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MOZARTâ&#x20AC;&#x2122;S

THE MAGIC FLUTE MARCH 9, 11, 13, 15, 17 J. Q. LAWSON CAPITOL THEATRE

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Contents PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR/ PRODUCTION MANAGER Jackie Medina GRAPHIC DESIGNERS Ken Magleby Katie Steckler Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas Chad Saunders OFFICE ASSISTANT Jessica Alder ADMINISTRATIVE ASSISTANT Caleb Deane 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.

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MOZART’S

THE MAGIC FLUTE

PG.

Utah Opera’s 2006 production of The Magic Flute, photo by Kent Miles.

6 Welcome 8 Artistic Director’s Welcome 10 Board of Trustees 15 Q&A - Andrew Stenson (Tamino) 16 Five Facts About “The Magic Flute” 18 Getting to Know Celena Shafer (Queen of the Night) 20 Production Sponsors 22 Synopsis 25 Cast / Artistic Staff / Chorus 33 Utah Symphony 34 Composer / Librettist 36 A Fairy Tale for the Ages 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.

Welcome On behalf of the artists, musicians, board, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to the Janet Quinney Lawson Capitol Theatre and this production of Mozart’s timeless classic The Magic Flute. March is celebrated around the nation as Music in Our Schools month. Sponsored by the National Association for Music Education, the initiative focuses the nation’s attention on the need for and benefits of quality music education programs. Schools and community groups celebrate with creative activities and events, based on a designated theme. This year’s theme is “All Music. All People.”

Paul Meecham President & CEO

Throughout each school year USUO’s Education programs provide to the citizens of Utah one of the most extensive arts education initiatives by a professional musical arts organization in the United States. Our programs provide students with the gift of live classical music and the inspiration to develop their own creative capabilities to enhance their lives. The Magic Flute aligns well with the theme of “All Music. All People.” through its elements of humanism (the easily-relatable ‘every man’ character of Papageno) combined with an enlightenment journey (the hero’s quest that Tamino follows through the story). The fablelike telling of the plot united with Mozart’s timeless music makes this one of the most popular operas of all time—it was performed more than 100 times in the first 13 months after it premiered and remains one of the top 10 most-performed operas to this day, now more than 200 years later. And, we once again celebrate the talents of Utah’s best young music students by featuring three choristers from The Madeleine Choir School as the Three Spirits in today’s production.

Kem Gardner USUO Board of Trustees Chair

Thank you for joining us for this performance by Utah Opera. We hope that you will join us May 4 or 6 for Utah Opera’s season finale of Bellini’s Norma—performed in Abravanel Hall while the Janet Quinney Lawson Capitol Theatre is closed for renovation. And we will look forward to seeing you back in our home at the JQL Capitol Theatre next fall for an exciting season beginning with Verdi’s beloved La traviata! Sincerely,

UTAH OPERA 2018–19 SEASON

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Artistic Director’s Welcome

Dear Utah Opera Friends and Family, I’m so pleased you’ve joined us for Mozart’s The Magic Flute. So many of us have stories to share about our connection with this very special piece. The great composer’s Singspiel (the German 18th-century version of light opera) works perfectly on a myriad of levels and reveals more of itself each time we encounter it.

Christopher McBeth Artistic Director

I personally came to know it in segments and over time. First as a young singer, then as one of the “trials” of conducting class, followed by study of the many recordings showcasing the great singers of the past and, finally, in a production by a professional opera company. Like most operas, it wasn’t until I experienced it in completion that I could begin to understand what a masterpiece it was. What I discovered was that behind all the magic, mystery, ritual, and fantasy lay simple humanity and joy delivered in as close to musical perfection as can be found anywhere. Over the years, it’s these last elements that have happily brought me back to Mozart’s most popular of stage works over and over. We have a fantastic cast for this presentation including Andrew Stenson and Zulimar López-Hernández who have both had major successes in Mozart operas with Utah Opera in recent years and Joseph Gaines who was a big part of our triumph last season in Moby Dick. Two artists making their debut with the company are Joo Won Kang, and Matt Boehler. I’ve been looking to bring these wonderful performers to you for several years. I’m deeply honored to have my friend and Utah Symphony Music Director Thierry Fischer leading this production from the podium. Without a doubt, this will be the finest presentation of Mozart’s final opera at the Capitol Theatre to date. Enjoy,

Join Christopher and special guests for an audience Q&A directly following each performance in the Capitol Room.

UTAH OPERA 2018–19 SEASON

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Board of Trustees ELECTED BOARD Kem C. Gardner* Chairman

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

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

Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen Patricia A. Richards*

Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder

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

Ron Jibson Warren K. McOmber E. Jeffery Smith Barbara Tanner

The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler Stanley B. Parrish

Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith

Joanne F. Shiebler Chair (Utah)

Susan H. Carlyle (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

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

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

William H. Nelson* Vice Chairman Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO Jesselie B. Anderson* Doyle L. Arnold* Judith M. Billings Gary L. Crocker David L. Dee*

MUSICIAN REPRESENTATIVES

Elizabeth Beilman* Andrew Larson* EX OFFICIO

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

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

UTAH OPERA 2018–19 SEASON

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Q& A

– ANDREW STENSON (TAMINO)

What inspired you to pursue opera? Were there other career pathways you envisioned for yourself? I originally wanted to be a chef but ended up going to college for a Bachelor of Arts and ended up falling into music. When I saw my first opera at Minnesota Opera (Carmen) I fell in love immediately and I’ve been in the right place at the right time ever since!

Utah Opera’s 2014 Abduction from the Seraglio,

photo by Dana Sohm

Tenor Andrew Stenson returns after his 2014 Utah Opera debut as Belmonte in The Abduction from the Seraglio to sing the leading role of Tamino in The Magic Flute. He shares his love of music, his passion for cooking, as well as his favorite chicken recipe, and SLC restaurant haunts. How do you prepare to play a role like Tamino? Tamino is fortunately an easier evening for tenors! There is a LOT of German to keep in your head, but fortunately our dialogue is in English! The big recit with the Speaker is one of the most difficult scenes Mozart composed, so I try to run through that in my head every day. You’re returning after your 2014 debut as Belmonte in Abduction…How does it feel to come back to a familiar company versus debuting for the first time? I LOVE returning to companies and I’ve been dying to get back to Utah Opera! The food in Salt Lake City is SO GOOD! I’m also fully prepared for the altitude adjustment this time around! UTAHOPERA.ORG / (801) 533-NOTE

