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THE LITTLE PRINCE RACHEL PORTMAN & NICHOLAS WRIGHT'S
JAN 19 - 27
J. Q. LAWSON CAPITOL THEATRE
UTAHOPERA.ORG
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RACHEL PORTMAN & NICHOLAS WRIGHT’S
THE LITTLE PRINCE
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PG.
Jacob A. Climer - design for The Little Prince (The Little Prince)
6 Welcome 7 Artistic Director’s Welcome 8 Fun Facts 10 The Author Antoine de Saint-Exupéry 15 Board of Trustees 16 The Little Prince 20 Production Sponsors 22 Synopsis 27 Company / Artistic Staff / Chorus 33 Utah Symphony 34 Composer / Librettist 36 “Please, Draw Me a Sheep” Children in Opera 40 Director Notes 43 Support USUO 44 Donors 60 Legacy Giving 61 Crescendo & Tanner Societies 62 Administration 64 Acknowledgments
PRELUDE LECTURES Prelude lectures by principal coach Carol Anderson offer insights before each Utah Opera production. This introduction includes historical context, musical highlights, and a behind-the-scenes perspective. Preludes are free with your opera ticket and begin one hour before curtain in the Capitol Room.
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Welcome It is our pleasure to welcome you to the Janet Quinney Lawson Capitol Theatre and this performance of a new production of The Little Prince by Oscar-winning composer Rachel Portman and librettist Nicholas Wright. There are several reasons why we are especially proud to present this work: new sets and costumes have been created by Utah Opera’s skilled in-house scenic and costume artisans; we are thrilled to collaborate with the talented youth of The Madeleine Choir School; and the presentation of this charming addition to the contemporary opera literature supports our goal to attract families and new, younger members of the audience to the magic of opera.
Paul Meecham President & CEO
Kem Gardner USUO Board of Trustees Chair
In fact, Utah Symphony | Utah Opera is passionate about its extensive offerings for the benefit of students and young audiences. Did you know that in addition to the more than 100 subscription concerts and operas presented in our home venues, USUO performs more than 250 education concerts statewide every year? And that nearly one-third of our total audience is comprised of students? For example, the Utah Opera Resident Artists who are featured in today’s opera also travel the state performing a variety of age-appropriate programs in Utah’s schools and the final dress rehearsal for each Utah Opera production is attended by secondary school students. These events are just a few of the many programs we offer free of charge to supplement the core music curriculum for Utah students. Our ability to reach so many students is due, in significant part, 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 donors who cumulatively match the state’s support. Thank you for your support and advocacy of Utah Symphony | Utah Opera, and please thank your legislators for their support. It is through your involvement that we are able to connect the community through great live music! With sincere best wishes for a healthy and prosperous new year,
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UTAH OPERA 2018–19 SEASON
Artistic Director’s Welcome Dear Utah Opera friends and family, I am so happy you’ve chosen to join us for this performance. Utah Opera begins this New Year with a new production of the opera derived from one of the most beloved and well-known books—Antoine de Saint-Exupéry’s The Little Prince. This presentation is part of Utah Opera’s commitment to offering at least one performance each season that can be enjoyed by the entire family. Rachel Portman’s fame for composing film scores is well-known and in this opera she doesn’t fail to deliver the same rich, entertaining, and colorful music for which she is celebrated.
Christopher McBeth Artistic Director
It wasn’t all that long ago that I first encountered this charming work. I found myself wide-eyed and grinning through nearly all of it (except for the snake, of course) and afterwards was immediately convinced this was an opera for our audience. The beautiful music, the colorful characters, and the charming familiar story comes together wonderfully in this piece. I know you will love it as much as I did and still do! I often share with my colleagues from around the country that, in addition to an enthusiastic and supportive audience, Utah Opera enjoys an artistic partnership that is second to none. That partner is The Madeleine Choir School. We have benefited from MCS participation in our productions that call for children’s chorus for over fifteen years and their contributions always raise the bar. In fact, I never would have planned this particular opera without this invaluable collaboration and, furthermore, believe wholeheartedly that this presentation of The Little Prince will likely be one of the finest ever enjoyed anywhere in the world because of it. Please enjoy this remarkable and special opera. Sincerely,
Join Christopher for an audience Q&A directly following each performance in the Capitol Room.
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Fun Facts
Jacob A. Climer - design for The Little Prince (The Fox)
• Le Petit Prince, or The Little Prince, is a novella written and illustrated by Antoine de SaintExupéry. The book was written in French and published in 1943. • The novella has since been translated into over 300 languages and dialects. • The Little Prince has been adapted into numerous art forms including movies, plays, radio broadcasts, a graphic novel, a ballet, and of course, an opera. • One of the more popular adaptions is a 1974 musical film starring Bob Fosse as the Snake and Gene Wilder as the Fox. • The opera, composed by Rachel Portman with libretto by Nicholas Wright, was commissioned by the Houston Grand Opera and premiered there in 2003. It is sung in English with English supertitles.
Jacob A. Climer - design for The Little Prince (The King) 8
• An animated film called The Little Prince premiered at the Cannes Film Festival in May 2015. It is not a straight adaptation of the book but rather tells the story of a young girl and the unlikely friendship she creates with an old aviator who shares the story of The Little Prince with her. UTAH OPERA 2018–19 SEASON
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The Author Antoine de Saint-Exupéry The Little Prince
Utah Opera - 2019 - Jaclimer - SCENIC design
ACT I - VAIN MAN Jacob A. Climer - design for The Little Prince Act I (Vain Main)
Antoine de Saint-Exupéry was born on June 29, 1900, to an aristocratic family in Lyon, France. His father died just after his fourth birthday, leaving his family impoverished and Saint-Exupéry as man of the house. After failing his final exams at the preparatory Naval Academy, Saint-Exupéry enrolled in the École des Beaux-Arts to study architecture. But it wasn’t long before he dropped out and began accepting odd jobs. In 1921, Saint-Exupéry began service in the military, first as a private soldier and then as a pilot in the French Air Force. He took a brief hiatus from flying but began again in 1926, becoming one of the pioneers of international postal flight. During his years as a pilot, Saint-Exupéry began writing. He was established as a rising star in the literary world with the publication of his 1931 novel Vol de nuit (Night Flight) about his experiences as a mail pilot. In 1935, Saint-Exupéry and his co-pilot crashed their plane in the Sahara while flying from Paris to Saigon. Both men 10
survived the crash but experienced intense dehydration and hallucinations. After four days in extreme desert heat they were discovered and saved using a native rehydration treatment. This experience was prominently featured in Saint-Exupéry’s memoir Wind, Sand, and Stars and proved a crucial inspiration for a scene in The Little Prince. After France fell to the Germans in 1940, Saint-Exupéry and his wife, Consuelo, fled to New York. It was in New York that he was encouraged to write a children’s book based on the “little fellow” he frequently doodled on napkins and tablecloths. The Little Prince was published in 1943 and has become Saint-Exupéry’s best-known work. Later, Saint-Exupéry returned to France to fight and fly with the Free French Air Force. In 1944, while flying a reconnaissance mission over France, Saint-Exupéry’s aircraft disappeared, presumably shot down by German forces. The wreckage was finally found in 2004, in the Mediterranean Sea near Marseilles. UTAH OPERA 2018–19 SEASON
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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 Judy Moreton 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*
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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 Spencer F. Eccles NATIONAL ADVISORY COUNCIL
