Utah Opera by Mills Publishing Inc.

UTAHOPERA.ORG

BIzet’S

THE

PEARL FISHERS

Jan 17–25

/2015

Christopher MCBeth / Artistic Director

PREPRINT

2014/15 UTAH OPERA SEASON

Utahopera.org has all the information you will need on performances, guest artist interviews, and the best ways to experience Utah Opera.

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@utahopera

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

The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc.,772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801/467.8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities.

Utah Opera Pearl Fishers Costume Design by Martin Lopez.

BIZET’S

The Pearl Fishers

6 Welcome 8 Testimonial 10 Board of Trustees 12 Season Honorees 13 Season Sponsor 18 Administration 23 Production Sponsors 24 Cultural Festival 26 Company 30 Synopsis 32 Composer and Librettists 34 Staff Spotlight 36 Utah Symphony 37 House Rules 38 Director’s Notes 43 “Opera Jobs” by Jeff Counts 47 “Genre-Bender” by Paula Fowler 50 Campaign for Perpetual Motion 54 Crescendo & Tanner Societies 55 Planned Giving 56 Lifelong Learning 58 Corporate & Foundation Donors 60 Individual Donors 64 Classical 89 Broadcasts 66 Acknowledgments 5

Welcome

Welcome to the Janet Quinney Lawson Capitol Theatre and the Utah Opera premiere of Bizet’s The Pearl Fishers. You may already know it is part of our mission to provide distinguished quality productions that showcase emerging and established artists, celebrate traditional works, and champion the American operatic tradition. But did you know that it is also core to our mission to lead in arts education and promote life-long learning through our art forms? Our Utah Opera Resident Artists program is designed to offer training that helps young opera professionals further their careers and provide opera outreach performances. Our Resident Artists are among the best and brightest young singers beginning their operatic careers, and we are delighted to feature each of them in main stage performances throughout the season. These professional artists tour the state for Utah Opera, presenting age-appropriate educational programming in Utah schools, and providing over 200 performances each year.

Dave Petersen USUO Board of Trustees Chair 6

Their performances are just a part of the many programs we offer that are accessible to every student, educator, and school in the state of Utah. Our Opera programs are offered to every school in the state over a three- to five-year rotation cycle. Our efforts are available free of charge to supplement the core music curriculum for Utah students. Annually we serve over 150,000 students and 6,500 teachers with our Opera and Symphony education programs. Much credit needs to go to the Utah State Legislature which has valued these programs and provides approximately one third of the support for us to make them available for our children. The remainder of that credit goes to our many individual donors, corporate and foundation sponsors who match the State’s support 2:1. To all of you who support Utah Symphony | Utah Opera, a huge “Thank You” from us. It is through your help that we are able to connect the community through great live music! Sincerely,

Melia Tourangeau USUO President & CEO

Christopher McBeth Utah Opera Artistic Director

UTAH OPERA THE PEARL FISHERS 2015

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TAKE EVERYWHERE YOU GO

Testimonial

Naoma Tate has devoted much of her irrepressible energy to promoting and sustaining beauty and art throughout the West and beyond. Like many in our audience, she is a descendant of a Utah pioneer family and a lifelong resident of Salt Lake City. She currently divides her time between her ranch, The Big Hat Ranch, in Cody, Wyoming and her home in Salt Lake City. She is a silver expert, a certified gemologist and has followed her passion for the history and art of the American West with a focused collection of art of Wyoming, Utah and the West. Her interests and expertise have led her to serve as a Trustee on the Boards of the Buffalo Bill Center of the West, The Leakey Foundation, and the Utah Museum of Fine Arts. Naoma Tate

Board of Trustees

Her exposure to and love for music began at an early age when her father sang with the Mormon Tabernacle Choir and serenaded his family around the house with opera arias while she was growing up. It seems fitting then that Naoma serves on Utah Symphony | Utah Opera’s Board of Trustees and that she has made a generous multi-year commitment to USUO’s 75th Anniversary Campaign for Perpetual Motion. “The arts resonate vibrantly at the deepest core of who I am. I can’t imagine life without the beauty that art in all its forms brings to our lives. I feel a responsibility to steward the arts in a way that allows audiences to experience the classics at the highest artistic level, and to enjoy performances by some of the best talent we can offer. I take great pride in being part of an organization that remains deeply committed to the legacy established early on by our pioneer ancestors, and am particularly pleased to support this production of Bizet’s The Pearl Fishers.”

UTAH OPERA THE PEARL FISHERS 2015

A DOWNTOWN CLASSIC JUST GOT CLASSIER.

8 01 - 5 9 6 - 57 0 8 | S A LT L A K E . L I T T L E A M E R I C A . C O M

Board of Trustees ELECTED BOARD David A. Petersen* Chair

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

Thomas Thatcher Bob Wheaton John W. Williams

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

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

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

TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates

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

Mardean Peterson E. Jeffery Smith Barbara Tanner

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

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

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

William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John Dâ&#x20AC;&#x2122;Arcy* Treasurer Melia P. Tourangeau* President & CEO Jesselie B. Anderson Doyle L. Arnold Edward R. Ashwood Dr. J. Richard Baringer Kirk A. Benson Judith M. Billings Howard S. Clark Gary L. Crocker David L. Dee*

MUSICIAN REPRESENTATIVES

John Eckstein* Travis Peterson* EX OFFICIO

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

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

Harold W. Milner (Nevada)

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

Alvin Richer (Arizona)

David L. Brown (S. California)

Robert Dibblee (Virginia)

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

Marcia Price (Utah)

UTAH OPERA THE PEARL FISHERS 2015

LIFELONG LEARNING Adult Learning Opportunities with Utah Symphony | Utah Opera

ONLINE LEARNING

Expand your experience before attending productions by learning about each opera’s history, composer, and music. Online materials are created by local scholars. www.utahopera.org/onlinelearning

PRE-PERFORMANCE LECTURES AND Q&A

One hour in advance of each opera performance or masterworks concert, artistic staff members give an introduction to the event. Utah Opera’s Artistic Director offers a Q & A sesssion after performances.