What other interests or hobbies do you have that audiences may not know about? I LOVE to cook. I frequently travel with an extensive kitchen set and a really fancy rice cooker. Also, in June 2018 I got my Sommelier Certification through the Court of Master Sommeliers and wine is also a big hobby of mine. What is your favorite recipe? In the bird vein, I like Thomas Keller’s roast chicken recipe which is: chicken, salt, pepper, and technique. You pat the ENTIRE chicken dry with paper towels inside and out, season the whole bird inside and out quite liberally, and roast at 450 until the thickest thigh piece comes up to 160–162 (resting will bring it up to a safe 165). The key is to make sure the skin is SUPER dry and the chicken comes up to room temp before you put it in the oven. What are your favorite Salt Lake City restaurants? I went to Tony Caputo’s almost every day when we were performing, but I also loved Siegfried’s Deli (down the street from Capitol Theatre), and the Himalayan Kitchen has the best Indian food I’ve had since Krishna/Deep India in Cincinnati (which REALLY means something to anyone who went to the University of Cincinnati CollegeConservatory of Music (CCM)). 15

Five Facts About “The Magic Flute”

Utah Opera’s 2006 production of The Magic Flute, photo by Kent Miles

FINAL CURTAIN: The Magic Flute was the last opera Mozart composed. It premiered on 30th September 1791— roughly three months before he died at the age of 35. Mozart himself conducted the orchestra, while the librettist, Emanuel Schikaneder, sang the role of Papageno. ANIMAL OR MINERAL? A prolific composer of epic proportions, Mozart produced a staggering 600+ works in his 35 years, starting at the age of five. Also, scientists of the Royal Society subjected a 10-year-old Mozart to a series of tests to prove he was actually a child genius, not a skilled dwarf. Really. FAMILY MATTERS: Mozart wrote a few of the roles in “The Magic Flute” for close friends: Tamino for Benedikt Schack, the Queen of the Night for his sister-in-law Josepha Hofer, and Papageno for the librettist, Schikaneder. LISTEN UP: Mozart wrote themes for each of his characters, so you can often tell someone is coming before they reach the stage. The priest Sarastro’s music is deep, low, and slow, while the Queen of the Night’s music is fast, agile, and very high. The Queen of the Night sings a 16

famous aria (“The vengeance of hell boils in my heart”). In the aria, the soprano must hit a high F over and over again. It’s incredibly difficult, so the aria is a great piece for a soprano to show off her skills. SECRET SOCIETY: Both Mozart and the opera’s librettist, Emanuel Schikaneder, were devoted Freemasons, a fraternity famous for secret rites and rituals, at a time when the Masonic order was frowned upon by the authorities and mistrusted by the public. Its meetings were mysterious to outsiders and the order was believed to be connected to the principles of the Enlightenment, so established political leaders were a little nervous about it. The emperor of Austria even restricted the number of Masonic lodges allowed to operate in the country. So, while Mozart’s drama fell into the general category of “magic opera”—works based on folk tales, with plenty of stunts, scene changes, and spectacular stage effects—it was also a political statement in disguise, filled with veiled Masonic symbolism, including an homage to a Masonic initiation ceremony in Act II balancing four elements (earth, air, water, fire) in perfect harmony of the universe. UTAH OPERA 2018–19 SEASON

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Getting to Know Celena Shafer The great thing about preparing such a well-known role like Queen of the Night is a lot of the work has been pre-done for you. The traditions of the arias and character have been set. There are millions of recordings on YouTube to listen to. However, this is also the challenge of preparing an iconic role: you have to find something uniquely your own to add to the character and the music in order to make it “yours.” This also makes it fresh for the audience. I get into character for Queen of the Night yelling, daily, at my children. Just kidding...actually, I’m a softie with my kids. I’m not a spanker or yeller, but do lots of “time outs” and “talk it through” with my kiddos. The Queen of the Night’s behavior definitely warrants a “time out,” which she finally gets at the end of the opera. Because she is such a different character from my natural nature, it’s easy to get into character because it’s so completely opposite of my natural temperament. It’s harder to know what to do with characters more similar to my natural personality, for example, Gilda or Susanna. These opera gals are more like me, so it’s harder for me to make them different from my own self. I love playing outrageous and/or funny characters. They are so much easier for me than the serious, nice characters. And, it’s emotionally a rush to let out my “wild” side. How do I balance family and career? Laugh out loud!!! Performers’ lives are never IN balance. But, I try to keep the scales from tipping too far one way or the other. How do I do this? I’m not afraid to ask for help, and I am married to an incredibly supportive husband. We use a lot of creativity in how we approach life, and accept that some chaos reigns much of the time. Some of the things we do include keeping meals really simple (usually burned), screen time is limited, the kids travel with me sometimes, and one room in our house is full of instruments that my boys are now getting old enough to play. Other interests: I am a terrible baker and cook. My family usually accepts my burnt offerings for dinner. My favorite food is salad with ranch on it (this requires no cooking.) I enjoy skiing and am currently trying to teach my six year old to ski. I also enjoy roller skating. I am good at long distance walking, especially when I have my walking buddy to talk with. I swim a lot, and enjoy reading!

UTAH OPERA 2018–19 SEASON

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UTAH OPERA 2018â&#x20AC;&#x201C;19 SEASON

Program

The Magic Flute

The Magic Flute March 9, 11, 13, 15, 17 | 2019

Janet Quinney Lawson Capitol Theatre Composed by Wolfgang Amadeus Mozart

Libretto by Emanuel Schikaneder Sung in German, Dialogue in English Supertitles prepared by Thaddeus Strassberger Premiere: Vienna, 1791 Previously at Utah Opera in 1987, 1993, 2006, 2013

CAST

Tamino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrew Stenson Papageno . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joo Won Kang Pamina . . . . . . . . . . . . . . . . . . . . . . . Zulimar López-Hernández Queen of the Night . . . . . . . . . . . . . . . . . . . . . . . Celena Shafer Sarastro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matt Boehler 1st Lady . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Abigail Rethwisch** 2nd Lady . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Melanie Ashkar* 3rd Lady . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anne Maguire Monostatos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joseph Gaines Papagena . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grace Kahl* Speaker/2nd Armored Man . . . . . . . . . . . . . . . . . . . Seth Keeton 1st Priest/1st Armored Man . . . . . . . . . . . . . . . Addison Marlor* 2nd Priest . . . . . . . . . . . . . . . . . . . . . . . . . . Jesús Vicente Murillo* 1st Spirit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Oliver Laughlin*** 2nd Spirit . . . . . . . . . . . . . . . . . . . . . . . . Theodore Hyngstrom*** 3rd Spirit . . . . . . . . . . . . . . . . . . . . . . . . . . . Liam Khor-Brogan***

ARTISTIC STAFF

Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Thierry Fischer Stage Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Peers Chorus Master . . . . . . . . . . . . . . . . . . . . . . Michaella Calzaretta Set Design . . . . . . . . . . . . . . . . . . . . . . . Thaddeus Strassberger Costume Design . . . . . . . . . . . . . . . . . . Susan Memmott Allred Lighting Design . . . . . . . . . . . . . . . . . . . . . . . . . . . Glenn Linder Wigs and Make-up Design . . . . . . . . . . . . . . . . . . Kate Casalino Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Nictakis Assistant Stage Manager . . . . . . . . . . . . . . . . Melissa Robilotta 2nd Assistant Stage Manager . . . . . . . . . . . . Martin C. Alcocer Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Walsh Rehearsal Pianist . . . . . . . . . . . . . . . . . . . . . . Robert Bosworth* Supertitle Technician . . . . . . . . . . . . . . . . . . . . . Maris Bosworth The performance will last approximately 3 hours, with one twenty-minute intermission. * Current Utah Opera Resident Artist ** Previous Utah Opera Resident Artist *** Choristers from The Madeleine Choir School

