Bernstein at 100: Symphony No. 2 with Conrad Tao by Mills Publishing Inc.

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January/February 2018 Performances

CONTENTS

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

6 Welcome 8 Utah Symphony 10 Board of Trustees 15 Music Director 16 Elizabeth Brown Dee Fund for Music in the Schools 18 Utah Symphony & El Sistema 22 Bernstein at 100

JANUARY 4–6 | 7:30 PM

HILARY HAHN PLAYS DVOŘÁK’S VIOLIN CONCERTO

26 Social Snapshots 28 Preconcert Rituals

JANUARY 12–13 | 7:30 PM

30 Season Sponsors

FISCHER CONDUCTS RACHMANINOFF & STRAVINSKY

31–38 Tonight’s Concert 39 Support USUO 40 Thank You 41 5th Grade Concerts

FEBRUARY 2–3 | 7:30 PM

51 Tanner & Crescendo Societies

MOZART & HAYDN

52 Legacy Giving 54 Administration 59 House Rules 62 Utah Symphony Guild

FEBRUARY 9–10 | 7:30 PM

64 Acknowledgments

DANCING & ROMANCING

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

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

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

FEBRUARY 17 | 7 PM

A SYMPHONIC NIGHT AT THE MOVIES: HIGH NOON

FEBRUARY 23–24 | 7:30 PM

BERNSTEIN AT 100: SYMPHONY NO. 2 WITH CONRAD TAO

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

Welcome to a new year and tonight’s performance by the Utah Symphony. We begin 2018 with two concerts filled with lush orchestral grandeur featuring the music of Dvořák, Stravinsky, and Rachmaninoff. Two highly acclaimed guest artists—violinist Hilary Hahn and pianist Stephen Hough—join the Utah Symphony musicians for these concerts. For the remainder of January the orchestra will be providing an important sonic dimension to the signature production of Utah Opera’s 40th Anniversary Season, Moby-Dick. The beginning of February will bring the orchestra back to Abravanel Hall for a program of Classical-era masterpieces led by conductor Patrick Dupré Quigley making his anticipated debut, and featuring esteemed pianist Ronald Brautigam. You can celebrate with your Valentine at a concert of music from the golden age of Hollywood musicals, titled Dancing & Romancing, followed by the latest in our popular Films in Concert series, High Noon. This classic Western with an award-winning score by Dimitri Tiomkin is a world premiere performance presented in collaboration with Go West! Art of the American Frontier from the Buffalo Bill Center of the West at the Utah Museum of Fine Arts. Throughout 2018 we will join a world-wide celebration of the 100th anniversary of the birth

of Leonard Bernstein, the remarkable composer, conductor, educator, and humanitarian. His music captured the sound of mid-century urban America and we begin our tribute the last week of February with his Symphony No. 2 Age of Anxiety for orchestra and piano, with help from a favorite pianist of Utah audiences, Conrad Tao. February is a fitting month for us to begin this tribute to Bernstein as it includes our annual 5th Grade Concerts where nearly 20,000 students within busing distance will attend special concerts in Abravanel Hall (see p. 62 for more information). Many people around the world fondly remember Bernstein’s Young People’s Concerts that were broadcast on CBS television. The Utah Symphony has maintained a similar tradition of inspiring young people with great live music for multiple generations of Utahns. Much credit goes to the Utah State Legislature, which provides over one-third of the support towards their cost. The remainder of that credit goes to our many individual donors and corporate and foundation sponsors who cumulatively match the state’s support. On behalf of the musicians, staff, and board members at Utah Symphony | Utah Opera, we thank you for your support and advocacy of our organization. It is through your help that we are able to connect the community through great live music!

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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 Karen Wyatt•• 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 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

LIBRARIANS Clovis Lark Principal Maureen Conroy† Katie Klich†† ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager

Alexander Love†† Acting Associate Principal

STAGE MANAGEMENT Chip Dance Production & Stage Manager

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

Jeff Herbig Properties Manager & Assistant Stage Manager

TRUMPET Travis Peterson Principal Jeff Luke Associate Principal

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

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BOARD OF TRUSTEES ELECTED BOARD Kem C. Gardner* Chairman

David Dee* Alex J. Dunn Brian Greeff Lynnette Hansen Matthew Holland Thomas N. Jacobson Mitra Kashanchi Thomas M. Love* Brad W. Merrill Theodore F. Newlin III* Dee O’Donnell Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Brad Rencher Joanne F. Shiebler* 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

Elizabeth Beilman* Mark Davidson* 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

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MUSIC DIRECTOR

Thierry Fischer has been Music Director of the Utah Symphony since 2009 and Principal Guest Conductor of the Seoul Philharmonic since January 2017. During his tenure in Utah he has revitalized the orchestra, and his contract has been extended to 2022. He has led the orchestra in annual single composer cycles including Mahler, Ives, and Nielsen; has toured to Utah’s five national parks; and has forged outreach links in Haiti. In celebration of its 75th anniversary season in 2016, the orchestra appeared at Carnegie Hall 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, the Utah Symphony recorded Mahler’s 8th symphony in Utah with the world-renowned Mormon Tabernacle Choir, recently released in Autumn 2017. Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation

Maestro Fischer has guested with many leading orchestras, most recently the Boston, Atlanta, Cincinnati, and Detroit Symphonies; the Mostly Mozart Festival Orchestra (New York); London Philharmonic; BBC Symphony; Oslo Philharmonic; Bergen Philharmonic; Rotterdam Philharmonic; Maggio Musicale Firenze; Salzburg Mozarteumorchester; and the Orchestre de la Suisse Romande. and In Autumn 2016, he visited South America for the first time to conduct the Sao Paulo Philharmonic. In recent years, he has also conducted the Scottish, Swedish, and Munich Chamber Orchestras; London Sinfonietta; and Chamber Orchestra of Europe. He is committed to contemporary music and has performed and commissioned many world premieres—this season he conducts the Ensemble Intercontemporain for the first time. Maestro 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– 2006. He was Chief Conductor of the Nagoya Philharmonic 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor. Thierry Fischer is represented by Intermusica.

