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BELLINI’S
NORMA MAY 4 & 6 ABRAVANEL HALL
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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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BELLINI’S
NORMA
21
PG.
Photo credit: Greg Emetaz
6 Welcome 8 Artistic Director’s Welcome 10 Board of Trustees 15 Q&A - Bradon McDonald (Costume Design) 16 Divine Feminine Druidism in “Norma” 18 A Woman of Blood and Fire 20 Production Sponsors 22 Story of the Opera 27 Cast / Artistic Staff / Chorus 32 Composer / Librettist 35 Utah Symphony 36 Background on the Opera 43 Support USUO 44 Donors 53 Donor Spotlight 60 Legacy Giving 61 Crescendo & Tanner Societies 62 Administration 63 House Rules 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
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one hour before curtain in the First Tier Room.
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Welcome It is our pleasure to welcome you to Abravanel Hall and Utah Opera’s premiere production of Bellini’s bel canto masterpiece Norma. The innovation happening throughout the country in the opera business is exciting and inspiring, most broadly evidenced by the Met HD Broadcasts which have broken down significant perceived barriers to the artform. Utah Opera is flexing its innovative muscles this month with this solution to the challenge of not being able to perform in the Janet Quinney Lawson Capitol Theatre while it is being renovated. We are excited to see how we bring the experience of Norma to you in Abravanel Hall with the orchestra musicians on stage seated behind the fashionably costumed principal singers and surrounded by the ‘virtual’ scenery provided by projections. Paul Meecham President & CEO
All of us at Utah Symphony | Utah Opera have enjoyed seeing works like Moby-Dick and The Little Prince come to life through the creative artistic and technical staff for set and costume building at the company’s production studios. Through their expertise, Utah Opera is well positioned to be a leader in innovation, and we look forward to Christopher McBeth’s plans for the future to maximize these facilities in order to bring the best operatic experiences to our Utah audiences. Thank you for joining us on this innovation journey and for being fantastic supporters of Utah Opera! Perhaps we will see you in Abravanel Hall again soon for a Utah Symphony concert or in Park City this summer for the Deer Valley® Music Festival before we all return to the Janet Quinney Lawson Capitol Theatre next October and the opening of Utah Opera’s 2019–20 season with Verdi’s La traviata! Sincerely,
Kem Gardner USUO Board of Trustees Chair
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UTAH OPERA 2018–19 SEASON
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Artistic Director’s Welcome Dear Utah Opera friends and family, Thanks for joining us in our home away from home for this special opera presentation. While the Janet Quinney Lawson Capitol Theatre is temporarily closed, we have taken the opportunity to bring you an opera never before produced in the history of Utah Opera. Bellini’s Norma is considered the finest example of the 19th century style of opera, bel canto. In this style, singers were challenged to raise the bar in their vocal technique to level not seen beforehand and, simultaneously, in their communication of dramatic text. Opera was in a golden age and its singers were the musical equivalent of Olympic athletes and high wire performers combined. In Norma, we find the music of a composer at the height of his musical powers matched with his favorite librettist—the finest of his generation—and what is Christopher McBeth arguably the artists’ masterpiece. The librettist Romani Artistic Director was known throughout continental Europe as one of the best poets of his generation and Bellini’s ability to write phrases that could only be sung by the finest vocal artists was matched by this word smith who could create tangible moods while simultaneously plumbing the psychological depths of dramatic situations. Even Richard Wagner, who rarely liked anything other than his own work, held the pair’s operas in the highest esteem. Tonight’s superlative musical experience is combined with an exciting visual one. The projected video and images created by Greg Emetaz and the lighting by Tláloc López-Waterman—both artists making their debut with Utah Opera— will make us feel as though we are immersed in the world of the narrative unfolding before us. Also making his debut is prominent fashion designer Bradon McDonald whose costumes are as exquisite and bold as the music. In addition to the significant debuts of the creative team, I’m honored and excited to add to the list the significant debuts of Marjorie Owens in the title role and Annie Green as Adalgisa. Jonathan Burton makes his long-awaited return as Pollione as does Adam Lau as Oroveso after his successful debut earlier this season. I’m grateful to Maestro Stephen Lord for his musical leadership in one of the operas he champions most. My thanks also goes to Crystal Manich for returning to take on this directorial challenge thereby ensuring success. Please enjoy this wonderful opera in this exciting presentation. Sincerely,
Join Christopher and special guests for an audience Q&A directly following each performance in the back of the orchestra level. 8
UTAH OPERA 2018–19 SEASON
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Q& A
– BRADON MCDONALD (COSTUME DESIGN)
American fashion designer Bradon McDonald attended the Fashion Institute of Design & Merchandising, and appeared as a finalist in Season 12 of Project Runway. He turns his designer chops to Utah Opera’s Norma, bringing a fashion-forward aesthetic to the production. What influenced you as a young designer and inspired you to channel your creativity into fabrics and clothes? I was a professional dancer in my first life, inspired by fine arts and fine textiles. As a kid I studied painting, drawing, and sculpture while simultaneously studying tap dance, jazz, and clogging. This all came together when I found Modern Dance, and after receiving my degree from Juilliard I toured the world for 14 years, mostly with Mark Morris Dance Group. After retiring from the stage, my focus went back to the fine arts, and design. I attended the Fashion Institute of Design and Merchandising Los Angeles.