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The Little Prince The Little Prince Opera in two acts Music: Rachel Portman (b. 1960) Libretto: Nicholas Wright (b. 1940) Based upon the novella The Little Prince by Antoine de Saint-Exupéry “All grown-ups were once children— although few of them remember it.” Born in 1900 in Lyons, France, Antoine de Saint-Exupéry led a life more improbable than even his magical books would suggest. He was insatiably curious and drawn to adventure from his earliest days. When he failed entrance examinations for the French naval academy, he turned to his love of aviation, joining the French Army Air Force in 1921. Within five years, he left the military to fly dangerous airmail routes serving remote settlements in the Sahara. Piloting an open-cockpit biplane over open desert, Saint-Exupéry fit the mold of the daring aviator, surviving numerous crashes and close calls with high-risk flying conditions and indigenous cultures in Africa. The dangers not only thrilled him; they also seemed to keep alive the sense of wonder that fired his imagination when he read aviation stories as a child. At the outbreak of World War II, SaintExupéry rejoined the French Air Force. When Nazi troops entered France in 1940 and marched on Paris, he came to the U.S. hoping to join the American armed forces as a fighter pilot. But at age 40 he was considered too old. Thousands of miles from his homeland and barred from fighting to defend it, he turned inward to the experiences 16
Article by Michael Clive
that had illuminated his life. He remembered his childhood and his flights in the African desert, and wrote what became one of the most widely read books ever written: to date The Little Prince has sold more than 200 million copies and has been translated into 300 languages. (Who knew there were so many?) It is the most popular and most influential literary work ever written in the French language, and continues to sell in the millions every year. Considering the book’s very Gallic “flava,” American readers are sometimes surprised to learn that The Little Prince was written and first published in New York, where SaintExupéry, like his fictional aviator, was stranded. As he prepared to leave the city to rejoin the war effort as a reconnaissance pilot, he paid a call on a friend, the journalist Sylvia Hamilton Reinhardt. He had been in New York for two years, and had come to say goodbye. He arrived at her door wearing his military uniform and told her, “I’d like to give you something splendid, but this is all I have.” The rumpled paper bag he left on the table in her entryway contained a bunch of manuscript pages and drawings. Reinhardt arranged for publication of the bag’s contents, which emerged as The Little Prince. Now marking its diamond anniversary, this slender volume tells of an interstellar traveler from a much smaller planet who comes to ours in search of friendship and understanding. The illustrations and the prose, even in translation, have an elegant simplicity that is very charming and unmistakably French. UTAH OPERA 2018–19 SEASON
The Little Prince Flash forward about 60 years and we encounter the successful British composer Rachel Portman. She is noted for her lush film scores and is happily married to producer Uberto Pasolini, with whom she has three daughters. As a composer, Portman has achieved a level of success that is rare, including an academy award (for the 1997 hit film Emma). But as a mother, Portman wanted to give her daughters something that money seemingly couldn’t buy: really good live theater for children. There simply was not enough of it around. And so she hit upon the idea of writing an opera based upon The Little Prince. To ground herself in the project and develop an aural palette for rendering Saint-Exupéry’s world, Portman travelled to the Moroccan desert. There she sought to get the feel of the desert and to hear the “sound” of the sand, goals that entailed—among other things—riding atop a camel in a caravan for three “chokingly hot” days. She witnessed sights firsthand that she had only known from Saint-Exupéry’s prose and drawings, including sandstorms, the desert light and night sky, and the stone wells that are revered as sacred places. Returning home to London, she composed at the keyboard with the novella open at her elbow. The Little Prince delighted audiences with its premiere production in Houston in 2003, and has continued to do so since. The opera is scored for an orchestra of 26, which happens to be the size of the traditional Broadway pit orchestra; Portman has said this theatrical scale affords a transparency that is right for the story’s mirage-like UTAHOPERA.ORG / (801) 533-NOTE
luminosity. “What’s so beautiful about Saint-Exupéry’s thin little book,” she told an interviewer, “is its simplicity— which I was careful to preserve.” But the opera’s vocal forces are necessarily larger, with a sizable children’s chorus and 10 vocal principals, since, as SaintExupéry reminds us, “all adults were once children—though few of them remember it.” The Story of The Little Prince Having crashed in the desert, an airplane pilot is stranded. His plane damaged, and his food and water are in short supply. He is approached by a blond boy who asks him to draw a sheep, and they become friends. The pilot learns that the boy is a prince from a small planet that was in his care. The little prince recounts his experience with a rose that he loved but that betrayed his trust. Despite a last-minute reconciliation with her, he grew lonely and left. The prince tells the aviator of his travels and of the various things that have crossed his path—people, animals, even plants. On a quest for understanding and companionship, he has visited neighboring asteroids and encountered the strangeness of grownups. His new acquaintances have included a king, a vain man, a drunkard, a businessman, a lamplighter, and a geographer. As grownups, they are blinded by their work and their misconceptions, and are even lonelier than he. Now, on Earth, he has found himself in the desert, where a snake that speaks in riddles has hinted that the venom of his bite could send him back to the 17
The Little Prince heavens, if that is his wish. But a fox also befriends the prince, teaching him that the most important things in life are visible only to the heart. Water is dwindling perilously. On the pilot’s eighth day in the desert, he and the prince succeed in finding a well. Now refreshed in spirit as well as in body, the prince and the pilot reach a deeper level of friendship. They have learned the lessons of the prince’s travels and the pilot’s hardships. The following day, the prince is gone. The pilot feels the happiness of knowing that the prince has returned to his asteroid, and the sorrow of missing his dear friend. Siblings in Song The Little Prince belongs to a category of profoundly beautiful fairy tale operas that are equally rewarding to children and adults. Accordingly, many critics have drawn parallels between Portman’s The Little Prince and other examples of the genre, including Mozart’s The Magic Flute, Janáček’s The Cunning Little Vixen, and Ravel’s L’enfant et les sortilèges. But as a character, Saint-Exupéry’s prince belongs to a very different category that is distinctly American: the mysterious stranger who comes into our lives and changes us in ways we do not fully understand or appreciate until he or she moves on. The classic Hollywood Western Shane is about such a character, and so are two popular American songs that were inspired by The Little Prince: “Nature Boy” and “Passing Through.” The Little Prince was first published in 18
1943; five years later, and just three years after the end of World War II, a plain-living songwriter named eden ahbez (he insisted on lower-case spelling) managed to put a brief composition into the hands of Nat King Cole, and it became a strange hit known as “Nature Boy:” There was a boy A very strange enchanted boy They say he wandered very far, very far Over land and sea A little shy and sad of eye But very wise was he And then one day A magic day he passed my way And while we spoke of many things Fools and kings This he said to me The greatest thing you’ll ever learn Is just to love and be loved in return The lyrics are brief, but they deftly distill the prince’s experiences and his wise, melancholy demeanor. As if to prove the point, grownups nearly thwarted the release of this song, and its success took them by surprise. That same year, English professor Richard Blakeslee wrote a song that connects the wandering stranger to religious ideas and to the principles for which Saint-Exupéry fought. Here the stranger, like the prince and like “Nature Boy,” is just “Passing Through:” Passing through, passing through, Sometimes happy, sometimes blue. Glad that I ran into you; Tell the people that you saw me passing through.
UTAH OPERA 2018–19 SEASON
The Little Prince I saw Adam leave the garden With an apple in his hand, I said, “Now you’re out What are you gonna do? Plant some crops and pray for rain, Maybe raise a little Cain, I’m an orphan and I’m only passing through.” Passing through, passing through… I saw Jesus on the cross On that hill called Calvary. “Do you hate mankind for what they’ve done to you?” He said, “Speak of love, not hate. Things to do, it’s getting late, I’ve so little time and I’m just passing through.” Passing through, passing through… I shivered with George Washington One night at Valley Forge, “Why do the soldiers freeze here like they do?” He said, “Men will suffer, fight, Even die for what is right,
Even though they know they’re only passing through.” Passing through, passing through… I was at Franklin Roosevelt’s side Just a while before he died, He said, “One world must come out of World War Two, Yankee, Russian, white or tan, Lord, a man is just a man, We’re all brothers and we’re only passing through.” Passing through, passing through… Michael Clive’s writing on music and the arts has appeared in publications throughout the U.S. and in the U.K., as well as on the Internet (for Classical TV.com and Classical Review) and television (for the PBS series Live From Lincoln Center). He is program annotator for the Utah Symphony, the Louisiana Philharmonic Orchestra and the Pacific Symphony, and is editor-in-chief of The Santa Fe Opera.