UTAHOPERA.ORG / (801) 533-NOTE

The Magic Flute

Synopsis

Three ladies in the service of the Queen of the Night save the fainting Prince Tamino from a serpent (“Zu Hilfe! Zu Hilfe!”). When they leave to tell the queen, the bird catcher Papageno bounces in and boasts to Tamino that it was he who killed the creature (“Der Vogelfänger bin ich ja”). The ladies return to give Tamino a portrait of the queen’s daughter, Pamina, who they say is enslaved by the evil Sarastro, and they padlock Papageno’s mouth for lying. Tamino falls in love with Pamina’s face in the portrait (“Dies Bildnis ist bezaubernd schön”). The queen, appearing in a burst of thunder, is grieving over the loss of her daughter; she charges Tamino with Pamina’s rescue (“Zum Leiden bin ich auserkoren”). The ladies give a magic flute to Tamino and silver bells to Papageno to ensure their safety, appointing three spirits to guide them (“Hm! hm! hm! hm!”). Sarastro’s slave Monostatos pursues Pamina (“Du feines Täubchen”) but is frightened away by the feather-covered Papageno, who tells Pamina that Tamino loves her and intends to save her. Led by the three spirits to the Temple of Sarastro, Tamino is advised by a high priest that it is the queen, not Sarastro, who is evil. Hearing that Pamina is safe, Tamino charms the animals with his flute, then rushes to follow the sound of Papageno’s pipes. Monostatos and his cohorts chase Papageno and Pamina but are left helpless by Papageno’s magic bells. Sarastro, entering in great ceremony (“Es lebe Sarastro”), promises Pamina eventual freedom and punishes Monostatos. Pamina is enchanted by a glimpse of Tamino, who is led into the temple with Papageno. Sarastro tells his priests that Tamino will undergo initiation rites (“O Isis 22

und Osiris”). Monostatos tries to kiss the sleeping Pamina (“Alles fühlt der Liebe Freuden”). He is discovered by the Queen of the Night, who dismisses him. She gives her daughter a dagger with which to murder Sarastro (“Der Hölle Rache”). The weeping Pamina is confronted and consoled by Sarastro (“In diesen heil’gen Hallen”). Tamino and Papageno are told by a priest that they must remain silent and refrain from eating, a vow that Papageno immediately breaks when he takes a glass of water from a flirtatious old lady. The old lady vanishes when he asks her name. The three spirits appear to guide Tamino through the rest of his journey and to tell Papageno to be quiet. Tamino remains silent even when Pamina appears, which breaks her heart since she cannot understand his reticence (“Ach, ich fühl’s”). The priests inform Tamino that he has only two more trials to complete his initiation (“Soll ich dich, Teurer! nicht mehr sehn?”). Papageno longs for a cuddly wife but settles for the old lady. When he promises to be faithful she turns into a young Papagena but soon disappears. After many dangers, Pamina and Tamino are reunited and together, protected by the magic flute, face the ordeals of water and fire. Papageno is saved from attempted suicide by the spirits, who remind him that if he uses his magic bells he will find true happiness. When he does, Papagena appears and the two plan for the future (“Pa-pa-pa…”). The Queen of the Night, her three ladies, and Monostatos attack the temple but are defeated and banished. Sarastro joins Pamina and Tamino as the people hail Isis, Osiris, and the triumph of courage, virtue, and wisdom. UTAH OPERA 2018–19 SEASON

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The Magic Flute

Cast

Andrew Stenson (Minnesota) Tamino Most Recently with Utah Opera, The Abduction from the Seraglio Recently: The Italian Straw Hat, Minnesota Opera; An American Soldier, Opera Theatre of Saint Louis; Così fan tutte, Lyric Opera of Chicago Upcoming: Murasaki’s Moon, On Site Opera Joo Won Kang (South Korea) Papageno Utah Opera Debut Recently: L’oracolo, Wexford Festival Opera; La traviata, Opera Theatre of Saint Louis; Turandot, San Francisco Opera Upcoming: La bohème, Arizona Opera; Debut with Washington National Opera Zulimar López-Hernández (Puerto Rico) Pamina Most Recently with Utah Opera, Le nozze di Figaro Recently: West Side Story, Evansville Philharmonic, Newport Music Festival; Flight, Des Moines Metro Opera; Haydn’s Creation, Puerto Rico Symphony Celena Shafer (Utah) Queen of the Night Most Recently at Utah Opera, La bohème Recently: Britten’s War Requiem, Fresno Philharmonic Orchestra; Bernstein Songs and Arias, Orquesta Sinfónica Nacional de Costa Rica, Grand Rapids Symphony, Pacific Symphony; Messiah, Indianapolis Chamber Orchestra Upcoming: Ariadne auf Naxos, Cincinnati Opera; Beethoven’s 9th Symphony, Seattle Symphony

UTAHOPERA.ORG / (801) 533-NOTE

The Magic Flute

Cast

Matt Boehler (Minnesota) Sarastro Utah Opera Debut Recently: Iolanta, The Metropolitan Opera; Elizabeth Cree, Opera Philadelphia; Rigoletto, Le nozze di Figaro, Minnesota Opera; Bernstein’s Mass, Ravinia Festival Upcoming: The Abduction from the Seraglio, Lyric Opera of Kansas City Abigail Rethwisch (Iowa) First Lady Most Recently at Utah Opera, Die Fledermaus Recently: The Pirates of Penzance, Intermountain Opera Bozeman; Ariadne auf Naxos, The Santa Fe Opera; Brahms’ Requiem, Columbus Symphony; Gianni Schicchi, Utah Opera Melanie Ashkar (Virginia) Second Lady Most Recently at Utah Opera, The Little Prince Current Utah Opera Resident Artist Recently: Candide, Messiah, Utah Symphony; The Magic Flute, Central City Opera; Die Fledermaus, Gianni Schicchi, Utah Opera Upcoming: Norma, Utah Opera Madama Butterfly, Central City Opera Anne Maguire (Washington) 3rd Lady Utah Opera Debut Recently: Così fan tutte, Opera in the Heights; The Rake’s Progress, Merola Opera Program; Hansel und Gretel, Yale Opera Upcoming: Mahler’s 3rd Symphony, New Haven Symphony; Der fliegende Holländer, Miami Wagner Institute