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utah symphony | utah opera is delighted to announce the establishment of the Elizabeth Brown Dee Fund for Music in the Schools and thanks the Lawrence T. & Janet T. Dee Foundation for their vision and investment in our organization and the music education we offer annually to the entire state through our programs.

Elizabeth Brown Dee found joy in music throughout her life, and experienced its power to inspire at an early age. Born in 1921 and raised in Ogden, Elizabeth learned to play piano in the family parlor. Litz, as she was known to friends and family, also discovered an aptitude and love for visual art and design. She attended the University of Utah where she took studio art classes from LeConte Stewart, studied art at the Meizinger Art School in Michigan, and served in World War II as a Women’s Army Corps draftsman. After the

war she created award-winning window displays for women’s clothing stores in Ogden. Litz’s sister Beverly Brown Lund became an accomplished cellist, studying at the Eastman School of Music. In 1949 Beverly and a friend scraped together enough donations for the Utah Symphony to perform its first concert in Ogden. Soon Litz, Beverly, and their wide circle of friends, family, and fellow music lovers committed to raising support for multiple Utah Symphony performances in Ogden each year. Dedicated volunteers, staff, and patrons have continued this hallmark of the cultural life of Ogden to the present day. Litz worked passionately to make music and visual arts education available to the young people of Ogden. She understood the impact that experiencing world-class orchestral music made in the lives of her family and friends, and worked for decades as a volunteer, donor, and leader to expand access to the arts in her community. The Elizabeth Brown Dee Fund for Music in the Schools will ensure that Utah Symphony | Utah Opera will continue to inspire students in Ogden and throughout the state of Utah in perpetuity, striking a note which would have delighted Litz.

Utah musicians in concert at the

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Utah Symphony & El Sistema By Paula Fowler

Utah Symphony Associate Principal Horn Edmund Rollett visited the GraceNotes after-school music program at Jackson Elementary.

Utah Symphony | Utah Opera has caught on to the excitement about El Sistema, the ground-breaking movement to create social change by nurturing underserved students in learning and excelling in music in after-school programs. The program was initiated in Venezuela in 1975 by JosĂŠ Antonio Abreu, and North American music educators started hearing about its wonders more than 10 years ago. Its founder was featured at major arts conferences and inspired new teaching programs throughout the United States and Europe. One degree program in El Sistema that continues to thrive is located at the New England Conservatory of Music. An additional super spokesperson for Sistema is Gustavo Dudamel, a graduate of Venezuelaâ&#x20AC;&#x2122;s El Sistema program who is now in his ninth season as Music & Artistic Director at the LA Phil. Also of note, Baltimore Symphony Orchestra was so inspired by El Sistema that it created an organization called OrchKids. Through this program, after-school music lessons are provided for students who would not otherwise have access to instruments and teachers, in six inner-city schools. Continued on page 21

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AUDRA McDONALD

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MARCH 23 & 24 \ 2018 \ 7:30 PM \ ABRAVANEL HALL ANDY EINHORN conductor \ AUDRA McDONALD vocalist

with a record-breaking six tony awards, two GRAMMY Awards, and a long list of other accolades to her name, Audra McDonald has off-the-charts vocal talent and artistry to match. Known for her roles on Broadway in Carousel, Master Class, Ragtime, A Raisin in the Sun, and Porgy and Bess, McDonald also won TV fame for Private Practice. Welcome one of the most honored performers of her generation to Abravanel Hall for an unforgettable performance with the Utah Symphony.

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Utah Symphony & El Sistema Utah Symphony | Utah Opera has sought the best way to support burgeoning El Sistemainspired programming in our own community. We supported a Sistema program run through the orchestra program at Park City High School, and now also provide support for the American Preparatory Academy (on its four campuses) and the GraceNotes program run by Salty Cricket Composers Collective at Jackson Elementary School in Salt Lake City. Some of our musicians have volunteered with the GraceNotes students on special Saturday sessions. Our support has helped these organizations gain leverage with funders, and we have also provided tickets so that Sistema program students can attend our symphony and opera performances. Beyond tickets and letters of support, this season USUO helped with an instrument donation drive at Abravanel Hall during the concerts in the

first two weeks of December. Donations assisted both the Utah Symphony Guild after-school violin program at the Northwest Center and the GraceNotes program. When young people learn the basics on an instrument and begin to make music themselves, they create something that hadn’t existed in their world before. Such musicmaking is an experience of self-disciplined accomplishment and individual empowerment. El Sistema’s motto is “Social Action for Music,” and Utah Symphony is proud to partner with local Sistema programs in providing opportunities in music-making and personal growth for students in our communities. Paula Fowler is USUO’s Director of Education & Community Outreach. She has been writing opera commentaries for Utah Opera for more than 15 years.