MASTERCLASSES WITH GUEST ARTISTS USUO offers masterclasses with both symphony and opera guest artists. www.usuoeducation.org/masterclass

PRO-AM

March 31, 2015, will mark the 4th annual Pro-Am Concert, during which adult members of community orchestras perform on the Abravanel Hall stage side-by-side with members of the Utah Symphony. Application materials will be available online at www.usuo.org/pro-am in January 2015.

ANNUAL CULTURAL FESTIVAL

Each season Utah Opera and Utah Symphony offer performances related by theme, and we create additional learning events on that theme with community partners. The 2014-15 festival, “The Romantics,” features music and art of 19th century Romantic artists. Check out Festival events at www.usuo.org/festival.

INFORMATION ABOUT COMMUNITY CHOIRS & ORCHESTRAS

Want to be actively involved in music making? We keep a current list of community music groups. Check it out at www.usuoeducation.org.

Visit www.usuoeducation.org website for more opportunities for adult learning.

Season Honorees Utah Symphony | Utah Opera is grateful to our generous donors who through annual cash gifts and multi-year commitments make our programs possible. The following listing reflects contributions and multi-year commitments received between 12/1/2013 and 12/1/2014.

M I L L EN I U M $250,0 0 0 & A BOV E

EDWARD R. ASHWOOD & CANDICE A. JOHNSON

GAEL BENSON

DIANE & HAL BRIERLEY

LAWRENCE T. & JANET T. DEE FOUNDATION

E.R. (ZEKE) & KATHERINE W.† DUMKE

KEM & CAROLYN GARDNER

MR. & MRS. MARTIN GREENBERG

ANTHONY & RENEE MARLON

CAROL & TED NEWLIN

PATRICIA A. RICHARDS & WILLIAM K. NICHOLS

MARK & DIANNE PROTHRO CORPORATION

THEODORE SCHMIDT

UTAH STATE LEGISLATURE/ UTAH STATE OFFICE OF EDUCATION 12

SHIEBLER FAMILY FOUNDATION

NAOMA TATE & THE FAMILY OF HAL TATE

JACQUELYN WENTZ

UTAH OPERA THE PEARL FISHERS 2015

Utah Symphony | Utah Opera 2014-15 Season Sponsor

George S. and Dolores Doré Eccles

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

The Tradition Continues

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

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

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

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

R. HAROLD BURTON FOUNDATION

ROGER & SUSAN HORN

THE RIGHT REVEREND CAROLYN TANNER IRISH

EMMA ECCLES JONES FOUNDATION

FREDERICK Q. LAWSON FOUNDATION

EDWARD & BARBARA MORETON

GIB & SUSAN MYERS

WILLIAM H. & CHRISTINE NELSON

DR. DINESH AND KALPANA PATEL

DELL LOY & LYNNETTE HANSEN

RESTAURANT TAX RAP TAX

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

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

Montage Deer Valley** Scott & Sydne Parker Frank R. Pignanelli & D’Arcy Dixon Albert J. Roberts IV St. Regis Deer Valley** Stein Eriksen Lodge** Wells Fargo Lois A. Zambo

UTAH OPERA THE PEARL FISHERS 2015

OUTSTANDING PERFORMANCES at an INCREDIBLE PRICE! DEsign-A-series And sAve!

Choose any 4 or more Utah Symphony | Utah Opera performances and SAVE 20%

CONCERT

DATE

TIME

VENUE

Strauss’ A Hero’s Life

January 30–31

8PM

AbrAvAnel HAll

Mahler’s Symphony no. 3

February 6–7

8PM

AbrAvAnel HAll

The Streisand Songbook

February 13–14

8PM

AbrAvAnel HAll

beethoven’s violin Concerto

February 20–21

8PM

AbrAvAnel HAll

André Watts Plays beethoven 5

March 6–7

8PM

AbrAvAnel HAll

Mozart’s Così fan tutte

March 14–22

7:30 PM / March 22 (2 PM) CAPITOl THeATre

Prokofiev’s Peter and the Wolf

March 21

11 AM, 12:30 PM

AbrAvAnel HAll

beethoven & Wagner

March 27–28

8PM

AbrAvAnel HAll

Daphnis & Chloe

April 10–11

8PM

AbrAvAnel HAll

Mozart’s Jupiter Symphony

April 17–18

8PM

AbrAvAnel HAll

The Midtown Men

April 24–25

8PM

AbrAvAnel HAll

Peter Pan and Other Adventures

April 25

11 AM, 12:30 PM

AbrAvAnel HAll

Saint–Saëns’ Organ Symphony

May 1–2

8PM

AbrAvAnel HAll

Music of Stravinsky

May 7

8PM

St. Mary’S church - Park city

Stravinsky’s The Rake’s Progress

May 9–17

7:30 PM / May 17 (2 PM)

CAPITOl THeATre

All–Star evening

May 19

7PM

AbrAvAnel HAll

Mahler’s Symphony no. 4

May 22–23

8PM

AbrAvAnel HAll

To ReseRve youR seaTs call 801-533-NoTe (6683) oR go oNliNe To uTahsymphoNy.oRg/Das

Season Sponsor:

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

Mr. & Mrs. William C. Bailey

Jack & Jan Massimino

BMW of Murray

Kristen Fletcher & Dan McPhun

BMW of Pleasant Grove

Carol & Anthony W.

Chevron Corporation Thomas D. Dee III & Dr. Candace Dee John H. & Joan B. Firmage

Middleton, Jr., M.D.

The Sam & Diane Stewart Family Foundation Norman C. & Barbara Tanner Nora Eccles Treadwell Foundation

James A. Parke

Vivint

Charles Maxfield &

M. Walker & Sue Wallace

Gloria F. Parrish Foundation

Jack Wheatley

Thierry & Catherine Fischer**

Alice & Frank Puleo

John W. Williams

Holland & Hart**

S. J. & Jessie E. Quinney Foundation

Workers Compensation Fund

Richard K. & Shirley S.

