Utah Opera - Madame Butterfly

UTAHOPERA.ORG

PUCCINI’S

MADAME BUTTERFLY

oct 11–19

/2014

Christopher MCBeth / Artistic Director

456 Trolley Square Salt Lake City, Utah 84102 (801) 359-2020 www.thespectacle.com

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Contents PUBLISHER Mills Publishing, Inc.

Barbara Shirvis and Scott Piper in Utah Opera’s 2008 production of Madame Butterfly. Photo Credit: Kent Miles

PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR/ PRODUCTION MANAGER Jackie Medina PROGRAM DESIGNER Patrick Witmer GRAPHIC DESIGNERS Leslie Hanna Ken Magleby Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas OFFICE ASSISTANT Jessica Alder ADMINISTRATIVE ASSISTANT Kyrsten Holland EDITOR Melissa Robison

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 2014

PUCCINI’S

Madame Butterfly

25

8 Welcome 10 Board of Trustees 12 Season Honorees 13 Season Sponsor 18 Administration 23 Production Sponsors 26 Company 32 Utah Symphony 34 Synopsis 36 Composer and Librettists 38 “They” by Jeff Counts 44 A Word for the Sailor by Paula Fowler 49 Campaign for Perpetual Motion 52 Planned Giving 53 Crescendo & Tanner Societies 54 Cultural Festival 56 Corporate & Foundation Donors 58 Individual Donors 63 Cold-Blooded Cast Members at Utah Opera 64 Classical 89 Broadcasts 66 Acknowledgments

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Welcome

Dave Petersen USUO Board of Trustees Chair

Melia Tourangeau USUO President & CEO

This great company of artists belongs to our community—it is ours to care for and preserve, to cherish, and to celebrate.

It is our pleasure to welcome you to the Janet Quinney Lawson Capitol Theatre and the beginning of another Utah Opera season of great live music and distinguished quality productions. The board, staff, and artists of Utah Symphony | Utah Opera have worked very hard to build a revitalized organization over the last few years and we want the world to know about it and share it with us.

We think you will agree that our cast of world-class singing actors bring the heartbreaking story of Madame Butterfly to a new level of poignancy and that our celebrated Utah Opera Chorus and renowned Utah Symphony Musicians support their musical work seamlessly.

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Christopher McBeth Utah Opera Artistic Director

The artisans in Utah Opera’s scenic and costume shops spent a good part of the past months creating the stunning set and costumes that you will enjoy at this performance. Their great work will also be showcased in communities throughout the United States through the set and costume rental business managed at our Utah Opera Production Studios­­—and we think this will be a particularly popular rental!

These spectacular productions and the presence of professional musicians as well as scenic and costume studios in Utah are possible thanks to the support of many local community leaders, as well as many others detailed in our Campaign and Season Sponsor listings in this playbill.

This great company of artists belongs to our community—it is ours to care for and preserve, to cherish, and to celebrate. Thanks to the strong foundation set by the board leadership of Pat Richards during the last decade, and the exceptional administrative and artistic leadership teams in place, we believe Utah Symphony | Utah Opera is positioned to shine brightly as Utah’s cultural ambassador for many years to come.

UTAH OPERA MADAME BUTTERFLY 2014

this is how we roll .

801-596-5708

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S A LT L A K E . L I T T L E A M E R I C A . C O M

Board of Trustees ELECTED BOARD David A. Petersen* Chair

Kristen Fletcher* Kem C. Gardner* David Golden Gregory L. Hardy Thomas N. Jacobson Ronald W. Jibson* Laura S. Kaiser Thomas M. Love R. David McMillan Brad W. Merrill Greg Miller Edward B. Moreton Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Mark H. Prothro Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart Naoma Tate

Thomas Thatcher Bob Wheaton John W. Williams

LIFETIME BOARD William C. Bailey Deedee M. Corradini Edwin B. Firmage Jon M. Huntsman Jon Huntsman, Jr.

G. Frank Joklik Clark D. Jones Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker

Patricia A. Richards* Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder

TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates

Burton L. Gordon Richard G. Horne Warren K. McOmber

Mardean Peterson E. Jeffery Smith Barbara Tanner

HONORARY BOARD Senator Robert F. Bennett Rodney H. Brady Kim H. Briggs Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano

Geralyn Dreyfous Lisa Eccles Spencer F. Eccles Howard Edwards The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Marilyn H. Neilson

O. Don Ostler Joseph J. Palmer Stanley B. Parrish Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith Ardean Watts

William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Melia P. Tourangeau* President & CEO Jesselie B. Anderson Edward R. Ashwood Dr. J. Richard Baringer Kirk A. Benson Judith M. Billings Howard S. Clark Gary L. Crocker David L. Dee* Alex J. Dunn

MUSICIAN REPRESENTATIVES

John Eckstein* Lee Livengood* EX OFFICIO

Ann Petersen Utah Symphony Guild Genette Biddulph Ogden Symphony Ballet Association Jennifer Streiff Vivace Judith Vander Heide Ogden Opera Guild *Executive Committee

NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Susan H. Carlyle Chair (Utah) (Texas)

Harold W. Milner (Nevada)

Anthon S. Cannon, Jr. (S. California)

Alvin Richer (Arizona)

David L. Brown (S. California)

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Robert Dibblee (Virginia)

Senator Orrin G. Hatch (Washington, D.C.)

Marcia Price (Utah)

UTAH OPERA MADAME BUTTERFLY 2014

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Season Honorees

Utah Symphony | Utah Opera is M I L L EN I U M $250,0 0 0 & A BOV E grateful to our generous donors who through annual cash gifts and multiyear commitments at the following EDWARD R. levels make our programs possible.

GAEL BENSON ASHWOOD & The following listing reflects CANDICE A. contributions and multi-year JOHNSON commitments received between 9/1/2013 and 9/1/2014

DIANE & HAL BRIERLEY

LAWRENCE T. & JANET T. DEE FOUNDATION

E.R. (ZEKE) & KATHERINE W. DUMKE

KEM & CAROLYN GARDNER

MR. & MRS. MARTIN GREENBERG

ANTHONY & RENEE MARLON

CAROL & TED NEWLIN

PATRICIA A. RICHARDS & WILLIAM K. NICHOLS

MARK & DIANNE PROTHRO CORPORATION

THEODORE SCHMIDT

SHIEBLER FAMILY FOUNDATION

UTAH STATE LEGISLATURE/ UTAH STATE OFFICE OF EDUCATION

JACQUELYN WENTZ

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NAOMA TATE & THE FAMILY OF HAL TATE

UTAH OPERA MADAME BUTTERFLY 2014

Utah Symphony | Utah Opera 2014-15 Season Sponsor

George S. and Dolores Doré Eccles

Eccles Foundation Board of Directors Robert M. Graham • Spencer F. Eccles • Lisa Eccles

The Tradition Continues

F

or more than 30 years, unwavering support from the George S. and

Dolores Doré Eccles Foundation has been integral to the success of Utah Symphony | Utah Opera. It remains so today!

Season Honorees EN CO R E $10 0,0 0 0 & A BOV E

DR. J. R. BARINGER & DR. JEANNETTE J. TOWNSEND

R. HAROLD BURTON FOUNDATION

ROGER & SUSAN HORN

THE RIGHT REVEREND CAROLYN TANNER IRISH

WILLIAM H. & CHRISTINE NELSON

DELL LOY & LYNNETTE HANSEN

EMMA ECCLES JONES FOUNDATION

DR. DINESH AND KALPANA PATEL

EDWARD & BARBARA MORETON

RESTAURANT TAX RAP TAX

B R AVO $50,0 0 0 & A BOV E

Scott & Jesselie Anderson Thomas Billings & Judge Judith Billings Patricia Dougall Eager† Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Elaine & Burton L. Gordon Grand & Little America Hotels* Janet Q. Lawson Foundation Montage Deer Valley

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Pauline C. Pace† Scott & Sydne Parker Frank R. Pignanelli & D’Arcy Dixon Albert J. Roberts IV St. Regis Deer Valley Stein Eriksen Lodge UBS Financial Services Wells Fargo Lois A. Zambo

UTAH OPERA MADAME BUTTERFLY 2014

100 dEcibElS of FliRTATiON

Mozart’s

cOSì FAN TUTTE March 14, 16, 18, 20 (7:30 pm) / March 22 (2 pm) Janet Quinney Lawson CapitoL theatre Crystal Manich, director

Karin wolverton, Fiordiligi

abigail Levis, despina

two sisters are surprised when their fiancés are suddenly called to war, but are the men really gone or did they simply hatch an elaborate plot to challenge the women’s faithfulness? The men’s return tests the limits of friendship, fidelity, and fortitude. mozart’s tale of flirtatious seduction combines silly disguises, mistaken identities, and sublime music to see if love can conquer all.

Season Sponsor:

Tickets start at $18.

