The Barber of Seville - March

COVER

THE BARBER OF SEVILLE ROSSINI’S

MARCH 14, 16, 18, 20, 22, 2020 JANET QUINNEY LAWSON CAPITOL THEATRE

Season Sponsor:

#UTAHOPERA

Experience Salt Lake City’s Finest

SENIOR LIVING COMMUNITY Independent Living • Assisted Living • Memory Care

Reference Promo Code ECCLVSH We will cover your moving expenses (up to $1,000 in value)

Schedule your visit today!

1212 E. Wilmington Avenue, Salt Lake City, UT 84106 | 801.486.6000 | legacyvillagesugarhouse.com

456 TROLLEY SQUARE SALT LAKE CITY, UTAH 84102 801.359.2020 www.thespectacle.com

THE RANGE OF BMW SPORTS ACTIVITY VEHICLES. EXPLORE YOUR PERFECT FIT.

At BMW, we believe you can have it all. Luxury, performance, safety. And room enough to take it with you. From the BMW X7 – the biggest BMW ever built – to the nimble BMW X3, there’s a Sports Activity Vehicle® for every need. Each available with BMW xDrive intelligent all-wheel-drive for optimum performance on any road or condition.

Take advantage of exceptional lease and finance offers on the BMW Sports Activity Vehicle that’s right for you.

© 2019 BMW of North America, LLC. The BMW name, model names and logo are registered.

CONTENTS PUBLISHER

Mills Publishing, Inc. PRESIDENT

THE BARBER OF SEVILLE ROSSINI’S

Dan Miller OFFICE ADMINISTRATOR

Cynthia Bell Snow ART DIRECTOR/ PRODUCTION MANAGER

Jackie Medina

27 PG.

Utah Opera The Barber of Seville, 2013; photo Dana Sohm

GRAPHIC DESIGNERS

Ken Magleby Patrick Witmer ADVERTISING REPRESENTATIVES

Paula Bell Dan Miller Paul Nicholas Chad Saunders ADMINISTRATIVE ASSISTANTS

Jessica Alder Caleb Deane EDITOR

Melissa Robison The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc.,772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801.467.8833 Email: advertising@millspub.com, Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © COPYRIGHT 2020

6 WELCOME 8 ARTISTIC DIRECTOR’S WELCOME 10 BOARD OF TRUSTEES 15 USELESS PRECAUTIONS 18 THE OLDEST STORY IN THE BOOK 24 SEASON SPONSORS 28 CAST / ARTISTIC STAFF / CHORUS 32 THE STORY OF THE BARBER OF SEVILLE 36 COMPOSER AND LIBRETTIST 39 UTAH SYMPHONY 40 DONORS 52 CRESCENDO & TANNER SOCIETIES 54 ADMINISTRATION 58 ACKNOWLEDGMENTS

PRELUDE LECTURES Prelude lectures by principal coach Carol Anderson offer insights before each Utah Opera production.

This introduction includes historical context, musical highlights, and a behind-the-scenes perspective.

@UtahOpera

UTAHOPERA.ORG / (801) 533-NOTE

Preludes are free with your opera ticket and begin one hour before curtain in the Capitol Room.

5

WELCOME 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 Rossini’s classic comedy The Barber of Seville.

Patricia A. Richards

Interim President & CEO

For more than 30 years, March has been celebrated around the nation as Music in Our Schools month. Sponsored by the National Association for Music Education, the initiative directs the nation’s attention to the powerful role that quality music programs play in the lives of young people and this year’s theme is Music Changes Lives.

Throughout each school year USUO’s Education programs provide to the citizens of Utah one of the most extensive arts education initiatives by a professional musical arts organization in the United States. For Utah Opera, these programs are provided by our Resident Artists— professional artists who tour the state presenting ageappropriate educational programming in Utah Schools nearly every day of the academic year.

In addition to performing in Utah’s Schools, our Utah Opera Resident Artists receive professional training and performing experiences while with the company.

These artists are among the best and brightest young singers and collaborative pianists beginning their operatic careers and we are delighted to feature each of them in productions throughout the season. We are also thrilled to showcase the return of former Utah Opera Resident Artist Sarah Coit (2015/16-2016/17) as tonight’s vivacious leading lady Rosina!

Thank you for joining us for this performance by Utah Opera. We hope that you will return in May for the Utah Opera debut of Jules Massenet’s Thaïs. The lush melodic score and spectacular vibrant scenery and costumes will truly provide a grand season finale!

Sincerely,

Thomas M. Love

Chair, Board of Trustees

6

UTAHOPERA.ORG / (801) 533-NOTE

DOW N TOW N SER I ES A new collection of vibrant, casual chamber concerts performed at The Monarch in Downtown Ogden.

Third Coast Percussion MARCH 3

PUBLIQuartet MARCH 31

Quarteto Nuevo APRIL 2

Eighth Blackbird

ONSTAGE OGDEN 801-399-9214 638 26TH STREET

APRIL 22

GRAMMY®-nominated PUBLIQuartet

$25 | ONSTAGEOGDEN.ORG

The Monarch | Royal Room | 455 25th Street. Ogden

ARTISTIC DIRECTOR’S WELCOME Dear Utah Opera friends and family, What a joy it is returning to operas that we know and love and, in particular, those which are a celebration of life and love. Rossini’s most famous opera, The Barber of Seville, definitely checks all of those boxes! The opera’s bubbly music and frothy comic story lines are a romp from the first note of the overture to the rousing finale. The music is ubiquitous, being played in concert halls, movie scores, and, yes, even in Bugs Bunny cartoons. However, it all started in the opera house and that is where Rossini’s score shines brightest.

Christopher McBeth

Artistic Director

Artists who specialize in Rossini’s bel canto style are notoriously difficult to find. Utah Opera has worked at identifying the artists for this presentation for several years and we are proud to present an outstanding cast. Playing the title role is Michael Adams who has performed with Utah Opera multiple occasions and become an audience favorite. As the witty and charming Rosina, Utah Opera Resident Artist alumna Sarah Coit makes a triumphant homecoming. Notable debuts include one of the most sought after tenors for Rossini roles, Matthew Grills, as Count Almaviva, and one of the finest singing actors today, Kevin Burdette, as Dr. Bartolo. One of our favorite conductors, Maestro Gary Thor Wedow, returns for his fifth time to lead this production from the podium.

If you’ve seen The Barber of Seville previously, I assure you that you are about to see it as never before.

Michael Shell’s colorful mid-20th century setting of this classic opera opens our eyes to see it in a wonderfully new way and makes the story even more vibrant.

Thank you for joining us and enjoy this performance.

Sincerely,

Join Christopher and special guests for an audience Q&A directly following each performance in the Capitol Room.

8

UTAHOPERA.ORG / (801) 533-NOTE

WOMEN OF NOTES UTAH SYMPHONY | UTAH OPERA CULTURAL FESTIVAL 2020

T

he year 2020 marks the 100th anniversary of the 19th Amendment to the United States Constitution and the 150th anniversary of the first vote under a women’s suffrage law, which happened in Salt Lake City. In recognition of these milestones, Utah Symphony | Utah Opera’s 2020 cultural festival will highlight the achievements of women and create opportunities for them in the field of classical music, particularly as composers and conductors.

Activities include performances of original works, artist presentations, and masterclasses.

SPECIAL EVENT: On March 28th, join a panel of professional conductors for a special workshop. The invitation is especially extended to women interested in conducting, but all genders of conductors are welcome.

The panelists will provide insights from their own careers and four participants will have the opportunity to prepare a portion of Tchaikovsky’s Symphony No. 5, conduct a Utah Youth Symphony rehearsal of it, and receive immediate feedback from our panel.

Sign up as an observer, or apply to be an active conducting participant at utahsymphony.org/ conducting-masterclass-reservation-form/ For more details and a full list of festival activities, go to utahopera.org/festival. #WomenOfNotes

SELECT FEATURED ARTISTS

Lisa DeSpain

Sarah Hicks

Stephanie Rhodes Russell

Michaella Calzaretta

Composer

Conductor

Conductor

Utah Opera Chorus Master

NAOMA TATE AND THE FAMILY OF HAL TATE

BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair

David L. Dee* Alex J. Dunn Brian Greeff* Senator Dan Hemmert Stephen Tanner Irish Thomas N. Jacobson Mitra Kashanchi Abigail E. Magrane Brad W. Merrill Robin J. Milne Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Miguel R. Rovira Naoma Tate Thomas Thatcher

W. James Tozer, Jr. Dr. Astrid S. Tuminez David Utrilla Kelly Ward Kim R. Wilson Thomas Wright* Henry C. Wurts

Clark D. Jones 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

Howard S. Clark Kristen Fletcher Burton L. Gordon Richard G. Horne

Ron Jibson E. Jeffery 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.)

*Executive Committee Member

Jesselie B. Anderson* Doyle L. Arnold* Joanne F. Shiebler* Vice Chairs Annette W. Jarvis* Secretary John D’Arcy* Treasurer Patricia A. Richards* Interim President & CEO Dr. Julie Aiken Hansen Judith M. Billings Gary L. Crocker

MUSICIAN REPRESENTATIVES

Julie Edwards* Andrew Larson* EX OFFICIO

Doyle Clayburn Utah Symphony Guild Mark Stratford Onstage Ogden

LIFETIME BOARD William C. Bailey Edwin B. Firmage Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik

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

10

UTAHOPERA.ORG / (801) 533-NOTE

Stage Arts

Unmatched Academic Results Come tour a campus and see for yourself!

