Utah Opera Playbill - The Marriage of Figaro

MAY 4 – 12, 2024

JANET QUINNEY LAWSON CAPITOL THEATRE

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CONTENTS

WELCOME

STEVEN

BRIAN GREEFF Board of Trustees Chairman

On behalf of the board, staff, artists, and musicians of Utah Symphony | Utah Opera, it is our pleasure to welcome you to the Janet Quinney Lawson Capitol Theatre for this presentation of Mozart’s masterpiece The Marriage of Figaro

There is something about the music, the characters, and the plot of this opera that is immediately accessible, even more than two centuries after its creation. The opera can be experienced as a simple comedy with tuneful melodies and quick twists and turns of plot that eventually resolve in a ‘happily ever after’ way. However, when one looks and listens more closely, there is a wealth of material below the surface that delves into deep truths of the human experience and requires exceptional mastery of technique and musicianship of the performers. The characters are relatable and their stories are not of single-focused revenge, or love, or fear so often found on stage, but the wonderfully and sometimes frustratingly intermingled web of human complexity. Mozart was one of the first composers to reach for this level of expression of the human condition (with the collaboration of his librettist Lorenzo Da Ponte) and their achievement in this opera was perfection.

Throughout the school year, we give students across Utah their first opportunities to fall in love with opera and classical music through a variety of in-school programs that comprise one of the most extensive arts education initiatives by a professional musical arts organization in the United States. Our professional musicians provide students with the gift of live classical music and the inspiration to develop their own creative capabilities to enhance their lives. March is an appropriate time to reflect on the importance of this work, as it has been celebrated around the nation for nearly 40 years as Music in Our Schools Month®. Sponsored by the National Association for Music Education, the initiative focuses the nation’s attention on the need for and benefits of quality music education programs in our schools. Bravo to the teachers, schools, and parents who make sure that music is part of the education of our youth! These programs are vital for creating well-rounded students, impart important lessons in discipline, creativity, and teamwork, and encourage higher graduation rates.

Sincerely,

CHRISTOPHER MCBETH Artistic Director

BROSVIK President & CEO

BOARD OF TRUSTEES

ELECTED BOARD

Brian Greeff* Chair

Annette W. Jarvis* Vice Chair and Secretary

Joanne F. Shiebler* Vice Chair

Steven Brosvik* President & CEO

Austin Bankhead

Dr. Stewart E. Barlow

Judith M. Billings

George Cardon-Bystry

Gary L. Crocker

John D’Arcy*

David L. Dee

Barry L. Eden*

Jason Englund

Senator Luz Escamilla

Theresa A. Foxley

Brandon Fugal

Dr. Julie Aiken Hansen

Daniel Hemmert*

Dennis H. Hranitzky

Stephen Tanner Irish

Thomas N. Jacobson

Abigail E. Magrane

Judy Moreton

Dr. Dinesh C. Patel

Frank R. Pignanelli

Gary B. Porter

Shari H. Quinney

Miguel R. Rovira

Stan Sorensen

LIFETIME BOARD

William C. Bailey

Kem C. Gardner*

Jon Huntsman, Jr.

G. Frank Joklik

Clark D. Jones

Thomas M. Love*

David T. Mortensen

Scott S. Parker

TRUSTEES EMERITI

Carolyn Abravanel

Dr. J. Richard Baringer

Howard S. Clark

Kristen Fletcher

Richard G. Horne

Ronald W. Jibson

HONORARY BOARD

Jesselie B. Anderson

Kathryn Carter

R. Don Cash

Raymond J. Dardano

Geralyn Dreyfous

Dr. Shane D. Stowell

Thomas Thatcher

W. James Tozer

David Utrilla

Kelly Ward

Don Willie

Kim R. Wilson

Thomas Wright*

Henry C. Wurts*

MUSICIAN REPRESENTATIVES

Claudia Restrepo*

Barbara Ann Scowcroft*

EX-OFFICIO

Jean Vaniman

Onstage Ogden

David A. Petersen

Patricia A. Richards*

Harris Simmons

David B. Winder

E. Jeffery Smith

Lisa Eccles

Spencer F. Eccles

Dr. Anthony W. Middleton, Jr.

Edward Moreton

Marilyn H. Neilson

Stanley B. Parrish

Marcia Price

Jeffrey W. Shields, Esq.

Diana Ellis Smith

* Executive Committee Member

LOVE UNMASKED

By Michael Clive

What’s left to be said about the greatness of Mozart’s The Marriage of Figaro? Plenty. This opera has been modern for almost 240 years.

Love Unmasked

The Marriage of Figaro is often called the perfect opera. Figaro’s profundity and esthetic perfection make it catnip to musicologists; there is no better example of Mozart’s raising an existing classical form, in this case opera buffa, to a new level. Stock characters from the commedia dell’arte tradition—the wily soubrette, the aging lecher—became complex, fully realized human beings. Librettist Lorenzo Da Ponte, perhaps the greatest Italian poet of his time (though he labored in the shadow of the notorious Giacomo Casanova), introduced literary polish and innovations such as the use of dialect to indicate character. Then there is Mozart’s uncanny psychological insight, which captures the most complex nuances of inmost thought in outwardly sublime music.

All of these qualities could be ascribed in varying degrees to Mozart’s other operatic masterpieces. In fact, Mozart could never have achieved the greatness of this opera at age thirty without composing an earlier madcap romance in much the same mold, La finta giardiniera, a decade earlier. In this earlier work, based on a popular libretto, lovers chasing each other at crosspurposes not only go mad in their amorous pursuits, but even steal the keys to the madhouse. Compare this to the source of Figaro’s libretto, Beaumarchais’s La folle journée, ou le Mariage de Figaro—“The Mad Day, or the Marriage of Figaro.”

What made Figaro unique—and uniquely

dangerous—was its forthright engagement of the political moment. The progressive ideas of the Enlightenment hide within plain sight in the Beaumarchais plays upon which The Marriage of Figaro and The Barber of Seville are based, and Figaro in particular delivers a potent critique of social inequality and aristocratic entitlement. Three years and two months after its premiere at Vienna’s Burgtheater, French citizens were storming the Bastille in the name of liberté, egalité, fraternité

We see these ideas play out in the relationships of the two couples at the center of The Marriage of Figaro Romantically, they are Susanna and her fiancé Figaro along with the Countess Almaviva and her husband, the Count. But we also see them configured as employers and employees: the Count and his factotum/valet Figaro, the Countess and her maid/BFF Susanna. The complex mixture of trust, affection and workplace decorum we see between the Countess and Susanna demonstrates the Enlightenment ideals in action; in the Count, who is overbearing and abusive to his employee Figaro and everyone else, we see the corrupting influence of power and privilege. And in Figaro and Susanna, we see the Count’s and Countess’s younger selves.