Norma 2019
Adalgisa
Who are your style icons? Madame Grès, Isaac Mizrahi, Karl Lagerfeld, and Iris Van Herpen. How did you approach the creative process for ‘Norma’? My idea is to treat this production as if the characters were attending the Metropolitan Museum’s Costume Gala which would be honoring the historic productions of Norma. Basically, an over-the-top fashion version of the classic story. How different is it designing clothes for the runway than for the stage? What considerations do you need to take into account? Scale. Runway is still a show, different than clothes on the rack. How big? How much bling? How much sculpture? Does she have to sit down? Clothes are never just clothes. I have to consider what the person wearing them needs. Do they need attention, or to blend in? To be intimidating or welcoming? Stage costumes can be more extreme which is refreshing to work on after more subdued projects. Describe how clothes make the character. It’s how you feel when you look at them onstage, or on the street. The visual tells the story before they can open their mouth, to speak or to sing.
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Divine Feminine Druidism in “Norma” By Renée Huang
Many consider Norma to be Bellini’s finest dramatic work. The opera features one of the most challenging roles for a soprano. In fact, numerous sopranos’ careers have been defined by their interpretation of the title role. Norma is widely regarded a supreme example of the bel canto tradition, with the aria “Casta Diva” as one of the most recognized melodies in the operatic canon. But perhaps most peculiar is the work’s emphasis on divine feminine power, during a time when men were traditionally seen as holding the seat of power. Although Bellini died when he was 33, having written only 10 operas, his music may be as close as anyone came to pure bel canto, and Norma has become emblematic of everything the style came to embody. The historical setting for Norma is the Roman occupation of a certain part of Gaul that is populated by Druids, an ancient community of spiritual people who have reverence for nature. There is some substance to this as the very earliest historical mention of the Druids is from Julius Caesar’s account of his conquests of Gaul. Caesar also notes that the most influential and powerful members of Druid society were of the religious class—but men, not women. Around the time of Norma’s composition, England and Wales experienced a new fascination with
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the Druids and the ancient societies that held national and cultural pride. Druidism was mistakenly connected with the ancient Celts of the Iron Age, and the misguided imitations of Iron Age priests (including a few nods to Freemasonry) were at the center of the Neo-Druidism or Paganism that came in the late 18th century. The exposure to the occult likely gave just enough familiarity to help audiences identify with the values, challenges, and decisions of the characters. However, where Druidism focused on male power figures, it contrasts with feminine ideals that were recognized throughout many pre-historic, matriarchal ancient societies. Bellini’s opera presents a powerful and influential woman at a time when men were considered rulers of society. The notion of a formidable sacred feminine figure supports an emerging 19th century belief that many pre-historic societies were, in fact, matriarchies. Evidence of the divine feminine concept include the earth being associated with feminine and the sky as masculine; early cultures worshiped Gaia the earth goddess before they started worshiping heavenly gods like Zeus and Jehovah. Bellini’s ability to empower a female figure—with a voice and vision—was a departure from many traditional depictions of women at the time.
UTAH OPERA 2018–19 SEASON
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A Woman of Blood and Fire By Michael Clive
When soprano Marjorie Owens took time out to chat with us about the monumental challenge that is Norma, it was her first encounter with a famous description of the opera’s formidable heroine. “A woman of blood and fire, I like that! I never heard it before.” Which is understandable, because Miss Owens is too young to have memories of her predecessors Maria Callas and Joan Sutherland. The epithet gained currency in the 1950s, when Callas spurred new interest in Norma, and it remained a catchphrase in the 1960s and 70s, when sopranos including Sutherland and Montserrat Caballé essayed the role. But of all Norma’s interpreters dating back to Giuditta Pasta, probably none but the temperamental Callas could so aptly be called a woman of blood and fire in real life. The Druid priestess is an Everest of a role for soprano, one of two or three that are the most difficult among hundreds of operas in the standard repertory. Another is Wagner’s Brünnhilde, who sings her way through three very long operas. Close behind is the title role in Puccini’s Turandot, which is also in Ms. Owens’ portfolio. That one excites fans because the soprano sings loud, high and non-stop—but only for two acts out of three. “They like me to scream a lot,” she jokes. “Bel canto is a lighter Fach [vocal category] than I’m used to. But I find that it’s refreshing to sing, like Mozart, as long as you sing with healthy technique.” The size of Owens’ voice and the fullness of its gleaming sound place her in the “dramatic soprano” category; Aida is another of her roles. A lighter, more “lyric” sound is needed for some operas— 18
