchestra. It originally was conceived, at the special request of piano legend Emanuel Ax, as an exploration of two melodic fragments that were significant to Johannes Brahms. The first is F-A-E (“Frei Aber Einsam” in German, or “free but lonely” in English) and the second is F-A-F (“Frei Aber Froh”, free but happy). From there it developed into an extended rumination on the ideas of freedom and solitude, a dreamlike journey inspired by the creative, conflicted, lonely spirit of Brahms and the ever-present tensions in his (and my) life and music between spontaneity and control, sentiment and structure, indulgence and restraint. Like many of its forebears in the long tradition of keyboard fantasies, Suspend is intended to sound as if it is being made up on the spot, a single meandering but unbroken thread of thought spun out by the pianist from beginning to end. Andrew Norman

The piece follows a simple scenario: the pianist—perhaps a solitary, Brahms-like figure—sits down at the keyboard and slowly begins to improvise. At first the sounds exist only in the pianist’s own mind, but little by little they become real to the rest of us. The pianist very gradually imagines an orchestra into existence, and over the course of many minutes that imaginary orchestra assumes its own voice and identity, transforming from a shadow, a resonance, an echo of the piano into a powerful and distinct musical entity that threatens, at the work’s climax, to swallow up the pianist. The piece ends with a coda in which the pianist freely meditates on the F-A-F motive and the orchestra, player by player, is released into a world of free, uncoordinated playing.

UTAH SYMPHONY

Tensions and Dichotomies

By Erin Lunsford

ABOUT THE COMPOSER-IN-ASSOCIATION PROGRAM Most orchestras perform at least a few pieces by living composers every year. Having a Composer-in-Association takes this commitment to new music to the next level. Under Music Director Thierry Fischer’s guidance, the orchestra has made a commitment to commission a new work from a living composer for each season. Utah Symphony’s 2018–19 Composer-in-Association Andrew Norman will visit Salt Lake City during the two weeks when his works are being performed by the orchestra (September 10–15 and March 18–23), giving him the opportunity to help foster deeper understanding of his compositions among both the musicians of the orchestra and our audiences as well. He will also visit for one additional week, during which he will connect with the larger Salt Lake community through educational and outreach events.

UTAH SYMPHONY

Contemporary Music

and the Modern American Orchestra By Erin Lunsford Utah Symphony Artist Logistics Coordinator Erin Lunsford takes care of the many guest artists and guest conductors that perform with the orchestra and enjoys writing about music in her spare time. As the 2018–19 season begins to unfold, it’s hard to miss this organization’s commitment to presenting contemporary music alongside well-known favorites from the Western Canon. Beside familiar figures like Beethoven, Chopin, Copland, and Richard Strauss are newer, more unfamiliar names like Vivian Fung, Joan Tower, Zhou Tian, and Andrew Norman (our Composerin-Association this season). One of Music Director Thierry Fischer’s favorite sayings is “a symphony is not a museum,” and presenting and commissioning new music is an integral part of this belief. Orchestral music is a living, breathing art form. While the focus of the typical orchestra’s classical season lies in the heart of the most eminent 18th- through 20th-century repertoire, it is essential for the survival of this art form for modern orchestras to perpetuate the musical movements happening in the present day. If the American Orchestra is to remain a driving force for centuries to come, we must support the composers who are creating new music now, as this body of work will one day be an essential part of our cultural legacy. To that end, the Utah Symphony commissions at least one new work each season, meaning we contract a composer to write something entirely new. The Utah Symphony often shares the fee with co-commissioners, ensuring the work will have a life beyond our

organization with other orchestras across the globe. As in every art form, some of these works go on to achieve great success and popularity, and others slip into obscurity. It’s a risky process given that some of the fee is usually paid before a single note is put to paper. However, regardless of the outcome, the Utah Symphony has been instrumental in bringing a new piece of orchestral music into the world. Beyond sustaining the orchestra as an important global artistic institution, contemporary music is also able to engage with modern ideas more directly than older works can. This season, the Utah Symphony features Andrew Norman’s work Play, which takes its inspiration from distinctly topical themes. Norman himself describes the work as an exploration of “choice, chance, free will, and control, about how technology has rewired our brains and changed the ways we express ourselves, about the blurring boundaries of reality in the internet age, the murky grounds where video games and drone warfare meet, for instance, or where cyberbullying and real-world violence converge.” By incentivizing the creation of new music, an orchestra can add its own voice to the defining debates of its time while propelling the art form of orchestral music into the future. In the words of Maestro Fischer, the Utah Symphony strives to be “an orchestra looking to the future as much as immensely enjoying the past.”

UTAH SYMPHONY

NOVEMBER 17, 2018 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 10 for a complete schedule of singers. 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, and the University of Utah School of Music.

2018/19 UTAH SYMPHONY SEASON

BERNSTEIN AT HIS BEST.

BERNSTEIN’S CANDIDE NOV 9 7:30 PM / ABRAVANEL HALL NOV 10 5:30 PM / ABRAVANEL HALL

ARTISTS

THIERRY FISCHER, CONDUCTOR GARNETT BRUCE, DIRECTOR JAMES SALE, LIGHTING DESIGNER JONATHAN JOHNSON, CANDIDE LAUREN SNOUFFER, CUNEGONDE

What better way to wrap up the HUGH RUSSELL, DR. PANGLOSS celebrations of Leonard Bernstein’s VICTORIA LIVENGOOD, OLD LADY 100th anniversary year than with ALEKS ROMANO, PAQUETTE his satirical, hilarious, and touching MARK DIAMOND, MAXIMILIAN comic operetta, Candide! Produced UTAH OPERA CHORUS in collaboration with Utah Opera, an impressive cast of vocalists, joined by the Utah Opera Chorus, tells the story of a young man’s journey from innocence to worldliness, from Europe to South America, in love and in death, and finally to a life of contentment and peace. Bernstein’s brilliant score includes such musical favorites as “Glitter and be gay” and “Make our garden grow.” You won’t want to miss this event of the season!