UTAHOPERA.ORG

801-355-ARTS (2787)

Season Honorees OV ER T U R E $25,0 0 0 & A BOV E

Mr. & Mrs. William C. Bailey Ballard Spahr, LLP** BMW of Murray BMW of Pleasant Grove Chevron Corporation Thomas D. Dee III & Dr. Candace Dee John H. & Joan B. Firmage Thierry & Catherine Fischer** Holland & Hart** Richard K. & Shirley S. Hemingway Foundation

Frederick Q. Lawson Foundation Jack & Jan Massimino Carol & Anthony W. Middleton, Jr., M.D. James A. Parke Charles Maxfield & Gloria F. Parrish Foundation Alice & Frank Puleo S. J. & Jessie E. Quinney Foundation Simmons Family Foundation

Harris H. & Amanda Simmons The Sam & Diane Stewart Family Foundation Norman C. & Barbara Tanner Nora Eccles Treadwell Foundation Vivint M. Walker & Sue Wallace Jack & Mary Lois† Wheatley John W. Williams Workers Compensation Fund Edward & Marelynn Zipser

Ferguson Bath, Kitchen & Lighting Gallery George & Debra Felt Kristen Fletcher & Dan McPhun Mr. Joseph F. Furlong III Sterling & Shelli Gardner Foundation Gastronomy, Inc.* Ann & Gordon Getty Foundation Douglas & Connie Hayes Susan & Tom Hodgson Hotel Monaco* Hyatt Escala Lodge at Park City** Tom & Lorie Jacobson Jones Waldo** Mr. W. A. Holman Mr. & Mrs. Charles McEvoy Elinor S. McLaren & George M. Klopfer Harold W. & Lois Milner Rayna & Glen Mintz Moreton Family Foundation Fred & Lucy Moreton Mount Olympus Waters* Mountain Dentistry Sally Boynton Murray Trust Terrell & Leah Nagata New York Ltd. Ogden Opera Guild Park City Chamber/Bureau Mr. David A. Petersen

Promontory Foundation ProTel Networks* Residence Inn* The Joseph & Evelyn Rosenblatt Charitable Fund Salt Lake City Arts Council Lori & Theodore Samuels Peggy & Ben Schapiro Sky Harbor Apartments* Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds Zibby & Jim Tozer Thomas & Caroline Tucker Utah Food Services* Utah Hispanic Chamber Of Commerce* Utah Symphony Guild John & Marva Warnock Wheeler Foundation

M A E S T RO $10,0 0 0 & A BOV E

Adobe Scott Amann American Express Anonymous Arnold Machinery Art Works For Kids!

Bambara Restaurant* Haven J. Barlow Family B. W. Bastian Foundation David & Sylvia Batchelder Brent & Bonnie Jean Beesley Foundation Berenice J. Bradshaw Charitable Trust Judy Brady & Drew W. Browning Carol Franc Buck Foundation Caffe Molise* Marie Eccles Caine FoundationRussell Family Kathryn & Roger Carter* CenturyLink Rebecca Marriott Champion Howard & Betty Clark C. Comstock Clayton Foundation Daynes Music* Skip Daynes* Dorsey & Whitney LLP The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Edwards Lifesciences Hague† & Sue Ellis

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See pages 56–60 for an additional listing of our generous donors whose support has made this season possible.

* In-Kind Gift ** In-Kind & Cash Gift † Deceased

UTAH OPERA MADAME BUTTERFLY 2014

B

100 dEcibElS of AdvEnTURE

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We know you are used to the conveniences and January 17, 19, 21, 23 (7:30 pm) / January 25 (2 pm) space of your own home, Janet Quinney Lawson CapitoL theatre so our award winning studios, one or two Carlos izcaray, conductor andrea Carroll, LeïLa Derrick parker, nourabad bedroom suites are Kristine Mcintyre, director philippe talbot, nadir completely furnished.

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801-355-ARTS (2787)

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Administration ADMINISTRATION Melia P. Tourangeau President & CEO David Green Senior Vice President & COO Julie McBeth Executive Assistant to the CEO Marsha Bolton Executive Assistant to the Music Director & the Senior VP & COO Heather Weinstock Office Manager 0PERA ARTISTIC Christopher McBeth Opera Artistic Director Caleb Harris Opera Chorus Master Carol Anderson Principal Coach Michelle Peterson Opera Company Manager Shaun Tritchler Production Coordinator OPERA TECHNICAL Jared Porter Opera Technical Director Jay Morris Assistant Technical Director Keith Ladanye Production Carpenter Kelly Nickle Properties Master Lane Latimer Assistant Props John Cook Scene Shop Manager & Scenic Artist COSTUMES Verona Green Costume Director Melonie Fitch Assistant Rentals Supervisor Kierstin Gibbs LisaAnn DeLapp Rentals Assistant Vicki Raincrow Wardrobe Supervisor Milivoj Poletan Tailor Tara DeGray Cutter/Draper Anna Marie Coronado Milliner & Crafts Artisan Chris Hamberg Monica Hansen Yoojean Song Connie Warner Stitchers Yancey J. Quick Wigs/Make-up Designer

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Christopher McBeth, Artistic Director

Shelley Carpenter Tanner Crawford Daniel Hill Wigs/Make-up Crew SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director Anthony Tolokan Vice President of Symphony Artistic Planning Jerry Steichen Principal Pops Conductor Vladimir Kulenovic Associate Conductor Barlow Bradford Symphony Chorus Director Eric V. Johnson Director of Orchestra Personnel Myroslava Hagen Orchestra Personnel Manager SYMPHONY OPERATIONS Jeff Counts Vice President of Operations & General Manager Charlotte Craff Manager of Artistic Operations Cassandra Dozet Operations Manager Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager Melissa Robison Program Publication & Front of House Manager DEVELOPMENT Leslie Peterson Vice President of Development Carey Cusimano Vice President of Development, Deer Valley® Music Festival Shaleane Gee Director of Major Gifts Hillary Hahn Director of Foundation & Government Gifts Ashley Magnus Manager of Corporate Gifts Melanie Steiner-Sherwood Annual Giving Manager Natalie Cope Special Events Manager Ruth Eldredge Grants Manager Conor Bentley Development Coordinator Kate Throneburg Development Assistant MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations Renée Huang Director of Public Relations

Chad Call Marketing Manager Aaron Sain Graphic Design & Branding Manager Mike Call Website Manager Ginamarie Marsala Marketing Communications Manager Crystal Young-Otterstrom Vivace & Cadenza Coordinator PATRON SERVICES Nina Richards Director of Tickets Sales & Patron Services Natalie Thorpe Patron Services Manager Shawn Fry Group & Corporate Sales Manager Faith Myers Sales Manager Andrew J. Wilson Patron Services Assistant Ellesse Hargreaves Account Coordinator Brooke Adams Kati Garcia Ben Ordaz Jackie Seethaler Powell Smith Robb Trujillo Sales Associates Nick Barker Sophie Bona-Layton Chelsea Madsen Emma McFarland Emily O’Connor Liz Shattler Aubrey Shirts Ticket Agents ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO Mike Lund Director of Information Technologies SaraLyn Pitts Controller Alison Mockli Payroll & Benefits Manager Jared Mollenkopf Patron Information Systems Manager Julie Cameron Accounts Payable Clerk EDUCATION Paula Fowler Director of Education & Community Outreach Beverly Hawkins Symphony Education Manager Tracy Hansford 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.

UTAH OPERA MADAME BUTTERFLY 2014

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A Special Exhibition July 21, 2014 – January 4, 2015

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Major Sponsors

The ALSAM Foundation

R. Harold Burton Foundation

The Natural History Museum of Utah is funded in part by Salt Lake County Zoo, Arts & Parks (ZAP).

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Madame Butterfly

production sponsors

Barbara Shirvis in Utah Opera’s 2008 production of Madame Butterfly.

PRO D U C T I O N S P O N SO R

Photo Credit: Kent Miles

S E T & COS T U M E S P O N SO R

THEODORE SCHMIDT IN LOVING MEMORY OF ELIZABETH SCHMIDT

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

CAST PART Y SPONSOR

MONDAY NIGHT SPONSOR

UTAH OPERA MADAME BUTTERFLY 2014

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Bizet’s

THE PEARL FiSHERS Jan 17–25 / 2015 Janet Quinney Lawson CapitoL theatre

Mozart’s

cOSì FAN TuTTE Mar 14–22 / 2015 Janet Quinney Lawson CapitoL theatre

Stravinsky’s

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Madame Butterfly

program

Madame Butterfly Oct 11, 13, 15, 17 | 7:30 pm Oct 19 | 2 pm

Janet Quinney Lawson Capitol Theatre

By Giacomo Puccini Libretto by Luigi Illica and Giuseppe Giacosa Sung in Italian with English supertitles Supertitles translated by Paul Dorgan World Premiere: La Scala in Milan on February 17, 1904 Previously at Utah Opera in 1986, 1993, 2001, 2008

CAST (in order of appearance) Eric Fennell, Lt. Pinkerton Joseph Gaines, Goro Troy Cook, Sharpless Nina Yoshida Nelsen, Suzuki Yunah Lee, Cio-Cio-San William Tvrdik,* Imperial Commisioner Tyson Miller,* Official Registrar Gregory Pearson, The Bonze Rhys Nelsen, Trouble Kevin Nakatani, Prince Yamadori Abigail Levis,* Kate Pinkerton

ARTISTIC STAFF Robert Tweten, Conductor Garnett Bruce, Director Alice Bristow, Costume Designer Nicholas Cavallaro, Lighting Designer John Gunter, Set Designer Caleb Harris, Chorus Master Yancey J. Quick, Wigs and Make-up Designer Carol Anderson, Musical Preparation Dallas Heaton, Guest Coach Jayme Marrs Castle, Stage Manager Sarah Johnson, Assistant Stage Manager *Utah Opera Resident Artist The performance will last approximately 2 hours 35 minutes with one twenty-minute intermission.

