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UTAH SYMPHONY SEASON / MAY
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May 2018 Performances
CONTENTS
Purchase tickets at utahsymphony.org or call 801-533-6683
6 Welcome
MAY 4–5 | 7:30 PM
8 Utah Symphony
RICHARD STRAUSS’ DON QUIXOTE & ZARATHUSTRA
10 Board of Trustees 15 Music Director 16 Preconcert Rituals 21 Contemporary Music and the Modern American Orchestra 26 Social Snapshots 30 Season Sponsors
31–38 Tonight‘s Concert 39 Support USUO
MAY 22 | 7 PM
ALL STAR EVENING: RACHMANINOFF’S PIANO CONCERTO NO. 1
MAY 25–26 | 7:30 PM
40 Thank You
MAY 25 | 10 AM
52 Legacy Giving 53 Tanner & Crescendo Societies 54 Administration 59 House Rules
SEASON FINALE: RACHMANINOFF’S SYMPHONY NO. 2
64 Acknowledgments 66 DVMF Community Events Program notes and artist bios for upcoming and past performances are available on utahsymphony.org. @UtahSymphony
PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR / PRODUCTION MANAGER Jackie Medina GRAPHIC DESIGNERS Ken Magleby Patrick Witmer
ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas OFFICE ASSISTANT Jessica Alder ADMINISTRATIVE ASSISTANT KellieAnn Halvorsen EDITOR Melissa Robison
The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801-467-8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © COPYRIGHT 2018
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WELCOME
Paul Meecham
Thierry Fischer
Kem Gardner
President & CEO
Symphony Music Director
Chair, Board of Trustees
On behalf of the musicians, board, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and tonight’s concert. As we approach the conclusion of another spectacular winter season of artistic successes and incredible live music, we wish to thank you for the energy you bring to the hall, inspiring our musicians to create the very best music experiences with and for you. This month it is a special pleasure to share the soloistic excellence of several Utah Symphony musicians during our Masterworks concerts. Principal Cello Rainer Eudeikis and Principal Viola Brant Bayless will musically portray Don Quixote and his companion Sancho Panza during an all-Strauss program that also includes the composer’s iconic Also sprach Zarathustra. The season finale on May 25–26 will feature Concertmaster Madeline Adkins as soloist in Korngold’s romantic Violin Concerto and the full ensemble in Rachmaninoff’s Symphony No. 2.
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As the warm weather returns, we hope you will join us at our summer home at the Deer Valley® Music Festival from June 30 to August 11. “Escape into the music” to enjoy the world-class talent from our own Utah Symphony, paired with the best in classic rock, country, Broadway, pop, jazz, and of course, chamber and classical music in the mountain charm of Park City. This year’s line-up features such stars as Kristin Chenoweth, Amos Lee, and Rick Springfield, as well as such annual favorites as Patriotic Pops, a family film night with Disney, and 1812 Overture with the Cannoneers of the Wasatch. Also watch for the Utah Symphony as featured guests in Wasatch Front outdoor community venues at Thanksgiving Point, Red Butte Gardens, and the Gallivan Center. You’ll find details at utahsymphony.org. Thank you again for being part of tonight’s musical experience. We look forward to seeing you outdoors this summer and once again in the marvelous setting of Abravanel Hall for next season!
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Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Assistant Conductor
Roberta Zalkind Associate Principal
Robert Stephenson Associate Principal
Sam Elliot Associate Principal
Barlow Bradford Symphony Chorus Director
Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas
Lissa Stolz
BASS TROMBONE Graeme Mutchler† David Hagee††
VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson† Associate Concertmaster David Porter Acting Assistant Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt•• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Amanda Kofoed†† Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Lynnette Stewart Bonnie Terry• Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair
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ENGLISH HORN Lissa Stolz
TUBA Gary Ofenloch Principal
CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair
CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
Matthew Johnson Associate Principal
Erin Svoboda Associate Principal
John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang
Lee Livengood
PERCUSSION Keith Carrick Principal
BASS CLARINET Lee Livengood
Eric Hopkins Michael Pape
E-FLAT CLARINET Erin Svoboda
BASS* David Yavornitzky Principal
BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair
KEYBOARD Jason Hardink Principal
Corbin Johnston Associate Principal James Allyn Benjamin Henderson†† Lee Philip†† Edward Merritt Jens Tenbroek Thomas Zera†
Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos
TIMPANI George Brown Principal Eric Hopkins Associate Principal
LIBRARIANS Clovis Lark Principal Maureen Conroy† Katie Klich†† ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager
HARP Louise Vickerman Principal
HORN Edmund Rollett Acting Principal
FLUTE Mercedes Smith Principal The Val A. Browning Chair
Alexander Love†† Acting Associate Principal
STAGE MANAGEMENT Chip Dance Production & Stage Manager
Llewellyn B. Humphreys Brian Blanchard Stephen Proser
Jeff Herbig Properties Manager & Assistant Stage Manager
Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair
TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Gabriel Slesinger††
• First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member
TROMBONE Mark Davidson Principal
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BOARD OF TRUSTEES ELECTED BOARD Kem C. Gardner* Chairman
Gary L. Crocker David Dee* Alex J. Dunn Brian Greeff Matthew Holland Thomas N. Jacobson Mitra Kashanchi Thomas M. Love* Brad W. Merrill Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Brad Rencher Joanne F. Shiebler* Naoma Tate
Thomas Thatcher David Utrilla Bob Wheaton Kim R. Wilson Thomas Wright
Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen* Patricia A. Richards
Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder
Kristen Fletcher Burton L. Gordon Richard G. Horne Ronald W. Jibson
Warren K. McOmber E. Jeffrey Smith Barbara Tanner
Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler
Stanley B. Parrish Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith
Joanne F. Shiebler Chair (Utah)
Susan H. Carlyle (Texas)
Harold W. Milner (Nevada)
David L. Brown (S. California)
Robert Dibblee (Virginia)
Marcia Price (Utah)
Anthon S. Cannon, Jr. (S. California)
Senator Orrin G. Hatch (Washington, D.C.)
William H. Nelson* Vice Chairman Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO Jesselie B. Anderson* Doyle L. Arnold* Judith M. Billings Howard S. Clark
MUSICIAN REPRESENTATIVES
Elizabeth Beilman* Mark Davidson* EX OFFICIO
Margaret Sargent Utah Symphony Guild Dr. Robert Fudge Ogden Symphony Ballet Association *Executive Committee Member
LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow John Bates HONORARY BOARD Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles NATIONAL ADVISORY COUNCIL
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MUSIC DIRECTOR Thierry Fischer, Music Director of the Utah Symphony since 2009, has led the orchestra in annual composer cycles including Mahler, Ives, Tchaikovsky, Saint-Saëns, and Nielsen; toured to Utah's five national parks; and forged Utah Symphony outreach links in Haiti. In celebration of the orchestra’s 75th anniversary season in 2016, the orchestra appeared at Carnegie Hall to critical acclaim and released an album of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas on Reference Recordings. Following a well-reviewed recording of Mahler’s 1st Symphony, Fischer and the Utah Symphony recorded Mahler’s 8th Symphony with the world-renowned Mormon Tabernacle Choir, released in autumn 2017. In 2017 he was appointed Principal Conductor of the Seoul Philharmonic which he conducts throughout the season at home and on international tours. Fischer has guested with many leading orchestras, most recently a 2018 California tour with the Royal Philharmonic Orchestra along with soloists Jean-Yves Thibaudet and Gautier Capuçon. Music Director He has also conducted the Boston, Atlanta, Cincinnati, and The Maurice Abravanel Chair, Detroit Symphonies; the Mostly Mozart Festival Orchestra (New endowed by the George S. and York); London Philharmonic; BBC Symphony; Oslo Philharmonic; Dolores Doré Eccles Foundation Bergen Philharmonic; Rotterdam Philharmonic; Maggio Musicale Firenze; Salzburg Mozarteum Orchestra; and the Orchestre de la Suisse Romande. In the past few years he has also conducted the Scottish, Swedish, and Munich Chamber Orchestras; London Sinfonietta; and Chamber Orchestra of Europe. He is committed to contemporary music and has performed and commissioned many world premieres—this season he conducts the Ensemble Intercontemporain for the first time. Thierry Fischer
While Principal Conductor of the BBC National Orchestra of Wales from 2006–2012, Fischer appeared every year at the BBC Proms and toured with the orchestra internationally. He also made many recordings, notably for Hyperion (Honegger, d’Indy, Florent Schmitt) but also Stravinsky for Signum and Orfeo. His Hyperion recording of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus won the International Classical Music Award in 2012 (opera category). In 2014 he released a Beethoven disc with the London Philharmonic on the Aparte label. Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–2006. He was Chief Conductor of the Nagoya Philharmonic 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.
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Preconcert Rituals By Renée Huang, Director of Communications
Utah Symphony musicians often spend much of their lives performing, both in Abravanel Hall and on the road across the state. Amid the hectic schedules of rehearsals and practice time, as well as other nonmusical responsibilities, a regular pre-concert routine is important to have. We asked two of our principal musicians who have prominent solo roles in this month's performances of Don Quixote to share what pre-concert rituals help keep them grounded.