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visit UTAHSYMPHONY.ORG \ 801-533-NOTE (6683)

SAVE THE DATE!

2018-19 Season Fundraising Soirée The adventures of Candide continue after Saturday’s performance at a special fundraising event.

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UTAH SYMPHONY

BERNSTEIN ON BROADWAY

program

Bernstein on Broadway SEPTEMBER 14 &15

/ 2018 / 7:30PM / ABRAVANEL HALL

TEDDY ABRAMS, conductor MORGAN JAMES, soprano

BERNSTEIN

Overture to West Side Story “Tonight” from West Side Story “A Simple Song” from Mass Divertimento for Orchestra I. II. VII. IV.

Sennets and Tuckets Waltz Blues Samba

“I Can Cook Too” from On the Town “Some Other Time” from On the Town “Times Square: 1944” from On the Town: Three Dance Episodes / INTERMISSION / BERNSTEIN

“Ain’t Got No Tears Left” from On the Town “Mambo” from West Side Story “Dream with Me” from Peter Pan “It Must Be So” from Candide Overture to Candide “My House” from Peter Pan “Glitter and Be Gay” from Candide

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artists’ proﬁles

An unusually versatile musician, Teddy Abrams is the widely-acclaimed Music Director of the Louisville Orchestra and Music Director and Conductor of the Britt Festival Orchestra. Teddy’s web series, Teddy Talks, premieres on PBS in Fall 2018. A tireless advocate for the power of music, Abrams continues to foster interdisciplinary collaboration with organizations including the Louisville Ballet, the Center for Interfaith Relations, Oregon Shakespeare Festival, the Speed Art Museum, and the Folger Shakespeare Library. His rap-opera, The Greatest: Muhammad Ali, premiered in 2017, celebrating Louisville’s hometown hero with an all-star cast that included Rhiannon Giddens and Jubilant Sykes. Teddy makes his debut with the National Symphony Orchestra in the 2018–19 season in a program built around Teddy Abrams a commission by Lera Auerbach, and he appears with the Conductor Utah, Wichita, Eugene, and Elgin Symphonies. He celebrates Leonard Bernstein’s centenary with an all-Bernstein program at the Kennedy Center on what would have been his 100th birthday. Recent guest conducting highlights include engagements with the Los Angeles Philharmonic; the San Francisco, Houston, Milwaukee, Vancouver, Colorado, and Phoenix Symphonies; the Saint Paul Chamber Orchestra; and the Florida Orchestra. He has enjoyed a longstanding relationship with the Indianapolis Symphony, and recently conducted them with Time for Three for a special recorded for PBS. He served as Assistant Conductor of the Detroit Symphony from 2012–14. Morgan James is a classically trained vocalist, Broadway veteran, and recording and touring artist. In concert, she has recently appeared with the Colorado Symphony, performing her solo Bernstein show conducted by Teddy Abrams. Morgan has had the honor of performing Bernstein’s Mass three times: with the Louisville Orchestra (conducted by Teddy Abrams), the Philadelphia Orchestra (conducted by Yannick Nézet-Séguin), and with the Baltimore Symphony at Carnegie Hall and the Kennedy Center (conducted by Marin Alsop). Morgan’s Broadway credits include four original casts: Motown: the Musical, the Broadway revival of Godspell, Frank Wildhorn’s Wonderland, and The Addams Family starring Nathan Lane and Bebe Neuwirth. She recently toured Europe, Australia, and the U.S. with Scott Morgan James Bradlee’s Postmodern Jukebox, and is featured in many of Soprano their videos. Her videos on YouTube have garnered 75 million views (and counting). As a recording artist, Ms. James recently released her newest album of original soul music, Reckless Abandon, as well as her debut studio album entitled Hunter and a live album dedicated to the music of Nina Simone (Epic Records). Morgan is also featured on more than a dozen original Broadway cast and concept recordings. She received her voice training at The Juilliard School. For more information and tour dates, please visit her website: www.morganjamesonline.com

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AN AMERICAN IN PARIS

program

An American in Paris SEPTEMBER 28 SEPTEMBER 29

/ 2018 / 7:30PM / ABRAVANEL HALL / 2018 / 5:30PM / ABRAVANEL HALL

THIERRY FISCHER, conductor ALEXANDRE THARAUD, piano

GERSHWIN RAVEL

An American in Paris Concerto in G Major for Piano and Orchestra I. II. III.

Allegramente Adagio assai Presto

ALEXANDRE THARAUD, piano

/ INTERMISSION / SCHUBERT

Symphony No. 9 in C Major, D. 944 “The Great” I. II. III. IV.

CONCERT SPONSOR

Andante - Allegro ma non troppo Andante con moto Scherzo: Allegro vivace Allegro vivace

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JOANNE SHIEBLER GUEST ARTIST FUND

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AN AMERICAN IN PARIS

artist’s proﬁle See page 8 for Thierry Fischer’s profile. Alexandre Tharaud has distinguished himself as one of France’s leading pianists. Recognized on the international stage as an artist of unique vision and originality, Alexandre is heralded for his brilliantly-conceived programs and bestselling recordings that range from Bach, Chopin, Rameau, and Ravel to music inspired by Paris cabaret of the 1920s.