Simmons Family Foundation

Edward & Marelynn Zipser

Hemingway Foundation

Harris H. & Amanda Simmons

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

Adobe Scott & Kathie Amann American Express Anonymous Arnold Machinery Art Works For Kids! Ballard Spahr, LLP** Bambara Restaurant* Haven J. Barlow Family B. W. Bastian Foundation David & Sylvia Batchelder Brent & Bonnie Jean Beesley Foundation Berenice J. Bradshaw Charitable Trust Judy Brady & Drew W. Browning Carol Franc Buck Foundation Caffè Molise* Marie Eccles Caine FoundationRussell Family CenturyLink Rebecca Marriott Champion Howard & Betty Clark C. Comstock Clayton Foundation Daynes Music* Skip Daynes* Dorsey & Whitney LLP The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Sue Ellis

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

ProTel Networks* Residence Inn* Dr. Clifford Reusch The Joseph & Evelyn Rosenblatt Charitable Fund Salt Lake City Arts Council Lori & Theodore Samuels Peggy & Ben Schapiro Sky Harbor Apartments* Summit Sotheby’s Marilyn Sorensen Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds Zibby & Jim Tozer Thomas & Caroline Tucker Utah Food Services* Utah Hispanic Chamber Of Commerce* Utah Symphony Guild John & Marva Warnock Wheeler Foundation See pages 56–60 for an additional listing of our generous donors whose support has made this season possible.

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

UTAH OPERA THE PEARL FISHERS 2015

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Bizet’s

THE PEARl FiSHERS January 17, 19, 21, 23 (7:30 pm) / January 25 (2 pm) Janet Quinney Lawson CapitoL theatre

FROM $109/NIGHT

EVERYONE Carlos izcaray, conductor

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NEEDS THEIR andrea Carroll, LeïLa philippe talbot, nadir

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

Christopher McBeth, Artistic Director

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

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UTAH OPERA THE PEARL FISHERS 2015

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OUR AMERICA

FebruAry 6–MAy 17, 2015

THE LATINO PRESENCE IN AMERICAN ART From the collections of the Smithsonian American Art Museum

PRESENTING SPONSOR: SPONSORS: S. J. and Jessie E. Quinney Foundation Ray, Quinney & Nebeker Foundation MARCIA AND JOHN PRICE MUSEUM BUILDING umfa.utah.edu Olga Albizu, Radiante, 1967, oil, Smithsonian American Art Museum. Gift of JPMorgan Chase. Our America: The Latino Presence in American Art is organized by the Smithsonian American Art Museum. Generous support for the exhibition has been provided by Altria Group, the Honorable Aida M. Alvarez; Judah Best, The James F. Dicke Family Endowment, Sheila Duignan and Mike Wilkins, Tania and Tom Evans, Friends of the National Museum of the American Latino, The Michael A. and the Honorable Marilyn Logsdon Mennello Endowment, Henry R. Muñoz III, Wells Fargo and Zions Bank. Additional significant support was provided by The Latino Initiatives Pool, administered by the Smithsonian Latino Center. Support for “Treasures to Go,” the museum’s traveling exhibition program, comes from The C.F. Foundation, Atlanta.

The Pearl Fishers

production sponsors

Utah Opera Pearl Fishers Costume Design by Martin Lopez.

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UTAH OPERA THE PEARL FISHERS 2015

Utah Symphony | Utah operaâ&#x20AC;&#x2122;S CUltUral FeStival 2014/15

The artistic movement we call Romanticism swept through Western civilization at the beginning of the 1800s. Its practitioners rebelled against the structure and order cherished by previous generations, and regarded the free expression of individual feelings and experiences as more reliable sources of truth than rational thought. In the 2014â&#x20AC;&#x201C;15 season, Utah Symphony | Utah Opera celebrates the Romantics of the 19th century. We will explore art, dance, food, film, and music inspired by Romantic ideals.

>> For additional information visit:

usuo.org/festival

The Pearl Fishers

program

The Pearl Fishers Jan 17, 19, 21, 23 | 7:30 pm Jan 25 | 2 pm

Janet Quinney Lawson Capitol Theatre By Georges Bizet Sung in French with English supertitles Supertitles translated by Chiori Shively World Premiere: Théâtre-Lyrique, Paris in 1863 Utah Opera Premiere

CAST (in order of appearance) Zurga . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Craig Irvin Nadir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Philippe Talbot Leïla . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrea Carroll Nourabad . . . . . . . . . . . . . . . . . . . . . . . . . . . Derrick Parker

ARTISTIC STAFF Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . Carlos Izcaray Director . . . . . . . . . . . . . . . . . . . . . . . . . . Kristine McIntyre Set Designer . . . . . . . . . . . . . . . . . . . . . . . Robert O’Hearn Costume Designer . . . . . . . . . . . . . . . . . . . . . Martin Lopez Lighting Designer . . . . . . . . . . . . . . . . . Nicholas Cavallaro Chorus Master . . . . . . . . . . . . . . . . . . . . . . . . . Caleb Harris Wigs and Make-up Designer . . . . . . . . . . . Yancey J. Quick Choreographer . . . . . . . . . . . . . . . . . . . . . . Daniel Charon Assistant Choreographer . . . . . . . . . . . . . . . . Natalie Desch Principal Coach . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . Kristin Roach Chorus Pianist . . . . . . . . . . . . . . . . . . . Lindsay Woodward* Stage Manager . . . . . . . . . . . . . . . . Rachel C. Henneberry Assistant Stage Manager . . . . . . . . . . . . . . . . . . . Julie Chin *Utah Opera Resident Artist The performance will last approximately two hours and twenty minutes with two intermissions. Scenery designed by Robert O’Hearn Originally created for New York City Opera Sets/Props for The Pearl Fishers are owned by Hawaii Opera Theatre Costumes constructed by Utah Opera Costume Shop UTAH OPERA THE PEARL FISHERS 2015