An independent private school offering preschool through eighth grade

Farmington (801) 451-6565 1089 Shepard Creek Parkway

Sandy (801) 572-1910 10685 South 1000 East

Holladay (801) 278-4797 4555 South 2300 East

Lehi (801) 407-8777 3920 N. Traverse Mountain Blvd.

Salt Lake (801) 487-4402 1325 South Main Street

West Jordan (801) 565-1058 2247 West 8660 South

Š 2020, Challenger Schools Challenger School admits students of any race, color, and national or ethnic origin.

Stage Arts

Stage Arts

Open Your Home to Rave Reviews

Open your home to Rave Reviews! #openyourhomealaddin

SKYLIGHTS SUN TUNNELS schedule a free consultation find out about the 30% tax credit

Aladdin Skylights

150 West 2950 South • Salt Lake City • 801-486-1000 Aladdinskylights.com

Stage Arts

© 2019 Alan Blakely, All Rights Reserved

Come home to stunning.

Imagine stepping into your home and being swept away by the beauty, style, and charm of a perfectly designed space.

Our brilliant designers and stunning furniture selection are ready to help create the home you’ve always wanted.

801-892-3444

hamiltonparkinteriors.com 174 E Winchester, Salt Lake City, UT 84107 Monday – Saturday 10am – 6pm Friday 10am – 9pm Sunday Closed

USELESS PRECAUTIONS

By Jeff Counts

Disastrous premieres are a common theme in music history. The story of The Rite of Spring’s Paris premiere is as well known as the music itself these days and no performance is likely mounted without an accompanying essay on the “riot.” Embellished or not, it is one of the most wonderfully outrageous stories in the canon, one so celebrated it seems peerless. But The Rite of Spring was not the only work to quickly rise beyond its tragic impetus for civil unrest and achieve everlasting critical and popular fame. No, something quite similar happened nearly 100 years earlier…

Rossini was concerned from the start, and rightly so. His commission for a comic opera at the Teatro Argentina in Rome included, in addition to a very tight timeframe for completion, an unambiguous stipulation that he work with whatever libretto the company chose, be it “old or new.” They chose “old.” Rossini himself would not likely have selected the first play from the 18th century “Figaro Trilogy” of Pierre de Beaumarchais, principally because The Barber of Seville had already been given a few operatic treatments at that point, most importantly

by Giovanni Paisiello some decades before.

The Paisiello Barber, though no longer in the regular Italian opera rotation in 1815, was still viewed with great reverence in Rome and elsewhere in the country.

Rossini worried that his Barber might UTAHOPERA.ORG / (801) 533-NOTE

be read as a direct challenge to the old master’s greatest work. Not wishing to come off like a disrespectful upstart, Rossini supposedly wrote to the aging Paisiello and laid himself at the maestro’s feet, promising to tread lightly with his new version of the story and avoid any direct competition with the beloved “older” Barber. Paisiello supposedly gave Rossini his blessing and wished him every success. That might have been enough to assuage the fears of some, but Rossini took the further step of calling his new opera by its theatrical sub-title The Useless Precaution in hopes of staving off one-to-one comparisons. Ironically, these and other such “precautions” would prove useless indeed.

He worked quickly and finished the score in just under three weeks (possibly in as few as 13 days if Rossini’s own boasts on the issue are accepted). Some of the music was borrowed from his earlier operas but even with that head start, it was not at all uncommon for Rossini to produce great art in incredibly short periods. For the initial performance on February 20, 1816 Rossini made one last attempt to calm his nerves and beg preemptive forgiveness from his audience by including an introductory note in the printed libretto. The note makes the case for public understanding by both admitting the precarious position Rossini found himself in and offering a few technical reasons to accept The Useless Precaution as an earnestly new take on the source material. Liberally offered among the stated “differences” that Rossini hoped would distinguish his work as modern and unique are several sincere genuflections to Paisiello’s legacy. Reading the words today with knowledge of what came next makes one’s heart go out to poor Rossini. He tried so hard.

15

USELESS PRECAUTIONS Seated in the opera house on the night of the premiere were many supporters of Paisiello who were spoiling for agitation. Had he set this demonstration in motion? Regardless, they didn’t have to wait long. Rossini, in a rare moment of obliviousness, made his entrance into the pit clad in a gaudy Spanish-style coat. When the traditionalists saw this, the rout was on. Whistles and shouts of disapproval would attend him for the rest of the evening as one inconceivable mishap after another befell his production.

It was a string of comical bad luck that defies belief and begs the question, “Why hasn’t anyone written an opera based on the first performance of this opera?”

Rossini had apparently allowed his most famous cast member Manuel Garcia to replace the air Count Almaviva sings under Rosina’s window in Act I with a Spanish melody of his own selection, while accompanying himself on the guitar. While laboriously and torturously tuning his instrument on stage, he broke a string and was treated to a gale of laughter from the audience. The song had no chance after that, and it did not improve their behavior when it finally happened.

Figaro made his first entrance a bit later and, in what must have seemed like a very poor staging decision in retrospect, he too was carrying a guitar. More laughter. More whistling. More derision.

If only that was the end of it. An ensuing entrance by Don Basilio was marred by an inadvertently open trapdoor. He tripped, nearly broke his nose and was forced to sing his aria with a bloody handkerchief pressed to his face. When the finale of Act I mercifully arrived, a stray cat somehow found its way onto the stage and threatened to send 16

the audience into a collective seizure of morbid delight. Not one note of the music could be heard over the uproar.

Act II proceeded without disaster but by then it was far too late to save the night. Rossini was calm throughout and simply returned home to sleep when it was finally over. He wisely claimed to be “ill” for the second performance and was surprised to wake that night to find a torch-wielding mob approaching his door.

He had no way of knowing that, absent a predetermined atmosphere of protest, his music was greeted with immense praise and the crowd was coming for him with bravos, not pitchforks. Garcia (Count Almaviva) got to him first and tried to prepare Rossini for the gracious throng and convince him to address them. But the composer refused and sent the singer back out to deal with them instead.

According to Rossini, Garcia got plunked in the eye with an orange for his troubles.

Despite that last piece of rambunctiously thrown fruit, the tide of opinion had turned for good. Like The Rite of Spring, Rossini’s opera was destined for a rare kind of greatness thanks in small part to its origin story. The Useless Precaution soon became rightfully known as The Barber of Seville and none other than Verdi called it the greatest comic opera ever written. He was right when he said it and his opinion holds still.

Jeff Counts is General Manager of the Grand Teton Music Festival. He is program annotator and pre-concert lecture host for the NOVA Chamber Music Series and has been writing articles for Utah Opera for over 9 years.

Jeff is also one of the hosts for USUO’s Ghostlight podcast.

UTAHOPERA.ORG / (801) 533-NOTE

2020 Season June 1 - October 10

RICHARD III THE COMEDY OF ERRORS PERICLES THE PIRATES OF PENZANCE ONE MAN, TWO GUVNORS INTO THE BREECHES! DESPERATE MEASURES CYMBELINE SHAKESPEARE’S WORST!

800-PLAYTIX bard.org #utahshakes René Thornton Jr. as Henry Condell in The Book of Will, 2019

THE OLDEST STORY IN THE BOOK

By Michael Clive

Music by Gioachino Rossini (1792–1868) Libretto by Cesare Sterbini (1784–1831) Based upon the play Le Barbier de Séville

by Pierre Beaumarchais (1732–1799) Stop me if you’ve heard this one: a beautiful young girl and a good-looking young guy fall in love. But the girl is living under the care of a much older guardian who also has eyes for her…and for the money she stands to inherit when she marries. Unfortunately, the young girl can’t marry without her guardian’s consent; fortunately, her young suitor is also rich (though he’s disguised himself to conceal his wealth), and he knows just the man to help them thwart the old guardian’s intentions. That would be Figaro, the barber, jack-of-all-trades, and master manipulator who seems to be everywhere at once in the swinging city of Seville.

If this scenario has the resonance of a rom-com, it was no less familiar to the audience members in the premiere season of Rossini’s Il barbiere di Siviglia in Rome in 1816. Not only were all the characters well-established types recognizable from innumerable buffo-style operas; they were also known to the French theatergoers who attended the play that was the opera’s source, Beaumarchais’ Le Barbier de Séville thirty years earlier. After all, the Comédie-Française had stock characters that paralleled those of the Italian Commedia dell’arte.

18

The fact is, these characters know no season or country; you’ll recognize them if you’ve ever watched a romantic comedy on television or at the movies. In strictest opera buffa tradition, each role is identifiable by type in The Barber of Seville. We have our Colombina, in this case named Rosina—pert, attractive, wily, ready to do what it takes to get what she wants; Il Dottore, the doctor (Dr. Bartolo), who is Rosina’s guardian and is greedy, self-deluding, and too old for an ingenue; Rosina’s young suitor, who disguises himself as the typically bumbling soldier Il Capitano but is actually the dashing Count Almaviva; and the Brighella, the shrewd servant-cum-factotum, Figaro.