UTAHOPERA.ORG / (801) 533-NOTE

The Magic Flute

Cast

Joseph Gaines (Colorado) Monostatos Most Recently at Utah Opera, Moby-Dick Recently: Amahl and the Night Visitors, On Site Opera; Turandot, San Diego Opera; Elizabeth Cree, Opera Philadelphia Upcoming: Billy Budd, Madama Butterfly, Central City Opera; Le nozze di Figaro, Hawaii Opera Theatre Grace Kahl (New York) Papagena Most Recently at Utah Opera, The Little Prince 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 Santa Fe Opera Apprentice Program Seth Keeton (Georgia) Speaker / Second Armored Man Most Recently at Utah Opera, Roméo et Juliette Recently: Tosca, Il barbiere di Siviglia, Mill City Opera; Nabucco, Bremen Opera Theater

Addison Marlor (Utah) First Priest / First Armored Man Most Recently at Utah Opera, The Little Prince Current Utah Opera Resident Artist Recently: Sapho, Washington Concert Opera; Candide, Utah Symphony; The Rake’s Progress, Sāvitri, Merola Opera Program; Upcoming: Norma, Utah Opera

UTAH OPERA 2018–19 SEASON

The Magic Flute

Cast / Artistic Staff

Jesús Vicente Murillo (Michigan) Second Priest Most Recently at Utah Opera, The Little Prince Current Utah Opera Resident Artist Recently: Roméo et Juliette, Moby-Dick, Gianni Schicchi, Utah Opera; Messiah, Candide, Utah Symphony; Cyrano, La fanciulla del West, Michigan Opera Theater Upcoming: ¡Figaro! (90210), The Chautauqua Opera Company ARTISTIC STAFF Paul Peers (Washington, DC) Director Most Recently at Utah Opera, The Magic Flute Recently: Cerere placata, Opera Lafayette; Mata Hari, West Edge Opera; Artemisia, ARTEK Upcoming: The Little Death: Vol. 1, PROTOTYPE Festival; The Monster in the Maze, Baltimore Choral Arts Society Thierry Fischer (Switzerland) Conductor Most Recently at Utah Opera, The Rake’s Progress Recently: Utah Symphony Music Director; Seoul Philharmonic Orchestra Principal Guest Conductor; The Dark Mirror: Zender’s Winterreise, Théâtre de Strasbourg Michaella Calzaretta (Iowa) Chorus Master Most Recently at Utah Opera, The Little Prince Recently: Moby-Dick, Pagliacci, Die Fledermaus, Roméo et Juliette, Utah Opera; Candide, Harry Potter and the Prisoner of Azkaban, 1812 Overture, Utah Symphony Upcoming: Norma, Utah Opera UTAHOPERA.ORG / (801) 533-NOTE

The Magic Flute

Artistic Staff

Thaddeus Strassberger (Oklahoma) Set Design Most Recently at Utah Opera, The Magic Flute (2006) Recently: Carmen, Royal Danish Opera; JFK, Opéra de Montréal; Demon, Bard SummerScape Upcoming: La clemenza di Tito, LA Opera; La fanciulla del West, China National Centre for the Performing Arts Susan Memmott Allred (Utah) Costume Design Most Recently at Utah Opera, Roméo et Juliette Recently: PBS Christmas Special with Mormon Tabernacle Choir 2016; Resident Designer, Utah Opera, 1979–2011; Mormon Miracle Pageant; Utah Shakespeare Festival; Southern Utah State College Glenn Linder (Utah) Lighting Design Utah Opera Debut Recently: Phantom of the Opera, Bonneville Theatre; Anthony and Cleopatra, UMKC/KCRep; Suor Angelica/Gianni Schicchi, UMKC Conservatory of Music Upcoming: Newsies, Bonneville Theatre Kate Casalino (New York City) Wig/ Makeup Design Most Recently at Utah Opera, The Little Prince Recently: Candide, Utah Symphony; Roméo et Juliette, 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

UTAH OPERA 2018–19 SEASON

The Magic Flute

Chorus

Chorus Frederick Brind Anthony Buck•• Anadine Burrell Lauren Cartwright Rebecca Clarke Rachel Cooke•• Charity Cooper Chad DeMaris Bretton Floyd Ryan Francis#•• Genevieve Gannon•• Elijah Hancock

Paul Leland Hill Justin Ibarra Karllen Johnson Thomas Klassen Hilary Koolhoven•• Nelson LeDuc Camree McKenna Garrett Medlock•• April Meservy Michael Moyes#• Rebekah Nelson Daniel Nichols

Scott Palmer#•• Heidi Robinson Ruth Rogers Carolyn Talboys-Klassen Sammie Tollestrup Daniel Tuutau•• Steve Valenzuela•• Robyn VanLeigh Jared Winn-Taryor Ruth Wortley Brooke Yadon •• Monostatos Slaves • Third Priest # Serpent

UTAH OPERA GRATEFULLY ACKNOWLEDGES THE FOLLOWING GENEROUS SPONSORS

FLORAL SEASON SPONSOR

CA S T PA R T Y S P O N S O R

VIP INTERMISSION RECEPTION SPONSOR

VIP INTERMISSION WINE SPONSOR

VIP INTERMISSION BEVERAGE SPONSOR

VIP INTERMISSION S U P P LY S P O N S O R

RANDY & JENI BATHEMESS

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The Magic Flute

The Madeleine Choir School

Three Spirits: Oliver Laughlin, Theodore Hyngstrom, Liam Khor-Brogan Spirit Cover: Henry Ryan, Franco Foster, Thomas Morelli Melanie Malinka: Director of Music, The Madeleine Choir School 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 Tabernacle Choir at Temple Square. 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. UTAH OPERA 2018–19 SEASON

Utah Symphony

The Magic Flute

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

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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††

The Magic Flute

Composer / Librettist

Wolfgang Amadeus Mozart Composer (1756–1791) Wolfgang Amadeus Mozart was born into a family of musicians. He began composing at age five, and played before the Bavarian Elector and Austrian Empress at age six. A child prodigy, Mozart had composed two operas and several symphonies and string quartets before he turned twenty. Although a gifted composer and performer, Mozart’s adult life was spent in constant pursuit of positions as a court composer. He worked freelance, taught, published his music, played at patrons’ houses, and composed by commission in order to support himself. During this period, he married Constanze Weber. Mozart is most famous for his operatic works Don Giovanni and Le nozze di Figaro. Mozart’s last year was, until his final illness struck, a time of great productivity—during which he wrote The Magic Flute. In December of 1791, three and a half weeks after Mozart’s death, his widow Constanze offered to send a manuscript score of The Magic Flute to the electoral court in Bonn. Nikolaus Simrock published this text in the first full-score edition (Bonn 1814), claiming that it was “in accordance with Mozart’s own wishes” (Allgemeine musikalische Zeitung, 13 September 1815).