This season, his recital tour of North America includes a return to Carnegie Hall and recitals in Washington, D.C., and Montreal. He also continues to appear frequently with Les Violons du Roy—with whom he has recorded Bach and Mozart for Warner Classics—on tour and in Canada, and in recent seasons made his debuts with the Philadelphia Alexandre Tharaud Orchestra and the Atlanta Symphony and returned to the Piano Toronto Symphony. Other recent highlights in North America include appearances at Boston Symphony Hall and at Walt Disney Hall, as well as recitals in Boston, New York, and at Chicago Symphony Hall. Upcoming highlights include performances with the Cleveland Orchestra, Utah Symphony, and Montréal Symphony. Alexandre has enjoyed working with such conductors as Peter Oundjian, Bernard Labadie, Daniele Gatti, Lionel Bringuier, Stéphane Denève, Vladimir Jurowski, Rafael Frühbeck de Burgos, and Yannick Nézet-Séguin, among others. In Europe, Alexandre performs extensively in Germany (Essen and Cologne Philharmonies; Alte Oper Frankfurt; Ludwigsburg Festival), France (Théâtre des Champs-Elysées; Opéra de Versailles), as well as at the Warsaw Philharmonie; Victoria Hall, Geneva; Muziekgebouw and Concertgebouw, Amsterdam; BOZAR, Brussels; Wigmore Hall and Queen Elizabeth Hall, London; Auditorio Nacional, Madrid; Santa Cecilia, Roma; Tonhalle, Zürich; Casino, Bern; Rudolfinum, Prague; and Musikverein, Vienna. His festival appearances include the BBC Proms, Edinburgh International Festival, Gergiev Festival in Rotterdam, Aix-en-Provence, La Roque d’Anthéron, Schleswig-Holstein, Rheingau, Ruhr Piano Festival, Nuits de Décembre de Moscou, Rimini, Domaine Forget, and Lanaudière. Among the performing highlights of the next two seasons: a European tour with the Metropolitan Orchestra and its chief-conductor Yannick Nézet-Séguin (Ravel’s Piano Concerto for the Left Hand); a tour of Japan including a concert with the Tokyo Metropolitan Orchestra (Shostakovich Piano Concerto No. 2). Further tours will take place across France, Germany, Austria, Italy, and Switzerland together with NDR Radio Philharmonie, Orchestre de la Suisse-Romande, Münchener Kammerorchester, Junge Deutsche Philharmonie, Bayerische Kammerphilharmonie, and Orchestra Verdi. In 2014 he published his first book, Piano Intime, which was followed in early 2017 by a more personal narrative view on his career: Montrez-moi vos mains. Alexandre Tharaud is also featured in a film directed by Michael Haneke (Amour), and Swiss filmmaker Raphaëlle AelligRégnier, Le temps dérobé, and has completed a new edition of Maurice Ravel’s complete solo piano works for the German publisher Bärenreiter.

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AN AMERICAN IN PARIS

notes on the program by Michael Clive

George Gershwin (1898–1937)

An American in Paris PERFORMANCE TIME: 17 minutes

BACKGROUND

Gershwin composed An American in Paris in 1928, when he was not quite 30, on commission from the New York Philharmonic. For those of us who know his songs best, this sparkling ballet score-cum-tone poem is one of the best gateways to his skill as a composer in the classical mold. No composition by Gershwin or anyone else can beat it for its energetic, exuberant expression of love for a city and for life itself. Gershwin’s infatuation with Paris was shared with many American artists between the world wars. The writers Ernest Hemingway, Gertrude Stein, and the Fitzgeralds were there; so were the composers Aaron Copland and Virgil Thomson. Gershwin, like Copland, sought instruction from the great Parisian composition teacher Nadia Boulanger. Both she and Maurice Ravel, whom Gershwin met when Ravel was touring the U.S., gave him the same advice: go compose. He had already found his voice as a composer, and they had little to teach him. WHAT TO LISTEN FOR

An American in Paris is rhapsodic and buoyant, a combination of characteristically French textures and can-can rhythms, a traditional tune or two, and Gershwin’s usual melodic and harmonic inventiveness. It’s not surprising that Gershwin manages to make American blues scales sound Gallic, as French composers were already using the flatted third and seventh notes of the scale in their own works. Besides, remember—this is an American in Paris, so we hear the Parisian scene through Yankee ears.

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The work is structured in five rough sections that form a loosely arched structure, A-B-A in form. But it is best heard without an awareness of these formal elements. Gershwin’s music takes us through time and space, bringing Paris to life in a way that is as real as being there—perhaps more so. It takes us to jazz joints and dance clubs, and it begins with one of the most vivid streetscapes in all of music, an evocation of a Parisian traffic jam that is simultaneously beautiful and hilarious in its verisimilitude. Listeners who are old enough, and who grew up in the right neighborhood, may remember the lyrics “my mother gave me a nickel to buy a pickle,” inspired by one of the can-can melodies that Gershwin quotes. Though he was already doing well as a songwriter, the young Gershwin had so far experienced only mixed success with his serious compositions, and critics were less than enthusiastic about An American in Paris. But its joy and piquant realism enthralled listeners. Gershwin had even brought a passel of authentic Parisian car horns for the premiere. In his own program note for the occasion, a collaboration with the distinguished critic Deems Taylor, he wrote: The opening gay section is followed by a rich blues with a strong rhythmic undercurrent. Our American… perhaps after strolling into a café and having a couple of drinks, has succumbed to a spasm of homesickness. The harmony here is both more intense and simpler than in the preceding pages. This blues rises to a climax, followed by a coda in which the spirit of the music returns to the vivacity and bubbling exuberance of the opening part with its impression of Paris. Apparently the homesick American, having left the café and

AMERICAN IN PARIS

notes on the program

reached the open air, has disowned his spell of the blues and once again is an alert spectator of Parisian life. At the conclusion, the street noises and French atmosphere are triumphant. Maurice Ravel (1875–1937)

Concerto in G Major for Piano and Orchestra PERFORMANCE TIME: 21 minutes

BACKGROUND

The close of the year 2013 added a sad footnote to the distinguished history of Ravel’s Piano Concerto in G Major: The piano maker most closely associated with it, Pleyel, closed its doors at year’s end after two centuries in business. Generations of French pianists preferred Pleyel pianos, especially for works by Ravel and Debussy. The Concerto in G Major received its premiere on a Pleyel grand in the company’s legendary concert hall, the Salle Pleyel, in January of 1932. Had things gone as planned, Ravel himself would have been at the keyboard; he intended the concerto to serve as the showpiece of an international tour that could have secured his retirement. An extensive itinerary was mapped out for destinations as distant as Japan, but his failing health forced its cancellation. Instead, Ravel conducted the orchestra and chose Mme. Marguerite Long as soloist. WHAT TO LISTEN FOR

