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CONTENTS
UTAH SYMPHONY SEPTEMBER/OCTOBER 2023
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15
Welcome
8
Board of Trustees
DVOŘÁK’S “NEW WORLD” SYMPHONY BARBER’S VIOLIN CONCERTO SEPTEMBER 15 & 16, 2023 / 7:30 PM
10
Utah Symphony
12
Season Sponsors
21 BEETHOVEN’S “EMPEROR” PIANO CONCERTO
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SEPTEMBER 22 & 23, 2023 / 7:30 PM
Donors
SEPTEMBER 22 / 10:00 AM / FINISHING TOUCHES
44
Acknowledgments
45
Administration
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RACHMANINOFF’S SYMPHONY NO. 2 & LISZT WITH PIANIST JOYCE YANG OCTOBER 20, 2023 / 7:30 PM OCTOBER 21, 2023 / 5:30 PM
@UtahSymphony
31 BEETHOVEN’S NINTH NOVEMBER 3 & 4, 2023 / 7:30 PM
Purchase tickets at utahsymphony.org or call 801-533-6683 Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.
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WELCOME
On behalf of the board, musicians, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and tonight’s concert. Throughout this past summer USUO performed great live music in a variety of locations that celebrate Utah’s natural beauty—at USUO’s official summer home of the Deer Valley® Music Festival, in outdoor venues along the Wasatch front, and throughout the state during our Music Elevated: Forever Mighty® State Tour. As the season changes and a new school-year begins, we are happy to return to our regular indoor venues, and to perform in schools throughout the state.
STEVEN BROSVIK President & CEO
Did you know that, in addition to the more than 100 subscription concerts and operas performed at USUO home venues, last year our artists presented more than 350 education performances designed specifically for students in schools and venues throughout the state? The people of our great state have long recognized the power of the arts to inspire the human spirit and to motivate the betterment of mankind. USUO reflects this value through a deep commitment to music education and strives to meaningfully impact every community in the state through our education and community engagement programs. Here in Abravanel Hall, we joyfully begin a new season of Masterworks oncerts with four programs, each including audience-favorite works led by world-class guest conductors and featuring extraordinary soloists (beginning with Utah’s home-grown violin star Aubree Oliverson) with the exceptional musicians of our orchestra. Whether you’re joining us for our annual Celebración Sinfónica, for one of our cinematic films in concert, or for one of the incomparable Masterworks concerts, we guarantee you will leave the concert hall enriched through the shared experience of great live music! Sincerely,
BRIAN GREEFF Board of Trustees Chairman
6
UTAHSYMPHONY.ORG / (801) 533-NOTE
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 Brad W. Merrill Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Miguel R. Rovira Stan Sorensen Dr. Shane D. Stowell
Naoma Tate Thomas Thatcher W. James Tozer David Utrilla Kelly Ward Don Willie Kim R. Wilson Thomas Wright* Henry C. Wurts*
Herbert C. Livsey, Esq. Thomas M. Love* David T. Mortensen Scott S. Parker David A. Petersen
Patricia A. Richards* Harris Simmons David B. Winder
Kristen Fletcher Richard G. Horne Ronald W. Jibson
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
MUSICIAN REPRESENTATIVES Edward Merritt* Hugh Palmer* EX-OFFICIO Jean Vaniman Onstage Ogden
LIFETIME BOARD William C. Bailey Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones
TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Howard S. Clark
HONORARY BOARD Jesselie B. Anderson Kathryn Carter R. Don Cash Raymond J. Dardano Geralyn Dreyfous
* Executive Committee Member
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BACHAUER CONCERT SERIES 23⁄24
“Clarity, elegance, and abundant technique”
SESSION 120
– THE NEW YORK TIMES REVIEW OF ARISTO SHAM
SEP 29 7:30 PM AT THE ROSE
DARKNESS DESCENDS ARISTO SHAM PERFORMS RAVEL’S PIANO MASTERPIECE GASPARD DE LA NUIT BACHAUER SILVER MEDALIST
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UTAH SYMPHONY
Matthew Straw Assistant Conductor 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
VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair
OBOE Zachary Hammond Principal The Gerald B. & Barbara F. Stringfellow Chair
Yuan Qi Associate Principal
James Hall Associate Principal
Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Sjogren Leslie Richards~
Lissa Stolz
Claude Halter Principal Second
CELLO* Matthew Johnson Acting Principal The J. Ryan Selberg Memorial Chair
Wen Yuan Gu Associate Principal Second
Andrew Larson Acting Associate Principal
Erin Svoboda-Scott Associate Principal
Evgenia Zharzhavskaya Assistant Principal Second
John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah Thomas-Hollands~ Pegsoon Whang
Lee Livengood# Chris Bosco~
Karen Wyatt 2nd Assistant Principal Second 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
BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn 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
Jeff Luke Associate Principal Peter Margulies Paul Torrisi TROMBONE Sam Elliot Acting Principal
ENGLISH HORN Lissa Stolz CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
Laura Ha 2nd Associate Concertmaster
TRUMPET Travis Peterson Principal
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
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
PICCOLO Caitlyn Valovick Moore
•• Second Violin * String Seating Rotates
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** On Leave # Sabbatical
~ Substitute Member
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PHOTO CREDIT: Ian Mower for Utah Symphony
George S. and Dolores Doré Eccles Foundation Board of Directors (l to r): Robert M. Graham , Spencer F. Eccles, Lisa Eccles
“NEW WORLD” SYMPHONY & BARBER’S
VIOLIN CONCERTO SEPTEMBER 15 & 16, 2023 / 7:30 PM Maurice Abravanel Hall
LUDOVIC MORLOT, conductor AUBREE OLIVERSON, violin
DVOŘÁK
MASTERWORKS SERIES
DVOŘÁK’S
Symphony No. 9 in E minor, Op. 95 From the New World I. Adagio - Allegro molto II. Largo III. Molto vivace IV. Allegro con fuoco
INTERMISSION
BARBER
Concerto for Violin and Orchestra, Op. 14 I. Allegro II. Andante III. Presto in moto perpetuo AUBREE OLIVERSON, Violin
RAVEL
CO N CER T S PO N SOR
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Boléro
CO N D UCTOR S PO N SOR
G U ES T A R TIS T S PO N S O R
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ARTISTS’ PROFILES
LUDOVIC MORLOT Conductor
Ludovic Morlot’s élan, elegance and intensity on stage have endeared him to audiences and orchestras worldwide, from the Berliner Philharmonic to the Boston Symphony. He was appointed Music Director of the Barcelona Symphony Orchestra in September 2021. He was Music Director of the Seattle Symphony (2011–2019), now Conductor Emeritus, and whilst there pushed the boundaries of
traditional concert programming, winning several Grammys. He has been Associate Artist of the BBC Philharmonic Orchestra since 2019. He was Artistic Director and a founding member of the National Youth Orchestra of China 2017–2021, conducting their inaugural concerts at Carnegie Hall and in China in 2017, and touring with them to Europe in 2019. From 2012–2014 he was Chief Conductor of La Monnaie, conducting new productions in Brussels and at the Aix Easter Festival— including La Clemenza di Tito, Jenůfa and Pelléas et Mélisande.
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Utah Symphony Half Page Sept 2023.indd 1
8/15/2023 2:59:43 PM UTAHSYMPHONY.ORG / (801) 533-NOTE
Violin
In demand as a concerto soloist, recent and forthcoming highlights for Aubree Oliverson include performances with the S.San Diego, Utah, Puerto Rico, Pacific, Columbus, Des Moines, New Haven, and Pasadena Symphonies, the Roma Tre Orchestra, and the Brno Philharmonic, in works by Bach, Mendelssohn, Bruch, Haydn, “SaintSaëns, Dvorak and Barber. In 2021, she joined the Louisiana Philharmonic for a
UTAHSYMPHONY.ORG / (801) 533-NOTE
two-week residency during which she performed Beethoven’s Violin Concerto as well as chamber music. In recital, having made her Carnegie Hall Weill Hall recital debut at age twelve, she has gone to perform to sold out audiences at the Grand Teton Music Festival, SOKA Performing Arts Centre, and the SCERA Centre for the Performing Arts, and has upcoming recitals in Rome, Los Angeles, and in Ridgecrest, California as part of Midori’s Partners in Performance Recital Series. She has featured on NPR’s From The Top numerous times.