Bernstein at 100

Celebrating the Legacy of an American Musical Icon By Erin Lunsford

In the year 1918, American composer, conductor, pianist, and music educator Leonard Bernstein was born. Over the course of a storied career that spanned the globe (he was one of the first musicians born and educated in the United States to receive worldwide acclaim), he became nothing short of a legend. In the year of his 100th birthday, many orchestras are looking back at Bernstein’s legacy and how it has shaped the American musical landscape. The scope and depth of Bernstein’s work is astounding. He was highly sought-after as a conductor, holding a long tenure as Music Director of the New York Philharmonic and guest conducting with some of the best orchestras in the world, most notably with the Vienna Philharmonic. Bernstein didn’t just conduct, though. Also a highly skilled pianist, he often “play conducted” the piano concertos of Ravel, Mozart, and others—always an impressive feat. Furthermore, Bernstein produced a staggering number of recordings with the New York Philharmonic and numerous other orchestras, many of which still stand as pillars in the recorded catalogue today. In fact, Bernstein was instrumental in the first complete recorded cycle of Mahler’s nine symphonies, from which Maurice Abravanel surely took inspiration when he recorded the same cycle with the Utah Symphony in the 1960s and 1970s. Conducting is just one small piece of Bernstein’s legacy, however. Many of us also know and love him as a composer— his musical West Side Story was an immediate hit when it was released in 1957, and music from this groundbreaking work is still played by orchestras worldwide. His ability to capture the sound and mood of mid-century urban America in this musical, and in much of his other work, is what makes his music so captivating. He drew inspiration from styles that many may have considered to be at odds with each other—AustroGerman classical music, jazz, Jewish music, and the idioms of Broadway musicals all found their way into his compositions to create a tapestry that is distinctively and uniquely American. And yet, the themes Bernstein conveyed in his music were themes of global importance. His favorite idea to come back to was the individual’s search for faith, an idea that remains especially relevant today—he explored this theme in his Continued on page 24…

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Bernstein at 100

Celebrating the Legacy of an American Musical Icon

Symphony No. 2 for Piano and Orchestra, The Age of Anxiety as well as in Chichester Psalms, both of which will be performed during Utah Symphony’s “Bernstein at 100” festival. Beyond these incredible accomplishments, each enough for one lifetime on their own, Bernstein also catapulted classical music into the public psyche by televising the New York Philharmonic’s Young People’s Concerts on primetime television, starting in 1954 and continuing for almost two decades. He taught millions of Americans how to appreciate classical music through a new and exciting entertainment medium, furthering the reach of the American orchestra and guaranteeing new audiences for the future. So in the year of Leonard Bernstein’s 100th birthday, the Utah Symphony pays homage to the man that transformed the American classical music scene, propelled it into the 20th century, and fostered generations of musicians and music-lovers alike. 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.

UTAH SYMPHONY

UTAH SYMPHONY B E R N S T E I N AT 10 0

LEONARD BERNSTEIN AT 100

Composer, conductor, educator, and humanitarian Leonard Bernstein captured the sound of mid-century urban America and became one of the undeniable giants of 20th-century music.

SYMPHONY NO. 2 WITH CONRAD TAO FEBRUARY 23–24

CHICHESTER PSALMS & DIVERTIMENTO MARCH 2–3

7:30 PM / ABRAVANEL HALL

REPERTOIRE

SAINT-SAËNS DANSE MACABRE SAINT-SAËNS SYMPHONY NO. 1 BERNSTEIN SYMPHONY NO. 2 “AGE OF ANXIETY” ARTISTS

THIERRY FISCHER CONDUCTOR CONRAD TAO PIANO

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THIERRY FISCHER CONDUCTOR BARLOW BRADFORD CHORUS DIRECTOR CHORISTER FROM THE MADELEINE CHOIR SCHOOL UTAH SYMPHONY CHORUS UNIVERSITY OF UTAH CHOIRS

Social Snapshots In the last few months, Broadway stars took over our social media accounts, incredible soloists graced our presence, and the orchestra’s performances merited standing ovations. Did you miss any of those concerts? Take a look at what concert goers posted on social media. We want to see your Utah Symphony experience! Take out your phone and snap a quick selfie before tonight’s performance and post your photos with #UtahSymphony or tag @UtahSymphony to join the conversation.

♥ @sjsurfer Special date night with my baby at

♥ @katierosebastian The first time I listened to

♥ @jonkimuraparker Signing the @utahsymphony

♥ @divankenge Getting ready to sing Summertime

the Utah Symphony to see RHAPSODY ON A THEME OF Paganini featuring Jon Kimura Parker at Abravanel Hall.

@steinwayandsons ten minutes before curtain!

Rachmaninoff’s Rhapsody on a Theme of Paganini was the first time I remember realizing that music can communicate things that words cannot. I was 6 or 7. All my piano lessons from then on had one purpose, and that was to help me get good enough to play it. ♥Great job, #utahsymphony!

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Preconcert Rituals By Renée Huang, Director of Communications

Professional musicians often spend much of their lives on the road performing in concert venues around the globe. Amid the hectic travel schedules, rehearsals, practice time, and adjustments to a different time zone, culture, and climate, regular routine is sacrificed. We asked Stephen Hough to share what pre-concert rituals help keep him grounded.