The Pearl Fishers

company

Craig Irvin (Iowa) Zurga

Utah Opera Debut Recently:

Hansel and Gretel, Minnesota Opera; Silent Night, Fort Worth Opera, Cincinnati Opera; La Cenerentola, Pensacola Opera Upcoming:

The Pirates of Penzance, Nashville Opera, Pensacola Opera; Silent Night, Lyric Opera of Kansas City Philippe Talbot (France) Nadir

Utah Opera Debut Recently:

Moïse et Pharaon, Opera de Marseille; Lucia di Lammermoor , Opéra de Lille; La Périchole, New York City Opera Upcoming:

The Pearl Fishers, Florida Grand Opera Andrea Carroll (Maryland) Leïla

Most Recently with Utah Opera, Florencia en el Amazonas Recently:

Carousel, The Glimmerglass Festival; Florencia en el Amazonas, Washington National Opera; Rigoletto, Opera Santa Barbara Upcoming:

Ariadne auf Naxos, Seattle Opera; The Elixir of Love, Finger Lakes Opera Derrick Parker (Washington) Nourabad

Most Recently at Utah Opera, La Bohème Recently:

Porgy and Bess, Lyric Opera of Chicago; La Bohème, Fort Worth Opera; Macbeth, Anchorage Opera Mozart’s Requiem, Anchorage Opera Upcoming:

Mozart and Salieri, Anchorage Opera

UTAH OPERA THE PEARL FISHERS 2015

The Pearl Fishers

artistic staff

Carlos Izcaray (Germany) Conductor

Utah Opera Debut Recently:

Carmina Burana, St. Louis Symphony; Thérèse/La Navarraise, Wexford Festival Opera; Carmen, St. Louis Opera Theatre Upcoming:

Lucia di Lammermoor, Alejandro Granda Festival, Lima-Peru; Maria de Buenos Aires, Opera Bangkok Kristine McIntyre (California) Stage Director

Most Recently at Utah Opera, Of Mice and Men Recently:

Otello, Pittsburgh Opera; Dead Man Walking, Des Moines Metro, Madison Opera La Bohème, New Orleans Opera Upcoming:

Jenůfa, Des Moines Metro Opera Don Giovanni, Lyric Opera of Kansas City Nicholas Cavallaro (Utah) Lighting Designer

Most Recently at Utah Opera, Madame Butterfly Recently:

2014–15 Utah Opera Lighting Designer Utah Opera; Ballet West; Children’s Miracle Network Upcoming:

The Barber of Seville, Opera Naples Martin Lopez (New York) Costume Design

Utah Opera Debut Recently:

Lucia di Lammermoor, HMS Pinafore, Opera Saratoga (Set Design)

UTAH OPERA THE PEARL FISHERS 2015

The Pearl Fishers

artistic staff

dancers

Daniel Charon (Minnesota) Choreographer

Utah Opera Debut Currently:

Artistic Director, Ririe-Woodbury Dance Company Recently:

Faust, Minnesota Opera (Dancer, Rehearsal Assistant); The Elephant Man, Minnesota Opera (Dancer, Rehearsal Assistant); The Barber of Seville, Orpheus and Eurydice, Opera Colorado; Le Sacre du Printemps, The Metropolitan Opera (Dancer) Yancey J. Quick (Utah) Wig and Makeup Designer

Most Recently at Utah Opera, Madame Butterfly Recently:

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

Most Recently at Utah Opera, Madame Butterfly Recently:

La Traviata, The Abduction from The Seraglio, Utah Opera; Der Freischütz, Opera Classica Europa; Hansel und Gretel, Emerald City Opera; Die Zauberflöte, Opera Classica Europa Upcoming:

Così fan tutte, Utah Opera DANCERS

Juan Carlos Claudio Joseph Blake

Graham Brown Lehua Brown

Sarah Donohue Katherine Winder

UTAH OPERA THE PEARL FISHERS 2015

The Pearl Fishers

chorus

CHORUS

Russel Brown Kylie Bruneel Matthew Thomas Castleton Catherine Coda Michael G. Cram Emily Dages Merrill Flint Paula Fowler Kevin Golub Jennifer Hancock Melissa James Tony Kibbie Tom Klassen Kristin Knippenberg

Nelson LeDuc Heather R. Madsen Steve Mathews Makenzie Matthews Lynn Maxfield Christine McDonough Kathryn Monson Heather Morrey Michael Moyes Scott Palmer Tony Porter Alyssa Powers Ka’imiloa Ruberson Kevin Schuwer

Dan Smith Sue Sohm Mark Sorensen Mary Sorensen Carolyn Talboys-Klassen Scott Tarbet Sammie Tollestrup Austin Toney Daniel Tuutau Dawn Veree Kathy Wight Dan White Ruth Wortley Brook Yadon

The

Barber of

Seville

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UTAH OPERA THE PEARL FISHERS 2015

Nicolas Giusti conductor Elizabeth Hansen director Sung in Italian with English dialogue

February 13 & 14 2015 at The Covey Center for the Arts www.coveycenter.org

Leon Turner as Bartolo Demaree Brown as Rosina Tyler Nelson as Count Almaviva Christopher Clayton as Figaro

The Pearl Fishers

synopsis

Act I—The desolate island of Ceylon, modern

day Sri Lanka, is the scene; the action takes place in the remote past. On the shore the superstitious pearl fishermen sing and dance to banish evil spirits. Zurga, who has recently been chosen as their leader, is overjoyed to encounter his old friend Nadir, whom he had known in the city of Kandy. They recall former times when both competed for the love of the same woman, Leïla, and reiterate their earlier vows to renounce passion for friendship. A priestess from another island, her face obscured by a veil, arrives on the beach to sing and pray for the safety of the fishermen. She recognizes Nadir but remains silent. High priest Nourabad escorts her to the temple, where she begins to sing. Nadir, recognizing the voice to be that of Leïla, hurries to her and the two rekindle and swear their love. INTERMISSION Act II—Because Leïla is fearful of being alone,