Beaumarchais wrote Mariage as a sequel to his Le barbier de Séville, ou La précaution unutile (“The Barber of Seville, or the Useless Precaution”), a Comédie Française hit from 1775. It proved equally popular when finally presented to the public in 1784, six years after its completion— delayed because of problems with the French censors. Just as many of today’s operagoers know these characters through

Continued on page 15…

LOVE UNMASKED

Rossini’s The Barber of Seville, those of Mozart’s era knew them through Giovanni Paisiello’s earlier opera of the same name, which was introduced in 1782 and became wildly popular throughout Europe. After opening in Vienna in 1783, Paisiello’s Barber played simultaneously in five major theatres, making performances available in either German or Italian.

So Mozart’s and Da Ponte’s audiences were already well-acquainted with a younger, more appealing Count Almaviva. Dashing and energetic, he was willing to go to great lengths—even concealing his wealth and rank—to woo the lovely but wily Rosina, relying heavily upon the resourceful Figaro to help spirit her away from her tenacious guardian Dr. Bartolo. Now, just a few years after this romantic adventure, the Count seems transformed into a snarling, suspicious misanthrope who sees threats and personal injustices everywhere he looks. What’s eating this guy? Could it be a changing social order eroding the aristocratic entitlements he thought would go on forever? Certainly his sense of romance is not what it was. Once an ardent suitor, he has become a wolf on the prowl, ignoring his wife. Until now he was able to temper his appetites via the traditional droit du seigneur, the aristocratic prerogative of bedding young women engaged to be married. But succumbing to pressures of Enlightenment principles, he has recently renounced this privilege—earning a halfhearted choral tribute from the peasants of his estate near the end of Act I.

Though the Count is a man who would seem to have everything, he is an overbearing grouch who sees provocation at every turn. We can’t be sure what has made him that way in the years since he ardently wooed his Countess, Rosina, but

we can see that by now, nothing seems to satisfy him, and the prospect of losing an iota of privilege is taken as a personal assault. Small wonder that the French and Austrian censors were so nervous; this is a story that casts the servants as heroes and the Count as a villain.

Since the Count can no longer have his pick of the young girls about to be married on his estate, his pursuit of Susanna becomes all the more urgent. In facing his onslaught while preparing for her wedding, Susanna hardly has time to register her outrage, much less defend herself. But she is allied in friendship and service to the count’s wife—an asset that proves decisive for both. The two couples are thus perfect antagonists and perfect foils for each other: As we meet Susanna and Figaro, he could well be preparing for a trip to Home Depot or Lowe’s as he takes measurements in their assigned bedroom; for her part, Susanna seems caught between “Project Runway” and “Say Yes to the Dress” as she prods Figaro for his opinion on the wedding bonnet she’s sewing. They are the very picture of amorous domestic harmony, while the Count and Countess, who were once the same way, now live out the paradigm of a dysfunctional marriage.

The opera’s labyrinthine subplots support its egalitarian theme—for example, the scheming of the Countess’s onetime guardian Dr. Bartolo and his housekeeper, Marcellina. They contend that unless Figaro discharges a debt to Marcellina, he will have to marry her rather than Susanna; but at the last minute it is discovered, through the revelation of an identifying birthmark, that Figaro is actually their long-lost son (oops!). The debt is erased in a tearful reunion—along the chief impediment to Figaro and Susanna’s wedding—and a

moment of delicious farce casts serious light on Figaro’s social status, which is suddenly elevated.

Remarkably, though the Countess reigns over this opera buffa , she is not herself a comic character. Even with hilarity swirling around her, she remains a figure of dignity; her grace and sense of justice in the face of a tortured home life beguile us. She does not even appear in the opera’s first act, though her presence is felt every moment. By the time of her Act III monologue, culminating in the great aria “Dove sono,” all of the principals’ fates are in her hands: She has devised a long-shot plan to reform her husband by ensnaring him in an incriminating tryst with Susanna—though without actually imperiling her devoted maid and best friend. Simply stated, the two women will disguise themselves as each other and then confront the Count in the act of seduction, forcing the him to discover that his quarry is not Susanna, but his wife; in unmasking themselves, they unmask his nature.

In the Countess’s monologue we see not just the agony of her predicament but her strength of character in determining to resolve it. As her scheme takes shape, we

are reminded how the Countess has grown into her position in the world—an aristocrat by nature rather than by birth (in contrast with her abusive husband). No wonder the censors were worried.

It all works out as planned, in strict accord with the rules of romantic comedy. But does the Countess really regain her husband’s love? We know that she succeeds in publicly exposing him and that he responds by begging her forgiveness, which she bestows with tender composure, and the entire cast concludes that through her act, joy prevails for all. Do they mean it? Do we believe them?

Most listeners surely do. Textual commentary might suggest doubts, but when Mozart’s magically empathic music takes over, it seems certain that no one is beyond the reach of love’s redemptive power. The miracles of this opera are many: its unexcelled ensembles, its melodic richness, the brilliant interweaving of its voices and instruments, the heightening of its superbly plotted drama through Mozart’s unending abundance of musical means. But what ultimately sets The Marriage of Figaro apart from even Mozart’s other masterpieces is its intimate depiction of the human soul.

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UTAH OPERA

MOZART’S

THE MARRIAGE OF FIGARO

MARCH 9 (7:30PM), 11 (7:00PM), 13 (7:00PM), 15 (7:30PM), 17 (2:00PM)

JANET QUINNEY LAWSON CAPITOL THEATRE

Music by Wolfgang Amadeus Mozart

Libretto by Lorenzo da Ponte

Premiere – December 1786, Vienna

Previously at Utah Opera – 1989, 1999, 2009, 2016

Performed in Italian with English Supertitles

CAST

Figaro Adam Lau

Susanna ....................................................Madison Leonard

Doctor Bartolo ................................................ Matthew Burns

Marcellina Nina Yoshida Nelsen

Cherubino Mary Beth Nelson

Count Almaviva ............................................... Michael Adams

Don Basilio .................................................... Thomas Glenn

Countess Almaviva Katherine Whyte

Antonio Tshilidzi Ndou*

Don Curzio .................................................. Jeremiah Tyson*

Barbarina .................................................Jasmine Rodriguez*

Bridesmaids Charity Cooper & Kiersten Honaker

ARTISTIC TEAM

Conductor ............................................. Conner Gray Covington

Stage Director Tara Faircloth

Chorus Director & Assistant Conductor Sharon Bjorndal Lavery

Scenic Designer ............................................ Cameron Porteous

Costume Designer ....................................... Susan Memmott Allred

Lighting Designer Ben Rawson

Wig & Makeup Designer Amanda Mitchell

Principal Coach & Harpsichord Continuo Carol Anderson

Guest Coach ............................................... Taylor Burkhardt**

Chorus Pianist Laura Bleakley*

Assistant Director Colter Schoenfish

Stage Manager Kathleen Stakenas

Assistant Stage Manager ..................................Caitlyn Yvette Sandoval

Supertitle Musician ............................................. Mitchell Atencio

Scenery & properties provided by Arizona Opera, with original stage direction by Henry Akina

Original Lighting Design by Robert Thomson

Supertitle translation by Tara Faircloth

The performance run time is approximately 3:15 hours with one intermission

*Current Resident Artist

**Former Resident Artist

CAST / ARTISTIC TEAM

Michael Adams (Texas)