STEPHEN HOUGH On the day of a concert I have morning practice from about 10:30 to 1 PM. Then a substantial lunch, sushi is a favorite, and if a pudding is irresistible only a bite (or two). Then a walk, ideally somewhere where the spirit can soar, so a park, a museum, a surging cityscape. Then a nap, bedclothes thrown back, as if nighttime with the curtains firmly closed, phones unplugged, pillows fluffed, and unconsciousness for at least an hour. I set the alarm clock and at about two hours before the concert I am out of bed. Then, with the kettle on, I shower at full throttle—it takes the same time to brew a cup of tea as it does to wash your hair. I sip my mug of strong tea (I travel with my own kettle and the best tea I can find) and indulge in a half a cookie to lift the mood a little while I check emails. Then, dressed, I head over to the hall--I like to arrive about an hour before I’m due onstage. I like gentle, calm backstage practicing, most often on pieces other than the ones I’m playing that night. Then into concert clothes about ten minutes before going out from the wings. I hear the applause as I am bowing, then sitting on the bench, adjusting the stool, deep breath and… hands to keys, which is why I’m there in the first place. But then there are the occasions when none of the above is possible. And, strangely, those are often the best concerts. Ah, the frustration and joy of the glorious unpredictability of being human!

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Bernstein at 100: Symphony No. 2 with Conrad Tao

Bernstein at 100: Symphony No. 2 with Conrad Tao February 23–34 / 2018 / 7:30PM / ABRAVANEL HALL THIERRY FISCHER, conductor CONRAD TAO, piano

SAINT-SAËNS

Danse macabre, Op. 40

SAINT-SAËNS

Symphony No. 1 in E-flat Major, Op. 2 I. II. III. IV.

Adagio - Allegro Marche: Scherzo Adagio Allegro maestoso

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BERNSTEIN

Symphony No. 2 for Piano and Orchestra, The Age of Anxiety after W.H. Auden Part I The Prologue: Lento moderato The Seven Ages: Variations 1-7 The Seven Stages: Variations 8-14 Part II The Dirge: Largo The Masque: Extremely fast The Epilogue: L’istesso tempo - Adagio - Andante - Con moto CONRAD TAO, piano

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C O N D U C TO R S P O N S O R

Bernstein at 100: Symphony No. 2 with Conrad Tao

artists’ proﬁles

Conrad Tao has appeared worldwide as a pianist and composer, and has been dubbed a musician of “probing intellect and open-hearted vision” by the New York Times, a “thoughtful and mature composer” by NPR, and “ferociously talented” by Time Out New York. In June of 2011, the White House Commission on Presidential Scholars and the Department of Education named Tao a Presidential Scholar in the Arts, and the National Foundation for Advancement in the Arts awarded him a YoungArts gold medal in music. Later that year, Tao was named a Gilmore Young Artist, an honor awarded every two years highlighting the most promising American pianists of the new generation. In May of 2012, he was awarded the prestigious Avery Fisher Career Grant.

Conrad Tao piano

Tao’s 2017–18 season will include his Lincoln Center debut with a solo recital, including a work by American composer Jason Eckhardt; a residency with the Utah Symphony performing both Bernstein’s Symphony No. 2 The Age of Anxiety and Prokofiev’s Piano Concerto No. 2; and debut engagements with the Atlanta Symphony, New Jersey Symphony, and Seattle Symphony. Tao will both perform in his own recital and have his solo violin commission performed by Paul Huang at Washington Performing Arts Society, and will open ProMusica Chamber Orchestra’s season with a commission and world premiere performance in Ohio. Additionally, his new multimedia work, Ceremony, developed with vocalist Charmaine Lee, will receive its premiere at Brooklyn’s Roulette. Outside of the U.S., Tao has been re-invited to perform with the Berner Symphoniker and Mario Venzago in Switzerland, and will make his debut with the Finnish Radio Symphony Orchestra and James Gaffigan. He will also return to Italy with the Orchestra Verdi Milano and Vladimir Fedoseyev, and Malaysia with the Malaysian Philharmonic and Eiji Oue. Tao was born in Urbana, Illinois, in 1994. He has studied piano with Emilio del Rosario in Chicago and Yoheved Kaplinsky in New York, and composition with Christopher Theofanidis.

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program notes

Bernstein at 100: Symphony No. 2 with Conrad Tao

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Notes by Michael Clive

Camille Saint-Saëns (1835–1921)

Danse macabre, Op. 40 PERFORMANCE TIME:

7 minutes

BACKGROUND

When we glance at the word “macabre” or hear it pronounced, we immediately sense that it was imported from France. Would it have been so comfortably accepted in American English without Camille SaintSaëns’ Danse macabre? Probably not. In snippets or in its entirety, we’ve all heard this tone poem many times, yet it retains the power to startle. It has been popular since its premiere in 1874, not only establishing “macabre” as commonplace in our shared vocabulary, but serving to define it once and forever far better than any dictionary could. In describing Danse macabre in The Atlantic

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magazine in 2014, writer Colin Fleming called it a classical masterpiece and “the purest Halloween music ever written,” and then introduced (to most readers) another vocabulary word, calling it “a work of full-on eldritch perfection.” (Eldritch is an impressively highbrow descriptor for things sinister, ghostly, or weird.) Saint-Saëns composed the Danse during a five-year period when he was trying his hand at the tone poem, a form that he had popularized in France by performing and promoting the symphonic tone poems of Franz Liszt. 20 years later, the tone poems of Viennese composer Richard Strauss would be even more symphonic in scope. Saint-Saëns was 39 when he wrote Danse macabre and had long since demonstrated his allegiance to traditional composition techniques. Still, for his contemporary listeners, even the tone poem could be challenging with its lack of formal architecture and development. But SaintSaëns’ flair for dramatic description made all four of his tone poems irresistible, and today their descriptiveness is still uncanny and their subjects surprisingly topical. In addition to taking us to a cemetery at midnight in Danse macabre, in Phaéton Saint-Saëns gives us a thrillingly accurate account of a joyride through outer space in an uninsured stolen vehicle that happens to be Apollo’s flying chariot. And in Le rouet d’Omphale he somehow creates the whirring speed of Omphale’s spinning wheel by employing a slow, bumpy tempo: traditional means, untraditional effects.