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Production Sponsors Utah Opera gratefully acknowledges the following generous sponsors who have made this production of The Little Prince possible.
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UTAH OPERA 2018–19 SEASON
Program
The Little Prince
The Little Prince January 19–27 | 2019
Janet Quinney Lawson Capitol Theatre Composed by Rachel Portman Libretto by Nicholas Wright Based upon the original book by Antoine de Saint-Exupéry First performed at the Houston Grand Opera in 2003 Utah Opera Premiere Sung in English with English Supertitles
COMPANY
Little Prince . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nitai Fluchel* The Pilot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jared Bybee The Fox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Melanie Ashkar** The Rose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grace Kahl** The Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Melissa Heath The Snake/Vain Man . . . . . . . . . . . . . . . . . . . . . Joshua Lindsay Lamplighter/Drunkard . . . . . . . . . . . . . . . . . Addison Marlor** Businessman . . . . . . . . . . . . . . . . . . . . . Jesús Vicente Murillo** The King . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Tyrell Wilde
ARTISTIC STAFF
Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . James Lowe Stage Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tara Faircloth Children’s Chorus Director . . . . . . . . . . . . . . Melanie Malinka Assistant Conductor . . . . . . . . . . . . . . . . . Michaella Calzaretta Set and Costume Design . . . . . . . . . . . . . . . . . Jacob A. Climer Lighting Design . . . . . . . . . . . . . . . . . . . . . . . . . . . Mark Stanley Makeup Design . . . . . . . . . . . . . . . . . . . . . . . . . . Kate Casalino Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Assistant Coach . . . . . . . . . . . . . . . . . . . . . . Robert Bosworth** Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . Emilio Casillo Stage Manager . . . . . . . . . . . . . . . . . . . . . Amber Lewandowski Assistant Stage Manager . . . . . . . . . . . . . . . . . . Annie Brantley Supertitle Musician . . . . . . . . . . . . . . . . . . . . . . . Chad DeMaris
*Chorister of The Madeleine Choir School ** Utah Opera Resident Artists
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The Little Prince
Synopsis
The Little Prince
Utah Opera - 2019 - Jaclimer - SCENIC design
ACT iI - The Well / Water Jacob A. Climer - design for The Little Prince Act II (The Well / Water)
Prologue The Pilot explains that, when he was six years old, he saw a picture of a wild beast being eaten by a boa constrictor. This inspired him to draw a picture of his own, showing the snake digesting its prey. But the grownups he showed it to discouraged him from drawing and told him to concentrate on conventional subjects. Now he is a pilot, flying far above the earth among the stars. Act I The stars sing to each other, and a group of stars above the Sahara sees a sandstorm forcing the Pilot’s airplane to the ground. The Pilot is reflecting on the danger he is in when a curious little boy—the Little Prince—appears. He asks the Pilot to draw him a sheep. Intrigued, the Pilot tries to learn more about the boy. 22
Gradually, the Little Prince tells his story. He explains that he comes from a tiny planet, Asteroid B-612, which is in danger of being taken over by enormous baobab trees. This is why he wants a sheep in the first place: he hopes it will eat the baobab sprouts. He is worried, however, that the sheep will also eat flowers, as there is a special flower—a Rose—that the Little Prince wants very much to protect. The Pilot promises to draw a muzzle for the sheep so that it can’t eat the flower. The Pilot describes the Little Prince nurturing his Rose and waiting for her to come into bloom. When the Prince learns that her greatest fear is of catching a chill, he hastens to find a dome. She rebukes him sharply: placing her under a glass is not the way to please her. She urges him to seek wisdom in the worlds around him, and then return to her. UTAH OPERA 2018–19 SEASON
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The Little Prince
Synopsis
A flock of birds takes the Little Prince They set off in search of a well, and are on his journey. He visits the planets refreshed and saved by the water they of a King, a Vain Man, a Drunkard, a find. But the Little Prince’s visit to Earth Businessman, and a Lamplighter. The is coming to an end. He tells the Pilot to Little Prince is bewildered by the go back to his plane and return the next behavior of all these grownups, except night. Filled with dread, the Pilot leaves. the Lamplighter, whom he respects—by When he comes back, he finds the Little tending his lamp, he is doing something Prince making an agreement with the useful. The Little Prince thinks anxiously Snake. The Prince tells the Pilot that it about his beloved flower, whom he has is time for him to return to his planet. left alone and defenseless. Determined He reassures him that he is not about to continue his travels, however, he flies to die, and that his body is just a shell: on to the planet Earth. “Anything essential is invisible to the eye.” The Snake strikes and the Little INTERMISSION Prince disappears, leaving the Pilot alone in the desert. The Pilot addresses Act II the audience: “Wait a while beneath a The Little Prince arrives on Earth and star, and if a child arrives with golden meets a Snake, who cryptically claims hair, who laughs and disappears, make that with one touch, he can send him sure you tell me he’s returned.” back to the place from which he came. “I’ll help you find your way back home,” the Snake promises. The Little Prince continues exploring Earth and finds a rose garden. He is distressed to see so many beautiful flowers, because he thought his Rose was the only one of her kind. Fox hunters appear with their guns. Once they have gone, their quarry comes out of hiding. The Little Prince asks the Fox to play with him. But the Fox refuses, saying, “I’ve not been tamed.” The Little Prince learns what “taming” means. “Tamers care for what they’ve tamed. You’ll always be responsible for your Rose,” the Fox explains. The Prince realizes that his Rose is, after all, unique, because of his love for her. The Prince has finished recounting his adventures, and the Pilot reminds him that it’s been eight days since his plane crash and they are running out of water. UTAHOPERA.ORG / (801) 533-NOTE
Jacob A. Climer - design for The Little Prince (The Rose) 25
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The Little Prince
Company
Jared Bybee (California) The Pilot Utah Opera Debut Recently: Manon Lescaut, Gran Teatre del Liceu; Il barbiere di Siviglia, Arizona Opera; The (R)evolution of Steve Jobs, The Santa Fe Opera
Melanie Ashkar (Virginia) The Fox Most Recently at Utah Opera, Die Fledermaus Current Utah Opera Resident Artist Recently: Candide, Messiah, Utah Symphony; The Magic Flute, Central City Opera; Gianni Schicchi, Utah Opera Upcoming: The Magic Flute, Utah Opera Grace Kahl (New York) The Rose Utah Opera Debut Current Utah Opera Resident Artist Recently: Candide, Messiah, Utah Symphony; The Tender Land, Rusalka, Des Moines Metro Opera; The Magic Flute, Intermountain Opera Bozeman Upcoming: The Magic Flute, Utah Opera Melissa Heath (Utah) The Water Utah Opera Debut Recently: Le nozze di Figaro, Utah Lyric Opera, Concerts at the Presidio; Dona Nobis Pacem, Messiah, Temple Square Chorale; Carmina Burana, Ballet West Upcoming: Knoxville: Summer of 1915, Sinfonia Salt Lake
UTAHOPERA.ORG / (801) 533-NOTE
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The Little Prince
Company
Joshua Lindsay (California) The Snake/Vain Man Utah Opera Debut Recently: Adriana Lecouvreur, Badisches Staatstheater Karlsruhe; Tannhäuser, Turandot, Fidelio, Tiroler Landestheater; The Queen of Spades, Theater Ulm
Addison Marlor (Utah) Lamplighter/Drunkard Utah Opera Debut Current Utah Opera Resident Artist Recently: Sapho, Washington Concert Opera; Candide, Utah Symphony; The Rake’s Progress, Sāvitri, Merola Opera Program; Upcoming: The Magic Flute, Norma, Utah Opera Jesús Vicente Murillo (Michigan) Businessman Most Recently at Utah Opera, Roméo et Juliette Current Utah Opera Resident Artist Recently: Moby-Dick, Gianni Schicchi, Utah Opera; Messiah, Candide, Utah Symphony; Cyrano, La fanciulla del West, Michigan Opera Theater Upcoming: The Magic Flute, Utah Opera Tyrell Wilde (Washington) The King Most Recently at Utah Opera, Salome Recently: Gianni Schicchi, Brigham Young University; La bohème, BYU; Le nozze di Figaro, BYU
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UTAH OPERA 2018–19 SEASON
The Little Prince
Artistic Staff