Emanuel Schikaneder Librettist (1751–1812) Emmanual Schikaneder was a prominent German actor, singer, playwright, and theatre manager now chiefly remembered as the librettist of Mozart’s opera The Magic Flute. Schikaneder began his career as an actor with a small traveling company performing the improvised farce and song then popular, but by age 22 he had written and starred in his first operetta. Five years later he was the manager of his own company. By 1784 his company had received the favorable notice of Emperor Joseph II, and had settled in Vienna. There Schikaneder turned his attention to opera, commissioning from contemporary composers the musical scores to fit his own libretti. His libretto for The Magic Flute, set to music by his friend Wolfgang Amadeus Mozart, and his superb performance in the role of Papageno at the premiere in 1791, raised him to the peak of his popularity. His productions grew increasingly sumptuous however, and by the time he opened the Theater an der Wien (1801), costs were becoming ruinous. He eventually returned to the Austrian capital, where he died impoverished and insane.

UTAH OPERA 2018–19 SEASON

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A Fairy Tale for the Ages By Michael Clive

If Mozart’s operas had been the only works to survive him, they alone would have been enough to assure his place among the greatest composers of all time. The same could be said about the works he composed just in 1791, the last year of his life—a period of seemingly impossible inspiration and productivity. The two operas he composed in that year are utter opposites: La clemenza di Tito, an opera seria that is solemn and exalted in tone, with moral lessons about personal, religious and political loyalty; and The Magic Flute, a fairy tale of profound, sublime simplicity. Although Mozart actually finished The Magic Flute before La clemenza di Tito, “Flute” actually premiered later—in September. If operas were Mozart’s children, this one was his last-born, and the one he called his favorite. While Mozart excelled in every musical form he attempted, operas really were like his children. Yet this was the one musical genre that even his father Leopold felt the young prodigy should not attempt too soon. True, by age 18 he was writing acknowledged masterpieces such as the Haffner Serenade and the Piano Concerto No. 8. But there is a crucial difference between opera and non-narrative forms of music such as symphonies and concertos: opera is theater. If Mozart’s proficiency in musical forms and styles in childhood was unprecedented in Western music, it did not necessarily follow that he was equally gifted in opera, which is essentially a theatrical form. 36

Happily, Mozart was equally gifted in opera—not only one of opera’s transcendent geniuses, but also obsessed with opera as a form. His father, who closely monitored and controlled Wolfgang’s musical development, wrote in 1764—when the young composer was eight years old—that he “constantly has an opera running in his head, which he wants to perform in Salzburg with all sorts of young people.” And his attraction to opera never left him. In the late 1760s and mid-1770s Mozart was already experimenting with operatic composition. His first opera was La finta semplice, an opera buffa he composed at age 12. The more serious operas Mitridate (1770) and Lucio Silla (1772) followed. Throughout these years, his eagerness to try out operatic forms was insatiable. In 1777, three years after composing the more ambitious La finta giardiniera, he was still in this mode, telling his father “I have only to hear people discuss an opera, I have only to be in a theater, to hear tuning-up—Oh! I am quite beside myself right away!” The following year, his feelings had hardly subsided. “Don’t forget my wish to write operas,” he wrote to Leopold. “I envy everybody who is writing one. I could actually weep with vexation when I hear or see an aria.” The cultural historian Peter Gay has described this period as one of “youthful impetuosity,” when Mozart would set almost any text to music. Mozart’s sheer productivity and the intensity of his fascination with opera UTAH OPERA 2018–19 SEASON

A Fairy Tale for the Ages put him on a very steep learning curve. La finta semplice was formulaic in its approach to the stock jokes of an opera buffa libretto; Mitridate and Lucio Silla hewed equally close to the strict conventions of opera seria, with its classical settings and elevated morality. But the designated libretto for La finta giardiniera, full of madcap absurdity, gave the young composer a chance to tackle something meatier. It was commissioned from the Elector of Bavaria, Maximilian III, who desired an opera buffa for the Munich carnival season of 1774—75. Mozart, his father and everyone else associated with the commission understood the prescribed story for what it was: a pleasant potboiler. But the plot’s intricacies and sheer length afforded the young composer a framework upon which to hang an abundance of music, including many arias expressing every conceivable mood. It’s clear that Mozart rose to the challenge of this first major operatic assignment: he began composing the opera in Salzburg in the fall of 1774, leaving for Munich under his father’s supervision in December to meet the cast and production team. Preparations went well, and his sister Nannerl followed just before the turn of the year—one of the few times she was able to join her father and brother on one of their professional excursions. Staying through the New Year, she was able to attend the opera’s premiere with Leopold and Wolfgang on January 13, 1775. It was a highly successful event, as Wolfgang wrote to his mother: UTAHOPERA.ORG / (801) 533-NOTE

Thank God! My opera was staged yesterday…and was such a success that I cannot possibly describe…the tumultuous applause. To begin with, the entire theater was so packed that a great many people had to be turned away. After each aria there was great applause and shouts of ‘Viva maestro’…At the end of the opera, during the pause when there is usually quiet until the ballet begins, people kept on shouting ‘bravo’ and clapping. No sooner did the applause die down than it would start up again. In Mozart years, the gap between this teenage success and his most familiar operatic masterpieces is vast: from age 18, when he won his first ovations for La finta giardiniera, to The Marriage of Figaro, his first collaboration with librettist Lorenzo da Ponte, when he was almost 30. Don Giovanni followed the next year, in 1787; and Così fan tutte preceded The Magic Flute by just a year, in 1790. By this time, Mozart imbued the music of his operas with dramatic expressiveness and psychological sensitivity that are Shakespearean. They are ravishingly beautiful yet profoundly insightful. Because of the sublime simplicity of The Magic Flute, we don’t always associate such grown-up adjectives with it. This is, after all, a fairy tale. But it is as profoundly mature as the wisest among us, and as meaningful as our hearts allow. Set in an indeterminate fantasy-realm—it could be Egypt by way of an HGTV decorator—the story bears 37

2018/19 UTAH OPERA SEASON

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A Fairy Tale for the Ages superficial trappings of masonic ritual, which fascinated Mozart for reasons both social and philosophical. But its lessons are older and newer than that, following the archetypal journey of the young Orphic hero who must leave home, face danger, and learn crucial life lessons. Our hero, the prince Tamino, follows in the footsteps of Beowulf, Peer Gynt, and David Copperfied to learn, in Dickens’ words, that “The best steel must go through the fire.” And his bride, the princess Pamina, is a true heroine— always truthful and never shrinking from danger. Remarkably, unlike Tamino, she never asks for help. Together they learn to face life courageously, respecting the sacred bond of matrimony and the power of truth. Though much has been written about The Magic Flute, the facts surrounding its creation are hazy. Still, we can surmise much from Mozart’s relationship with Emanuel Schikaneder, the man who first played Papageno and who wrote the opera’s libretto. Schikaneder appears to have been formidably ambitious. Both entrepreneur and performer, the Bavarian Schikaneder was the leader of a 34-member theater troupe that he brought to Mozart’s hometown of Salzburg, Austria in 1780. Mozart would relocate to Vienna the following year, but in the meantime he and his family regularly attended Schikaneder’s performances, and the two became friends. When Schikaneder transferred operations to Vienna, working as an actor and impresario there, Mozart was an UTAHOPERA.ORG / (801) 533-NOTE

established figure in the city’s cultural scene. And having presented Mozart’s comic opera The Abduction from the Seraglio there, Schikaneder had firsthand knowledge of the composer’s theatrical flair. In the spring of 1791, when Mozart began composing The Magic Flute, he had renewed his friendship with Schikaneder and they had been socializing regularly since the previous year. Mozart had always felt burdened by the need to cultivate commissions, especially large ones such as operas. But this circumstance was something quite different, with Schikaneder—a savvy impresario—hoping to cultivate a theatrical success that could benefit both him and Mozart. Imagine having Mozart set the secondary character of Papageno to music for you! Anecdotes suggest Schikaneder was a gifted comic actor and baritone, and that he successfully pressured Mozart to expand the Papageno’s role in the opera. Wherever the truth lies, the result is one of the Western theater’s great comic creations. 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-inchief of The Santa Fe Opera. 39