Bernstein at 100: Symphony No. 2 with Conrad Tao

program notes

WHAT TO LISTEN FOR

It’s no zombie apocalypse, but Danse macabre is indeed a dance of death, depicting a graveyard scene of the dead rising from their graves and dancing. The graves open with a jolt as a raw-boned announcement in the violins signals the arrival of the witching hour. Dancing engulfs the orchestra without delay, and the scene is so graphic that we can virtually sit back and watch the jangling skeletons dancing on their graves. The mood intermingles horror and grisly humor, eventually incorporating the Dies irae theme from the Latin requiem mass into the mix; the counterpoint is so artfully constructed that we don’t even notice the skill behind it. Eventually a cock crows, the sun comes back up, and the ghouls go back down.

As Fleming notes, even listeners who thought they’d never heard Danse macabre find it familiar from pop culture. But a couple of listening points are worth rediscovering. One is the rhythm, a triple-meter with the first beat pounded out so emphatically that it’s almost violent. Ironically, it’s the equivalent of “waltz time,” an intimate rhythm that lilts and gently sways rather than pounds. Triple rhythms such as the waltz were once considered lewd. But in earlier centuries, as Saint-Saëns well knew, three beats per measure were required on opposite grounds, as a token of piety in music—one beat for each constituent of the holy trinity. The second listening point is the “tritone,” a mysterious interval comprised of three

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adjacent whole steps of the scale. That sounds simple, but it’s not. In the familiar do-re-mi scale it occurs only once—in C-Major, for example, with the notes F and B. These are “fa” and “ti” if you know your do-re-mi syllables. It’s difficult to work with, expressively ambiguous (usually described as angry), and all but banned in traditional music theory: you can’t base a conventional, three-note chord (a triad) on a tritone. Yet this interval is the first thing we hear in Danse macabre, pounded out about a dozen times in the violins, and it recurs throughout the tone poem. Its brazen sound serves Saint-Saëns’ mood-setting admirably, and it is yet another instance of the composer using traditional means in untraditional ways. Camille Saint-Saëns (1835–1921)

Symphony No. 1 in E-ﬂat Major, Op. 2 PERFORMANCE TIME:

31 minutes

BACKGROUND

Talent is indeed a gift, but the extraordinary talent of the child prodigy doesn’t always work out as expected later in life. Fortunately, the most extraordinarily precocious composers we know of in Western music—Mozart, Mendelssohn, Saint-Saëns, Korngold—somehow skipped right into creative maturity, producing masterpieces while still in their teens without taking time out for adolescence.

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program notes

Bernstein at 100: Symphony No. 2 with Conrad Tao

Of all these early masterworks, Saint-Saëns’ Symphony No. 1 is one of the most rarely encountered in the concert hall, because only in recent years has it become readily available in published form. But to note that SaintSaëns was 17 when he composed it can be misleading. At its premiere it impressed, among others, Charles Gounod and Hector Berlioz, who praised it effusively without realizing that its young composer was sitting within earshot. Saint-Saëns’ second symphony, the remarkable “Urbs Roma,” also remained unpublished during his lifetime. No. 3, his spectacular “Organ” Symphony, has thrilled audiences continuously since its premiere in 1887, but its very success may have helped keep his earlier symphonies in eclipse. WHAT TO LISTEN FOR

Musicologists and critics are unstinting in their admiration of this symphony, but struggle in describing its virtues. The reason: As with so many of Saint-Saëns’ works, we must differentiate between originality and innovation to appreciate it. Saint-Saëns was no innovator, but he was consistently original, which is why this symphony sounds fresh from beginning to end. Analysts have detected the influences of Beethoven, Mendelssohn, Wagner, and Schumann on the Germanic side; Gounod and Berlioz on the French. Yet the result is not an olio but a unified and beautifully crafted whole. Saint-Saëns’ inexhaustible gift for melodic invention keeps the sound distinctively his. The symphony begins

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dramatically with a portentous descending fourth that opens into a broad plain of melody and a more upbeat mood. Its central movements are pure poetry: The second, although it is marked “Marche-Scherzo,” is hardly a march at all (compare this with the ferocity of marches by his compatriot and admirer Berlioz!), while the third brings us passages of even greater refinement and delicacy. The final movement follows without a break, but with an audible shifting of gears. We can hear the template of Beethoven’s dramatic codas here, but without the sense of struggle from darkness to light. Instead, the symphony achieves a satisfying resolution by applying beautifully French sonorities to the Beethovenian model. We can hear the young Saint-Saëns crafting a style uniquely his from the lessons of Berlioz and Beethoven. Leonard Bernstein (1918–1990)

Symphony No. 2 for Piano and Orchestra, The Age of Anxiety after W.H. Auden PERFORMANCE TIME:

35 minutes

REMEMBERING LEONARD BERNSTEIN (1918–1990)

Across the U.S. and abroad, organizations with a stake in music, the arts, and human