The Concerto in G’s abundance of musical invention mixes traditional and innovative elements. It presents in the Classical concerto’s three-movement form, with recognizable melodies in Ravel’s characteristically beautiful

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harmonizations. From the first movement onward we hear his typical elegance of construction combined with international references: an opening theme that mimics a Basque folk tune is followed by a Spanishsounding second theme, then by jazzy syncopations reminiscent of Gershwin. There are echoes of Prokofiev, Satie, and Stravinsky here, and the movement closes with trombone licks that could not have been written without knowledge of jazz. Such diversity borders on the raucous. But in the second movement we have brilliant contrast: here is the slow, beautiful central section that Ravel seems to have meant when he cited Mozart and Saint-Saëns as his models. It was written, Ravel notes, “under the spell” of the larghetto movement of Mozart’s gorgeous Clarinet Quintet, but worked and reworked with typical thoroughness and skill until only Ravel’s artisanship—not the Mozartean source—is apparent. The Concerto in G ends with a brilliant Presto—quick and energetic, with the exciting virtuosic display that Ravel felt a concerto should afford. The textures are iridescent and the pulse is polyrhythmic. In the space of three traditional movements, Ravel takes us from the serenity of a lullaby the splendor of fireworks, leaving us breathless. Franz Schubert (1797—1828)

Symphony No. 9 in C Major, D. 944 “The Great” PERFORMANCE TIME: 50 minutes

BACKGROUND

Perhaps great genius is always unique and often wayward, but Schubert’s genius

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AMERICAN IN PARIS

notes on the program

has tended to separate him from other mavericks in the pantheon of “greatest” composers. Like Mozart he displayed prodigious musical gifts in early childhood and composed at an incredibly prolific rate, leaving a legacy of masterpieces in most major musical genres and dying in his 30s (in Schubert’s case, only 31). But with Mozart’s example, aficionados tend to agree on the hallmarks of greatness. Ask two fans about Schubert and they might well describe two seemingly different composers. This symphony’s link to Beethoven is more than just a matter of music history. The German Beethoven, who forever changed the scope of symphonic expression, was at the height of his creative powers when Schubert was born in Vienna in 1797. His music and reputation loomed large throughout Europe. When the very precocious Schubert was acquiring his musical tastes during his pre-teen years, Beethoven became a chief and enduring influence. The two geniuses died just a year apart. WHAT TO LISTEN FOR

We can hear Beethoven’s influence immediately in the architectural framework that Schubert establishes for the Great C Major. This is not the Schubert of achingly beautiful, singing melodies that capture the essence of Romantic verse in song, but rather the Schubert who was awed by Beethoven’s profundity and sought to emulate it in his own highly structured melodic development. While we wouldn’t mistake Schubert’s thematic materials for Beethoven’s, we sense what Schubert learned from Beethoven’s imaginative thoroughness in carrying a symphonic movement forward through a longsustained arc.

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Both composers were influenced by the great Enlightenment thinkers who came to view the universe as subject to laws of science and thus available to human understanding through scientific inquiry—in a sense, a giant clockwork. This line of thought was the digital revolution of its day. It made automata and robotic devices all the rage in Beethoven’s and Schubert’s era. And it is reflected in their symphonic movements, which combine thoroughness and precision with the gleam of ingenuity and innovation. Schubert’s Great C Major goes far beyond the conventions of Classical symphonies, giving us musical worlds to experience through his disassembly, observation, and reassembly of thematic materials. By the time we’re done listening, we have a different perspective on God’s creation—a perspective informed by the symphonist’s inspired creativity. Of course, none of this can happen in a hurry or without technical challenges, and these obstacles are the subject of much mythology surrounding the Great C Major. It is expansive, with performance times usually running about 50 minutes, though recent interpretations on the leaner, brisker side sometimes cut this down a bit. Even so, the sound is stately, with an undeniable sense of its own grandeur. Robert Schumann, who received the manuscript from Schubert’s brother and called it the greatest instrumental work since the death of Beethoven, described it as of “heavenly length,” a phrase that has proved as durable as the symphony itself. The objections of overtaxed musicians, some of whom complained it made their arms tired, are cited as the main reason why the Great C Major did not receive its premiere until 1839, more than a decade after Schubert’s death, in a performance conducted by Felix Mendelssohn. An oft-told tale claims

AMERICAN IN PARIS

notes on the program

that a hornist turned to a colleague late in a rehearsal of the first movement to ask if he had managed to hear a tune yet. His balkiness seems especially unlikely given the symphony’s innovative use of non-string players. It provided just what they wanted: more interesting parts that did not just double or repeat lines in the strings. This is the symphony that alerted later composers to the gravity and portent that could be added through bolder use of the brasses, especially trombones—one area in which Schubert departed radically from his idol Beethoven. Schumann describes the supreme expressiveness of one such groundbreaking section in the symphony’s opening: “There is in it a passage where a horn, as though calling from afar, seems to come from another world. The instruments stop to listen, a heavenly spirit is passing through the orchestra.” The popular music historian Alfred Einstein summarizes the transition from the symphony’s introduction (actually the two lengthy introductory movements) to the third and fourth movements in exciting terms: “… [T]he theme which first expresses itself in such mystical language on the trombone…how simple and direct it all is—the transition to the second subject, the quiet passage leading to the recapitulation, the contrast between thematic and ‘lyrical’ treatment in the Scherzo and the Trio, the sauntering gait and the daemonic flight of the Finale! Scherzo and Finale are clearly linked by the four-note figure which later achieves its apotheosis in the Finale, where it transforms the sauntering gait into a grandiose climax.” For all its depth and innovation, the Great C Major follows the standard four-movement symphonic form of the day, opening with an Andante of stately pace that leads to a brisker tempo marked Allegro ma non