ARTISTS’ PROFILES
AUBREE OLIVERSON
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HISTORY OF THE MUSIC
By Jeff Counts
Symphony No. 9 in E Minor, op. 95 (“From the New World”) Duration: 40 minutes in four movements. THE COMPOSER – ANTONÍN DVOŘÁK (1841–1904) – In the last years of the 1890s, Dvořák again began to look beyond Prague and entertain lucrative offers from abroad. There were trips to Moscow and St. Petersburg on the invitation of Tchaikovsky and a visit to England in 1890 for concerts and honorary degrees. One
Violin Concerto, op. 14 Duration: 25 minutes in three movements. THE COMPOSER – SAMUEL BARBER (1910–1981) – Barber is more beloved today than he was during his compositional heyday in the 1930s, ‘40s and ‘50s. It happens to many composers who are either ahead of or behind their time. Barber won two Pulitzer Prizes and earned commissions from prestigious soloists
Boléro Duration: 13 minutes. THE COMPOSER – MAURICE RAVEL (1875–1937) – Ravel did quite a bit of touring in 1920s and 1930s. The successes he enjoyed on the road made a very good impression at home even though, as always, he maintained a cool indifference to the evolving critical opinion of his countrymen. He visited Britain, two countries in Scandinavia, Spain, Italy and
year later, Dvořák was offered a position at the National Conservatory of Music in New York. America was country already greatly enamored of his music and the Conservatory leaders were intensely interested in his nationalistic voice as an artist. In a country without its own established musical identity, his example could have a powerful effect. Dvořák was fully aware of this hope and took the desires of his hosts quite seriously. Continued online…(See QR code.)
and orchestras, but his output was judged by many as hopelessly antique and out of touch. His lyrical, neo-Romantic voice stood at odds with the strong currents of contemporary European experimentalism at work on the American scene at the time. Ironically, many of the scores Barber produced during this period have had a longer life than any of the more adventurous works they were judged against. Continued online…(See QR code.)
Austria. One of his most productive trips was a four-month swing through America and Canada in 1928. In addition to visiting Niagara Falls, peering into the Grand Canyon and meeting Douglas Fairbanks (which whom he reportedly conversed in French), Ravel’s itinerary included several highly visible interviews and lecture appearances where he was particularly keen to discuss his fascination with American jazz and the blues. Continued online…(See QR code.)
TO VIEW THE FULL NOTES, PLEASE SCAN THE QR CODE. >>
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UTAHSYMPHONY.ORG / (801) 533-NOTE
“EMPEROR” PIANO CONCERTO SEPTEMBER 22 & 23, 2023 / 7:30 PM SEPTEMBER 22 / 10:00 AM / FINISHING TOUCHES Maurice Abravanel Hall
EDUARDO STRAUSSER, conductor MARIE-ANGE NGUCI, piano
MOZART BEETHOVEN
MASTERWORKS SERIES
BEETHOVEN’S
Overture to Don Giovanni, K. 527 Concerto No. 5 in E-flat Major for Piano and Orchestra, Op. 73, “Emperor” I. Allegro II. Adagio un poco mosso III. Rondo: Allegro MARIE-ANGE NGUCI, Piano
INTERMISSION
PROKOFIEV
CO N C ER T S PO N SOR
Symphony No. 5 in B-flat Major, Op. 100 I. Andante II. Allegro moderato III. Adagio IV. Allegro giocoso
G U EST A R TIST S PO N S O R THE
LINDA & DON PRICE GUEST ARTIST FUND
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ARTISTS’ PROFILES
EDUARDO STRAUSSER Conductor
The charismatic and energetic Brazilian conductor, Eduardo Strausser has gained a reputation for his intelligent programming and physical style on the podium. Eduardo opens the 2023–24 season with a new production of Tosca for Nothern Ireland Opera. Additional plans for the 2023-24 season include returns to Kansas City Symphony, City of Birmingham Symphony Orchestra, and Bamberger Symphoniker, as well as debuts with Utah Symphony, Royal Northern Sinfonia, Orchestre de Montpellier, Argovia Philhramonic.
