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WELCOME

Steven Brosvik

Brian Greeff

The O.C. Tanner Chair

USUO Board of Trustees

Jim Tozer

Larry Brownstein

DVMF Council

USUO President & CEO

Co-Chair,

Chairman,

Co-Chair,

hank you for joining us for this performance of Utah Symphony’s Deer Valley® Music Festival, which we hope is but one of many concerts that you will enjoy with us this summer.

Music is the universal language. Now more than ever, music brings us together and offers optimism and inspiration. Music in the mountains with the Utah Symphony and exceptional guest artists truly delivers Life Elevated. This experience is possible due to your presence and to the financial support of a growing number of donors who value the connection of communities through great live music. The founding of the festival more than 20 years ago was made possible by the vision and generosity of the Prothro Family, the Shiebler Family, and Jim and Susan Swartz. It has been their continuing generosity, and that of our other major donors led by the George S. and Dolores Doré Eccles Foundation, which has made each year more successful than the last. (Please see pages 87–95 for a full list of our supporters and be sure to join us in thanking them for their support when you see them.) As you look through this program, we think you’ll agree that we have a varied and exciting group of artists joining our renowned orchestra for this year’s festival. Whether you are lounging under the stars savoring great food and music with friends and family at Deer Valley Resort’s Snow Park Outdoor Amphitheater or enjoying a glorious evening of chamber orchestra music in the stunning acoustics of St. Mary’s Catholic Church, we know these are experiences you will remember and treasure for years to come.

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CONTENTS WELCOME

ABOUT UTAH SYMPHONY | UTAH OPERA

TICKETING SERVICES

THE BOARD OF TRUSTEES

UTAH SYMPHONY

ADMINISTRATION

DEER VALLEY® MUSIC FESTIVAL SERIES SPONSORS

WELCOME TO SNOW PARK AMPHITHEATER

EDUCATION & COMMUNITY ENGAGEMENT

Mills Publishing, Inc. Publisher Dan Miller President Cynthia Bell Snow Office Administrator Jackie Medina Art Director/ Production Manager Patrick Witmer Publication Designer/ Web Development Ken Magleby Patrick Witmer Graphic Designers Paula Bell Dan Miller Advertising Representatives Julia Lyon Editor 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, Inc. 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.

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MEMORIALS & TRIBUTES

LEGACY GIVING

DVMF COUNCIL

TANNER & CRESCENDO SOCIETIES

ACKNOWLEDGMENTS

Please scan the QR code if you’d like to view a digital version of the publication.

USUO.ORG | (801) 533-NOTE (6683)

CONTENTS

PATRIOTIC POPS

A SALUTE TO JOHN WILLIAMS

STRAVINSKY’S THE SOLDIER’S TALE

COMMON

THE MUSIC OF PAUL SIMON

MOZART VS. SALIERI

DISNEY IN CONCERT

BALLET MUSIC: RAVEL & STRAVINSKY 57 8

USUO.ORG | (801) 533-NOTE (6683)

CONTENTS

LINDSEY STIRLING

SUTTON FOSTER & KELLI O’HARA

BEETHOVEN’S SYMPHONY NO. 1

THE BEACH BOYS

MOZART & HAYDN

THE MUSIC OF JOURNEY

TCHAIKOVSKY’S 1812 OVERTURE

USUO.ORG | (801) 533-NOTE (6683)

ABOUT UTAH SYMPHONY | UTAH OPERA

Our mission is to connect the community through great live music.

Utah Symphony | Utah Opera connects Utah communities through great live music and is the flagship arts organization of the Intermountain West. USUO performs for more than 400,000 people each year, presenting more than 175 symphonic and chamber music performances at Maurice Abravanel Hall, the Deer Valley® Music Festival, and venues throughout the Intermountain region; 20 opera performances at the historic Janet Quinney Lawson Capitol Theatre; and music education programs serving every school district in Utah. One of just 17 year-round orchestras in the U.S., the Utah Symphony has a storied recording legacy, has embarked on seven international tours in addition to numerous domestic tours, and performed at Carnegie Hall in 2016. Utah Opera—one of just six opera companies in the U.S. with full production capabilities, including costume and scenic shops—provides Utahns with distinguished productions that showcase emerging and established artists, celebrate traditional works, and champion new works and the American operatic tradition. USUO is the only merged symphony orchestra and opera company of its scale in the U.S.

USUO.ORG | (801) 533-NOTE (6683)

TICKETING SERVICES Tickets for Utah Symphony | Utah Opera events can be purchased online at usuo.org, by calling USUO Patron Services at 801-533-NOTE (6683), in-person at Abravanel Hall during regular business hours, and through authorized ArtTix sellers. Discounts may be available for subscribers, youth (age 18 and younger), groups of 10 or more, educators, and military (with valid ID). Contact Patron Services for assistance.

Utah Symphony | Utah Opera Patron Services Abravanel Hall Ticket Office 123 W South Temple Salt Lake City, UT 84101 801-533-NOTE (6683) info@usuo.org

Box Office Hours

Maurice Abravanel Hall (Salt Lake City) By Phone or In Person: Monday – Friday (12 PM – 6 PM), Saturday (2 PM – 6 PM) The Utah Symphony Box Office will be CLOSED on weekends without a scheduled performance. Snow Park Outdoor Amphitheater (Park City) Day of show: starting at 5:30 PM The Utah Symphony Box Office will remain open through intermission for in-person assistance. St. Mary’s Catholic Church (Park City) Day of show: starting at 6 PM A Utah Symphony Patron Services representative will be available for approximately 30 minutes after the start of the performance. Please note: Phone assistance is not available for Utah Symphony patrons at the Deer Valley® Snow Park Lodge or St. Mary’s Catholic Church.

Accessibility

Utah Symphony | Utah Opera is committed to making all of our programs accessible to people with disabilities. Some accommodations include: • • • • • •

Website Accessibility Interface Assisted hearing devices, available by request at Guest Services ASL-Interpreted performances Braille or large print programs available by advance request Accessible seating accommodations available by request at point of purchase Earplugs available upon request at coat check

We understand that accessibility needs and standards are shifting daily, so if you see something you would like us to implement or change please contact our Access Services Administrator Melissa Robison at mrobison@usuo.org or 801-869-9067.

Group Tickets

Bring a group of 10 or more to any Utah Symphony | Utah Opera performance and save up to 20%! Benefits include: • • • • • •

Personalized service from a dedicated Group Sales Representative Priority seating—groups have access to the best available seats before they go on sale to the general public Save up to 20%* off the standard ticket price Flexible payment options Waived ticket service fees—save up to $3 per ticket Recommendations on local attractions and restaurants *There must be a minimum of 10 persons per performance. No discounts are available for Signature performances.

Subscriber Benefits • • • • • •

Best available seats at the best available price! Savings up to 25% off the standard ticket price (and up to 20% on additional purchases) Fee-free ticket exchanges Waived service fees Exclusive access to special presales before they’re available to non-subscribers Affordable payment plan options

PROTECT YOUR WALLET Utah Symphony | Utah Opera and ArtTix are the only official ticket outlets.

STAY IN TOUCH Share your symphony or opera experience—tag us in your photos and memories! @utahsymphony #utahsymphony @utahopera #utahopera USUO.ORG | (801) 533-NOTE (6683)

THE BOARD OF TRUSTEES ELECTED BOARD Brian Greeff* Chair Annette W. Jarvis* Chair-elect, Vice Chair & Secretary Judy Moreton* Vice Chair Joanne F. Shiebler* Vice Chair Thomas Wright* Vice Chair Steven Brosvik* President & CEO The O.C. Tanner Chair

Dr. Stewart E. Barlow Larry Brownstein Paul E. Burdiss George Cardon-Bystry Gary L. Crocker John D’Arcy* David L. Dee* Barry L. Eden* Jason Englund* Senator Luz Escamilla Jonathan Freedman Brandon Fugal Dr. Julie Aiken Hansen Daniel Hemmert* Dennis H. Hranitzky Stephen Tanner Irish* Thomas N. Jacobson Abigail E. Lowder Dr. Dinesh C. Patel Frank R. Pignanelli

Gary B. Porter Shari H. Quinney Miguel R. Rovira Stan Sorensen Clint Stone Dr. Shane D. Stowell Thomas Thatcher W. James Tozer David Utrilla Sharlene Wells Don Willie Kim R. Wilson Henry C. Wurts*

Thomas M. Love* David T. Mortensen Scott S. Parker

David A. Petersen Patricia A. Richards* Harris Simmons

Kristen Fletcher Richard G. Horne Ronald W. Jibson

E. Jeffery Smith

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 Travis Peterson* Barbara Ann Scowcroft* ONSTAGE OGDEN REPRESENTATIVE Christina Myers

LIFETIME BOARD Kem C. Gardner Jon Huntsman, Jr. G. Frank Joklik

TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Howard S. Clark

HONORARY BOARD Jesselie B. Anderson Kathryn Carter Raymond J. Dardano Geralyn Dreyfous Lisa Eccles * Executive Committee Member

USUO.ORG | (801) 533-NOTE (6683)

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UTAH SYMPHONY Markus Poschner Music Director Designate Thierry Fischer Music Director Emeritus David Robertson Creative Partner Jessica Rivero Altarriba Assistant Conductor Austin McWilliams Chorus Director & Opera 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 Laura Ha 2nd Associate Concertmaster Claude Halter Principal Second Evgenia Zharzhavskaya Acting Associate Principal Second Karen Wyatt Acting 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 Suni Norman~ Hugh Palmer David Porter Lynn Maxine Rosen Barbara Ann Scowcroft Ju Hyung Shin Bonnie Terry Julie Wunderle Wen Yuan Gu

VIOLA* Brant Bayless Principal Yuan Qi Associate Principal Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Leslie Richards~ Whittney Sjogren CELLO* Matthew Johnson Acting Principal The J. Ryan Selberg Memorial Chair Andrew Larson Acting Associate Principal John Eckstein Walter Haman Ian Jones~ Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah Thomas-Hollands~ Pegsoon Whang# BASS* David Yavornitzky Principal Corbin Johnston# Associate Principal Andrew Keller Edward Merritt Masaru Podgorny~ James Stroup~ Jens Tenbroek Thomas Zera HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore

PICCOLO Caitlyn Valovick Moore OBOE Zachary Hammond Principal The Gerald B. & Barbara F. Stringfellow Chair James Hall Associate Principal

TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Seretta Hart~ Paul Torrisi TROMBONE Mark Davidson Principal

Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell Erin Svoboda-Scott Associate Principal

Sam Elliot Associate Principal/Second Trombone BASS TROMBONE Graeme Mutchler TUBA Alexander Purdy Principal

Lee Livengood

TIMPANI Micah Harrow Acting Principal

BASS CLARINET Lee Livengood

Eric Hopkins Associate Principal

E-FLAT CLARINET Erin Svoboda-Scott

PERCUSSION Keith Carrick Principal

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

Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Anna Thompson~ Acting Librarian ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Hannah Thomas-Hollands Orchestra Personnel Manager * String Seating Rotates ** On Leave # Sabbatical ~ Substitute Member

The Utah Symphony Chorus is an audition-only group composed of volunteer and professional singers from the Salt Lake City area. The Chorus typically performs a concert each season with the Utah Symphony, along with offering vocal development opportunities such as Alexander Technique

classes, vocal masterclasses exploring technique and repertoire, and live Q

USUO.ORG | (801) 533-NOTE (6683)

& A sessions with local and international vocal stars.