James Lowe (New York) Conductor Most Recently at Utah Opera, Florencia en el Amazonas Recently: The Lion, the Unicorn and Me, Washington National Opera; La bohème, Houston Grand Opera; Turandot, Tulsa Opera Upcoming: West Side Story, Lyric Opera of Chicago; Showboat, Glimmerglass Festival Tara Faircloth (Texas) Director Most Recently at Utah Opera: Pagliacci/Gianni Schicchi Recently: Il re pastore, Merola Opera Program; Agrippina, Ars Lyrica Houston; Tosca, Arizona Opera Upcoming: L’incoronazione di Poppea, Boston Baroque; Rigoletto, Austin Opera Michaella Calzaretta (Iowa) Assistant Conductor Most Recently at Utah Opera, Roméo et Juliette Recently: Harry Potter and the Prisoner of Azkaban, Candide, 1812 Overture, Utah Symphony; Patience, University Gilbert and Sullivan Society Upcoming: Utah Opera 2018–19 season Jacob A. Climer (Texas) Scenic and Costume Design Most Recently at Utah Opera, The Abduction from the Seraglio Recently: The Flying Dutchman; Houston Grand Opera, Atlanta Opera, Cincinnati Opera; Rusalka, Des Moines Metro Opera; Ariadne auf Naxos, Opera Philadelphia
UTAHOPERA.ORG / (801) 533-NOTE
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The Little Prince
Artistic Staff
Mark Stanley (Washington DC) Lighting Design Utah Opera Debut Recently: La traviata, Portland Opera Company; Rigoletto, Wolf Trap Opera Company; Jewels, Bayerische Staatsoper Upcoming: Coppelia, Boston Ballet; Ballet X, Nicolo Fonte World Premiere Kate Casalino (New York City) Wig/ Makeup Design Most Recently at Utah Opera, Roméo et Juliette Recently: Candide, Utah Symphony; Die Fledermaus, Pagliacci/Gianni Schicchi, Utah Opera; Gettin’ The Band Back Together, Broadway; Usher House, The Canterville Ghost, LA Opera; Saint Joan, Manhattan Theater Club Melanie Malinka (Germany) Children’s Chorus Director Most Recently at Utah Opera, Pagliacci Recently: Britten’s A Ceremony of Carols, The Cathedral of the Madeleine International Performance Tour to Venice, Florence, Assisi, Rome, MCS La bohème, Utah Opera
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UTAH OPERA 2018–19 SEASON
The Little Prince
The Madeleine Choir School
Choristers of The Madeleine Choir School Melanie Malinka, Director of Music, The Madeleine Choir School Aaron Burris Aidan Slade Conboy Curtis Coudreaut Franco Foster Emmy Gilbert William Glenn Emma Humiston Lorraine Hyngstrom Liam Khor-Brogan
Roisin Khor-Brogan Sam Klemesrud Oliver Laughlin Sam Macklyn Claire Sophie MalinkaThompson Sophie Mokhiber Thomas Morelli Helena Nordhoff
Georgia Ohman Max Ray Frances Reed Henry Ryan Lucy Starks Abbey Trewitt Marlo Trewitt
Located in downtown Salt Lake City, The Madeleine Choir School is far more than a music school. MCS offers students strong character formation and a holistic approach to exceptional age appropriate learning. Modeled after the historic cathedral schools in Europe, the Choir School music curriculum is unmatched and also provides outstanding instruction in the humanities, mathematics and the sciences, as well as foreign languages, visual arts, theology, and athletics. Students graduate from the Choir School having received an exceptional music education, including intensive vocal training, music theory, music history, and a minimum of two years of violin study. The Madeleine Choir School, a mission of the Roman Catholic Bishop of Salt Lake City and a service of The Cathedral of the Madeleine, is an elementary school for children in Pre-Kindergarten through Grade Eight. Established in 1996, the school continues the cathedral tradition of inspiring young people to become engaged scholars, effective communicators, dedicated liturgical musicians, and responsible world citizens who seek to build a civilization of justice, mercy and love. The choristers in Grades Five through Eight regularly assist with worship life at The Cathedral of the Madeleine and participate in the Annual Concert Series. During the academic year, they can be heard at the Cathedral’s 5:15 p.m. Mass Monday through Thursday, and on Sundays at the 11:00 a.m. Mass. The students travel on international and national performance tours, and regularly collaborate with the Utah Symphony | Utah Opera and other local arts organizations. The Choristers of The Madeleine Choir School were honored to partner with The Utah Symphony on their recently released recording of Gustav Mahler’s Symphony No. 8 also featuring the Mormon Tabernacle Choir. Please visit our website at utmcs.org for a list of scheduled admissions events, or contact our Director of Admissions at admissions@utmcs.org or 801.323-9850 extension #103. UTAHOPERA.ORG / (801) 533-NOTE
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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 McCarthey 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
Utah Symphony
The Little Prince
Thierry Fischer, Music Director
The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson† Associate Concertmaster David Porter Acting Associate Concertmaster David Park Assistant Concertmaster
VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Elizabeth Beilman Acting Associate Principal Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Whittney Thomas CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang
Claude Halter Principal Second
BASS* David Yavornitzky Principal
Wen Yuan Gu Associate Principal Second
Corbin Johnston Associate Principal
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
James Allyn Benjamin Henderson†† 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
UTAHOPERA.ORG / (801) 533-NOTE
OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair
TROMBONE Mark Davidson Principal
Robert Stephenson Associate Principal
BASS TROMBONE Graeme Mutchler
Lissa Stolz
TUBA Gary Ofenloch Principal
ENGLISH HORN Lissa Stolz CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell Erin Svoboda Associate Principal
Sam Elliot Associate Principal
TIMPANI George Brown# Principal Eric Hopkins Acting Principal Michael Pape Acting Associate Principal
Lee Livengood
PERCUSSION Keith Carrick Principal
BASS CLARINET Lee Livengood
Michael Pape Stephen Kehner††
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 Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal
LIBRARIANS Clovis Lark Principal Katie Klich ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager
• First Violin •• Second Violin * String Seating Rotates † On Leave # Sabbatical †† Substitute Member
Jeff Luke Associate Principal Peter Margulies Gabriel Slesinger††
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The Little Prince
Composer / Librettist
Rachel Portman composer Rachel Portman was born in west Sussex, England. She began composing at the age of 14 and read music at Oxford University. Whilst there, she became interested in writing music for student films and theatre productions. She gained experience writing music for drama in BBC and Channel 4 films such as Oranges Are Not the Only Fruit, Mike Leigh’s Four Days In July and Jim Henson’s Storyteller series; however the majority of her work has been in film. Rachel won an Academy award for her score for Emma and Academy nominations for Chocolat and Ciderhouse Rules. She has been fortunate to work with directors Roman Polanski (Oliver Twist), Norman Jewison (Only You), Jonathan Demme (Beloved, Truth About Charlie, Manchurian Candidate), Robert Redford (Legend of Bagger Vance), Mike Leigh (Life is Sweet), as well as countless others. Her list of film scores includes The Vow, Never Let Me Go, One Day, Snow Flower and the Secret Fan, Grey Gardens (HBO), The Duchess, Infamous, Lake House, Hart’s War, Human Stain, Marvin’s Room, Benny and Joon, Joy Luck Club, Smoke, Nicholas Nickleby and Where Angels Fear to Tread. She has written a musical of Little House on the Prairie as well as an opera of Saint-Exupéry’s The Little Prince for Houston Grand Opera and The Water Diviner, a dramatic choral symphony commissioned for the BBC Proms concerts. She was appointed Officer of the Order of the British Empire (OBE) in the 2010 New Year Honours. Rachel lives in London with her three daughters. 34
Nicholas Wright librettist Nicholas Wright’s plays include Vincent in Brixton (Olivier Award for Best New Play 2003), and Mrs Klein, both at the National Theatre, in the West End and in New York; Treetops and One Fine Day at Riverside Studios; The Gorky Brigade at the Royal Court; The Crimes of Vautrin for Joint Stock; The Custom of the Country and The Desert Air for the RSC and Cressida for the Almeida in 2000. His play The Reporter opened at the National Theatre in February 2007. Adaptations: His Dark Materials, Three Sisters and John Gabriel Borkman for the National; Thérèse Raquin at Chichester and the National Theatre and Naked and Lulu at the Almeida. Screenplays include adaptations of novels by Patrick Hamilton, Doris Lessing, Josef Skvorecky, Armistead Maupin and Ford Madox Ford. He wrote the libretti for Rachel Portman’s opera The Little Prince (Houston Grand Opera, 2003) and for Jonathan Dove’s television opera about the Apollo 11 moon landing, Man on the Moon. (Rose d’Or opera special prize 2007) His writing about the theatre includes 99 Plays, a personal view of playwriting from Aeschylus to the present day and Changing Stages, a view of British theatre in the Twentieth Century, cowritten with Richard Eyre.
