All Star Evening: Rachmaninoff's Piano Concerto No. 1

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UTAH SYMPHONY SEASON / MAY

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May 2018 Performances

CONTENTS

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

6 Welcome

MAY 4–5 | 7:30 PM

8 Utah Symphony

RICHARD STRAUSS’ DON QUIXOTE & ZARATHUSTRA

10 Board of Trustees 15 Music Director 16 Preconcert Rituals 21 Contemporary Music and the Modern American Orchestra 26 Social Snapshots 30 Season Sponsors

31–38 Tonight‘s Concert 39 Support USUO

MAY 22 | 7 PM

ALL STAR EVENING: RACHMANINOFF’S PIANO CONCERTO NO. 1

MAY 25–26 | 7:30 PM

40 Thank You

MAY 25 | 10 AM

52 Legacy Giving 53 Tanner & Crescendo Societies 54 Administration 59 House Rules

SEASON FINALE: RACHMANINOFF’S SYMPHONY NO. 2

64 Acknowledgments 66 DVMF Community Events Program notes and artist bios for upcoming and past performances are available on utahsymphony.org. @UtahSymphony

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

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

The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801-467-8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © COPYRIGHT 2018

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5

WELCOME

Paul Meecham

Thierry Fischer

Kem Gardner

President & CEO

Symphony Music Director

Chair, Board of Trustees

On behalf of the musicians, board, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and tonight’s concert. As we approach the conclusion of another spectacular winter season of artistic successes and incredible live music, we wish to thank you for the energy you bring to the hall, inspiring our musicians to create the very best music experiences with and for you.

This month it is a special pleasure to share the soloistic excellence of several Utah Symphony musicians during our Masterworks concerts. Principal Cello Rainer Eudeikis and Principal Viola Brant Bayless will musically portray Don Quixote and his companion Sancho Panza during an all-Strauss program that also includes the composer’s iconic Also sprach Zarathustra. The season finale on May 25–26 will feature Concertmaster Madeline Adkins as soloist in Korngold’s romantic Violin Concerto and the full ensemble in Rachmaninoff’s Symphony No. 2.

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As the warm weather returns, we hope you will join us at our summer home at the Deer Valley® Music Festival from June 30 to August 11. “Escape into the music” to enjoy the world-class talent from our own Utah Symphony, paired with the best in classic rock, country, Broadway, pop, jazz, and of course, chamber and classical music in the mountain charm of Park City. This year’s line-up features such stars as Kristin Chenoweth, Amos Lee, and Rick Springfield, as well as such annual favorites as Patriotic Pops, a family film night with Disney, and 1812 Overture with the Cannoneers of the Wasatch. Also watch for the Utah Symphony as featured guests in Wasatch Front outdoor community venues at Thanksgiving Point, Red Butte Gardens, and the Gallivan Center. You’ll find details at utahsymphony.org.

Thank you again for being part of tonight’s musical experience. We look forward to seeing you outdoors this summer and once again in the marvelous setting of Abravanel Hall for next season!

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Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Assistant Conductor

Roberta Zalkind Associate Principal

Robert Stephenson Associate Principal

Sam Elliot Associate Principal

Barlow Bradford Symphony Chorus Director

Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas

Lissa Stolz

BASS TROMBONE Graeme Mutchler† David Hagee††

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 Assistant Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt•• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Amanda Kofoed†† Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Lynnette Stewart Bonnie Terry• Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

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ENGLISH HORN Lissa Stolz

TUBA Gary Ofenloch Principal

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

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

Matthew Johnson Associate Principal

Erin Svoboda Associate Principal

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

Lee Livengood

PERCUSSION Keith Carrick Principal

BASS CLARINET Lee Livengood

Eric Hopkins Michael Pape

E-FLAT CLARINET Erin Svoboda

BASS* David Yavornitzky Principal

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

KEYBOARD Jason Hardink Principal

Corbin Johnston Associate Principal James Allyn Benjamin Henderson†† Lee Philip†† Edward Merritt Jens Tenbroek Thomas Zera†

Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos

TIMPANI George Brown Principal Eric Hopkins Associate Principal

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

HARP Louise Vickerman Principal

HORN Edmund Rollett Acting Principal

FLUTE Mercedes Smith Principal The Val A. Browning Chair

Alexander Love†† Acting Associate Principal

STAGE MANAGEMENT Chip Dance Production & Stage Manager

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

Jeff Herbig Properties Manager & Assistant Stage Manager

Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair

TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Gabriel Slesinger††

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

TROMBONE Mark Davidson Principal

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

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

MUSICIAN REPRESENTATIVES

Elizabeth Beilman* Mark Davidson* EX OFFICIO

Margaret Sargent Utah Symphony Guild Dr. Robert Fudge Ogden Symphony Ballet Association *Executive Committee Member

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

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MUSIC DIRECTOR Thierry Fischer, Music Director of the Utah Symphony since 2009, has led the orchestra in annual composer cycles including Mahler, Ives, Tchaikovsky, Saint-Saëns, and Nielsen; toured to Utah's five national parks; and forged Utah Symphony outreach links in Haiti. In celebration of the orchestra’s 75th anniversary season in 2016, the orchestra appeared at Carnegie Hall to critical acclaim and released an album of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas on Reference Recordings. Following a well-reviewed recording of Mahler’s 1st Symphony, Fischer and the Utah Symphony recorded Mahler’s 8th Symphony with the world-renowned Mormon Tabernacle Choir, released in autumn 2017. In 2017 he was appointed Principal Conductor of the Seoul Philharmonic which he conducts throughout the season at home and on international tours.

Fischer has guested with many leading orchestras, most recently a 2018 California tour with the Royal Philharmonic Orchestra along with soloists Jean-Yves Thibaudet and Gautier Capuçon.

Music Director He has also conducted the Boston, Atlanta, Cincinnati, and The Maurice Abravanel Chair, Detroit Symphonies; the Mostly Mozart Festival Orchestra (New endowed by the George S. and York); London Philharmonic; BBC Symphony; Oslo Philharmonic; Dolores Doré Eccles Foundation Bergen Philharmonic; Rotterdam Philharmonic; Maggio Musicale Firenze; Salzburg Mozarteum Orchestra; and the Orchestre de la Suisse Romande. In the past few years he has also conducted the Scottish, Swedish, and Munich Chamber Orchestras; London Sinfonietta; and Chamber Orchestra of Europe. He is committed to contemporary music and has performed and commissioned many world premieres—this season he conducts the Ensemble Intercontemporain for the first time.

Thierry Fischer

While Principal Conductor of the BBC National Orchestra of Wales from 2006–2012, Fischer appeared every year at the BBC Proms and toured with the orchestra internationally. He also made many recordings, notably for Hyperion (Honegger, d’Indy, Florent Schmitt) but also Stravinsky for Signum and Orfeo. His Hyperion recording of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus won the International Classical Music Award in 2012 (opera category). In 2014 he released a Beethoven disc with the London Philharmonic on the Aparte label.