for example, Puccini’s La bohème, or anything French. The birdlike flexibility required for bel canto heroines, in the “coloratura” category, is often lighter still. “My involvement in the bel canto repertory is not crazy extensive,” she says, “but this is healthy singing for me. Normally what’s wanted for Norma is a heavier sound, a dramatic coloratura, so I’m not out of place.” In other contexts, she can be called a “spinto” soprano— that is, with power in the voice. Maria Callas, whose voice also encompassed dramatic coloratura, chose to portray commanding women characters rather than demure, retiring females. In our era, Marjorie Owens sees the same strengths in Norma that attracted Callas to the role. “One thing I love about this character is that she’s the one in charge of her own life,” says Owens. “She’s not a victim of circumstance. No one has made her choices for her. She is like a calmer Medea, a Medea who thinks. At first she is emotional and acts out, but in the end she has the maturity to see what she has done and to accept the consequences.” Those consequences include choosing to die—by fire. “It’s pretty intense,” says Owens. “But, well, that’s opera.” 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. UTAH OPERA 2018–19 SEASON
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Program
Norma
Norma May 4, 6 | 2019 Abravanel Hall
Composed by Vincenzo Bellini
Libretto by Felice Romani, based on Alexandre Soumet’s tragedy Sung in Italian Supertitle translation by Paul Dorgan First performed at La Scala, Milan, December 26, 1831 Utah Opera Premiere
CAST Norma . . . . . . . . . . . . . . . . . . . . . . . . . . Marjorie Owens Adalgisa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Annie Rosen Pollione . . . . . . . . . . . . . . . . . . . . . . . . . Jonathan Burton Oroveso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adam Lau Clotilde . . . . . . . . . . . . . . . . . . . . . . . . . Melanie Ashkar* Flavio . . . . . . . . . . . . . . . . . . . . . . . . . . . Addison Marlor* ARTISTIC STAFF Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . Stephen Lord Stage Director . . . . . . . . . . . . . . . . . . . . . . Crystal Manich Chorus Master . . . . . . . . . . . . . . . . Michaella Calzaretta Video Design . . . . . . . . . . . . . . . . . . . . . . . Greg Emetaz Costume Design . . . . . . . . . . . . . . . . . Bradon McDonald Lighting Design . . . . . . . . . . . Tláloc López-Watermann Wigs and Make-up Design . . . . . . . . . . . . Kate Casalino Stage Manager . . . . . . . . . . . . . . . . . . . . . Kristen Barrett Assistant Stage Manager . . . Analysha “Skip” Mulcock Musical Preparation/Principal Coach . . Carol Anderson Guest Coach . . . . . . . . . . . . . Stephanie Rhodes Russell Chorus Pianist . . . . . . . . . . . . . . . . . . . Robert Bosworth* The performance will last approximately two hours and forty-five minutes, with one twenty-minute intermission. * Current Utah Opera Resident Artist
UTAHOPERA.ORG / (801) 533-NOTE
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Norma
Story of the Opera
Act I that he is now Adalgisa’s lover. Norma In a sacred grove, the Druid patriarch rages at Pollione’s duplicity and calls Oroveso leads his subjects in solemn Adalgisa innocent; the three exchange procession to pray for victory over imprecations, with Adalgisa refusing to the invading Romans. It will be up to leave Norma and Norma demanding his daughter, the priestess Norma, that Pollione return to Rome, leaving his to negotiate a favorable peace with children behind. Their anger is echoed them. They go to the sacred temple; by the Druids gathering at the temple, the Roman proconsul Pollione and who report that the god Irminsul has his friend Flavio enter, and though expressed his anger. Pollione storms Norma has secretly borne two children out as the threat of war looms. by Pollione, he reveals to Flavio that he has now fallen in love with her Act II younger acolyte and best friend Norma contemplates her sleeping Adalgisa. Guiltily, he recounts a dream children and resolves to kill them. But that seemed to portend misfortune as she approaches them with dagger for himself and a vengeful Norma. in hand, she wavers and then changes She enters the temple grounds and her mind. She tells Clotilde to bring addresses the assembled subjects, Adalgisa to her, and as the younger counseling patience in dealing with priestess enters, Norma extracts a the Romans, and asserting that they promise from her to obey Norma’s will eventually relinquish their control solemn wish. To Adalgisa’s horror, over the Druids. She prays to the moon, Norma then commands her to take her then rejoices in her love for Pollione. children to Pollione’s encampment and Later, Adalgisa returns to the temple join him there as a family. At length, to pray, lamenting her love for Pollione after intense pleading and confessional until Pollione joins her and urges her exchanges, Adalgisa is able to change to flee to Rome with him; Adalgisa Norma’s mind, and Norma comes finally agrees. to realize that Adalgisa intends to renounce Pollione out of loyalty to their Later, in her dwelling, Norma suffers friendship and their people. Meanwhile, feelings of confusion and conflict in the sacred grove, preparations are over her children. She orders her underway for an attack against the maid Clotilde to remove them, and Romans, but Oroveso informs the as they leave, Adalgisa enters and frustrated Druid warriors that the time confides to Norma that she has fallen is not yet right. in love with a Roman, whom she does not name. The more she reveals of At the temple of Irminsul, the Druids her experience, the more it echoes are gathered in expectation as Norma Norma’s own. Norma takes comfort in enters. She believes that Pollione their common bond and they embrace, will return to her at Adalgisa’s urging. but this harmony ends abruptly when Adalgisa enters to take her vows Pollione enters and it becomes clear as priestess, but Clotilde discloses
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Norma
Story of the Opera
to Norma that Pollione plans to abduct Adalgisa to Rome with him. Enraged, Norma strikes a sacred gong, summoning her people to war as she cries out for revenge. To authorize the order for war, a human sacrifice is required, and as Oroveso seeks to know who it will be, Clotilde rushes in to announce that a Roman has been captured while desecrating the temple. The offender—Pollione—is brought before the crowd, and Norma approaches him with the sacrificial knife, but to the crowd’s surprise, she hesitates. She finds herself unable to kill the man whom she has loved and who has fathered her children; she announces that she must question the captive privately.