UTAH OPERA 2018–19 SEASON
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“Please, Draw Me a Sheep” Children in Opera By Jeff Counts
The Little Prince
Utah Opera - 2019 - Jaclimer - SCENIC design
ACT I - FINALE Jacob A. Climer - design for The Little Prince Act I Finale
Antoine de Saint-Exupéry’s 1943 classic The Little Prince was a book made for opera. The themes are blunt but vague, the strange settings are perfect for the stage and the language just begs for singing. In much the same way YA novels make great movies today, stories that prominently feature children translate quite well to the theater. It is possible that the reasons for this are very simple, that the joy of seeing the world through young eyes again is what draws us in. But it actually might go quite a bit deeper than that. Opera kids are often less complicated but more wise than the adults around them. They are our Greek chorus. They provide the commentary and the context. We count on them to remind us that the grown-up world, with all its 36
petty intrigues and other ephemera, can seem rather ridiculous when viewed from a lesser height. This topic has gotten a fair amount ink over the years (special mention to a wonderful 2017 thesis by Miriam Schildkret) and much of it traces a direct line from castrati to pants roles and eventually actual youth performers as the opera industry worked its own way through the social politics of gender and power. Cherubino (Le nozze di Figaro) is where many scholars begin their study, though there are countless earlier examples. They likely focus on Mozart’s version of the courtly page because of how archetypal that kind of role would soon become. Though played by adult women, these UTAH OPERA 2018–19 SEASON
UTAH OPERA IN-SCHOOL PRESENTATIONS
utah opera resident artist programs are offered on a 3–5 year rotating schedule to every school in the state of Utah. Our Resident Artists perform daily in schools along the Wasatch Front; during four weeks each season, they travel to communities outside the metropolitan area. In the 2018-19 season, they have already performed in Sanpete and Sevier schools. In the spring, they will perform in Washington, Emery, Carbon, Duchesne, and Uinta schools. Their programs are age-appropriate and support the core curriculum.
WHO WANTS TO BE AN OPERA STAR?
OPERA UP CLOSE for high school choral music classes
for elementary school assemblies
FREEZE-FRAME: THE ELIXIR OF LOVE for secondary school assemblies
For more information about these and other Utah Opera Education programs please visit www.usuoeducation.org
FEEDBACK FROM THE SCHOOLS From a student at Riverview Elementary (Nebo School DiStrict):
From a teacher at Fremont Elementary (DaviS School DiStrict):
I love how you got the audience excited, you weren’t nervous, you were great actors, you have amazing expression, you memorized your lines, and even sang in Italian! But above all it was just really fun.
Your program inspired me to try to incorporate more music into my curriculum.
From the principal at Enterprise Elementary (WaShiNgtoN School DiStrict): The students participated and were able to really enjoy everything presented. They were engaged and are still singing in the halls.
From a teacher at Duchesne High School (DucheSNe School DiStrict): Thanks so much for sending your fabulous troupe to our school. We LOVED them and the kids ate up everything they said and did.
WE INVITE YOU TO SUPPORT OUR EDUCATION AND COMMUNITY OUTREACH PROGRAMS. By donating, you can help provide arts events for students and classroom teachers, invest in the future citizens of Utah, and support your Utah Opera. Contact our Development Department at (801) 869-9015.
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“Please, Draw Me a Sheep” Children in Opera characters were almost always meant to be seen as early teen boys and they had the job of injecting a lighter, comic tone into the action. Gounod advanced the development of the category significantly with Siébel (Faust) and Stéphano (Roméo Et Juliette) but for all their effectiveness as plot devices, the pages of the 18th and 19th centuries all suffer the same disconnection from reality in that they just don’t seem like actual children, no matter well costumed or performed. It wouldn’t be until the mid-20thcentury that real life kids began to play themselves in opera and much of the early credit goes to Gian Carlo Menotti and his Amahl and the Night Visitors. It could be argued that Menotti was only able to cast a boy soprano in his title role because his opera was conceived as a television presentation in 1953 but it also true that the orchestration of the music was designed to suit the timbre of a younger voice. Benjamin Britten picked up the thread a year later with Miles in The Turn of the Screw and ran with it. Not only did Britten often use child performers in his operas, he proved that their participation need not always be comic in nature. They could, in fact, be placed in some very harrowing circumstances. A good contemporary example of Britten’s experiment is Nico Muhly’s Two Boys (2011). The libretto recounts a true story of how online counter-realities can have horrible consequences for kids who are ignored by the adults in their lives. It is very challenging and disturbing material and the character of Jake, who is at the center of everything as the victim UTAHOPERA.ORG / (801) 533-NOTE
of a terrible murder, is written for boy soprano. Though Muhly made a tough choice with that casting, he made the only one he could. To modern eyes, any portrayal of that particular 13-year-old boy by an adult mezzo-soprano would have been a hollow compromise. It just wouldn’t have been as powerful, let alone as believable. The same holds true for the title role of The Little Prince, though for very different reasons. Sure, we need the same potential for innocence from the Prince that we get from Jake (and even Amahl and Miles, yes, Cherubino too), but the Prince’s view of us is not as reflective or tragically resonant as Jake’s. He sees us from much farther away and his slightly alien perspective has a sweetness to it that would be every bit as unconvincing in a pants role. When the Prince asks the Pilot to draw him a sheep, he’s not just trying to populate his diminutive planet with friends, he’s offering the Pilot (and us) an opportunity to recall a long-lost and simple kind of faith. After all, it’s something only a child could ever believe would work, that a drawn sheep would be a real sheep just because he wanted it to. Clearly, not all operas with kids in them are for kids, but The Little Prince is for everyone and the youngsters in attendance deserve to see themselves in this strange, tiny hero. Jeff Counts is Vice President of Operations and General Manager of Utah Symphony. He was program annotator for Utah Symphony from 2010 to 2014 and has been writing articles for Utah Opera for over 8 years.
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Director Notes By Tara Faircloth
Tara Faircloth explains the important part The Madeleine Choir School Choristers will play throughout the opera at their first rehearsal.