Fischer started out as Principal Flute in Hamburg and at the Zurich Opera.

His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–2006. He was Chief Conductor of the Nagoya Philharmonic 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

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Preconcert Rituals

By Renée Huang, Director of Communications

Utah Symphony musicians often spend much of their lives performing, both in Abravanel Hall and on the road across the state. Amid the hectic schedules of rehearsals and practice time, as well as other nonmusical responsibilities, a regular pre-concert routine is important to have. We asked two of our principal musicians who have prominent solo roles in this month's performances of Don Quixote to share what pre-concert rituals help keep them grounded.

Spoiler alert: I don’t have a pre-concert routine. I mostly have pre-concert chaos, depending on the daily specifics of family life and the whereabouts of my wife, whose time, really, I share with the members of her Fry Street String Quartet. Some evenings I’ll be driving in from our home in Logan, fighting traffic and weather. Some other evenings I’ll be cooking up a storm for our voracious five-year-old at our downtown pied-à-terre before letting in the sitter and dashing off to Abravanel (hoping the scent of sautéing garlic blows away on the short walk).

Brant Bayless principal viola

It’s when I arrive at Abravanel Hall that the only reliably routine rituals begin. The viola case goes to its place on my locker. Phone placed next to it. Then to the dressing room.

Clean shirt, check. Favorite cuff links (a wedding gift from my wife), check. Tailcoat (fretting over the shiny patch where my viola rests), check. Shiny shoes, check. Pants? Phew, check. Then back to the viola case for a quick swipe of rosin, and down to the stage to calmly go over the tricky bits in tonight’s program.

I wouldn’t trade this life for anything.

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Preconcert Rituals

By Renée Huang, Director of Communications

Utah Symphony musicians often spend much of their lives performing, both in Abravanel Hall and on the road across the state. Amid the hectic schedules of rehearsals and practice time, as well as other nonmusical responsibilities, a regular pre-concert routine is important to have. We asked two of our principal musicians who have prominent solo roles in this month's performances of Don Quixote to share what pre-concert rituals help keep them grounded.

The majority of my performances are as a member of the Utah Symphony, and as a result preparation for those concerts is mixed in with other elements of my daily life.

On an average performance day, I sleep in as late as possible (depending on whether or not I have a morning rehearsal, or how early the dogs wake us up), and spend the remainder of the day practicing, teaching/coaching, walking the dogs, and maybe even allowing time for some video games before getting ready to leave for the concert.

This weekend’s concerts, however, are something entirely different as I’ll be sitting in front of the orchestra as a soloist. On days when I have a solo performance I try to thin out my schedule so I can really take my time to warm up slowly and find a good place mentally during my practice. It’s easy to over-play on the day of a concert, being convinced that just a few more attempts at a difficult passage will make all the difference in performance, but I try to take it easy and trust all the work and preparation that came in the months before.

Rainer Eudeikis principal cello

Thanks to pre-concert jitters, I typically lose my appetite and I’ll barely eat all day, but I’m usually ready to feast by the end of the concert!

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Contemporary Music and the Modern American Orchestra

By Erin Lunsford

Tristan Murail

As the Utah Symphony closes out its 2017–18 season and we begin to look ahead to next year, it’s hard to miss this organization’s commitment to presenting contemporary music alongside well-known favorites from the Western Canon. Next to familiar figures like Beethoven, Chopin, Copland, and Richard Strauss appear newer, perhaps unfamiliar names, like Vivan Fung, Joan Tower, Zhou Tian, and Andrew Norman (who happens to be our Composer-in-Association next season). One of Music Director Thierry Fischer’s favorite sayings is “a symphony is not a museum,” and presenting and commissioning new music is an integral part of this belief.

Orchestral music is a living, breathing art form. While the focus of the typical orchestra's classical season lies in the heart of

the most eminent 18th- through 20th-century repertoire, it is essential for the survival of the orchestral industry for modern orchestras to perpetuate the musical movements happening in the present day. If the American Orchestra is to remain a driving force in centuries to come, we must support the composers who are creating new music now, in hope that this body of work will one day be an essential part of our cultural legacy. To that end, the Utah Symphony commissions at least one new work each season, meaning we contract a composer to write something entirely new. The Utah Symphony often shares the fee with co-commissioners, ensuring the work will have life beyond our organization. As in every art form, some of these works go on to achieve great success and popularity, and others slip into obscurity.

It’s a risky process given that some of the fee is usually paid before a single note is put to paper. However, regardless of the outcome, the Utah Symphony has been instrumental in bringing a new piece of orchestral music into the world.

Incentivizing the creation of new music isn’t the only reward for an orchestra that makes commissioning a priority. Contemporary music is also able to engage with modern ideas and themes more directly than older works can.

For example, Andrew Norman’s percussion concerto Switch, which was commissioned by the Utah Symphony as part of its 75th anniversary season, explores video game logic, the percussion soloist starring as the ”unwitting protagonist.” Each note he plays prompts a distinguishable reaction from the Continued on page 23…

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Contemporary Music and the Modern American Orchestra

Andrew Norman

orchestra, creating a unique cause-andeffect tapestry with a modern sensibility.

Next season, the Utah Symphony will feature another of Norman’s works, Play, which takes its inspiration from distinctly topical themes.

Norman himself describes the work as an exploration of “choice, chance, free will, and control, about how technology has rewired our brains and changed the ways we express ourselves, about the blurring boundaries of reality in the internet age, the murky grounds where video games and drone warfare meet, for instance, or where cyber-bullying and real world violence converge.”

This season’s commission, to be performed on the Utah Symphony’s Season Finale concerts on May 26 and 27, comes from pioneering French composer Tristan Murail. The thread that ties this Utah Symphony season together is its study of Romantic-era French composer Camille Saint-Saëns, making this commission especially fitting; Murail represents the

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trajectory of French music from Saint-Saëns’ Romanticism and Debussy’s Impressionism into the modern era. In this work, listen for Murail’s signature use of the “spectral” technique, a compositional aesthetic developed in the 1970s. Spectral technique focuses on the color, timbre, and texture of different instruments and pitches, concentrating less on melody and rhythm and more on the acoustical science of sound. This shifting focus changes the way we as listeners engage with music, opening up a whole new world of possibilities while not entirely letting go of our musical foundations. In the words of Maestro Fischer, the Utah Symphony strives to be “an orchestra looking to the future as much as immensely enjoying the past.”

Utah Symphony Artist Logistics Coordinator Erin Lunsford takes care of the many guest artists and guest conductors that perform with the orchestra, and enjoys writing about music in her spare time.