Bernstein at 100: Symphony No. 2 with Conrad Tao

artist’s proﬁle / program notes

rights started early in celebrating the centennial of Leonard Bernstein’s birth in 1918. It’s no exaggeration to say that the world has never known anyone quite like Lenny; he burst into prominence in November 1943, when he was only 25, leading the New York Philharmonic on a few hours’ notice in a concert that made headlines. Bernstein possessed an extraordinary combination of impassioned musical creativity and personal charisma, a restless intellect that looked deeply into other arts as well as music, and a commitment to social justice. He believed that music could improve the world as well as entertain. Byronic good looks certainly didn’t hurt Bernstein’s musical mission, and he succeeded in bridging the gap between popular and high culture in the U.S. as nobody else has ever done. Born in Lawrence, Massachusetts, Leonard Bernstein took piano lessons as a boy and attended the Garrison and Boston Latin Schools. At Harvard University he studied with Walter Piston, Edward Burlingame Hill and A. Tillman Merritt, and made an unofficial conducting debut with his own incidental music to the ancient Greek comedy The Birds by Aristophanes—early confirmation of his gift for musical leadership. He had already been appointed Assistant Conductor of the New York Philharmonic at age 25, shortly before the fateful 1943 concert that launched his fame. Stepping in for the ailing Bruno Walter, he led the orchestra in a galvanic performance that was nationally broadcast

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on the radio from Carnegie Hall. Soon orchestras worldwide sought him out as a guest conductor. He became Music Director of the New York Philharmonic in 1958, and the Philharmonic’s players—who were known to give some conductors a hard time—were almost fanatically devoted to him. During his tenure as music director, which lasted through 1969, he led more concerts with the orchestra than did any previous conductor. In spite of all his musical accomplishments, Bernstein still has not found his rightful place as a composer in American classical music—perhaps because his genius spanned so many categories. Critics continue to argue about longer compositions, such as his operas and symphonies. With his theater music the argument is not over their merit, but their place in the catalogue: all of Bernstein’s compositions for the Broadway stage blaze with an energy, melodic inspiration, and sheer theatricality that lift them beyond the level of “show music” and into the concert hall. LISTENING TO SYMPHONY NO. 2, THE AGE OF ANXIETY

Bernstein reserved the symphonic form for some of his deepest musical explorations of spiritual ideas—“me down here looking up to find Him.” As the musicologist Richard Jackson notes in The New Grove (1983), his large orchestral works “are, in general, about the crisis in faith.” In the years after World War II, artists of every classification felt this crisis keenly: Could art improve the horrors

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program notes

Bernstein at 100: Symphony No. 2 with Conrad Tao

of the human condition? Was it even possible to create art in the wake of the atrocities of World War II? Bernstein composed his Symphony No. 2, subtitled The Age of Anxiety, in 1948 and 1949, when these questions were especially urgent. The symphony is scored for orchestra and solo piano, and was inspired by W. H. Auden’s poem of the same name. Earlier, during the first days of World War II, Auden had written his premonitory poem “September 1, 1939,” which proved enormously influential in its vision of the social and personal pathology that led to the outbreak of war. The poem’s close includes the prophetic line “We must love one another or die.” In the face of this bleak imperative, and with the Atomic Age fully underway but still in its infancy, Auden published The Age of Anxiety in 1947. It is a long, serious poem that uses narrative including four characters to develop his thematic confrontation with modernity. The poem enthralled Bernstein, who was already an ardent admirer of Auden’s work.

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“When I first read the book I was breathless,” he noted, and accounts of his compositional process suggest that he remained breathlessly inspired while he worked on the symphony. Though he considered other forms that might have accommodated a more literal embodiment of the poem’s narrative line (ballet or opera), the symphonic form provides the most intensive focus on Bernstein’s musical ideas while paralleling the poem’s six-part structure. The symphony’s six parts are divided into two halves, and while we do not hear the characters’ words, we sense their feelings and the progress of their discourse as they struggle to envision a future built upon humanity’s best qualities rather than the destructive traits that threaten its existence. Interestingly, passages of 12-tone serial music are juxtaposed with traditional lyricism, an especially apt combination in a work that explores both tradition and modernity. Though an older, sadder Auden tried to renounce the line “We must love one another or die,” that is how the symphony’s radiant ending leaves us.

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Annual Fund

Utah Symphony | Utah Opera is grateful to the corporations, foundations, & public institutions that sustain our mission and to those who have pledged multi-year gifts (recognized in bold). For more information, please call 801-869-9013.

ENCORE $100,000 & ABOVE AHE/CI Trust The Church of Jesus Christ of Latter-day Saints Dominion Energy George S. & Dolores Doré Eccles Foundation The Florence J. Gillmor Foundation Emma Eccles Jones Foundation Janet Q. Lawson Foundation

The Tony & Renee Marlon Charitable Foundation Larry H. & Gail Miller Family Foundation O.C. Tanner Company Perkins-Prothro Foundation John & Marcia Price Foundation Salt Lake County Salt Lake County Zoo, Arts & Parks

Shiebler Family Foundation Sorenson Legacy Foundation State of Utah 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

Marriner S. Eccles Foundation FJ Management, Inc. Grand & Little America Hotels*

Utah Symphony Guild

BRAVO $50,000 to $99,999 Carol Franc Buck Foundation Lawrence T. & Janet T. Dee Foundation

OVERTURE $25,000 to $49,999 Arnold Machinery B.M.W. of Murray | B.M.W. of Pleasant Grove The Brent & Bonnie Jean Beesley Foundation Chevron Corporation C. Comstock Clayton Foundation Deer Valley Resort** Moreton Family Foundation