The Little Prince, for all of its popularity, is ultimately a fairly opaque story. There are many overarching themes, and at its conclusion, one may be left with a sense of longing, delight, and a bit of uncertainty about what it all means. For a book that opens with an anecdote about how grownups have lost their ability to comprehend simple things, perhaps this is no accident. Aviator Antoine de Saint-Exupéry was a Frenchman who escaped war-torn Europe and wrote the book (with many, many revisions) in a quiet cottage on Long Island. His marriage was stormy at best, but it was the love affair of his life, and served as a model for the Little Prince’s relationship with the Rose. Having survived a plane crash in the Arabian desert, a devastating war in his homeland, and a tumultuous personal life, SaintExupéry was quite familiar with feelings of loss, loneliness, and imminent mortality. His book seems to be nothing less than an attempt to uncover the meaning of life, albeit in a very charming manner. With a nod to the original source material, our production takes a strong cue from the realistic setting in which Saint-Exupéry wrote his masterwork: upper-class WW2-era Long Island. It features a book-lined library with a 40
period writing desk that the pilot returns to again and again as he struggles to help us understand his story. It is a shell of a world that never really disappears. The desert is a landscape of discarded book pages populated with figures both realistic and fantastical, reflecting actual characters that Saint-Exupéry may have known. The large children’s chorus, clothed in period-appropriate school uniforms, are actively involved throughout, both as rapt listeners and as creators of the magical world conjured by the pilot’s words. In writing The Little Prince, Saint-Exupéry uncovered some important truths, and Rachel Portman’s opera makes the wise choice not to over-analyze its mystery. After all, “It is only with the heart that one sees rightly; what is essential is invisible to the eye.” The piece is both enchanting and thought-provoking, brushing against the deep philosophical questions of life. The answers we discover depend on the questions that we bring to the experience. Is it a children’s tale for grownups, or a grownup’s tale for children? It is both. Tara Faircloth has directed five previous Utah Opera productions, including last season’s double bill “Pagliacci” and “Gianni Schicchi.” UTAH OPERA 2018–19 SEASON
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Millennium Donors As a 501(c)(3) non-profit, Utah Symphony | Utah Opera is grateful to our Millennium donors, each of whom has furthered our mission with extraordinary gifts over the past several years in the form of annual, endowment, or special project support.
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S.J. & Jessie E. Quinney Foundation Kenneth† & Jerrie Randall Patricia A. Richards & William K. Nichols Rocky Mountain Power Foundation Joseph & Evelyn Rosenblatt Charitable Fund Salt Lake County Salt Lake County Zoo Arts & Parks Shiebler Family Foundation Harris H. & Amanda P. Simmons Foundation Sorenson Legacy Foundation James R. & Susan Swartz Naoma Tate & the Family of Hal Tate Union Pacific Foundation Utah Division of Arts & Museums / National Endowment for the Arts Utah State Legislature / Utah State Board of Education Wells Fargo Jacqueline Wentz Jack Wheatley Zions Bank UTAH OPERA 2018–19 SEASON
Individual Donors We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from September 4, 2017 to September 4, 2018. * in-kind donation
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OVERTURE ($25,000 TO $49,999) Doyle Arnold & Anne Glarner Berenice J. Bradshaw Trust Kristen Fletcher & Dan McPhun Elaine & Burton L. Gordon MAESTRO ($10,000 TO $24,999) Anonymous A. Scott & Jesselie Anderson Edward R. Ashwood & Candice A. Johnson Dr. J.R. Baringer & Dr. Jeannette J. Townsend Haven J. Barlow Family David & Sylvia Batchelder Thomas Billings & Judge Judith Billings Judy Brady & Drew W. Browning Po & Beatrice Chang & Family Howard & Betty Clark Joseph & Cathy Cleary Pat & Sherry Duncan Dr. & Mrs. Ralph Earle Sue Ellis† Thomas & Lynn Fey UTAHOPERA.ORG / (801) 533-NOTE
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Individual Donors ALLEGRO ($5,000 TO $9,999) Anonymous (2) Carol & Alan P. Agle Mr. & Mrs. William C. Bailey Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair David Brown Carol, Rete & Celine Browning Chris & Lois Canale Mary Ciminelli Marc & Kathryn Cohen Mr. & Mrs. Kenneth R. Cutler Spencer & Cleone† Eccles Midge Farkas Patricia Dougall Eager Trust Jack & Marianne Ferraro Blake & Linda Fisher Diana George David & SandyLee Griswold** Ray & Howard Grossman
Annette & Joseph Jarvis James & Penny Keras Susan Keyes & Jim Sulat Ashley & Ron Kirk Allison Kitching Mr. & Mrs. Christopher J. Lansing Harrison & Elaine Levy Michael Liess Daniel & Deena Lofgren Beatrice Lufkin Paul Meecham & Laura Leach Hallie & Ted McFetridge Dr. Anthony & Carol Middleton Mr. & Mrs. Richard Mithoff Dr. Louis A. Moench & Deborah Moench Charles & Amy Newhall Dr. Thomas Parks & Dr. Patricia Legant
Mr. David A. Petersen Brooks & Lenna Quinn Joyce Rice Dr. Wallace Ring Peggy & Ben Schapiro Dewelynn H. & J. Ryan† Selberg Brent & Lisa Shafer Thomas & Gayle Sherry Drs. John & Ann O’Neill† Shigeoka Stuart & Mary Silloway Gibbs† & Catherine W. Smith Elizabeth Solomon Janice K. Story Thomas† & Caroline Tucker M. Walker & Sue Wallace Susan Warshaw E. Woolston & Connie Jo Hepworth-Woolston Kathie & Hugh Zumbro
ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) Anonymous (5) Craig & Joanna Adamson Fran Akita Robert & Cherry Anderson Robert Baker Robert & Melisse Barrett E. Wayne & Barbara Baumgardner Melissa J. Bentley, MD Charlotte & Hal Browning Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Vincent Cannella Mark & Marcy Casp Hannalorre Chahine Robert Chamberlain Hal & Cecile Christiansen Amalia Cochran George Coleman Tracy Collett Raymond & Diana Compton 46
Debbi & Gary Cook Sandra & David Cope Dr. Thomas D. & Joanne D. Coppin Thomas D. Dee III & Dr. Candace Dee Elizabeth deForest Michael & Sheila Deputy Margarita Donnelly Carol & Greg Easton Mr. & Mrs. Robert Ehrlich Janet Ellison Blake & Linda Fisher Adele & James Forman Drs. Fran & Cliff Foster Mr. Joseph F. Furlong III Robert & AnnieLewis Garda David & Lisa Genecov Jeffrey L. Giese, M.D. & Mary E. Giese Arlen Hale Dennis & Sarah Hancock
Dr. Bradford D. Hare & Dr. Akiko Okifuji David & Judi Harris Jeff & Peggy Hatch Don & Lisanne Hendricks Debbie Horton Sunny & Wes Howell Dixie S. & Robert P. Huefner Mr. & Mrs. Jerry Huffman Adam Jackson Drs. Randy & Elizabeth Jensen M. Craig & Rebecca Johns Maxine & Bruce Johnson Bryce & Karen† Johnson Dale & Beverly Johnson Neone F. Jones Family Jeanne Kimball George M. Klopfer Howard & Merele Kosowsky Val E. & Dominique C. Lambson Donald L. & Alice A. Lappe UTAH OPERA 2018–19 SEASON
Individual Donors ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Gary & Suzanne Larsen Bill Ligety & Cyndi Sharp Jeramy Lopez David & Donna Lyon Keith & Vicki Maio Peter Margulies & Louise Vickerman Jed & Kathryn Marti Daniel & Noemi P. Mattis Christopher & Julie McBeth Tom & Janet McDougal David & Nickie McDowell Michael & Julie McFadden George & Nancy Melling George & Linda Mendelson Glenn Mosby Dale Moses Sir David Murrell IV & Mary Beckerle Marilyn H. Neilson
Thomas & Barbara O’Byrne O. Don & Barbara Ostler Dr. S. Keith & Barbara Petersen Robert Petkun Ray Pickup Frank R. Pignanelli & D’Arcy Dixon Victor & Elizabeth Pollak Dr. & Mrs. Marvin L. Rallison W.E. & Harriet R. Rasmussen Kenneth Roach & Cindy Powell Lousje & Keith Rooker Thomas Safran David & Lois Salisbury Mark & Loulu Saltzman Margaret P. Sargent Grant H. Schettler Shirley & Eric Schoenholz
Barbara & Paul Schwartz William G. Schwartz & Jo Ann Givan Mary & Doug Sinclair Walter & Lorraine Stuecken Tim & Judy Terrell Richard & Janet Thompson Mr. & Mrs. Glen R. Traylor Dr. Ralph & Judith Vander Heide Robert G. Vernon John & Susan Walker Susan & David† Wagstaff Bryan & Diana Watabe Kelly Whitcomb Dan & Amy Wilcox David & Jerre Winder Wendy S. Wirth & Kandy Perkins