Alone with Pollione, Norma engages in a heated exchange with him, demanding that he renounce Adalgisa forever and threatening to kill her children and Adalgisa—who has broken her vows as a priestess in loving him—if he refuses. “At last I can make you as miserable as I,” she tells him, but he is implacable. When the crowd reassembles, she tells them that the sacrifice of a priestess who has broken her vows is the most appropriate propitiation for war. Then she stuns all those listening with her announcement that “It is I.” Commending her children to Oroveso, she prepares to leap into the temple’s sacred pyre. Her decision and her dignity move Pollione to rediscover his love for her, and he decides to join her in death.
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Norma
Cast
Marjorie Owens (Virginia) Norma Utah Opera Debut Recently: Der fliegende Holländer, Teatro Comunale di Firenze, Semperoper Dresden; Aïda, Opera Hong Kong; Leonore, Washington Concert Opera Upcoming: Turandot, Der fliegende Holländer, Canadian Opera Company Annie Rosen (Connecticut) Adalgisa Utah Opera Debut Recently: Penelope, Lyric Opera of Kansas City; The Scarlet Ibis, Chicago Opera Theater; Faust, Lyric Opera of Chicago Upcoming: Madama Butterfly, Central City Opera; Akhnaten, The Metropolitan Opera Jonathan Burton (Ohio) Pollione Most Recently at Utah Opera, Turandot Recently: Pagliacci, Opera Omaha; La fanciulla del West, New York City Opera; Il trovatore, Central City Opera Upcoming: Norma, Boston Lyric Opera; Turandot, Austin Opera Adam Lau (California) Oroveso Most Recently at Utah Opera, Romeo and Juliet Recently: Il trovatore, Seattle Opera; The Magic Flute, Kentucky Opera; Medea, Wexford Festival Upcoming: Lucia di Lammermoor, Lyric Opera of Kansas City; The Barber of Seville, Dallas Opera
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Norma
Cast / Artistic Staff
Melanie Ashkar (Virginia) Clotilde Most Recently at Utah Opera, The Magic Flute Current Utah Opera Resident Artist Recently: The Little Prince, Gianni Schicchi, Die Fledermaus, Utah Opera; Candide, Messiah, Utah Symphony; The Magic Flute, Central City Opera Upcoming: Madama Butterfly, Central City Opera Addison Marlor (Utah) Flavio Most Recently at Utah Opera, The Magic Flute Current Utah Opera Resident Artist Recently: The Little Prince, Utah Opera Sapho, Washington Concert Opera; Candide, Utah Symphony; The Rake’s Progress, Sävitri, Merola Opera Program ARTISTIC STAFF Crystal Manich (Puerto Rico) Director Most Recently at Utah Opera, Così fan tutte Recently: Paride ed Elena, Odyssey Opera; Hänsel und Gretel, Pittsburgh Opera; Madama Butterly, Opera Columbus Upcoming: Così fan tutte, Mill City Summer Opera; Return to Sender, Nashville Children’s Theater; Il Postino, Virginia Opera and Opera Southwest Stephen Lord Conductor Utah Opera Debut Recently: Eugene Onegin, Michigan Opera Theatre; Regina, Opera Theatre of St. Louis; Rigoletto, Canadian Opera Company Upcoming: Sweeney Todd, Michigan Opera Theatre; La traviata, Canadian Opera Company 28
UTAH OPERA 2018–19 SEASON
Norma
Artistic Staff
Michaella Calzaretta (Iowa) Chorus Master Most Recently at Utah Opera, The Magic Flute Recently: 2018–19 season, Utah Opera; Harry Potter and the Prisoner of Azkaban, 1812 Overture, Candide, Utah Symphony; Patience, University Gilbert and Sullivan Society Upcoming: 2019–20 season, Utah Opera Greg Emetaz (New York) Video Design Utah Opera Debut Recently: La clemenza di Tito, LA Opera; Mamma Mia!, Theatre Under the Stars; The Good Swimmer, BAM New Wave Festival Upcoming: Fire Shut Up in My Bones, Opera Theatre of Saint Louis; Footloose, The Muny Bradon McDonald (California) Costume Designer Utah Opera Debut Recently: This Thing Called Love, Jessica Lang Dance; Her Notes, American Ballet Theater; Her Door to the Sky, Pacific Northwest Ballet; ¡Figaro! (90210), LA Opera Upcoming: Let Me Sing Forever More, American Ballet Theater Tláloc López-Watermann (New York) Lighting Design Utah Opera Debut Recently: Dead Man Walking, Opera Delaware; Tosca, North Carolina Opera; Madama Butterfly, Columbus Opera Upcoming: Il Postino (Projection Designer), Virginia Opera, Opera Southwest, Chicago Opera Theatre; Dido and Aeneas, Angel’s Share in the Catacombs of Brooklyn’s Greenwood Cemetery UTAHOPERA.ORG / (801) 533-NOTE
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Artistic Staff / Chorus / Supernumeraries
Norma
Kate Casalino (New York) Hair and Makeup Design Most Recently at Utah Opera, The Magic Flute Recently: The Little Prince, Romeo and Juliet, Utah Opera; Getting the Band Back Together, Belasco Theater NYC
Utah Opera Chorus Jessica Benson Frederick Brind Anthony Buck Anadine Burrell Lauren Cartwright Rachel Cooke Charity Cooper Chad DeMaris Natalie Easter Lori Fisher Paula Fowler Ryan Francis Genevieve Gannon Elijah Hancock Paul Leland Hill Melissa James
Thomas Klassen ShaRee Larsen Gary Later Nelson LeDuc Kristen Lenth Edward Lopez Julie McBeth Christine McDonough Jenny McKay Garrett Medlock April Meservy Rhea Miller Heather Morrey Michael Moyes Daniel Nichols Dale Nielsen
Supernumeraries Elinor Gibbs
Simon Gibbs
Scott Palmer Tony Porter Lucas Proctor Ruth Rogers Brian Rowe Lauren Slagowski Mark Sorensen Carolyn Talboys-Klassen Scott Tarbet Sammie Tollestrup Austin Toney Daniel Tuutau Robyn VanLeigh Alene Wecker Ruth Wortley Lennika Wright
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Norma
Composer / Librettist