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troppo (but not too much). From the outset, unusual elements are brought together here, with the opening theme stated in the horns. The second movement is an Andante con moto (with motion, i.e. with a sense of pace); it is cited by the esteemed musicologist Maurice J. E. Brown as Schubert’s “loveliest slow movement: in the duet for the cellos and oboe, after the big climax; in the soft, repeated notes of the horn…which lead to the recapitulation; in the varied string accompaniments to the melody of the A-Major section: all these have poetry and imagination which he never surpassed and never more ardently expressed.” Yet in a symphony marked by such poetry and ardor, Brown asserts that the dominant aesthetic characteristic of the Great C Major—and of its greatness—is its “tremendous rhythmic vitality.” Evident throughout the symphony, this quality is ascendant in the symphony’s final two movements: a Scherzo leading to an Allegro vivace trio in the third, and the Finale marked Allegro vivace. “The Scherzo and Finale, the former in full sonata form, have a lively rhythmic energy which sweeps all before it,” says Brown—the moment when Einstein’s “sauntering gait” metamorphoses into a thrillingly emphatic resolution. The final movement also offers further evidence of the Schubert-Beethoven connection: a suggestion of the “Ode to Joy” melody. It is brief but definite, occurring just as the movement’s development section opens. As I listened and talked with my brother Dave about all these musical riches, he called the Great C Major’s dramatically truncated climax perhaps the most satisfying of any symphony, a finale that sums up a huge symphonic statement with astonishing brevity. Another great listener’s opinion.

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2018/19 ANNUAL CULTURAL FESTIVAL

PROJECTS

During its 2018-19 season, Utah Symphony | Utah Opera joins the long list of Utah organizations commemorating the 150th anniversary of the laying of the Golden Spike, which officially connected the transcontinental railroad on May 10, 1869.

OPERA COMMISSION

GIFT OF MUSIC

MUSIC ALONG THE RAIL

Utah Opera’s 10-minute opera commissioning project, with additional support from the McCarthy Family Foundation.

Utah Symphony’s participation in the Gift of Music concert on May 10, 2019, the official Golden Spike celebration.

Utah Symphony’s performance of Chinese composer Zhou Tian’s new work, a co-commission with other orchestras along the transcontinental railroad’s route.

FOR MORE INFORMATION, VISIT USUO.ORG/FESTIVAL

heartfelt hospitality In The Heart of Downtown

From weekend escapes to family getaways, Little America Hotelâ&#x20AC;&#x2122;s tradition of excellence offers impeccable accommodations and gracious service.

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INDIVIDUAL DONORS FRIEND Carolyn Abravanel Christine A. Allred Drs. Crystal & Dustin Armstrong Mr. & Mrs. Lawrence R. Barusch Leslie Bender Diane Banks & Dr. Mark Bromberg Barbara Burnett Dana Carroll & Jeannine Marlowe Michael & Beth Chardack Gloria Comiskey Natalie Cope & Aaron Ashton Dr. & Mrs. David Coppin Dorothy B. Cromer James & Rula Dickson Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Margaret Dreyfous Wrona Dubois Alice Edvalson Eric & Shellie Eide Naomi K. Feigal Carolyn & Tom Fey Harry Franta† Margo Franta Robert & Mary Gilchrist Ralph & Rose Gochnour Mr. & Mrs. Richard R. Graham Dr. & Mrs. David Guidry John Gurr

Jonathan Hart John Edward Henderson Connie C. Holbrook Howarth Family Foundation Scott Huntsman Judith Warner Todd & Tatiana James Eldon Jenkins & Amy Calara Chester & Marilyn Johnson Paulette Katzenbach Umur Kavlakoglu Thomas H. Klassen & Carolyn Talboys-Klassen Robert & Karla Knox Tyler Kruzich Steven Labrum & Jenney Wilder David & Sandra Lamb Guttorm & Claudia Landro Tim & Angela Laros Greg Larson Mr. & Mrs. Melvyn L. Lefkowitz Allan & Kay Lipman Julie & John Lund Peter Margulies & Louise Vickerman Susan R. Marquardt Lex Hemphill & Nancy Melich Hal & JeNeal Miller Mary Muir Dan & Janet Myers Oren & Liz Nelson Charles & Amy Newhall

Timothy F. Buehner Foundation Richard O’Brien Mary Jane O’Connor Ruth & William Ohlsen Linda S. Pembroke Rori & Nancy Piggott David Porter Dr. Barbara S. Reid Gina Rieke Mr. & Mrs. Robert Rollo Debra Saunders Janet Schaap Mr. August L. Schultz Frances & Ron Schwarz Sharon Seiner Jill & Richard Sheinberg Annabelle & Dennis Shrieve Barbara Slaymaker Dorotha Smart Mercedes Smith Linda & Michael Sossenheimer Hope Stevens Larry R. & Sheila F. Stevens Dr. & Mrs. Michael H. Stevens Dawn & Mitch Taubin Douglas & Susan Terry Gail Tomlinson Craig & Christy Wagstaff Gerard & Sheila Walsh Margaret & Gary Wirth Caroline & Thomas Wright Michael & Olga Zhdanov

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

UTAHSYMPHONY.ORG

(801) 533-NOTE

THANK YOU IN HONOR Neill & Linda Brownstein Classical Movements Peggy Chase Dreyfous The Emily Company

Burton & Elaine Gordon Neeta Helms Mrs. Barbara Nellestein Abigail Rethwisch Paulson

Joanne & Bill Shiebler Constance & Marcus Theodore

Panos Johnson Sharon R. Lewis Marilyn Lindsay Frank & Maxine McIntyre Jo McIntyre Mrs. Karen Severs Nourallah Glade & Mardean Peterson Frank & Shirley Russell J. Ryan Selberg