David & Karen Gardner Dee Margaret Dreyfous Robert S. Felt, M.D. Thomas Fuller Heidi Gardner Catherine Gorrell Dr. & Mrs. John Greenlee Kenneth & Kate Handley Christine St. Andre & Cliff Hardesty Robert & Marcia Harris Caroline & David Hundley Gordon Irving W. Carroll Jackson Laurie Zeller & Matthew Kaiser Carl & Gillean Kjeldsberg Mel & Wendy Lavitt James Lether Peter† & Susan Loffler Dennis & Pat Lombardi Bill & Sharon Macey
John & Kristine Maclay Edward & Grace McDonough Warren K. & Virginia G. McOmber Richard & Robin Milne Dan & Janet Myers Nancy Nichols Stephen & Mary Nichols Ruth & William Ohlsen Ann G. Petersen Dr. Richard & Frances Reiser James & Anna Romano James Schnitz Mitch & Dawn Taubin Whittney Thomas Ann & Steven Tyler Jamie Weeks Jeremy & Hila Wenokur Mary & Scott Wieler Caroline & Thomas Wright
PATRON ($1,500 TO $2,499) Anonymous (4) Cynthia Adams Madeline Adkins & John Forrest Drs. Crystal & Dustin Armstrong Tina Barry Mr. & Mrs. William Bierer Harvey & Donna Birsner Roger & Karen Blaylock Patricia Bragg Jeff Brown Kelly Burt Mr. & Mrs. William D. Callister, Jr. Mr. & Mrs. Lee Forrest Carter Donald Dalton Drs. Pilar & Christopher Dechet Ashby & Anne Cullimore Decker
UTAHOPERA.ORG / (801) 533-NOTE
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Individual Donors FRIEND ($1,000 TO $1,499) Anonymous (4) Christine A. Allred Dr. & Mrs. Jeffrey L. Anderson David Bailin Mr. & Mrs. Lawrence R. Barusch David & Rebecca Bateman Leslie Bender C. Kim & Jane Blair Shauna Bona Rodney† & Carolyn Brady Diane Banks & Dr. Mark Bromberg Dana Carroll & Jeannine Marlowe Michael & Beth Chardack Dr. & Mrs. David Coppin Dorothy B. Cromer Elisabeth B. Dean James & Rula Dickson Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Alice Edvalson Eric & Shellie Eide John H. & Joan B. Firmage Margo & Harry† Franta James & Barbara T. Gaddis Quinn & Julie Gardner Dave Garside Robert & Mary Gilchrist Ralph & Rose Gochnour
UTAHOPERA.ORG / (801) 533-NOTE
Mr. & Mrs. Richard R. Graham Dr. & Mrs. David Guidry The James S. Gulbrandsen, Sr. Family John Gurr Geraldine Hanni Jonathan Hart John Edward Henderson Courtney Henley Dr. & Mrs. John Howarth Scott Huntsman Todd & Tatiana James Eldon Jenkins & Amy Calara Chester & Marilyn Johnson Paulette Katzenbach Umur Kavlakoglu Thomas H. Klassen & Carolyn Talboys-Klassen Robert & Karla Knox Mr. & Mrs. Bruce M. Lake Guttorm & Claudio Landro Tim & Angela Laros Allan & Kay Lipman Clifton & Terri McIntosh Lex Hemphill & Nancy Melich Hal & Tonya Miller Mary Muir Joe Mulvehill Oren & Liz Nelson
Dr. & Mrs. Richard T. O’Brien Linda S. Pembroke Rori & Nancy Piggott David Porter Dr. Barbara S. Reid Mr. & Mrs. Robert Rollo Debra Saunders Janet Schaap Mr. August L. Schultz Dr. Nicole L. Mihalopoulos & Joshua Scoville Gerald & Sharon Seiner Dennis & Annabelle Shrieve Barbara Slaymaker Mercedes Smith Michael & Linda Sossenheimer Larry R. & Sheila F. Stevens Dr. & Mrs. Michael H. Stevens Douglas & Susan Terry Gerard & Sheila Walsh Judith Warner Renee Waters Frank & Janell Weinstock Margaret & Gary Wirth Marsha & Richard Workman Michael & Olga Zhdanov Patrick Zimmerman
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Thank You ENDOWMENT Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation
Thomas & Candace Dee Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation
Kenneth† & Jerrie Randall The Evelyn Rosenblatt Young Artist Award Bill & Joanne Shiebler James R. & Susan Swartz Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner Company M. Walker & Sue Wallace
GIFTS MADE IN HONOR Classical Movements Burton & Elaine Gordon
Mrs. Barbara Nellestein Abigail Rethwisch Paulson
Constance Theodore
GIFTS MADE IN MEMORY Anita Alcabes Jay T. Ball Dr. Ray Beckham Loraine L. Felton Harry E. Franta
Untitled-3 1
50
Crawford Gates Lowell P. Hicks Harry Lakin Frank & Maxine McIntyre Glade & Mardean Peterson
“Philly” J. Ryan Selberg Ann O’Neill Shigeoka, M.D. Phyllis Sims
2/23/16 9:48 AM UTAH OPERA 2018–19 SEASON
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Institutional Donors We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from September 4, 2017 to September 4, 2018. * in-kind donation
** in-kind & cash donation
$100,000 OR MORE The Church of Jesus Christ of Latter-day Saints Lawrence T. & Janet Dee Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation Dominion Energy The Florence J. Gillmor Foundation
Emma Eccles Jones Foundation O.C. Tanner Company 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
The Huntsman Foundation Frederick Q. Lawson Foundation
Utah Symphony Guild
LOVE Communications** McCarthey Family Foundation Montage Deer Valley** Moreton Family Foundation Charles Maxfield & Gloria F. Parrish Foundation Perkins-Prothro Foundation S.J. & Jessie E. Quinney Foundation Simmons Family Foundation
Stein Eriksen Lodge** STRUCK* Summit Sotheby’s Norman C.† & Barbara L. Tanner Second Charitable Trust Nora Eccles Treadwell Foundation Vivint.SmartHome WCF Mutual Insurance Company
$50,000 TO $99,999 The Grand America Hotel & Little America Hotel*
$25,000 TO $49,999 Anonymous Arnold Machinery B.M.W. of Murray | B.M.W. of Pleasant Grove Cache Valley Electric Chevron Corporation C. Comstock Clayton Foundation Deer Valley Resort* Janet Q. Lawson Foundation
52
UTAH OPERA 2018–19 SEASON
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Institutional Donors $10,000 TO $24,999 Adobe HJ & BR Barlow Foundation B.W. Bastian Foundation Brent & Bonnie Jean Beesley Foundation R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine Foundation-Russell Family Daynes Music Company* The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation
Goldman Sachs & Co. LLC Grandeur Peak Global Advisors The Val A. Green & Edith D. Green Foundation Richard K. & Shirley S. Hemingway Foundation Hyatt Centric Park City** Johnson Foundation of the Rockies National Endowment for the Arts Ogden Opera Guild Park City Chamber /
Visitors Bureau Promontory Foundation Regence BlueCross BlueShield of Utah James Riepe Family Foundation The Joseph & Evelyn Rosenblatt Charitable Fund The Swartz Foundation Wells Fargo The Christian V. & Lisa D. Young Family Foundation
J. Wong’s Thai & Chinese Bistro* John Williams Foundation Jones Waldo Park City Kulynych Family Foundation II, Inc. Martine* Raymond James & Associates
Rocky Mountain Power Foundation Ruth’s Chris Steak House* Salt Lake City Arts Council St. Regis / Deer Crest Club** U.S. Bank Foundation Union Pacific Foundation Utah Autism Foundation
Inwest Title Service, Inc. George Q. Morris Foundation M Lazy M Foundation Prime Steakhouse* Peczuh Printing* Snell & Wilmer
Spitzberg-Rothman Foundation Stay Park City Squatters Pub* Wilmington Trust Company Zurchers*
$5,000 TO $9,999 Anonymous (3) Bertin Family Foundation Deluxe Corporation Foundation Ditta Caffè* The Dorsey & Whitney Foundation Every Blooming Thing* Holland & Hart** $2,500 TO $4,999 Blume Haiti Robert S. Carter Foundation CBRE Victor Herbert Foundation Intuitive Funding InvitedHome*
54
UTAH OPERA 2018–19 SEASON
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Institutional Donors $1,500 TO $2,499 Blue Lemon* Rodney H. & Carolyn Hansen Brady Charitable Foundation Castle Foundation City Creek Center
D’Addario Foundation Henry W. & Leslie M. Eskuche Charitable Foundation The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation
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UTAHOPERA.ORG / (801) 533-NOTE
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Legacy Giving Leave a lasting legacy of excellent music. When you make a gift through your estate, either now or at the end of your life, you provide invaluable support to Utah Symphony | Utah Opera. Your financial advisor or estate planning attorney can help you build a gift that can meet goals for you or your heirs, and provide USUO with the resources that create incredible music. Help USUO preserve our future of performing favorite symphonic and operatic works and new works for years to come.