MARIE-ANGE NGUCI Piano
Among the highlights of the two last season seasons, Marie-Ange Nguci was invited by such major orchestras as Orchestre de Paris, Konzerthausorchester Berlin, BBC Symphony Orchestra at Barbican Hall, Tonkünstler Orchestra for her Musikverein debut, Danish National Symphony Orchestra, Barcelona Symphony Orchestra, Symfonieorkest Vlaanderen on tour, Orchestre National de Lyon, Orchestre de Chambre de Paris at the Théâtre des Champs-Elysées, Orchestre National d’Île-de-France, as well as Lille, Bordeaux and Pau National Orchestras.
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Highlights of 2022–23 included returns to Antwerp Symphony, Fundacion Musical Simon Bolivar, West Australian Symphony Orchestra, Royal Philharmonic Orchestra for Messiah and debuts with New Zealand Symphony Orchestra, Sydney Symphony, Norrlandsoperan, the Halle Orchestra, and North Carolina Symphony. Eduardo has worked with a number of top soloists, including Paul Lewis, Isabelle Faust, Augustin Hadelich, Richard Galliano, Steven Osborne, Barnabas Kelemen and Sergei Krylov among others. A multi-linguist, Eduardo speaks eight languages fluently including; German, Italian, French, Spanish and Hebrew.
Her extensive repertoire ranges from baroque, classical, romantic to contemporary. Passionate about the music of our time, she has worked closely with composers such as Thierry Escaich, Bruno Mantovani, Graciane Finzi, Pascal Zavaro and Karol Beffa in preparing her interpretations of their works. Nguci was accepted into the Paris Conservatoire at the age of 13 in Nicholas Angelich’s class. She plays organ and cello, and spent a year studying conducting at Vienna’s Universität für Musik und Darstellende Kunst.
UTAHSYMPHONY.ORG / (801) 533-NOTE
Overture to Don Giovanni, K. 527 Duration: 7 minutes. THE COMPOSER – WOLFGANG AMADEUS MOZART (1756–1791) – Mozart met Lorenzo Da Ponte in late 1785. Da Ponte was a Venetian librettist who had already worked twice with Antonio Salieri and would go on to produce two dozen opera texts for various composers after Mozart died in 1791. The Salieri connection made Mozart extra anxious to
Piano Concerto No. 5 in E-flat Major, op. 73 (“Emperor”) Duration: 38 minutes in three movements. THE COMPOSER – LUDWIG VAN BEETHOVEN (1770–1827) – Vienna was under French bombardment and eventual occupation during the spring and summer of 1809. Beethoven, ironically, had turned down a position with Napoleon’s brother Jérôme a year earlier, but the Austrian royal family convinced him to stay in the capital Symphony No. 5 in B-flat Major, Op. 100 Duration: 46 minutes in four movements. THE COMPOSER – SERGE PROKOFIEV (1891-1953) – Prokofiev spent the war years in various safe havens that allowed him to remain productive as an artist but could not redeem his standing as a husband and father. In fact, when he evacuated from Moscow in 1941 Lina and the children, unwilling to ignore his infidelity with the poet Mira Mendelson,
collaborate with Da Ponte, if only to keep pace with a competitor, but Da Ponte’s legacy depended more on the match than Mozart’s. The librettist was close friends with none other than Giacomo Casanova (yes, that one) and had stood trial in 1779 for his own loose morals. Luckily, Da Ponte’s banishment from Venice led him to Vienna, where he eventually met Mozart and wrote the three libretti that we best remember him for today. Continued online…(See QR code.)