Spoiler alert: I don’t have a pre-concert routine. I mostly have pre-concert chaos, depending on the daily specifics of family life and the whereabouts of my wife, whose time, really, I share with the members of her Fry Street String Quartet. Some evenings I’ll be driving in from our home in Logan, fighting traffic and weather. Some other evenings I’ll be cooking up a storm for our voracious five-year-old at our downtown pied-à-terre before letting in the sitter and dashing off to Abravanel (hoping the scent of sautéing garlic blows away on the short walk).
Brant Bayless principal viola
It’s when I arrive at Abravanel Hall that the only reliably routine rituals begin. The viola case goes to its place on my locker. Phone placed next to it. Then to the dressing room. Clean shirt, check. Favorite cuff links (a wedding gift from my wife), check. Tailcoat (fretting over the shiny patch where my viola rests), check. Shiny shoes, check. Pants? Phew, check. Then back to the viola case for a quick swipe of rosin, and down to the stage to calmly go over the tricky bits in tonight’s program. I wouldn’t trade this life for anything.
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Preconcert Rituals By Renée Huang, Director of Communications
Utah Symphony musicians often spend much of their lives performing, both in Abravanel Hall and on the road across the state. Amid the hectic schedules of rehearsals and practice time, as well as other nonmusical responsibilities, a regular pre-concert routine is important to have. We asked two of our principal musicians who have prominent solo roles in this month's performances of Don Quixote to share what pre-concert rituals help keep them grounded.
The majority of my performances are as a member of the Utah Symphony, and as a result preparation for those concerts is mixed in with other elements of my daily life. On an average performance day, I sleep in as late as possible (depending on whether or not I have a morning rehearsal, or how early the dogs wake us up), and spend the remainder of the day practicing, teaching/coaching, walking the dogs, and maybe even allowing time for some video games before getting ready to leave for the concert. This weekend’s concerts, however, are something entirely different as I’ll be sitting in front of the orchestra as a soloist. On days when I have a solo performance I try to thin out my schedule so I can really take my time to warm up slowly and find a good place mentally during my practice. It’s easy to over-play on the day of a concert, being convinced that just a few more attempts at a difficult passage will make all the difference in performance, but I try to take it easy and trust all the work and preparation that came in the months before.
Rainer Eudeikis principal cello
Thanks to pre-concert jitters, I typically lose my appetite and I’ll barely eat all day, but I’m usually ready to feast by the end of the concert!
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Contemporary Music and the Modern American Orchestra By Erin Lunsford
Tristan Murail
As the Utah Symphony closes out its 2017–18 season and we begin to look ahead to next year, it’s hard to miss this organization’s commitment to presenting contemporary music alongside well-known favorites from the Western Canon. Next to familiar figures like Beethoven, Chopin, Copland, and Richard Strauss appear newer, perhaps unfamiliar names, like Vivan Fung, Joan Tower, Zhou Tian, and Andrew Norman (who happens to be our Composer-in-Association next season). One of Music Director Thierry Fischer’s favorite sayings is “a symphony is not a museum,” and presenting and commissioning new music is an integral part of this belief. Orchestral music is a living, breathing art form. While the focus of the typical orchestra's classical season lies in the heart of
the most eminent 18th- through 20th-century repertoire, it is essential for the survival of the orchestral industry for modern orchestras to perpetuate the musical movements happening in the present day. If the American Orchestra is to remain a driving force in centuries to come, we must support the composers who are creating new music now, in hope that this body of work will one day be an essential part of our cultural legacy. To that end, the Utah Symphony commissions at least one new work each season, meaning we contract a composer to write something entirely new. The Utah Symphony often shares the fee with co-commissioners, ensuring the work will have life beyond our organization. As in every art form, some of these works go on to achieve great success and popularity, and others slip into obscurity. It’s a risky process given that some of the fee is usually paid before a single note is put to paper. However, regardless of the outcome, the Utah Symphony has been instrumental in bringing a new piece of orchestral music into the world. Incentivizing the creation of new music isn’t the only reward for an orchestra that makes commissioning a priority. Contemporary music is also able to engage with modern ideas and themes more directly than older works can. For example, Andrew Norman’s percussion concerto Switch, which was commissioned by the Utah Symphony as part of its 75th anniversary season, explores video game logic, the percussion soloist starring as the ”unwitting protagonist.” Each note he plays prompts a distinguishable reaction from the Continued on page 23…
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Contemporary Music and the Modern American Orchestra
Andrew Norman
orchestra, creating a unique cause-andeffect tapestry with a modern sensibility. Next season, the Utah Symphony will feature another of Norman’s works, Play, which takes its inspiration from distinctly topical themes. Norman himself describes the work as an exploration of “choice, chance, free will, and control, about how technology has rewired our brains and changed the ways we express ourselves, about the blurring boundaries of reality in the internet age, the murky grounds where video games and drone warfare meet, for instance, or where cyber-bullying and real world violence converge.” This season’s commission, to be performed on the Utah Symphony’s Season Finale concerts on May 26 and 27, comes from pioneering French composer Tristan Murail. The thread that ties this Utah Symphony season together is its study of Romantic-era French composer Camille Saint-Saëns, making this commission especially fitting; Murail represents the
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trajectory of French music from Saint-Saëns’ Romanticism and Debussy’s Impressionism into the modern era. In this work, listen for Murail’s signature use of the “spectral” technique, a compositional aesthetic developed in the 1970s. Spectral technique focuses on the color, timbre, and texture of different instruments and pitches, concentrating less on melody and rhythm and more on the acoustical science of sound. This shifting focus changes the way we as listeners engage with music, opening up a whole new world of possibilities while not entirely letting go of our musical foundations. In the words of Maestro Fischer, the Utah Symphony strives to be “an orchestra looking to the future as much as immensely enjoying the past.” Utah Symphony Artist Logistics Coordinator Erin Lunsford takes care of the many guest artists and guest conductors that perform with the orchestra, and enjoys writing about music in her spare time.
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Chamber Series at St. Mary's Church _ July 11 (WEDNESDAY) / 8 PM
MENDELSSOHN MOZART WAGNER DVOŘÁK
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Leave the heat of the city behind for mid-week chamber series concerts in Park City with the Utah Symphony. You’ll be inspired by beautiful music in the intimate setting and great acoustics of St. Mary’s Church.
MOZART’S VIOLIN CONCERTO NO. 5 CONNER GRAY COVINGTON conductor KATHRYN EBERLE violin
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U T A H
UTAH SYMPHONY
Hebrides Overture (“Fingal’s Cave”) Violin Concerto No. 5 “Turkish” Siegfried Idyll Czech Suite
MOZART’S “JUPITER” SYMPHONY July 18 (WEDNESDAY) / 8 PM JANE GLOVER conductor MATTHEW TUTSKY harp
HAYDN MOZART MOZART
MERCEDES SMITH flute UTAH SYMPHONY
Symphony No. 95 Concerto for Flute & Harp Symphony No. 41 “Jupiter”
BEETHOVEN’S SYMPHONY NO. 1 July 25 (WEDNESDAY) / 8 PM CONNER GRAY COVINGTON conductor SARAH SHAFER soprano
LIGETI J.S. BACH CANTELOUBE BEETHOVEN
UTAH SYMPHONY
Concert Românesc (Romanian Concerto) Cantata No. 51, “Jauchzet Gott in allen Landen!” Chants d’Auvergne, 3rd Series Symphony No. 1
FREMONT STRING QUARTET
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August 1 (WEDNESDAY) / 8 PM MADELINE ADKINS violin BRANT BAYLESS viola
BEETHOVEN STRAVINSKY ARVO PÄRT BRAHMS
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CLAUDE HALTER violin RAINER EUDEIKIS cello
String Quartet No. 2 Three Pieces for String Quartet Fratres String Quartet No. 1 SUMMER SYMPHONY SPONSOR
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Social Snapshots Help us tell the story of your Utah Symphony experience. Take out your phone and snap a quick selfie before tonight’s performance and post your photos with #UtahSymphony to join the conversation. Win tickets to another concert! Check in on Facebook to Utah Symphony and share your best photo with us to enter for a chance to win. We’ll pick one person from each concert weekend to win a pair of vouchers to a Utah Symphony performance. Vouchers redeemable for select performances.