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MOZART’S VIOLIN CONCERTO NO. 5 CONNER GRAY COVINGTON conductor KATHRYN EBERLE violin

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Hebrides Overture (“Fingal’s Cave”) Violin Concerto No. 5 “Turkish” Siegfried Idyll Czech Suite

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Win tickets to another concert! Check in on Facebook to Utah Symphony and share your best photo with us to enter for a chance to win. We’ll pick one person from each concert weekend to win a pair of vouchers to a Utah Symphony performance. Vouchers redeemable for select performances.

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All Star Evening: Rachmaninoff’s Piano Concerto No. 1

program

All Star Evening: Rachmaninoff’s Piano Concerto No. 1 May 22 / 2018 / 7PM / ABRAVANEL HALL CONNER GRAY COVINGTON, conductor JAROM MARTINEAU, piano MUSICIANS SELECTED FROM AREA YOUTH ORCHESTRAS

WEBER RACHMANINOFF

Overture to Der Freischütz Concerto No. 1 in F-sharp minor for Piano and Orchestra, Op. 1 I. II. III.

Vivace Andante Allegro vivace

JAROM MARTINEAU, piano

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TCHAIKOVSKY

Selections from Swan Lake, Op. 20 Scene Valse Dance of the Swans Hungarian Dance, Czardas Spanish Dance Neapolitan Dance Mazurka Finale

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All Star Evening: Rachmaninoff’s Piano Concerto No. 1

artists’ profiles

Conner Gray Covington began his appointment as Assistant Conductor of the Utah Symphony with the 2017–18 season. He recently completed his tenure as the Rita E. Hauser Conducting Fellow at the Curtis Institute of Music in Philadelphia where he worked closely with the Curtis Symphony Orchestra and the Curtis Opera Theater while being mentored by Philadelphia Orchestra Music Director Yannick Nézet-Séguin. He made his Carnegie Hall debut with the Curtis Symphony Orchestra sharing the podium with Ludovic Morlot.

Conner Gray Covington conductor C O N D U C TO R S P O N S O R

Covington began his career as Assistant Conductor of the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program. A two-time recipient of a Career Assistance Award from the Solti Foundation U.S. (2017 and 2014), he worked with the Nashville Symphony as a featured conductor in the 2016 Bruno Walter National Conductor Preview presented by the League of American Orchestras. Covington has worked with the St. Louis Symphony, Utah Symphony, and Virginia Symphony as a guest conductor and has served as a cover conductor for the Philadelphia Orchestra, Pittsburgh Symphony, Atlanta Symphony, Kansas City Symphony, The Florentine Opera Company (Milwaukee, WI), and the Britt Festival Orchestra (Jacksonville, OR). In 2015, Covington was invited as one of three conductors to participate in the Pacific Music Festival Conducting Academy in Sapporo, Japan. He has also worked with the Tonhalle Orchester Zürich as part of the 6th International David Zinman Conducting Masterclass.

Born in Louisiana, Covington grew up in East Tennessee and began playing the violin at age 11. He completed high school at the renowned High School for the Performing and Visual Arts in Houston, Texas. He then went on to study violin with Dr. Martha Walvoord and conducting with Dr. Clifton Evans at the University of Texas at Arlington where he graduated summa cum laude with a degree in violin performance. He continued his studies with Neil Varon at the Eastman School of Music where earned a Master of Music in orchestral conducting and was awarded the Walter Hagen Conducting Prize.

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All Star Evening: Rachmaninoff’s Piano Concerto No. 1

artists’ profiles

Jarom Martineau is eighteen years old and has studied piano for seven years. For the past three years he has been a student of Dr. Irene Peery-Fox. Previously, he trained with Brandon Stewart.

Jarom has won or placed in many competitions. He took first in the state and regional levels of the prestigious MTNA Piano Competition, and was one of seven to be selected as a finalist for the national round. Placing first and second in two international piano competitions offered Jarom the opportunity to play in Carnegie Hall twice, one of which was a duet performance with his good friend. Jarom has also won a First and Third Prize in the National Steinway Avanti Piano Competition. Jarom has won several prizes in other competitions, including several at piano summer camps and a finalist spot in the Utah Valley Symphony Young Artists’ Concerto Competition, which awarded him the opportunity to perform a concerto with the Utah Valley Symphony.

Jarom Martineau piano GUEST ARTIST SPONSOR

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Jarom is homeschooled with his family by his wonderful mother. He lives a happy life centered on his faith in Jesus Christ. He will be serving a two-year LDS mission beginning this summer, and could not be more excited for that opportunity or for the many other wonderful things he looks forward to in later life. Jarom loves playing guitar, hanging out with his friends, mountain biking, skiing, snowboarding, eating great food, being with his family, and taking naps in the hammock outside his cabin in Vivian Park, Provo.

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All Star Evening: Rachmaninoff’s Piano Concerto No. 1

Youth Orchestra All-Stars

Canyons Symphony Orchestra RaNae Dalgleish, Austin Hilla, Mikala Mortensen and Caleb Shabestari, Directors Andrew Baer, Violin Paul Hickey, Tuba Shayli Morris, Horn TJ Neyman, Trumpet Hailey Potter, Piccolo Jacob Tolman Fullmer, Viola Joshua Wainwright, Trombone Ben Walker, Bass Adrian Wu, Violin

Jaron Mullins, Bass* Alora Pederson, Horn Mira Pederson, Clarinet Madeleine Riding, Violin Kaitlyn Ritter, Flute Jaden Taylor, Trombone Joseph Tolen, Horn

Davis Youth Symphony Gabriel Gordon, Director Emily Alvord, Viola Katie Budd, Clarinet Tomas Carr, Percussion Daniel Combs, Trombone Emily Jardine, Viola Kari Jenks, Oboe Cailin McGarry, Bassoon Tynan Sigg, Cello Chris White, Bass Lyceum Philharmonic at American Heritage School Kayson Brown, Director Nathan Cox, Horn Brian Dong, Bassoon* Alyson Elmer, Cello Nicole Graham, Violin Matt Huff, Cello Judy Jacob, Violin Hannah Kwong, Violin

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Nebo Youth Philharmonic Paul Wells, Clint Roberts and Julie Christoerson, Directors Morgan Abbott, Cello JoLyn Paddock, Timpani Shaylee Pugmire, Viola Ashlyn Sharp, Cello Meagan Welton, Oboe Northern Utah Youth Symphony Conrad Dunn, Director Aidan Ames, Violin Jillian Brown, Violin Drew Burnett, Trumpet Sarah Clark, Violin Eliza Corrington, Percussion William Herem, Violin Leah Laing, Violin Julia Lopez, Flute Elizabeth Wagstaff, Viola

Utah Valley Youth Philharmonic Shauna Smith and Gavin Fulwider, Directors Brian Dong, Bassoon* Christopher Hulce, Bass Anna Mitton, Harp Madisyn Rowley, Viola Miriam Wagstaff, Violin David Yostrum, Trumpet Young Artist Chamber Players Jack Ashton, Director Brooklyn Fagergren, Violin Olivia Holtby, Violin Cameron Jeppson, Violin Ava Johnson, Cello Ella Larson, Bass Bella Maher, Viola *students who play in more than one youth orchestra

Ogden Youth Symphony Stephanie Strait, Director Izzie Herzog, Percussion Anna Johnston, Violin Daria Sondossi, Violin

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All Star Evening: Rachmaninoff’s Piano Concerto No. 1

program notes

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Notes by Michael Clive

Carl Maria von Weber (1786–1826)

Overture to Der Freischütz PERFORMANCE TIME:

10 minutes

Who put the “grand” in grand opera?