This form of operatic comedy reached its zenith in the 19th century, and was a staple of bel canto style. Rossini was the foremost composer of bel canto operas; in fact, he and his most prominent rivals in the form, Vincenzo Bellini and Gaetano Donizetti, were all born within seven years of each other (Rossini first, in 1792). Bel canto rules were strict for both composers and librettists: Solo arias and ensembles, which required beautiful melodies and opportunities for vocal display, had to be arrayed in the approved structure.

In comic operas, the characters hewed close to the archetypes handed down through generations of commedia dell’arte tradition—the Dottores, Colombinas, Brighellas and the like. More serious operas required a high moral purpose and more individualized characters of noble birth or character, often based on figures in history, legend, or myth.

You’re probably familiar with the spectacularly ornamented vocal lines in these operas, with roulades and flourishes that sound all but impossible to sing.

Almost two centuries after Rossini’s success in writing these operas, the UTAHOPERA.ORG / (801) 533-NOTE

#

#UTAHOPERA #SOMUCHDRAMA #MUSICEDMATTERS

@UTAHOPERA

THE OLDEST STORY IN THE BOOK music dramas, which required much more effort from both composer and listener. Rossini could toss off a comic opera in a matter of weeks, and over a period of approximately two decades produced an average of two per year, and in some years, as many as four. It was the success of these comedies that financed his luxurious retirement at age 40; a dedicated gourmand, he settled in Paris, where he was known in all the best restaurants. Operas like The Barber of Seville had made him the most famous composer in the world, even when he was no longer composing them.

Utah Opera The Barber of Seville, 2013; photo Dana Sohm

American diva Beverly Sills—herself a notable Rosina—quipped that sopranos in such roles would be rich if they were paid by the note. The very phrase bel canto, which simply means “beautiful singing,” has become synonymous with these vocal pyrotechnics, and understandably so.

They are thrilling to hear for their own sake, and technically difficult to master; the notes come thick and fast, and they must all be delineated with accuracy and without apparent strain, requiring a voice of extreme flexibility and phenomenal breath control.

Though Rossini also wrote many serious operas, including lengthy historical epics such as Semiramide and William Tell, his contemporary audiences clamored for his buffo comedies. To his chagrin, there was far less interest in his weightier

UTAHOPERA.ORG / (801) 533-NOTE

The premiere of The Barber of Seville, in Rome in 1806, was an unmitigated disaster. It was subverted by partisans of one of Rossini’s earlier rivals, the Rococo composer Giovanni Paisiello, whose 1782 version of the same Beaumarchais play had become 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. But Rossini’s version soon eclipsed it, and today Paisiello’s work is rarely performed, while Rossini’s has only grown in popularity over the years. Today The Barber of Seville is recognized as one of the greatest of all musical comedies in Western theater, and is sometimes described as the ultimate opera buffa.

How could it be otherwise with such delicious music and madcap comedy, irresistible and ageless? For those rare singers who are blessed with both comic acting ability and coloratura chops, Barber is a joy to perform, and we come away from the theater feeling that the cast has had as much fun onstage as we had watching and listening.

21

THE OLDEST STORY IN THE BOOK

Utah Opera The Barber of Seville, 2013; photo Dana Sohm

But there’s more to the success of this landmark comic opera. By taking Beaumarchais’ play as their source, Rossini and his librettist framed a politically provocative scenario within the confines of buffo tradition. Sterbini’s libretto is based on Le barbier de Séville, ou la Précaution inutile (“The Barber of Seville, or the Useless Precaution”). The progressive ideas of the Enlightenment hide within plain sight in Barber—not just in the egalitarian sympathies in the text, but also in Rossini’s brilliant musical rendering of the Brighella, Figaro. He is a true workingman’s hero.

Finally, there is the Mozart connection: Mozart’s The Marriage of Figaro is based on a later play by Beaumarchais, La folle journée, ou Le mariage de Figaro (“The Crazy Day, or The Marriage of Figaro”).

Politically it is even more daring, with UTAHOPERA.ORG / (801) 533-NOTE

its explicit critique of the aristocracy; in Mozart’s rendering, its balance between psychological character study and slapstick comedy is more complex. The characters and setting are the same, but our Colombina and her dashing suitor, now the Count and Countess Almaviva, have been married for years and are having marital problems. To keep it all straight, just remember: Rossini, who came later, wrote the “prequel”; Mozart, who came earlier, wrote the “sequel”.

Rossini, who venerated Mozart, had Figaro very much in mind when he depicted the characters in Figaro as their younger selves in Barber. And it’s likely he had Mozart’s masterpiece in mind when he expressed one of the greatest tributes any composer has ever offered another— calling Mozart “the inspiration of my youth, the despair of my maturity, and the consolation of my old age.”

23

SPONSORS UTAH OPERA SEASON SPONSOR

PRODUCTION SPONSOR

OPERA ARTISTIC DIRECTOR SPONSOR

EMMA ECCLES JONES FOUNDATION

LEADING LADY SPONSOR

PATRICIA A. RICHARDS & WILLIAM K. NICHOLS

SET & COSTUME SPONSOR

FREDERICK Q. LAWSON FOUNDATION

MONDAY PERFORMANCE SPONSOR

BMW OF MURRAY | PLEASANT GROVE

WEDNESDAY PERFORMANCE SPONSOR

DOMINION ENERGY

24

UTAHOPERA.ORG / (801) 533-NOTE

Utah Opera Season Sponsor | 2019-20

Enriching excellence in the arts in Utah for more than half a century.

Utah Opera’s The Little Prince, 2019 – Photo by Dana Sohm

Season Sponsor:

MONK! COURTESAN! TEMPTATION! MASSENET’S

THAÏS MAY 9–17, 2020

JANET QUINNEY LAWSON CAPITOL THEATRE

UTAHOPERA.ORG Programs and artists are subject to change.

THE BARBER OF SEVILLE ROSSINI’S

MARCH 14–22, 2020

JANET QUINNEY LAWSON CAPITOL THEATRE

Music by Gioachino Rossini (1792–1868) Libretto by Cesare Sterbini (1784–1831) Based upon the play Le Barbier de Séville by Pierre Beaumarchais (1732–1799) Sung in Italian Premiere: 1816 Previously at Utah Opera in 1980, 1987, 1996, 2006, 2013

CAST

Rosina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sarah Coit** Count Almaviva . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matthew Grills Figaro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Adams Don Basilio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brian Banion Doctor Bartolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Burdette Fiorello/Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brandon Bell* Berta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grace Kahl* ARTISTIC STAFF

Stage Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jimmy Featherstone Marcheso Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gary Thor Wedow Chorus Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michaella Calzaretta Set Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Shoko Kambara Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amanda Seymour Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Driscoll Otto Assistant Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Abigail Hoke-Brady Wigs and Make-up Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amanda Mitchell Principal Coach and continuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gregory Boyle Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aurelia Andrews Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Nictakis Assistant Stage Managers . . . . . . . . . . . . . . . . . . . . . . . Melissa Robilotta, Martin Alcocer Supertitle Technician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Taylor Burkhardt* Original Production by Michael Shell Scenery and Costumes produced by Opera Philadelphia and Opera Theatre of St. Louis Owned by Utah Opera and Austin Opera

*Current Utah Opera Resident Artist **Former Utah Opera Resident Artist

UTAHOPERA.ORG / (801) 533-NOTE

27

CAST Sarah Coit (Florida)

Rosina Most Recently at Utah Opera, Don Giovanni Former Utah Opera Resident Artist Recently: Carmen, Seattle Opera, Opera Tampa; Threepenny Opera, West Edge Opera; Le nozze di Figaro, Michican Opera Theatre Upcoming: Káťa Kabanová, West Edge Opera; The Copper Queen, Arizona Opera Matthew Grills (Connecticut)

Count Almaviva Utah Opera Debut Recently: Il barbiere di Siviglia, La cenerentola, Seattle Opera; Der Rosenkavalier, Metropolitan Opera; Don Pasquale, Berkshire Opera Festival Upcoming: L’elisir d’amore, Seattle Opera; La cenerentola, Nashville Opera Michael Adams (Texas)

Figaro Most recently at Utah Opera, Pagliacci/Gianni Schicchi Recently: Eugene Onegin, Così fan tutte, La cenerentola, Seattle Opera; Die Zauberflöte, Silent Night, Washington National Opera; Les pêcheurs de perles, Gran Teatre del Liceu Upcoming: L’elisir d’amore, Seattle Opera; Candide, Grand Théâtre de Genève Brian Banion (Ohio)

Don Basilio Utah Opera Debut Recently: Gianni Schicchi, Opera Columbus; L’elisir d’amore, Piedmont Opera; Il barbiere di Siviglia, Lyric Opera of Kansas City Upcoming: Beethoven Symphony No. 9, Great Lakes Chamber Orchestra; Resident Artist, Bay View Music Festival 28

UTAHOPERA.ORG / (801) 533-NOTE

CAST Kevin Burdette (Tennessee)

Doctor Bartolo Utah Opera Debut Recently: Candide, Gran Teatre del Liceu; Billy Budd, Central City Opera; The Exterminating Angel, Metropolitan Opera Upcoming: M. Butterfly (World Premiere), Il barbiere di Siviglia, The Santa Fe Opera; The Marriage of Figaro, Dallas Opera Brandon Bell (Virginia)