Director Notes By Paul Peers

Utah Opera’s 2006 production of The Magic Flute, photo by Kent Miles

This production was first premiered in 2006 by the director/designer Thaddeus Strassberger. This is the second time I’ve been given the opportunity to direct the production. When asked ‘What is my approach to this piece?’ I think of the core idea that drives the concept of the work, which is ‘Otherness’. Tamino, our hero, finds himself in a completely foreign world with new environment, new architecture and new people from an ancient world. The Magic Flute references the Gods of Ancient Egypt, and this was the portal that was entered through to create this production. We go back in time when Napoleon invaded Egypt, where he found himself in a world only seen in dreams. Napoleon was so mesmerized, he engaged artists, surveyors, botanists, and archeologists to explore this otherland and record everything they discovered. Ever since, Ancient Egypt has captivated the Western mind and 40

imagination. The set design reflects the idea of a foreign world through the lens of a Western colonial soldier. The world is not exactly Ancient Egypt but one that the western mind imagines it to be like. Therefore, our hero Tamino is ignorant of how this world works, but simultaneously his innocence drives him toward his own self-discovery and growth. Historically, The Magic Flute was composed at the end of the Age of Enlightenment (also called the Age of Reason), where ideas of liberalism and neo-classicism were explored to undermine the inherent powers of the church and monarchy. Movements like the Freemasons became popular at the time to which Mozart used a lot of its symbology in this piece. We have chosen consciously not to embrace the Masonic ideas and symbology in the music and present them literally, but use them universally, to see them new as Tamino does, as he journeys toward his enlightenment. UTAH OPERA 2018–19 SEASON

CHILDREN'S OPERA

SHOWCASE

Tuesday, April 16, 2019

6:30

Three local elementary school classrooms will perform their original operas. Free - No tickets required. Jeanne Wagner Theatre Rose Wagner Center for the Performing Arts

Original operas created and performed by elementary school students will be featured in Utah Opera's 18th annual Children's Opera Showcase. Utah Opera provides teacher training and hires composers to help students create their own melodies and musical scenes. Students practice skills of collaboration, cooperation, and creativity to create, rehearse and perform their own original works. For more information contact the USUO Education office at 801-869-9091.

Please support our Education and Community Outreach programs. By donating, you help provide musical education experiences for students, aid classroom teachers, invest in the future citizens of Utah, and support your USUO. Donate today! Contact our Development Department at (BO 1) 869-9015.

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GEORGE S. AND DOLORES DORÉ ECCLES FOUNDATION Every gift to Utah Symphony | Utah Opera is vital to the cultivation of music, live performance, and educational outreach in our community, and for a short time, your contribution can instantly triple its impact! Thanks to a $500,000 challenge grant from the George S. and Dolores Doré Eccles Foundation, every gift from new donors and increases in gifts from existing donors will be matched 2:1 now through March 15, 2019. As a 501(c)(3) non-profit organization, your generosity helps sustain our artistic excellence and is the foundation for all that we do. VISIT OUR WEBSITE

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The Church of Jesus Christ of Latter-day Saints Foundation John & Flora D’Arcy Lawrence T. & Janet T. Dee Foundation Dominion Energy The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation Kem & Carolyn Gardner Marty & Jane† Greenberg Elaine & Burton L. Gordon Richard K. & Shirley S. Hemingway Foundation Huntsman Corporation The Right Reverend Carolyn Tanner Irish Emma Eccles Jones Foundation Janet Quinney Lawson Foundation Anthony & Renee Marlon Larry H. & Gail Miller Family 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 February 1, 2018 to February 1, 2019. * in-kind donation

** in-kind & cash donations

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Estate of Marilyn Lindsay Anthony & Renee Marlon

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ENCORE ($100,000 OR MORE) Anonymous Kem & Carolyn Gardner BRAVO ($50,000 TO $99,999) Scott & Kathie Amann Diane & Hal Brierley John & Flora D’Arcy OVERTURE ($25,000 TO $49,999) Doyle Arnold & Anne Glarner Michael & Vickie Callen Kristen Fletcher & Dan McPhun MAESTRO ($10,000 TO $24,999) A. Scott & Jesselie Anderson Dr. J.R. Baringer & Dr. Jeannette J. Townsend Haven J. Barlow Family David & Sylvia Batchelder Thomas Billings & Judge Judith Billings Berenice J. Bradshaw Trust Judy Brady & Drew W. Browning Larry & Judy Brownstein Chris & Lois Canale Po & Beatrice Chang & Family Howard & Betty Clark Joseph & Cathy Cleary Pat & Sherry Duncan Dr. & Mrs. Ralph Earle Thomas & Lynn Fey Robert & Elisha Finney Thierry & Catherine Fischer** Brian & Detgen Greeff UTAHOPERA.ORG / (801) 533-NOTE

Individual Donors ALLEGRO ($5,000 TO $9,999) Anonymous (2) Fran Akita Edward R. Ashwood & Candice A. Johnson Mr. & Mrs. William C. Bailey Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair David Brown Carol, Rete & Celine Browning Mary Ciminelli Marc & Kathryn Cohen Mr. & Mrs. Kenneth R. Cutler Patricia Dougall Eager Trust Spencer & Cleone† Eccles Midge Farkas Jack & Marianne Ferraro Mr. & Mrs. Eric Garen** Diana George David & SandyLee Griswold**

Ray & Howard Grossman Lowell† & Bernice Hicks Chuck & Kathie Horman Annette & Joseph Jarvis Drs. Randy & Elizabeth Jensen M. Craig & Rebecca Johns James & Penny Keras Ashley & Ron Kirk Mr. & Mrs. Christopher J. Lansing Harrison & Elaine Levy Michael Liess Beatrice Lufkin Paul Meecham & Laura Leach Hallie & Ted McFetridge Dr. Anthony & Carol Middleton Mr. & Mrs. Richard Mithoff Dr. Louis A. Moench & Deborah Moench