HISTORY OF THE MUSIC
By Jeff Counts
by offering a generous annual salary. Sadly, the comfort this allowance provided was short-lived. With French boots on the march, the Emperor’s court fled Vienna and took their beneficence with them. It was a decidedly unhappy time for the composer. The city was emptied of friends and opportunities for music-making, and the complete lack of contact he had with the rest of Europe caused his productivity to drop significantly. Continued online…(See QR code.)
stayed behind. Prokofiev spent the rest of the early 40s completing the first iteration of his magnum opus War and Peace while also attempting to master the delicate dance of Soviet approval. He returned home in 1944 with a full head of patriotic steam but suffered a fainting spell in January of 1945 that resulted in a serious concussion. He continued to work, even when he fell again (figuratively) from Party favor in 1948, but he was never the same. Continued online…(See QR code.)
TO VIEW THE FULL NOTES, PLEASE SCAN THE QR CODE. >>
UTAHSYMPHONY.ORG / (801) 533-NOTE
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A New Opera By: William Call
a girl from New York The year is 1886. Ruth Bowen, a young widow from New York City, makes her way with her mother-in-law Naomi to Utah where she encounters Benjamin Bowen, Naomi’s brother-inlaw and prominent Salt Lake City businessman/ polygamist. Ruth’s eastern fashions and New York City charm create a sensation, but before Benjamin is able to fulfill his “next-of-kin obligation,” he is forced to flee the city to avoid arrest for unlawful cohabitation.
Later Benjamin and Ruth attempt a rendezvous, which leads to Benjamin’s arrest and extended prison term. Still in prison Benjamin proposes marriage, but the Manifesto of 1890 stands in the way. Ruth takes a train home to New York City. Benjamin’s attempts to pursue her are circumvented. Fate has seemingly made their separation permanent, but then in an unexpected turn of events…
Attention Professional Vocal Artists: Auditions are solicited for a studio recording of this opera Audition submittal deadline October 31, 2023
For more information and to download audition materials
SCAN HERE
www.williamcall.net/ruth-auditions
SYMPHONY NO. 2 & LISZT WITH PIANIST JOYCE YANG OCTOBER 20, 2023 / 7:30 PM OCTOBER 21, 2023 / 5:30 PM Maurice Abravanel Hall
RUNE BERGMANN, conductor JOYCE YANG, piano
SAINT-SAËNS LISZT
MASTERWORKS SERIES
RACHMANINOFF’S
Danse macabre, Op. 40 Totentanz for Piano and Orchestra JOYCE YANG, piano
INTERMISSION
RACHMANINOFF
Symphony No. 2 in E minor, Op. 27 I. Largo - Allegro moderato II. Allegro molto III. Adagio IV. Allegro vivace
CO N D U CTOR S PO N SOR
UTAHSYMPHONY.ORG / (801) 533-NOTE
G U EST A R TIST S PO N S O R
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ARTISTS’ PROFILES
RUNE BERGMANN Conductor
Norwegian conductor Rune Bergmann is currently Music Director of Canada’s Calgary Philharmonic, Artistic Director & Chief Conductor of Poland’s Szczecin Philharmonic, and Chief Conductor of Switzerland’s Argovia Philharmonic, positions he has held since the 2017/18, 2016/17, and 2020/21 seasons, respectively. Guest engagements in the 2023/24 season bring Bergmann once again to the podiums of the Baltimore, Colorado and
JOYCE YANG Piano
Born in 1986 in Seoul, South Korea, Joyce Yang received her first piano lesson from her aunt at the age of four. She quickly took to the instrument, which she received as a birthday present. Over the next few years, Yang won several national piano competitions in her native country. By the age of ten, she had entered the School of Music at the Korea National University of
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Utah Symphony orchestras, and will see him debut with the Beethoven Orchestra Bonn, the Buffalo Philharmonic and the Sarasota Orchestra. Earlier in his career, Rune Bergmann served as First Kapellmeister and deputy-Music Director of the Theater Augsburg, where he led performances of numerous operas, including such titles as La Traviata, Der fliegende Holländer, and Die Fledermaus. He has also served as Principal Guest Conductor of the Kaunas City Symphony, and has been Artistic Director of Norway’s innovative Fjord Cadenza Festival since its inception in 2010.