In large measure it was Carl Maria von Weber. Born in 1786 in Eutin, Germany, Weber was—with his compatriot Giacomo Meyerbeer—a leader in the development of epically scaled, spectacular music-dramas that were the most elegantly grandiose entertainments of their day.

Weber was a musical child whose father, with a backward glance to Leopold Mozart’s successful exploitation of the young Amadeus, sent his son to study with instructors including Michael Haydn. It was under Haydn’s tutelage that Weber published his first composition, a suite of six fugues, at age twelve. But for the most part, Weber was a self-invented man who led a short, rollicking life. The evidence of his intellectual brilliance is impressive: He wrote music journalism, did early research on European folk music, and learned the highly technical skill of lithographic printing so he could engrave his own works.

Through his early teenage years, Weber was precociously writing operas that seemed stage-worthy until they were produced. Despite their failure, these operas helped hone his craft, and widening professional connections resulted in his appointment as music director at Breslau

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while he was still in his late teens. Out of his depth but still learning, he resigned his Breslau post in favor of a position as music director to Duke Eugen of Württemberg.

The turning point came in 1807, when Weber—by now only 21—earned prominence in an influential circle of leaders in the emerging Romantic movement in the arts and music. Here he met Meyerbeer and was recognized for his excellence as a pianist and guitarist. Though Weber’s passionate nature never cooled, from this time onward it was tempered by a sense of realism and professional discipline. He was happily married and was the most passionate advocate for a German national operatic style, working feverishly for the cause both as a composer and as the director of German opera in Dresden. (A rival company produced Italian operas.)

Weber’s continued representation in the opera house and concert hall rests upon three important operas that he composed during the years before his premature death at age 39: Der Freischütz, Euryanthe, and Oberon. Dating from 1821, the first of these, Der Freischütz, is considered the first great Romantic German opera. The third, Oberon, was commissioned by Covent Garden for production in 1826. Against doctor’s orders, Weber travelled to London to help bring it to the stage, even learning English for this purpose. The opera’s premiere was a tremendous success, but Weber paid a terrible price: Shortly before the scheduled date of his return trip to Germany, he was found dead in the lavish guest quarters provided to him by his host, Sir George Smart.

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All Star Evening: Rachmaninoff’s Piano Concerto No. 1

program notes

One of the innovations in grand operas that Weber helped along was a greater dramatic specificity in the overture: not just in stating musical themes that occur later, but also in creating the atmosphere of the setting and a sense of the incidents that form a stage-worthy dramatic arc. In the case of Der Freischütz the drama is based on a folk legend concerning a hunter known as a freeshooter who encounters the devil and trades away his soul for the sake of a few magically infallible bullets. In Weber’s rousing overture we can sense the forests that are the hunter’s haunts, the stress that leads him into temptation, and an eerie sense of the supernatural that made the opera a popular hit.

Sergei Rachmaninoff (1873–1943)

Concerto No. 1 in F-sharp minor for Piano and Orchestra, Op. 1 PERFORMANCE TIME:

26 minutes

Sergei Rachmaninoff was one of classical music’s legendary masters of the keyboard who were also great composers. Of these, he was an heir of Liszt—whose works demand power, speed, and fire—rather than the poetic, introspective Chopin. If Tchaikovsky was the central and best known of the Russian Romantic composers, and if Glinka was the first and the father figure, then Rachmaninoff embodied their artistic culmination. Listening to Rachmaninoff ’s long, brooding lines—their sweetness tinged with

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melancholy—it is surprising to learn that he moved to the U.S. and lived in Beverly Hills until his death in 1943. Another Russian expatriate composer, Igor Stravinsky, had come to the United States in 1939, became a naturalized U.S. citizen, and spent time living in Los Angeles. But as a composer, Stravinsky already inhabited a very different, more modern era.

Rachmaninoff’s hallmarks are dazzling virtuosity and plush melody. Big intervals and big sound were natural parts of his musical vocabulary, and seemed to come naturally to his huge hands and long limbs; in fact, it is now believed that he may have had Marfan’s Syndrome, a congenital condition associated with these skeletal proportions, and with heart problems. (Nicolò Paganini may have had it as well.) But if Marfan’s contributed to his heroic sound, there was a more delicate aspect to the Rachmaninoff style—fleet passagework, rhythmic pliancy, and long, singing lines.

This concerto announces its early chronology with its striking opus number: Concerto No. 1, Op. 1. But the cataloging is a bit misleading: Though it was Rachmaninoff’s first major composition, the version we hear in today’s concert halls was revised by the composer when he was a more mature artist.

Rachmaninoff began work on this concerto when he was 20 and still a student at the Moscow Conservatory, where expectations ran high for him both as a pianist and a composer. It was not his first attempt at a piano concerto; that came when he was 18.

Though both attempts were in the same key

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All Star Evening: Rachmaninoff’s Piano Concerto No. 1

program notes

(F-sharp minor), the second one was a more solid effort. “I am now composing a piano concerto,” he wrote to his cousin Natalia in 1891, without referencing his earlier effort.

“Two movements are already written; the last movement is not written, but it is composed [i.e., not yet orchestrated]; I shall probably finish the whole concerto by the summer, and then in the summer orchestrate it.” He performed its premiere at the Conservatory in March 1892.

Oddly, this concerto shows Rachmaninoff at his most youthful and most mature, since he thoroughly revised it in 1917, when he was in his mid-forties. By this time his second and third concertos, with their swooning melodies and sweeping Romantic lines, were popular favorites. The first gives us drama, but also the meticulous construction of a finely tailored garment. He told the biographer Albert Swan that “I have rewritten my First Concerto; it is really good now. All the youthful freshness is there, and yet it plays itself so much more easily…”

Composition students at the Moscow Conservatory were instructed to base major compositions on specific models—in this case the Grieg Piano Concerto, with its hyperdramatic outer movements. The original version virtually grafts Rachmaninoff’s original ideas onto the architecture of Grieg’s movements, but the revised version shows far more of the Russian composer’s originality while not sacrificing the bold tension of the original. The opening brass fanfare will remind many listeners of the Grieg, but is developed with Rachmaninoff’s characteristic finesse. The central movement, a brief and

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elegant andante, leads us to a sparkling allegro in the final movement.