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DISNEY IN CONCERT: A SILLY SYMPHONY CELEBRATION JULY 6 ABBA THE CONCERT WITH THE UTAH SYMPHONY JULY 13 RICK SPRINGFIELD WITH THE UTAH SYMPHONY JULY 20 KRISTIN CHENOWETH WITH THE UTAH SYMPHONY JULY 21 AMOS LEE WITH THE UTAH SYMPHONY JULY 27 THE MUSIC OF PINK FLOYD WITH THE UTAH SYMPHONY AUG. 11 At Deer Valley® Snow Park Outdoor Amphitheater
ALSO THIS SUMMER: PATRIOTIC CELEBRATION STARRING RACHEL POTTER, BROADWAY HITS BY STEPHEN SONDHEIM AND ANDREW LLOYD WEBBER, MOZART’S VIOLIN CONCERTO NO. 5, RICKY SKAGGS & KENTUCKY THUNDER, MOZART’S “JUPITER” SYMPHONY, BEETHOVEN’S SYMPHONY NO. 1, THE MUSIC OF JOHN WILLIAMS, FREMONT STRING QUARTET, THE ‘70S VS. THE ‘80S, TCHAIKOVSKY’S 1812 OVERTURE AND VIOLIN CONCERTO. SUMMER SYMPHONY SPONSOR
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UTAH SYMPHONY
program
Season Finale: Rachmaninoff’s Symphony No. 2
Season Finale: Rachmaninoff’s Symphony No. 2 May 25–26 / 2018 / 7:30PM / ABRAVANEL HALL May 25 / 2018 / 10AM / ABRAVANEL HALL (FINISHING TOUCHES OPEN REHEARSAL) THIERRY FISCHER, conductor MADELINE ADKINS, violin
TRISTAN MURAIL KORNGOLD
Reflections / Reflets III : Vents et marées / Tidal winds U.S. Premiere, commissioned by the WDR Köln & Utah Symphony Concerto for Violin and Orchestra in D Major, Op. 35 I. II. III.
RACHMANINOFF
Moderato nobile Romanze Allegro assai vivace
MADELINE ADKINS, violin
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Symphony No. 2 in E minor, Op. 27 I. II. III. IV.
Largo - Allegro moderato Allegro molto Adagio Allegro vivace
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Season Finale: Rachmaninoff’s Symphony No. 2
artists’ profiles
See page 15 for Thierry Fischer’s profile. Madeline Adkins joined the Utah Symphony as Concertmaster in 2016. She previously served as Associate Concertmaster of the Baltimore Symphony for 11 years, as well as Concertmaster of the Baltimore Chamber Orchestra from 2008–2016. Adkins has performed as a soloist in Europe, Asia, Africa, and 20 U.S. states. She has served as guest Concertmaster of the Hong Kong Philharmonic, the Indianapolis Symphony Orchestra, and the Grant Park Symphony Orchestra. She has also been a guest artist at numerous summer festivals including the Stellenbosch International Chamber Music Festival in South Africa, the Sarasota Music Festival, Music in the Mountains, the Grand Teton Music Festival, and the Sewanee Summer Music Festival, as well as a faculty member at the National Orchestral Institute and the National Youth Orchestra at Carnegie Hall. Madeline Adkins violin GUEST ARTIST SPONSOR
She performs on the “ex-Chardon” Guadagnini of 1782, graciously loaned by Gabrielle Israelievitch to perpetuate the legacy of her late husband, former Toronto Symphony Concertmaster, Jacques Israelievitch. Adkins’ CD of the complete works for violin and piano by Felix Mendelssohn with pianist Luis Magalhães was released in 2016. Adkins has been active in early music since the age of 11, performing with Handel and Haydn Society and Boston Baroque, among others. In 2018–19, she will serve as the Music Director of the NOVA Chamber Music Series. The daughter of noted musicologists, Adkins is the youngest of eight children, six of whom are professional musicians. Adkins received her bachelor’s degree summa cum laude from the University of North Texas and her master’s degree from the New England Conservatory where she studied with James Buswell.
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UTAH SYMPHONY
A Ghost Light Podcast Extra! Host Jeff Counts interviews Concertmaster Madeline Adkins
Jeff: So, Madeline, tell us about this incredible instrument you’re playing now. Madeline: It’s really very exciting. As you know, for the past five years I was playing on Marin Alsop’s Guadagnini, which she graciously allowed me to bring to Utah for my first season. I took it into the shop of my friend, violin maker John Young, here in Salt Lake City to be cleaned up in preparation for its return and while discussing what I might possibly do next, he said “A friend of mine owns a beautiful Guad and may be looking to lend it to the right person.” Jeff: You’re kidding. That almost seems like fate. Madeline: I know! Turns out, John was a longtime friend of Jacques Israelievitch, the concertmaster of Toronto Symphony for 20 years and St. Louis before that. Sadly, Jacques died in 2015 from cancer at the quite young age of 67. His wife Gabrielle had been reluctant to loan the instrument at first, as she felt like this was the embodiment of Jacques and couldn’t bear to part with it. But she was thinking it’d be best for the instrument to be played. Jeff: What can you tell us about Jacques? Madeline: He came to the U.S. as a teenager when his family’s business in France was destroyed during a wave of anti-semitism. On the plane over he met Oistrakh, if you can believe it! Anyhow, he bought this Guadagnini (the “ex-Chardon”) when he got his first concertmaster job in St. Louis and, since he was the recipient of incredible generosity throughout his career and always maintained a commitment to teaching and mentoring the next generation of musicians, Gabrielle felt compelled to pay it forward. Jeff: Incredible. So, you went to meet Gabrielle. What is she like?
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Madeline: Gabrielle Israelievitch is an acclaimed children’s book author, psychologist, and artist. A real Renaissance woman. She is truly an incredible spirit. We spent several hours speaking about Jacques and then it came time to play the instrument for the first time. It was right there in the living room, where Jacques had taught so many students over the years, and in fact only feet from where he had played the violin for the last time. The first notes I played were the slow movement of Bruch. Almost instantly, Gabrielle was in tears. “It sounds just like Jacques,” John (who was with me) said. Gabrielle used FaceTime with one of her sons so he could hear. The experience was incredibly emotional for all. Jeff: I can imagine that this moment will always be one of the highlights of your career. Madeline: Of my life! When I brought it back to Utah, that weekend was my first Scheherazade with the Utah Symphony. Although I only had played the violin for two days, that opening E of the piece was such a gorgeous note that I forged ahead and decided to make the switch immediately. So that weekend, only 4 days after playing the instrument for the first time, and on what would have been Jacques’ 69th birthday, I played Scheherazade. In my dressing room was a huge bouquet of flowers. The note read “Thank you from Jacques.” Jeff: What an honor for you and for the Utah Symphony. Madeline: It’s humbling. And also thrilling. I can’t wait to perform a concerto on this instrument! Jeff Counts is Vice President of Operations and General Manager of Utah Symphony. He hosts Utah Symphony's Ghost Light podcast, a behind the curtain look into the world of classical music and the artists who make it, available on Stitcher, iTunes, and www.utahsymphony.org.
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Season Finale: Rachmaninoff’s Symphony No. 2
program notes
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Notes by Michael Clive
Tristan Murail (b. 1947)
Reflections / Reflets III (U.S. Premiere, commissioned by the WDR Köln & Utah Symphony) PERFORMANCE TIME:
10 minutes
THE MUSIC OF TRISTAN MURAIL
Born in Le Havre, France, Tristan Murail is not only a major composer, but also a scholar whose studies range from African languages to economics. He has received advanced degrees in classical and North African Arabic from the National Institute for Oriental Languages and Civilizations in Paris as well as a degree in economic science while pursuing his musical studies. In 1967, Murail became a student of the visionary French composer and naturalistphilosopher Olivier Messiaen at the Paris Conservatory, and also studied at the Institute of Political Studies in Paris. He then followed in the footsteps of past generations of France’s greatest young composers, winning the esteemed Prix de Rome and studying in Italy for two years. Murail’s questing intellect has deeply grounded his music in the ideas and technologies of our times with a compositional approach that crosses geographic and temporal boundaries. Upon returning to Paris in 1973, Murail co-founded the Ensemble L’Itineraire with a group of young composers and instrumentalists. The ensemble quickly gained recognition
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for its research in the area of instrumental performance and live electronics. In the 1980s, Murail used computer technology to further his research in the analysis and synthesis of acoustic phenomena. He developed his own system of microcomputerassisted composition, then collaborated with IRCAM, the influential French organization devoted to advanced electronic compositional techniques. From 1997 through 2010, Murail served as professor of composition at Columbia University. Since then he has continued to teach master classes and seminars throughout the world. His major works include large orchestral pieces such as Gondwana, Time and Again, and, more recently, Serendib and L’Esprit des dunes. Murail also composed a set of solo pieces for various instruments in his cycle Random Access Memory, of which the sixth, Vampyr!, is a rare classical piece for electric guitar. In addition to deriving much of the musical material from the harmonic series over a low E—typically the lowest note on the instrument—the composer also references the timbre and performance style of guitarists in the rock tradition, citing Carlos Santana and Eric Clapton as examples in the instructions to the score. Murail’s compositions are often described as “spectral,” incorporating the fundamental scientific principles of sound production as the basis for harmony. The aural effects he achieves are universally compelling, somehow spanning astronomical reaches and inner realms simultaneously.