ADMINISTRATION ADMINISTRATION Steven Brosvik President & CEO

OPERA TECHNICAL Sam Miller Technical Director

Micah Luce Director of Human Resources & Organizational Culture

Dusty Terrell Scenic Charge Artist

David Green Senior Vice President & COO

Julie McBeth Executive Assistant to the CEO Natty Taylor Human Resources Generalist

Madison Wilde Thunhorst Executive Assistant to the Senior VP & COO SYMPHONY ARTISTIC Kerry Smith Vice President of Artistic Planning Cassandra Dozet Artistic Consultant

Walt Zeschin Director of Orchestra Personnel Hannah Thomas-Hollands Orchestra Personnel Manager Morgan Moulton Artistic Planning Manager

Isabella Zini Artistic Planning Coordinator & Assistant to the Music Director Jessica Rivero Altarriba Assistant Conductor Sonia Villanueva Artist Logistics Intern

OPERA ARTISTIC Christopher McBeth Opera Artistic Director

Austin McWilliams Chorus Director & Opera Assistant Conductor Michelle Peterson Director of Production

Ashley Tingey Production Coordinator SYMPHONY OPERATIONS Jen Shark Director of Orchestra Operations Melissa Robison Front of House Director Chip Dance Director of Production Marcus Lee Operations Manager Sarah Madany Stage Manager

Morgane Walton Assistant Stage Manager Carly Thomas Front of House Intern

Kelly Nickle Properties Master

JR Orr Head Carpenter/Shop Foreman COSTUMES Carol Wood Costume Director

Marcos Ambriz Cutter/Draper & Costume Manager

Mallory Goodman Costume Rentals & Collections Manager Milivoj Poletan Master Tailor

Aries Limon Assistant Tailor

Julie Porter Crafts Artisan/Milliner Amy Fernelius Kathryn Wieland Stitchers Abby Gehring First Hand

Emily Jarman Costume Intern DEVELOPMENT Leslie Peterson Vice President of Development Garrett Murphy Director of Development

David Hodges Director of Development, Institutional Giving

Calli Forsyth Assistant Director of Institutional Sponsorships and Engagement

Ellesse Hargreaves Corporate Engagement Manager

Katie Swainston Assistant Director of Individual Giving Lisa Poppleton Grants Manager

Dallin Mills Development Database Manager Maren Holmes Manager of Special Events Emily Orr Development Intern

MARKETING & COMMUNICATIONS Meredith Kimball Laing Vice President of Marketing & Communications Adia Thornton Director of Marketing

Julia Lyon Communications Manager Emma Price Marketing Manager

Nina Starling Website Content Coordinator PATRON SERVICES Faith Myers Director of Patron Engagement Jaron Hatch Patron Services Manager

Caitlin Marshall Sales & Engagement Manager

Toby Simmons Patron Services Assistant Manager Genevieve Gannon Group Sales Associate

True Moore Chloe Toyn Patron Services Specialists

Michael Gibson Ananda Spike Val Tholen Kjelbi Elassali Kate Morris Patron Services Associates ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO

Mike Lund Director of Information Technologies Melanie Giles Controller

Jared Mollenkopf Patron Information Systems Manager Bobby Alger Accounts Payable Specialist Rayven Hunter Payroll & Account Analyst

EDUCATION & COMMUNITY ENGAGEMENT Ben Kipp Vice President of Education & Community Engagement

Jessica Wiley Symphony Education Manager Kevin Nakatani Opera Education Manager Beth Foley Education Coordinator

We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of Utah Symphony | Utah Opera.

USUO.ORG | (801) 533-NOTE (6683)

DEER VALLEY® MUSIC FESTIVAL SERIES SPONSORS

DEER VALLEY® MUSIC FESTIVAL SEASON SPONSOR

SUMMER ENTERTAINMENT SPONSOR

SUMMER SYMPHONY SPONSOR

SHIEBLER FAMILY FOUNDATION

CHAMBER SERIES SPONSOR

KENT & MARTHA DIFIORE AND BEANO SOLOMON OFFICIAL VEHICLE OF THE UTAH SYMPHONY SUMMER FESTIVAL

USUO.ORG | (801) 533-NOTE (6683)

2025 Deer Valley® Music Festival Utah Symphony | Utah Opera Season Sponsor

WELCOME TO SNOW PARK AMPHITHEATER

S PE AK E R

G ENE RAL AD M I S S I O N

F IR ST A ID RESERVED SE AT I NG

DEER VAL L EY MUSI C FESTI VAL

VENUE ENT R A NCE

ACC E S S I B L E S E AT I N G ENTRANCE CHAIR CHECK

S N OW PA R K LODGE

YO U ARE H E RE

TI CKET OFF I CE

RESTROOMS FOOD / CONCESSIONS

WE LCO M E TO SNOW PA R K A M PH ITHEAT ER

BEER / WINE WATER REFILL ACCESSIBLE SEATING CHAIR CHECK SECURITY 21+ ID CHECK

USUO.ORG | (801) 533-NOTE (6683)

Caroline Campbell & William Joseph

July 12

Mike Posner

July 18

80's Night Out: A Flock of Seagulls, Naked Eyes, & Men Without Hats

July 25

Chris Botti

July 26

Plain White T’s

August 1

Diamond Rio

August 7

Lukas Nelson

August 8

Randy Houser

August 9

Chris Janson

August 23

Blues Traveler & Gin Blossoms

August 28

Clint Black

August 30

TICKETS

EDUCATION & COMMUNITY ENGAGEMENT

For more than 40 years, USUO Education & Community Engagement has been uniquely distinguished among its peers nationwide for its broad and significant impact throughout the entire state of Utah.

2024–2025 SEASON

100,000+

Students and Teachers Served

583

Schools Served

280

Concerts, Classes & Programs

This infographic has been designed using resources from Flaticon.com

USUO.ORG | (801) 533-NOTE (6683)

School Districts Visited

170+

Symphony and Opera School Performances

Sold-out Family Series Concerts

THE

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WIZARDING WORLD and all related trademarks, characters, names, and indicia are © & ™ Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s22)

DEER VALLEY RESORT

PATRIOTIC POPS THURSDAY, JULY 3, 2025 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER

LAWRENCE LOH, conductor NIKKI RENÉE DANIELS, vocalist UTAH SYMPHONY

CONCERT SPONSOR

JOHN & JEAN YABLONSKI

SMITH/KEY

Star Spangled Banner

JOHN WILLIAMS “Midway March” from Midway COPLAND “Saturday Night Waltz” from Rodeo GERSHWIN “Summertime” from Porgy and Bess SOUSA

ORCHESTRA SPONSOR

The Liberty Bell March

JOHN WILLIAMS “The Men of the Yorktown March” from Midway TRADITIONAL

My Country ’Tis of Thee

ARR. LOWDEN

Armed Forces Salute INTERMISSION

E. BERNSTEIN STEPHEN SCHWARTZ

Suite from The Magnificent Seven Highlights from Wicked

SMALLS “Home” from The Wiz ALAN SILVESTRI

Suite from Forrest Gump

TRADITIONAL

Amazing Grace

GOULD

American Salute

COPLAND

Variations on a Shaker Melody from Appalachian Spring

VARIOUS

America the Beautiful and Battle Hymn of the Republic

USUO.ORG | (801) 533-NOTE (6683)

ARTISTS’ PROFILES — PATRIOTIC POPS

Lawrence Loh Conductor

escribed as bringing an “artisan storyteller’s sensitivity… shaping passages with clarity and power via beautifully sculpted dynamics… revealing orchestral character not seen or heard before” (Arts Knoxville), Lawrence Loh enjoys a dynamic career as a conductor of orchestras all over the world.

CONDUCTOR SPONSOR

After an extensive two year search, Lawrence Loh was recently named Music Director of the Waco Symphony Orchestra beginning in the spring of 2024. Since 2015, he has served as Music Director of The Syracuse Orchestra (formerly called Symphoria), the successor to the Syracuse Symphony Orchestra. Loh will hold this position until the end of the 2024–2025 season. “The connection between the organization and its audience is one of the qualities that’s come to define Syracuse’s symphony as it wraps up its 10th season, a milestone that might have seemed impossible at the beginning,” (Syracuse.com). The Syracuse Orchestra and Lawrence Loh show that it is possible to create a “new, more sustainable artistic institution from the ground up.”

Nikki Renée Daniels Vocalist

ikki Renée Daniels recently starred in Once Upon a Mattress (Lady Larken) and in the Tony Award-winning revival of Company (Jenny) on Broadway. She played Angelica Schuyler in Hamilton at the CIBC Center in Chicago. Other Broadway credits include The Book of Mormon (Nabulungi); the 2012 Tony Award-winning revival of The Gershwins’ Porgy and Bess (Clara); Les Misérables (Fantine); Nine; Aida; Little Shop of Horrors; The Look of Love; Promises, Promises along with Anything Goes and Lestat. She made her New York City Opera debut as Clara in Porgy and Bess. Other New York credits include Martha Jefferson in 1776 at City Center Encores! and Eve/Mama Noah in the New York premiere of Children of Eden at David Geffen Hall at Lincoln Center.

GUEST ARTIST SPONSOR

JOANNE SHIEBLER GUEST ARTIST FUND

USUO.ORG | (801) 533-NOTE (6683)

DEER VALLEY RESORT

A SALUTE TO JOHN WILLIAMS SATURDAY, JULY 5, 2025 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER LAWRENCE LOH, conductor UTAH SYMPHONY

CONCERT SPONSOR

JOHN WILLIAMS

Olympic Fanfare and Theme (1984 Olympic Games, Los Angeles)

MARRINER S. ECCLES FOUNDATION

JOHN WILLIAMS

Theme from Jurassic Park

JOHN WILLIAMS “Shark Theme” from Jaws Suite for Orchestra JOHN WILLIAMS

LODGING SPONSOR

Excerpts from Close Encounters of the Third Kind

JOHN WILLIAMS “A Prayer for Peace” from Munich JOHN WILLIAMS “Dartmoor, 1912” from War Horse JOHN WILLIAMS “Flying Theme” from E.T. the Extra-Terrestrial INTERMISSION JOHN WILLIAMS “Hedwig’s Theme” from Harry Potter and the Sorcerer’s Stone JOHN WILLIAMS “Aunt Marge’s Waltz” from Harry Potter and the Prisoner of Azkaban JOHN WILLIAMS “Harry’s Wondrous World” from Harry Potter and the Sorcerer’s Stone JOHN WILLIAMS “Imperial March” from Star Wars Suite for Orchestra JOHN WILLIAMS “Across the Stars” from Star Wars: Attack of the Clones JOHN WILLIAMS “Here They Come!” from Music of the Star Wars Saga JOHN WILLIAMS “Princess Leia’s Theme” from Star Wars Suite for Orchestra JOHN WILLIAMS “Main Title” from Star Wars

USUO.ORG | (801) 533-NOTE (6683)

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This material is based upon information that we consider reliable, but because it has been supplied by third parties, we cannot represent that it is accurate or complete, including price, or withdrawal without notice; square footage is an estimate only. ©MMXXV Sotheby’s International Realty Affiliates, Inc. All Rights Reserved. Sotheby’s International Realty® is a licensed trademark to Sotheby’s International Realty Affiliates, Inc. An Equal Opportunity Company. Each Office Is Independently Owned And Operated. Copyright© Summit Sotheby’s International Realty 2025.