Perkins-Prothro Foundation Montage Deer Valley** Charles Maxfield & Gloria F. Parrish Foundation S.J. & Jessie E. Quinney Foundation Simmons Family Foundation Harris H. & Amanda P. Simmons Foundation

Stein Eriksen Lodge** The Sam & Diane Stewart Family Foundation Summit Sotheby’s Nora Eccles Treadwell Foundation Vivint.SmartHome Wells Fargo Foundation

Donations received as of November 13, 2017

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(801) 533-NOTE

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MAESTRO $10,000 to $24,999 Adobe Bambara* B.W. Bastian Foundation R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine Foundation – Russell Family CenturyLink Community Foundation of the Lowcountry

Every Blooming Thing* Anne & 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

The New Yorker* Park City Chamber Bureau Promontory Foundation Salt Lake City Arts Council The Swartz Foundation Union Pacific Foundation University of Utah Health Utah Office of Tourism Workers Compensation Fund

Spencer F. & Cleone P. Eccles Family Foundation Flynn Family Foundation The Val. A. Green & Edith D. Green Foundation Holland & Hart** Huntsman International LLC J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City

Martine* Pro Helvetia, The Swiss Arts Council Raymond James & Associates Resorts West by Natural Retreats* St. Regis / Deer Crest Club U.S. Bancorp Foundation Utah Autism Foundation Victory Ranch & Conservancy

Graystone Consulting LOVE Communications Macy’s Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Park City Foundation Peczuh Printing* Ray, Quinney & Nebeker Foundation Sinclair Oil Corporation Snell & Wilmer

Snow, Christensen & Martineau Foundation Squatters Pub* Stay Park City Stoel Rives Swire Coca-Cola, USA* TraskBritt P.C. The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Fdn. Zuvii*

PATRON $5,000 to $9,999 Art Works for Kids! Bessemer Trust Berenice J. Bradshaw Trust The Capital Group Deluxe Corporation Foundation Discover Financial Services The Dorsey & Whitney Foundation Patricia Dougall Eager Trust

FRIEND $2,500 to $4,999 Bertin Family Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Boeing Employees Community Fund Robert S. Carter Foundation Castle Foundation Cope & Cope Investments, LLC D’Addario Foundation Diamond Rental* Henry W. & Leslie M. Eskuche Charitable Foundation Fanwood Foundation * In-kind donation ** In-kind and cash donation

UTAHSYMPHONY.ORG

(801) 533-NOTE

Donations received as of November 13, 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 the long-term well-being and stability of USUO and, through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9028 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 & Bambara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation

Kenneth† & Jerrie Randall The Evelyn Rosenblatt Young Artist Award Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner M. Walker & Sue Wallace

GIFTS MADE IN HONOR OF Dr. J. R. Baringer & Dr. Jeannette J. Townsend Neill & Linda Brownstein

Herond & Gaylen Hoyt Pamela Robinson-Harris & Jeff Harris

Joanne & Bill Shiebler The Right Reverend Carolyn Tanner Irish

GIFTS MADE IN MEMORY OF Jay T. Ball Janet Bennett Robert H. Burgoyne, M.D. Jeffrey L. Chaney Kathie Dalton Charles Dean Loraine L. Felton Rosalie Frost Ursula Gleason Joanne Johnson Muriel Lindquist Panos Johnson Joseph S. Knowlton

Valice M. Laramee Sonja Margulies Frank & Maxine McIntyre Bill Peters Glade & Mardean Peterson John A. Reinertsen Alvin Richer Kathryn Romney J. Ryan Selberg Bert Schaap Aurelia H. Schettler Catherine Schettler

Ben Schippen Rebecca “Becky” Sharp Sorensen Ann O’Neill Shigeoka, M.D. Claudia Silver-Huff Hope B. Stevens Patrick L. Wade Robert Van Wagenen Nadine Ward Ardean Watts John W. Williams Lawrence Young Martin Zwick

Donations received as of November 13, 2017

UTAH SYMPHONY

TANNER & CRESCENDO SOCIETIES

“You are the music while the music lasts.” ~T.S. Eliot

Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact Kate Throneburg at kthroneburg@usuo.org or 801-869-9028 for more information, or visit our website at usuo.giftplans.org.

TANNER SOCIETY OF UTAH SYMPHONY Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Doyle Arnold & Anne Glarner Dr. J. Richard Baringer Haven J. Barlow Edward† & Edith† Brinn Shelly Coburn Captain Raymond & Diana Compton Anne C. Ewers Flemming & Lana Jensen

James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bentley Kenneth A.† & Jeraldine S. Randall Mr.† & Mrs. Alvin Richer

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

Dianne May Dr. & Mrs. Louis A Moench Jerry & Marcia McClain Jim& Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn

Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser

Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Ms. Marilyn Lindsay Turid V. Lipman Herbert C. & Wilma Livsey

CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn Dr. Richard J & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage

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

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

†Deceased

UTAHSYMPHONY.ORG

(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.