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program notes
Season Finale: Rachmaninoff’s Symphony No. 2
Erich Wolfgang Korngold (1897—1957)
Concerto for Violin and Orchestra in D Major, Op. 35 PERFORMANCE TIME:
24 minutes
BACKGROUND
Erich Wolfgang Korngold is widely known as a “famous composer,” but just how famous—and why—depends upon whom you ask. Musicologists regard him as one of the most remarkable prodigies in the history of classical music, the boy wonder who at age nine was declared a genius by none other than Gustav Mahler. Mahler secured him a position studying with the eminent pedagogue and composer Alexander Zemlinsky, who had also taught Schoenberg, the leader of the revolutionary “Second Viennese School” that also included Alban Berg. While his colleagues looked to Schoenberg as the movement’s father, Schoenberg looked to Zemlinsky. We can discern a great deal about Korngold’s incredible precocity, his early musical leanings, and his enormous technical skills just from these associations. It was Schoenberg who created the Harmonielehre, the foundational reference that loosed atonality upon European and Western music. Under Zemlinsky’s tutelage Korngold progressed from writing complex piano compositions to a ballet score, Der Schneemann, when he was 11, and it became a sensation—this at a time when the
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rules of classical composition had become so aesthetically advanced and complex with the emergence of the “Second Viennese School” that the idea of a preteen composing a fully-developed work of musical theater seemed even more unlikely than it did in Mozart’s day. He followed with his first orchestral score, the Schauspiel Ouverture, when he was 14, and did not look back— producing his first two operas, Der Ring des Polykrates and Violanta, when he was 17. At 23 he reached the height of his fame as a composer of opera and concert music with his haunting opera Die tote Stadt, which achieved success throughout the world and is still widely produced in the U.S. Aficionados of Hollywood film music, who know the name Korngold well, are sometimes unaware that the wunderkind who created a sensation in European classical music circles just before and after World War I is the same person who became famous for his film scores. Opera director Bliss Hebert, who is an expert on Korngold and has directed American productions of his operas, credited him with virtually inventing the feature film score—and the career of matinee idol Errol Flynn—in the golden age of the Hollywood studios. What turned out to be a fateful commission for Korngold came from the director Max Reinhardt, a force in the worlds of theater and opera as well as cinema, who invited Korngold to Hollywood in 1934 to adapt Felix Mendelssohn’s incidental music for A Midsummer Night’s Dream to fit a film version of the play. The adaptation brought him to the attention of the Warner Brothers studio, which invited him back to Hollywood in 1938 to compose the score for an eagerly
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Season Finale: Rachmaninoff’s Symphony No. 2
program notes
awaited Errol Flynn feature, The Adventures of Robin Hood. Korngold’s fantastic technical facility enabled him to write music that fit the mood and the timing of a movie with frameby-frame precision while sounding utterly and naturally melodic. Over the next four years, Korngold set a standard for movie music that, according to many critics, has never been equaled. He won the Academy Award for best original film score for Robin Hood, and was later nominated for The Private Lives of Elizabeth and Essex and The Sea Hawk. WHAT TO LISTEN FOR
Today Korngold’s music sounds equally at home in the movie theater and the concert hall. But in his own lifetime this versatility could be a burden for the composer, whose music was often misunderstood or underestimated. Korngold was deeply grateful for the security and freedom he found in his family in Hollywood; he even vowed to compose only film music until Hitler’s final defeat. But his success in the film industry led some classical composers to view him as a sellout. And when he finally rededicated himself to composing for the concert hall and the opera house, still other composers were less than receptive. Today it is the music that establishes Korngold’s rightful place in the Western Canon, though exactly what that might be still depends on whom you ask. Film buffs recognize his many film scores as masterpieces of the genre, and operaphiles point to his opera Die tote Stadt as a hauntingly beautiful and gripping tale of memory and obsessive love.
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Here Korngold bridges the concert hall and Hollywood: its opening Moderato nobile movement is built around his scores for Another Dawn and Juarez; in the central Romanze movement, the main theme is a quotation from his Anthony Adverse; and in the final Allegro vivace assai, an energetic movement with plenty of virtuosic licks, the proceedings build to a rollicking climax based on a melody from The Prince and the Pauper. It is dedicated to Alma Mahler, Gustav’s widow; considering all the European culturati who nursed bad crushes on this charismatic woman, it’s quite possible that Korngold did too. Korngold’s Hollywood connection quite literally saved his life. The year of his relocation to California was also the year of Hitler’s Anschluss and Kristallnacht, which plunged Europe into nightmare. Even as he was adjusting to his luxurious California lifestyle and discovering an appreciative new audience, it was clear that he could not return to his homeland; as a prominent Austrian Jew, he would have faced the end of his career, daily terror, and probable death. His response to this horrific reality made him famous not just among fans of classical and movie music, but historians as well, with this famous line: “We thought of ourselves as Viennese. Hitler made us Jewish.” Sergei Rachmaninoff (1873–1943)
Symphony No. 2 in E minor, Op. 27 PERFORMANCE TIME:
The Violin Concerto, composed in his characteristically lush, melodic style, is most often cited as the cornerstone of his reputation.
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55 minutes
There’s Bach, Chopin, Liszt, and Mozart. Beethoven, of course. France’s Couperin,
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program notes
Season Finale: Rachmaninoff’s Symphony No. 2
Spain’s Albéniz, and America’s own Louis Moreau Gottschalk. Poland’s great pianiststatesman Ignacy Jan Paderewski. And high on any list of great pianists who were also composers there is, of course, Sergei Rachmaninoff. This enduringly popular late-Romantic Russian composer was also probably one of the greatest keyboard artists who ever lived. Despite orchestral favorites such as his Symphonic Dances, we tend to associate Rachmaninoff most strongly with music featuring the piano. And that can be misleading, because Rachmaninoff’s career conformed to a soloist-composer model that prevailed into the 20th century, but is less familiar to us today. The question of symphonic form in the wake of Beethoven loomed over Rachmaninoff as it did for Richard Strauss and for every serious composer of classical music. Few composers had the courage—or perhaps the chutzpah— of Gustav Mahler, who followed Beethoven’s Ninth with symphonies even more monumental in scope. Rachmaninoff understood symphonic composition not only as an artistic challenge, but as a career prerequisite. His potential as a conductor and pianist was not in question, but he was committed to composition above all, and a symphony was a critically important milestone for his career. He first approached the form when he was 22, fashioning an ambitious work in the tradition of forebears he admired, including Tchaikovsky and Borodin. It was ardent, poetic, and a disaster, thanks to a premiere performance that was in utter shambles. Led by the composer and conductor Alexander Glazunov, the symphony’s first public
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performance was said to be the product of an excess of vodka and a shortage of rehearsal time. Given the time and place—St. Petersburg in still-frigid March, 1897—it’s a facile explanation, but appears to be true nonetheless. The audience’s bafflement and the critics’ hostility resulted in one of the most famous cases of composer’s block in musical history. Imagine Rachmaninoff hearing his symphony mauled bar by bar, a disaster unfolding in slow motion. Yes, composers are a temperamental lot, but few have been quite so vulnerable to their own doubts or those of the critics. A harsh judgment in print or less-than-enthusiastic audience reaction was enough to plunge Rachmaninoff into a despairing creative paralysis so bleak, so crippling, that we must now count ourselves fortunate to have the relative handful of compositions that survived his depression. He would later describe the premiere of this symphony as “the most agonizing hour of my life,” one that drove him into a mental state that would certainly be diagnosed today as clinical depression. The core of his identity—belief in his calling as a composer—was gone. Initial sketches for another symphony and an opera based on Dante’s tale of Francesca da Rimini were shelved. (Tchaikovsky, whom Rachmaninoff greatly admired, had composed a tone poem on that subject). Every attempt at new work brought blank aridity, and it seemed Rachmaninoff might never compose again— least of all a symphony. Rachmaninoff’s creative stasis lasted about three years. It ended as famously as it began, with what we might now call an intervention: A group of concerned
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Season Finale: Rachmaninoff’s Symphony No. 2
program notes
individuals including an aunt, various cousins, and a family friend confronted him in 1900 and persuaded him to consult the physician Nikolai Dahl, who specialized in treating alcoholic patients via hypnotherapy. Dahl treated Rachmaninoff for three years with repetitive hypnotic affirmations that could have come from the mouth of Svengali, the demonic hypnotist who first appeared around the same time (in 1895) in the novel Trilby. “You will work with great facility,” Dahl insisted, and it’s hard to deny that he effected a cure: Rachmaninoff not only resumed composing, but produced his Piano Concerto No. 2, his most popular work, like the sudden onrush of a broken logjam. He dedicated it to Dr. Dahl. The Symphony No. 2 may represent an even greater triumph. Not only does it stand with the Second Concerto as one of Rachmaninoff’s most successful and richly inspired works, but it demonstrates the composer’s courage in confronting the form that originally traumatized him: the symphony. By the time he composed it, in 1906 and 1907, his success in his native Russia was such that he sought privacy with his family in Germany, relocating to the music-friendly city of Dresden. He returned to the scene of his initial disaster for the second symphony’s premiere, this time conducting it himself to critical and public acclaim. WHAT TO LISTEN FOR
The sound of Rachmaninoff is distinctive: sensuously romantic, with sweeping melodic lines and luxurious harmonies. But as with the symphonies of one of his models, Tchaikovsky, the richness of melody and the seemingly effortless flow can obscure
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detailed craftsmanship. It inheres in this symphony from the outset, beginning with a substantial first movement that layers fragments of melody that first stand on their own, but then combine into longer and more layered statements in a highly controlled process of development dominated by lustrous strings. In the second movement, expansiveness is shouldered out by the energy and intensity of a sparkling scherzo. This is a movement of contrasts, as the vigor of the scherzo statement is juxtaposed against a sweepingly lyrical melody so characteristic of Rachmaninoff. A reprise of the scherzo theme also brings us the familiar sound of the Dies irae, an eerie plainchant motif that fascinated Rachmaninoff and many other composers. The movement ends with a resounding fortissimo coda in E minor. No one composed more satisfyingly lingering adagios than Rachmaninoff, who in this symphony’s third movement seems to have enough materials in hand for three or four adagios. It begins with silken violins that give way to a long clarinet statement—both instruments with a human, singing quality—eventually merging into a contrapuntal discourse. The symphony treats us to a joyful final movement that seems to belie Rachmaninoff’s prevailing melancholy mood. An energetic invitation sweeps through the orchestra, subsiding into a protracted development section that introduces vigorous dance rhythms into the mix. The symphony closes with one of Rachmaninoff’s most convincingly triumphant extended melodies.