Fiorello/Officer Most Recently at Utah Opera, Silent Night Current Utah Opera Resident Artist Recently: La traviata, Utah Opera; Messiah, Utah Symphony; La bohème, West Bay Opera; Breaking the Waves, West Edge Opera; La fille du régiment, Opera Saratoga Upcoming: Thaïs, Utah Opera Grace Kahl (New York)

Berta Most Recently at Utah Opera, La traviata Current Utah Opera Resident Artist Recently: Apprentice Program, The Santa Fe Opera; The Little Prince, Utah Opera; Candide, Messiah, Utah Symphony; The Tender Land, Rusalka, Des Moines Metro Opera; Falstaff, Intermountain Opera Bozeman Upcoming: Thaïs, Utah Opera; Sweeney Todd, Fellow Travelers, Des Moines Metro Opera

UTAHOPERA.ORG / (801) 533-NOTE

29

ARTISTIC STAFF ARTISTIC STAFF Jimmy Featherstone Marcheso (California)

Stage Director Utah Opera Debut Recently: Mary Pleasant at Land’s End (World Premiere Workshop), San Francisco Conservatory of Music; Hansel and Gretel, San Francisco Opera; Italian Girl in Algiers, The Santa Fe Opera Upcoming: The Barber of Seville, San Diego Opera Partenope, San Francisco Opera Gary Thor Wedow (Indiana)

Conductor Most Recently at Utah Opera, Die Fledermaus Recently: Semele, Opera Philadelphia; La cenerentola, Seattle Opera; The Abduction from the Seraglio, Opera Omaha Upcoming: Giulio Cesare, Boston Lyric Opera; Platée, Des Moines Metro Opera Michaella Calzaretta (Iowa)

Chorus Master Most Recently at Utah Opera, Silent Night Recently: 2018–19 season, Utah Opera; We are Women, Utah Opera Chorus Upcoming: 2019–20 season, Utah Opera; Locust, Natural History Museum of Utah in collaboration with Utah Opera

30

UTAHOPERA.ORG / (801) 533-NOTE

ARTISTIC STAFF / CHORUS / SUPERNUMERARIES Shoko Kambara (New York)

Costume Design Utah Opera Debut Recently: The Prince of Players, Houston Grand Opera; The Little Mermaid, Arkansas Repertory Theatre; The Barber of Seville, Opera Philadelphia, Opera Theatre of St. Louis Don Pasquale, Juliard School Driscoll Otto (Texas)

Lighting Designer Most Recently at Utah Opera, Die Fledermaus Recently: The Golden Cockerel, The Santa Fe Opera; Lucia di Lammermoor, Virginia Opera; La donna del lago, Metropolitan Opera Amanda Mitchell (Texas)

Wig & Make-up Design Utah Opera Debut Recently: Wig & Makeup assistant, Houston Grand Opera; Wig Master, Houston Ballet; Stages Theatre; Alley Theatre CHORUS

Geoffrey Beckstrand Victor Castillo Chad DeMaris Buddy Eyre Dyson Ford Elijah Hancock

Thomas Klassen Gary Later Nelson LeDuc Edward Lopez Dale C. Nielsen Ricky Parkinson

Daniel Perez Lucas Henry Proctor Jacob Stucki Scott Tarbet

Michael Drebot Kru Van Gessel Stacey Hutchings Xendria Childs Hutchings Tanner McDaniel

Julia Rzepecka Benjamin Stanford Theresa Stanford Sam Shown

SUPERNUMERARIES

Tobin Atkinson Dominic Barsi Heidi Lynn Butterfly Gabriel Cabal Kjersten Danzig

UTAHOPERA.ORG / (801) 533-NOTE

31

THE STORY OF THE BARBER OF SEVILLE

Utah Opera The Barber of Seville, 2013; photo Dana Sohm

Act I: 90 minutes Intermission: 20 minutes Act II: 50 minutes Total: 2 hours 40 minutes ACT I

Seville. Count Almaviva comes in disguise to the house of Doctor Bartolo and serenades Rosina, whom Bartolo keeps confined to the house, beneath her balcony window. Figaro the barber, who knows all the town’s secrets and scandals, arrives. He explains to Almaviva that Rosina is Bartolo’s ward, not his daughter, and that the doctor intends to marry her. Figaro devises a plan: the count will disguise himself as a drunken soldier with orders to be quartered at Bartolo’s house so that he may gain access to the girl. Almaviva is excited and Figaro looks forward to a nice cash pay-off.

Rosina reflects on the voice that has enchanted her and resolves to use her considerable wiles to meet its owner, whom the count leads her to believe is a poor student named Lindoro. Bartolo 32

appears with Rosina’s music master, Don Basilio. Basilio warns Bartolo that Count Almaviva, who has made known his admiration for Rosina, has been seen in Seville. Bartolo decides to marry Rosina immediately. Figaro, who has overheard the plot, warns Rosina and promises to deliver a note from her to Lindoro.

Bartolo suspects that Rosina has indeed written a letter, but she outwits him at every turn. Angry at her defiance, Bartolo warns her not to trifle with him.

Almaviva arrives, creating a ruckus in his disguise as a drunken soldier, and secretly passes Rosina his own note.

Bartolo is infuriated by the stranger’s behavior and noisily claims that he has an official exemption from billeting soldiers. Figaro announces that a crowd has gathered in the street, curious about the argument they hear coming from inside the house. The civil guard bursts in to arrest Almaviva but when he secretly reveals his true identity to the captain he is instantly released.

Everyone except Figaro is amazed by this turn of events.

UTAHOPERA.ORG / (801) 533-NOTE

An Opera in Three Acts

El Curioso Impertinente (The Impertinent Curiosity) Spanish libretto is adapted from Miguel de Cervantes’ famous story of the same name as narrated in Don Quijote de la Mancha.

Music by William Call

Celena Shafer as Camila Demaree Brown as Leonela Jonah Hoskins as Lotario Christopher Holmes as Anselmo Stephen Pace as Narrator

Coming Soon!

A recording produced by Thunder Music Studio is nearing completion. williamcall.net

Curioso Op 6 - FINAL Feg 5 2020.indd 1

Goya: La maja vestida

2/10/20 8:41 AM

Exclusively at 331 S. Rio Grande St. #105 Salt Lake City, UT 84101 801.575.6525 RegencyRoyale.com

THE STORY OF THE BARBER OF SEVILLE ACT II

Bartolo suspects that the “soldier” was a spy planted by Almaviva. The count returns, this time disguised as Don Alonso, a music teacher and student of Don Basilio. He announces he will give Rosina her music lesson in place of Basilio, who, he says, is ill at home. “Don Alonso” tells Bartolo that he is staying at the same inn as Almaviva and has found a letter from Rosina. He offers to tell her that it was given to him by another woman, seemingly to prove that Lindoro is toying with Rosina on Almaviva’s behalf. This convinces Bartolo that “Don Alonso” is indeed a student of the scheming Basilio, and he allows him to give Rosina her music lesson. She sings an aria, and, with Bartolo dozing off, Almaviva and Rosina express their love.

Figaro arrives to give Bartolo his shave and manages to snatch the key that opens the doors to Rosina’s balcony.

Suddenly Basilio shows up looking perfectly healthy. Almaviva, Rosina, and Figaro convince him with a quick bribe that he is sick with scarlet fever and must

go home at once. While Bartolo gets his shave, Almaviva plots with Rosina to elope that night. But the doctor overhears them and furiously realizes he has been tricked again. Everyone disperses.

Bartolo summons Basilio, telling him to bring a notary so Bartolo can marry Rosina that very night. Bartolo then shows Rosina her letter to Lindoro, as proof that he is in league with Almaviva. Heartbroken and convinced that she has been deceived, she agrees to marry Bartolo. A thunderstorm rages.

Figaro and the count climb a ladder to Rosina’s balcony and let themselves in with the key. Rosina appears and confronts Lindoro, who finally reveals his true identity as Almaviva. Basilio shows up with the notary. Bribed and threatened, he agrees to be a witness to the marriage of Rosina and Almaviva.

Bartolo arrives with soldiers, but it is too late. Almaviva explains to Bartolo that it is useless to protest and Bartolo accepts that he has been beaten. Figaro, Rosina, and the count celebrate their good fortune.

UTAH OPERA

UTAH OPERA ACKNOWLEDGES OUR GENEROUS COMMUNITY PARTNERS

EVERY BLOOMING THING

TEXAS DE BRAZIL

SICILIA MIA

RANDY & JENI BATHEMESS

SWIRE COCA-COLA

FLORAL SEASON SPONSOR

CAST PARTY SPONSOR

VIP INTERMISSION RECEPTION SPONSOR

VIP INTERMISSION WINE SPONSOR

VIP INTERMISSION BEVERAGE SPONSOR

34

UTAHOPERA.ORG / (801) 533-NOTE

From Traditional Favorites To Fine Cuisine

SALTLAKE.LITTLEAMERICA.COM | 801.596.5704

COMPOSER AND LIBRETTIST GIOACHINO ROSSINI (1792–1868)

Known as Italian Opera’s Comic Genius and the leading opera composer of the first half of the 19th century, Gioachino Rossini was the master of simple melody and clear rhythm. Born in 1792 to a musical family—his father a trumpet player, his mother an opera singer—Rossini mastered the trade at an early age, writing his first opera at age 8 and becoming a national celebrity by the time he was 21-years-old.