Arts, and went on to make a number of concerto and recital appearances in Seoul and Daejeon. In 1997, Yang moved to the United States to begin studies at the pre-college division of the Juilliard School with Dr. Yoheved Kaplinsky. After winning the Philadelphia Orchestra’s Greenfield Student Competition, she performed Prokofiev’s Third Piano Concerto with that orchestra at just twelve years old. She graduated from Juilliard with special honor as the recipient of the school’s 2010 Arthur Rubinstein Prize.
UTAHSYMPHONY.ORG / (801) 533-NOTE
Danse macabre Duration: 8 minutes. THE COMPOSER – CAMILLE SAINTSAËNS (1835-1921) – Saint-Saëns left France briefly in March of 1871 to escape the violence of the Paris Commune but returned home just two months later to find the city full of nationalist zeal. While engaging deeply with the Parisian arts intelligentsia over the next couple of years, Saint-Saëns did something many who
Totentanz Duration: 16 minutes in one movement. THE COMPOSER – FRANZ LISZT (18111886) – In the early 1860s, the crushing disappointments of Liszt’s personal life forced him to seriously consider the solace and rigor of monastic life. He had lost a son and a daughter (both in their 20s) and had his proposed marriage to Princess Carolyne von Sayn-Wittgenstein
Symphony No. 2 in E minor, op. 27 Duration: 60 minutes in four movements. THE COMPOSER – SERGEI RACHMANINOFF (1873-1943) – Russia was a place of considerable social and political unrest in the years immediately following 1905. Rachmaninoff found it difficult to work during his country’s nascent attempt at revolution and sought professional refuge first in Pisa, Italy and later in Dresden. But
knew him considered unthinkable – he got married. It was not a happy union and both children born to Marie Truffot died young (one fell from a window, and the other contracted pneumonia). But as is so often the case in music history, great work comes from great pain. Saint-Saëns produced two of his most enduring scores during the courtship and short matrimony with Marie, the opera Samson et Delila and the orchestral tone poem Danse macabre. Continued online…(See QR code.)
HISTORY OF THE MUSIC
By Jeff Counts
thwarted by the Pope and the Tsar. It was all too much for a man of passion in his early 50s, so he sought dispensation (yes, from the very same Pope, who said yes in this case) to give himself fully over to his God. Though he never actually became a priest, he did officially enter the clergy’s lower orders on April 25, 1865, and was known as “Abbot” Liszt for the rest of his days. Continued online…(See QR code.)
it wasn’t only civil strife he was running from. Rachmaninoff was under professional pressure as well, thanks in part to the conducting position he held with the Bolshoi Opera since 1904 and two new stage works he composed for the company. He needed a break from all of it, and in Dresden he found enough peace and quiet to complete his 2nd Symphony. Given his previous experience with the genre, this was no mean feat. Continued online…(See QR code.)