Vincenzo Bellini Composer Vincenzo Bellini, (born November 3, 1801, Catania, Sicily [Italy]—died September 23, 1835, Puteaux, near Paris, France), was an Italian operatic composer with a gift for creating vocal melody at once pure in style and sensuous in expression. His influence is reflected not only in later operatic compositions, including the early works of Richard Wagner, but also in the instrumental music of Chopin and Liszt. Born into a family of musicians, Bellini produced his first works while still a student at the Naples Conservatory, where he had been sent by his father, an organist. Bellini’s fame was closely bound up with the bel canto style of the great singers of his day. He was not a reformer; his ideals were those of Haydn and Mozart, and he strove for clarity, elegance of form and melody, and a close union of words and music. Yet with perseverance he corrected some of the grosser abuses of opera then current. While he subordinated the orchestra accompaniment to the singers and placed upon their voices the responsibility for dramatic expression, his harmony was more enterprising than that of his contemporary Gaetano Donizetti, and his handling of the orchestra in introductions and interludes was far from perfunctory. It is, however, for the individual charm and elegance of his luminous vocal melody that Bellini is remembered.
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Felice Romani Librettist Felice Romani, born in 1788, studied law and literature in Pisa and Genoa. After failing to obtain a post at the University of Genoa, he travelled and then wrote two librettos for the composer Simon Mayr, which resulted in his appointment as the librettist for La Scala. Romani became the most highly regarded of all Italian librettists of his age, producing nearly one hundred librettos. As a rule, Romani did not create his own stories; he kept up with what was happening in the Paris theatre and adapted plays which were popular there. Romani wrote the librettos for Bellini’s Il pirata, La straniera, Zaira, La sonnambula, Norma, and Beatrice di Tenda; for Rossini’s Il turco in Italia, and Bianca e Falliero; and Donizetti’s Anna Bolena and L’elisir d’amore (which he adapted from Eugène Scribe’s Le philtre). In 1834 Romani became editor of the Gazzetta Ufficiale Piemontese to which he contributed literary criticism. He retained the post, with a break from 1849–1854, until his death in Moneglia in 1865.
UTAH OPERA 2018–19 SEASON
Joseph and the Amazing Technicolor Dreamcoat
Life Happens Here 2019 Season
June 27 to October 12
HAMLET • MACBETH • TWELFTH NIGHT JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT THE PRICE • THE BOOK OF WILL • EVERY BRILLIANT THING THE CONCLUSION OF HENRY VI: PARTS TWO AND THREE
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Utah Symphony
Norma
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 Claude Halter Principal Second Wen Yuan Gu Associate Principal Second 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
VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Elizabeth Beilman Acting Associate Principal Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Leslie Richards†† 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 BASS* David Yavornitzky Principal Corbin Johnston Associate Principal 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-Scott 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-Scott
KEYBOARD Jason Hardink Principal
BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Edmund Rollett Acting Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal
LIBRARIANS Clovis Lark Principal Katie Klich ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager • First Violin •• Second Violin * String Seating Rotates † On Leave # Sabbatical †† Substitute Member
Jeff Luke Associate Principal Peter Margulies Gabriel Slesinger††
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Background on the Opera By Michael Clive
The history of classical music teems with colorful anecdotes. Does it matter that most of them are fiction? Invented by passionate enthusiasts and often embroidered around a thread of truth, they help us understand and remember. Probably the most famous such story about Vincenzo Bellini, composer of the bel canto masterpiece Norma, is a purported incident from when he was 31 and heard Rossini’s sacred oratorio Stabat Mater. According to the story, the awe-struck Bellini said “If I could write melodies like that, I would be happy to die young.” Three years later he was dead, aged 33, having written dozens of the most beautiful melodies in the operatic literature. We hear some of the most famous in Norma. 36
Your intrepid annotator has uncovered different versions of this incident without being able to confirm any of them. But if we “unpack” the story, as the critics say, there is much to be learned, starting with Bellini’s reverence for a more senior colleague. Bellini was part of the great flowering of artistic genius in late 18th- and early 19th-century Italy that brought bel canto opera to its zenith. The three best-known practitioners of this style— Rossini, Donizetti, and Bellini—were born within nine years of each other, Rossini first and Bellini last. Abundance of melody is a hallmark of the style; in fact, its practitioners were once known as “melodists.” Parsing the story more closely, we can understand why it centers on the Stabat Mater: While Rossini’s tunes are typically zestful and propulsive, those in his Stabat Mater are smoother and more flowing, often with extended legato lines—the kind we typically find in the operas of Bellini. Bellini was born in the Abruzzi region of Italy in the town of Catania, first-born among seven children. The family was highly musical; his grandfather had attended conservatory in Naples, and both his father and his grandfather were highly respected as organists, teachers of music, and maestri di capella at the local church. From an early age, Vincenzo’s talent was perceived as extraordinary, and his father began Vincenzo’s instruction at the keyboard years before the boy reached school age. Later he received private instruction with a local priest and showed a prodigy’s aptitudes in both UTAH OPERA 2018–19 SEASON