From Venice to Milan, from Rome to Naples, Rossini gained a reputation for his notable style and his uncanny speed at producing operas.

Gioachino Rossini

Composer

Between 1808 and 1829, Rossini composed no fewer than 40 operas. Among his operatic successes are The Barber of Seville (1816), La Cenerentola (1817), La Gazza Ladra (1817), Semiramide (1823), and William Tell (1829). In 1822, Rossini settled in Paris and became the Royal Composer and Inspector General of Singing in France. Despite his enormous success—even the great Beethoven congratulated him on The Barber of Seville— Rossini stopped composing at the age of 37. Living off the wealth of his achievements, Rossini lived lavishly until his death on November 13, 1868. He was buried in Paris but 19 years later his remains were taken to be reinterred in the church of Santa Croce in Florence.

CESARE STERBINI (1784–1831)

Sterbini was an Italian writer and librettist with a deep knowledge of classical and contemporary culture, philosophy, linguistics, and was fluent in Greek, Latin, Italian, French and German. He is most known as the librettist for two operas by Gioachino Rossini: Torvaldo e Dorliska (1815) and The Barber of Seville (1816). An official in the Pontifical Administration, he also set poetry to music as an amateur. He died in Rome on 19 January 1831.

PIERRE-AUGUSTIN CARON DE BEAUMARCHAIS (1732–1799)

Cesare Sterbini

Librettist

36

Beaumarchais is the French author of The Barber of Seville and The Marriage of Figaro. Although Beaumarchais did not invent the type character of the scheming valet, his Figaro, hero of both plays, became the highest expression of the type. The son of a watchmaker, he invented an escapement mechanism.

UTAHOPERA.ORG / (801) 533-NOTE

Getaway at the Grand Make plans to escape the ordinary with our Grand Choice Package and receive a $100 credit to enjoy during your stay.

GRANDA MERICA .COM | 800.304.8696

UTAH SYMPHONY Thierry Fischer, Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Associate Conductor & Principal Conductor of the Deer Valley® Music Festival

Barlow Bradford

VIOLA*

PICCOLO

Principal The Sue & Walker Wallace Chair

OBOE

Brant Bayless

Symphony Chorus Director

Elizabeth Beilman

VIOLIN*

Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Leslie Richards†† Whittney Thomas

Madeline Adkins

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

Kathryn Eberle

Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair

Ralph Matson†

Associate Concertmaster

David Porter

Acting Associate Concertmaster

David Park

Assistant Concertmaster

Claude Halter

Principal Second

Wen Yuan Gu

Associate Principal Second

Evgenia Zharzhavskaya Assistant Principal Second

Karen Wyatt•• Joseph Evans LoiAnne Eyring Laura Ha• Lun Jiang Rebekah Johnson# Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Ju Hyung Shin• Lynnette Stewart Bonnie Terry• Julie Wunderle • First Violin •• Second Violin

Acting Associate Principal

CELLO*

Rainer Eudeikis† Principal The J. Ryan Selberg Memorial Chair

Matthew Johnson Acting Principal

Andrew Larson

Acting Associate Principal

John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah Thomas-Hollands†† Pegsoon Whang BASS*

David Yavornitzky

Caitlyn Valovick Moore James Hall

Principal The Gerald B. & Barbara F. Stringfellow Chair

Robert Stephenson

Principal

Jeff Luke

Associate Principal

Peter Margulies# Paul Torrisi Alexander Pride†† TROMBONE

Lissa Stolz

Principal

Mark Davidson

ENGLISH HORN

Sam Elliot

CLARINET

BASS TROMBONE

Lissa Stolz

Tad Calcara

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

Erin Svoboda-Scott Associate Principal

Lee Livengood BASS CLARINET

Lee Livengood

E-FLAT CLARINET

Erin Svoboda-Scott BASSOON

Corbin Johnston

Principal The Edward & Barbara Moreton Chair

James Allyn Benjamin Henderson†† Edward Merritt Jens Tenbroek Thomas Zera

Travis Peterson

Associate Principal

Principal

Associate Principal

TRUMPET

Lori Wike

Leon Chodos

Associate Principal

Graeme Mutchler TIMPANI

George Brown Principal

Eric Hopkins

Associate Principal The Ted & Elizabeth Schmidt Chair PERCUSSION

Keith Carrick Principal

Eric Hopkins Michael Pape KEYBOARD

Jason Hardink Principal

LIBRARIANS

Clovis Lark Principal

Associate Principal

Katie Klich

Jennifer Rhodes

ORCHESTRA PERSONNEL

Louise Vickerman

CONTRABASSOON

Principal

Leon Chodos

Director of Orchestra Personnel

FLUTE

HORN

Andrew Williams

Principal The Val A. Browning Chair

Acting Principal

HARP

Mercedes Smith

Lisa Byrnes

Associate Principal

Caitlyn Valovick Moore * String Seating Rotates † On Leave

UTAHOPERA.ORG / (801) 533-NOTE

Edmund Rollett

Walt Zeschin

Orchestra Personnel Manager

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

# Sabbatical †† Substitute Member

39

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

This list includes donations received as of January 24, 2020. * in-kind donation

** in-kind & cash donations

† deceased

ENCORE ($100,000 OR MORE)

Estate of Donna Dell Kem & Carolyn Gardner

Anthony & Renee Marlon Patricia A. Richards & William K. Nichols**

Estate of Linda & Don Price Bill & Joanne Shiebler

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

Diane & Hal Brierley James A.† & Marilyn Parke Harris H. & Amanda Simmons

Naoma Tate & the Family of Hal Tate Jacquelyn Wentz

Jack Wheatley

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

Scott & Kathie Amann Doyle Arnold & Anne Glarner Judy Brady & Drew W. Browning Michael & Vickie Callen Barron Collier John & Flora D’Arcy

John & Joan Firmage Kristen Fletcher & Dan McPhun Tom & Lorie Jacobson Chuck & Crystal Maggelet Edward Moreton Fred & Lucy Moreton

Mark & Dianne Prothro Alice & Frank Puleo Estate of Mary Schofield Jim & Zibby Tozer John & Jean Yablonski Edward & Marelynn Zipser

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

Fran Akita A. Scott & Jesselie Anderson Dr. J.R. Baringer & Dr. Jeannette J. Townsend Thomas Billings & Judge Judith Billings Berenice J. Bradshaw Trust Judy & Larry Brownstein Rebecca Marriott Champion William & Patricia Child Howard & Betty Clark Larry Clemmensen Tom Coleman Pat & Sherry Duncan Dr. & Mrs. Ralph Earle Robert & Elisha Finney Thierry & Catherine Fischer** Martin & Jane† Greenberg Doug & Connie Hayes

40

Susan & Tom Hodgson Mary P.† & Jerald H. Jacobs Family G. Frank & Pamela Joklik Robert & Debra Kasirer Mr. & Mrs. Christopher J. Lansing Herbert† & Helga Lloyd Charles & Pat McEvoy Amanda & Spencer Millerberg Richard & Robin Milne Harold W. & Lois Milner Terrell & Leah Nagata Jim & Ann Neal William H. & Christine Nelson Leslie Peterson & Kevin Higgins Frank R. Pignanelli & D’Arcy Dixon

Stephen & Cydney Quinn David & Shari Quinney Albert J. Roberts IV Richard & Carmen Rogers Ted & Lori Samuels Elizabeth Solomon George Speciale Mr. & Mrs. G. B. Stringfellow Steve & Betty Suellentrop Thomas & Marilyn Sutton James R. & Susan Swartz Jonathan & Anne Symonds Norman C.† & Barbara L. Tanner Kathleen Digre & Michael Varner Howard & Barbara Wallack Kathie & Hugh Zumbro

UTAHOPERA.ORG / (801) 533-NOTE

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

Anonymous (6) Craig & Joanna Adamson Edward R. Ashwood & Candice A. Johnson Dr. & Mrs. Clisto Beaty Dr. Melissa Bentley David Brown Mr. & Mrs. Neill Brownstein Marc & Kathryn Cohen Dr. Thomas D. & Joanne A. Coppin Mr. & Mrs. Kenneth R. Cutler Patricia Dougall Eager Trust Spencer & Cleone† Eccles Midge Farkas Jack & Marianne Ferraro Thomas & Lynn Fey Blake & Linda Fisher Mr. & Mrs. Eric Garen** Diana George David & SandyLee Griswold** Ray & Howard Grossman Chuck & Kathie Horman

The Right Reverend Carolyn Tanner Irish & M. Frederick Quinn Annette & Joseph Jarvis Dale & Beverly Johnson Rick & Paulette Katzenbach James & Penny Keras Thomas Klassen & Carolyn Talboys-Klassen Gary & Suzanne Larsen Harrison & Elaine Levy Michael Liess Ms. Susan Loffler Tom & Jamie Love Hallie & Ted McFetridge Paul Meecham & Laura Leach Christopher & Julie McBeth Carol & Anthony W. Middleton, Jr., M.D. Joanne Mitchell Dr. Louis A. & Deborah Moench Dr. Thomas Parks & Dr. Patricia Legant