TO VIEW THE FULL NOTES, PLEASE SCAN THE QR CODE. >>
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NINTH
NOVEMBER 3 & 4, 2023 / 7:30 PM Maurice Abravanel Hall
DAVID ROBERTSON, conductor SHARON BJORNDAL LAVERY, chorus director CELENA SHAFER, soprano DEBORAH NANSTEEL, mezzo CHAD SHELTON, tenor ZACHARY NELSON, baritone UTAH SYMPHONY CHORUS
BRUCKNER BERG
MASTERWORKS SERIES
BEETHOVEN’S
Christus factus est Act III from Wozzeck INTERMISSION
BEETHOVEN
Beethoven: Symphony No. 9 in D minor, Op. 125, “Choral”
I. Allegro ma non troppo, un poco maestoso II. Molto vivace III. Adagio molto e cantabile IV. Presto - Allegro assai - Allegro assai vivace
CO N CER T S PO N SOR
CONDUCTOR SPONSOR BRI A N & DETGEN GREEFF
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ARTISTS’ PROFILES
DAVID ROBERTSON Conductor
David Robertson— conductor, artist, composer, thinker, American musical visionary—occupies the most prominent podiums in opera, orchestral, and new music. He is a champion of contemporary composers, and an ingenious and adventurous programmer. Robertson has served in numerous artistic leadership positions, such as Chief Conductor and Artistic Director of the Sydney Symphony Orchestra, a transformative 13-year tenure as Music Director of the St. Louis Symphony Orchestra, with the Orchestre National de Lyon, BBC Symphony
CELENA SHAFER Soprano
After two summers as an apprentice at the Santa Fe Opera, the career of soprano Celena Shafer was launched to critical raves as Ismene in Mozart’s Mitridate, Re di Ponto. Since that breakthrough debut, Shafer has garnered acclaim for her silvery voice, fearlessly committed acting and phenomenal technique. Since first appearing with the Utah Symphony | Utah Opera as a high school
DEBORAH NANSTEEL Mezzo
“A formidable display of vocal power and dramatic assurance,” mezzo-soprano Deborah Nansteel made her début with The Metropolitan Opera as Alisa in Lucia di Lammermoor, her début with the Lyric 32
Orchestra, and, as protégé of Pierre Boulez, the Ensemble InterContemporain. In 2023, he made his first return to Sydney, and will begin a three-year tenure as the inaugural Creative Partner of the Utah Symphony and Opera. Since his 1996 Metropolitan Opera debut, Robertson has conducted a breathtaking range of Met projects, including the 2019–20 season opening premiere production of Porgy and Bess, for which he shared a Grammy Award, Best Opera Recording, in March 2021. In 2022, he conducted the Met Opera revival of the production, in addition to making his Rome Opera debut conducting Janáček’s Káťa Kabanová.
student, Shafer has performed operatic roles there including The Queen of the Night in The Magic Flute, Musetta in La Boheme, Constanze in The Abduction from the Seraglio, Rosina in Il barbiere di Siviglia, Gilda in Rigoletto, Norina in Don Pasquale, and Lisette in La Rondine. She was the 2014–15 season Artistin-Residence and recently has sung a New Year’s Eve Gala, Beethoven Symphony No. 9, Mahler Symphonies Nos. 2, 4, and 8, and the Mighty Five tour through Utah’s state parks, all led by Thierry Fischer.
Opera of Chicago as Gertrude in Roméo et Juliette, her Carnegie Hall début in Mozart’s Coronation Mass, and her New York Philharmonic début alongside Eric Owens in In Their Footsteps: Great African American Singers and Their Legacy. Nansteel will be seen with the Utah Symphony for Beethoven’s Symphony No. 9.
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Tenor
Chad Shelton is in demand as a concert soloist and has joined the Minnesota Orchestra for Mozart’s Requiem, Beethoven’s Symphony No. 9, Janáček’s The Diary of One Who Vanished, as well as the title role in concert performances of Candide. He has sung Siegel’s Kaddish with the Houston Symphony; Beethoven’s Symphony No. 9 with the Utah Symphony, Pacific Symphony, Phoenix Symphony, Rochester Philharmonic, and Colorado Music Festival and Mozart’s Requiem with
ZACHARY NELSON Baritone
The 2023-2024 season features a mix of role debuts and favorites for Zachary Nelson. During the summer of 2024 he debuts the role of Faninal in Der Rosenkavalier with Santa Fe Opera. Earlier in the season he makes several other
UTAHSYMPHONY.ORG / (801) 533-NOTE
the Mormon Tabernacle Choir; Verdi’s Requiem with the Brussels Philharmonic; Handel’s Messiah with the Virginia Symphony Orchestra and the Houston Symphony; and a gala concert of opera favorites with the Puerto Rico Symphony Orchestra. He is the recipient of a Richard Tucker Foundation Career Grant and the Richard F. Gold Career Grand from the Shoshana Foundation. He holds a Master of Music degree and Artist diploma from the Yale University School of Music and a Bachelor of Music degree from Louisiana State University.