ARTIST’S PROFILE — A SALUTE TO JOHN WILLIAMS Lawrence Loh Conductor

CONDUCTOR SPONSOR

USUO.ORG | (801) 533-NOTE (6683)

ST. MARY’S CATHOLIC CHURCH

Stravinsky’s

THE SOLDIER’S TALE WEDNESDAY, JULY 9, 2025 / 8:00 PM / ST. MARY’S CATHOLIC CHURCH YANIV DINUR, conductor KEVIN NAKATANI, narrator UTAH SYMPHONY

CONCERT SPONSOR

ESA-PEKKA SALONEN

Catch and Release (22’) INTERMISSION

STRAVINSKY

L’Histoire du soldat (The Soldier’s Tale) (60’)

USUO.ORG | (801) 533-NOTE (6683)

ARTISTS’ PROFILES — THE SOLDIER’S TALE Yaniv Dinur Conductor

aniv Dinur is the winner of the 2019 Sir Georg Solti Conducting Fellow Award and Music Director of the New Bedford Symphony Orchestra. He is lauded for his insightful interpretations and unique ability to connect with concertgoers of all ages and backgrounds, from season subscribers to symphony newcomers. Season 2024-25 marks the beginning of Dinur’s third contract with New Bedford Symphony and his eighth season as music director. Under his leadership, the New Bedford Symphony has been nationally recognized for its bold, engaging programming and artistic quality, leading to the League of American Orchestras selecting the orchestra to perform at the 2021 League Conference. Dinur recently concluded a successful tenure as resident conductor of the Milwaukee Symphony Orchestra, during which he conducted hundreds of concerts. Recognizing his leadership and impact, the Milwaukee Business Journal selected him as a 40 Under 40 honoree, an award for young professionals making a difference in the community.

Kevin Nakatani Narrator

raised for his “substantial bass and deft dramatic abilities,” Kevin Nakatani commands the stage in both opera and musical theatre with equal finesse. His dynamic repertoire includes standout roles such as Général Audebert in Silent Night, Frollo in The Hunchback of Notre Dame, Zuniga in Carmen, and Jud Fry in Oklahoma!. Nakatani has performed with esteemed companies including Utah Opera, Opera San José, Opera Idaho, Oregon Cabaret Theatre, and Utah Festival Opera & Musical Theatre. Past appearances with Utah Symphony include narrator in Gardens of Stone, The Doctor in Act III of Wozzeck, and featured guest artist in the “75 Years of Broadway” concert. Originally from California, Nakatani has proudly called Utah home for over 15 years, where he continues to inspire audiences with his “clear bass,” “remarkable range,” and “convincing characterizations.”

USUO.ORG | (801) 533-NOTE (6683)

HISTORY OF THE MUSIC — THE SOLDIER’S TALE By Ruth Eldredge

Catch and Release // clarinet, bassoon, trumpet, trombone, violin, double bass and percussion //

The Composer Esa-Pekka Salonen modestly says that he first took up conducting to ensure that someone would conduct his own compositions. He needn’t have worried—his innate musical curiosity and love for combining old and new styles have made his music sought-after by classical music ensembles and audiences the world over. Conducting was also no accidental career. Salonen conducted the Los Angeles Philharmonic from 1992 until 2009, the longest tenure in the orchestra’s history. The History A native of Finland, Salonen’s music often combines music history with new musical innovations. An advocate for Stravinsky’s music, Salonen wrote Catch and Release as a companion piece to The Soldier’s Tale, intending them to be played together. Like Stravinsky’s music, Catch and Release also asks a lot of its musicians: it hinges on technical virtuosity, rhythmic precision, and a wide expressive range. Even though Catch and Release doesn’t depict a specific narrative or story, the music projects a scene of the joyful and risky benefits of human love and morality. Humorous, blithe, and hopeful, Salonen’s music evokes the joyful pursuit of love and the contingency of change. It embodies optimism without naivete, is ephemeral yet substantive, and achieves profundity without cynicism. Each of the three movements develop from an interconnected set of rhythmic and melodic themes, conceived both as rhetorical moments and as ostinatos that flow through the entire piece. Listen for a wide dynamic range and changing timbres from each instrument. Prepare to enjoy some silence at the end of the piece—the final ‘release’ from the title. In the last few seconds, the instruments fade quickly from a fortissimo into just the vibrating of strings—smudging the line between sound and silence. The World/Connection Salonen and Stravinsky are connected artistically and politically. Finland was a subject of the Russian Empire from 1808 to 1917; its declaration of independence formed part of the Russian Revolution that inspired Stravinsky’s exile in the West and an allegorical interpretation of The Soldier’s Tale. Both composer-conductors also had a long-

lasting influence in the American West: Salonen through the Los Angeles Philharmonic, and Stravinsky through his permanent residence in Los Angeles beginning in 1940, where he frequently conducted the Philharmonic and the Hollywood Bowl.

The Soldier’s Tale // narrator, clarinet, bassoon, trumpet, trombone, violin, double bass and percussion //

The Composer Igor Stravinsky was an international celebrity by the time The Soldier’s Tale debuted in September 1918 in Lausanne, Switzerland. Born to a noble from modernday Eastern Poland, Stravinsky identified with Russian nationalism and, initially at least, supported the centuriesold Romanov dynasty of Russian emperors. This changed drastically with the outbreak of World War I in 1914, a crisis that piled pressure on the Empire’s already-rocky foundation. In the previous two decades, Tsar Nicholas II was involved in a hubristic imperial expansion in both Asia and Europe. Soon, he had over-extended his military resources, vastly over-estimated the nation’s supply chains, all while doing irretrievable damage to his popularity with both the aristocracy and working class in St. Petersburg and Russia’s western colonies. By 1917, Nicholas was forced to pull out of the Great War to address the Bolshevik Revolution at home. His effort was futile: Lenin’s troops executed Nicholas and his family, took over the government, and formally organized the USSR in 1922. Like many Russian nationals, Stravinsky retained a lifelong nostalgia for Russian culture and lands. He imagined an alternative history in which Russia could have avoided both autocratic rule of a selfish Tsar and the deeply-flawed socialist regime that followed. This stance, and an at-best indifference toward Lenin and the socialist regime, led Stravinsky to be antagonized by the socialist government for decades. In his turn, Stravinsky embraced Western European culture in all its forms, encouraged his colleagues in Russia to work against Lenin and the Bolsheviks, and returned to the USSR only in 1962, having departed on a temporary vacation in 1914. The History Stravinsky’s decision to combine The Soldier’s Tale, a Russian story, with a French libretto and EuropeanAmerican musical themes, reflects his inner turmoil about his national identity and his embrace of Euro-American

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HISTORY OF THE MUSIC — THE SOLDIER’S TALE culture. The Soldier’s Tale tells the fateful story of Joseph, a young and ambitious soldier who shortsightedly sells a violin to the Devil in exchange for wealth and clairvoyance. The soldier gradually realizes that the true price of his deal was not the violin, but his own agency and identity. The Devil’s offer to guide Joseph through his new life begins in a three-year imprisonment, during which Joseph’s family believes he has died at war. When he returns to his village, his friends and family flee from him, thinking he is a ghost. He even finds his fiancée married to another man. Disillusioned and angry, Joseph decides to seek his fortune, leaving behind his old life and loved ones. At first glance, the soldier appears to be successful. He saves a princess, marries her, and gains money and fame. However, the Devil lurks at every turn of fortune with more demands, caveats, and contests. Every time Joseph beats him back, Joseph is blinded even more by his own obsession with power while the Dwwevil becomes more powerful. Finally, when Joseph realizes that he has lost his soul, he leaves his palace in search of his mother. In one final trick, Joseph learns that seeking his own soul threatens that of his new wife. Only too late does the

soldier realize the source of his true happiness and the disastrous effects of his avarice on his own identity and those he loves. Whether performed in French or in English (as in tonight’s performance), Stravinsky’s western musical themes come through: the princess dance features jazz, tango, waltz, and ragtime dances, all of which were especially popular in the early 20th century in Stravinsky’s adopted home of Paris. Additional references to Klezmer music and JS Bach— particularly in the final Grand Chorale and the evocation of Martin Luther’s “Ein Feste Burg” (“A Mighty Fortress is Our God”), draw on the fashionable Bach Revival that spread across Europe and North American in the early 1900s, especially in urban areas like Paris. The World/Connection The timing of Stravinsky’s premiere of The Soldier’s Tale turns it into an indictment of Russian politics. Like the soldier, Tsar Nicholas II’s own lust for imperial expansion and Russian ethnic dominance exposed his own government’s weakness and ultimately destroyed the Russian empire.

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ARTISTS’ PROFILES — COMMON Enrico Lopez-Yañez Conductor

nrico Lopez-Yañez has quickly established himself as one of the nation’s leading conductors of popular music and become known for his unique style of audience engagement. Lopez-Yañez holds the titled positions of Principal Pops Conductor of the Detroit and Pacific Symphonies, Principal Conductor of Dallas Symphony Presents, and Principal Guest Conductor of Pops at the Indianapolis Symphony Orchestra. He previously served as Principal Pops Conductor of the Nashville Symphony for eight seasons. As a trailblazer in the symphonic world, Lopez-Yañez has premiered dozens of orchestral collaborations with artists including Dolly Parton, Kelsea Ballerini, Portugal. The Man, The Mavericks, Tituss Burgess, and The War and Treaty. Lopez-Yañez has collaborated with a broad spectrum of artists including Nas, Patti LaBelle, Itzhak Perlman, Kenny Loggins, Stewart Copeland, Toby Keith, Richard Marx, Bernadette Peters, Leslie Odom Jr., Gladys Knight, Ben Folds, The Beach Boys, Tower of Power, Kenny G, and more.

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THE MUSIC OF PAUL SIMON SATURDAY, JULY 12, 2025 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER TED SPERLING, conductor CHESTER GREGORY, vocalist MORGAN JAMES, vocalist UTAH SYMPHONY

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ARTISTS’ PROFILES — THE MUSIC OF PAUL SIMON Ted Sperling Conductor

ed Sperling is a multi-faceted artist; director, music director, conductor, orchestrator, singer, pianist, violinist, and violist. He is the Artistic Director of MasterVoices and Music Director of the recent Broadway productions of My Fair Lady, Fiddler on the Roof, and The King and I. He has directed the premiere productions of The Other Josh Cohen, Red Eye of Love, Striking 12, and See What I Wanna See, all off-Broadway. A Tony Award winner for his orchestrations of The Light in the Piazza, Sperling is known for his work across many genres, including opera, oratorio, musical theater, symphony, and pops. His video interpretation of Adam Guettel’s Myths and Hymns can be viewed on the PBS channel, AllArts, where you can also view his concert of Carole King songs. He earned rapturous reviews for his production of Stephen Sondheim’s The Frogs at Lincoln Center, Lady in the Dark with MasterVoices at NY City Center as well as others.