New production by Utah Opera UTAH OPERA MADAME BUTTERFLY 2014

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Madame Butterfly

company

Eric Fennell (Pennsylvania) Pinkerton

Utah Opera Debut Recently:

Rigoletto, Deutsche Oper Berlin; Les Contes d’Hoffmann, Theater Pforzheim; Carmen, Pacific Opera Victoria Upcoming:

A Flowering Tree, Göteborg Opera; Le Villi, Latvian National Opera Joseph Gaines (Pennsylvania) Goro

Most Recently at Utah Opera, Turandot Recently:

Le Nozze di Figaro, Central City Opera; The Magic Flute, Opera Philadelphia; Salome, Philadelphia Orchestra Upcoming:

The Magic Flute, Opera Colorado; Oscar, Opera Philadelphia; Turandot, Opera Philadelphia

Troy Cook (Pennsylvania) Sharpless

Utah Opera Debut Recently:

Così fan tutte, Royal Opera, Covent Garden; I Puritani, Boston Lyric Opera; I Pagliacci, Opera Theatre of Saint Louis Upcoming:

Don Carlo, Opera Philadelphia; La Traviata, Central City Opera

Nina Yoshida Nelsen (Indiana) Suzuki

Most Recently at Utah Opera, The Marriage of Figaro Recently:

Belongings, Seattle Opera; The Consul, Opera Santa Barbara; Bound, Houston Grand Opera Upcoming:

Madame Butterfly, Atlanta Opera

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UTAH OPERA MADAME BUTTERFLY 2014

Madame Butterfly

company

Yunah Lee (Korea) Cio-Cio-San

Utah Opera Debut Recently:

Madame Butterfly, Glimmerglass Opera; Il Trovatore, Seoul (Korea) Opera; Madame Butterfly, Opera de Quebec Upcoming:

Madame Butterfly, Opera Tampa; Don Giovanni, Seoul (Korea) Opera

William Tvrdik (California) Imperial Commissioner

Utah Opera Debut Recently:

Current Utah Opera Resident Artist; Madame Butterfly, Cincinnati Opera; Die Walküre, Queen City Chamber Opera; Don Pasquale, College Conservatory of Music, Cincinnati Upcoming:

The Rake’s Progress, Utah Opera Tyson Miller (Texas) The Official Registrar

Most Recently at Utah Opera, The Abduction from the Seraglio Recently:

Current Utah Opera Resident Artist; La Traviata, Turandot, Utah Opera; Peter Grimes, Candide, Aspen Music Festival and School; Il Signor Bruschino, La Scala di Seta, Lone Star Lyric Opera; Così fan tutte, Rice University Upcoming:

The Rake’s Progress, Utah Opera Gregory Pearson (Arkansas) The Bonze

Most Recently at Utah Opera, Rigoletto Recently:

Carmen, West Virginia; Madame Butterfly, Omaha Opera; Fidelio, Utah Opera

UTAH OPERA MADAME BUTTERFLY 2014

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Madame Butterfly

company

Rhys Oliver Nelsen (Indiana) Trouble

Utah Opera Debut

Rhys’ first production of Madame Butterfly was while he was in the tummy of his Mother, Nina Yoshida Nelsen, in 2010 with the New York City Opera. Rhys’ father, Jeff Nelsen, plays French Horn and is a professor at Indiana University.

Rhys loves to play dress up and make believe. His favorite characters to play are Peter Pan, Captain Hook and Buzz Lightyear. He likes playing with miniature pirates and army men and has a newfound love of Star Wars. While studying the Butterfly humming chorus, he asked, “Mommy, is Darth Vader in Madame Butterfly?”

Kevin Nakatani (California) Prince Yamadori

Most Recently at Utah Opera, La Traviata Recently:

Vanessa, Oklahoma!, Utah Festival Opera & Musical Theatre; Carmen, Opera Idaho

Abigail Levis (Maine) Kate Pinkerton Recently:

Current Utah Opera Resident Artist L’Incoronazione di Poppea, Aldeburgh Festival; La Traviata, Utah Opera; Il Barbiere di Siviglia, Hubbard Hall Opera Upcoming:

Così fan tutte, Utah Opera; Messiah, Cincinnati Symphony ARTISTIC STAFF Robert Tweten (New Mexico) Conductor

Most Recently at Utah Opera, La Traviata Recently:

Carmen, Tulsa Opera; Madame Butterfly, Edmonton Opera; L’Italiana in Algeri, Calgary Opera Upcoming:

Le Nozze di Figaro, Calgary Opera; Lucia di Lammermoor, Edmonton Opera

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UTAH OPERA MADAME BUTTERFLY 2014

Madame Butterfly

company

Garnett Bruce (Maryland) Director

Most Recently at Utah Opera, Carmen Recently:

Turandot, Michigan Opera Theatre; Don Carlo, Austin Lyric Opera; Turandot, The Dallas Opera Upcoming:

Tosca, Lyric Opera of Kansas City; Tannhäuser, Opera Company Alice Bristow (Georgia) Costume Designer

Most Recently at Utah Opera, The Elixir of Love Recently:

The Fantasticks, A Grand Night for Singing, Boeing Boeing, Berry College, Mt. Berry, Georgia Upcoming:

Spoon River Anthology, The Servant of Two Masters, Berry College, Mt. Berry, Georgia Nicholas Cavallaro (Utah) Lighting Designer

Most Recently at Utah Opera, The Abduction from the Seraglio Recently:

La Traviata, Fatal Song, Florencia en el Amazonas, Utah Opera; Sleeping Beauty, Ballet West; Children’s Miracle Network Upcoming:

The Barber of Seville, Opera Naples 2014–15 Utah Opera Lighting Designer

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UTAH OPERA MADAME BUTTERFLY 2014

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Madame Butterfly

company

Caleb Harris (Texas) Chorus Master

Most Recently at Utah Opera, The Abduction from the Seraglio Recently:

Der Freischütz, Die Zauberflöte, Opera Classica Europa; Hänsel und Gretel, Emerald City Opera Upcoming:

2014–15 Utah Opera Chorus Master Yancey J. Quick (Utah) Wig and Makeup Designer

Most Recently at Utah Opera, The Abduction from the Seraglio Recently:

Resident Wig and Makeup Designer, Utah Opera; Ballet West (Wig Master); Utah Shakespeare Festival (Cosmetologist); Utah Lyric Opera Ensemble (Wig and Makeup Design)

SUPERNUMERARIES

Michael Drebot, Navy Jeramy Evans, Navy

Joshua Kwon, Servant Jong-hyun Son, Servant

Jude Payne, Trouble Cover

Heather R. Madsen, Mother of Cio-Cio-San Makenzie Matthews, Cousin Julie McBeth Christine McDonough Tyson Miller Kathryn Monson Michael Moyes

Dan Smith Jenny Spencer Carolyn Talboys-Klassen Scott Tarbet Gioconda A. Vaca Alene Wecker Ruth Wortley

UTAH OPERA CHORUS

Mandi Barrus, Aunt Paul Dawson Jennifer Hancock Melissa James Tony Kibbie, Uncle Kelly Knight Clifton Phillip A. Lammi Aerin Loizos

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UTAH OPERA MADAME BUTTERFLY 2014

Join us in welcoming the 2014–15 Utah Opera

Resident Artists

Rachel Sigman Soprano

Abigail Levis Mezzo-Soprano

Tyson Miller Tenor

Will Tvrdik Bass

Soprano Rachel Sigman, Bass Will Tvrdik, and Pianist Lindsay Woodward prevailed in national auditions last fall and were invited to become members of Utah Opera’s Resident Artist program for the 2014–15 season. They join returning Tenor Tyson Miller and Mezzo-Soprano Abigail Levis.

Nearly every day of the school year, Utah Opera’s Resident Artists perform age-appropriate programs designed to introduce students to the art form of opera. They perform in scores of schools in the metropolitan area, and this year will tour Emery, Beaver, Duchesne and Kane School Districts. our resideNt artists receive vocal coaching and dramatic training to continue their professional development. They have been cast in comprimario roles in our Capitol Theatre productions. Look for them in upcoming productions!

More information about the Resident Artists and Utah Opera Education Programs can be found at www.usuoeducation.org.