In its revised form, this concerto remained one of Rachmaninoff’s favorites among all his compositions, and he played it frequently on his concert tours. In fact, historians tell us he probably never played the unrevised version after the premiere, although the conductor of that performance—the Russian conductor and pianist Alexander Siloti—did so frequently. “When I tell them in America that I will play the First Concerto,” Rachmaninoff told Swan, “they do not protest, but I can see by their faces that they would prefer the Second or Third.”

Pyotr Ilyich Tchaikovsky (1840–1893)

Suite from Swan Lake, Op. 20a “Finale” from Swan Lake PERFORMANCE TIME:

30 minutes

Some things seem never to change. Take, for example, the tribulations of earning a living as a composer. In Tchaikovsky’s day, as now, receiving a commission could be the best news that a composer could possibly get— but executing it could be the worst possible headache. Today, it might be writing for the movies; in 19th-century Russia, it was writing for the ballet.

In receiving the commission for Swan Lake in 1875, Tchaikovsky was hemmed

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All Star Evening: Rachmaninoff’s Piano Concerto No. 1

program notes

in by numbers. He was expected to cue a dramatic leap or precisely time a mimed sequence to fit the dancers’ needs and limits.

His rhythms and tempos had to conform to the demands of choreographic convention, and his seemingly inexhaustible gift for melodic invention was tailored to fit dance steps. But in listening to the movements of the Suite from Swan Lake, you won’t detect any of these constraints. It is all pure music and pure Tchaikovsky, endlessly tuneful and thrillingly danceable.

It took Tchaikovsky about a year and a half to complete the score, and dance rehearsals—which began before he was finished—took 11 months. Like many 19th-century story ballets, Swan Lake takes place in a world of enchanted forests and palaces; it is populated by nobly born humans, half-human spirits and villains with magical powers, all caught between two worlds that are far removed from everyday reality. Stories like these were understood with far more seriousness in the 19th century than now. In Swan Lake, the predicament of the young prince

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Siegfried—conflicted in his attraction to two aspects of womanhood and to two different worlds—was vividly delineated in the enchanted world of spirits that many believed descended upon the forests of Europe after dark.

For Tchaikovsky, the challenge was to create music that combines with the actions of wordless dancer-actors and stage designers to transform this realm of airy fantasy into a theatrical experience of authentic human emotion and conflict. Most of all, he had to frame these actions with music that would be dramatically compelling as stage accompaniment, yet worthy of performance on its own.

Tchaikovsky’s ballet scores met this challenge as none had before them, deepening the possibilities of dance as theater and achieving a popularity that endures to this day. Without dancers and sets, the Suite from Swan Lake suggests not a suite of dance movements, but a deeply atmospheric musical narrative depicting magic, menace, sacrifice, and transfiguration.

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Thank You FRIEND $150 to $999 Anonymous (14) John C. Abercrombie Maggie & Nadim Abuhaidar Robyn Airmet Mr. & Mrs. Franklin Alex Dr. & Mrs. Irwin Altman David & Liz Anderson Diane Anderson Marco & Christine Andrei Ronald I. Apfelbaum, MD & Kathleen A. Murray, MD Mr. & Mrs. Robert Archuleta Mr. & Mrs. William P. Armstrong Richard & Nancy Arnoldy Mr. & Mrs. Frank W. Asper, Jr. J. Randolph Ayre Kathleen Badalean Melissa Ballard Tom & Carolee Baron Robert Barrett Scott Barrett Mr. & Mrs. Lawrence R. Barusch David & Rebecca Bateman Mary Ann Bauman Leroy & Barbara Bearnson Kathie Beckman Charles & Mary Behrens Michael Behring & Debra Marin Barbara Belnap Francine R. Bennion Victoria Bennion Reed & Jeanne Benson James Benton C. Verl & Shirley M. Benzley Diane Bernhardt James Bevan Earle & Linda Bevins Sue Bhanos Patter & Thomas Birsic Nina Boguslavsky Thomas Bowen & Martha Brace Carol Ann Brown Susan Brown Barbara Brunker Matthew Bryan & Jason Taylor Marjorie Budd Susan Burdett John Burger Marianne Burgoyne Janice Burk

John & Kathryn Burnham Mary Carlson Thomas & Beth Arnett Mr. & Mrs. Fred L. Carter, Jr. Leon & Gisela Chodos Mr. & Mrs. Don M. Christensen Clark & Gwen Christian Orson C. & Dianne Clay John & Patricia Clay Patti Clements Richard & Julia Codell Dr. & Mrs. Hal S. Cole Lori Collett Maxine Condor Alene Cook Hillary Coon & Jim Yehle Sandra Covey Julie Crittenden Patricia Curtis Cindy & Christopher Cutler Rachel Daines David & Donna Dalton Mr. & Mrs. Darwin Datwyler Mark Davidson Elisabeth Dean Drs. Pilar & Christopher Dechet Robert & Gaye DeLange George & Mona Delavan Derna DeMaggio Carleton Detar & Laurel Casjens Gretchen Dietrich Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Mary Dillon Josephine Divver Chantal Dolan Suzanne & Paul Driggs James & Janet Duane Household Judith A. Eagan Barbara & Melvin Echols James Eckstein John Eckstein Frederick Edelstein & Toni Footer Philip & Deborah Edelstein Frank M. Edmunds Kara Edwards Terry & Dorrie Emmons Mr. & Mrs. Steven Ericson Robert P. & Mary Evans Laura Lee Falk

David Fedor Joree Felker Dr. & Mrs. Perry Fine Robert & Elisha Finney Bettina Foody Felecia & George Ford Pat & Nancy Forester Dr. Elizabeth L. Frank Wayne & Aileen Freckleton John Frederick Carolyn C. Fredin Roslyn Gallagher Bryson & Jan Garbett Marie & Christian Gardner Quinn & Julie Gardner Dave Garside Katharina Gerstenberger Catherine Gerwels Raymond & Harriett Gesteland Nancy & Mark Gilbert Susan Glasmann & Richard Dudley Lawrence & Suzanne Goldsmith Joe & Panna Goott Melvin & Diane Gourdin Dr. & Mrs. William R. Gray Mr. & Mrs. Lawrence Green Kay Greene Richard Greene Anabel & john Greenlee Paul & Janet Griffin Ray & Howard Grossman Mr. & Mrs. Theodore Gurney, Jr. John Gurr Stephen Guttenberg Maxine Haggerty James Hall Wayne Halverson Gabriele Hammond Marvin Hammond Harlan & Julia Hammond Karen E. Hannahs Scott W. Hansen Robert & Marcia Harris Virginia Harria Alene Harrison Jonathan Hart Doug Hattery Connie Hayden Dr. Alan B. Hayes