Chester Gregory Vocalist

hester Gregory is an award-winning singer and actor. He was last seen starring in Motown: The Musical as the iconic Berry Gordy. Broadway credits include Motown: The Musical, Hairspray, Tarzan, Cry-Baby, and Sister Act. Other credits include August Wilson’s Fences and Two Trains Running. He has toured nationally with Dreamgirls, Sister Act, as well as his one-man show The Eve of Jackie Wilson. Chester has received many awards, including the Jeff Award and a NAACP Theatre Award, and has been presented the key to the city of his hometown of Gary, Indiana and in East Chicago. He has also been chosen as an Honorary State Representative of Indiana and has received an Honorary Doctorate from his alma mater Columbia College Chicago. He is currently producing several projects and recordings. Add him on social media @ChesterGregory and chestergregory.com.

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ARTISTS’ PROFILES — THE MUSIC OF PAUL SIMON Morgan James Vocalist

organ James is a classically trained vocalist, Broadway veteran, and recording artist.

Morgan recently paid tribute to Judy Garland for her centennial, where she most recently performed “Get Happy” with Sinfonia Gulf Coast and Nashville Symphony.

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Ms. James is a frequent symphony pops soloist, and most recently she premiered her brand new show “Symphonic Soul: The Magic of the Memphis Sound” with the Virginia Symphony, Wheeling Symphony Orchestra, and Sinfonia Gulf Coast. Other appearances include the Cleveland Pops, Houston Symphony, Sun Valley Music Festival, American Pops Orchestra, Spokane Symphony, Detroit Symphony, Harrisburg Symphony, San Diego Symphony, Utah Symphony, Youngstown Symphony, Gulf Coast Symphony, Missouri Symphony, Sinfonia Gulf Coast, Ocean City Pops, Greensboro Symphony, Charlotte Symphony, Allentown Symphony, Lansing Symphony, Atlanta Symphony, Long Bay Symphony, and many more.

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ST. MARY’S CATHOLIC CHURCH

MOZART VS. SALIERI WEDNESDAY, JULY 16, 2025 / 8:00 PM / ST. MARY’S CATHOLIC CHURCH JESSICA RIVERO ALTARRIBA, conductor UTAH SYMPHONY

MOZART

Overture to The Marriage of Figaro (4’)

SALIERI

Sinfonia from Prima la musica poi le parole (3’)

SALIERI

Sinfonia Veneziana (9’)

MOZART

Allegro assai

II.

Andantino grazioso

III.

Presto

Overture to La clemenza di Tito (5’) INTERMISSION

MOZART

Symphony No. 38 in D major “Prague” (23’) I.

Adagio - Allegro

II.

Andante

III.

Presto

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ARTIST’S PROFILE — MOZART VS. SALIERI Jessica Rivero Altarriba Conductor

uanced interpretations, dynamic energy, and a charismatic stage presence are hallmarks of Cuban conductor Jessica Rivero Altarriba. Praised for her communicative skills, impactful performances, and equally vested in both established and well-known repertoire and contemporary compositions, Altarriba currently serves as Assistant Conductor for the Utah Symphony | Utah Opera and is a Taki Alsop Fellowship Award Recipient (2024-26). Altarriba is concurrently pursuing her master’s degree in conducting at the Peabody Institute of Johns Hopkins University. Altarriba programs and leads a diverse set of concerts in the upcoming year. This June and July she is conducting Utah Symphony’s Summer Community Concerts as well as select concerts during the Deer Valley® Music Festival including the July 16 Chamber Series Mozart vs. Salieri and Tchaikovsky’s 1812 Overture concert closing the festival. From July 28 – August 5, she participates in the Youth Orchestra Los Angeles National Festival in California, collaborating with LA Philharmonic Artistic Director Gustavo Dudamel, YOLA Artistic Director Gaudy Sanchez, and the YOLA National Team in festival programming and conducting a final concert in collaboration with Dudamel.

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HISTORY OF THE MUSIC — MOZART VS. SALIERI By Ruth Eldredge

The Composers Mozart and Salieri might be the most long-lived classical music rivals in history. Even if most of the plot from Miloš Forman’s 1983 film Amadeus is largely fabricated, it does depict the composers’ close relationship and their—by all historical accounts friendly—personal competition as Vienna’s most prominent composers. Mozart and Salieri’s rivalry itself has deeper historical significance: it symbolizes the very real aesthetic tug-of-war between German and Italian operatic styles that played out in eighteenth-century Viennese theatrical life. Neither Mozart nor Salieri were strictly Viennese, but both made their careers in Vienna and depended at least in part on influencing the Habsburg Emperor Joseph II’s musical tastes.

Overture to The Marriage of Figaro // 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings //

The History Le nozze de Figaro (The Marriage of Figaro) is a veritable warhorse of the classical repertory: the overture is heard as often, perhaps more, in the concert hall as it is in the opera house. Nonetheless, it was a risky way for Mozart to start ingratiating himself to the Viennese patrons and public. Despite its catchy tunes, the opera’s subversive theme, in which a female servant outsmarts a male aristocrat, and scandalous acknowledgement of aristocratic sexual misconduct, made it much more popular with the public than with the opera’s sponsors. The Marriage of Figaro is a fast-paced, mad-cap comedy involving Susanna and Figaro, two servants who expose the hypocrisy of their master, orchestrate their mistresses’ exoneration, and save their friend from banishment, all on their wedding day. The plot’s quick turns and humorous feel are all foreshadowed in the overture. A racing musical theme evokes secrets being whispered into ears, schemes unfolding and disguises revealed. Sudden fortissimo passages rudely interrupt the musical progress. A flirtatious center section and return of the quick-paced rhythms of the first theme suggests that, despite everyone’s foibles, the day will end in forgiveness. The Marriage of Figaro is often considered one of opera’s great masterpieces. Don’t be surprised if you come across it in pop culture references like Willy Wonka and the Chocolate Factory. The opera first premiered in Joseph II’s Italian opera house in Vienna in 1786.

Sinfonia from Prima la musica poi le parole // 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, harpsichord, and strings //

The History In many ways, Salieri was Mozart’s opposite. Hailing from northern Italy, Salieri was orphaned in early adolescence. He arrived in Vienna in 1766 under the guardianship of Florian Leopold Gassman, the chamber composer to Emperor Joseph II, who groomed Salieri to be his successor. Salieri eventually became the director of Vienna’s Italian opera house and enjoyed considerable fame across Europe as Joseph II’s court conductor. Salieri’s secure, salaried position didn’t future-proof his career, though, and it certainly didn’t protect him from Mozart’s popularity. Despite having the famous Salieri at his beck and call, Joseph regularly commissioned outside composers to write for both his Italian and German opera houses. Enjoying the prospect of a competition, in 1786, Joseph commissioned one opera from each composer that would be performed at a private party, one after the other. Taking place at the lavish Schönbrunn Palace in Vienna for an exclusive audience, two stages were built on opposite sides of the vast Orangerie--one for Mozart’s German opera, and another for Salieri’s Italian opera. Mozart’s opera came first; Der Schauspieldirektor (The Impresario), is a German Singspiel. Mozart displayed his characteristic fiendishness by casting Catarina Cavalieri, well-known to be Salieri’s mistress, as the opera’s incorrigible main character. The day, however, went to Salieri. His opera Prima la musica poi le parole, a portion of which is featured on tonight’s concert, was given twice the time to perform as was Mozart’s opera, and Salieri ultimately received twice the pay. Like Mozart, Salieri took a personal shot at Mozart and the plot-driven German Singspiel style by engaging his characters in a debate as to whether the music or the words and plot were the most important part of an opera. Mozart had called his own operetta “a comedy with music,” suggesting that the plot was more important than the music. On the contrary, in Salieri’s music the composer wins the day by proclaiming that in opera of true quality, the music always comes first.

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HISTORY OF THE MUSIC — MOZART VS. SALIERI Sinfonia Veneziana // 2 oboes, 2 horns, and strings //

The History Unlike Mozart, Salieri wrote little instrumental music outside of opera overtures—perhaps he was too busy writing operas, running the court music industry, and teaching students like Beethoven and Schubert. This didn’t stop music publishers from capitalizing on Salieri’s fame, productivity, and the relative lack of copyright laws: Sinfonia Veneziana is a pastiche of three opera overtures, all of which enjoyed great success in their day but are littleknown today. Its name references Salieri himself: Salieri was educated and discovered in Venice and was widely known as ‘The Venetian’ composer in Viennese circles.

Overture to La clemenza di Tito // 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings //

The History Mozart and Salieri’s rivalry continued in 1791, when Leopold II, the new king of Bohemia, commissioned a new opera to be premiered as part of his coronation festivities. His first choice was Salieri, and only when he declined was Mozart offered the job. Leopold benefited from this change of plan: Mozart was hugely popular in Prague, the Bohemian capital, and his commission met with approval from the city’s inhabitants. The overture’s opening fanfare and grand style are a fitting celebration of Leopold’s coronation, in addition to making a majestic introduction to the opera itself.

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Symphony No. 38 in D major “Prague”

// 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings //

The History If Salieri and Mozart battled for notoriety in Viennese opera halls, Mozart’s instrumental music stood out on its own. Nonetheless, Symphony No. 38, nicknamed “Prague,” also has operatic connections. Mozart wrote the symphony to be premiered in Prague in 1786, in hopes of gaining a commission for an opera. Even today, the “Prague” Symphony is still considered one of the most innovative symphonic works ever written. The symphony shows off Mozart’s wide range of talents and musical interests and his love for Prague’s welcoming audiences. The complicated counterpoint of the first movement demonstrates his newfound love for the music of Johann Sebastian Bach, even if it would never be mistaken for a work by the Baroque composer. The complex counterpoint and experimental, proto-diatonic harmonies were inspired by Bach; the symphony’s frenetic pace and singable melodic lines are characteristically Mozart’s. The grand scale of the first movement makes it comparable in length to the first movement of Beethoven’s Third Symphony. Mozart left nothing to chance in his bid for the love of Prague’s audiences--the symphony’s third movement also quotes a scene from The Marriage of Figaro, which was hugely popular in Prague, making up for its modest reception in Vienna. The “Prague” symphony itself has lived on to become one of Mozart’s most-beloved instrumental works and one of the defining pieces of symphonic form.

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FRIDAY, JULY 18, 2025 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER RON SPIGELMAN, conductor UTAH SYMPHONY

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ARTIST’S PROFILE — DISNEY IN CONCERT

RON SPIGELMAN Conductor

ustralian conductor Ron Spigelman was recently appointed the Principal Pops Conductor of the Buffalo Philharmonic. Earlier in his career he was the Associate Conductor with the Buffalo Philharmonic and the Fort Worth Symphony, Music Director of the Texas Ballet Theater, San Angelo Symphony (TX), Texas Chamber Orchestra, Springfield Symphony (MO), and the Lake Placid Sinfonietta (NY) where he is now Conductor Emeritus. He has also served as Principal Pops Conductor of the Fort Worth and Syracuse Symphony. Recent guest conducting appearances include the Atlanta, St. Louis, Baltimore, Utah, Oregon, Kansas City, Vancouver, and Nashville Symphonies, and the Louisville, Florida, and Minnesota Orchestras.