Count Almaviva

Most Recently at Utah Opera, The Barber of Seville

Recently:

The Marriage of Figaro, Austin Opera, Opera Omaha, Madison Opera

Madame Butterfly, Dallas Opera

Eugene Onegin, Così fan tutte, Seattle Opera

Silent Night, The Magic Flute, Alcina, Washington

National Opera

The Pearl Fishers, Gran Teatre del Liceu

Upcoming:

Carmen, The Metropolitan Opera

Susan Memmott Allred (Utah) Costume Designer

Most Recently at Utah Opera, La bohème

Recently:

Gianni Schicchi, On Site Opera

Tosca, Utah Opera

Upcoming:

La traviata, Pittsburgh Opera

Matthew Burns (Tennessee)

Doctor Bartolo

Most Recently at Utah Opera, The Daughter of the Regiment

Recently:

Le nozze di Figaro, Portland Opera

The Pirates of Penzance, Nashville Opera

Upcoming:

The Hours, The Metropolitan Opera

La bohème, Opera Colorado

Conner Gray Covington (Massachusetts)

Conductor

Utah Opera Debut

Recently:

Strauss’ Don Juan, Utah Symphony

Utah Symphony Associate Conductor

Upcoming:

Star Wars: Return of the Jedi, North Carolina Symphony

Tara Faircloth (Texas) Stage Director

Most Recently at Utah Opera, The Little Prince

Recently:

Pagliacci, Austin Opera

Semele, Wolf Trap Opera

Upcoming:

Don Giovanni, Arizona Opera

CAST / ARTISTIC TEAM

Thomas Glenn (Utah)

Don Basilio

Utah Opera Debut

Recently:

American Apollo, Des Moines Metro Opera

Hadrian, Canadian Opera Company

Manon, Opera Idaho

Our Town, Utah Festival Opera

Upcoming:

Canticle III, NOVA Chamber Music Series

Adam Lau (California)

Figaro

Most Recently at Utah Opera, The Barber of Seville

Recently:

La bohème, Opera Philadelphia

La traviata, The Metropolitan Opera

Upcoming:

Un ballo in maschera, San Francisco Opera

Sharon Bjorndal Lavery (New Jersey)

Chorus Director & Assistant Conductor

Most Recently at Utah Opera, The Little Prince

Recently:

Beethoven Symphony No. 9, Utah Symphony

La bohème, Utah Opera

Upcoming:

Utah Symphony | Utah Opera 2024–2025 Season

Madison Leonard (Utah)

Susanna

Most Recently at Utah Opera, The Daughter of the Regiment

Recently:

Rigoletto, Dallas Opera, Seattle Opera, Austin Opera

Der Rosenkavalier, Garsington Opera

Eugene Onegin, Così fan tutte, Seattle Opera

The Pearl Fishers, Austin Opera

Roméo et Juliette, Central City Opera

Upcoming:

Un giorno di regno, Garsington Opera

Rigoletto, English National Opera

Amanda Mitchell (Texas)

Wig & Makeup Designer

Most Recently at Utah Opera, The Barber of Seville

Recently:

Parsifal, Houston Grand Opera

Intelligence, Houston Grand Opera

Upcoming:

Don Giovanni, Houston Grand Opera

CAST / ARTISTIC TEAM

Tshilidzi Ndou (South Africa)

Antonio

Most Recently at Utah Opera, The Little Prince

Recently:

La bohème, Utah Opera

La tragédie de Carmen, Chautauqua Opera

Upcoming: Thaïs, Utah Opera

Nina Yoshida Nelsen (Indiana)

Marcellina

Most Recently at Utah Opera, Madame Butterfly

Recently:

Carmen, Indianapolis Opera

Alcina, Seattle Opera

Upcoming:

An American Soldier, Perelman Arts Center

Mary Beth Nelson (New York)

Cherubino

Utah Opera Debut

Recently:

The Amazing Adventures of Kavalier and Clay Workshop, The Metropolitan Opera Faust, Wolf Trap Opera

Upcoming:

Samson, Oratorio Society of New York

Cameron Porteous (Saskatchewan)

Scenic Designer

Utah Opera Debut

Recently:

Le nozze di Figaro, Portland Opera

Le nozze di Figaro, Calgary Opera

Ben Rawson (Georgia)

Lighting Designer

Most Recently at Utah Opera, The Flying Dutchman

Recently:

La Sylphide, Atlanta Ballet

The Moment is Imminent, BalletCollective, NYC

The Lehman Trilogy, Florida Studio Theatre

Upcoming:

Zelda in the Backyard, Alabama Shakespeare Festival

CAST / ARTISTIC TEAM / CHORUS

Jasmine Rodriguez (California)

Barbarina

Most Recently at Utah Opera, The Little Prince

Recently:

Current Utah Opera Resident Artist

Upcoming:

Thaïs, Utah Opera

Jeremiah Tyson (Texas)

Don Curzio

Most Recently at Utah Opera, The Little Prince

Recently:

Current Utah Opera Resident Artist

La bohème, Utah Opera

Katherine Whyte (New York)

Countess Almaviva

Utah Opera Debut

Recently:

Carmina Burana, Symphoria

Il re pastore, OrpheusPDX

Upcoming:

Poulenc’s Gloria, Greensboro Symphony

CHORUS

Soprano

Jenny Andrus

Kiersten Honaker

Julie McBeth

Carolyn TalboysKlassen

Alto

Charity Cooper

Natalie Easter

Paula Fowler

Melissa James

Tenor

Dyson Ford

Brynnen Green

Marcus Lee

Carl Wadsworth

Bass

Buddy Eyre

Thomas Klassen

Michael Moyes

Carson Smith

STORY OF THE OPERA

ACT I

Figaro and Susanna, the servants of Count and Countess Almaviva, are preparing for their imminent wedding. As Figaro measures their assigned quarters for a bed, Susanna reveals that she is being pursued by the Count despite her engagement to Figaro. Dr. Bartolo and Marcellina enter, conspiring to hold Figaro to a contract he made to marry Marcellina if he failed to pay back a loan. Next comes the pageboy Cherubino; he tells Susanna of his desire for all women, especially the Countess, just as the Count arrives. Cherubino hides and overhears Almaviva’s attempted seduction of Susanna. Don Basilio’s arrival forces the Count into hiding as well. The indiscreet Basilio talks of the Count’s love for Susanna and Cherubino’s love for the Countess. Enraged, the Count emerges from hiding, discovers Cherubino, and attempts to end the boy’s flirtatious ways with an army commission to be effective immediately.

ACT II

The Countess plots with Susanna to expose her husband’s philandering: Susanna will write the Count agreeing to a rendezvous, but they will send Cherubino in her place, dressed in women’s clothes. As they work together to disguise Cherubino in drag, the Count arrives and Cherubino hides in a nearby closet. The Count, hearing noises, suspects their ruse and leaves to fetch tools with which to break open the door. To escape, Cherubino leaps out the window while Susanna takes his place. When the Count returns and finds Susanna in the closet, he is forced to apologize. Figaro arrives, then the irate gardener Antonio, whose flowerbed was destroyed

by Cherubino’s leap. Figaro quickly claims that it was he who leapt from the window, but the Count is suspicious when Antonio produces Cherubino’s dropped army commission. Marcellina, Bartolo and Basilio burst in, demanding that Figaro honor the contract for marriage.