Nourabad insists that she remain resolute and true to her religious pledge to Brahma, or she will die. Leïla describes a courageous act she performed as a child when she saved a fugitive

from discovery and was given a pearl necklace in gratitude for her bravery. When Nadir enters, the two declare their devotion; subsequently Nadir is apprehended by the islanders and brought before Zurga. Nourabad has removed Leïla’s veil and Zurga, enraged at his friend’s deception, orders the pair to be put to death by fire. As a fierce storm surges, the fishermen sing to their god, Brahma. INTERMISSION Act III—The storm has abated and so has

Zurga’s overpowering fury. He orders Leïla to be brought before him and, overwhelmed by her beauty, declares his love for her. She begs for clemency for Nadir, but Zurga is once more in the throes of jealousy and she is led away, leaving the necklace which is to be returned to her mother. Realizing that Leïla is the same girl who once saved his life, Zurga resigns himself to losing her, but is proud to have retained his honor. In order to distract the pearl fishers from their bloodthirsty plans to burn the pair alive, Zurga surreptitiously sets fire to the fishermen’s camp, allowing Nadir and Leïla to escape. He is left alone to await his fate.

UTAH OPERA THE PEARL FISHERS 2015

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The Pearl Fishers

composer & librettists

Georges Bizet

Georges Bizet (1838–75) was a French composer and pianist of the Romantic era. His father, Adolphe Armand Bizet (1810–86), was an amateur singer and composer, and his mother, Aimée Léopoldine Joséphine née Delsarte, was the sister of the famous singing teacher François Delsarte. He entered the Paris Conservatory of Music on October 9, 1848, a fortnight before his tenth birthday. His teachers there included Fromental Halévy, whose daughter he later married, and Charles Gounod. The commission to write The Pearl Fishers arose from his standing as a former winner of the prestigious Prix de Rome. The opera was not revived in Bizet’s lifetime, but from 1886 onward it was performed with some regularity in Europe and North America, and from the mid-20th century has entered the repertory of opera houses worldwide.

Composer

Michel Carré

Librettist

Bizet’s authographed score was lost which led, post-1886 productions to be based on amended versions of the score that contained significant departures from the original. Since the 1970s, efforts have been made to reconstruct the score in accordance with Bizet’s intentions. Michel Carré (1821–72) was a prolific French librettist. He went to Paris in 1840 intending to become a painter but took up writing instead. He wrote verse and plays before turning to libretti. He collaborated with Eugène Cormon on Bizet’s The Pearl Fishers; however, the majority of his libretti were completed in tandem with Jules Barbier, with whom he wrote numerous operas, including Camille Saint-Saëns’s Le Timbre d’Argent (libretto written in 1864, first performed in 1877), Gounod’s Faust (1859), Roméo et Juliette (1867), and Offenbach’s Les Contes d’Hoffmann (1881). His son, Michel-Antoine (1865–1945), followed in his father’s footsteps, also writing libretti, and later directed silent films. Eugène Cormon (1810–1903), known as Pierre-Étienne Piestre, was a French dramatist and librettist. He used his mother’s name, Cormon, during his career. Cormon wrote dramas, comedies and, from the 1840s, libretti; around 150 of his works were published. He was stage manager at the Paris Opéra from 1859 to 1870, and administrator of the Théâtre du Vaudeville from 1874.

Eugène Cormon

This current production is utilizing the 2007 critical score, edited by Brad Cohen and published by Peters Corporation.

Librettist 32

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The Pearl Fishers

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Biography

I was born and raised in Salt Lake City. The more I travel, the more I love it right here at home. I was a short, skinny kid. When we were choosing instruments in grade school, the band teacher looked me up and down and told me I didn’t have enough wind to play a wind instrument, which is one of the reasons why I chose the violin. I grew up singing, playing violin, acting and dancing. I was also always making programs and posters for shows, selling tickets or planning fundraisers for whatever production I was performing in. I studied Arts Administration in college and and am thrilled to be working in the field I studied. Hobbies/Interests Tracy Hansford

Education Coordinator

I love rock climbing and hiking. I recently bought a road bike and enjoy singing at the top of my lungs while I ride to work. I volunteer for Hawkwatch International as a Bird Docent, which means I give presentations about raptors (birds of prey). I love playing classical music in my car for the hawks as we travel to presentations. Sometimes the birds even chirp with the music! I also volunteer at Best Friends Animal Society’s Kitten Nursery, feeding teeny-tiny kittens—yes, it is overwhelmingly adorable. Musical Notes

I’m the USUO Education Coordinator. I schedule opera education assemblies featuring the Utah Opera Resident Artists in almostdaily school shows throughout the state of Utah. I love planning the Opera Education tours, especially in the rural Utah communities. One of the reasons I love my job is because I get to work with so many different kinds of people—principals, teachers, tourism offices, community arts councils, adult musicians, parents, students, and learners of all ages. My favorite USUO Education events include our Utah Symphony Pro-Am and the Access to Music concert for children with special needs. I also help maintain the education website (be sure to check it out: www.usuoeducation.org).

UTAH OPERA THE PEARL FISHERS 2015

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The Pearl Fishers

Director’s Notes

Utah Opera Pearl Fishers Costume Design by Martin Lopez.