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He has conducted symphonic, ballet, opera, musical theatre, and pops plus over 30 live-to-film productions including all eight of the Harry Potter films. Guest artists he has accompanied include Horacio Gutierrez; Rachel Barton Pine; Richard Stoltzman; Marvin Hamlisch; Peter, Paul & Mary; James Taylor; Leslie Odom Jr.; Gladys Knight, and many others.

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BALLET MUSIC: RAVEL & STRAVINSKY WEDNESDAY, JULY 23, 2025 / 8:00 PM / ST. MARY’S CATHOLIC CHURCH CONNER GRAY COVINGTON, conductor KATHRYN EBERLE, violin UTAH SYMPHONY

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MOZART

STRAVINSKY

Selections from Idomeneo (13”) I.

Chaconne

II.

Pas de seul

Divertimento from The Fairy’s Kiss for Violin and String Orchestra (22’) INTERMISSION

RAVEL

Mother Goose (complete ballet) (28’)

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ARTISTS’ PROFILES — BALLET MUSIC

Conner Gray Covington Conductor

escribed by Yannick Nézet-Séguin as “a musician who lives the music,” American conductor Conner Gray Covington performs an unusually broad repertory of symphonic, opera, and film repertoire ranging from classical to the present day. During his four-year tenure with the Utah Symphony as Associate Conductor and as Principal Conductor of the Deer Valley® Music Festival he conducted nearly 300 performances of classical subscription, education, film, pops, and family concerts as well as tours throughout the state. Previously, he was a Conducting Fellow at the Curtis Institute of Music where he worked closely with the Curtis Symphony Orchestra, with whom he made his Carnegie Hall debut, and the Curtis Opera Theatre while being mentored by Philadelphia Orchestra Music Director Yannick Nézet-Séguin. Covington is a five-time recipient of a Career Assistance Award from the Solti Foundation U.S. and was a featured conductor in the Bruno Walter National Conductor Preview presented by the League of American Orchestras.

Kathryn Eberle Violin

cclaimed by The Salt Lake Tribune as “marrying unimpeachable technical skill with a persuasive and perceptive voice,” violinist Kathryn Eberle is the Associate Concertmaster of the Utah Symphony and the Concertmaster of the Hollywood Bowl Orchestra in Los Angeles. Eberle has also served as Guest Concertmaster with the Kansas City, Omaha, and Richmond Symphonies. Eberle performs annually as soloist with the Utah Symphony with whom she’s performed over 10 works as a featured soloist. She made her subscription series debut with the Utah Symphony in April 2014 performing Leonard Bernstein’s Serenade. Other solo appearances include performances with the Los Angeles Philharmonic, the Nashville Symphony, the Louisville Orchestra, the National Academy Orchestra of Canada, and the Bahia Symphony in Brazil. An avid chamber musician, Eberle has collaborated with such artists as Edgar Meyer, Jaime Laredo, Arnold Steinhardt, and Ricardo Morales and has been a guest artist at numerous music festivals.

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HISTORY OF THE MUSIC — BALLET MUSIC By Ruth Eldredge

Selections from Idomeneo // 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, 1 timpani, and strings //

The History Mozart’s addition of a ballet to his 1781 opera Idomeneo was both traditional and fiscally strategic. The noble tales and stuffy reputation of opera seria were on the decline, but ballet was a perennial fan favorite. It easily attracted lower-class audiences to the opera, who paid less for their seats, but comprised the lion’s share of income for the composers and opera houses. Adding ballet into opera was so common in Mozart’s day that the Munich Opera House, where Idomeneo premiered, kept an in-house French ballet troupe at the ready for just such occasions. Even though ballet was considered an essential part of an opera, it had no clear connection to Idomeneo’s plot or musical style. None of the main characters participate in the ballet, and unlike staged ballets, it had no story line of its own. Where the ballet belongs in the opera was also anyone’s guess: in the first performance, Mozart placed the ballet at the end of Act 3, during the finale celebration of the coronation of a new king. However, even Mozart himself appears to have moved the ballet around: in some it appeared in the first act, and in others it was presented during the intermission. Both of these places would have appeased impatient audiences by presenting the ballet a little sooner in the evening and enticed them to come back for more.

Divertimento from The Fairy’s Kiss // Solo violin and strings //

The History Igor Stravinsky’s The Fairy’s Kiss continues the theme of foreign composers borrowing from, and assimilating into, French ballet culture. Stravinsky was already an international celebrity, largely due to his French ballets, when he wrote The Fairy’s Kiss in 1928, but he wasn’t immune to mistakes. Instead of handing the score over to his longtime choreographer Sergei Diaghilev, Stravinsky entrusted this one to Bronislava Nijinska, Diaghilev’s chief rival. This move deeply offended Diaghilev and widened a growing rift between him and Stravinsky. It also might have cratered the whole production: Nijinska’s production flopped, and Stravinsky blamed the poor choreography and costumes.

Though not prone to self-reflection, Stravinsky was at least able to repurpose the music and eventually rescue the ballet. He immediately set out to arrange the music for the concert hall, both for the intimate combination of violin and piano and in a larger orchestral version. His quick thinking might have also inspired New York-based George Balanchine to rechoreograph the ballet in the early 1930s, giving Stravinsky a new introduction to American audiences. Based on Hans Christian Andersen’s tragic tale The Ice Maiden, the ballet depicts the downfall of a jealous lover who kisses his mother’s murderer—the Ice Queen—in revenge for what he believes to be his fiancée’s infidelity. As he often did, Stravinsky combined western European stories with his own Russian heritage. Musically and thematically, The Fairy’s Kiss is an homage to Stravinsky’s compatriot Piotr Ilyich Tchaikovsky. Stravinsky blended his own classically-inspired melodies with those from Tchaikovsky’s vocal and piano music, showing his respect for their shared love of Russian culture. Stravinsky also claimed that he chose the story to honor Tchaikovsky’s early death at age 53—both the main character and the composer died at the peak of their creative powers.

Ravel: Mother Goose Suite // 2 flutes (2nd doubles piccolo), 2 oboes (2nd doubles English horn), 2 clarinets, 2 bassoons (2nd doubles contrabassoon), 2 horns, percussion, harp, celeste, and strings //

The History Ravel’s Mother Goose ballet is the only French ballet written by a French composer on this program. A confirmed bachelor, Ravel nonetheless loved children and children’s stories. He originally wrote the Mother Goose Suite in 1908 as a gift to Mimi and Jean Godebski, the children of Ravel’s close friends, who he also hoped would perform the piece. The suite’s original five movements each depicted a single scene from popular fairy tales, such as “Sleeping Beauty,” “Beauty and the Beast,” “Tom Thumb,” and the lesser known, but equally magical, “Empress of the Pagodas.” Three years later, Ravel expanded the piano duet into a ballet version, the full course of which is heard tonight. Ravel wove the original five tableaus into an elevenmovement piece, to which he also added an overarching narrative centered on the story of “Sleeping Beauty.” The various tales and characters weave in and out of each other, not unlike the modern musical Into the Woods, so that multiple fairy tales take place simultaneously in a single enchanted forest.

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HISTORY OF THE MUSIC — BALLET MUSIC The full piece adds a prelude, two new movements, and four mood-setting interludes, all played without pauses. The first movement sets the scene of an enchanted forest, creating a feel of a distant and fantastic world, and anticipating melodic themes from each story. Mother Goose herself appears in the second movement, spinning on a wheel whose rhythmic treadle can be heard in the tambourine.

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Sleeping Beauty appears in the third movement, where she has pricked her finger on the spinning wheel and falls into an enchanted sleep. The fourth movement transitions the listeners from Sleeping Beauty’s plight to a conversation between Beauty and the Beast. In the fifth movement, we meet the Beast, a contrabassoon, as he proposes marriage to Beauty, who has seen his true value despite his terrifying appearance. The sixth movement, another interlude, again transitions to a tableau of Tom Thumb, the miniscule boy who has discovered that he is lost in a gigantic forest after birds have eaten the breadcrumbs he dropped to mark his path. The eighth movement prepares listeners to visit the mystical world of the orient, the pinnacle of exoticism for Ravel. In the ninth movement, we see the Chinese empress Laideronnette taking a playful bath, surrounded by pagodas. A final interlude in the tenth movement anticipates all the fairy tales converging into a single fantastic universe. Prince Charming has discovered Sleeping Beauty’s whereabouts, and, convinced of their mutual love, he bestows love’s first kiss to waken her. All the inhabitants of the enchanted forest join to celebrate. In a joyful climax, the Fairy Queen arrives to bless the Sleeping Beauty and the Prince’s intention to marry. The pealing of church bells, depicted in both the low strings and percussion, signal the final happy ending.

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S AL T L AK E C IT Y' S B EST G A RDEN P A TIO

OP ENING M AY 4T H DI N E AT L AUREL BRAS SERIE & B A R

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LINDSEY STIRLING FRIDAY, JULY 25, 2025 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER WESLEY SCHULZ, conductor LINDSEY STIRLING UTAH SYMPHONY

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SELECTIONS TO BE ANNOUNCED FROM THE STAGE

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ARTISTS’ PROFILES — LINDSEY STIRLING Wesley Schulz Conductor

idely recognized for his imaginative programming and spirited yet heartfelt music making with orchestras, Wesley Schulz’ conducting has been deemed “spectacular.” Schulz is Music Director and Conductor of the Auburn Symphony Orchestra (WA) and was formerly the Associate Conductor of the North Carolina Symphony. As a guest conductor, Schulz has appeared with the Seattle, Austin, Tallahassee, Canton, Williamsburg, Greenville, Richmond (IN), Waco, and Bozeman Symphony Orchestras among many others. Schulz is Principal Guest Conductor at the Pacific Northwest Ballet leading performances of Prokofiev’s Romeo and Juliet as well as George Balanchine’s production of Tchaikovsky’s, The Nutcracker. Key to Schulz’ success is his passion for diversifying classical music and expanding the concert hall to include all listeners. He has collaborated with some of the most dynamic musical artists of our time including Tessa Lark, Leslie Odom Jr., John Williams, and more.

CONDUCTOR SPONSOR

Lindsey Stirling Guest Artist

ew artists embody creativity and innovation like Lindsey Stirling. A multiaward-winning electronic violinist, dancer, and New York Times bestselling author, she has captivated global audiences with her high-energy performances and genre-blending sound. Now, she steps into the world of orchestral music, bringing her signature style to grand symphonic settings.

Her latest album, Duality, showcases her fearless artistry, blending cinematic compositions, bold pop melodies, and intricate instrumentals. Collaborating with top producers like Graham Muron, Lucky West, and Steve Mazzaro (a Hans Zimmer collaborator), Stirling delivers powerful tracks like “Eye Of The Untold Her,” “Inner Gold,” and “Survive.”