ACT III

Figaro stalls Marcellina by telling her that he is of noble birth and cannot marry without his parents’ consent. As proof he reveals a birthmark on his arm—whereupon Marcellina realizes that she and Bartolo have found their long-lost son. With the Count still intending to bed Susanna on her wedding night, she and the Countess come up with a plan to thwart him. To bait their trap, the Countess dictates a note for Susanna to pass the Count after the double-wedding of Susanna to Figaro and Marcellina to Bartolo.

ACT IV

Figaro encounters Barbarina, the gardener’s daughter, who inadvertently reveals that Susanna has received a message from the Count. Figaro assumes the worst, and decides to catch his errant wife when she arrives for her tryst in the garden. The Countess and Susanna appear in each other’s clothes, and a series of mistaken identities ensues. The Count attempts to seduce “Susanna,” who is actually the Countess in disguise. Figaro eventually realizes his wife is faithful and the Count is publicly embarrassed when he accuses Figaro of romancing his wife, only to find out it is Susanna. Chastened, he begs for the Countess’s forgiveness, which she bestows.

DOES THE MARRIAGE OF FIGARO TELL US THAT WOMEN ARE BETTER THAN MEN?

By Michael Clive

What a question! Your intrepid annotator wouldn’t dare pose it if a prominent Mozartean hadn’t already answered it. Peter Sellars, an avant-garde director of operas and films, received widespread attention for his updated productions of the Mozart-Da Ponte operas in the late 1980s. Of his 1988 production of The Marriage of Figaro, set in a 52nd-floor apartment in Trump Tower, The New York Times (December 14, 1990) noted that performances were “accompanied by the sounds of gnashing teeth among some music critics…” But Sellars, always an insightful observer of operatic drama, drew a laser-accurate bead on the characters in Figaro: for example, Cherubino as a sexcrazed adolescent who leaves his hockey gear lying around the penthouse; Antonio, Mozart’s and Da Ponte’s gardener, as a surly New York building superintendent; Dr. Bartolo as a professor at Columbia University; Marcellina as manager of an ultra-chic boutique.

I had a chance to ask Sellars about all this in 1995, when he set an equally flamboyant production of The Magic Flute in an underground garage at Los Angeles International Airport. “Of course,” he told me—as if stating the obvious—“Mozart and Shakespeare are constantly telling us that women are superior to men.” In conversation, as well as on stage, Sellars shocks us into thinking. And in the case of Figaro, he makes a powerful argument: The Countess Almaviva is clearly framed as nobler and wiser than her husband, the count, and Figaro, though clever, is bested at every turn by his fiancée, Susanna. Indeed, the opera might well have been

called “The Marriage of Susanna;” she barely has a chance to leave the stage during the opera’s four musically demanding acts, and though constantly besieged on all sides, she never loses her aplomb.

In 21st-Century America we immediately recognize Count Almaviva for what he is: the bad boss, always grouchy, seemingly irritated by everyone and everything around him. In the days when the eventual countess first caught his eye and he resolved to woo her, Figaro was not just his employee but also his friend and cunning wingman, helping him work around Rosina’s guardian-cum-jailer, Dr. Bartolo. Now these former allies are rivals circling each other suspiciously, and somewhat angrily. Mozart, too, had direct experience with bad bosses—particularly with his sometime patron Colleredo, the Archbishop of Salzburg.

By contrast, Mozart gives the Countess two radiantly beautiful and psychologically penetrating arias, and in so doing he creates a portrait of a wonderful boss who is also a wise and deeply moral human being. Rosina and Susanna enact one of the most extraordinary sisterly relationships in opera, acting as both employer and employee while remaining the closest of friends. Note the depth of mutual understanding and sheer guts shared by these two women in Act III as the Countess dictates to Susanna the note upon which both their fates depend. Bosses don’t come any better than that. This is the beauty of spirit that moved author James M. Keller to say of Rosina that “…she fully lives up to her name: Almaviva—‘living soul.’”