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HER Duty HER Passion HER MAJESTY

SEASON 2 BEGINS JAN. 14, 8PM

ADMINISTRATION ADMINISTRATION Paul Meecham

Kate Throneburg

Mike Lund

David Green

Heather Weinstock

Manager of Special Events & DVMF Donor Relations

Joan Shiflett

Senior Vice President & COO

Julie McBeth

Alina Osika

Ali Snow

Lisa Poppleton

President & CEO

Executive Assistant to the CEO Executive Assistant to the COO & Office Manager

SYMPHONY ARTISTIC Thierry Fischer

Symphony Music Director

Anthony Tolokan

Vice President of Symphony Artistic Planning

Conner Gray Covington Assistant Conductor

Barlow Bradford

Symphony Chorus Director

Walt Zeschin

Director of Orchestra Personnel

Director of Individual Giving

Manager of Corporate Partnerships Grants Manager

Chelsea Kauffman Steven Finkelstein

Development Coordinator

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

RenĂŠe Huang

Director of Communications & Digital Media

Chad Call

Andrew Williams Lance Jensen

Website Manager

Mike Call

Executive Assistant to the Music Director & Symphony Chorus Manager

Aaron Sain

SYMPHONY OPERATIONS Jeff Counts

Kathleen Sykes

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 Creative and Brand Strategy Digital Content Producer

Steven Jerman

Junior Graphic Designer

PATRON SERVICES Nina Starling

Director of Patron Engagement

Opera Company Manager

Mandi Titcomb

Opera Production Coordinator

DEVELOPMENT Leslie Peterson

Vice President of Development

Hillary Hahn

Senior Director of Institutional Gifts

Natalie Cope

Director of Major Gifts

Patron Information Systems Manager

Julie Cameron

Accounts Payable Clerk

EDUCATION Paula Fowler

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

Scenic Charge Artist

Andrew J. Wilson

COSTUMES Verona Green

Patron Services Manager

Robb Trujillo

Group Sales Associate

Ellesse Hargreaves

Marketing Manager - Patron Loyalty

Michelle Peterson

Jared Mollenkopf

Dusty Terrell

0PERA ARTISTIC Christopher McBeth Principal Coach

Payroll & Benefits Manager

Sales Manager

Artist Logistics Coordinator

Carol Anderson

Alison Mockli

Faith Myers

Patron Services Assistant

Opera Artistic Director

Controller

Annual Fund Coordinator

Marketing Manager - Audience Development

Orchestra Personnel Manager

Director of Information Technologies

Rachel Campbell

Genevieve Gannon Sarah Pehrson Jackie Seethaler Powell Smith Sales Associates

Nick Barker Mat Jagiello Mara Lefler Rhea Miller Pat Murnin Anthony Roberts Ananda Spike

Costume Director

Melonie Fitch

Rentals Supervisor

Jessica Cetrone Kierstin Gibbs LisaAnn DeLapp

Rentals Assistants

Amanda Reiser Meyer Wardrobe Supervisor

Milivoj Poletan Tailor

Tiffany Lent

Cutter/Draper

Donna Thomas

Milliner & Crafts Artisan

Ticket Agents

Chris Chadwick Yoojean Song Connie Warner

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Yancey J. Quick Daniel Hill Michelle Laino

Vice President of Finance & CFO

Stitchers

Wigs/Make-up Crew

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

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HOUSE RULES

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

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

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

YOUNG CHILDREN Utah Symphony | Utah Opera welcomes children 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 for a list of these special performances. All children,

UTAHSYMPHONY.ORG

(801) 533-NOTE

regardless of age, must have their own tickets for all performances. No babes-in-arms are allowed unless specifically indicated.

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

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

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

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

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

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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

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

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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

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Consistently Rated Rated“Tops” “Tops”–Zagat –Zagat • anConsistently american contemporary café • 6060W.W.Independent Market MarketStreet Street• •801.363.0166 801.363.0166 Local, Chef Owned

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Whether it’s before or after service the showand or award an evening dining, dining,providing providing exceptional exceptional service and award winning. winning. dinner with friendsmenu and family—enjoy cutquality steaks, The Thecontemporary contemporary menu features featuresthe thehand highest highest quality fresh seafood, locally-crafted beers, classically available. available.Select Selectfrom froman anabundant abundantoffering offeringofoffresh fresh inspired cocktails and an award wine list. seafood seafoodflown flowninindaily, daily, Angus Angus Beef Beefwinning steaks, steaks,and andaa variety variety L,D,ST,C,LL,RA,CC, V S. 801-238-4748 ofofnon-seafood non-seafooddishes. dishes.Open Open7 7days daysaaweek weekserving serving breakfast, breakfast,lunch, lunch,dinner, dinner,Sunday SundayBrunch. Brunch.B,B,L,L,D,D,C,C,AT, AT,S,S, LL, LL,CC, CC,VS. VS.801.322.4668 801.322.4668

MARTINE MARTINE22 22East East 100 100BREWERY South. South.Award Awardwinning winning ambience, ambience, SQUATTERS PUB 147 West located locatedininaaSLC. historic historic brownstone. Martine Martine offers Salt Salt Lake Lake Broadway Joinbrownstone. us before and after offers the show for City Cityaasophisticated sophisticated dining dining experience experience kept simple.Locally Locally eclectic daily specials and traditionalkept pubsimple. favorites such sourced sourced ingredients, ingredients, pre-event pre-event $25 $25three three courseprix prix fixe. fixe. as bacon topped meatloaf, pizzas and acourse delicious array Extensive Extensive bar bar and wine wine service. service. martinecafe.com martinecafe.com of burgers, alland paired with our world-class beer and L,welcoming L,D,D,T,T,LL, LL,RA, RA, CC, CC,VS. VS.801-363-9328 801-363-9328 atmosphere. L, S, AT ,LL, D, CC, VS

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801-363-2739 B-Breakfast B-BreakfastL-Lunch L-LunchD-Dinner D-DinnerS-Open S-OpenSunday SundayDL-Delivery DL-DeliveryT-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre

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 Top Photo: Image licensed by Ingram Image

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