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Thank You FRIEND $1,000 to $1,499 Anonymous Carolyn Abravanel Christine A. Allred Drs. Crystal & Dustin Armstrong Curtis Atkisson, Jr. Mr. Dennis D. Austin & Dr. Ann Berghout-Austin Robert Baker Diane Banks & Dr. Mark Bromberg Leslie Bender C. Kim & Jane Blair Barbara Burnett Mr. & Mrs. William D. Callister, Jr. Dana Carroll & Jeannine Marlowe Po & Beatrice Chang Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Gloria Comiskey Natalie Cope & Aaron Ashton Dr. & Mrs. David Coppin Denise Corr Dorothy B. Cromer Wrona Dubois Alice Edvalson Eric & Shellie Eide Naomi K. Feigal Carolyn & Tom Fey Margo Franta Ernst Friedrich, M.D. & Marianne Friedrich, Phd. David & Ann George Robert & Mary Gilchrist
Ralph & Rose Gochnour Mr. & Mrs. Richard R. Graham Dr. & Mrs. David Guidry Douglas & Connie Hayes John Edward Henderson Connie C. Holbrook Scott Huntsman Judith Warner Todd & Tatiana James Eldon Jenkins & Amy Calara Jocelyn Johnson Chester & Marilyn Johnson Paulette Katzenbach Umur Kavlakoglu Thomas H. Klassen & Carolyn Talboys-Klassen Robert & Karla Knox Steven Labrum & Jenny Wilder Tim & Angela Laros Greg Larson Sheryl Laukat Mr. & Mrs. Melvyn L. Lefkowitz Allan & Kay Lipman Julie & John Lund Peter Margulies & Louise Vickerman Edward & Grace McDonough Clifton & Terri McIntosh Lex Hemphill & Nancy Melich Hal & JeNeal Miller Mary Muir Dan & Janet Myers Oren & Liz Nelson Timothy F. Buehner Foundation Richard O’Brien
Mary Jane O’Connor Dr. Marzia Pasquali & Ms. Nicola Longo Linda S. Pembroke Rori & Nancy Piggott Dr. Barbara S. Reid Gina Rieke Mr. & Mrs. Robert Rollo James Schnitz Darrell Schrick Frances & Ron Schwarz Sharon Seiner Jill & Richard Sheinberg Annabelle & Dennis Shrieve Sandra Sigman Barbara Slaymaker Dorotha Smart Mercedes Smith Linda & Michael Sossenheimer Diana Major Spencer Hope Stevens Larry R. & Sheila F. Stevens Dr. & Mrs. Michael H. Stevens Douglas & Susan Terry Zibby & Jim Tozer Craig & Christy Wagstaff M. Walker & Sue Wallace Gerard & Sheila Walsh Margaret & Gary Wirth Marsha & Richard Workman Caroline & Thomas Wright John & Jean Yablonski Michael & Olga Zhdanov
Donations received as of February 28, 2018 * In-kind donation ** In-kind and cash donation
UTAHSYMPHONY.ORG
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Thank You FRIEND $150 to $999 Anonymous (14) John C. Abercrombie Maggie & Nadim Abuhaidar Robyn Airmet Mr. & Mrs. Franklin Alex Dr. & Mrs. Irwin Altman David & Liz Anderson Diane Anderson Marco & Christine Andrei Ronald I. Apfelbaum, MD & Kathleen A. Murray, MD Mr. & Mrs. Robert Archuleta Mr. & Mrs. William P. Armstrong Richard & Nancy Arnoldy Mr. & Mrs. Frank W. Asper, Jr. J. Randolph Ayre Kathleen Badalean Melissa Ballard Tom & Carolee Baron Robert Barrett Scott Barrett Mr. & Mrs. Lawrence R. Barusch David & Rebecca Bateman Mary Ann Bauman Leroy & Barbara Bearnson Kathie Beckman Charles & Mary Behrens Michael Behring & Debra Marin Barbara Belnap Francine R. Bennion Victoria Bennion Reed & Jeanne Benson James Benton C. Verl & Shirley M. Benzley Diane Bernhardt James Bevan Earle & Linda Bevins Sue Bhanos Patter & Thomas Birsic Nina Boguslavsky Thomas Bowen & Martha Brace Carol Ann Brown Susan Brown Barbara Brunker Matthew Bryan & Jason Taylor Marjorie Budd Susan Burdett John Burger Marianne Burgoyne Janice Burk
John & Kathryn Burnham Mary Carlson Thomas & Beth Arnett Mr. & Mrs. Fred L. Carter, Jr. Leon & Gisela Chodos Mr. & Mrs. Don M. Christensen Clark & Gwen Christian Orson C. & Dianne Clay John & Patricia Clay Patti Clements Richard & Julia Codell Dr. & Mrs. Hal S. Cole Lori Collett Maxine Condor Alene Cook Hillary Coon & Jim Yehle Sandra Covey Julie Crittenden Patricia Curtis Cindy & Christopher Cutler Rachel Daines David & Donna Dalton Mr. & Mrs. Darwin Datwyler Mark Davidson Elisabeth Dean Drs. Pilar & Christopher Dechet Robert & Gaye DeLange George & Mona Delavan Derna DeMaggio Carleton Detar & Laurel Casjens Gretchen Dietrich Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Mary Dillon Josephine Divver Chantal Dolan Suzanne & Paul Driggs James & Janet Duane Household Judith A. Eagan Barbara & Melvin Echols James Eckstein John Eckstein Frederick Edelstein & Toni Footer Philip & Deborah Edelstein Frank M. Edmunds Kara Edwards Terry & Dorrie Emmons Mr. & Mrs. Steven Ericson Robert P. & Mary Evans Laura Lee Falk
David Fedor Joree Felker Dr. & Mrs. Perry Fine Robert & Elisha Finney Bettina Foody Felecia & George Ford Pat & Nancy Forester Dr. Elizabeth L. Frank Wayne & Aileen Freckleton John Frederick Carolyn C. Fredin Roslyn Gallagher Bryson & Jan Garbett Marie & Christian Gardner Quinn & Julie Gardner Dave Garside Katharina Gerstenberger Catherine Gerwels Raymond & Harriett Gesteland Nancy & Mark Gilbert Susan Glasmann & Richard Dudley Lawrence & Suzanne Goldsmith Joe & Panna Goott Melvin & Diane Gourdin Dr. & Mrs. William R. Gray Mr. & Mrs. Lawrence Green Kay Greene Richard Greene Anabel & john Greenlee Paul & Janet Griffin Ray & Howard Grossman Mr. & Mrs. Theodore Gurney, Jr. John Gurr Stephen Guttenberg Maxine Haggerty James Hall Wayne Halverson Gabriele Hammond Marvin Hammond Harlan & Julia Hammond Karen E. Hannahs Scott W. Hansen Robert & Marcia Harris Virginia Harria Alene Harrison Jonathan Hart Doug Hattery Connie Hayden Dr. Alan B. Hayes
Donations received as of February 28, 2018
46
UTAH SYMPHONY