Background on the Opera music and academics—in performance at the keyboard (age 5), composing (age 6), and languages, rhetoric and philosophy (age 7). He entered the conservatory in Naples at age 18, and after he led fellow-students there in a public performance of his student opera Adelson e Salvini, his career as an opera composer was launched. The historical record suggests that from childhood onward, Bellini’s brief life was a steady, unhindered ascent powered by talent, inspiration and discipline; in addition to his artistic gifts, his personal charm gave him entrée to elite social circles in Italy and France. By the time he conceived the idea for the opera that was destined to be his greatest, Norma, he was only 28 years old, but had an international reputation. He composed the work as half of a double commission for Italy’s foremost opera house, La Scala in Milan, for production in 1830. Further proof that his career was already thriving: he commanded the unheardof fee of 12 thousand lire for Norma. Norma is an innovative opera, and even before opening night, its newness posed challenges. Bellini created the title role for Giuditta Pasta, a compelling vocal actress who at first balked at the demands of her nowlegendary opening aria, the fearsome “Casta diva.” With Bellini’s persuasion and coaching, the real-life diva soon came to appreciate “Casta diva,” which is sung as a Druidic invocation to the “chaste goddess,” the moon. But the public followed the same UTAHOPERA.ORG / (801) 533-NOTE
pattern as Mme. Pasta herself, initially resisting Norma’s unconventionality. The second night audience was more receptive, and soon the Italian public clamored for productions. Within a few years, newspaper reviews in Italy and elsewhere could proclaim “Norma conquers Europe.” To understand Norma’s originality we must consider it in the context of bel canto, a genre of some controversy even now. A style of both singing and composition, bel canto excited its contemporary audiences as a showcase for spectacular vocal display and histrionic extremes. Composers strove for vocal ornament that would intensify the dramatic and aesthetic qualities of the moment, but listeners hungered for the sheer thrill of seemingly impossible vocal feats. All those fioritura—trills and runs that were often improvised on the spot—are what Beverly Sills was talking about when she quipped that coloratura singers should be paid by the note. The heroines of these operas were often wilting flowers who, in their fragility, would go mad from the stress of conflict or romantic disappointment, and whose only hope was to be rescued by a man. Their “mad scenes” were a staple of the form, and were invariably the dramatic climax of the opera, crammed with spectacular vocal pyrotechnics reflecting the pathetic soprano’s stress and her fractured mind. Bellini certainly composed his share of these. His 1834 opera I puritani even contains two mad scenes for its lovesick heroine, Elvira—one when she loses her sanity, and one when she gets it back. 37
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Background on the Opera By comparison, the Druid priestess Norma could not seem more different or more modern. She is a strong woman in a position of high responsibility who remains in charge of her own destiny at every moment. Her tragic conflicts arise from mature relationships—with her best friend, who becomes her romantic rival; with her two children, born and reared in secret; with her clandestine lover, whom she ultimately renounces; and with the people who look to her for spiritual leadership. The operatic literature offers no more moving example of personal courage than when Norma announces to her community that their unknown betrayer must be punished with death, and then says “son’ io”—“it is I.” Accordingly, her music’s most difficult demands are not its floridity (though there’s lots of that) but its emotional weight and the stamina required to sustain it.
Thanks to Bellini’s diligent (and often hard-fought) work with librettist Felice Romani, Norma reaches the most successful union of words and music in any bel canto opera. Over the years, this achievement has drawn admiration from some unlikely sources. Richard Wagner, who was in his mid-twenties when Norma became popular and who was harshly critical of most Italian opera, wrote at length of his admiration for the dramatic unity of Bellini’s expressive, songlike melodies and the libretto they serve. Even the German philosopher Arthur Schopenhauer, prince of pessimism, declared his admiration for Norma as an opera that embodies the virtues of classical tragedy. But in this very rare instance, one of Wagner’s comments seems just right: “Bellini,” he said, “wrote from the heart.” Michael Clive’s biography appears on page 18.