Director’s Notes By Kristine McIntyre The Pearl Fishers is more known for its lush score than the veracity of its libretto or the skill of its storytelling. It’s a product of the late 19th-century love of exotic settings—and little was more exotic than India and the nearby island of Sri Lanka. But underneath this rather fanciful exoticism is actually a very human story. The Pearl Fishers is essentially a love triangle: against his better judgment and the religious code of his people, Zurga has fallen in love with Leïla, but she loves his best friend, Nadir. Having your best friend fall in love with the object of your heart’s desire is bad, but Zurga is no ordinary man. He has been given absolute control over his people, and he holds Nadir and Leïla’s lives in his hand. His moral crisis is the heart of the opera: should he punish them, knowing that his real motivation is vengeance? What becomes of his humanity if he uses his power to pursue a private revenge? 38

And what about friendship? Can Zurga simply ignore his duty and let his childhood friend live? And Leïla—he adores her, and he owes her a debt: years before, she saved his life. Leïla represents perfection—that pearl that lurks in the ocean’s depths, imagined but never possessed. She should be unattainable, and both men have promised not to pursue her. But they cannot stop dreaming of her, and although Nadir is the one who actually follows her, Zurga would do it in a heartbeat given the chance. But Leïla is much more than a beautiful ideal. She is also brave, full of purpose, passionate, and willing to give her life to save Nadir’s. Zurga’s people believe that their fate and the success of their pearl diving all depend on Leïla, and she feels the weight of that burden keenly. And even though she loves Nadir, under different circumstances, she might have loved Zurga instead. He will never know, and he must weigh the fate of his village against the love in his heart and the memory of a friendship that has sustained him for so long. UTAH OPERA THE PEARL FISHERS 2015

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The Pearl Fishers

Opera Jobs

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Opera Jobs By Jeff Counts HELP WANTED

Bizet was presented with a fait accompli libretto for The Pearl Fishers in 1862 and, since he had no say in either the choice or the literary realization of the subject matter, we don’t know how much he knew about the industry he agreed to memorialize in music. The libretto, created for the project by Michel Carré and Eugène Cormon, was a dud by all contemporary accounts (we are so much more forgiving today), but it did present an opportunity for Bizet to tap into the French passion for Orientalism in art. The exotic possibilities of the tropical Ceylonese locale, the ancient south-Asian culture and (most importantly for this article) the dangerous work of the titular friends must have seemed like ingredients for a blockbuster. If we accept the notion that operas are, at least partly, stand-ins for actual (historical) or speculative (purely fictional) life, it is curious to contemplate how little time they spend explaining the vocations of their characters. It is true that nearly all of the most-beloved protagonists would simply have to list “soldier,” “royal personage” or “consumptive” as their occupation, but there are occasionally some genuinely relatable jobs in play. Figaro was a barber, though not a terribly active one. Mimi was a seamstress. Scarpia was a cop. These, in addition to the Mozartean legion of servantclass champions, offer us roles in which we might catch a tiny glimpse of our own common experience. No spoiled royals, these folks. They are people we can imagine actually being, if not maybe always wanting to be. In any case, as day jobs go, Bizet’s Pearl Fishers have possibly the most interesting in all of opera. UTAH OPERA THE PEARL FISHERS 2015

POSITION DESCRIPTION AND NECESSARY QUALIFICATIONS

The great majority of the world’s natural pearls came from the Indian Ocean before the advent of 20th-century “culturing” practices that made it easier to control production. For over four millennia this region was at the center of the trade, and the Gulf of Mannar between Ceylon and India was a consistently fertile contributor. During that era, Gulf pearls were harvested solely by free divers and theirs was a highly specialized and rather perilous profession. To build their libretto, Carré and Cormon might have called upon accounts of this potentially deadly “fishing” method by men like Captain James Steuart. Captain Steuart gave a report on the pearl fisheries of Ceylon to the Royal Asiatic Society in 1833, and his depiction of the boats and their crews is stiff but thrilling in that distinctly 19th-century way. Another excellent resource for the two librettists might have been the book Eleven Years in Ceylon (1840) by Jonathan Forbes and George Turnour. Both narratives describe the act of pearl diving in great detail and both make mention of the intriguing “shark-charmer” (back to that in a moment). Divers descend to depths of up to 125 feet by means of weighted stones that are attached to long ropes which terminate in the boat. These “diving stones” allow the fishermen to travel to the ocean floor without the wasteful use of their own energies. After a full inhalation and a pinching of the nose, the dive begins as the diver hooks his foot into a loop tied into the rope near the stone. Both glide downward until the bottom is reached and, once there, 43

The Pearl Fishers

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Opera Jobs

the diver disengages from the loop and gives the rope a tug that alerts the crew to withdraw it. Since the ability to hold one’s breath under strenuous conditions is critical to success in this line of work, the efforts of the men above the surface is no less important that of the divers. They manage the retrieval of the stones and the soon-to-be full baskets so the divers can focus on collection without having to worry about hauling either themselves or their bounty. Captain Steuart mentioned in his report that each diver stays under for only about a minute, but gathers a tremendous amount of material before sending up the basket with another rope tug and then returning to the boat himself. Once up, the diver then immediately re-attaches to the stone and descends for another pass. It is a brisk, unforgiving pattern that repeats for the entirety of the working day. Aside from the obvious concerns of drowning and pressure-related difficulties, the pearl fishing professionals also risked the dangers of

the food chain. Attack by shark was a constant apprehension and such was the superstition of the men regarding these creatures that another wonderful calling arose in concert with theirs—that of the mysterious “shark-charmer.” Both the Steuart and the Forbes/Turnour descriptions of these experts contained a great deal of skepticism regarding the effectiveness of the practice and the honor of the practitioners. Steuart mentioned his several unmet requests to have one of them “charm” a shark to the boat on command, and Forbes and Turnour called them “imposters” outright. The special “gift” of the shark-charmers to keep the beasts at bay was apparently limited to a single, governmentfunded family on Ceylon, and any attempt to pry the “secret” from them was met with a mix of mute hostility and blatant self-preservation. Worthy of their own opera, shark-charmers were a dubious but necessary part of the overall process of pearl hunting, as few of the divers would have dared to enter the seas without the presumed protection of their onboard magicians.