UTAH SYMPHONY

Thierry Fischer Music Director Emeritus

Matthew Straw Assistant Conductor

David Robertson Creative Partner

Sharon Bjorndal Lavery Chorus Director

VIOLIN*

Madeline Adkins

Concertmaster

The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton

Kathryn Eberle

Associate Concertmaster

The Richard K. & Shirley S. Hemingway Chair

Laura Ha 2nd Associate Concertmaster

Claude Halter Principal Second

Wen Yuan Gu Associate Principal Second

Evgenia Zharzhavskaya Assistant Principal Second

Karen Wyatt 2nd Assistant Principal

Second

Sara Bauman~

Erin David

Joseph Evans

Lun Jiang

Rebekah Johnson

Tina Johnson~

Alison Kim

Amanda Kofoed~

Jennifer Kozbial Posadas~

Veronica Kulig

David Langr

Hannah Linz

Yuki MacQueen

Alexander Martin

Rebecca Moench

Hugh Palmer

David Porter

Lynn Maxine Rosen

Barbara Ann Scowcroft

Ju Hyung Shin

Bonnie Terry

Julie Wunderle

•• Second Violin

String Seating Rotates

VIOLA*

Brant Bayless

Principal

The Sue & Walker

Wallace Chair

Yuan Qi

Associate Principal

Emily Brown~

Julie Edwards

Joel Gibbs

Carl Johansen

Scott Lewis#

John Posadas

Leslie Richards~

Whittney Sjogren

CELLO*

Matthew Johnson

Acting Principal

The J. Ryan Selberg

Memorial Chair

Andrew Larson

Acting Associate Principal

John Eckstein

Walter Haman

Anne Lee

Louis-Philippe Robillard

Kevin Shumway

Hannah Thomas-Hollands~

Pegsoon Whang

BASS*

David Yavornitzky

Principal

Corbin Johnston

Associate Principal

Andrew Keller

Edward Merritt

James Stroup~

Jens Tenbroek

Thomas Zera

HARP

Louise Vickerman

Principal

FLUTE

Mercedes Smith

Principal

The Val A. Browning Chair

Lisa Byrnes

Associate Principal

Caitlyn Valovick Moore

PICCOLO

Caitlyn Valovick Moore

OBOE

Zachary Hammond

Principal

The Gerald B. & Barbara F. Stringfellow Chair

James Hall

Associate Principal

Lissa Stolz

ENGLISH HORN

Lissa Stolz

CLARINET

Tad Calcara

Principal

The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell

Erin Svoboda-Scott Associate Principal

Lee Livengood#

Chris Bosco~

BASS CLARINET

Lee Livengood#

Chris Bosco~

E-FLAT CLARINET

Erin Svoboda-Scott

BASSOON

Lori Wike

Principal

The Edward & Barbara Moreton Chair

Leon Chodos

Associate Principal

Jennifer Rhodes

CONTRABASSOON

Leon Chodos

HORN

Jessica Danz

Principal

Edmund Rollett Associate Principal

Jonathan Chiou

Julia Pilant~ Stephen Proser

TRUMPET

Travis Peterson

Principal

Jeff Luke Associate Principal

Seretta Hart~

Peter Margulies#

Paul Torrisi

TROMBONE

Mark Davidson** Principal

Sam Elliot

Acting Principal

Andrew Zaharis~ Acting Second Trombone

BASS TROMBONE

Graeme Mutchler

TUBA

Alexander Purdy Principal

TIMPANI

George Brown

Principal

Eric Hopkins Associate Principal

PERCUSSION

Keith Carrick

Principal

Eric Hopkins

Michael Pape

KEYBOARD

Jason Hardink

Principal

LIBRARIANS

Clovis Lark

Principal

Claudia Restrepo

ORCHESTRA PERSONNEL

Walt Zeschin

Director of Orchestra

Personnel

Hannah Thomas-Hollands Orchestra Personnel Manager

* String Seating Rotates

** On Leave

# Sabbatical ~ Substitute Member

657

INDIVIDUAL DONORS

Utah Symphony | Utah Opera is grateful to our generous donors who, through annual cash gifts and multi-year commitments, help us bring great live music to our community.

Gifts as of November 6, 2023

*in-kind donation ** in-kind & cash donations † deceased

MILLENNIUM ($250,000+)

Anonymous Kem & Carolyn Gardner Jacquelyn Wentz

ENCORE ($100,000 TO $249,999)

Scott & Jennifer Huntsman

Adrienne W. Larson†

Anthony & Renee Marlon

John & Marcia Price Family Foundation

BRAVO ($50,000 TO $99,999)

Frederick & Lucy Moreton

Estate of Linda & Donald Price

Patricia A. Richards & William K. Nichols

Harris H. & Amanda Simmons

Elizabeth Solomon

George Speciale

OVERTURE ($25,000 TO $49,999)

Frances Akita & Christine Sulser

Doyle Arnold & Anne Glarner

Thomas Billings & Judge

Judith Billings

Mr. & Mrs. Jim Blair

Bloomfield Family Foundation

Judy & Larry Brownstein

Michael & Vickie Callen

John & Flora D’Arcy

John H.† & Joan B.Firmage

John H. & Carol Firmage

Kristen Fletcher & Dan McPhun

David & Angela Glenn

Intuitive Funding

Tom & Lorie Jacobson

Thomas M. & Jamie Love

Mr. & Mrs. Charles McEvoy

Edward Moreton

James & Ann Neal

Mark & Dianne Prothro

Peggy & Ben Schapiro

Shiebler Family Foundation

Naoma Tate & the Family of Hal Tate

Jim & Zibby Tozer

Wheatley Family Charitable Fund

Theodore & Elizabeth Schmidt Foundation

Jonathan & Marisa Schwartz

Dewelynn & J. Ryan† Selberg

Stewart Family Foundation

Taft & Anne Symonds

Mr. Charles Boynton

John & Jean Yablonski

Edward & Marelynn† Zipser

INDIVIDUAL DONORS

MAESTRO ($10,000 TO $24,999)

Anonymous

Dr. J.R. Baringer & Dr. Jeannette J. Townsend

Dr. & Mrs. Clisto Beaty

Sue Bostrom

Berenice J. Bradshaw Trust

Judy Brady† & Drew W.Browning

Diane & Hal Brierley

Howard & Betty Clark

Joseph & Cathy Cleary

Dr. Kent C. DiFiore & Dr. Martha R. Humphrey

Kathleen Digre & Michael Varner

Pat & Sherry Duncan

Barry & Traci Eden

Mrs. Sarah Ehrlich

Matthew B. Ellis Foundation

Carolyn & Craig Enenstein

Midge & Tom Farkas

Robert & Elisha Finney

Brandon & Kristen Fugal

Brian & Detgen Greeff

Emily & Chauncey Hall

Douglas & Connie Hayes

Susan & Tom Hodgson

Mary P.† & Jerald H. Jacobs Family

Annette & Joseph Jarvis

G.Frank & Pamela Joklik

Jeanne Kimball

Mr. & Mrs. Christopher J.Lansing

Bill Ligety & Cyndi Sharp

Michal & Maureen Mekjian

Jed Millburn

The Millerberg Family Giving Fund

Harold W. & Lois Milner

Terrell & Leah Nagata

Leslie Peterson & Kevin Higgins

Frank R. Pignanelli & D’Arcy Dixon Pignanelli

Matthew & Tatiana Prince

Stephen & Cydney Quinn

Albert J. Roberts IV

James & Anna Romano

John F. Foley, M.D. & Dorene Sambado, M.D. Sandefur Schmidt

David & Christine Smith

Scott & Karen Smith

Shane & Stacey Stowell

Mr. & Mrs. G. B. Stringfellow

Steve & Betty Suellentrop

Thomas & Marilyn Sutton

James R. & Susan Swartz

Brad E. & Linda P. Walton

Kathie Zumbro

INDIVIDUAL DONORS

ALLEGRO ($5,000 TO $9,999)

Anonymous [7]

4Girls Foundation

Alan, Carol, & Annie Agle

Margaret & Grant Bagley

Austin & Kristi Bankhead

Kyle & Melissa Barnett

David Brown

William & Patricia Child

Larry Clemmensen

Marc & Kathryn Cohen

Mr. & Mrs. Kenneth R. Cutler

Anne Daigle & Rich Heyman

Ruth Davidson

John D. Doppelheuer M.D. & Kirsten A. Hanson M.D.**

Frank & Kathleen Dougherty

Carol & Greg Easton

Barbara & Melvin Echols

Karen & Earl Enzer

Jack & Marianne Ferraro

Tom & Carolyn Fey

Sarah Garrison

Diana George

Barbara Greenlee

David & SandyLee Griswold

Ray & Howard Grossman

Emma Hamilton & Brian Casper

Diane & Michael Hardink

Chuck & Kathie Horman

Sunny & Wes Howell

Jill Johnson

Brian & Nancy Kennedy

Allison Kitching

Michael & Peg Kramer

Gary & Suzanne Larsen

Daniel & Deena Lofgren

Dennis & Pat Lombardi

Christopher & Julie McBeth

Carol & Anthony W.

Middleton, Jr., M.D.