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10-MINUTE OPERAS Commemorating the Golden Spike | Commissioned by Utah Opera
MAY 20–22, 2019 PREMIERE PREMIERE PERFORMANCES PERFORMANCES The Stone, The Tree, and The Bird by Jacob Lee and Christine McDonough
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by Tony Solitro and Paisley Rekdal
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Individual Donors FRIEND ($1,000 TO $1,499) Anonymous (3) Christine A. Allred Dr. & Mrs. Jeffrey L. Anderson David Bailin Mr. & Mrs. Lawrence R. Barusch David & Rebecca Bateman Victoria Bennion C. Kim & Jane Blair Diane Banks & Dr. Mark Bromberg Mr. & Mrs. Neill Brownstein Dana Carroll & Jeannine Marlowe Michael & Beth Chardack Dr. & Mrs. David Coppin Elisabeth B. Dean James & Rula Dickson Alice Edvalson Eric & Shellie Eide Quinn & Julie Gardner Robert & Mary Gilchrist Ralph & Rose Gochnour Mr. & Mrs. Richard R. Graham Mr. & Mrs. Theodore Gurney, Jr. John Gurr
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Geraldine Hanni Robert & Marcia Harris John Edward Henderson Courtney Henley Connie C. Holbrook 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. Mr. & Mrs. Bruce M. Lake Guttorm & Claudio Landro Claudia Laycock Mr. & Mrs. Melvyn L. Lefkowitz Susan R. Marquardt Clifton & Terri McIntosh Lex Hemphill & Nancy Melich Hal & JeNeal Miller Henriette Mohebbizadeh Barry & Kathy Mower Mary Muir Joe Mulvehill
Oren & Liz Nelson Dr. & Mrs. Richard T. O’Brien Timothy & Lisa O’Brien Joseph J.† & Dorothy Moyle Palmer Linda S. Pembroke Rori & Nancy Piggott Dr. Barbara S. Reid Gina Rieke Debra Saunders Mr. August L. Schultz Dr. Nicole L. Mihalopoulos & Joshua Scoville Bianca Shepard Dennis & Annabelle Shrieve Barbara Slaymaker Dr. & Mrs. Michael H. Stevens Gail Tomlinson David H. & Barbara S. Viskochil Gerard & Sheila Walsh Dr. James C. Warenski Renee Waters Margaret & Gary Wirth David B. & Anne Wirthlin Caroline & Thomas Wright Patrick Zimmerman
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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 801-869-9012. 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 Peggy Chase Dreyfous Burton & Elaine Gordon Mrs. Barbara Nellestein Matthew & Maria Proser
Barbara Scowcroft & Ralph Matson Joanne & Bill Shiebler Grant Gill Smith
Dale Strobel Whittney Thomas
GIFTS MADE IN MEMORY Dawn Ann Bailey Jay T. Ball Betty Bristow Kathie Dalton Leah Burrows Felt Lorraine L. Felton Crawford Gates
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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 March 8, 2018 to March 8, 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
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
Janet Q. Lawson Foundation
Sorenson Legacy Foundation
Frederick Q. Lawson Foundation LOVE Communications** McCarthey Family Foundation Montage Deer Valley** Moreton Family Foundation Charles Maxfield & Gloria F. Parrish Foundation Perkins-Prothro 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
$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
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UTAH OPERA 2018–19 SEASON
Donor Spotlight
Today Utah Opera enjoys a home at our Production Studios behind West High School where all of the preparations for our performances at the Janet Quinney Lawson Capitol Theatre take place. But it wasn’t always so. An office above Daynes Music on Main Street served as command central for Utah Opera’s initial efforts to plan seasons, win subscribers and supporters, and sell tickets. Skip Daynes, never one to shy away from big ambitious dreams, let us use the space free of charge. His commitment to fostering and encouraging music in our community helped Utah Opera gain its footing in our cultural landscape. Thanks to Skip’s generous spirit, Utah Opera has continued to thrive since those early days. Skip Daynes
Daynes Music
Supporting the arts in Utah is in Skip’s blood. His great granduncle was the first organist for the Mormon Tabernacle Choir, his father helped establish the Utah Symphony, and he himself is a fourth generation owner of Daynes Music, the largest Steinway piano dealer west of New York and legendary in Utah where there are more pianos per capita than in any other state. Skip, now in his 81st year, continues to play a pivotal role in our vibrant arts scene. Utah Symphony | Utah Opera is the fortunate recipient of his largesse and commitment. He has personally supervised the delivery of pianos for countless events, salons and special concerts, most recently for the 5 Browns when they performed at Abravanel Hall. Skip has received many accolades for his farreaching contributions. Utah Symphony | Utah Opera wishes to add our heartfelt thanks for Skip’s hard work in making music more accessible to all in our community, for sharing our vision, and for being a good friend.
UTAHOPERA.ORG / (801) 533-NOTE
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Institutional Donors $10,000 TO $24,999 Adobe HJ & BR Barlow Foundation B.W. Bastian Foundation Brent & Bonnie Jean Beesley Foundation R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine Foundation-Russell Family Daynes Music Company* Discover Financial Services The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Matthew B. 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 S.J. & Jessie E. Quinney Foundation Regence BlueCross BlueShield of Utah
James Riepe Family Foundation The Joseph & Evelyn Rosenblatt Charitable Fund Schmidt Family Foundation Simmons Family Foundation The Swartz Foundation University of Utah Health W. Mack & Julie S. Watkins Foundation Wells Fargo 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. The M Lazy M Foundation Martine* Promontory Foundation
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
Henry W. & Leslie M. Eskuche Charitable 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 Bambara* Bertin Family Foundation Blume Haiti Robert S. Carter Foundation Castle Foundation CBRE
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UTAH OPERA 2018–19 SEASON
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Institutional Donors $1,500 TO $2,499 Rodney H. & Carolyn Hansen Brady Charitable Foundation Corning Incorporated Foundation City Creek Center Constellation Brands
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B-Breakfast B-BreakfastL-Lunch L-Lunch D-Dinner D-Dinner S-Open S-Open SundayDL-Delivery DL-DeliveryT-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre Top: Image licensed by Ingram ImageSunday 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
UTAHOPERA.ORG / (801) 533-NOTE
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Legacy Giving Leave a lasting legacy of excellent music. When you make a gift through your estate, either now or at the end of your life, you provide invaluable support to Utah Symphony | Utah Opera. Your financial advisor or estate planning attorney can help you build a gift that can meet goals for you or your heirs, and provide USUO with the resources that create incredible music. Help USUO preserve our future of performing favorite symphonic and operatic works and new works for years to come.