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Lindsay Woodward Pianist

Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Jerry Steichen Principal Pops Conductor Vladimir Kulenovic Associate Conductor VIOLIN* Ralph Matson 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

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Roberta Zalkind Associate Principal Joel Gibbs Julie Edwards Silu Fei Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas

Alex Martin Acting Assistant Concertmaster

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

Claude Halter Principal Second

Matthew Johnson Associate Principal

Wen Yuan Gu Associate Principal Second

John Eckstein Walter Haman Noriko Kishi†† Anne Lee Kevin Shumway Pegsoon Whang

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Hanah Stuart Assistant Principal Second Karen Wyatt •• Tom Baron • Leonard Braus • Associate Concertmaster Emeritus Joseph Evans LoiAnne Eyring† Teresa Hicks Lun Jiang Rebekah Johnson Tina Johnson†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Rebecca Moench David Porter Lynn Maxine Rosen Barbara Ann Scowcroft • M. Judd Sheranian Lynnette Stewart Julie Wunderle ••

BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn Frank W. Asper, Jr. Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes# Associate Principal

OBOE Robert Stephenson# Principal

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Mark Davidson Acting Principal

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Lissa Stolz

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

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 BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal

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Melanie LanÇon††

KEYBOARD Jason Hardink Principal

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Jennifer Rhodes

Peter Margulies Nick Norton

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TUBA Gary Ofenloch Principal

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BASS TROMBONE Graeme Mutchler

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UTAH OPERA MADAME BUTTERFLY 2014

Metropolitan Opera National Council Utah District Auditions

Be there when the next group of young local hopefuls begin their journeys

Saturday, November 15, 2014 Libby Gardner Concert Hall, University of Utah *11:00 AM to 1:00 PM and 2:00 to 5:00 PM: Auditions *5:00 to 5:30 PM: While the judges deliberate, enjoy a reception with the competitors and vote for your favorite singer to receive an audience choice award *5:30 PM: Announcement of the Winner(s) The auditions are open to the public to view free of admission charge. *Schedule subject to change depending on number of competitors, please visit our website after November 7, 2014 for updated an schedule.

www.UtahMONCAuditions.org The MONC Utah District Auditions are supported in part by Utah Arts & Museums, with funding from the State of Utah and National Endowment for the Arts, as well as a grant from the Salt Lake City Arts Council.

Madame Butterfly

synopsis

ACT I—Lieutenant Pinkerton of the U.S.

Navy is on shore leave in the Japanese city of Nagasaki. He inspects his recently rented house, a dwelling which comes equipped with three servants and a beautiful young geisha, Cio-Cio-San, known as Butterfly. His wily real estate agent, Goro, is also a matchmaker who has arranged Pinkerton’s marriage to Cio-CioSan, as well as the 999 year lease on the home, a commitment which Pinkerton is free to break at any time. The American Consul, Sharpless, has joined Pinkerton on the hill top and listens to the sailor’s debonair chatter—someday, despite his infatuation with Butterfly, Pinkerton plans to wed an American. Sharpless cautions him that Cio-Cio-San may not hold such cavalier regard for her vows.

The hour of the wedding is nigh and a joyous Cio-Cio-San arrives with friends and family.

She explains to Pinkerton that since her father’s death she has worked as a geisha to support her relatives and has renounced her Japanese faith for Christianity. Immediately following the wedding Butterfly’s gloomy uncle, known as “The Bonze,” bursts forth with a vitriolic denunciation of the bride. Pinkerton curses him, banishes her family and comforts Cio-Cio-San as they pledge their love.

INTERMISSION ACT II—For three years a now impoverished

Butterfly has patiently awaited Pinkerton’s return. She scolds her maid, Suzuki, who offers prayers to Buddha; Cio-Cio-San trusts in her Christian god that Pinkerton will return as he has promised, when the robins build their

nests. The marriage broker Goro has introduced many suitors, including a wealthy prince, all of whom Cio-Cio-San has rejected. Consul Sharpless arrives with a letter from Pinkerton.

Proudly she introduces Sharpless to her son, Dolore (Trouble), believing Pinkerton will want to see the child. She is enraged when Sharpless suggests that she should marry the Prince. Sharpless, distraught and frustrated by Butterfly’s misguided devotion, is unable to reveal the contents of the letter. A cannon’s blast from the harbor signals the arrival of a vessel and Cio-Cio-San, with the aid of a telescope, recognizes Pinkerton’s ship. She, Suzuki and Trouble festoon the garden with flower petals as they rejoice in Pinkerton’s arrival.

ACT III—It is dawn and Cio-Cio-San has

kept an all-night vigil while Suzuki and the child sleep. The maid convinces Butterfly to rest. When Sharpless, Pinkerton and the American woman, Kate, approach the house, Suzuki realizes Kate is the Lieutenant’s bride.

Pinkerton becomes nostalgic, recalling his happiness with Butterfly. Cowardly he flees, leaving it up to Sharpless to press for the child, whom Kate plans to rear as her own. Cio-CioSan awakens to Suzuki’s weeping and, seeing Sharpless and Kate in the garden, understands Pinkerton has married and they will return for the boy. Cio-Cio-San prays to Buddha and embraces the child before sending him away to play. Seizing the dagger her father used to commit suicide, she reads the inscription, “Who cannot live with honor must die with honor,” and commits hara-kiri as Pinkerton approaches the house, calling her name.

by Judy Vander Heide

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UTAH OPERA MADAME BUTTERFLY 2014

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Madame Butterfly

Giacomo Puccini

Composer

Luigi Illica

Librettist

composer & librettists Giacomo Puccini was born in Lucca in Tuscany, Italy, into a family with five generations of musical history behind them. His father died when he was five years old, and he was sent to study with his uncle Fortunato Magi. Later, Puccini took the position of church organist and choir master in Lucca, but it was not until he saw a performance of Verdi’s Aida that he became inspired to be an opera composer. After his education at Milan Conservatory, Puccini composed Manon Lescaut (1893), his third opera, and his first great success. It launched his remarkable relationship with the librettists Luigi Illica and Giuseppe Giacosa, who collaborated with him on his next three operas, which became his most famous and often-performed operas: La Bohème, Tosca, and Madame Butterfly. Puccini died on November 29, 1924; news of his death reached Rome during a performance of La Bohème.

The opera was immediately stopped, and the orchestra played Chopin’s Funeral March for the stunned audience.

Luigi Illica wrote for libretti for composers including Giacomo Puccini (usually with Giuseppe Giacosa), Alfredo Catalani, and Umberto Giordano. His most famous opera libretti were those for La Bohème, Tosca, Madama Butterfly, and Andrea Chénier. Illica’s personal life often imitated his libretti. He was always photographed with his head slightly turned because he lost his right ear in a duel over a woman. As a playwright of considerable quality, he is today remembered through one of Italy’s oldest awards, the Luigi Illica International Prize founded in 1961, which goes to world famous opera singers, opera conductors, directors, and authors. The Award is now awarded every two years and alternates with the Illica Opera Stage International Competition, which offers prizes and debut opportunities to young singers.

Giuseppe Giacosa was an Italian poet, playwright, and librettist.

His father was a magistrate, and Giacosa went to the University of Turin to earn a degree in law, but did not pursue this career.

Giacosa gained initial fame for writing the poems in A Game of Chess in 1871. His focus was playwriting, which he accomplished with both insight and simplicity, using subjects set in Piedmont and themes addressing contemporary bourgeois values. He wrote La Dame de Challant for noted French actress Sarah Bernhardt, which she produced in New York in 1891. Giacosa wrote the librettos used by Giacomo Puccini in La Bohème, Tosca, and Madame Butterfly in conjunction with Luigi Illica.

Giuseppe Giacosa

Librettist 36

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Madame Butterfly

“they”

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“They”

The Touchy Business of Portraying Culture in Art

By Jeff Counts A DISCUSSION WORTH HAVING

Much ink has been spilled recently on the topic of cultural stereotyping in the world of opera. In a July 2014 article for Quartz (an online news component of The Atlantic), author Gwynn Guilford decried “Opera’s Old-Fashioned Race Problem” and made the suggestion that, as a reportedly “dying” industry, opera had better begin to distance itself from the ethnic clichés that threaten to “rob [it] of its relevance.” We should note that the quotes around the word “dying” are Guilford’s. Though she seems to acknowledge that the impending death of the art form has been exaggerated, her finer point about cultural sensitivity is both valid and timely. It’s a discussion worth having.

Guilford chose an opinion piece from the Seattle Times as her jumping off point. In that article, Times editorial columnist Sharon Pian Chan took aim at a production of The Mikado by the Seattle Gilbert and Sullivan Society. In her piece, Chan wasted no time getting to the heart of her objections by identifying the performances as “yellowface, in your face.” Her argument centered not only on the highly farcical depiction (as “strange and barbarous” according to Chan) of Japanese society, but also the fact that the cast was comprised entirely of “white actors, including two Latinos.” The “yellowface” part of her critique clearly referred to “blackface” practices of 19th century white performers.

She makes a strong and highly uncomfortable connection with that comparison and, as was 38

previously stated, we should talk about it, especially since commentators like Guilford have logically extended the discussion to Puccini’s Turandot and Madame Butterfly.

EXOTICISM, TRADITIONALISM, ARTISTIC LICENSE

Race representation in opera is not a new concern, nor has it been limited solely to portrayals of people with Asian heritage. Otello has long presented a potentially difficult casting problem for companies and directors around the world, as has Aida and any other work that is specific about the ethnicity of the characters or the cultural setting of the story. It is the age-old issue of the “other” and it extends in this context at least as far back as Mozart, whose interpretation of Turkish folk and their ways in The Abduction from the Seraglio raises many of the same nagging questions. In the case of Otello, the frequent use of makeup to make white singers look black has given plenty of offense in the past, and the only very recent “solution” of casting black singers for the part has not proven as ameliorative as many hoped it might. Mozart and Verdi had the catch-all concept of “Exoticism” on their side, and the much larger globe they inhabited made it possible to paint other cultures in the broadest, if least nuanced, strokes. The world of today is obviously a great deal smaller, and with the loss of the Exotic defense, the issues highlighted by both Chan and Guilford attend every modern production of these operas.