W.C. Moeller & Joanne Moeller

Dr. Louis A. & Deborah Moench

Vincent & Elizabeth Novack

Patricia Legant & Thomas Parks

Mr. & Mrs. James S. Pignatelli

Walter J. & Peggy Plumb

Quinn Family Charitable Foundation

Brooks & Lenna Quinn

Mitch & Shannon Rice

Richard & Carmen Rogers

Nathan & Shannon Savage

Daniel & Sari Schachtel

Barbara & Paul Schwartz

Mary & Doug Sinclair

Gibbs† & Catherine W. Smith

Sheryl & James Snarr

Sidney Stern Memorial Trust

Craig Stuart

Paul Taylor

Tim & Judy Terrell

Jaelee Watanabe

Mark & Debbie Weinstein

David & Jerre Winder

Douglas Wood

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999)

Anonymous [4]

Marcia Aaron

Craig & Joanna Adamson

Robert & Cherry Anderson

PJ Aniello

Pam & Paul Apel

Drs. Crystal & Dustin

Armstrong

Tina & John Barry

Charles & Jennifer Beckham

Lowell Bennion

Dr. Melissa Bentley

Alice & Bill Bierer

Céline Browning

Richard & Suzanne Burbidge

Mr. & Mrs. William D.

Callister

Dr.† & Mrs. Anthony Carter

Mark & Marcy Casp

Po & Beatrice Chang

Cindy Corbin

Rod Cullum

Thomas D. Dee III & Dr.

Candace Dee

Michael & Sheila Deputy

Matt & Nancy Dorny

Karey Dye

Hans & Nanci Fastre

James Finch

Karen Fletcher

Shawn & Karin Fojtik

Adele & James Forman

Linda Francis

Thomas & Darlis Fuller

Dixie & Joseph F. Furlong III

Robert & Annie-Lewis Garda

Larry Gerlach

Jeffrey L. Giese, M.D. & Mary E. Giese

Kenneth & Amy Goodman

Shari Gottlieb

Sue & Gary Grant

Dr. & Mrs. John Greenlee

Brad Hare MD & Akiko

Okifuji PhD

Jonathan Hart

Jeff & Peggy Hatch

INDIVIDUAL DONORS

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED

Nancy Ann Heaps

John Edward Henderson

Don Hendricks

Marian & Matt Hicks

Richard & Ruth Ann Hills

Dixie S. & Robert P. Huefner

Michael Huerta & Ann Sowder

Jay & Julie Jacobson

Drs. Randy & Elizabeth Jensen

M.Craig & Rebecca Johns

Chester & Marilyn Johnson

Maxine & Bruce Johnson

James R. Jones & Family

Neone F. Jones Family

Dr. Michael A. Kalm

Michael & Amy Kennedy

Howard & Merele Kosowsky

Deborah Lambert

Jeffrey LaMora

Nicole & David Langlie

Tim & Angela Laros

Franklin Lewis

Michael Liess

Abbot B. & Joan M. Lipsky Fund

John & Kristine Maclay

Steve Mahas

Keith & Vicki Maio

Heidi & Edward D. Makowski

Shasha & Brian Mann

Peter Margulies & Louise Vickerman

Kathryn & Jed Marti

Miriam Mason & Greg Glynnis

Dale & Carol Matuska

David & Nickie McDowell

Ted A. McKay

Karen & Mike McMenomy

Clayton McNeel

George & Nancy Melling

Cyrus & Roseann Mirsaidi

MJZR Charitable Trust

Michael Montgomery

Cory Moore

Glenn & Dav Mosby

Metta Nelson Driscoll

Elodie Payne

Lisa Poppleton & Jim Stringfellow

Sarah Ratchye

Glenn Ricart & Patricia Guenther

Lee Rippel

Kenneth Roach & Cindy Powell

Mr. & Mrs. Robert Rollo

Rebecca Roof & Gary Smith

Royall Family Charitable Fund

Rachel Sabin

Mark & Loulu Saltzman

Margaret P. Sargent

Diana Scardilli

Dru Schmitt

Lisa & Joel Shine

Christine St. Andre & Cliff Hardesty

Roberta Stanley

Ray & Ann Steben

Lauraine Stephen

Eddie Stone

Briant Summerhays

David O. Tanner

Douglas & Susan Terry

Sal & Denise Torrisi

Dr. Albert & Yvette Ungricht

Richard Valliere

Susan & David† Wagstaff

Grant Lippincott & Donna Walsh

Gerard & Sheila Walsh

Susan Warshaw

Renee & Dale Waters

Mr. & Mrs. J. Craig Weakley

Betsey & Scott Wertheimer

Kelly Whitcomb

Cindy Williams

Barry & Fran Wilson

Peter Zutty

INDIVIDUAL DONORS

FRIEND ($1,000 TO $2,499)

Anonymous [5]

Carolyn Abravanel

Christine A. Allred

Margaret Anderson

Joe Arnold

Dr. Ann Berghout & Dennis Austin

Graham Baker

Sue Barsamian

Vicki & Bill Bennion

C.Kim & Jane Blair

Diane Banks Bromberg & Dr. Mark Bromberg

Paula Bronson

Cambia Health Foundation

Dana Carroll & Jeannine

Marlowe Carroll

Mr. & Mrs. Fred L.

Carter, Jr.

Paul & Ruth Cherecwich

George & Katie Coleman

Dr. & Mrs. David Coppin

David & Carol Coulter

Jason & Kristin Covili

James Dashner

Margarita Donnelly

Dr. Paul Dorgan

Eric & Shellie Eide

Matthew Follett

Dr. Robert Fudge & Sylvia Newman

David & Sheila Gardner

Heidi Gardner

Roxanne Post-Gilbert

Ralph & Rose† Gochnour

Andrea Golding Legacy Foundation

Mr. & Mrs. Richard R.Graham

Keith Guernsey & Rebecca Burrage

Travis W. Hancock

Kenneth & Kate Handley

Helene Harding

LeeAnn Havner

Lex Hemphill & Nancy Melich

Barbara Higgins

Connie C. Holbrook

Caroline & David Hundley

Stephen Tanner Irish

Gordon Irving

Eldon Jenkins & Amy Calara

Rhett & Willow Jeppson

Bryce & Karen† Johnson

Nicholas Johnson

Mary Koch

Dr. Donald & Alice Lappe

Ms. Susan Loffler

Joel Longhurst

Patricia & Mark Lucas

David Luker

Shannon & Kirk Magelby

Jerilyn McIntyre & David Smith

Gary McNally

Warren K.† & Virginia G.McOmber

Jim & Nanette Michie

Dr. Nicole L. Mihalopoulos & Joshua Scoville

Janna L. Morrison

Barry & Kathy Mower

Garrett Murphy & Esther Jeehae Ahn

Dan & Janet Myers

Marilyn H. Neilson

Patrick O’Connell

Maura & Serge Olszanskyj

Stephanie Pappas

Dr. Marzia Pasquali & Ms. Nicola Longo

Dr. S. Keith & Barbara

Petersen

Cynthia Petrow

George Pilko

Steve Price

Frances Reiser

Marcia JS Richards

Gina Rieke

Diane & Dr. Robert Rolfs, Jr.