Thank You Frank Heath Susan Hendry Craig & Tiffany Hess Mr. John P. Hill, Esq. Brian Hin Patrice & Lane Hirning Lewis E. Hitchner Lee & Audrey Hollaar Donald & Judy Horwitz Bob & Ursula Hoshaw Ronald Houston Robert & Virginia Huber Preston G. Hughes Foundation Virginia A. Hughes Randy & Nikki Huizenga Zachary Hulsey Jesse N. Hunsaker, M.D. Charles Hunter Albert Imesch Gordon Irving Dr. Richard & Helene Jaffe Dr. Brent James Matthew & Paige Janzen James & Jeanne Jardine Dr. & Mrs. Joseph D. Jensen Elane Jeppesen Jewish Federation of Metropolitan Chicago Drs. Owen & Joyce Johnson Muriel Johnson Nick Johnson Dr. & Mrs. Ramon E. Johnson Rodney Johnson Dr. Sarah & Dr. Jason Johnson Kimberli Jones Richard Kanner Catherine Kanter Raymond Karcher John S. Karls Dr. Siegfried & Ellen Karsten James & Lucille Kastanis Ronald Kastner Sylvia Katzman Chelsea & Jacob Kauffman Renate & Christopher Kesler Marvin & Lois Kimball Liz King Pat Koch Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Peg Kramer Erin Krentz
Tyler Kruzich KSL Television Henry O. Whiteside Mr. & Mrs. Bruce M. Lake David & Sandra Lamb Gary Lambert Bruce & Margaret Landesman Maggie Laun Jill Lawrence Claudia Laycock Nelean Meadows & Dennis Layne Mary Leavitt Anne Lee & Claude Halter Glen M. & Karen W. Leonard Swantje Levin Marc Levy Margaret B. Lewis Marvin & Sharon Lewis Katherine P. Liddle Henry & Marilyn Lieberman Karl & Susan Lind Bill & Sally Lindsay Gary & Sandra K. Lindstrom Ronald W. Tharp & Kate F. Little Lee & Melissa Livengood Herbert & Helga Lloyd Karen Lobrot Uri Loewenstein & Elizabeth Tashjian Marilyn Lott Loveland Living Planet Aquarium Philip Lowe John Lucas Jeff & Kim Luke Brent Lutz Ralph & Sylvia S. Mabey Mira Blue & Mark Machlis Yuki Macqueen Karen Malechek Dr. & Mrs. Ned L. Mangelson Mike & Gerri Margetts John D. Marks Susan R. Marquardt Robin & Nassir Marrouche Alexander Martin Linda & John Mason Miriam Mason Penelope Mathews & David Horner Susan Maughan Dianne May Neylan McBaine
Beverly J. McCurdie Ralph & Peggy McElvain Frank & Maxine McIntyre Jerilyn McIntyre & David Smith Amanda McKell Dan McKnight & Deanna Donaldson Heather McMaster Jack & Patsy McNamara Philina Saltas Vanene Mcshane Sanford Meek Edward G. “Skip” & Patricia Mencimer Ron & Tamara Meyers Dan P. Miller Richard & Jean Miller Robert L. Miller Richard & Anita Miner Robert & Dianne Miner Dr. Michaela S. Mohr Dave Moore & Mary Mallon Bill & Jane Moore Ted Moore & Julie Hartley-Moore Patricia & James Morgan Dr. Susan Morgan Glenn Mosby David Mugleston John Mulderig Matt Mullin & Maren Bargreen Faye & Harlan Muntz National Financial Services, LLC Nebeker Family Foundation Renate B. Nebeker Sara Lee Neill James & Marianne Nelson John C. & Mary Ann Nelson Phillip & Alice Newberry E. Dilworth & Peggy S. Newman Dr. & Mrs. John H. Newton Merrill & Josephine Oaks Patti O’Keefe Whitney Olch Maura & Serge Olszanskyj Lee K. Osborne John Ott Ralph & Kay Packard Adrian S. Palmer Joseph† & Dorothy Ann Palmer Jeffrey Paris Mrs. Paula S. Paterson Mr. & Mrs. James Patterson
Donations received as of February 28, 2018
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Thank You Dr. Anne M. Pendo & Duncan Edwards Barbara Perry Greg & Lisa Graham Joan C. Peterson Kelvin Peterson & Liqin Qiu Michelle Peterson & Richard Scott Jane Pigott Keith & Linda Poelman Lisa & Jim Stringfellow David Porter Laszlo & Sandra Preysz Matthew & Maria Proser Stephen & Susan Kohler Glen & Dorothy Purdie Thomas Quam Brent Rammell Jack Rampton Robert & Nancy Raybould Raymond James & Associates Delia & Craig Reece Sydney Dunn & Harry Reed† Ronald Rencher Mary Rethwisch Thom D. Roberts & Sandra Peuler Gary Rodgers Mike & Kathy Rodman John Rohrbaugh Abigail Rose Dr. John W. Rose & Ms. Carolyn A. Pedone Don & Noreen Rouillard Jerry & Linda Rowley Carolyn & Charles Rozwat Gail T. Rushing Carole Rusho Gregory Ryan Ellen Rye Mr. Robert Sacks Charles Saltzman Juergen & Cheryl Sass Joan Scanlon Dr. S. Brent & Janet Scharman Grant Schettler Sandefur Schmidt Kent & LaRae Scott Harry & Becky Senekjian Julie & Bradley Senet Brent Sessions Scott & Luke Sherner Orion & Marge Sherwood
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M. Tom & Junko Shimizu Nancy Umemura John Shott Ken Uy Glenda & Robert† Shrader Shirley Van Wagenen Marolyn Siddoway Mark Vernon Sandra Sigman Gary Veverka Deborah Simmons Mr. & Mrs. Robert K. Vickery, Jr. Margaret Simmons David & Barbara Viskochil Allen & Karen Sims William & Donna R. Vogel Phyllis Sims† William & Heidi Vriens Val & Barbara† Singleton Patrick Wade & Jeffrey Chaney Lynn Skene Jodi & Thomas Wagner Thomas Slaymaker Dianne & Peter Yogman Stuart & Suzanne Slingerland Howard & Barbara Wallack Martin & Tani Smihula Bonnie Walsh Diane Smith Dennis & Sherry Walsh Julia Smith Perry & Margie Walters Scott & Karen Smith Farrell & Deanna Wankier Paul & Carol Sonntag Dr. James C. Warenski Neal & Carol Sorensen Jim Warenski Susan Chausow Southam Bruce & Leigh Washburn Wayne Sowers Glen Watkins Robert & Arita R. Sparks Mr. & Mrs. Frank Weinstock Kenneth A. & Claudia M. Lauri Welch Sperling Frederik Weller Audrey L. Stauffer Charles & Ellen Wells Mr. & Mrs. Isaac Stein Jeremy & Hila Wenokur Suzanne Stensaas Karen Whipple Stanley O. Stensrud Dr. H. James & Janet Williams Jeffrey Stone McKay & Jean Willis Bente Strong Claudia Wilson Annie & Cory Strupp Mary & Charles Wintzer Briant Summerhays David & Anne Wirthlin Charles Swallow Michael Wolfe Jeannette Swent James & Carolyn Woodward Martin & Irene Tannenbaum Dylan Wright Mrs. Gaylia Tanner Frank & Betty Yanowitz Max Tanner Beth Young & David Waid Sally Tauber Tolford Young Hillary Taylor Roberta Zalkind Dr. & Mrs. Kim Y. Taylor Patrick Zimmerman Ranae Taylor Birgit Zotta Isabella Tcaciuc Irene & Robert Roemer John Thueson Gail Tomlinson Neil Townsend & Ian Wolf Alex Trueseff Robb Trujillo William & Patricia Tueting John & Shelley Turner Sarah & Alexander Uhle Donations received as of February 28, 2018
UTAH SYMPHONY
Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT
Annual Fund
Utah Symphony | Utah Opera is grateful to the corporations, foundations, & public institutions that sustain our mission and to those who have pledged multi-year gifts (recognized in bold). For more information, please call 801-869-9013.