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Madame Butterfly

“they”

Traditionalism is today’s most frequently prescribed antidote for the Exoticism of before. There is a notion among many artists that performances of operas like Madame Butterfly can and should be told in exactly the way the composer intended, that the antique perceptions of race and culture inherent in those original conceptions are in fact our own modern version of an “exotic” bygone era.

The advocacy for a traditional approach often contends that Madame Butterfly and Otello and Aida are products of their time, and to tell the stories in the way they were proposed is both historically significant and valid. In that case, the contention must hope that the presumed validity outweighs any possible offense and that the composers and librettists can be forgiven for their ignorance, however innocently they held it. Mitigation of the problem through artistic license (like the implementation of newer, non-ethnic settings and time periods) and the commitment to multi-ethnic casting can be very effective, but the conundrums inherent in the music and text do not always disappear through creative costuming and editing.

MORE QUESTIONS THAN ANSWERS

How then does an opera company successfully and un-controversially mount a production of Madame Butterfly in 2014? Regardless of our own 21st century social awareness, Puccini’s story is what it is—a tale of clashing cultures that projects Japan as the innocent and America as the brute, with both likely viewed as thoroughly “exotic” by the early 20th century European audiences it eventually delighted. Is it possible to present these ideas to today’s audiences without the stigma of racial/cultural tactlessness? More directly to Chan’s comment, is it possible to dress white singers as Asian people in a way that does not founder into simple and unwelcome caricature?

And if not, is it possible that caricature in this UTAH OPERA MADAME BUTTERFLY 2014

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sense can actually serve a reflective purpose, one that forces us to consider the universal themes of trust, ambition, and base human nature? And is it possible that the meta-caricature of Puccini and his cohorts in their less-informed time has any value to us today?

Perhaps the largest of these questions is whether Madame Butterfly is a product of its own era or ours, and if our particular point in human history requires us to change it to match the current understanding of ethnicity and culture.

Sharon Pian Chan noted in her Mikado op-ed that, though it has many problematic references, Twain’s Adventures of Huckleberry Finn should not be banned from libraries, but any theatrical production of the story that uses a white actor with a painted face to play Jim ought to be shut down immediately. She’s right on both points.

That book carries a time-stamped, implied advisory warning now and is read with the full knowledge that it does not accurately mirror our current human consciousness. Operas are not books, however, and the reliance on visual reproduction in the stage arts can potentially make Chan’s discomfort very real indeed.

It matters little that Gilbert and Sullivan set out to impugn their own British society in Mikado and used an absurdly fictionalized Japan as a stand-in setting for the political follies of their homeland. The fact remains that, by today’s standards, those particular cultural depictions are hard to defend. Whether or not this same estimation applies in exactly the same way to Turandot or Madame Butterfly is the final question. We clearly have to keep talking about it.

Jeff Counts is Vice President of Operations and General Manager of the Utah Symphony. He was program annotator for Utah Symphony from 2010 to 2014 and has been writing articles for Utah Opera for five years.

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Madame Butterfly

a word for the sailor

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A Word for the Sailor

By Paula Fowler While watching a play or reading a story, an audience member or reader must sometimes hurdle a barrier of cultural differences in order to connect with a character. Different ways of thinking and doing get in the way of our empathizing. For Americans and Europeans, Giacomo Puccini’s Madame Butterfly, a Japanese geisha from the 19th century, is potentially just such an enigma. And yet most spectators at a production of Puccini’s opera Madame Butterfly find it easy to feel the joys and woes of this title character, alien as she might at first glance appear.

I’m suspicious that one reason for our easy empathizing is that her American (a writer and a playwright) and Italian creators (Puccini and librettists) imbued her with a determination to adopt our own traditional Western values, particularly those concerning love and marriage.

Butterfly is, thus, not all that foreign to us. There aren’t really cultural barriers to cross if she’s already on our side of the border.

Or maybe we identify with her because her story of love and abandonment strikes universal chords, and Puccini was an expert in the musical and theatrical encapsulation of the delicate, loving, self-sacrificing, devoted female type. His operatic output includes a group of such longsuffering sisters, most famously Mimi, Tosca and Liù, in addition to Butterfly.

But no matter how compelling you find Butterfly’s story, try to keep some empathy in reserve for the young American sailor who is the source of her joy and sorrow. This opera is his tragedy too, even though it may be difficult at first to see that.

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It’s easy to despise Benjamin Franklin Pinkerton. When we first meet him at the top of Act I, he is a charming egotist. In the hubbub of preparations for his marriage to the geisha Cio-Cio-San (Butterfly), he actually boasts that he’s an American vagabond. His music, with its dotted rhythms and snippets of the American national anthem, is full of bravado and swagger. He likes the idea of having a girl in every port, and is humored to be entering a Japanese marriage that is good for 999 years but can be cancelled at any time. He wants Butterfly and says he will have her, even if that means breaking her “wings.” Taking his impending marriage lightly, he even calls for a toast to his eventual American bride right before his Japanese bride, Butterfly, makes her grand entrance for their wedding ceremony.

Pinkerton’s offensiveness continues: he finds the kinfolk at the wedding silly, and he diminishes Butterfly’s treasured statues—spirits of her ancestors—calling them “puppets.” When Butterfly’s uncle, the Bonze, bursts into the wedding to curse her for having converted to the American religion, Pinkerton dismisses his words as “croaking.”

We should get a chance to like Pinkerton a bit when he and Butterfly are finally alone, for a love duet at the end of Act I. Butterfly is all poetry: she notes the moonlight, sky and ocean, and sings of the deep and eternal affection that Japanese people feel for humble things. When she mentions that she has heard of Americans collecting butterflies, putting pins through their bodies and locking them up in cases, Pinkerton

UTAH OPERA MADAME BUTTERFLY 2014

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Madame Butterfly

a word for the sailor

merely flirts that he has caught his butterfly and won’t let her get away. In the beautiful ending to Act I, in which Butterfly continues rhapsodizing, Pinkerton just keeps singing “come, come!” as he pulls her into the bedroom.

You might think we’d get some relief from Pinkerton’s insensitivity in Act 2—because he’s not in most of it—but no. Three years have passed. We learn that he promised to be back when the roses and robins returned, but he has not appeared; he hasn’t even written. Butterfly tries in vain to convince everyone that robins don’t appear as regularly in the US as they do in Japan.

Pinkerton finally re-emerges in Act 2, scene 2.

He is in Japan but comes to Butterfly’s house only because the American Consul Sharpless has told him about the child Butterfly has born him.

He arrives at Butterfly’s home with his American wife, having decided they should take the son, certain they can give him a better future.

But once back in Butterfly’s home, he is overwhelmed by guilt and runs off, leaving Kate and Sharpless to deal with the delicate negotiation. Coward.

Despite all of his shameful behavior, however, there are reasons to admire and feel pain for Pinkerton: First, when the evidence of what he has done becomes clear, he doesn’t try to justify or divert attention from himself. He does run away in the overwhelming instant, but he comes back, calling to Butterfly. He’s too late, but he does return.

Next, he does shunt aside all advice that goes against his own self-focused plans, but Butterfly does the same. She ignores the fact of her own cultural tradition of temporary marriages, and

UTAH OPERA MADAME BUTTERFLY 2014

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gets angry at Suzuki and Sharpless when they caution her that Pinkerton may never return.

The two share the fatal flaw of not heeding sound counsel.

Finally, there’s the fact that Puccini chose to give Pinkerton space and attention in the opera.

The American play that inspired Puccini to create this opera doesn’t; that Pinkerton doesn’t appear until the end of the play. In contrast, Puccini let Pinkerton share the stage in all of Act I. That may be because a wedding is a great opportunity for operatic spectacle, but Pinkerton’s presence also means we spend more time with him; we see his charm and tenderness as well as his cockiness. Puccini also gives Pinkerton the final words in the opera.

Madame Butterfly is not a story of a callous man victimizing a hapless woman—that would be pitiful—the stuff of grim Naturalist rather than Romantic literature. In Puccini’s opera we meet two human beings who both end up learning in dramatic instants how very wrong they have been. They both are tragic characters. Butterfly’s mistakes hurt mostly herself. Pinkerton’s suffering is additionally fraught with the knowledge that his errors led him to cause ultimate pain to a gentle, lovely person, one of the most sweet and delicate characters to ever emerge from the creative heart of Giacomo Puccini.

Paula Fowler is USUO’s Director of Education & Community Outreach. She has been writing opera commentaries for Utah Opera for more than 15 years.

Learn more about the story sources, history and music of Madame Butterfly in Utah Opera’s Madame Butterfly online learning materials by Dr. Paul Dorgan. utahopera.org/onlinelearning

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UTAH SYMPHONY | UTAH OPERA IN PERPETUAL MOTION

We are grateful for the momentum of The Campaign for Perpetual Motion, a $20 million public campaign to celebrate Utah Symphony’s 75th Anniversary in 2015–16. We have exciting plans leading up to this anniversary—including recording, broadcasting, and touring at the state and national levels, and even internationally. We look forward to sharing these plans with you in the coming months.