Ann O’Neill Shigeoka, M.D. Phyllis Sims Rebecca “Becky” Sharp Sorensen Shirl Swenson Marie Watkins Ardean Watts Sarah Maxine Winn Lawrence Young Dr. I. Zelitt

IN MEMORY Anita Alcabes Jay T. Ball Dr. Ray Beckham Janet Bennett Winifred Bradley Harry E. Franta Crawford Gates Lowell P. Hicks Muriel Lindquist

CONSTRUCTION EQUIPMENT MINING EQUIPMENT MATERIAL HANDLING EQUIPMENT GENERAL IMPLEMENT DISTRIBUTORS

Arnold Machinery Company proudly supports the Utah Symphony and welcomes the guest performers for the opening concert of the 2018-19 season.

Salt Lake City, Ogden, UT; Boise, Idaho Falls, Twin Falls, ID; Reno, Elko, Las Vegas, NV; Tucson, Phoenix, Flagstaff, AZ; Grand Junction,Denver, Johnstown, Colorado Springs, CO; Jamestown, ND; Gillette, WY; Billings, MT; Portland, OR; Waco, TX

www.arnoldmachinery.com

INSTITUTIONAL DONORS We thank these generous organizations for their support of Utah Symphony | Utah Opera. This list includes donations received from July 10, 2017 through July 10, 2018. * in-kind donation

** in-kind & cash donation

$100,000 OR MORE The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation Dominion Energy George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation Emma Eccles Jones Foundation The Florence J. Gillmor Foundation

Larry H. & Gail Miller Family Foundation O.C. Tanner Perkins-Prothro Foundation John & Marcia Price Foundation Salt Lake County Salt Lake County Zoo, Arts & Parks Shiebler Family Foundation

Sorenson Legacy Foundation Summit County Restaurant Tax / RAP Tax Utah Division of Arts & Museums / National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank

Grand & Little America Hotels* The Huntsman Foundation

Wells Fargo Foundation

Chevron Corporation Deer Valley Resort** HJ & BR Barlow Foundation Janet Q. Lawson Foundation LOVE Communications** McCarthey Family Foundaton Montage Deer Valley** Moreton Family Foundation

Nora Eccles Treadwell Foundation Perkins-Prothro Foundation S.J. & Jessie E. Quinney Foundation Simmons Family Foundation Summit Sotheby’s Vivint.SmartHome WCF Mutual Insurance Company

$50,000 TO $99,999 FJ Management Frederick Q. Lawson Foundation

$25,000 TO $49,999 Arnold Machinery B.M.W. of Murray | B.M.W. of Pleasant Grove Berenice J. Bradshaw Trust Brent & Bonnie Jean Beesley Foundation C. Comstock Clayton Foundation Cache Valley Electric Charles Maxfield & Gloria F. Parrish Foundation

UTAHSYMPHONY.ORG

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2018/19 UTAH SYMPHONY SEASON

y o J e h t n i e Shar s y a d i l o H of t h e UTAH SYMPHONY with the

MESSIAH SING-IN

NOVEMBER 24 & 25, 2018

PINK MARTINI’S JOY TO THE

WORLD: A HOLIDAY THE UTAH SYMPHONY SPECTACULAR WITH

DECEMBER 21 & 22, 2018

HARRY POTTER AND THE PRISONER OF AZKABAN™ IN CONCERT

DECEMBER 22, 2018

CELTIC WOMAN: THE BEST OF CHRISTMAS

A NEW YEAR’S CELEBRATION

NOV 29, 30 & DEC 1, 2018

WITH THE UTAH SYMPHONY

DECEMBER 18, 2018

FOR TICKETS visit

UTAHSYMPHONY.ORG 801-533–NOTE (6683)

SEASON SPONSOR

HERE COMES SANTA CLAUS!

JANUARY 4 & 5, 2019

INSTITUTIONAL DONORS $10,000 TO $24,999 Bambara* B.W. Bastian Foundation R. Harold Burton Foundation Caffé Molise* Every Blooming Thing* Gastronomy* Goldman Sachs & Co. LLC Richard K. & Shirley S. Hemingway Foundation Hyatt Centric Park City** Intuitive Funding

The Joseph & Evelyn Rosenblatt Charitable Fund The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Marie Eccles Caine Foundation-Russell Family Merrill Lynch Wealth Management Merrill Lynch Coast Access LLC Norman C. & Barbara L. Tanner Second Charitable Trust

The New Yorker* Ogden Opera Guild Park City Chamber Bureau Promontory Foundation Ruth’s Chris Steak House* Salt Lake City Arts Council Sam & Diane Stewart Family Foundation** The Swartz Foundation The Val A. Green & Edith D. Green Foundation

J. Wong’s Thai & Chinese Bistro* Martine* Patricia Dougall Eager Trust Raymond James & Associates

Spencer F. & Cleone P. Eccles Family Foundation US Bancorp Foundation Utah Autism Foundation Utah Office of Tourism

George Q. Morris Foundation Graystone Consulting InvitedHome* Inwest Title Services, Inc. Macy’s Foundation Marriott International, Inc. Millcreek Coffee Roasters* Morgan Stanley Prime Steakhouse PZ Printing* Robert S. Carter Foundation

Rocky Mountain Power Foundation Sinclair Oil Corporation Snell & Wilmer St. Regis / Deer Crest Club Stay Park City Stoel Rives Summerhays Music Center* TraskBritt P.C. Victor Herbert Foundation Zurchers*

$5,000 TO $9,999 The Capital Group The Dorsey & Whitney Foundation Grandeur Peak Global Advisors Holland & Hart**

$2,500 TO $4,999 Bertin Family Foundation BlumeHaiti CBRE City Creek Center Classical Movements Cope & Cope Investments Diamond Rental* The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation

UTAHSYMPHONY.ORG

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INSTITUTIONAL DONORS $1,500 TO $2,499 Blue Lemon Restaurant & Bistro* Castle Foundation D’Addario Foundation Ditta Caffè*

Henry W. & Leslie M. Eskuche Charitable Foundation Oquirrh Hills Performing Arts Alliance* Ray, Quinney & Nebeker Foundation

Rodney H. & Carolyn Hansen Brady Charitable Foundation Salt Lake Comic Con* Snow, Christensen & Martineau Foundation Swire Coca-Cola, USA*

Johnson & Johnson Co. Park City Community Foundation

Thomas Family Foundation

$1,000 TO $1,499 Fanwood Foundation – Western Office Five Penny Floral*

Monday–Saturday 7am–9pm Sundays 9:30am–4pm

801-410-4696 • 1560 E 3300 S, SLC • dittacaffe.com

Locally owned and operated, serving “made from scratch” PASTRIES • SOUPS • SALADS • SANDWICHES • BAGELS

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 Rachel McNassor at 801-869-9010 or visit us online at usuo.giftplans.org.

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 Rachel McNassor at rmcnassor@usuo.org or 801-869-9010 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 Marcy & Mark Casp Shelly Coburn Captain Raymond & Diana Compton Anne C. Ewers

Flemming & Lana Jensen Edward R. Ashwood & Candice A. Johnson James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich 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

Herbert C. & Wilma Livsey 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 Joann Svikhart Frederic & Marilyn† Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser

Mahler Circle Anonymous (3) Eva-Maria Adolphi Edward Ashwood & Candice Johnson 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

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 Edward R. Ashwood & Candice A. Johnson Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Constance Lundberg† Richard W. & Frances P. Muir

Marilyn H. Neilson Carol & Ted Newlin 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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ADMINISTRATION ADMINISTRATION Paul Meecham

DEVELOPMENT Leslie Peterson

David Green

Rachel McNassor

Julie McBeth

Olivia Custodio

Ali Snow

Chelsea Kauffman

Director of Information Technologies Alison Mockli Payroll & Benefits Manager

Jessica Proctor

Patron Information Systems Manager

President & CEO Senior Vice President & COO Executive Assistant to the CEO Executive Assistant to the COO & Office Manager

Vice President of Development Director of Major Gifts Director of Individual Giving Annual Fund Coordinator

SYMPHONY ARTISTIC

Director of Government & Foundation Giving

Symphony Music Director

Lisa Poppleton

Thierry Fischer

Anthony Tolokan

Vice President of Symphony Artistic Planning

Conner Gray Covington Associate Conductor

Barlow Bradford

Symphony Chorus Director

Walt Zeschin

Director of Orchestra Personnel

Andrew Williams

Orchestra Personnel Manager

Lance Jensen

Executive Assistant to the Music Director & Symphony Chorus Manager

SYMPHONY OPERATIONS Jeff Counts

Vice President of Operations & General Manager

Cassandra Dozet

Director of Operations

Melissa Robison

Program Publication & Front of House Director

Chip Dance

Production & Stage Manager

Jeff F. Herbig

Grants Manager

Heather Weinstock

Manager of Special Events & DVMF Donor Relations

Alina Osika

Development Operations Manager

MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations

RenĂŠe Huang

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Vice President of Finance & CFO

Mike Lund

Jared Mollenkopf Bobbie Williams

Accounts Payable Accountant

EDUCATION Paula Fowler

Director of Education & Community Outreach

Kyleene Johnson

Symphony Education Manager

Paul Hill

Opera Education Assistant

OPERA TECHNICAL Jared Porter

Senior Technical Director

Director of Communications & Digital Media

Kyle Coyer

Chad Call

Kelly Nickle

Marketing Manager - Audience Development

Mike Call

Graphic & Digital Media Designer

Kathleen Sykes

Digital Content Producer

Nina Starling

Website Content Coordinator

PATRON SERVICES Faith Myers

Director of Patron Engagement

Merry Magee

Marketing Manager - Patron Loyalty

Technical Director Properties Master

Lane Latimer

Assistant Props

Travis Stevens Carpenter

Dusty Terrell

Scenic Charge Artist

COSTUMES Verona Green

Costume Director

Jessica Cetrone

Costume Rentals Supervisor

Properties Manager & Assistant Stage Manager

Andrew J. Wilson

Kierstin Gibbs LisaAnn DeLapp

Erin Lunsford

Ellesse Hargreaves

Amanda Reiser Meyer

Artist Logistics Coordinator

0PERA ARTISTIC Christopher McBeth

Opera Artistic Director

Carol Anderson Principal Coach

Michelle Peterson

Opera Company Manager

Michaella Calzaretta Opera Chorus Master

Brooke Yadon

Patron Services Manager Patron Services Assistant

Genevieve Gannon Sarah Pehrson Jackie Seethaler Powell Smith Sales Associates

Nicholas Barker Lorraine Fry Jodie Gressman Ellen Lewis Ananda Spike Ticket Agents

Opera Production Coordinator

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.