Nancy Rossman

F.Jayne Roth

Miguel Rovira

Gail T. Rushing

Ted & Lori Samuels

Grant H. Schettler

August Schultz

Frances & Ron Schwarz

Carl Sedlak

Roger & Connie Seegmiller

Gerald† & Sharon Seiner

Barbara Slaymaker

Kathia Dang & Sam Sleiman

Janette Smith

Dr. & Mrs. Michael H.Stevens

Emily Stewart

Jim Swayze

Brent & Lissa Thompson

Lori Turner

James Upchurch

Dr. Ralph & Judith Vander Heide

Dr. James C. Warenski

Stephen & Elizabeth Watson

Dan & Amy Wilcox

David B. & Anne Wirthlin

ENDOWMENT

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 801-869-9015.

Anonymous

Edward R. Ashwood & Candice A. Johnson

Gael Benson

C.Comstock Clayton Foundation

Estate of Alexander Bodi

The Elizabeth Brown Dee Fund for Music in the Schools

Lawrence T. & Janet T. Dee Foundation

Thomas D. Dee III & Dr. Candace Dee

Hearst Foundation

Estate of John Henkels

Roger & Susan Horn

Carolyn T. Irish

Revocable Trust

Estate of Marilyn Lindsay

The Right Reverend

Carolyn Tanner Irish† and Mr. Frederick Quinn

Loretta M. Kearns†

Vicki McGregor

Edward Moreton

Estate of Pauline C. Pace

The Linda & Don Price Guest Artist Fund

Perkins-Prothro Foundation

Kenneth† & Jerrie Randall

The Evelyn Rosenblatt

Young Artist Award

Bill & Joanne Shiebler

Steven P. Sondrop Family Trust

James R. & Susan Swartz

GIFTS MADE IN HONOR

Doyle Clayburn

Anne & Ashby Decker

Nancy & Eric Garen

Heather Weinstock

GIFTS MADE IN MEMORY

Fred Andersen

Jay T. Ball

John Bates

Earle Robert Bevins III

Danny Boy

Mariah Bradfield

Robert H. Burgoyne, M.D.

Orson Clay

Joan Coles

JoDeane Cruz

Esther Markey Davenport

Marlene Dazley

Jack Golden Edwards

Carolyn Hanks

Karen Johnson

Adrienne W. Larson

Lona Mae Stratford

Hyde Lauritzen

Morris Lee

Polly Lehwalder

Maxine & Frank McIntyre

Julie Palfreyman

Nancy & Gene Parry

Clark L. Tanner Foundation

Norman C. & Barbara L.

Tanner Charitable Trust

Norman C. & Barbara L.

Tanner Second Charitable Trust

O.C. Tanner Company

Estate of Frederic & Marilyn Wagner

M. Walker† & Sue Wallace

Jack & Mary Lois

Wheatley Family Trust

Edward & Marelynn† Zipser

Carol Zimmerman

Glade & Mardean Peterson

Maria A. Proser

Dan Ragan

Nedra S. Robison

Rodney Rougelot

Robert Sedgewick

Robert C. Sloan

Jayme Terran

Sheila Van Frank

James Edward Wright

INSTITUTIONAL DONORS

We thank our generous donors for their annual support of Utah Symphony | Utah Opera.

* in-kind donation ** in-kind & cash donation

$100,000 OR MORE

AHE/CI Trust

HJ & BR Barlow Foundation

The Church of Jesus Christ of Latter-day Saints Foundation

C.Comstock Clayton Foundation

Lawrence T. & Janet T. Dee Foundation

Marriner S. Eccles Foundation

George S. & Dolores Doré Eccles Foundation

Emma Eccles Jones Foundation

Frederick Q. Lawson Foundation

LOVE Communications**

$50,000 TO $99,999

Anonymous Dominion Energy

$25,000 TO $49,999

Arnold Machinery

Associated Food Stores

BMW of Murray/BMW of Pleasant Grove

Cache Valley Electric

Deer Valley Resort*

Goldman Sachs & Co. LLC

The Florence J. Gillmor Foundation

Goldman Sachs & Co. LLC

Marriott Residence Inn*

O.C. Tanner Company

Sorenson Legacy Foundation

Stowell Leadership Group, LLC*

O.C. Tanner Company

Zions Bank

Richard K. & Shirley S. Hemingway Foundation

The Kahlert Foundation

The John C. Kish Foundation

Charles Maxfield & Gloria F.Parrish Foundation

The Grand America Hotel & Little America Hotel*

Janet Q. Lawson Foundation

Perkins-Prothro Foundation

Joanne L. Shrontz Family Foundation

Simmons Family Foundation

Summit Sotheby’s

Nora Eccles Treadwell Foundation

INSTITUTIONAL DONORS

$10,000 TO $24,999

Altabank

B.W. Bastian Foundation

Brent & Bonnie Jean Beesley Foundation

Bertin Family Foundation

R.Harold Burton Foundation

Marie Eccles Caine FoundationRussell Family

Cultural Vision Fund

Joseph & Kathleen Sorenson Legacy Foundation

McCarthey Family Foundation

Opera America

Perkins-Prothro Foundation

S.J. & Jessie E. Quinney Foundation

Raymond James & Associates

The Joseph & Evelyn Rosenblatt Charitable Fund

St. Regis / Deer Crest Club**

Stay Park City

W.Mack and Julia S. Watkins Foundation

WCF Insurance

$1,000 TO $9,999

Anonymous

Black Physicians of Utah

Rodney H. & Carolyn Hansen Brady Charitable Foundation

Caffé Molise*

David Dee Fine Arts

Spencer F. & Cleone P. Eccles Family Foundation

The Fanwood Foundation Western Office

Grandeur Peak Global Advisors

The Helper Project

Holland & Hart**

J.Wong’s Thai & Chinese Bistro*

KKC Foundation

Kum & Go Charitable Fund

Lee’s Marketplace

Merit Medical Systems, Inc.

Parsons Behle & Latimer

Ray, Quinney & Nebeker Foundation

Red Rock Brewing Company*

Rocky Mountain Power Foundation

Ruth’s Chris Steak House*

Squatters Pub Brewery* Summerhays Music Center

Utah Symphony | Utah Opera would like to especially thank our major sources of public funding that help us to fulfill our mission and serve our community