We launched the Campaign with a remarkable $5 million lead gift from the George S. and Dolores Doré Eccles Foundation, whose tradition of support totaling more than $32 million spans three decades. This lead gift was made in addition to a $1 million gift from the Foundation to our Leadership Campaign, which during 2011 and 2012 prepared a solid foundation for the public fundraising effort. More than 35 individuals, corporations, and foundations contributed to the Leadership Campaign, including an extraordinary $4.6 million capstone gift from O.C. Tanner Company.

Stay tuned—we know you will be proud of our plans to build and showcase your world-class symphony and opera throughout Utah and beyond.

Find out more at usuo.org/support.

UTAH OPERA MADAME BUTTERFLY 2014

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P E RP ET UAL motion

We are forever grateful to the following leaders whose visionary support secured the permanence of Utah Symphony | Utah Opera through our Leadership Campaign in 2011 and 2012, and who are setting the stage for its bright future as lead supporters of The Campaign for Perpetual Motion.

FOUNDING CAMPAIGN DONORS George S. and Dolores Doré Eccles Foundation ($6 Million) O.C. Tanner Company ($4.6 Million) PRINCIPAL GIVING ($1 Million & above) Gael Benson The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation Kem & Carolyn Gardner Larry H. & Gail Miller Family Foundation Mark & Dianne Prothro Questar® Corporation Patricia A. Richards & William K. Nichols Shiebler Family Foundation Sorenson Legacy Foundation Zions Bank LEADERSHIP GIVING (up to $1 Million) Anonymous (2) Scott & Jesselie Anderson Edward R. Ashwood & Candice A. Johnson Mr. & Mrs. William C. Bailey Dr. J. R. Baringer & Dr. Jeanette J. Townsend Thomas Billings & Judge Judith Billings R. Harold Burton Foundation Howard & Betty Clark Thomas D. Dee III & Dr. Candace Dee Deer Valley Resort E.R. (Zeke) & Katherine W. Dumke Burton & Elaine Gordon Mr. & Mrs. Martin Greenberg Dell Loy & Lynette Hansen Roger & Susan Horn Anthony & Renee Marlon 50

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offered nightly until 6:30pm 3 —COURSE MENU STARTING AT

$ 44. 95

Planned Giving

Photo: Carol and Ted Newlin

Ted Newlin has been a member of the Deer Valley® Music Festival Advisory Council since 2008, and is now in his third year of service as Chairman of the Council. Ted also joined the Utah Symphony | Utah Opera Board of Trustees in 2010 and chairs the Board’s Strategic Planning Committee. In addition to their dedication to the Deer Valley® Music Festival, Ted and his wife Carol are opera devotees, committed to supporting Utah Opera’s mission to share the most compelling, most engaging nights of theater one can experience in the Intermountain West.

“There are few places you can go and hear world-class voices along with a world-class orchestra set to inspiring dramatic narratives,” says Ted, who has also served as Board Chairman for the Lake George Opera Festival (now Opera Saratoga) in Saratoga Springs, NY. “We are so proud we can do that in Utah, where the remarkable productions are in keeping with our state Together, we’re planning the future motto, life elevated—and more specifically in this case, art elevated. We want to help of Utah Symphony | Utah Opera. share this experience with others.”

To do so, Ted and Carol are extending their already significant service and support for Utah Symphony | Utah Opera with a generous commitment to The Campaign for Perpetual Motion (see pages 49–50). Their campaign commitment includes both an outright gift, which will support new presentations of opera in Summit County, as well as a planned gift that will support an endowment fund for Utah Opera, ensuring that great operatic performances will go on across Utah for years to come.

What are your plans?

Thanks to the foresight and planning of generous patrons like the Newlins, Utah Opera is ready to engage, astound and delight current and future audiences throughout the state. To learn how you, too, can help plan the future of Utah Opera through your charitable giving, contact Shaleane Gee at 801.869.9013 or sgee@usuo.org, or visit us online at usuo.org/support.

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UTAH OPERA MADAME BUTTERFLY 2014

Crescendo & Tanner Societies Utah Symphony | Utah Opera thanks the members of our Tanner and Crescendo Societies, patrons who have included USUO in their financial and estate planning. Together, we can ensure that great live music is preserved for future generations. Membership is open to all those who express their commitment through a planned gift at any level.

Please contact Shaleane Gee at sgee@usuo.org or 801.869.9013 for more information.

Crescendo Society of Utah Opera Anonymous Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Dr. Robert H. † & Marianne Harding Burgoyne Elizabeth W. Colton† 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 Gaye Herman Marrash Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin

Pauline C. Pace† Stanley B. & Joyce Parrish Patricia A. Richards Mr. & Mrs. Alvin Richer Robert L.† & Joyce Rice Richard G. Sailer† 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 $100,000 and above

Anonymous (3) Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers Flemming & Lana Jensen

Mahler Circle

Anonymous (3) Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Patricia Dougall Eager† Mr. & Mrs.† Sid W. Foulger Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Mr. Ray Horrocks† Richard W. James† Estate Mrs. Avanelle Learned† Ms. Marilyn Lindsay Turid V. Lipman

James Read Lether Daniel & Noemi P. Mattis Joyce Merritt† Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bently Kenneth A. & Jeraldine S. Randall

Robert L.† & Joyce Rice Mr. & Mrs. Alvin Richer Patricia A. Richards Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffrey & Joyce Smith G.B. & B.F. Stringfellow Mr. & Mrs. Norman C. Tanner Mr. & Mrs. M. Walker Wallace

Herbert C. & Wilma Livsey Mrs. Helen F. Lloyd† Gaye Herman Marrash Ms. Wilma F. Marcus† Dr. & Mrs. Louis A. Moench Jerry & Marcia McClain Jim & Andrea Naccarato Pauline C. Pace† Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. and Sally† Quinn

Helen Sandack† Mr. Grant Schettler Glenda & Robert† Shrader Dr. Robert G. Snow† Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† Kathleen Sargent† JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Afton B. Whitbeck† Edward J. & Marelynn Zipser †Deceased

UTAH OPERA MADAME BUTTERFLY 2014

53

The Romantics

Utah Symphony | Utah opera’S CUltUral FeStival 2014/15

The artistic movement we call Romanticism swept through Western civilization at the beginning of the 1800s. Its practitioners rebelled against the structure and order cherished by previous generations, and regarded the free expression of individual feelings and experiences as more reliable sources of truth than rational thought.

In the 2014-15 season, Utah Symphony Utah Opera celebrates the Romantics of the 19th century. We will explore art, dance, food, film, and music created under the Romantic influence.

>> For additional information visit:

usuo.org/festival

OUT ON THE TOWN

dining guide THE NEW YORKER 60 West Market Street. SLC’s premier dining establishment. Modern American cuisine is featured in refined dishes and approachable comfort food. From classic to innovative, from contemporary seafood to Angus Beef steaks – the menu provides options for every taste. Served in a casually elegant setting with impeccable service.

Private dining rooms for corporate and social events.

Lunch & Dinner. No membership required. L, D, LL, AT, RR, CC, VS. 801.363.0166

Consistently Rated “Tops”–Zagat 60 W. Market Street • 801.363.0166

Salt Lake City’s #1

MARKET STREET GRILL DOWNTOWN 48

Most Popular Restaurant

West Market Street. Unanimous favorites for seafood dining, providing exceptional service and award winning.

The contemporary menu features the highest quality available. Select from an abundant offering of fresh seafood flown in daily, Angus Beef steaks, and a variety of non-seafood dishes. Open 7 days a week serving breakfast, lunch, dinner, Sunday Brunch. B, L, D, C, AT, S, LL, CC, VS. 801.322.4668

MARTINE 22 East 100 South. Award winning ambience, located in a historic brownstone. Martine offers Salt Lake City a sophisticated dining experience kept simple. Locally sourced ingredients, pre-event $25 three course prix fixe.

Extensive bar and wine service. martinecafe.com L, D, T, LL, RA, CC, VS. 801-363-9328

–Zagat

48 W. Market Street (340 South) 801.322.4668

• An intimate euro café • Free Valet Parking 22 East 100 South

Phone • 801.363.9328 www.martinecafe.com Top Photo: Image licensed by Ingram Image

B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections

THANK YOU TO OUR ADVERTISERS Bambara

J. Wong’s Thai & Chinese Bistro

Ruth’s Chris Steak House

BMW of Murray / Pleasant Grove

Kirton McConkie

The Spectacle

Bank of Utah

Broadway Across America - Utah Caffè Molise

Challenger School City Creek Living Classical 89

Daynes Music

Double Tree Suites

Every Blooming Thing Ferguson

Grand America

Hamilton Parks Interiors Hyatt Place

Ken Garff Mercedes-Benz Larry H Miller Lexus Little America

Sky Harbor Suites

University of Utah Continuing Education

Martine

University of Utah Health Care

Metropolitan Opera

Utah Food Service

McCune Mansion

Natural History Museum of Utah New Yorker OC Tanner

Utah Audio

Utah Museum of Fine Arts Zions Bank

Parsons Behle & Latimer

If you would like to place an ad

Rowland Hall

Dan Miller at Mills Publishing, Inc.