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BLOOMFIELD FAMILY FOUNDATION

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Known for constant reinvention, Stirling’s upcoming orchestral shows mark an exciting new chapter—fusing the majesty of symphonic arrangements with her trademark movement and energy. As she embarks on this next evolution, she invites fans to experience music in a completely new way, proving once again that true artistry knows no limits.

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UTAH SYMPHONY | UTAH OPERA SHOP

DEER VALLEY RESORT

AN EVENING WITH SUTTON FOSTER & KELLI O’HARA SATURDAY, JULY 26, 2025 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER MICHAEL RAFTER, conductor SUTTON FOSTER, vocalist KELLI O’HARA, vocalist UTAH SYMPHONY

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BEN & PEGGY SCHAPIRO

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LARRY & JUDY BROWNSTEIN

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ARTISTS’ PROFILES — AN EVENING WITH SUTTON FOSTER & KELLI O’HARA

Michael Rafter Conductor

ichael Rafter, Associate Professor of Musical Theatre at Ball State University, has served as music director/arranger for Sutton Foster for The New York Pops, Live From Lincoln Center, and over 100 concerts worldwide. Most recently, he was the music director/ conductor of Funny Girl on Broadway. Music supervisor: Funny Girl (National Tour); associate music supervisor: Jersey Boys. Other music direction for Broadway: Violet, Thoroughly Modern Millie, The Sound of Music, The King & I, Gypsy, The Most Happy Fella, Sweet Charity, Swing, Les Misérables, The Tap Dance Kid. Off Broadway: Merrily We Roll Along, Violet. Film and TV: Marriage Story, CODA, Annette, Music and Lyrics, Did You Hear About the Morgans?, The Tonight Show (Johnny Carson, Jimmy Fallon), Gypsy starring Bette Midler (Emmy for Music Direction), and Broadway’s Best on Bravo, with such artists as Trisha Yearwood, Kevin Bacon, Joan Osborne, Mandy Moore, Cyndi Lauper, Darius Rucker, and Shawn Colvin. Music supervisor: Everyday Rapture (Broadway); national tours of Buddy, Sunset Boulevard, Thoroughly Modern Millie, and The Sound of Music.

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ARTISTS’ PROFILES — AN EVENING WITH SUTTON FOSTER & KELLI O’HARA Sutton Foster Vocalist

utton Foster is a two-time Tony Award-winning actress, singer, and dancer, most recently seen in an acclaimed turn as Princess Winnifred in the Broadway revival Once Upon a Mattress at the Hudson Theatre. She previously reprised the role at New York City Center Encores! and the Ahmanson Theatre in Los Angeles. Foster also starred as Mrs. Lovett in the Tony-winning revival of Sweeney Todd: The Demon Barber of Fleet Street opposite Aaron Tveit. In 2022, she played Marian Paroo in The Music Man on Broadway, earning her seventh Tony nomination and the Drama League Distinguished Performance Award. In 2021, she reprised her role as Reno Sweeney in Anything Goes in London, receiving an Olivier Award nomination. Foster starred in TV Land’s Younger for seven seasons and has appeared in The Marvelous Mrs. Maisel and Bunheads. Her Broadway credits include Anything Goes, Thoroughly Modern Millie, Violet, and more. She has released three solo albums and a memoir, Hooked: How Crafting Saved My Life, and she holds an honorary doctorate from Ball State University, where she also teaches.

Kelli O’Hara Vocalist

elli O’Hara has established herself as one of Broadway’s greatest leading ladies. She has been nominated for eight Tony Awards, winning for The King and I. She is also an Emmy, SAG, Olivier, and two-time Grammy nominated artist who made history as the first to cross over from Broadway to opera with her Metropolitan Opera debut in 2015. O’Hara can currently be seen on HBO’s The Gilded Age. Additional TV and film credits include: The Accidental Wolf, Sex & The City 2, Martin Scorsese’s The Key to Reserva, and The Good Fight. O’Hara recently completed a critically acclaimed limited Broadway engagement of the new musical Days of Wine and Roses, which also garnered rave reviews during its Off-Broadway run at The Atlantic Theatre Company last summer. She won the Outer Critics Circle Award and the Drama Desk Award for Outstanding Lead Performer in a Broadway Musical in addition to receiving Tony and Drama League Nominations for her role. Next spring, she will return to Broadway in the play, Fallen Angels. O’Hara continues to perform with orchestras and symphonies throughout the country.

GUEST ARTISTS SPONSOR

SCOTT & KATHIE AMANN

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THANK YOU

FOR JOINING US FOR MUSIC IN THE MOUNTAINS Music lovers like you help Utah Symphony | Utah Opera deliver world-class performances and unforgettable experiences to communities throughout Utah. Join us in our mission to connect the community through great live music by making a contribution today.

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ST. MARY’S CATHOLIC CHURCH

Beethoven’s

SYMPHONY NO. 1 WEDNESDAY, JULY 30, 2025 / 8:00 PM / ST. MARY’S CATHOLIC CHURCH FRANÇOIS LÓPEZ-FERRER, conductor MADISON LEONARD, soprano UTAH SYMPHONY

ARVO PÄRT

Wenn Bach Bienen gezüchtet hätte... (If Bach Had Been a Beekeeper...) (7’)

MOZART “Ruhe sanft, mein holdes Leben” from Zaide (7’) MOZART “Ach, ich liebte, war so glücklich” from The Abduction from the Seraglio (5’) MOZART “Al desio, di chi t’adora” (6’) MOZART “Vado, ma dove?” (4’) INTERMISSION BEETHOVEN

Symphony No. 1 (25’) I.

Adagio molto - Allegro con brio

II.

Andante cantabile con moto

III.

Menuetto: Allegro molto e vivace

IV.

Finale: Adagio - Allegro molto e vivace

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ARTISTS’ PROFILES — SYMPHONY NO. 1

François López-Ferrer Conductor

panish-American conductor François López-Ferrer has carved an impressive path in the world of classical music, distinguished by his dynamic artistry and compelling performances. Recipient of the prestigious 2024 Sir Georg Solti Conducting Award, his international career has been marked by recent debuts with esteemed orchestras worldwide, including the Chicago Symphony Orchestra, Los Angeles Philharmonic (LA Phil) at the Hollywood Bowl, Hong Kong Philharmonic, Opéra national de Paris, Detroit Symphony Orchestra, Orquesta Nacional de España, Orquesta Sinfónica de Galicia, Orquesta Sinfónica Radio Televisión Española, Verbier Festival Orchestra, Ensemble intercontemporain, Opéra de Lausanne, and George Enescu Philharmonic. Upcoming engagements include debuts with the Orquesta Sinfónica de Madrid at the Teatro Real de Madrid in a production of Verdi’s Il Trovatore, Houston and Utah Symphonies, Orchestra Sinfonica G. Rossini at the Rossini Opera Festival, Basque National Orchestra, Biel Solothurn Symphony Orchestra, and the Spoleto Festival USA leading Britten’s Turn of the Screw, as well as returns to the Omaha Symphony, Rochester Philharmonic, Orquesta Sinfónica de Castilla y León, Orquesta Sinfónica de Puerto Rico, and the Symphony San Jose.

Madison Leonard Soprano

raised for her “silvery, ethereal-sounding Sophie” by Opera magazine and “lovely vocal delicacy” in The Telegraph, Madison Leonard has previously sung Eurydice in Orfeo ed Eurydice (Dallas Opera) and Adina in L’elisir d’amore (Garsington Opera) as well as Mahler’s Symphony No. 2 (Los Angeles Master Chorale) in the 2024–25 season.

Her performance of Gilda in Rigoletto with Austin Opera was named one of the Top Ten Joys in Dance and Classical Music by the Austin Chronicle, and she has returned as Leïla in Les pêcheurs des perles and Chrisann Brennan in Bates’ The [R]evolution of Steve Jobs. She has made role debuts with Garsington Opera (Sophie in Der Rosenkavalier, Giulietta di Kelbar in Un giorno di regno) and Seattle Opera (Gilda in Rigoletto, Chrisann Brennan in The [R]evolution of Steve Jobs, Adina in L’elisir d’amore). She has also sung Gilda in Rigoletto (Dallas Opera); Juliette in Roméo et Juliette (Central City Opera); Marie in La fille du régiment, Susanna in Le nozze di Figaro and Mabel in The Pirates of Penzance (Utah Opera); Musetta in La bohème (Dallas Opera); Despina in Così fan tutte (Palm Beach Opera); and Morgana in Alcina, and the Rose in The Little Prince (Washington National Opera). Her concert appearances include engagements with the National Symphony Orchestra, Florida Orchestra, and Fort Worth Symphony Orchestra.

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HISTORY OF THE MUSIC — SYMPHONY NO. 1 By Ruth Eldredge

Wenn Bach Bienen gezüchtet hätte…

// Flute, oboe, clarinet, bassoon, horn, percussion, piano, and strings //

The History Estonian composer Arvo Pärt’s music often sounds familiar, even on the first hearing. Its diatonic harmonies, memorable, often slow-paced, melodies, and heart-beat paced rhythms ground his music in humanism and tradition, even though his techniques are decidedly conceptual and avant-garde. Originally written in 1976, Wenn Bach Bienen gezüchtet hätte...(If Bach Had Been a Beekeeper...) combines Pärt’s innovative and bracingly modernist tintinnabula style with time-honored musical ideas. The most recognizable parts of Pärt’s tintinnabula (Latin for ‘a ringing bell’) style are two main voices. The first is a slow melody that, in this piece and across all of Pärt’s music, usually proceeds in stepwise motion, up or down by one note at a time. In this piece it often sounds like pieces of a major scale. The second voice represents the ringing bell itself. Pärt usually creates this effect by writing fast arpeggios up and down, creating an ethereal effect, like the sonic version of watching a spinning top or light glistening on a field of snow. Pärt normally uses fast-repeating arpeggios to create this effect, but in this piece, he uses the notes B flat, A, C, and B natural, which in German are written B-A-C-H. Unsurprisingly, Johann Sebastian Bach himself discovered this sequence of notes and used it in several preludes and fugues. In the three and a half centuries since Bach’s death, many composers have paid their debt to his genius by using the same ‘Bach’ theme in their own music. Here, Pärt turns it into a fast-moving cross between melody, accompaniment, and sound effect—the effect is of a dissonant, and surprisingly convincing, sound of swarming bees.

“Ruhe sanft, mein holdes Leben” // Soprano solo, oboe, bassoon and strings //

“Rest gently, my dearest Life” is taken from Mozart’s unfinished opera Zaide. Had Mozart finished and produced the opera, this would surely have been a high point: Zaide, a heroine slave, finds her beloved Gomatz asleep and confesses her love, then leaves a portrait of herself on his pillow. Like any good opera, their love is thwarted, this time by Zaide’s master who is determined to have her for

himself. The aria’s relatively simple melody masks the aria’s technical demands, itself a metaphor for the hidden trials of true love.