Marilyn H. Neilson Charles & Amy Newhall Dr. Thomas Parks & Dr. Patricia Legant Brooks & Lenna Quinn Joyce Rice Dr. Wallace Ring Peggy & Ben Schapiro Thomas & Gayle Sherry Stuart & Mary Silloway Mary & Doug Sinclair Elizabeth Solomon Sidney Stern Memorial Trust Janice K. Story Thomas† & Caroline Tucker M. Walker & Sue Wallace E. Woolston & Connie Jo Hepworth-Woolston

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) Anonymous (6) Craig & Joanna Adamson 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 Mr. & Mrs. William D. Callister Vincent Cannella Mark & Marcy Casp Hannalorre Chahine Robert Chamberlain Hal & Cecile Christiansen Amalia Cochran Larry & Judy Cohen George Coleman Tracy Collett 46

Raymond & Diana Compton Debbi & Gary Cook Sandra & David Cope Dr. Thomas D. & Joanne D. Coppin David & Donna Dalton David & Karen Gardner Dee 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 C. Chauncey & Emily Hall 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 Jay & Julie Jacobson Maxine & Bruce Johnson Bryce & Karen† Johnson Dale & Beverly Johnson Neone F. Jones Family Susan Keyes & Jim Sulat Jeanne Kimball Allison Kitching UTAH OPERA 2018–19 SEASON

Individual Donors ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED George M. Klopfer Howard & Merele Kosowsky Val E. & Dominique C. Lambson Donald L. & Alice A. Lappe Gary & Suzanne Larsen Bill Ligety & Cyndi Sharp Peter† & Susan Loffler Daniel & Deena Lofgren Jeramy Lopez David & Donna Lyon Keith & Vicki Maio Jed & Kathryn Marti Daniel & Noemi P. Mattis Christopher & Julie McBeth Tom & Janet McDougal David & Nickie McDowell Michael & Julie McFadden Elinor McLaren George & Nancy Melling George & Linda Mendelson Glenn Mosby Dale Moses

Sir David Murrell IV & Mary Beckerle Stephen & Mary Nichols Thomas & Barbara O’Byrne O. Don & Barbara Ostler Chris Parker Mr. David A. Petersen Dr. S. Keith & Barbara Petersen Robert Petkun Ray Pickup Victor & Elizabeth Pollak Dr. & Mrs.† Marvin L. Rallison W.E. & Harriet R. Rasmussen Kenneth Roach & Cindy Powell James & Anna Romano 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 Dewelynn H. & J. Ryan† Selberg Tim & Judy Terrell Richard & Janet Thompson Mr. & Mrs. Glen R. Traylor Ann & Steven Tyler Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff John & Susan Walker Wesley Warren & Amber Hawkins-Warren Susan Warshaw Bryan & Diana Watabe Kelly Whitcomb Dan & Amy Wilcox David & Jerre Winder Wendy S. Wirth & Kandy Perkins

Margaret Dreyfous Robert S. Felt, M.D. Thomas Fuller Heidi Gardner Dave Garside Catherine Gorrell Dr. & Mrs. John Greenlee Kenneth & Kate Handley Christine St. Andre & Cliff Hardesty Caroline & David Hundley Gordon Irving W. Carroll Jackson Laurie Zeller & Matthew Kaiser Carl & Gillean Kjeldsberg Thomas H. Klassen & Carolyn Talboys-Klassen Mel & Wendy Lavitt James Lether Dennis & Pat Lombardi

Bill & Sharon Macey John & Kristine Maclay Peter Margulies & Louise Vickerman Edward J. & Grace Mary McDonough Nancy Nichols Ruth & William Ohlsen Dr. Richard & Frances Reiser James Schnitz Gibbs† & Catherine W. Smith Dr. & Mrs. Michael H. Stevens Walter & Lorraine Stuecken Mitch & Dawn Taubin Whittney Thomas Dr. James C. Warenski Jamie Weeks Jeremy & Hila Wenokur

PATRON ($1,500 TO $2,499) Anonymous (5) Cynthia Adams Madeline Adkins & John Forrest Dr. & Mrs. Jeffrey L. Anderson Drs. Crystal & Dustin Armstrong Tina Barry Susan Benson Harvey & Donna Birsner Roger & Karen Blaylock Patricia Bragg Jeff Brown Kelly Burt Dana Carroll & Jeannine Marlowe Mr. & Mrs. Lee Forrest Carter Drs. Pilar & Christopher Dechet

UTAHOPERA.ORG / (801) 533-NOTE

Individual Donors FRIEND ($1,000 TO $1,499) Anonymous (2) Christine A. Allred David Bailin Mr. & Mrs. Lawrence R. Barusch David & Rebecca Bateman Leslie Bender Victoria Bennion C. Kim & Jane Blair Diane Banks & Dr. Mark Bromberg Mr. & Mrs. Neill Brownstein Michael & Beth Chardack Dr. & Mrs. David Coppin Dorothy B. Cromer Mark Davidson Elisabeth B. Dean James & Rula Dickson Alice Edvalson Eric & Shellie Eide Margo & Harry† Franta James & Barbara T. Gaddis Quinn & Julie Gardner Robert & Mary Gilchrist Ralph & Rose Gochnour Mr. & Mrs. Richard R. Graham Richard & Carolyn Greene John Gurr Geraldine Hanni Robert & Marcia Harris Jonathan Hart

UTAHOPERA.ORG / (801) 533-NOTE

John Edward Henderson Courtney Henley Connie C. Holbrook Dr. & Mrs. John Howarth Scott Huntsman Eldon Jenkins & Amy Calara Chester & Marilyn Johnson Jill Johnson Rick & Paulette Katzenbach Umur Kavlakoglu Robert & Karla Knox Julie Korenberg, Ph.D., M.D. & Stefan Pulst, M.D. Steven Labrum Mr. & Mrs. Bruce M. Lake Guttorm & Claudio Landro Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Clifton & Terri McIntosh Lex Hemphill & Nancy Melich Hal & Tonya Miller Henriette Mohebbizadeh Barry & Kathy Mower Mary Muir Joe Mulvehill Dan & Janet Myers Oren & Liz Nelson Dr. & Mrs. Richard T. O’Brien

Lee K. Osborne Linda S. Pembroke Rori & Nancy Piggott David Porter Dr. Barbara S. Reid Gina Rieke 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 Gail Tomlinson David H. & Barbara S. Viskochil Gerard & Sheila Walsh Judith Warner Renee Waters Mark Webber Mary & Scott Wieler Margaret & Gary Wirth David B. & Anne Wirthlin Marsha & Richard Workman Caroline & Thomas Wright Patrick Zimmerman

Thank You ENDOWMENT Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being & stability of USUO, & through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9015. 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

Matthew & Maria Proser Barbara Scowcroft & Ralph Matson Joanne & Bill Shiebler

Grant Gill Smith Dale Strobel Constance Theodore Whittney Thomas

GIFTS MADE IN MEMORY Dawn Ann Bailey Jay T. Ball Betty Bristow Kathie Dalton Peggy Chase Dreyfous Leah Burrows Felt Crawford Gates