Dr. Dinesh & Kalpana Patel Brooks & Lenna Quinn W.E. & Harriet R. Rasmussen Joyce Rice Dr. Wallace Ring Peggy & Ben Schapiro Barbara & Paul Schwartz Suzanne Scott Thomas & Gayle Sherry Drs. John & Ann O’Neill† Shigeoka Stuart & Mary Silloway Dr. & Mrs. Charles W. Sorenson, Jr. Sidney Stern Memorial Trust Larry & Nancy Tallman Mr. & Mrs. Glen R. Traylor Thomas† & Caroline Tucker Albert & Yvette Ungricht M. Walker & Sue Wallace Paul Wattis Drs. Cornelia & Rasmus Wegener E. Woolston & Connie Jo Hepworth-Woolston

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

Anonymous (10) Robert & Cherry Anderson Pj Aniello Drs. Crystal & Dustin Armstrong Fred & Linda Babcock Robert Baker Robert & Melisse Barrett Tina & John Barry Charlotte & Hal Browning Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Michael & Christy Bush Vincent Cannella Dr.† & Mrs. Anthony Carter Mark & Marcy Casp Hannalorre Chahine Hal & Cecile Christiansen Larry & Judy Cohen George Coleman Raymond & Diana Compton Debbi & Gary Cook Sandra & David Cope UTAHOPERA.ORG / (801) 533-NOTE

David & Sherrie Gee Dr. Thomas D. & Joanne D. Coppin David & Donna Dalton Ken & Marcie Davis David & Karen Gardner Dee Thomas D. Dee III & Dr. Candace Dee Elizabeth deForest Margarita Donnelly John D. Doppelheuer & Kirsten A. Hanson Margaret Dreyfous Metta Nelson DriscollIn honor of Marie Nelson Bennett Carol & Greg Easton Mrs. Sarah Ehrlich Janet Ellison Kate Fauntleroy Adele & James Forman Mr. Joseph F. Furlong III Robert & Annie-Lewis Garda

Jeffrey L. Giese, M.D. & Mary E. Giese Andrea Golding Kenneth & Amy Goodman Arlen Hale C. Chauncey & Emily Hall Dr. Bradford D. Hare & Dr. Akiko Okifuji David & Judi† Harris Jeff & Peggy Hatch Don & Lisanne Hendricks Deborah & Steve Horton Sunny & Wes Howell Dixie S. & Robert P. Huefner Michael Huerta Jennifer Horne-Huntsman & Scott Huntsman Jay & Julie Jacobson Drs. Randy & Elizabeth Jensen M. Craig & Rebecca Johns Maxine & Bruce Johnson

41

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

Bryce & Karen† Johnson Neone F. Jones Family Dr. & Mrs. Michael A. Kalm Susan Keyes & Jim Sulat Jeanne Kimball Allison Kitching George Klopfer & Joy Simenonova Howard & Merele Kosowsky Les Kratter Guttorm & Claudia Landro Donald L. & Alice A. Lappe Lisa & James Levy Bill Ligety & Cyndi Sharp Estate of Marilyn Lindsay Daniel & Deena Lofgren Mr. & Mrs. Kit Lokey Dennis & Pat Lombardi Jeramy Lopez Gregg & Karen Lund Milt & Carol† Lynnes David & Donna Lyon Keith & Vicki Maio Heidi & Edward D. Makowski Jennifer Malherbe Peter Margulies & Louise Vickerman

Jed & Kathryn Marti Daniel & Noemi P. Mattis Dale & Carol Matuska Tom & Janet McDougal Michael & Julie McFadden Michal & Maureen Mekjian George & Nancy Melling Mr. & Mrs. Richard Mithoff Morgan Stanley Glenn & Dav Mosby Marilyn H. Neilson Stephen & Mary Nichols Thomas & Barbara O’Byrne Ruth & William Ohlsen O. Don & Barbara Ostler Chris Parker Dr. S. Keith & Barbara Petersen Robert Petkun Ray Pickup Victor & Elizabeth Pollak Dr. & Mrs.† Marvin L. Rallison Dr. Barbara S. Reid Dr. Kenneth Roach & Cindy Powell James & Anna Romano Marilynn Roskelley & Paul Dorius

Thomas Safran David & Lois Salisbury Mark & Loulu Saltzman Margaret P. Sargent James & Janet Schnitz Shirley & Eric Schoenholz William G. Schwartz & Jo Ann Givan Howard & Audrey Seares Dewelynn & J. Ryan† Selberg Mary & Doug Sinclair Ray & Ann Steben Paul Taylor Tim & Judy Terrell Richard & Janet Thompson Ann & Steven Tyler Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff John & Susan Walker Wesley Warren & Amber Hawkins-Warren Susan Warshaw Robert R. & Sue A. Webb Wells Fargo Bank Dan & Amy Wilcox Gayle & Sam Youngblood**

Anonymous (3) Madeline Adkins & John Forrest Susan Benson Harvey & Donna Birsner C. Kim & Jane Blair Roger & Karen Blaylock Mr. & Mrs. William D. Callister Mr. & Mrs. Lee Forrest Carter Dr. & Mrs. David Coppin Dorothy B. Cromer Pat & Nancy Forester Thomas Fuller Heidi Gardner Dr. & Mrs. John Greenlee Kenneth & Kate Handley John Edward Henderson Connie C. Holbrook Camille Huchton Mr. & Mrs. Jerry Huffman

Caroline & David Hundley Gordon Irving Eldon Jenkins & Amy Calara James R. Jones & Family Umur Kavlakoglu Carl & Gillean Kjeldsberg Robert & Karla Knox Eva Carlston Academy Mr. & Mrs. Melvyn L. Lefkowitz Miriam Mason Neylan McBaine & Elliot Smith Jerilyn McIntyre & David Smith Cheri Measom Dr. Nicole L. Mihalopoulos & Joshua Scoville Joe Mulvehill Sir David Murrell IV & Mary Beckerle Dan & Janet Myers

Lee K. Osborne Robert† & Catherine Pedersen Rori & Nancy Piggott Renee Y. Plumb Gina Rieke Francis Roth Gerald† & Sharon Seiner Barbara Slaymaker Dorotha Smart Gibbs† & Catherine W. Smith Christine St. Andre & Cliff Hardesty Douglas & Susan Terry Rachel Varat-Navarro Renee Waters Charles & Ellen Wells David & Jerre Winder Marsha & Richard Workman Carol Zimmerman

PATRON ($1,500 TO $2,499)

42

UTAHOPERA.ORG / (801) 533-NOTE

INDIVIDUAL SUPPORT FRIEND ($1,000 TO $1,499)

Anonymous (4) Christine A. Allred Clayton Anderson Dr. & Mrs. Jeffrey L. Anderson Ian Arnold David & Rebecca Bateman Randy & Jeni Bathemess E. Wayne† & Barbara Baumgardner Jennifer Beckham Michael Blum & Abigail Rose Diane Banks Bromberg & Dr. Mark Bromberg Janice Burk Lindsay & Carla Carlisle Dana Carroll & Jeannine Marlowe Carroll Po & Beatrice Chang & Family Michael & Beth Chardack Dr. & Mrs. Hal S. Cole William J. Coles & Joan L. Coles David & Carol Coulter Sandra Covey† Lawrence Dickerson James & Rula Dickson Kathleen & Frank Dougherty Alice Edvalson Eric & Shellie Eide

UTAHOPERA.ORG / (801) 533-NOTE

Robert S. Felt, M.D. James & Barbara T. Gaddis Quinn & Julie Gardner Bob & Mary Gilchrist Ralph & Rose Gochnour Mr. & Mrs. Richard R. Graham Sue Grant John & Ilauna Gurr Geraldine Hanni Conor Hanrahan Jonathan Hart Lex Hemphill & Nancy Melich Courtney Henley Craig & Tiffany Hess Brad Hintze Peggy Hudson Stephen Irish Chester & Marilyn Johnson Jill Johnson Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Mr. & Mrs. Bruce M. Lake Tim & Angela Laros Julie & John Lund Thomas & Mary McCarthey Edward J. & Grace Mary McDonough Clifton & Terri McIntosh Hal & JeNeal Miller Dr. Jean H. & Dr. Richard R. Miller

Henriette Mohebbizadeh Barry & Kathy Mower Renate B. Nebeker Oren & Liz Nelson Ruzena Novak Dr. & Mrs. Richard T. O’Brien Timothy & Lisa O’Brien Joseph J.† & Dorothy Moyle Palmer Linda S. Pembroke Joan C. Peterson Charles R. Pikler Thomas B. Pilger Dr. Richard & Frances Reiser Lousje & Keith Rooker Gerry & Ginny Rothstein Janet Schaap Sandefur Schmidt Mr. August L. Schultz Bianca Shepard Dennis & Annabelle Shrieve Mr. & Mrs. Isaac Stein Dr. & Mrs. Michael H. Stevens Mitch & Dawn Taubin Denise Torrisi Karen Urankar David H. & Barbara S. Viskochil Gerard & Sheila Walsh David B. & Anne Wirthlin

43

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 & stability of USUO, & through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9015.

Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation Thomas & Candace Dee

Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation Kenneth† & Jerrie Randall

The Evelyn Rosenblatt Young Artist Award Bill & Joanne Shiebler James R. & Susan Swartz Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner Company M. Walker & Sue Wallace

GIFTS MADE IN HONOR

Neill & Linda Brownstein Peggy Chase Dreyfous Paula Fowler Kem Gardner

Barbara Scowcroft & Ralph Matson Mrs. Barbara Nellestein Joanne & Bill Shiebler Grant Gill Smith

Dale Strobel Matthew & Maria Proser Whittney Thomas J. Brian Whitesides

GIFTS MADE IN MEMORY

Jay T. Ball Dawn Ann Bailey Marie Nelson Bennett Betty Bristow Robert H. Burgoyne, M.D. Doris Macfarlane Corry Kathie Dalton Robert Ehrlich Leah Burrows Felt Loraine L. Felton

44

Crawford Gates Lowell P. Hicks Dr. Gary B. Kitching M.D. Harry Lakin Julia Lawrence Frank & Maxine McIntyre Warren K. (Sandy) McOmber Dr. Richard George Middleton

Jack Newton Richard Perkins Glade & Mardean Peterson Norman B. Ross Shirley Corbett Russell J. Ryan Selberg Ann O’Neill Shigeoka, M.D. Robert C. Sloan Maxine Winn

UTAHOPERA.ORG / (801) 533-NOTE

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

This list includes donations received as of January 24, 2020. * in-kind donation

** in-kind & cash donation

$100,000 OR MORE

Anonymous The Church of Jesus Christ of Latter-Day Saints Foundation Lawrence T. & Janet T. Dee Foundation Dominion Energy George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation The Florence J. Gillmor Foundation

William Randolph Hearst Foundation Emma Eccles Jones Foundation Larry H. & Gail Miller Family Foundation O.C. Tanner John & Marcia Price Family Foundation Salt Lake City Redevelopment Agency Salt Lake County

Salt Lake County Zoo, Arts & Parks Shiebler Family Foundation Sorenson Legacy Foundation 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

$50,000 TO $99,999

Anonymous AHE/CI Trust The Grand America Hotel & Little America Hotel*

Kahlert Foundation Janet Q. Lawson Foundation

League of American Orchestras’ Futures Fund Utah Symphony Guild

$25,000 TO $49,999

Anonymous Arnold Machinery Brent & Bonnie Jean Beesley Foundation BMW of Murray/BMW of Pleasant Grove Carol Franc Buck Foundation Cache Valley Electric Chevron Corporation C. Comstock Clayton Foundation

UTAHOPERA.ORG / (801) 533-NOTE

Deer Valley Resort** Intuitive Funding Frederick Q. Lawson Foundation LOVE Communications ** McCarthey Family Foundation Montage Deer Valley** Moreton Family Foundation Charles Maxfield & Gloria F. Parrish Foundation

Simmons Family Foundation Stein Eriksen Lodge** STRUCK* Summit Sotheby’s Nora Eccles Treadwell Foundation

45

INSTITUTIONAL SUPPORT $10,000 TO $24,999

Adobe HJ & BR Barlow Foundation Big D Construction R. Harold Burton Foundation B.W. Bastian Foundation Caffé Molise* Marie Eccles Caine Foundation-Russell Family Cultural Vision Fund Daynes Music Company* Discover Financial Services Matthew B. Ellis Foundation Goldman Sachs & Co. LLC Grandeur Peak

Global Advisors Richard K. & Shirley S. Hemingway Foundation Johnson Foundation of the Rockies The John C. Kish Foundation National Endowment for the Arts Park City Chamber / Visitors Bureau Promontory Foundation S.J. & Jessie E. Quinney Foundation Regence BlueCross BlueShield of Utah

The Joseph & Evelyn Rosenblatt Charitable Fund Schmidt Family Foundation St. Regis / Deer Crest Club** University of Utah Health W. Mack & Julie S. Watkins Foundation WCF Insurance Wells Fargo Wells Fargo Foundation The Christian V. & Lisa D. Young Family Foundation

U TA H ’ S W E E K LY P O L I T I C A L R O U N D U P

NOW AVAILABLE AS A PODCAST

FRIDAYS 7:30PM

Stage Arts

We have the perfect…

Style, Selection & Value

for your Home!

Furniture | Electronics | Appliances | Flooring | Mattresses Open 11 Hours A Day • 6 Days A Week Monday-Saturday 10am – 9pm • Closed Sundays Shop online at rcwilley.com.

Stage Arts

THERE IS NO

QUESTION! JOIN TODAY AT WWW.UCREDITU.COM

The minimum balance required to open a Primary Savings account is $10.00. Federally insured by NCUA. Equal Housing Lender.

Stage Arts

In a Sea of Digital Advertising

STAND OUT!

With Playbill Advertising

Your Audience Awaits...

Email: info@millspub.com Website: millspub.com Phone: 801-467-8833

Photos: Image licensed by Ingram Image

For more information contact us.

Stage Arts

Direct Importer of the World's Finest Rugs

ExpErt rEstoration & consErvation • appraising Buy/tradE • traditional hand clEaning

Decorate your home with the finest rugs, including traditional, transitional and contemporary hand woven masterpieces from our extensive and unique collection.

at thE historic villa thEatrE

3092 South Highland Drive • Salt Lake City, Utah 84106 (801) 484-6364 • (888) 445-RUGS

INSTITUTIONAL DONORS $5,000 TO $9,999

Anonymous (2) The Aaron Copland Fund for Music, Inc. Deluxe Corporation Foundation The Dorsey & Whitney Foundation Every Blooming Thing George Restaurant* The Val A. Green & Edith D. Green Foundation Holland & Hart** Hyatt Centric Park City

John Williams Foundation Jones Waldo Park City J. Wong’s Thai & Chinese Bistro* KKC Foundation Kulynych Family Foundation II, Inc. Martine* Orem City CARE Tax Rancho Market Raymond James & Associates

Red Rock Brewing Company* Rocky Mountain Power Foundation Ruth’s Chris Steak House* Salt Lake City Arts Council Stay Park City* Texas de Brazil* U.S. Bank Foundation Union Pacific Foundation Utah Autism Foundation Utah Food Services*

Henry W. & Leslie M. Eskuche Charitable Foundation Inwest Title Service, Inc. M Lazy M Foundation

Morris Murdock Travel Snell & Wilmer Spitzberg-Rothman Foundation Squatters Pub*

Millcreek Coffee Roasters* Ray, Quinney & Nebeker Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Glenna & Lawrence Shapiro Family Foundation

Snow, Christensen & Martineau Foundation Summerhays Music Center* George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation

Adib’s Rug Gallery * Fanwood Foundation

Nebeker Family Foundation Swire Coca-Cola, USA*

$2,500 TO $4,999

Bertin Family Foundation Better Days Robert S. Carter Foundation CBRE

$1,500 TO $2,499

Anonymous (1) Castle Foundation City Creek Center Corning Incorporated Foundation D’Addario Foundation The Helper Project

$1,000 TO $1,499

Anonymous AC Hotel SLC/Downtown *

UTAHOPERA.ORG / (801) 533-NOTE

51

CRESCENDO & TANNER SOCIETIES

“YOU ARE THE MUSIC WHILE THE MUSIC LASTS.” ~T.S. ELIOT

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

Please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012 for more information, or visit our website at usuo.giftplans.org.

CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage

Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean† Henkels Edward R. Ashwood & Candice A. Johnson Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Richard W. & Frances P. Muir Marilyn H. Neilson

Carol & Ted Newlin Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Jeffrey W. Shields G.B. & B.F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser

TANNER SOCIETY OF UTAH SYMPHONY

Beethoven Circle (gifts valued at more than $100,000) Anonymous (3) Doyle Arnold & Anne Glarner Edward R. Ashwood & Candice A. Johnson Dr. J. Richard Baringer Haven J. Barlow Marcy & Mark Casp Shelly Coburn Raymond & Diana Compton Anne C. Ewers

Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane Miner Glenn Prestwich Kenneth A.† & Jeraldine S. Randall Mr.† & Mrs. Alvin Richer

Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffery & Joyce Smith G.B. & B.F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace

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 Thomas A. & Sally† Quinn Dan & June Ragan

Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart Frederic & Marilyn† Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser

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 Herbert C. & Wilma Livsey

†Deceased

52

UTAHOPERA.ORG / (801) 533-NOTE

Visit Utah’s premier Chinese & Thai Restaurant

Season 2 is out now!

Listen wherever you get your podcasts or at preachpod.org.