RC Willey

Ruby’s Inn

in this program, please contact 801-467-8833

Corporate & Foundation Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last twelve months. For a listing of Season Honorees who have made gifts and pledges of $10,000 or more, please see pages 12–16.

$5,000 to $9,999

Chevron Humankind Matching Gift Fund

Bourne-Spafford Foundation

Ellessa Mae, LLC

Anonymous (2)

Doubletree Suites*

Durham Jones & Pinegar, P.C.

The Jarvis & Constance Doctorow Family Foundation

Spencer F. & Cleone P. Eccles Family Foundation EY

Henry W. & Leslie M. Eskuche Charitable Foundation

Hyatt Place Hotel*

Every Blooming Thing* Fabian & Clendenin

Fleming’s Prime Steakhouse & Wine Bar* Goldener Hirsch Inns* Martine*

Marriott City Center*

McCarthey Family Foundation

Louis Scowcroft Peery Charitable Foundation Rasmussen Landscapes*

Ruth’s Chris Steak House*

Security National Life Insurance Co. Selecthealth Stoel Rives

Union Pacific Foundation

The Private Client Reserve of U.S. Bank U.S. Bancorp Foundation Victory Ranch Club

Wrona, Gordon & DuBois $1,000 to $4,999

Advanced Retirement Consultant Bertin Family Foundation

City Creek

Enterprise Holdings Foundation ExxonMobil Foundation

Fidelity Charitable Gift Fund Goldman, Sachs & Co.

Victor Herbert Foundation

Thomas A. & Lucille B. Horne Foundation Iasis Healthcare

J. Wong’s Asian Bistro* Jones & Associates

Jones Waldo Park City Kirton | McConkie

Leavitt Group of Salt Lake, Inc. Love Communications The Lund Foundation M Lazy M Foundation Macy’s

Millcreek Cacao Roasters*

Millcreek Coffee Roasters*

George Q. Morris Foundation Nebeker Family Foundation Park City Foundation

Ray, Quinney & Nebeker Foundation

The Charles & Annaley Redd Foundation Resorts West

Snell & Wilmer L.L.P.

Snow, Christensen & Martineau Foundation Squatters Pub Brewery* Strong & Hanni, PC Summit Sotheby’s

Swire Coca-Cola, USA*

Bill & Connie Timmons Foundation

Rodney H. & Carolyn Hansen Brady Charitable Foundation United Jewish Community Endowment Trust Robert S. Carter Foundation Castle Foundation

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Utah Families Foundation Wasatch Advisors

UTAH OPERA MADAME BUTTERFLY 2014

Individual Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last twelve months. For a listing of season honorees who have made gifts and pledges of $10,000 or more, please see pages 12–16.

ABRAVANEL & PETERSON SOCIETIES

$5,000 to $9,999

Anonymous (2) Doyle Arnold & Anne Glarner Mr. & Mrs. Chris Canale Hal M. † & Aileen H. Clyde Kathleen Digre & Michael Varner Dr. & Mrs. Ralph Earle Spencer & Cleone† Eccles Thomas & Lynn Fey Jeffrey L. Giese, M.D. & Mary E. Gesicki The James S. Gulbrandsen, Sr. Family Gary & Christine Hunter Mary P. Jacobs & Jerald H. Jacobs Family G. Frank & Pamela Joklik John & Adrienne McNamara Rich & Cherie Meeboer Richard & Jayne Middleton Brooks Quinn James & Gail Riepe Stuart & Molly Silloway Janet Sloan David & Susan Spafford George & Tami Speciale Sam & Diane Stewart Dr. Paula M. Swaner Thomas & Kathy Thatcher Melia & Mike Tourangeau Albert & Yvette Ungricht John Williams Tom & Wendy Wirth

$3,000 to $4,999

Anonymous (3) E. Wayne & Barbara Baumgardner Dr. & Mrs. Clisto Beaty Robert W. Brandt Brian Burka & Dr. J. Hussong Mr. & Mrs. Neill Brownstein Jonathan & Julie Bullen Mr. & Mrs. William D. Callister, Jr. Mark Casp Hal & Cecile Christiansen Edward & Carleen Clark Amalia Cochran Debbi & Gary Cook Mr. James Davidson B. Gale† & Ann Dick J. I. “Chip” & Gayle Everest Midge & Tom Farkas Jack & Marianne Ferraro Robert & Elisha Finney Drs. Fran & Cliff Foster Robert & Annie-Lewis Garda Mr. & Mrs. Eric Garen Shari Gottlieb Ray & Howard Grossman Dr. & Mrs. Bradford D. Hare Jennifer & T. William Hickman

58

Annette & Joseph Jarvis Dale & Beverly Johnson Barbara Jones Mr. & Mrs. Kent Jones Robert & Debra Kasirer Hanko & Laura Kiessner Jeanne Kimball Elizabeth & Michael Liess Mr. & Mrs. Wayne Lyski Daniel & Noemi P. Mattis Michael & Julie McFadden Mr. & Mrs. Richard Mithoff Leslie Peterson & Kevin Higgins Victor & Elizabeth Pollak Dr. Glenn Prestwich & Dr. Barbara Bentley Mr. & Mrs. Alvin Richer Dr. Wallace Ring Mr. & Mrs. Robert Rollo Henry & Kathie Roenigk James Romano Estate of Kathy Lynn Sargent William G. Schwartz & Joann Givan Elizabeth Solomon Verl & Joyce Topham Dr. Jeannette J. Townsend Mr. & Mrs. Glen R. Traylor Mr. & Mrs. Vincent Trotta Dr. Ralph & Judith Vander Heide Ardean & Elna Watts Jeremy & Hila Wenokur Ms. Gayle Youngblood

$2,000 to $2,999

Anonymous (5) Craig & Joanna Adamson Robert & Cherry Anderson Drs. Wolfgang & Jeanne Baehr Mr. & Mrs. William Bierer Richard & Suzanne Burbidge Mr. & Mrs. Michael Callen Lindsay & Carla Carlisle Robyn Carter Raymond & Diana Compton Mr. & Mrs. Kenneth R. Cutler Dr. & Mrs. J. Michael Dean James & Rula Dickson Mr. & Mrs. Robert Ehrlich Heidi Gardner Randin Graves David & SandyLee Griswold Dennis & Sarah Hancock John B. & Joan Hanna Kenneth & Geraldine Hanni Sunny & Wes Howell Jay & Julie Jacobson M. Craig & Rebecca Johns Bryce & Karen† Johnson Neone F. Jones Family J. Allen & Charlene Kimball Carl & Gillean Kjeldsberg Donald L. & Alice A. Lappe Roger Leslie James Lether

Harrison & Elaine Levy Herbert C. & Wilma S. Livsey Milt & Carol Lynnes David & Donna Lyon Jed & Kathryn Marti David Mash David & Nickie McDowell Warren K. & Virginia G. McOmber George & Nancy Melling Linda Mendelson Dr. Louis A. Moench & Deborah Moench Mr. & Mrs. Barry Mower Marilyn H. Neilson Bradley Olch Joseph & Dorothy Ann Palmer Dr. Thomas Parks & Dr. Patricia Legant Linda S. Pembroke Chase† & Grethe Peterson Jon Poesch Dan & June Ragan Dr. & Mrs. Marvin L. Rallison Dr. Richard & Frances Reiser Frank & Helen Risch Richard & Carmen Rogers David & Lois Salisbury Mark & Loulu Saltzman Margaret P. Sargent Bertram H. & Janet Schaap Deborah Schiller Mr. & Mrs. Eric Schoenholz K. Gary & Lynda Shields Gibbs & Catherine W. Smith Christine St. Andre Jerry Steichen Drs. Gerald B. & Nancy Ahlstrom Stephanz JoLynda Stillman Bill & Connie Timmons Foundation Ann Marie & William Thomas Frederic & Marilyn Wagner David J. & Susan Wagstaff John & Susan Walker Gerard & Sheila Walsh Bryan & Diana Watabe Suzanne Weaver Mr. & Mrs. E. A. Woolston

$1,000 to $1,999

Anonymous (4) Fran Akita Christine A. Allred Alex Bocock & Amy Sullivan Joseph & Margaret Anderson Drs. Crystal & Dustin Armstrong Daniel & Sheila Barnett Richard & Alice Bass David Bateman Mr. Barry Bergquist James & Marilyn Brezovec Mr. & Mrs. Lee Forrest Carter William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Dr. & Mrs. Thomas Coppin UTAH OPERA MADAME BUTTERFLY 2014

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1344 S 2100 E Salt Lake City (801) 521- 4773 everybloomingthing.com UFS_SymphonyAd2012.pdf