Donations received as of February 28, 2018

46

UTAH SYMPHONY

Thank You Frank Heath Susan Hendry Craig & Tiffany Hess Mr. John P. Hill, Esq. Brian Hin Patrice & Lane Hirning Lewis E. Hitchner Lee & Audrey Hollaar Donald & Judy Horwitz Bob & Ursula Hoshaw Ronald Houston Robert & Virginia Huber Preston G. Hughes Foundation Virginia A. Hughes Randy & Nikki Huizenga Zachary Hulsey Jesse N. Hunsaker, M.D. Charles Hunter Albert Imesch Gordon Irving Dr. Richard & Helene Jaffe Dr. Brent James Matthew & Paige Janzen James & Jeanne Jardine Dr. & Mrs. Joseph D. Jensen Elane Jeppesen Jewish Federation of Metropolitan Chicago Drs. Owen & Joyce Johnson Muriel Johnson Nick Johnson Dr. & Mrs. Ramon E. Johnson Rodney Johnson Dr. Sarah & Dr. Jason Johnson Kimberli Jones Richard Kanner Catherine Kanter Raymond Karcher John S. Karls Dr. Siegfried & Ellen Karsten James & Lucille Kastanis Ronald Kastner Sylvia Katzman Chelsea & Jacob Kauffman Renate & Christopher Kesler Marvin & Lois Kimball Liz King Pat Koch Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Peg Kramer Erin Krentz

Tyler Kruzich KSL Television Henry O. Whiteside Mr. & Mrs. Bruce M. Lake David & Sandra Lamb Gary Lambert Bruce & Margaret Landesman Maggie Laun Jill Lawrence Claudia Laycock Nelean Meadows & Dennis Layne Mary Leavitt Anne Lee & Claude Halter Glen M. & Karen W. Leonard Swantje Levin Marc Levy Margaret B. Lewis Marvin & Sharon Lewis Katherine P. Liddle Henry & Marilyn Lieberman Karl & Susan Lind Bill & Sally Lindsay Gary & Sandra K. Lindstrom Ronald W. Tharp & Kate F. Little Lee & Melissa Livengood Herbert & Helga Lloyd Karen Lobrot Uri Loewenstein & Elizabeth Tashjian Marilyn Lott Loveland Living Planet Aquarium Philip Lowe John Lucas Jeff & Kim Luke Brent Lutz Ralph & Sylvia S. Mabey Mira Blue & Mark Machlis Yuki Macqueen Karen Malechek Dr. & Mrs. Ned L. Mangelson Mike & Gerri Margetts John D. Marks Susan R. Marquardt Robin & Nassir Marrouche Alexander Martin Linda & John Mason Miriam Mason Penelope Mathews & David Horner Susan Maughan Dianne May Neylan McBaine

Beverly J. McCurdie Ralph & Peggy McElvain Frank & Maxine McIntyre Jerilyn McIntyre & David Smith Amanda McKell Dan McKnight & Deanna Donaldson Heather McMaster Jack & Patsy McNamara Philina Saltas Vanene Mcshane Sanford Meek Edward G. “Skip” & Patricia Mencimer Ron & Tamara Meyers Dan P. Miller Richard & Jean Miller Robert L. Miller Richard & Anita Miner Robert & Dianne Miner Dr. Michaela S. Mohr Dave Moore & Mary Mallon Bill & Jane Moore Ted Moore & Julie Hartley-Moore Patricia & James Morgan Dr. Susan Morgan Glenn Mosby David Mugleston John Mulderig Matt Mullin & Maren Bargreen Faye & Harlan Muntz National Financial Services, LLC Nebeker Family Foundation Renate B. Nebeker Sara Lee Neill James & Marianne Nelson John C. & Mary Ann Nelson Phillip & Alice Newberry E. Dilworth & Peggy S. Newman Dr. & Mrs. John H. Newton Merrill & Josephine Oaks Patti O’Keefe Whitney Olch Maura & Serge Olszanskyj Lee K. Osborne John Ott Ralph & Kay Packard Adrian S. Palmer Joseph† & Dorothy Ann Palmer Jeffrey Paris Mrs. Paula S. Paterson Mr. & Mrs. James Patterson

Donations received as of February 28, 2018

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Thank You Dr. Anne M. Pendo & Duncan Edwards Barbara Perry Greg & Lisa Graham Joan C. Peterson Kelvin Peterson & Liqin Qiu Michelle Peterson & Richard Scott Jane Pigott Keith & Linda Poelman Lisa & Jim Stringfellow David Porter Laszlo & Sandra Preysz Matthew & Maria Proser Stephen & Susan Kohler Glen & Dorothy Purdie Thomas Quam Brent Rammell Jack Rampton Robert & Nancy Raybould Raymond James & Associates Delia & Craig Reece Sydney Dunn & Harry Reed† Ronald Rencher Mary Rethwisch Thom D. Roberts & Sandra Peuler Gary Rodgers Mike & Kathy Rodman John Rohrbaugh Abigail Rose Dr. John W. Rose & Ms. Carolyn A. Pedone Don & Noreen Rouillard Jerry & Linda Rowley Carolyn & Charles Rozwat Gail T. Rushing Carole Rusho Gregory Ryan Ellen Rye Mr. Robert Sacks Charles Saltzman Juergen & Cheryl Sass Joan Scanlon Dr. S. Brent & Janet Scharman Grant Schettler Sandefur Schmidt Kent & LaRae Scott Harry & Becky Senekjian Julie & Bradley Senet Brent Sessions Scott & Luke Sherner Orion & Marge Sherwood

48

M. Tom & Junko Shimizu Nancy Umemura John Shott Ken Uy Glenda & Robert† Shrader Shirley Van Wagenen Marolyn Siddoway Mark Vernon Sandra Sigman Gary Veverka Deborah Simmons Mr. & Mrs. Robert K. Vickery, Jr. Margaret Simmons David & Barbara Viskochil Allen & Karen Sims William & Donna R. Vogel Phyllis Sims† William & Heidi Vriens Val & Barbara† Singleton Patrick Wade & Jeffrey Chaney Lynn Skene Jodi & Thomas Wagner Thomas Slaymaker Dianne & Peter Yogman Stuart & Suzanne Slingerland Howard & Barbara Wallack Martin & Tani Smihula Bonnie Walsh Diane Smith Dennis & Sherry Walsh Julia Smith Perry & Margie Walters Scott & Karen Smith Farrell & Deanna Wankier Paul & Carol Sonntag Dr. James C. Warenski Neal & Carol Sorensen Jim Warenski Susan Chausow Southam Bruce & Leigh Washburn Wayne Sowers Glen Watkins Robert & Arita R. Sparks Mr. & Mrs. Frank Weinstock Kenneth A. & Claudia M. Lauri Welch Sperling Frederik Weller Audrey L. Stauffer Charles & Ellen Wells Mr. & Mrs. Isaac Stein Jeremy & Hila Wenokur Suzanne Stensaas Karen Whipple Stanley O. Stensrud Dr. H. James & Janet Williams Jeffrey Stone McKay & Jean Willis Bente Strong Claudia Wilson Annie & Cory Strupp Mary & Charles Wintzer Briant Summerhays David & Anne Wirthlin Charles Swallow Michael Wolfe Jeannette Swent James & Carolyn Woodward Martin & Irene Tannenbaum Dylan Wright Mrs. Gaylia Tanner Frank & Betty Yanowitz Max Tanner Beth Young & David Waid Sally Tauber Tolford Young Hillary Taylor Roberta Zalkind Dr. & Mrs. Kim Y. Taylor Patrick Zimmerman Ranae Taylor Birgit Zotta Isabella Tcaciuc Irene & Robert Roemer John Thueson Gail Tomlinson Neil Townsend & Ian Wolf Alex Trueseff Robb Trujillo William & Patricia Tueting John & Shelley Turner Sarah & Alexander Uhle Donations received as of February 28, 2018