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The Pearl Fishers

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REFERENCES, PLEASE

Bizet didn’t get the blockbuster he hoped for with The Pearl Fishers, at least not while he was alive. The work is greatly admired today thanks, in part, to the wonderful duet that has made its fame as a concert excerpt, but the composer knew it only as a financial disappointment. Maybe Bizet was indeed hampered by a subpar libretto or too vague an understanding of its setting. Maybe it was his youth that limited him. Regardless, he did craft a score of great warmth and beauty, one that exceeds the value occasionally assigned to it as merely an interesting pre-Carmen exemplar. The pity is that Carré and Cormon didn’t create a grander, more richly-drawn tribute to the harrowing lives of the men that inspired their story. Think of what Bizet might have done with that. This may be an unfair judgment, however, upon further reflection. Though actual pearl divers exist today in increasing rarity (take a moment sometime soon to read about the female Ama divers of Japan), the pearl fishing profession was still quite active during the production and premiere of the opera itself. It had not yet begun to fade in earnest back into history. So, for the two writers, and maybe Bizet as well, the geographical and general cultural remoteness of Ceylon must have appeared sufficient for the construction of a satisfactory stage experience. No need for deeper detail. We live now, though. So, while it is nice on its own to have an occasional break from European Princes and Shakespearean Nobles, we really need more than an arrow pointing towards a recently dark part of the map. We need to know what it felt like to actually exist somewhere as something other than an Emperor or his assassin/lover. We need jobs. Jeff Counts is Vice President of Operations and General Manager of the Utah Symphony. He was program annotator for Utah Symphony from 2010 to 2014 and has been writing articles for Utah Opera for five years. UTAH OPERA THE PEARL FISHERS 2015

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The Pearl Fishers

Genre-Bender

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Genre-Bender By Paula Fowler In its time, Georges Bizet’s opera The Pearl Fishers was a genre-bending piece. It didn’t fit easily into any of the established styles of Parisian opera, each of which had its own venue for performances. Critics and audiences didn’t know quite what to make of this, Bizet’s first full-length opera.

Bizet at age 25

When patrons attended performances at the Opéra de Paris, they would see grand opera: serious, lofty, usually tragic works. At the Opéra-Comique, they would see lighter fare, and could expect spoken dialogue between musical numbers. At the Théâtre-Italien, patrons enjoyed the best from Italy, and Rossini’s operas reigned. A fourth opera company, the Théâtre-Lyrique, was officially created in 1852 (it had actually started in 1847 under the name OpéraNational). Unlike the other opera companies in Paris, it attempted to disassociate venue from style, and it most often programmed operas by composers such Mozart and Verdi, translated into French. UTAH OPERA THE PEARL FISHERS 2015

In 1855, Jacques Offenbach succeeded in opening a fifth theatre in Paris to present and promote yet another type of opera: lighthearted operettas. Georges Bizet, at age 18, won a prize from Offenbach in an 1856 competition with a one-act opera, Le Docteur Miracle. Bizet’s one-act piece demonstrated mastery of the operetta style and form.

First Scene of Act 1, 1886

In the early 1860s, Bizet was an up-and-coming composer, with conventional successes already under his belt. In fact, not only had he won Offenbach’s operetta prize, but—while he studied and worked under Charles Gounod at the Paris Conservatory—he had also been awarded the 1857 Prix de Rome in music. This prize allowed him to live in Rome for three years, soaking up the Italian musical atmosphere while composing music, and the King of France paid his living expenses. Fortunately for Bizet, the timing of his return to Paris after his Prix de Rome years was propitious. The Théâtre-Lyrique, in order to create opportunities for talented young composers in Paris, received funding from an 47

The Pearl Fishers

Genre-Bender

arts minister to commission an opera from one of France’s Prix de Rome winners who had not yet had a full-length opera produced. Those were the conditions, and Bizet fit the bill. At the time, Bizet actually had a one-act opera contracted for production at the OpéraComique, but pulled it from production so he could focus on the larger Théâtre-Lyrique project. No score from that short opera has survived, but most scholars suspect that many musical numbers from that piece (set in Turkey) found their way into the equally exotic The Pearl Fishers (set in Ceylon). Bizet did not get to choose the story or the librettists for the Théâtre-Lyrique opera project: The Pearl Fishers was assigned to him by the theatre’s management, along with its librettists Michel Carré and Eugène Cormon. The commission was awarded to Bizet in April 1863, and the premiere performance was scheduled for September, just five months later. The composition and rehearsal periods (plus all the costume and set constructions) had to happen speedily.

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score that didn’t fit any of the established styles, and—apparently with the support of the more open-minded Théâtre-Lyrique management— used whatever style seemed to match what he had to communicate. For example, he reportedly intended to use spoken dialogue but during rehearsals decided to set the dialogue in sung recitative. He also evaded making the story a mere excuse for singers to show off their vocal ability (the vogue in all current French and Italian opera houses), and wrote music for each musical number to express specific emotional content. Additionally, he employed the full orchestra throughout the opera, and planned orchestral parts that provided more symphonic color than was usual at the time. In focusing more on dramatic expression than on application of conventional structure and form, he showed himself a Romantic at heart.

Bizet worked with alacrity (probably reconstructing numbers from earlier, abandoned works of his own) and completed the score by early August. The premiere was eventually delayed, but only because the soprano cast as the Brahman priestess Leïla became ill. Until she was well enough, the theatre filled in with performances of Mozart’s The Marriage of Figaro, already planned to play in repertory with Bizet’s opera. So, given Bizet’s understanding of opera world conventions in Paris, what did he create, once he had the opportunity to try his hand at crafting a masterpiece? He composed an opera 48

Caruso in The Pearl Fishers, The Metropolitan Opera, 1916 UTAH OPERA THE PEARL FISHERS 2015