Rentals Assistants Wardrobe Supervisor

Milivoj Poletan Tailor

Tiffany Lent

Cutter/Draper

Donna Thomas

Milliner & Crafts Artisan

Chris Chadwick Yoojean Song Connie Warner Stitchers

Shelley Carpenter Bailey Rapier Katie Satot

Wigs/Make-up Crew

UTAH SYMPHONY

STAGE ARTS

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STAGE ARTS

LORE

Sometimes the truth is more frightening than fiction. Join storyteller Aaron Mahnke and musical guest Chad Lawson for an unforgettable evening of dark, spine-tingling tales—the perfect way to celebrate All Hallows’ Eve. Lore is an award-winning, critically acclaimed podcast that exposes the darker side of history, exploring the people, places, and things we fear the most. October 31, 2018 | 7:30 pm de Jong Concert Hall ON SALE NOW

THE MOUSETRAP by agatha christie

directed by david morgan

Trapped in a local bed and breakfast by a snowstorm, a group of strangers is horrified to learn there is a murderer in their midst. Join us for the longest-running play of the modern era, a tale of suspense and terror that ends as shockingly today as it did in 1952. “The Mousetrap” is presented by special arrangement with SAMUEL FRENCH, INC. October 26–November 10, 2018 Pardoe Theatre ON SALE NOW

ETHEL with ROBERT MIRABAL, FLUTE: THE RIVER

Recognized as one of America’s most adventurous string quartets, ETHEL strives for common creative expression forged in the celebration of community. ETHEL is joined by Grammy Award-winning Robert Mirabal, a Taos Pueblo composer and songwriter known especially for his work with the Native American flute. December 7, 2018 | 7:30 pm de Jong Concert Hall ON SALE NOW

WONDERLAND

music by frank wildhorn lyrics by jack murphy original book by gregory boyd and jack murphy

uk adaptation by robert hudson directed by tim threlfall choreographed by nathan balsar music direction by gayle lockwood

From the team that brought you the BYU smash hit The Count of Monte Cristo, this new musical takes Lewis Carroll’s classic story and sets it in present day New York. Jump down the rabbit hole to discover this inspirational story of love, redemption, and the power of imagination. January 24–February 2, 2019 de Jong Concert Hall On sale November 19, 2018

801-422-2981 BYUARTS.COM

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.

for a list of these special performances. 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.

YOUNG CHILDREN

EMERGENCY INFORMATION

Utah Symphony | Utah Opera welcomes children five years of age and older. Some concerts, including Family Matinees and special programs, are open to children of all ages. Please call 801-533-6683

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.

UTAHSYMPHONY.ORG

(801) 533-NOTE

OUT OUT ON ON THE THE TOWN TOWN OUT ON THE TOWN

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B-Breakfast B-BreakfastL-Lunch L-Lunch D-Dinner D-Dinner S-Open S-Open SundayDL-Delivery DL-DeliveryT-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre Top: Image licensed by Ingram ImageSunday LL-Liquor LL-LiquorLicensee LicenseeRR-Reservations RR-ReservationsRequired RequiredRA-Reservations RA-ReservationsAccepted AcceptedCC-Credit CC-CreditCards CardsAccepted AcceptedVS-Vegetarian VS-VegetarianSelections Selections B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections

THANK OUR ADVERTISERS YOU TO BYU Performing Arts Ad Council Arnold Machinery BMW of Murray | BMW of Pleasant Grove Caffè Molise Challenger Schools City Creek Living Ditta Caffè Eldredge Excellence in the Community Hamilton Park Harker Design Humane Society of Utah Jerry Seiner Cadillac KUED KUER

If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833

Larry H. Miller Lexus Little America Hotel Marketing Aid Network Millcreek Gardens Minky Couture my529 National Council Auditions Nature Conservancy New Yorker RC Willey Regency Royale Rowland Hall Ruby’s Inn Best Western The Children’s Hour The Grand America Hotel University Credit Union

VOLUNTEERING WITH UTAH SYMPHONY | UTAH OPERA

EDUCATION

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 11 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.

TO JOIN THE UTAH SYMPHONY YOUTH GUILD, OR TO LEARN MORE, PLEASE VISIT: usuoeducation.org/youth-guild or call the Education Department at 801-869-9079. UTAHSYMPHONY.ORG

(801) 533-NOTE

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. SE A SON SPONSOR:

ACKNOWLEDGEMENTS UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR

Melissa Robison 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

Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo NATIONAL PR SERVICES PROVIDED BY

Shuman Associates, New York City

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!

R E S TA U R A N T / D O W N T O W N

60 West Market Street (340 S) • Salt Lake City • 801.363.0166 Open Monday – Saturday at 5 pm, closed Sundays Reservations recommended – newyorkerslc.com

ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY

Love Communications, Salt Lake City ADVERTISING CREATIVE & BRANDING SERVICES PROVIDED BY

Struck, Salt Lake City / Portland 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

UTAH SYMPHONY

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classicalkuer.org

Regency Royale Showroom 331 South Rio Grande, Suite #105 Salt Lake City, UT 84101 801.575.6525

regencyroyale.com

JACKSON FIREWOOD

Love creates quality. Quality creates love. A lifelong passion for texture and color led to a commitment to quality and craft. Each Tufenkian carpet embodies these values and evokes a connection between object and owner.

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THE WEST.

Fresh Tracks AND A BETTER APPROACH TO THE LAW. THE PARSONS APPROACH.

NATIONAL EXPERTISE. REGIONAL LAW FIRM. Where is it written that the farther away your law firm, the better? Attorneys at Parsons Behle & Latimer are right here and among the most competent in the country. From acquiring to selling, financing to developing, to workouts and restructuring, our real estate team has your interests covered. Making it that much easier to choose a law firm in the best location, location, location.

201 S. Main St., Suite 1800

parsonsbehle.com

Salt Lake City, Utah 84111

801.532.1234

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CUSTOM HOMES PLANNED COMMUNITY NATURAL OPEN SPACE ART, CULTURE & ADVENTURE

Kayenta, where vistas and environment are preserved. Diverse viewpoints and

community are embraced. Enjoy hiking and

biking

under

sunny

skies,

while

surrounded by the stunning red rock

landscape. Explore shopping and dining in

the Art Village or take in a show at the

new Center for the Arts at Kayenta. Not far from St. George in southern Utah.

SALES OFFICE & MODEL HOME OPEN DAILY PRINCIPAL BROKER: JEFF SPROUL

KAYENTA HOMES & PROPERTIES • 800 N. KAYENTA PKWY • IVINS, UT 84738 435.628.7234 KAYENTAUTAH.COM K A YENTAHOME S.COM