Photo credit: Kent Miles, Utah Opera,
Don Giovanni, May 2017
To learn more about how estate planning can benefit both you and USUO, please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012, or visit our website 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 Leslie Peterson at lpeterson@usuo.org or 801-869-9012 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
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Administration
ADMINISTRATION Paul Meecham
SYMPHONY ARTISTIC Thierry Fischer
PATRON SERVICES Faith Myers
David Green
Anthony Tolokan
Merry Magee
President & CEO
Senior Vice President & COO
Symphony Music Director
Julie McBeth
Vice President of Symphony Artistic Planning
Ali Snow
Associate Conductor
Executive Assistant to the CEO
Conner Gray Covington
Executive Assistant to the COO & Office Manager
Barlow Bradford
0PERA ARTISTIC Christopher McBeth
Symphony Chorus Director
Walt Zeschin
Director of Orchestra Personnel
Opera Artistic Director
Andrew Williams
Principal Coach
Lance Jensen
Carol Anderson
Orchestra Personnel Manager
Michelle Peterson
Executive Assistant to the Music Director Symphony Chorus Manager
Michaella Calzaretta Opera Chorus Master
SYMPHONY OPERATIONS Cassandra Dozet
Opera Production Coordinator
Melissa Robison
OPERA TECHNICAL Jared Porter
Chip Dance
Opera Company Manager
Brooke Yadon
Senior Technical Director
Kelly Nickle
Properties Master
Director of Orchestra Operations Program Publication & Front of House Director Production & Stage Manager
Jeff F. Herbig
Director of Patron Engagement Marketing Manager - Patron Loyalty
Andrew J. Wilson Patron Services Manager
Ellesse Hargreaves Patron Services Assistant
Genevieve Gannon Group Sales Associate
Sarah Pehrson Jackie Seethaler Powell Smith Sales Associates
Nicholas Barker Gavin Benedict Lorraine Fry Jodie Gressman Ellen Lewis Ananda Spike Hallie Wilmes Ticket Agents
ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO
JR Orr
Properties Manager & Assistant Stage Manager
Travis Stevens
Artist Logistics Coordinator
Karyn Cunliffe
DEVELOPMENT Leslie Peterson
Alison Mockli
Assistant Props
Head Carpenter
Dusty Terrell
Scenic Charge Artist
Lyndsay Keith
Mike Lund
Director of Information Technologies Controller
Vice President of Development
Payroll & Benefits Manager
Director of Institutional Giving
Patron Information Systems Manager
Director of Individual Giving
Accounts Payable Accountant
Jessica Proctor
Jared Mollenkopf
Costume Director
Olivia Custodio
Bobbie Williams
Costume Rentals Supervisor
Heather Weinstock
Rentals Assistants
Lisa Poppleton
Director of Education & Community Outreach
Wardrobe Supervisor
Nikki Orlando
Symphony Education Manager
COSTUMES Verona Green Jessica Cetrone
Kierstin Gibbs LisaAnn DeLapp
Amanda Reiser Meyer Milivoj Poletan Tailor
Tiffany Lent Cutter/Draper
Manager of Special Events & DVMF Donor Relations Grants Manager
Annual Fund Manager
MARKETING & COMMUNICATIONS Jon Miles
Donna Thomas
Vice President of Marketing & Public Relations
Alyssa Lund Yoojean Song Connie Warner
Director of Communications & Digital Media
Milliner & Craftsperson
Stitchers
Krissa Lent
Wigs/Make-up Crew
EDUCATION Paula Fowler
Kyleene Johnson Paul Hill
Opera Education Assistant
Annie Farnbach
Symphony Education Assistant
Renée Huang Chad Call
Marketing Manager - Audience Development
Kathleen Sykes
Digital Content Producer
Nina Starling
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.
Website Content Coordinator
62
UTAH OPERA 2018–19 SEASON
House Rules
ASSISTIVE LISTENING DEVICES
of these special performances. All children, regardless of age, must have their own tickets for all performances. No babes-in-arms are allowed unless specifically indicated.
WHEELCHAIR SEATING
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.
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.
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 UTAHOPERA.ORG / (801) 533-NOTE
QUIET PLEASE
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. 63
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
Tanner, llc LEGAL REPRESENTATION PROVIDED BY
Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo NATIONAL PR SERVICES PROVIDED BY
Shuman Associates, New York City ADVERTISING MEDIA & WEBSITE 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.
Music Begins Here Now Accepting Music Students PreK–12
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.
Call 801.300.1199, or visit GiftedMusicSchool.org 64
UTAH OPERA 2018–19 SEASON
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