ARTISTS’ PROFILES
CHAD SHELTON
returns: to Florentine Opera as Dulcamara in L’elisir d’amore; Atlanta Opera as Marcello in La bohème, and Arizona Opera as Leporello in Don Giovanni. In concert he joins David Robertson and the Utah Symphony for Beethoven’s 9th Symphony and the Act 3 of Berg’s Wozzeck, and appears with the Sag Harbor Song Festival in recital.
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HISTORY OF THE MUSIC
By Jeff Counts
Christus factus est Duration: 6 minutes. THE COMPOSER – ANTON BRUCKNER (1824-1896) – Bruckner’s devout Catholic faith is typically mentioned first among the attributes that made him the musician and person he was. He was surrounded by music and religion from the start in his provincial town, but too shy and unconfident to be a child prodigy. His father was an organist at the local church
Wozzeck: Act III Duration: 23 minutes in five scenes. THE COMPOSER – ALBAN BERG (18851935) – Like so many men of fighting age during the Great War, Berg did his part, even if his eternally frail constitution prevented him from ever experiencing combat. While he worked in the War Ministry of the Austro-Hungarian Army, Berg tried to maintain momentum on the projects he put on hold during the
Symphony No. 9 in D minor, op. 125 (“Choral”) Duration: 65 minutes in four movements. THE COMPOSER – LUDWIG VAN BEETHOVEN (1770-1827) – When nearing the completion of what was to be his final symphony, the 9th, Beethoven initially considered a premiere location outside of Vienna. At the time, he harbored significant displeasure with the Austrian capital’s lack of support for serious music in general, and
where his mother was a choir member, but little Anton didn’t begin to pursue music seriously until he was 11 (quite late by famous composer standards). Bruckner’s ensuing five years as a choirboy at St. Florian were formative, spiritually and compositionally, but the latter effect would not become obvious until much later, after he had spent many further years in service to his God as an organist. Just like dad. Continued online…(See QR code.)
global conflict. He had made a pretty loud splash in 1913 with performances of two of the Five Orchestral Songs, and the ensuing riot involving both performers and listeners (1913 was big year for concert hall fisticuffs, just ask Stravinsky) did nothing to tamp his experimental instincts. Berg had a few more controversial things to say through music, with the most profound of these statements waiting patiently on the tip of his pen. Continued online…(See QR code.)
his music in particular. No longer interested in his concerti, sonatas or symphonies, Beethoven believed, Viennese audiences were instead rushing to hear Rossini operas and other “light” populist fare. But he was wrong. When he made contact with promoters in Berlin regarding the 9th, word quickly spread in Vienna and his many admirers there presented him with letter of support that included a successful plea on behalf of the city and its audiences. Continued online…(See QR code.)
TO VIEW THE FULL NOTES, PLEASE SCAN THE QR CODE. >>
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Go beyond the stage and gain insights into the music with our PreConcert Talks featuring expert commentary as well as informal conversations with staff and artists. 45 minutes before each performance in the First Tier Room.
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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 longterm 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
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We thank our generous donors for their annual support of Utah Symphony | Utah Opera. * in-kind donation
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$100,000 OR MORE AHE/CI Trust HJ & BR Barlow Foundation C. Comstock Clayton Foundation The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation
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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.
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ACKNOWLEDGMENTS
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ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan
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DEVELOPMENT Leslie Peterson
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SYMPHONY ARTISTIC Anthony Tolokan Artistic Consultant
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SYMPHONY OPERATIONS Cassandra Dozet Senior Director of Operations
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TO PERFORM TO INSPIRE For over 40 years, the Utah Symphony has been welcoming nearly 20,000 fifth graders to Maurice Abravanel Hall for a specially curated program— it’s an experience designed just for them!
Have you heard of our ‘Opera-tunities’ night? Students are invited to attend the final dress rehearsal of each Utah Opera production at the Janet Quinney Lawson Capitol Theatre and experience this art form up close and personal.
Every year, USUO travels across the state for in-school performances reaching 600+ schools and nearly 100,000 students.
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