“Ach, ich liebte, war so glücklich” // Soprano solo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns and strings //

“Alas I loved, so happily” is one of the signature arias from Mozart’s hit 1781 opera The Abduction from the Seraglio. The aria, sung by Constanze, laments her separation from her betrothed Belmonte, who has sworn to rescue her from being abducted by Turkish pirates. Mozart’s decision to name the prima donna character after Constanze Weber— whom he married two weeks after the opera’s premiere— underscored their romance and his promise of constant fidelity to his wife, uncommon in an era where extramarital affairs were an open secret.

“Al desio, di chi t’adora” // Soprano solo, clarinet, bass clarinet, 2 bassoons, 2 horns and strings //

Mozart wrote “[Come, fly,] to the desire of [the one] who adores you” as an alternative aria to Susanna’s moreused “Deh vieni”, during Act IV of The Marriage of Figaro. Susanna, a servant has found herself in an awkward situation in which she is disguised as the Countess and pretends to sing a love song to the Count, while her fiancé Figaro, watches on from behind a bush. Unusual for its conspicuous use of wind instruments, and memorable for its multi-layered antics and hilarious scene, the aria celebrates Susanna’s ability to manipulate her master and mistress, even while convincing them that they are in charge.

“Vado, ma dove?” // Soprano solo, 2 clarinets, 2 bassoons, 2 horns and strings //

Like the previous arias, Mozart wrote “Vado, ma dove?” (“I am going, but where?”) as an insert aria, but this time for a friend: Mozart wrote this aria to appear in an opera by Spanish composer Martín y Soler. Since then, the aria has lived on as a concert piece and as an insertion to many other operas of many other composers—a testament to the flexibility of the operatic form and the prima donna’s privilege to show off. Today, the aria is most often heard as a standalone piece, or as an insertion to Mozart’s own Così fan tutte.

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HISTORY OF THE MUSIC — SYMPHONY NO. 1

Symphony No. 1 // 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings //

Beethoven had fully intended to study with Mozart but never had the chance—Beethoven had travelled to Vienna in 1787 but was called home to care for his siblings after his mother’s death. Beethoven was just 16 years old. By the time he returned to Vienna in 1792, Mozart himself had died and Beethoven began studying with Haydn. He once proclaimed that he had “never learned anything from Haydn,” but his music tells a different story.

and begin with a minute-long slow introduction, and they both switch between the trumpet-and-drum optimism of C major, and the more pensive C minor. Beethoven also alludes to Mozart’s symphony in his melodic and harmonic structuring. Listen for a four-note upward flourish, repeated several times, in the violin section, an allusion to a similar element in Mozart’s 41st symphony. More esoterically, Beethoven also borrows an unusual backward circle-offifths harmonic progression in this movement.

Premiered in 1800 in Vienna, Beethoven ensured that his symphony appeared as the closing piece on a concert otherwise full of Haydn and Mozart’s music. Beethoven also wrote the symphony to show off what he knew of Haydn and Mozart—and how he had surpassed them. Whether or not the audience bought his message of greatness, they got a taste for his intentions to revolutionize the symphony into a much larger, more emotionally expressive, musical experience.

The second movement underscores the humorous nature of the classical symphony. Though Beethoven tended to become very serious in the second movements of his piano sonatas, this one has little hint of brooding. Indeed, the second and third movements hide a musical insider’s joke: the second movement is called andante, and built like a minuet—in stately 3/4 time, with highly ordered phrase lengths and harmonic structures. Meanwhile, the third movement, which his listeners would have expected to be a minuet, is actually a scherzo. Scherzo literally means ‘a joke’ and this one is certainly that: though it’s also in 3/4 time, a scherzo is much faster and veers from playful to ominous and back again, all in just a few minutes of music.

Symphony No. 1 stands out from Beethoven’s other eight symphonies for its humor and cheerfulness, even while it foreshadows melodic and harmonic intensity, even brooding, that are most often associated with Beethoven’s musical voice. The first movement is an overt homage to Mozart’s 41st (and last known) symphony, written just a few years earlier: both are written in the key of C major

The fourth movement is often considered one of Beethoven’s masterpieces of wit. It also proves that, at least at some point in his life, he had a sense of humor. The movement begins, unusually, with a slow introduction in which the violins try to play a full major scale, but fail several times. They finally succeed in reaching the final note just as the tempo speeds up.

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DEERHEADER VALLEY RESORT

THE BEACH BOYS FRIDAY, AUGUST 1, 2025 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER SATURDAY, AUGUST 2, 2025 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER ELIAS MILLER, conductor THE BEACH BOYS UTAH SYMPHONY

PRESENTING SPONSOR

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THE CROCKER CATALYST FOUNDATION

CONCERT SPONSOR

GUEST ARTIST SPONSOR

The Beach Boys You can capsulize most pop music acts by reciting how many hits they’ve had and how many millions of albums they’ve sold. But these conventional measurements fall short when you’re assessing the impact of The Beach Boys. This band has birthed a torrent of hit singles and sold albums by the tens of millions. But its greater significance lies in the fact that The Beach Boys’ songs have forever changed the musical landscape, profoundly influencing countless performing artists to follow.

At the helm of The Beach Boys is lead singer and criticallyacclaimed lyricist, Mike Love, a founding member whose leadership has steered the band through decades of musical evolution. Grammy-winning songwriter Bruce USUO.ORG | (801) 533-NOTE (6683)

Johnston joined The Beach Boys in 1965, replacing Glenn Campbell, who filled in for Brian Wilson on vocals/bass, when he retired from touring. Highly regarded in his field, Johnston brought with him a wealth of experience from working with icons like Elton John, Pink Floyd, and The Byrds, cementing his place among rock’s elite. The current lineup, including musical director Brian Eichenberger, Christian Love, Tim Bonhomme, Jon Bolton, Keith Hubacher, Randy Leago, and John Wedemeyer, continues to honor and expand upon the band’s iconic live performance legacy. This dedication is evident in their rigorous touring schedule, with the band performing an average of 150 shows a year across a variety of venues worldwide.

ARTISTS’ PROFILES — THE BEACH BOYS Elias Miller Conductor

ssistant Conductor of the Columbus Symphony, Music Director of the Columbus Symphony Youth Orchestra, and Music Director of the Apollo Ensemble of Boston, Elias Miller has established a reputation as a leading young conductor and orchestra builder. He has worked with numerous orchestras across the United States including the New York Philharmonic, the Minnesota Orchestra, the Nashville Symphony, the Buffalo Philharmonic Orchestra, and the Albany Symphony. Miller made his Carnegie Hall debut in the fall of 2023 guest conducting the New York International Symphony Orchestra. Now the orchestra’s principal conductor, he conducted them in another program in February 2025. As the Columbus Symphony’s Assistant Conductor, Miller regularly conducts education, pops, and community concerts with the esteemed orchestra in Columbus, Ohio. Miller co-founded the Apollo Ensemble of Boston in 2018 and has since conducted the orchestra in over 30 concert cycles, collaborating with world-class soloists and living composers. He is also an active conductor of opera and oratorio.

Michael Edward Love Vocalist

rammy® Winner and Rock and Roll Hall of Fame Member, Michael Edward Love, grew up under the Southern California sun where he soaked up a life of music, surf, sand, and sport. Beginning his singing career as a young boy, Love along with his cousin, Brian Wilson, frequently sang at family get-togethers and holiday gatherings. These early influences served as the inspiration to form the legendary group, The Beach Boys, which originally consisted of Love and his cousins, Brian, Dennis, and Carl Wilson along with neighbor David Marks and high school friend Alan Jardine. In the fall of 1961, Love wrote the lyrics and melody to The Beach Boys’ first song, “Surfin’,” in collaboration with cousin Brian Wilson, and subsequently “Surfin’ Safari” and “409,” which led to the signing of the band by Capitol Records. Following the song’s debut, Love and Wilson went on to co-author numerous hits, including eleven Top 10 singles in the first five years of the band. Hit after hit, Love created many of the concepts, and wrote or co-wrote the lyrics and hooks to several of the most performed songs in pop music history including “Good Vibrations,” “Fun, Fun, Fun,” “I Get Around,” “Surfin’ Safari,” “Help Me Rhonda,” “Do It Again,” “Kokomo,” “Surfin’ USA,” and the incomparable “California Girls,” which was Bruce Johnston’s debut track as a member of The Beach Boys. For more than fifty years, Love has been the lead singer and front man of The Beach Boys, taking the sounds of America’s band to every corner of the globe.

The Beach Boys concerts are lovingly dedicated to the memory of Charlie Philbin.

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ST. MARY’SHEADER CATHOLIC CHURCH

MOZART & HAYDN Music for Paris & Oxford

WEDNESDAY, AUGUST 6, 2025 / 8:00 PM / ST. MARY’S CATHOLIC CHURCH TAICHI FUKUMURA, conductor UTAH SYMPHONY

CONCERT SPONSOR

STRAVINSKY

MOZART

Concerto in E-flat major for Chamber Orchestra, “Dumbarton Oaks” (15’) I.

Tempo giusto

II.

Allegretto

III.

Con moto

Symphony No. 31 in D major, “Paris” (16’) I.

Allegro assai

II.

Andantino

III.

Allegro

INTERMISSION HAYDN

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Symphony No. 92 in G major, “Oxford” (28’) I.

Adagio - Allegro spiritoso

II.

Adagio cantabile

III.

Menuetto: Allegretto

IV.

Presto

ARTIST’S PROFILE — MOZART & HAYDN Taichi Fukumura Conductor

aichi Fukumura is the Music Director of the Illinois Symphony Orchestra and the newly-appointed Assistant Conductor of The Cleveland Orchestra. A rising Japanese-American conductor acclaimed for his dynamic stage presence and musical finesse, Fukumura is the Second Prize Winner of The Mahler Competition 2023 and a four-time recipient of the Solti Foundation U.S. Career Assistance Award 2021-2024. Recent and upcoming highlights include guest conducting debuts with the Bamberg Symphony, Utah Symphony, North Carolina Symphony, Eugene Symphony, Delaware Symphony, and Colorado Springs Philharmonic. He also returned to the Fort Worth Symphony Orchestra as guest conductor after leading the orchestra in over 110 concerts as Assistant Conductor under Music Director Robert Spano. Other notable appearances include guest conducting members of the Boston Symphony Orchestra in their Community Chamber Concert series, leading Stravinsky’s L’Histoire du Soldat. Fukumura was invited by the Berlin Philharmonic as one of 10 assistant conductor candidates for Kirill Petrenko and the Siemens Conductors Scholarship in 2021.