Lowell P. Hicks Harry Lakin Sharon R. Lewis Frank & Maxine McIntyre Clyde Dennis Meadows Dr. Richard George Middleton

Glade & Mardean Peterson Shirley Corbett Russell J. Ryan Selberg Ann O’Neill Shigeoka, M.D. Phyllis “Philly” Sims Maxine Winn

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 Feburary 1, 2018 to Feburary 1, 2019. * 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

$50,000 TO $99,999 The Grand America Hotel & Little America Hotel*

$25,000 TO $49,999 Anonymous Arnold Machinery BMW of Murray/BMW of Pleasant Grove Cache Valley Electric Chevron Corporation C. Comstock Clayton Foundation Deer Valley Resort* Joan & Tim Fenton Foundation Janet Q. Lawson Foundation

Frederick Q. Lawson Foundation LOVE Communications** McCarthey Family Foundation Montage Deer Valley** Moreton Family Foundation National Endowment for the Arts Charles Maxfield & Gloria F. Parrish Foundation Perkins-Prothro Foundation Simmons Family Foundation

Stein Eriksen Lodge** STRUCK* Summit Sotheby’s Norman C.† & Barbara L. Tanner Second Charitable Trust Nora Eccles Treadwell Foundation Utah Symphony Guild Vivint.SmartHome WCF Mutual Insurance Company

UTAH OPERA 2018–19 SEASON

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 The Hal R. and Naoma J. Tate Foundation

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* Discover Financial Services The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation

W. Hague & Sue Ellis 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 Park City Chamber / Visitors Bureau Promontory Foundation

S.J. & Jessie E. Quinney Foundation Regence BlueCross BlueShield of Utah James Riepe Family Foundation The Joseph & Evelyn Rosenblatt Charitable Fund Schmidt Family Foundation The Swartz Foundation Wells Fargo The Christian V. & Lisa D. Young Family Foundation

The Huntsman Foundation J. Wong’s Thai & Chinese Bistro* John Williams Foundation Jones Waldo Park City Kulynych Family Foundation II, Inc. M Lazy M Foundation 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

Victor Herbert Foundation Intuitive Funding InvitedHome* George Q. Morris Foundation Peczuh Printing*

Snell & Wilmer Spitzberg-Rothman Foundation Squatters Pub* Stay Park City

$5,000 TO $9,999 Anonymous (2) The Aaron Copland Fund for Music, Inc. Deluxe Corporation Foundation Ditta Caffè* The Dorsey & Whitney Foundation George Restaurant Every Blooming Thing* Holland & Hart**

$2,500 TO $4,999 Bertin Family Foundation Blume Haiti Robert S. Carter Foundation CBRE Henry W. & Leslie M. Eskuche Charitable Foundation

UTAH OPERA 2018–19 SEASON

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Institutional Donors $1,500 TO $2,499 Rodney H. & Carolyn Hansen Brady Charitable Foundation Castle Foundation City Creek Center Constellation Brands D’Addario Foundation

Henry W. & Leslie M. Eskuche Charitable Foundation The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation Millcreek Coffee Roasters*

Prime Steakhouse* Ray, Quinney & Nebeker Foundation Glenna & Lawrence Shapiro Family Foundation Snow, Christensen & Martineau Foundation

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UTAHOPERA.ORG / (801) 533-NOTE

Legacy Giving Leave a lasting legacy of excellent music. When you make a gift through your estate, either now or at the end of your life, you provide invaluable support to Utah Symphony | Utah Opera. Your financial advisor or estate planning attorney can help you build a gift that can meet goals for you or your heirs, and provide USUO with the resources that create incredible music. Help USUO preserve our future of performing favorite symphonic and operatic works and new works for years to come.

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 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

Administration ADMINISTRATION Paul Meecham

SYMPHONY ARTISTIC Thierry Fischer

Chad Call

David Green

Anthony Tolokan

Digital Content Producer

President & CEO

Senior Vice President & COO

Symphony Music Director

Julie McBeth

Vice President of Symphony Artistic Planning

Ali Snow

Associate Conductor

Marketing Manager - Audience Development

Kathleen Sykes Nina Starling

Website Content Coordinator

Executive Assistant to the CEO

Conner Gray Covington

Executive Assistant to the COO & Office Manager

Barlow Bradford

PATRON SERVICES Faith Myers

Walt Zeschin

Merry Magee

Opera Artistic Director

Andrew Williams

Andrew J. Wilson

Principal Coach

Lance Jensen

Ellesse Hargreaves

Symphony Chorus Director

Director of Patron Engagement

Director of Orchestra Personnel

Marketing Manager - Patron Loyalty

Carol Anderson

Orchestra Personnel Manager

Patron Services Manager

Michelle Peterson

Executive Assistant to the Music Director Symphony Chorus Manager

Patron Services Assistant

Michaella Calzaretta

SYMPHONY OPERATIONS Jeff Counts

Sarah Pehrson Jackie Seethaler Powell Smith

0PERA ARTISTIC Christopher McBeth

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

Kelly Nickle

Program Publication & Front of House Director

JR Orr

Production & Stage Manager

Properties Master Assistant Props

Travis Stevens

Chip Dance

Jeff F. Herbig

Head Carpenter

Properties Manager & Assistant Stage Manager

Scenic Charge Artist

Artist Logistics Coordinator

Dusty Terrell

Lyndsay Wygant

COSTUMES Verona Green

DEVELOPMENT Leslie Peterson

Jessica Cetrone

Rachel McNassor

Costume Director

Costume Rentals Supervisor

Kierstin Gibbs LisaAnn DeLapp Rentals Assistants

Amanda Reiser Meyer Wardrobe Supervisor

Milivoj Poletan Tailor

Tiffany Lent

Vice President of Development Director of Major Gifts

Olivia Custodio

Director of Individual Giving

Jessica Proctor

Director of Institutional Giving

Lisa Poppleton Grants Manager

Heather Weinstock

Cutter/Draper

Manager of Special Events & DVMF Donor Relations

Milliner & Craftsperson

Development Operations Manager

Donna Thomas Alyssa Lund Yoojean Song Connie Warner Stitchers

Juliette Lewis Lesli Spencer

Wigs/Make-up Crew

Alina Osika

Genevieve Gannon Group Sales Associate

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 Controller

Alison Mockli

Payroll & Benefits Manager

Jared Mollenkopf

Patron Information Systems Manager

Bobbie Williams

Accounts Payable Accountant

EDUCATION Paula Fowler

Director of Education & Community Outreach

Kyleene Johnson

Symphony Education Manager

MARKETING & COMMUNICATIONS Jon Miles

Paul Hill

Renée Huang

Symphony Education Assistant

Vice President of Marketing & Public Relations

Opera Education Assistant

Annie Farnbach

Director of Communications & Digital Media

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 2018–19 SEASON

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

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

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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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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