The Pearl Fishers

Genre-Bender

The Pearl Fishers opened on September 30, 1863; it ran for 18 performances, but then was not seen again until more than a decade after Bizet’s death. Contemporary critics lambasted the libretto for its reliance on incredible coincidence, and as for Bizet’s score, those who favored bel canto (beautiful singing) and emphasis on melody felt that Bizet focused too much on dramatic orchestral coloring. They called the opera “antilyrical” and condemned it as Wagnerian. In contrast, fellow composers Ludovic Halévy and Hector Berlioz championed the piece. Halévy wrote, “There is in this first work an assurance, a calm, an easy powerful handling of the choruses and the orchestra which certainly announce a composer.” The musically-experimental The Pearl Fishers did not see financial success and Bizet feared it a failure, but theatre director Léon Carvalho was impressed enough to immediately commission him to complete the full-length opera, Ivan IV,

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that had been in progress when The Pearl Fishers project presented itself. Fortunately, we don’t live in a time or place in which opera is so governed by defined genres. In fact, Utah Opera actually plans opera seasons to give audiences a variety of opera styles. Bizet’s opera struggled because it didn’t match the established styles of his time, but it helped inaugurate the new Romanticism in which the composer’s creation was not a slave to forms and conventions, but a fresh expression with dramatic, realistic purpose. Bizet’s work, in The Pearl Fishers and then Carmen, helped open the door to all the Romantic-era, drama-infused operas by Verdi, Puccini, and Wagner that we race to buy tickets to see today. Paula Fowler is USUO’s Director of Education & Community Outreach. She has been writing opera commentaries for Utah Opera for more than 15 years. Photo Credits: Wikimedia Commons

The Pearl Fishers, The Metropolitan Opera, 1916 UTAH OPERA THE PEARL FISHERS 2015

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UTAH SYMPHONY | UTAH OPERA IN PERPETUAL MOTION

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

Scott and Jesselie Anderson Lisa Eccles Kem and Carolyn Gardner Gail Miller and Kim Wilson Bill and Joanne Shiebler

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We launched these plans with our unprecendented tour to Southern Utah last August providing a once-in-a-lifetime musical experience to visitors and citizens of those communities against the backdrop of Utah’s Mighty 5® National Parks. If you weren’t able to join on this historic tour, we hope you observed with pride the national attention it received in the press and classical music world. The Campaign began with a remarkable $5 million lead gift from the George S. and Dolores Doré Eccles Foundation, whose tradition of support totaling more than $32 million spans three decades. This lead gift was made in addition to a $1 million gift from the Foundation to our Leadership Campaign, which during 2011 and 2012 prepared a solid foundation for the public fundraising effort. More than 35 individuals, corporations, and foundations contributed to the Leadership Campaign, including an extraordinary $4.6 million capstone gift from O.C. Tanner Company. Stay tuned for more—we know you will continue to be proud of our plans to build and showcase your world-class symphony and opera throughout Utah and beyond. Find out more at usuo.org/support.

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Tanner & Crescendo Societies Utah Symphony | Utah Opera thanks the members of our Tanner and Crescendo Societies, patrons who have included USUO in their financial and estate planning. Membership is open to all those who express their commitment through a planned gift at any level. Please contact Leslie Peterson at lpeterson@usuo.org or 801.869.9012 for more information.

Crescendo Society of Utah Opera Anonymous Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Dr. Robert H. † & Marianne Harding Burgoyne Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage

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

Pauline C. Pace† Stanley B. & Joyce Parrish Patricia A. Richards Mr. & Mrs. Alvin Richer Robert L.† & Joyce Rice Richard G. Sailer† Jeffrey W. Shields G. B. & B. F. Stringfellow Norman & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser

Tanner Society of Utah Symphony Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers Flemming & Lana Jensen

Mahler Circle

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

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

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

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

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

UTAH OPERA THE PEARL FISHERS 2015

Planned Giving Dr. Ralph and Judith H. Vander Heide have a long history of supporting the arts in Utah. A past president of the Ogden Symphony and Ballet Association, Judy has served as president of the Ogden Opera Guild for the past seven years, which she has represented on Utah Symphony | Utah Opera’s Board of Trustees. Judy also serves as a board member of Opera Volunteers International. Ralph, a retired professor of foreign languages, began his college studies as a voice major where he developed great appreciation for the energy, training, devotion, and skill which singing requires. In addition to being active members of their Ogden community, Ralph and Judy are enthusiastic supporters of Utah Opera’s commitment to share the joy of live music and theater with audiences across the state.

Dr. Ralph & Judith H. Vander Heide

“Ogden has a long history of supporting opera, welcoming opera companies from the turn of the twentieth century,” says Judy. “Ralph and I know the joy we experience through music is due to the performances of some of the greats, and to experience that we have a commitment to help meet the ever-present time, energy, and financial requirements that make the existence of our first class opera and symphony possible. We want to help ensure that USUO continues to be the premier arts organization in the state, and we are champions of supporting the organization in proportion to ability. Making Utah Opera the beneficiary of a legacy will help make certain the continued existence of the art form in Utah.” To continue their volunteerism and support for USUO Ralph and Judy have proudly joined others in the community to safeguard Utah Opera’s legacy in the Intermountain West. Ralph and Judy’s committed bequest will support an endowment fund for Utah Opera, helping to ensure that great operatic performances will go on across Utah for years to come. Thanks to the planning of generous patrons and volunteers like the Vander Heides, Utah Opera will continue to engage and inspire current and future audiences in Salt Lake City, Ogden, and throughout the state. To learn how you, too, can include Utah Opera in your plans, contact Leslie Peterson at 801-869-9012 or lpeterson@usuo.org, or visit us online at usuo.org/support.

UTAH OPERA THE PEARL FISHERS 2015

THE COUNT OF MONTE CRISTO A New Musical

Music by

Frank Wildhorn

Book and Lyrics by

Jack Murphy de Jong Concert Hall, Harris Fine Arts Center Jan. 22, 7:30 p.m. (preview performance) Jan. 23–24, 27–31, 7:30 p.m. Jan, 24, 31, 2:00 p.m. Jan. 29, ASL interpreted performance On Sale Nov. 24

OUT ON THE TOWN

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