UTAH SYMPHONY

Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT

Annual Fund

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

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

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

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

Lawrence T. & Janet T. Dee Foundation Marriner S. Eccles Foundation

FJ Management, Inc. Grand & Little America Hotels* Utah Symphony Guild

BRAVO $50,000 to $99,999 Carol Franc Buck Foundation Frederick Q. Lawson Foundation Huntsman Foundation

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

Montage Deer Valley** Charles Maxfield & Gloria F. Parrish Foundation S.J. & Jessie E. Quinney Foundation Simmons Family Foundation Harris H. & Amanda P. Simmons Foundation Stein Eriksen Lodge**

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

Donations received as of February 28, 2018

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Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT

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

The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Every Blooming Thing* Gastronomy* Ann & Gordon Getty Foundation Richard K. & Shirley S. Hemingway Foundation Hyatt Centric Park City** McCarthey Family Foundation Merrill Lynch Wealth Management National Endowment for the Arts

Ogden Opera Guild Park City Chamber Bureau Promontory Foundation Salt Lake City Arts Council The Swartz Foundation Union Pacific Foundation University of Utah Health Utah Office of Tourism Workers Compensation Fund

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

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

LOVE Communications Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Park City Community Foundation Peczuh Printing* Prime Steakhouse* Ray, Quinney & Nebeker Foundation Rocky Mountain Power Foundation Sinclair Oil Corporation Snell & Wilmer

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

PATRON $5,000 to $9,999 Art Works for Kids!

Bessemer Trust The Capital Group Deluxe Corporation Foundation Discover Financial Services The Dorsey & Whitney Foundation Patricia Dougall Eager Trust Spencer F. & Cleone P. Eccles Family Foundation

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

50

Donations received as of February 28, 2018

UTAH SYMPHONY

Thank You DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being and stability of USUO and, through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9028.

Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation

Thomas & Candace Dee Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation

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

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

Herond & Gaylen Hoyt Pamela Robinson-Harris & Jeff Harris Classical Movements Abigail Rethwisch Paulson

Joanne & Bill Shiebler The Right Reverend Carolyn Tanner Irish Constance & Marcus Theodore

GIFTS MADE IN MEMORY OF Anita Alcabes Jay T. Ball Dr. Ray Beckham Janet Bennett Winifred Bradley Robert H. Burgoyne, M.D. Jeffrey L. Chaney Kathie Dalton Charles Dean Dean E. Eggertsen Loraine L. Felton Harry E. Franta Rosalie Frost Ursula Gleason Lowell P. Hicks Joanne Johnson

Muriel Lindquist Panos Johnson Joseph S. Knowlton Valice M. Laramee Sharon R. Lewis Sonja Margulies Frank & Maxine McIntyre Bill Peters Glade & Mardean Peterson John A. Reinertsen Alvin Richer Kathryn Romney Ann O’Neill Shigeoka, M.D. Frank & Shirley Russell Bert Schaap Aurelia H. Schettler Catherine Schettler

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

Donations received as of February 28, 2018

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51

LEGACY GIVING

Leave a lasting legacy of excellent music.

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

To learn more about how estate planning can benefit both you and USUO, please call Leslie Peterson at 801-869-9012 or visit us online at usuo.giftplans.org.

Utah Arts Festival 2018

MA K E A REGUL AR NIGHT OUT

A B IG NI GHT OUT.

June 21-24 Library Square Personalize your Ruth’s Chris experience with our popular three-course Prime Time dinner menu offered nightly until 6:30PM starting at just $49.95.

uaf.org

Salt Lake City • 801.363.2000 275 S. West Temple

TANNER & CRESCENDO SOCIETIES

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

Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning.

Please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012 for more information, or visit our website at usuo.giftplans.org.

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

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

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

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 Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser

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

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

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

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

†Deceased

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ADMINISTRATION ADMINISTRATION Paul Meecham