ADMINISTRATION ADMINISTRATION Patricia A. Richards

Conner Gray Covington

David Green

Associate Conductor & Principal Conductor of the Deer Valley® Music Festival

Julie McBeth

Symphony Chorus Director

Collette Cook

Director of Orchestra Personnel

Interim President & CEO Senior Vice President & COO Executive Assistant to the CEO Executive Assistant to the Sr. VP and COO & Office Manager

OPERA ARTISTIC Christopher McBeth Opera Artistic Director

Carol Anderson Principal Coach

Barlow Bradford Walt Zeschin

Andrew Williams

Orchestra Personnel Manager

Lance Jensen

Brooke Yadon

Chip Dance

Melissa Robison

Production & Stage Manager

Kate Henry

Operations Manager

Jeff F. Herbig

Kelly Nickle

Properties Manager & Assistant Stage Manager

Dusty Terrell

Artist Logistics Coordinator

Senior Technical Director Properties Master Scenic Charge Artist

COSTUMES Verona Green

Costume Director

Jessica Cetrone

Costume Rentals Supervisor

Kierstin Gibbs LisaAnn DeLapp Rentals Assistants

Amanda Reiser Meyer Wardrobe Supervisor

Milivoj Poletan Tailor

Tiffany Lent

Cutter/Draper

Donna Thomas

Milliner & Craftsperson

Sally McEntire Vanessa Startup Stitchers

Rachel Bennett Claire Jones Lesli Spencer

Wigs/Make-up Crew

Lyndsay Keith

Robyne Anderson

2nd Assistant Stage Manager

DEVELOPMENT Leslie Peterson

Vice President of Development

Jessica Proctor

Director of Institutional Giving

Olivia Custodio

Director of Individual Giving

Heather Weinstock

Director of Special Events & DVMF Donor Relations

Merry Magee

Marketing Manager - Patron Loyalty Sales Manager

Andrew J. Wilson Hallie Wilmes

Patron Services Assistant

Genevieve Gannon

Group Sales Associate

Sarah Pehrson Jackie Seethaler Powell Smith Sales Associates

Nicholas Barker Jill Dewsnup Lorraine Fry Naomi Newton Ian Painter Talia Ricci Ananda Spike Ticket Agents

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Karyn Cunliffe Controller

Alison Mockli

Payroll & Benefits Manager

Kyle Siedschlag

Nikki Orlando

Jared Mollenkopf

Development Operations Manager

Patron Information Systems Manager

Ali Snow

EDUCATION Paula Fowler

Grants Manager

Annual Fund Coordinator

Ellesse Hargreaves

Development Assistant

MARKETING & COMMUNICATIONS Jon Miles

Vice President of Marketing & Public Relations

Renée Huang

Anthony Tolokan

Kathleen Sykes

Vice President of Symphony Artistic Planning

Director of Patron Engagement

Lisa Poppleton

SYMPHONY ARTISTIC Thierry Fischer

Symphony Music Director

PATRON SERVICES Faith Myers

Patron Services Manager

Michaella Calzaretta

OPERA TECHNICAL Jared Porter

Website Content Coordinator

SYMPHONY OPERATIONS Cassandra Dozet

Program Publication & Front of House Director

Opera Production Coordinator

Nina Starling

Mara Lefler

Michelle Peterson

Opera Chorus Master

Marketing Manager - Audience Development

Executive Assistant to the Music Director Symphony Chorus Manager

Director of Orchestra Operations

Director of Production

Robert Bedont

Director of Communications & Digital Media

Accounts Payable Specialist

Director of Education & Community Outreach

Kyleene Johnson

Symphony Education Manager

Becca Gee

Opera Education Assistant

Annie Farnbach

Symphony Education Assistant

Digital Content Producer

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.

54

UTAHOPERA.ORG / (801) 533-NOTE

OUT OUT ON ON THE THE TOWN TOWN OUT ON THE TOWN

dining guide diningdining guide guide THE THENEW NEWYORKER YORKER60 60West WestMarket MarketStreet.

Street.SLC’s SLC’s premier premierdining diningestablishment. establishment.Modern ModernAmerican American MARTINE 22 East 100 South.

Exceptional ambience, MARTINE 22 East South.

Exceptional ambience, located in cuisine cuisineisisfeatured featured in100 inrefined refined dishes dishes and and approachable approachable located infood. a historic brownstone.

Martine Salt comfort From From classic classic totoinnovative, innovative, from acomfort historic food. brownstone.

Martine offers Salt Lake Cityoffers afrom sophisticated Lake City a sophisticated dining experience kept– simple. contemporary contemporary seafood seafood toConveniently toAngus Angus Beef Beef steaks steaks –the the dining experience kept simple. located on First South Conveniently located onfor First South around the corner menu menuprovides provides options options forevery every taste. taste.

Served Served ininaa around theelegant corner from the Eccles Theater.

Extensive bar andservice. wine from the Eccles Theater.

Extensive bar andservice. wine casually casually elegant setting settingwith withimpeccable impeccable service. service. martinecafe.com L,for T,corporate LL, RA,CC, CC,and VS. 801-363-9328 martinecafe.com L, D, T,D,corporate LL, RA, VS. 801-363-9328 Private Privatedining diningrooms rooms for 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 MARKET MARKET STREET STREET GRILL GRILL DOWNTOWN DOWNTOWN 48 48 SPENCER’S 255 South West Temple, SLC. Winner of Wine West West Market Market Street.

Street.

Unanimous Unanimous favorites favorites forseafood seafood Spectator’s Award of Excellence and Best of Statefor for Fine Dining, dining, dining,providing providingexceptional serviceand andaward awardwinning. enjoy locally sourcedexceptional Prime steaksservice and sustainable seafoodwinning. dishes The Thecontemporary contemporarymenu menufeatures featuresthe thehighest highestquality quality from Executive Chef Sebastian Lowrey.

Seasonal cocktails, inspired available. available.Select Selectfrom froman anabundant abundantoffering offeringofoffresh fresh desserts, flown and exceptional service your meal.

L,variety D, S, T, seafood seafood flown inindaily, daily,Angus Anguscompliment Beef Beefsteaks, steaks, and and aavariety ofof non-seafood non-seafood dishes. dishes.Open Open 7 7days daysaat aweek weekserving serving LL, RA, CC, VS. 801-238-4748 | Reservations Opentable.com breakfast, breakfast,lunch, lunch,dinner, dinner,Sunday SundayBrunch.

Brunch.B,B,L,L,D,D,C,C,AT, AT,S,S, LL, LL,CC, CC,VS. VS.801.322.4668 801.322.4668

MARTINE MARTINE22 22East East 100 100 South.

South.Award Award winning winning ambience, ambience, SQUATTERS PUB BREWERY 147 West Broadway located located ahistoric historic brownstone.

Martine Martine offers Salt SaltLake Lake SLC. Joininusinabefore and brownstone. after the show for eclecticoffers daily specials and City Cityaasophisticated sophisticated dining experience experience kept kept simple. simple.

Locally Locally traditional pub favoritesdining such as bacon topped meatloaf, pizzas and sourced sourcedingredients, ingredients,pre-event pre-event$25 $25three threecourse courseprix prixfixe. fixe. aExtensive deliciousbar array of burgers, all pairedmartinecafe.com with our world-class beer and Extensive barand and wine wineservice. service. martinecafe.com atmosphere.

L,801-363-9328 S, AT, LL, D, CC, VS. 801-363-2739 L,welcoming L,D,D,T,T,LL, LL,RA, RA,CC, CC,VS. VS.801-363-9328

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 Most MostPopular PopularRestaurant Restaurant –Zagat –Zagat

4848W.W.Market MarketStreet Street(340 (340South) South) 801.322.4668 801.322.4668 Complimentary appetizer or dessert with entrée 801.238.4748 | 255 S West Temple

• •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

B-Breakfast B-BreakfastL-Lunch L-Lunch D-Dinner D-Dinner S-Open S-Open SundayDL-Delivery DL-DeliveryT-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre Top: Image licensed

by Ingram ImageSunday LL-Liquor LL-LiquorLicensee LicenseeRR-Reservations RR-ReservationsRequired RequiredRA-Reservations RA-ReservationsAccepted AcceptedCC-Credit CC-CreditCards CardsAccepted AcceptedVS-Vegetarian VS-VegetarianSelections Selections B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections

utahfoodservices.com

801.531.0226 Book us for your next event!

Utah’s Catering Company Proud Partner of the UTAH SYMPHONY | UTAH OPERA

MA K E A REGUL AR NIGHT OUT

A B IG NI GHT OUT.

AT ABRAVANEL HALL

Celebrate With Us! May 18, 2020 GiftedMusicSchool.org

Personalize your Ruth’s Chris experience with our popular three-course Prime Time dinner menu offered nightly until 6:30PM starting at just $49.95.

Salt Lake City • 801.363.2000 275 S. West Temple

ACKNOWLEDGMENTS UTAH SYMPHONY | UTAH OPERA

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

Melissa Robison HUDSON PRINTING COMPANY

www.hudsonprinting.com 241 West 1700 South Salt Lake City, UT 84115 801-486-4611 AUDITING AND ACCOUNTING SERVICES PROVIDED BY

Tanner, llc LEGAL REPRESENTATION PROVIDED BY

Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo NATIONAL PR SERVICES PROVIDED BY

Shuman Associates, New York City ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY

Love Communications, Salt Lake City

Come beer.

Stay for the beer. for the

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.

As the oldest locally owned brewer y in Salt L ake Cit y, we’ve won dozens of awards for our handcraf ted microbrews.

But it’s our fantastic food, ex tensive wine and cock tail menu, and awesome atmosphere that’ll keep you coming back .

(O K , it ’s m o s tly th e b e e r. B u t al l t h at oth e r s tu ff is g re at , to o .)

DOWNTOWN

FASHION PLACE

PARK CITY JUNCTION

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.

REDROCKBREWING.COM

58

UTAHOPERA.ORG

IBC PREPRINT

BC PREPRINT

EXTRAORDINARY PAINTING THAT

TRANSFORMS YOUR LIVING SPACE. When you trust CertaPro Painters® of Salt Lake City with your home painting project, we will treat your property as if it were our own. We follow a process that ensures a beautiful, professional result that you’ll love. And it all starts with a free, no-obligation estimate and a detailed proposal.

801-747-1027 certapro.com

We Do Painting. You Do Life.®

A PROUD PAINTING PARTNER Each CertaPro Painters® business is independently owned and operated.