1

12/8/11

11:12 AM

Individual Donors Margaret Dreyfous Alice Edvalson Naomi K. Feigal Edward B. & Deborah Felt Robert S. Felt, M.D. Robert & Elisha Finney Blake & Linda Fisher Mr. & Mrs. Richard R. Graham Anabel Greenlee Geoffery Grinney C. Chauncey & Emily Hall Mr. G. K. Handley Kenneth & Kate Handley Robert & Marcia Harris Lex Hemphill & Nancy Melich John Edward Henderson Steve Hogan & Michelle Wright Connie C. Holbrook Bob & Ursula Hoshaw Mr. & Mrs. Jerry Huffman Ms. Caroline Hundley Scott Huntsman Mr. Todd James Drs. Randy & Elizabeth Jensen Jill Johnson Chester & Marilyn Johnson Mr. & Mrs. Clark D. Jones Mr. & Mrs. Alan D. Kerschner Eunice Kronstadt Mr. & Mrs. Melvyn L. Lefkowitz Bill Ligety & Cyndi Sharp Mac & Ann MacQuoid Rick Mastain Christopher & Julie McBeth Michael Geary Janet O. Minden Dr. Michaela S. Mohr Mary Muir Oren & Liz Nelson Stephen & Mary Nichols Dr. & Mrs. Richard T. O’Brien Ann G. Petersen Eugene & Pamela Podsiadlo

W. E. & Harriet R. Rasmussen Mr. & Mrs. William K. Reagan Dr. Barbara S. Reid Mr. August L. Schultz Mr. & Mrs. D. Brent Scott David & Claudia Seiter Karen Shepherd Margot L. Shott Barbara Slaymaker Dorotha Smart Dr. Otto F. Smith & Mrs. June Smith Brian & Deborah Smith Dr. & Mrs. Michael H. Stevens Mr. & Mrs. G. B. Stringfellow Douglas & Susan Terry Ann Jarcho Thomas Robb Trujillo Mrs. Rachel J. Varat-Navarro William & Donna R. Vogel Mr. & Mrs. Brad E. Walton Susan & Keith Warshaw Pam & Jonathan Weisberg David & Jerre Winder Mr. & Mrs. Hugh Zumbro We regret space prohibits listing our many Friends below the $1,000 level, but please know how grateful we are for your support throughout the season.

In Honor of Barbara & Steven Anderson H. Brent & Bonnie Jean Beesley Dr. & Mrs. Joseph C. Bentley Paula J. Fowler Mark & Dianne Prothro Patricia A. Richards Barbara Ann Scowcroft William & Joanne Shiebler Joe V. Siciliano Melia Tourangeau

Q&A 60

In Memory Of Berry Banks David Wells Bennett Dr. Robert H. Burgoyne Stewart Collins Kathie Dalton Carolyn Edwards Neva Langley Fickling Calvin Gaddis Herold L. “Huck” Gregory Carolyn Harmon Duane Hatch Mary Louis Scanlan Humbert Howard Keen Robert Louis Beverly Love Clyde Meadows Scott Pathakis Kathy Sargent Shirley Sargent Ruth Schwager Ryan Selberg Dr. Ann O’Neill Shigeoka Robert P. Shrader John Henry “Jack” Totzke Roger Van Frank Rosemary Zidow

*In-kind gift **In-kind & cash gift

See page 12–16 for an additional listing of all the generous donors whose support has made this season possible.

Donations as received between 9/1/2013 & 9/1/2014

Do you have any questions or comments about tonight’s performance or Utah Opera which you would like to ask or share?

Please join Christopher McBeth at the front of the orchestra section after each performance for a Q & A session.

UTAH OPERA MADAME BUTTERFLY 2014

November 18 - 23 TICKETS GO ON SALE SEPTEMBER 26!

WWW.BROADWAYINUTAH.COM

Cold-Blooded Cast Members at Utah Opera Utah Opera invites you to become an “alligator hunter” at future productions

painted or dressed to blend with the set pieces to which they are attached.

If you’ve been to a Utah Opera performance sometime in the last eight years, you probably didn’t know there were is a member of the cast who happily went un-credited— and unnoticed— in the production you saw. That’s because the modest opera star is a plastic alligator, appearing in the last 25 productions at Utah Opera, and fondly considered the mascot of the company.

“They’re chameleons,” said current Properties Mater for Utah Opera, Kelly Nickle. “I don’t think anyone in the audience has ever noticed them. They are so well hidden that a lot of times the director doesn’t even know they are there.”

The appearances by the Utah Opera Alligator began as a joke by the stage crew. But quickly, the activity became an elaborate game of hideand-seek for the cast and crew alike. Soon, the audience will be able to take part.

“The origin of the plastic alligator is shrouded in mystery,” says set builder Robert Vaughan. “The truth of the story has been diluted with time and no one really knows how it got started.” The alligators themselves are only 15 inches long, nameless, and are often

UTAH OPERA MADAME BUTTERFLY 2014

If you would like to become an alligator hunter at the opera, it might help to know where they have been spotted before. The alligators have been known to find their way to the top of a wedding cake in The Ballad of Baby Doe, and to wear flowered hats in A Midsummer’s Night Dream. One even found itself on the bustle of a chorus member’s skirt in Cold Sassy Tree.

If you spot an alligator, send an email with a detailed description of their location to info@ usuo.org . If you’re right, we will send you free tickets to an upcoming opera.

“We can only assume that he is trying to make it big in New York,” says Nickle. “He could be on Broadway by now.”

63

Classical 89 Broadcasts

Oct 11 | 9:30 AM STRAVINSKY Elegy for J.F.K. Abigail Levis, Mezzo-Soprano Thierry Fischer, Conductor (recorded 11/23/13) Oct 11 | 8:00 PM MOZART The Abduction from the Seraglio Celena Shafer (Konstanze) Andrew Stenson (Belmonte) Amy Owens (Blonde) Tyson Miller (Pedrillo) Gustav Andreassen (Osmin) Christopher McBeth (Pasha Selim) Gary Thor Wedow, Conductor Oct 18 | 9:30 AM TCHAIKOVSKY Suite from The Sleeping Beauty Thierry Fischer, Conductor (recorded 4/20/13) Oct 25 | 9:30 AM TCHAIKOVSKY Piano Concerto No. 1 III. Allegro con fuoco Conrad Tao, Piano Thierry Fischer, Conductor (recorded 4/20/13)

Nov 1 | 9:30 AM BERLIOZ Symphonie fantastique IV. March to the Scaffold V. Dream of a Witches’ Sabbath Thierry Fischer, Conductor (recorded 4/27/13) Nov 8 | 9:30 AM DVOŘÁK Violin Concerto Augustin Hadelich, Violin Vladimir Kulenovic, Conductor (recorded 5/25/13) Nov 15 | 9:30 AM DVOŘÁK Slavonic Dances, Nos. 1-4 Vladimir Kulenovic, Conductor (recorded 5/25/13) Nov 22 | 9:30 AM BRAHMS Symphony No. 2 Vladimir Kulenovic, Conductor (recorded 5/25/13) Nov 29 | 9:30 AM BEETHOVEN Egmont Overture Thierry Fischer, Conductor (recorded 9/13/13)

UTAH OPERA Open prior to and during the intermission of Utah Opera performances.

Located in the Capitol Theatre lobby.

classical89.org 89.1 & 89.5 fm

Listen to “WorLd of opera” on Featuring recordings from opera houses around the world. Saturdays at 8pm.

I’italiana in Algiers by Gioacchino Rossini, Royal Theatre in Turin, Italy

C L A S S I C A L 8 9 . O RG · C L A S S I C A L 8 9 · 8 9 . 1 a n d 8 9 . 5 F M

J. WONG’S THAI & CHINESE BISTRO 11am - 3pm Monday to Saturday 5pm - 10pm Monday to Saturday 4pm - 9pm Sunday

200 South 163 West (south of Salt Palace), SLC (801) 350-0888 Jwongs.com

2012 - 2014

Acknowledgments DoubleTree Suites by Hilton Hotel is located in the heart of Downtown Salt Lake City-just blocks from the Convention Center, Energy Solutions Arena, great shopping and Trax Station.

The DoubleTree Suites by Hilton Hotel offers many of the comforts of home.

Every Spacious Two-Room Suite Ev provides a private bedroom plus a separate living room and complimentary wireless high speed Internet. We have an indoor heated pool, sauna and whirlpool. Just seven miles from the airport, we also offer Hilton HHonors® Points & Miles®. We offer all of this for the price of an ordinary hotel room.

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

Melissa Robison HUDSON PRINTING COMPANY

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

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Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo GOVERNMENTAL RELATIONS REPRESENTATIVE

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Shuman Associates, Inc. Utah Symphony | Utah Opera is funded by the Utah Arts Council, Professional Outreach Programs in the Schools, Salt Lake City Arts Council, Salt Lake County Zoo, Arts, and Parks Tax (ZAP), Summit County Restaurant Tax, Summit County Recreation, Arts and Parks Tax (RAP), Park City Chamber Bureau, and the Utah Humanities Council.

Utah Symphony | Utah Opera is an equal opportunity employer. Utah Symphony | Utah Opera policy prohibits unlawful discrimination based on race, color, creed, sex, marital status, sexual orientation, age, national origin, ancestry, handicap, disability, medical condition, or any other consideration made unlawful by federal, state, or local laws.

Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by 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. *Hilton HHonors membership, earning of Points & Miles®, and redemption of points are subject to HHonors Terms and Conditions. ©2009 Hilton Hospitality, Inc. UTAH OPERA MADAME BUTTERFLY 2014