ADMINISTRATION

ADMINISTRATION

Steven Brosvik

President & CEO

David Green

Senior Vice President & COO

Micah Luce

Director of Human Resources & Organizational Culture

Julie McBeth

Executive Assistant to the CEO

Marcus Lee

Executive Assistant to the COO

Natty Taylor

Human Resources Coordinator

OPERA ARTISTIC

Christopher McBeth

Opera Artistic Director

Sharon Bjorndal Lavery

Chorus Director & Opera Assistant

Conductor

Carol Anderson

Principal Coach

Michelle Peterson

Director of Production

Ashley Tingey

Production Coordinator

Sarah Scofield

Resident Artist, Mezzo - soprano, Sponsored by Charles Boynton

Jeremiah Tyson

Resident Artist, Tenor

Tshilidzi Ndou

Resident Artist, Baritone

Jasmine Rodriguez

Resident Artist, Soprano

Laura Bleakley

Resident Artist, Pianist

OPERA TECHNICAL

Sam Miller

Technical Director

Kelly Nickle

Properties Master

Dusty Terrell

Scenic Charge Artist

JR Orr

Head Carpenter/Shop Foreman

COSTUMES

Carol Wood

Costume Director

Marcos Ambriz

Costume Rentals & Stock Manager

Madi Halverstadt

Costume Rentals & Stock Assistant Manager

Milivoj Poletan

Master Tailor

Dawnette Dryer

Cutter/Draper

Molly Hartvigsen

First Hand

Julie Porter

Crafts Artisan

Melanie Lamb-Delgado Assistant Tailor

Mallory Goodman

Kathryn Wieland Stitchers

SYMPHONY ARTISTIC

Anthony Tolokan

Artistic Consultant

Walt Zeschin

Director of Orchestra Personnel

Hannah Thomas-Hollands

Orchestra Personnel Manager

Morgan Moulton

Artistic Planning Manager

Isabella Zini

Artistic Planning Coordinator & Assistant to the Music Director

Matthew Straw

Assistant Conductor

SYMPHONY OPERATIONS

Melissa Robison

Front of House Director

Chip Dance

Director of Production

Jen Shark

Operations Manager

Sarah Madany

Stage Manager

Christopher Danz

Assistant Stage Manager

DEVELOPMENT

Leslie Peterson

Vice President of Development

Garrett Murphy

Director of Development

David Hodges

Director of Institutional Giving

Calli Forsyth

Assistant Director of Institutional Giving

Katie Swainston

Individual Giving Manager

Lisa Poppleton

Grants Manager

Dallin Mills

Development Database Manager

Maren Holmes

Manager of Special Events

Ellesse Hargreaves

Corporate Engagement Manager

MARKETING & COMMUNICATIONS

Meredith Kimball Laing

Vice President of Marketing & Communications

Adia Thornton

Director of Marketing

Robert Bedont

Marketing Manager

Megs Vincent Communications Manager

Nina Starling

Website Content Coordinator

Emma Price

Marketing & Communications Coordinator

PATRON SERVICES

Faith Myers

Director of Patron Engagement

Jaron Hatch

Patron Services Manager

Toby Simmons

Patron Services Assistant Manager

Caitlin Marshall

Sales & Engagement Manager

Genevieve Gannon

Group Sales Associate

Lorraine Fry

Jodie Gressman

Michael Gibson

Sean Leonard

Ian Painter

Ananda Spike

Val Tholen

Rocky Porter

Salem Rogers

Chloe Toyn

Crystal Pryor

Ash Hipwell

Patron Services Associates

ACCOUNTING & INFORMATION TECHNOLOGY

Steve Hogan

Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Melanie Giles Controller

Jared Mollenkopf

Patron Information Systems Manager

Bobby Alger

Accounts Payable Specialist

Karine Mnatsakanyan

Payroll Specialist

EDUCATION

Ben Kipp

Director of Education & Community Engagement

Jessica Wiley

Symphony Education Manager

Kevin Nakatani

Opera Education Manager

Beth Foley

Education Coordinator

We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony |

Leave a Legacy Ensure the Future

MAKE A PLANNED GIFT TODAY

Annette W. Jarvis Vice Chair and Secretary USUO Board of Trustees Shareholder, Greenberg Traurig, LLP

music a part of Utah forever.”

“We took stock of what gifts we have in our power to grant to future Utahns and concluded that great live classical music will be one of the legacies we will support. We are grateful to the many generous donors who through thoughtful estate planning over the years have made it possible for us to be blessed by performances of the Utah Symphony | Utah Opera today. We are planning to help make this beautiful

-Annette & Joe Jarvis

Find out more:

Joseph Q. Jarvis M.D., M.S.P.H

801-869-9012 | usuo.org/planned-giving

Support Utah Symphony Utah Opera

JOIN OUR COMMUNITY OF DONORS

Utah Symphony | Utah Opera relies on donations from music lovers like you to fulfill our mission to connect the community through great live music. Your contribution supports extensive education programs, artistic excellence, and accessible musical experiences for all.

MAKE A DONATION ONLINE AT

USUO.ORG/GIVE

OR BY CALLING 801-869-9200

CRESCENDO AND TANNER SOCIETIES

“YOU ARE THE MUSIC WHILE THE MUSIC LASTS.”

~T.S. Eliot

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

For more information, please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012, or visit usuo.org/ planned-giving.

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

Joseph & Pat Gartman

Paul (Hap) & Ann† Green

Annette W. & Joseph Q. Jarvis

Edward R. Ashwood & Candice A. Johnson

Clark D. Jones

Turid V. Lipman

Herbert C. & Wilma Livsey

Richard W. & Frances P. Muir

TANNER SOCIETY OF UTAH SYMPHONY

Beethoven Circle (gifts valued at more than $100,000)

Anonymous (3)

Doyle Arnold & Anne Glarner

Edward R. Ashwood & Candice A. Johnson

Dr. J. Richard Baringer

Haven J. Barlow†

Dr. Melissa J. Bentley

Marcy & Mark Casp

Shelly Coburn

Raymond & Diana Compton

Mahler Circle

Anonymous (3)

Eva-Maria Adolphi

Dr. Robert H.† & Marianne

Harding Burgoyne

Mr. & Mrs. Kenneth E. Coombs

Paul (Hap) & Ann† Green

Robert & Carolee Harmon

Richard G. & Shauna† Horne

Virginia A. Hughes

Turid V. Lipman

Anne C. Ewers

Annette W. & Joseph Q. Jarvis

Flemming & Lana Jensen

James Read Lether

Daniel & Noemi P. Mattis

Anthony & Carol W. Middleton, Jr., M.D.

Robert & Diane Miner

Glenn Prestwich

Herbert C. & Wilma Livsey

Dianne May

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

Marilyn H. Neilson

Carol & Ted Newlin

Patricia A. Richards & William K. Nichols

Mr.† & Mrs. Alvin Richer

Jeffrey W. Shields

G.B. & B.F. Stringfellow

Dr. Ralph & Judith Vander Heide

Edward J. & Marelynn† Zipser

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

Mr.† & Mrs. M. Walker Wallace

Thomas A. & Sally† Quinn

Dan† & June Ragan

Mr. Grant Schettler

Glenda & Robert† Shrader

Mr. Robert C. Steiner & Dr. Jacquelyn Erbin†

JoLynda Stillman

Joann Svikhart

Edward J. & Marelynn† Zipser

ACKNOWLEDGMENTS

UTAH SYMPHONY | UTAH OPERA

123 West South Temple Salt Lake City, UT 84101 801-533-5626

EDITOR

Megs Vincent

HUDSON PRINTING COMPANY

www.hudsonprinting.com

241 West 1700 South Salt Lake City, UT 84115 801-486-4611

AUDITING AND ACCOUNTING SERVICES PROVIDED BY Tanner, llc

LEGAL REPRESENTATION PROVIDED BY Ballard Spahr Andrews & Ingersoll, llp Holland & Hart, LLP Jones Waldo

ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY Love Communications, Salt Lake City

ADVERTISING CREATIVE & BRANDING SERVICES PROVIDED BY Struck, Salt Lake City / Portland

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

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

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.