ENCORE $100,000 & ABOVE AHE/CI Trust The Church of Jesus Christ of Latter-day Saints Foundation Dominion Energy George S. & Dolores Doré Eccles Foundation The Florence J. Gillmor Foundation Emma Eccles Jones Foundation Janet Q. Lawson Foundation
The Tony & Renee Marlon Charitable Foundation Larry H. & Gail Miller Family Foundation O.C. Tanner Perkins-Prothro Foundation John & Marcia Price Foundation Salt Lake County Salt Lake County Zoo, Arts & Parks
Shiebler Family Foundation Sorenson Legacy Foundation State of Utah Summit County Restaurant Tax / RAP Tax Utah Division of Arts & Museums / National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank
Lawrence T. & Janet T. Dee Foundation Marriner S. Eccles Foundation
FJ Management, Inc. Grand & Little America Hotels* Utah Symphony Guild
BRAVO $50,000 to $99,999 Carol Franc Buck Foundation Frederick Q. Lawson Foundation Huntsman Foundation
OVERTURE $25,000 to $49,999 Arnold Machinery B.M.W. of Murray | B.M.W. of Pleasant Grove The Brent & Bonnie Jean Beesley Foundation Chevron Corporation C. Comstock Clayton Foundation Deer Valley Resort** Moreton Family Foundation
Montage Deer Valley** Charles Maxfield & Gloria F. Parrish Foundation S.J. & Jessie E. Quinney Foundation Simmons Family Foundation Harris H. & Amanda P. Simmons Foundation Stein Eriksen Lodge**
The Sam & Diane Stewart Family Foundation Summit Sotheby’s Nora Eccles Treadwell Foundation Vivint.SmartHome Wells Fargo Foundation
Donations received as of February 28, 2018
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Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT
MAESTRO $10,000 to $24,999 Adobe Bambara* Bank of Utah B.W. Bastian Foundation Berenice J. Bradshaw Trust R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine Foundation – Russell Family CenturyLink Community Foundation of the Lowcountry
The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Every Blooming Thing* Gastronomy* Ann & Gordon Getty Foundation Richard K. & Shirley S. Hemingway Foundation Hyatt Centric Park City** McCarthey Family Foundation Merrill Lynch Wealth Management National Endowment for the Arts
Ogden Opera Guild Park City Chamber Bureau Promontory Foundation Salt Lake City Arts Council The Swartz Foundation Union Pacific Foundation University of Utah Health Utah Office of Tourism Workers Compensation Fund
Flynn Family Foundation The Val. A. Green & Edith D. Green Foundation Holland & Hart** Huntsman International LLC J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Macy’s Martine*
Pro Helvetia, The Swiss Arts Council Raymond James & Associates Resorts West by Natural Retreats* St. Regis / Deer Crest Club** U.S. Bancorp Foundation Utah Autism Foundation Victory Ranch & Conservancy
LOVE Communications Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Park City Community Foundation Peczuh Printing* Prime Steakhouse* Ray, Quinney & Nebeker Foundation Rocky Mountain Power Foundation Sinclair Oil Corporation Snell & Wilmer
Snow, Christensen & Martineau Foundation Squatters Pub* Stay Park City Stoel Rives Swire Coca-Cola, USA* TraskBritt P.C. The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Fdn. Zuvii*
PATRON $5,000 to $9,999 Art Works for Kids! Bessemer Trust The Capital Group Deluxe Corporation Foundation Discover Financial Services The Dorsey & Whitney Foundation Patricia Dougall Eager Trust Spencer F. & Cleone P. Eccles Family Foundation
FRIEND $2,500 to $4,999 Bertin Family Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Boeing Employees Community Fund Robert S. Carter Foundation Castle Foundation Cope & Cope Investments, LLC D’Addario Foundation Diamond Rental* Henry W. & Leslie M. Eskuche Charitable Foundation Fanwood Foundation Graystone Consulting * In-kind donation ** In-kind and cash donation
50
Donations received as of February 28, 2018
UTAH SYMPHONY
Thank You DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being and stability of USUO and, through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9028. Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation
Thomas & Candace Dee Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation
Kenneth† & Jerrie Randall The Evelyn Rosenblatt Young Artist Award Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner M. Walker & Sue Wallace
GIFTS MADE IN HONOR OF Dr. J. R. Baringer & Dr. Jeannette J. Townsend Mrs. Winifred Bradley Neill & Linda Brownstein
Herond & Gaylen Hoyt Pamela Robinson-Harris & Jeff Harris Classical Movements Abigail Rethwisch Paulson
Joanne & Bill Shiebler The Right Reverend Carolyn Tanner Irish Constance & Marcus Theodore
GIFTS MADE IN MEMORY OF Anita Alcabes Jay T. Ball Dr. Ray Beckham Janet Bennett Winifred Bradley Robert H. Burgoyne, M.D. Jeffrey L. Chaney Kathie Dalton Charles Dean Dean E. Eggertsen Loraine L. Felton Harry E. Franta Rosalie Frost Ursula Gleason Lowell P. Hicks Joanne Johnson
Muriel Lindquist Panos Johnson Joseph S. Knowlton Valice M. Laramee Sharon R. Lewis Sonja Margulies Frank & Maxine McIntyre Bill Peters Glade & Mardean Peterson John A. Reinertsen Alvin Richer Kathryn Romney Ann O’Neill Shigeoka, M.D. Frank & Shirley Russell Bert Schaap Aurelia H. Schettler Catherine Schettler
Ben Schippen Phyllis Sims J. Ryan Selberg Rebecca “Becky” Sharp Sorensen Ann O’Neill Shigeoka, M.D. Claudia Silver-Huff Hope B. Stevens Patrick L. Wade Robert Van Wagenen Nadine Ward Marie Watkins Ardean Watts John W. Williams Lawrence Young Dr. I. Zelitt Martin Zwick
Donations received as of February 28, 2018
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LEGACY GIVING
Leave a lasting legacy of excellent music. When you make a gift through your estate, either now or at the end of your life, you provide invaluable support to Utah Symphony | Utah Opera. Your financial advisor or estate planning attorney can help you build a gift that can meet goals for you or your heirs, and provide USUO with the resources that create incredible music. Help USUO preserve our future of performing favorite symphonic and operatic works and new works for years to come.
To learn more about how estate planning can benefit both you and USUO, please call Leslie Peterson at 801-869-9012 or visit us online at usuo.giftplans.org.
Utah Arts Festival 2018
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uaf.org
Salt Lake City • 801.363.2000 275 S. West Temple
TANNER & CRESCENDO SOCIETIES
“You are the music while the music lasts.” ~T.S. Eliot
Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012 for more information, or visit our website at usuo.giftplans.org.
TANNER SOCIETY OF UTAH SYMPHONY Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Doyle Arnold & Anne Glarner Dr. J. Richard Baringer Haven J. Barlow Edward† & Edith† Brinn Shelly Coburn Captain Raymond & Diana Compton Anne C. Ewers Flemming & Lana Jensen
James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bentley Kenneth A.† & Jeraldine S. Randall Mr.† & Mrs. Alvin Richer
Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffery & Joyce Smith G.B. & B.F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace
Herbert C. & Wilma Livsey Dianne May Dr. & Mrs. Louis A Moench Jerry & Marcia McClain Jim& Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson
Thomas A. & Sally† Quinn Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser
Mahler Circle Anonymous (3) Eva-Maria Adolphi Edward Ashwood & Candice Johnson Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Ms. Marilyn Lindsay Turid V. Lipman
CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn Dr. Richard J & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage
Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean Henkels Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Constance Lundberg Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin
Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Jeffrey W. Shields G.B. & B.F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser
†Deceased
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ADMINISTRATION ADMINISTRATION Paul Meecham
Heather Weinstock
President & CEO
Manager of Special Events & DVMF Donor Relations
David Green
Alina Osika
Julie McBeth
Lisa Poppleton
Ali Snow
Chelsea Kauffman
Senior Vice President & COO Executive Assistant to the CEO Executive Assistant to the COO & Office Manager
SYMPHONY ARTISTIC Thierry Fischer
Symphony Music Director
Anthony Tolokan
Vice President of Symphony Artistic Planning
Conner Gray Covington Assistant Conductor
Barlow Bradford
Symphony Chorus Director
Manager of Corporate Partnerships Grants Manager Annual Fund Coordinator
Steven Finkelstein
Development Coordinator
MARKETING & COMMUNICATIONS Jon Miles
Alison Mockli
Payroll & Benefits Manager
Jared Mollenkopf
Patron Information Systems Manager
Bobbie Williams
Accounts Payable Accountant
EDUCATION Paula Fowler
Director of Education & Community Outreach
Beverly Hawkins
Symphony Education Manager
Kyleene Johnson
Vice President of Marketing & Public Relations
Symphony Education Assistant
RenĂŠe Huang
Opera Education Assistant
Director of Communications & Digital Media
Chad Call
Paul Hill
OPERA TECHNICAL Jared Porter
Marketing Manager - Audience Development
Senior Technical Director
Walt Zeschin
Technical Director
Andrew Williams
Mike Call
Website Manager
Director of Orchestra Personnel Orchestra Personnel Manager
Lance Jensen
Executive Assistant to the Music Director & Symphony Chorus Manager
SYMPHONY OPERATIONS Jeff Counts
Vice President of Operations & General Manager
Cassandra Dozet
Director of Operations
Melissa Robison
Program Publication & Front of House Director
Chip Dance
Production & Stage Manager
Jeff F. Herbig
Properties Manager & Assistant Stage Manager
Erin Lunsford
Artist Logistics Coordinator
0PERA ARTISTIC Christopher McBeth
Opera Artistic Director
Carol Anderson Principal Coach
Michelle Peterson
Opera Company Manager
Michaella Calzaretta Opera Chorus Master
Mandi Titcomb
Opera Production Coordinator
Kathleen Sykes
Digital Content Producer
PATRON SERVICES Nina Starling
Director of Patron Engagement
Faith Myers
Sales Manager
Andrew J. Wilson
Patron Services Manager
Robb Trujillo
Group Sales Associate
Ellesse Hargreaves
Patron Services Assistant
Rachel Campbell
Marketing Manager - Patron Loyalty
Kelly Nickle
Properties Master
Lane Latimer
Assistant Props
Keith Ladanye
Production Carpenter
Travis Stevens Carpenter
Dusty Terrell
Scenic Charge Artist
COSTUMES Verona Green
Costume Director
Jessica Cetrone Kierstin Gibbs LisaAnn DeLapp
Genevieve Gannon Sarah Pehrson Jackie Seethaler Powell Smith
Rentals Assistants
Nicholas Barker Lorraine Fry Jodie Gressman Mateusz Jagiello Ellen Lewis Rhea Miller Ananda Spike
Tiffany Lent
Sales Associates
Amanda Reiser Meyer Wardrobe Supervisor
Milivoj Poletan Tailor
Cutter/Draper
Donna Thomas
Milliner & Crafts Artisan
Ticket Agents
Chris Chadwick Yoojean Song Connie Warner
ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan
Shelley Carpenter Bailey Rapier Katie Satot
Vice President of Finance & CFO
DEVELOPMENT Leslie Peterson
Mike Lund
Hillary Hahn
Controller
Vice President of Development
Kyle Coyer
Stitchers
Wigs/Make-up Crew
Director of Information Technologies
Joan Shiflett
Senior Director of Institutional Gifts We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.