Photo credit: Kent Miles, Utah Opera,
Don Giovanni, May 2017
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.
Crescendo & Tanner 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.
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
TANNER SOCIETY OF UTAH SYMPHONY
Beethoven Circle (gifts valued at more than $100,000) Anonymous (3) Doyle Arnold & Anne Glarner Edward R. Ashwood & Candice A. Johnson Dr. J. Richard Baringer Haven J. Barlow Marcy & Mark Casp Shelly Coburn Captain Raymond & Diana Compton
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 Virginia A. Hughes Ms. Marilyn Lindsay† Turid V. Lipman
Anne C. Ewers Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane 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 †Deceased
UTAHOPERA.ORG / (801) 533-NOTE
61
Administration ADMINISTRATION Paul Meecham
SYMPHONY ARTISTIC Thierry Fischer
David Green
Anthony Tolokan
Vice President of Marketing & Public Relations
Executive Assistant to the CEO
Conner Gray Covington
Director of Communications & Digital Media
Executive Assistant to the COO & Office Manager
Barlow Bradford
Marketing Manager - Audience Development
President & CEO
Symphony Music Director
MARKETING & COMMUNICATIONS Jon Miles
Julie McBeth
Vice President of Symphony Artistic Planning
Renée Huang
Ali Snow
Associate Conductor
Chad Call
Symphony Chorus Director
Kathleen Sykes
Director of Orchestra Personnel
Nina Starling
Senior Vice President & COO
0PERA ARTISTIC Christopher McBeth
Walt Zeschin
Opera Artistic Director
Andrew Williams
Principal Coach
Lance Jensen
Carol Anderson
Orchestra Personnel Manager
Michelle Peterson
Executive Assistant to the Music Director Symphony Chorus Manager
Michaella Calzaretta
SYMPHONY OPERATIONS Jeff Counts
Opera Company Manager Opera Chorus Master
Brooke Yadon
Opera Production Coordinator
OPERA TECHNICAL Jared Porter
Senior Technical Director
Vice President of Operations & General Manager
Cassandra Dozet Director of Operations
Melissa Robison
Kyle Coyer
Program Publication & Front of House Director
Kelly Nickle
Production & Stage Manager
Technical Director Properties Master
JR Orr
Chip Dance
Jeff F. Herbig
Assistant Props
Properties Manager & Assistant Stage Manager
Head Carpenter
Artist Logistics Coordinator
Travis Stevens Dusty Terrell
Scenic Charge Artist
COSTUMES Verona Green Costume Director
Jessica Cetrone
Costume Rentals Supervisor
Kierstin Gibbs LisaAnn DeLapp Rentals Assistants
Amanda Reiser Meyer Wardrobe Supervisor
Milivoj Poletan Tailor
Tiffany Lent
Lyndsay Wygant DEVELOPMENT Leslie Peterson
Vice President of Development
Rachel McNassor Director of Major Gifts
Olivia Custodio
Director of Individual Giving
Chelsea Kauffman
PATRON SERVICES Faith Myers
Director of Patron Engagement
Merry Magee
Marketing Manager - Patron Loyalty
Andrew J. Wilson Patron Services Manager
Ellesse Hargreaves Patron Services Assistant
Genevieve Gannon Sarah Pehrson Jackie Seethaler Powell Smith Sales Associates
Nicholas Barker Gavin Benedict Lorraine Fry Jodie Gressman Ellen Lewis Ananda Spike Hallie Wilmes Ticket Agents
ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO
Mike Lund
Director of Information Technologies
Karyn Cunliffe
Director of Government & Foundation Giving
Alison Mockli
Grants Manager
Jared Mollenkopf
Jessica Proctor
Controller
Lisa Poppleton
Payroll & Benefits Manager
Heather Weinstock
Cutter/Draper
Milliner & Craftsperson
Development Operations Manager
Yoojean Song Connie Warner
Website Content Coordinator
Annual Fund Coordinator
Manager of Special Events & DVMF Donor Relations
Donna Thomas
Digital Content Producer
Alina Osika
Stitchers
Daniel Hill Juliette Lewis Lesli Spencer
Wigs/Make-up Crew
Patron Information Systems Manager
Bobbie Williams
Accounts Payable Accountant
EDUCATION Paula Fowler
Director of Education & Community Outreach
Kyleene Johnson
Symphony Education Manager
Paul Hill
Opera Education Assistant
Annie Farnbach
Symphony Education Assistant 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.
62
UTAH OPERA 2018–19 SEASON
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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.
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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.
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UTAH OPERA 2018–19 SEASON
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Utah’s Catering Company Proud Partner of the UTAH SYMPHONY | UTAH OPERA
THANK OUR ADVERTISERS YOU TO Ad Council Caffè Molise Challenger Schools City Creek Living Daynes Music Every Blooming Thing Excellence Concert Series Feeding America Grand America Hamilton Park J. Wong’s Asian Bistro Jerry Seiner Cadillac Kayenta Ken Garff Volvo Cars KUED
If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833 KUER Little America Martine Ogden’s Own Distillery Parsons Behle Latimer RC Willey Residence Inn Ruth’s Chris Steak House San Francisco Design Tuacahn University Credit Union Utah Festival Opera Utah Food Services Utah Museum of Fine Art
VETERANS
of US Military Armed Forces Service:
FREE Utah Symphony | Utah Opera tickets for veterans January - April 2019 Utah Symphony | Utah Opera invites veterans to attend several performances FREE OF CHARGE: Mon or Wed, January 21 or 23, 7:00 pm at Capitol Theatre – Utah Opera performances of Rachel Portman’s The Little Prince. Sat, March 16, 12:30 pm at Abravanel Hall, Peter and the Wolf performed by Utah Symphony and Ballet West II dancers. Fri or Sat, April 12 or 13, 7:30 pm at Abravanel Hall with Guest Conductor Vassily Sinaisky — with the Utah Symphony and guest pianist Simon Trpčeski — in Rachmaninoff’s Piano Concerto No. 4 and Shostakovich’s Symphony No. 12, “The Year 1917.”
tickets are limited. Get your tickets through VetTix.org
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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
SALT LAKE CITY | BOISE | IDAHO FALLS | LEHI | RENO | WASHINGTON D.C.
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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