Heather Weinstock

President & CEO

Manager of Special Events & DVMF Donor Relations

David Green

Alina Osika

Julie McBeth

Lisa Poppleton

Ali Snow

Chelsea Kauffman

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

SYMPHONY ARTISTIC Thierry Fischer

Symphony Music Director

Anthony Tolokan

Vice President of Symphony Artistic Planning

Conner Gray Covington Assistant Conductor

Barlow Bradford

Symphony Chorus Director

Manager of Corporate Partnerships Grants Manager Annual Fund Coordinator

Steven Finkelstein

Development Coordinator

MARKETING & COMMUNICATIONS Jon Miles

Alison Mockli

Payroll & Benefits Manager

Jared Mollenkopf

Patron Information Systems Manager

Bobbie Williams

Accounts Payable Accountant

EDUCATION Paula Fowler

Director of Education & Community Outreach

Beverly Hawkins

Symphony Education Manager

Kyleene Johnson

Vice President of Marketing & Public Relations

Symphony Education Assistant

RenĂŠe Huang

Opera Education Assistant

Director of Communications & Digital Media

Chad Call

Paul Hill

OPERA TECHNICAL Jared Porter

Marketing Manager - Audience Development

Senior Technical Director

Walt Zeschin

Technical Director

Andrew Williams

Mike Call

Website Manager

Director of Orchestra Personnel Orchestra Personnel Manager

Lance Jensen

Executive Assistant to the Music Director & Symphony Chorus Manager

SYMPHONY OPERATIONS Jeff Counts

Vice President of Operations & General Manager

Cassandra Dozet

Director of Operations

Melissa Robison

Program Publication & Front of House Director

Chip Dance

Production & Stage Manager

Jeff F. Herbig

Properties Manager & Assistant Stage Manager

Erin Lunsford

Artist Logistics Coordinator

0PERA ARTISTIC Christopher McBeth

Opera Artistic Director

Carol Anderson Principal Coach

Michelle Peterson

Opera Company Manager

Michaella Calzaretta Opera Chorus Master

Mandi Titcomb

Opera Production Coordinator

Kathleen Sykes

Digital Content Producer

PATRON SERVICES Nina Starling

Director of Patron Engagement

Faith Myers

Sales Manager

Andrew J. Wilson

Patron Services Manager

Robb Trujillo

Group Sales Associate

Ellesse Hargreaves

Patron Services Assistant

Rachel Campbell

Marketing Manager - Patron Loyalty

Kelly Nickle

Properties Master

Lane Latimer

Assistant Props

Keith Ladanye

Production Carpenter

Travis Stevens Carpenter

Dusty Terrell

Scenic Charge Artist

COSTUMES Verona Green

Costume Director

Jessica Cetrone Kierstin Gibbs LisaAnn DeLapp

Genevieve Gannon Sarah Pehrson Jackie Seethaler Powell Smith

Rentals Assistants

Nicholas Barker Lorraine Fry Jodie Gressman Mateusz Jagiello Ellen Lewis Rhea Miller Ananda Spike

Tiffany Lent

Sales Associates

Amanda Reiser Meyer Wardrobe Supervisor

Milivoj Poletan Tailor

Cutter/Draper

Donna Thomas

Milliner & Crafts Artisan

Ticket Agents

Chris Chadwick Yoojean Song Connie Warner

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Shelley Carpenter Bailey Rapier Katie Satot

Vice President of Finance & CFO

DEVELOPMENT Leslie Peterson

Mike Lund

Hillary Hahn

Controller

Vice President of Development

Kyle Coyer

Stitchers

Wigs/Make-up Crew

Director of Information Technologies

Joan Shiflett

Senior Director of Institutional Gifts 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.

54

UTAH SYMPHONY

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HOUSE RULES

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

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

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

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

UTAHSYMPHONY.ORG

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(801) 533-NOTE

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

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

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

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

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

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

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Martine Martine offers Salt Salt Lake Lake Broadway Joinbrownstone. us before and after offers the show for City Cityaasophisticated sophisticated dining dining experience experience kept simple.Locally Locally eclectic daily specials and traditionalkept pubsimple. favorites such sourced sourced ingredients, ingredients, pre-event pre-event $25 $25three three courseprix prix fixe. fixe. as bacon topped meatloaf, pizzas and acourse delicious array Extensive Extensive bar bar and wine wine service. service. martinecafe.com martinecafe.com of burgers, alland paired with our world-class beer and L,welcoming L,D,D,T,T,LL, LL,RA, RA, CC, CC,VS. VS.801-363-9328 801-363-9328 atmosphere.

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Most MostPopular PopularRestaurant Restaurant –Zagat –Zagat

4848W.W.Market MarketStreet Street(340 (340South) South) COMPLIMENTARY VALET AND SELF-PARKING FOR ALL GUESTS 801.322.4668 801.322.4668 801.238.4748 255 S WEST TEMPLE RESERVATIONS AT OPENTABLE.COM

• •An Anintimate intimateeuro eurocafé café• • Free FreeValet ValetParking Parking 22 22East East100 100South South

Phone Phone• •801.363.9328 801.363.9328 www.martinecafe.com www.martinecafe.com Top TopPhoto: Photo:Image Imagelicensed licensedbybyIngram IngramImage Image

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

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

… u o Y k n a Th to our advertisers Bank of American Fork Caffè Molise Challenger School The Children’s Hour City Creek | Living Classical 89 Excellence Concert Series Five Wives Vodka Gina Bachauer International Artists Piano Competition The Grand America Hotel Hamilton Park Interiors J. Wong’s Thai & Chinese Bistro Jerry Seiner Cadillac KUED KUER

Larry H. Miller Lexus Legacy Village Sugar House Little America Hotel Martine New Yorker OC Tanner RC Willey Ruth’s Chris Steak House San Francisco Design Summit | Sotheby’s International Realty Tuacahn Amphitheatre University Federal Credit Union Utah Arts Festival Utah Food Services Zions Bank

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

utahfoodservices.com

801.531.0226 Book us for your next event!

Utah’s Catering Company Proud Partner of the UTAH SYMPHONY | UTAH OPERA

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

Melissa Robison PROGRAM NOTES ANNOTATOR

Michael Clive Cultural writer Michael Clive is program annotator for the Utah Symphony, the Louisiana Philharmonic Orchestra, and the Pacific Symphony, and is editor-in-chief of The Santa Fe Opera.

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

Tanner, llc LEGAL REPRESENTATION PROVIDED BY

relax and enjoy our complimentary shuttle!

The New Yorker is a Salt Lake City icon that set the stage for fine dining in Utah and has been providing fresh, innovative food and outstanding hospitality in a warm, inviting atmosphere for decades of diners.

Enjoy delicious food, relax and ride our complimentary shuttle to Abravanel Hall, Capitol Theatre and the new Eccles Theatre.

Ride back and enjoy dessert and a nightcap, a cozy way to end your evening out on the town!

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

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

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Provided by Shuman Associates, New York City ADVERTISING SERVICES

Provided by Love Communications, Salt Lake City The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief.

Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts.

By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.

Redeemable at any Market Street Restaurant or Fish Market 64

UTAH SYMPHONY

IN CONCERT LIVE TO FILM

FEATURE FILM

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UTAH SYMPHONY

JUNE 27&28 ABRAVANEL HALL

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UTAHSYMPHONY.ORG \ 801-533–NOTE (6683) FILMS IN CO NC ERT S ERIES S PO NS O R

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2018 / DEER VALLEY® MUSIC FESTIVAL

Community Events The USUO Education Department offers events that provide access for our community members to professional musicians and music-making.

FAMILY INSTRUMENT PETTING ZOO Friday, July 6 (6–7 pm) • • • •

Preceding DISNEY IN CONCERT: A SILLY SYMPHONY CELEBRATION Instruments provided by Summerhays Music Staffed by volunteers from the Utah Symphony Youth Guild Available to all ticket holders

PLAZAFEST • June 30: Utah Conservatory Patriotic Kids Camp will sing patriotic tunes on the plaza before the Patriotic Celebration concert.

• Wednesdays: Young instrumentalists offer pre-performance music at select St. Mary’s Church concerts.

• August 3: The Park City Rockers @ Utah Conservatory will perform on the plaza preceding The ‘70s vs The ‘80s concert.

MUSIC IN THE LIBRARY Thursdays, June 28 and August 2 (2-3 pm) USUO Education staff will join afternoon family hours at the Park City Library with a variety of music games for children, in support of the library’s summer reading theme “Libraries Rock!”

GUEST ARTIST EVENTS Check the festival website for updated information.

for more info about deer valley® music festival education and community events:

DeerValleyMusicFestival.org/community

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