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UTAH SYMPHONY
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HOUSE RULES
ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Abravanel Hall. Ask at the Coat Check for details.
WHEELCHAIR SEATING Ample wheelchair seating is available. Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager.
LATECOMERS In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating will be used. During some productions late seating may not occur until an intermission after which time you may be seated by an usher in an alternate section. When traveling to performances, please allow ample time for traffic delays, road construction, and parking.
YOUNG CHILDREN Utah Symphony | Utah Opera welcomes children five years of age and older. Some concerts, including Family Matinees and special programs, are open to children of all ages. Please call 801-533-6683 for a list of these special performances. All children,
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regardless of age, must have their own tickets for all performances. No babes-in-arms are allowed unless specifically indicated.
QUIET PLEASE As a courtesy to performers on stage and to other audience members, please turn off cell phones, pagers, beeping watches, or any other noisemaking device. Also, please refrain from allowing concession items such as candy wrappers and water bottles to become noisy during the performance.
CLEANLINESS Thank you for placing all refuse in trash receptacles as you exit the theatre.
COPYRIGHT ADHERENCE In compliance with copyright laws, it is strictly prohibited to take any photographs or any audio or video recordings of the performance.
NEED EXTRA LEG ROOM? Let us know when making reservations; we can help.
EMERGENCY INFORMATION In the event of an emergency, please remain seated and wait for instructions. Emergency exits are located on both sides of the house. Please identify the exit closest to your location.
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OUT OUT ON ON THE THE TOWN TOWN OUT ON THE TOWN
dining dining guide guide dining guide THE THENEW NEWYORKER YORKER60 60West WestMarket MarketStreet. Street.SLC’s SLC’s premier premierdining diningestablishment. establishment.Modern ModernAmerican American MARTINE 22 100 South. Exceptional ambience, MARTINE 22East East 100 South. Exceptional ambience, cuisine cuisineisisfeatured featured ininrefined refined dishes dishes and andapproachable approachable located in aahistoric brownstone. Martine located infood. historic brownstone. Martineoffers offers Salt comfort comfortfood. From Fromclassic classictotoinnovative, innovative, from fromSalt Lake City experience kept Lake Cityaasophisticated sophisticated dining experience kept– simple. simple. contemporary contemporary seafood seafoodtodining to Angus Angus Beef Beefsteaks steaks –the the Conveniently located on First South around the Conveniently located onfor First South around thecorner corner menu menuprovides provides options options for every every taste. taste. Served Served in inaa from the Eccles Theater. Extensive bar wine from theelegant Eccles Theater. Extensive barand andservice. wineservice. service. casually casually elegant setting settingwith withimpeccable impeccable service. martinecafe.com L,L,D, T,T,corporate LL, RA, VS. 801-363-9328 martinecafe.com D, LL, RA,CC, CC,and VS. 801-363-9328 Private Privatedining diningrooms rooms for for corporate and social socialevents. events. Lunch Lunch&&Dinner. Dinner.No Nomembership membershiprequired. required.L,L,D,D,LL, LL,AT, AT, RR, RR,CC, CC,VS. VS.801.363.0166 801.363.0166
Consistently Rated Rated“Tops” “Tops”–Zagat –Zagat • anConsistently american contemporary café • 6060W.W.Independent Market MarketStreet Street• •801.363.0166 801.363.0166 Local, Chef Owned
22 East 100 South Phone • 801.363.9328 www.martinecafe.com
Salt SaltLake LakeCity’s City’s#1 #1
MARKET MARKETSTREET STREETGRILL GRILLDOWNTOWN DOWNTOWN48 48 SPENCER’S 255Unanimous South West Temple,for SLC. West WestMarket MarketStreet. Street. Unanimous favorites favorites forseafood seafood
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MARTINE MARTINE22 22East East 100 100BREWERY South. South.Award Awardwinning winning ambience, ambience, SQUATTERS PUB 147 West located locatedininaaSLC. historic historic brownstone. Martine Martine offers Salt Salt Lake Lake Broadway Joinbrownstone. us before and after offers the show for City Cityaasophisticated sophisticated dining dining experience experience kept simple.Locally Locally eclectic daily specials and traditionalkept pubsimple. favorites such sourced sourced ingredients, ingredients, pre-event pre-event $25 $25three three courseprix prix fixe. fixe. as bacon topped meatloaf, pizzas and acourse delicious array Extensive Extensive bar bar and wine wine service. service. martinecafe.com martinecafe.com of burgers, alland paired with our world-class beer and L,welcoming L,D,D,T,T,LL, LL,RA, RA, CC, CC,VS. VS.801-363-9328 801-363-9328 atmosphere. L, S, AT ,LL, D, CC, VS
Most MostPopular PopularRestaurant Restaurant –Zagat –Zagat
4848W.W.Market MarketStreet Street(340 (340South) South) COMPLIMENTARY VALET AND SELF-PARKING FOR ALL GUESTS 801.322.4668 801.322.4668 801.238.4748 255 S WEST TEMPLE RESERVATIONS AT OPENTABLE.COM
• •An Anintimate intimateeuro eurocafé café• • Free FreeValet ValetParking Parking 22 22East East100 100South South
Phone Phone• •801.363.9328 801.363.9328 www.martinecafe.com www.martinecafe.com Top TopPhoto: Photo:Image Imagelicensed licensedbybyIngram IngramImage Image
801-363-2739 B-Breakfast B-BreakfastL-Lunch L-LunchD-Dinner D-DinnerS-Open S-OpenSunday SundayDL-Delivery DL-DeliveryT-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre
LL-Liquor LL-LiquorLicensee LicenseeRR-Reservations RR-ReservationsRequired RequiredRA-Reservations RA-ReservationsAccepted AcceptedCC-Credit CC-CreditCards CardsAccepted AcceptedVS-Vegetarian VS-VegetarianSelections Selections B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections Top Photo: Image licensed by Ingram Image
… u o Y k n a Th to our advertisers Bank of American Fork Caffè Molise Challenger School The Children’s Hour City Creek | Living Classical 89 Excellence Concert Series Five Wives Vodka Gina Bachauer International Artists Piano Competition The Grand America Hotel Hamilton Park Interiors J. Wong’s Thai & Chinese Bistro Jerry Seiner Cadillac KUED KUER
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ACKNOWLEDGEMENT UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR
Melissa Robison PROGRAM NOTES ANNOTATOR
Michael Clive Cultural writer Michael Clive is program annotator for the Utah Symphony, the Louisiana Philharmonic Orchestra, and the Pacific Symphony, and is editor-in-chief of The Santa Fe Opera.
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relax and enjoy our complimentary shuttle! The New Yorker is a Salt Lake City icon that set the stage for fine dining in Utah and has been providing fresh, innovative food and outstanding hospitality in a warm, inviting atmosphere for decades of diners. Enjoy delicious food, relax and ride our complimentary shuttle to Abravanel Hall, Capitol Theatre and the new Eccles Theatre. Ride back and enjoy dessert and a nightcap, a cozy way to end your evening out on the town!
R E S TA U R A N T / D O W N T O W N
60 West Market Street (340 S) • Salt Lake City • 801.363.0166 Open Monday – Saturday at 5 pm, closed Sundays Reservations recommended – newyorkerslc.com
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Provided by Love Communications, Salt Lake City The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief. Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.
Redeemable at any Market Street Restaurant or Fish Market 64
UTAH SYMPHONY
IN CONCERT LIVE TO FILM
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UTAH SYMPHONY
JUNE 27&28 ABRAVANEL HALL
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2018 / DEER VALLEY® MUSIC FESTIVAL
Community Events The USUO Education Department offers events that provide access for our community members to professional musicians and music-making.
FAMILY INSTRUMENT PETTING ZOO Friday, July 6 (6–7 pm) • • • •
Preceding DISNEY IN CONCERT: A SILLY SYMPHONY CELEBRATION Instruments provided by Summerhays Music Staffed by volunteers from the Utah Symphony Youth Guild Available to all ticket holders
PLAZAFEST • June 30: Utah Conservatory Patriotic Kids Camp will sing patriotic tunes on the plaza before the Patriotic Celebration concert. • Wednesdays: Young instrumentalists offer pre-performance music at select St. Mary’s Church concerts. • August 3: The Park City Rockers @ Utah Conservatory will perform on the plaza preceding The ‘70s vs The ‘80s concert.
MUSIC IN THE LIBRARY Thursdays, June 28 and August 2 (2-3 pm) USUO Education staff will join afternoon family hours at the Park City Library with a variety of music games for children, in support of the library’s summer reading theme “Libraries Rock!”
GUEST ARTIST EVENTS Check the festival website for updated information.
for more info about deer valley® music festival education and community events:
DeerValleyMusicFestival.org/community
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