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HISTORY OF THE MUSIC — MOZART & HAYDN By Ruth Eldredge

Concerto in E-flat major for Chamber Orchestra, “Dumbarton Oaks” // Flute, clarinet, bassoon, 2 horns, and strings //

The History Stravinsky’s Concerto in E-flat major received its nickname, “Dumbarton Oaks,” in homage to heiress Mildred Barnes Bliss and her husband Robert Bliss. The couple commissioned the concerto in honor of their 30th wedding anniversary. It premiered in May 1938 at Dumbarton Oaks, their estate in Washington, D.C. Stravinsky had planned to conduct the premiere himself, but he fell ill with tuberculosis. From his hospital bed, he entrusted the premiere to famed composer and teacher Nadia Boulanger. Performed without pauses, the three-movement concerto demonstrates Stravinsky’s so-called ‘neoclassical’ phase, a term that Stravinsky himself used in its broadest possible meanings: many of his neoclassical works took themes from the Classical era of Greek and Roman mythology. Musically, however, Stravinsky took ‘neoclassical’ to mean anything that pre-dated the opaque, even over-wrought, textures of the late nineteenth-century Romantics and Expressionists. Most often, Stravinsky looked to the Baroque and (confusingly-named) Classical eras of Bach and Mozart. He was attracted to the transparent textures, controlled harmonies, and a more dispassionate, less emotionally-charged, approach to musical form and style. “Dumbarton Oaks” bears out the extent of Stravinsky’s willingness to borrow, steal, and iterate musical ideas. This concerto is indebted to Bach’s Brandenburg Concertos. Stravinsky reported that “I played Bach regularly during the composition of the Concerto, and was greatly attracted to the Brandenburg Concertos.” The first movement in particular borrows the driving rhythms and small-orchestra instrumentation from the Baroque era. It also quotes J.S. Bach’s Third Brandenburg Concerto in the first four measures of the viola line, even though Stravinsky claimed that he didn’t know if this was deliberate or not. Stravinsky’s gift for orchestral sound is also apparent: the woodwinds sparkle with bright tones and clear lines, while the strings are characteristically warm and lush, much like they do in Stravinsky’s earlier ballet scores. Each instrument also has a solo section somewhere in

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the piece—a testament to Stravinsky’s fascination with instrumental tone and ability to wrangle roundabout musical structures into a tightly-crafted and ultimately timeless piece. One might also hear a hint of Aaron Copland-like harmonies in the first movement—Copland was one of Stravinsky’s many admirers.

Symphony No. 31, “Paris” // 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings //

The History 1778 was a monumental year for Mozart, though not in ways he likely would have appreciated. Already recognized as a master of his craft, Mozart was nonetheless in need of a ‘grown-up’ job. At 22 years old, he and his sister Nannerl had aged out of the sibling-child-prodigy act that had supported their family in previous decades, but his parents had also determined he was unprepared to travel on his own, and perhaps too hot-headed to seek work by himself. As a result, in May 1778, Mozart travelled to Paris with his mother, Anna Maria, in search of publicity and new commissions. Unlike his first trip there as a child, this sojourn was an unmitigated disaster and psychological turning point for the young celebrity. The trip ultimately failed to produce a significant commission or position for the young composer, but by the end, this was completely overshadowed by Anna Maria’s unexpected death on July 3, after a brief illness. In shock and not known for his organizational abilities on his best days, Mozart was left alone to make burial arrangements for his mother in a foreign city. Even more, his father Leopold wrote Wolfgang a scathing letter accusing him of matricide, having murdered his mother with his inattention and selfish preoccupation. This—like other myths about Mozart—is certainly an overstatement, but the fact remained that on the day of his mother’s death, Mozart wrote an extended letter to his father about the success of his new symphony and only announced her death to his family in Austria six days later. The young Mozart might be forgiven for fearing to share the news with his father, and Leopold might be forgiven for misunderstanding his son’s grief. Given this tragic loss, the “Paris” symphony is a bright spot born of an otherwise dark landscape. The symphony itself came about from a public insult that, on its own, nearly derailed his entire endeavor. Mozart had secured a

HISTORY OF THE MUSIC —MOZART & HAYDN

performance of a Sinfonia Concertante (the music of which has not been found) at the prestigious Concert Spirituele series in the center of Paris in late May or early June. However, at the last minute, Parisian composer Giuseppe Cambini convinced the concert producer to cancel Mozart’s piece and insert one of Cambini’s pieces instead. Mozart’s accusation that Cambini deliberately sabotaged his performance is credible, if not verifiable. Regardless, the producer commissioned Mozart with a new symphony by way of apology and thus the “Paris” symphony was born. The only catch was that it needed to be written, copied by hand, and rehearsed in a matter of days. This was not an unprecedented challenge in light of Mozart’s speedy compositional process, but it was still a logistical feat in itself. True to its name, the “Paris” symphony was written and premiered in Paris; it also features several nods to Parisian symphonic culture. One such element, the Premier coup d’archet, requires the entire orchestra to play together at the start of a piece. This can be heard in the first few bars, in which all of the instruments play repeated D major chords. (Contrast this with Haydn’s “Oxford” symphony, also originally written for a Parisian audience, that spoofs on this convention by playing similar chords quietly, slowly, and only with the string instruments.)

Symphony No. 92 in G major, “Oxford” // Flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings // The History Franz Joseph Haydn may well be classical music’s most underrated composer. Born in 1732, Haydn technically belongs to the Classical period (roughly 1750 to 1820), but most music history books nonetheless point to Mozart as the pinnacle of the era, with his memorable melodies, expansion of the symphonic form, and refined sense of orchestral sound. Historically speaking, Haydn is often a victim of historical periodization—a method scholars use to divide the past

into ‘eras’ or ‘periods’ to organize our concept of the past. On the one hand, labelling music with names like Baroque, Classical, Romantic, and Modern helps us organize the past: we can identify new musical trends, identify innovative pieces, and come up with a bird’s eye view of musical evolution over time. On the other hand, composers like Haydn, who sit between periods or just don’t fit into the norm, are often overlooked or misunderstood. Haydn has even been labeled as ‘transitional’ because his music has elements of the Baroque and Classical eras, but the implication has often been that his music was simply a means to a greater end. In reality, Haydn’s 104 symphonies are a treasure chest of musical delight and new ideas. And while it’s true that without Haydn we wouldn’t have Mozart, Beethoven, or Schubert, it’s also true that without Haydn we wouldn’t have, well, Haydn. Even Mozart himself thought so: despite a 24-year age gap, the two were close friends, and though Mozart never formally studied with Haydn, he regularly referred to Haydn as his teacher. It’s also true that Haydn’s “Oxford” symphony sits comfortably between Baroque style and Classical expectations, even if Haydn’s music was the precedent on which those expectations were built. For example, rather than building on a memorable, even singable melody often associated with Mozart symphonies, each of the “Oxford” symphony’s four movements are based on motives—small melodic building blocks that can be divided, recombined, and even turned upside-down and backwards. Motivic writing means that Haydn could work out an entire symphony based on just one or two small musical ideas— an incredibly efficient use of material. The practical result of this approach is that you might not leave the concert whistling a memorable Haydn tune; it’s more likely you’ll remember a mood, an expressive gesture, that the music created in the moment of listening. That said: Haydn often repeated himself. In this symphony, listen for three repeated block chords, like knocking on a door, at the very beginning and end of the symphony. Ultimately, Haydn’s music stands on its own merits: if you find yourself smiling at the end, even if you don’t quite know why, then you’ve certainly caught ‘Papa’ Haydn’s message.

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DEER VALLEY RESORT

THE MUSIC OF JOURNEY FRIDAY, AUGUST 8, 2025 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER BRENT HAVENS, conductor JUAN DEL CASTILLO, vocalist UTAH SYMPHONY

CONCERT SPONSOR

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SELECTIONS TO BE ANNOUNCED FROM THE STAGE

ARTISTS’ PROFILES — THE MUSIC OF JOURNEY Brent Havens Conductor

erklee-trained arranger/conductor Brent Havens has written music for orchestras, feature films, and virtually every kind of television. His TV work includes movies for networks such as ABC, CBS, and ABC Family Channel Network, commercials, sports music for networks such as ESPN, and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale attended by over 150,000 fans. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic and the BBC Concert Orchestra in London; the CBSO in Birmingham, England; the Malaysian Philharmonic; the Cincinnati Symphony Orchestra; the Minnesota Orchestra; the Pittsburgh Symphony; the Indianapolis Symphony Orchestra; the Houston Symphony; the Atlanta Symphony; the Baltimore Symphony; the Dallas Symphony; the Fort Worth Symphony; the Nashville Symphony; Orchestra of Opera North in Leeds, England; and countless others.

CONDUCTOR SPONSOR

SUSAN & JIM BLAIR

Juan Del Castillo Vocalist

uan Del Castillo is a singer-songwriter born and raised in San Diego, California. He began making music at a very young age. As a child, Del Castillo sang in choir and performed in plays and musicals. He also acted in television shows and commercials throughout his teens. Del Castillo is a polished, dynamic showman whose passion for performing, natural charisma, and innate ability to completely captivate audiences with his stage presence have led him down a path of artistry and success. A recording artist, formerly on Sony’s BMG US Latin, Del Castillo’s vocal timbre, range, and fierce control have more recently drawn comparisons to former Journey frontman, Steve Perry. Del Castillo is also the founder and lead vocalist for the internationally touring DSB Band tapped by Ryan Seacrest and Mark Cuban’s AXS TV as “The World’s Greatest Journey Tribute Band.”

GUEST ARTIST SPONSOR

Del Castillo is thrilled to share his talents and honored to perform with Windborne and Journey’s catalogue of timeless classics.

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DEER VALLEY RESORT

Tchaikovsky’s

1812 OVERTURE SATURDAY, AUGUST 9, 2025 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER JESSICA RIVERO ALTARRIBA, conductor CANNONEERS OF THE WASATCH UTAH SYMPHONY

CONCERT SPONSOR

KORNGOLD

Fanfare from the film Kings Row

TOM & JUDY† BILLINGS

PROKOFIEV

Suite No. 2 from Romeo and Juliet I.

Montagues and Capulets

II.

The Young Girl Juliet

III.

Friar Laurence

IV.

Dance

Romeo with Juliet before Parting

VI.

Dance of the Girls with Lillies

VII. Romeo at the Tomb of Juliet

INTERMISSION RACHMANINOFF GERSHWIN

(arr. Robert Russell Bennett)

TCHAIKOVSKY

Symphony No. 2 in E minor III.

Adagio

Porgy and Bess, Selections for Orchestra 1812 Overture

TOM & JUDY† BILLINGS

This performance is dedicated in loving memory to Judith Billings, a trailblazer in law, in the community, and a USUO Trustee

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ARTISTS’ PROFILES — 1812 OVERTURE

Jessica Rivero Altarriba Conductor

uanced interpretations, dynamic energy and a charismatic stage presence are hallmarks of Cuban conductor Jessica Rivero Altarriba. Praised for her communicative skills, impactful performances, and equally vested in both established and well-known repertoire and contemporary compositions, Altarriba currently serves as Assistant Conductor for the Utah Symphony | Utah Opera and is a Taki Alsop Fellowship Award Recipient (2024-26). Altarriba is concurrently pursuing her master’s degree in conducting at the Peabody Institute of Johns Hopkins University.

CONDUCTOR SPONSOR

DOUG & CONNIE HAYES

Altarriba programs and leads a diverse set of concerts in the upcoming year. This June and July she is conducting Utah Symphony’s Summer Community Concerts as well as select concerts during the Deer Valley Music Festival including the July 16 Chamber Series “Mozart vs Salieri” and “Tchaikovsky’s 1812 Overture” concert closing the festival. From July 28 – August 5, she participates in the Youth Orchestra Los Angeles National Festival in California, collaborating with LA Philharmonic Artistic Director Gustavo Dudamel, YOLA Artistic Director Gaudy Sanchez, and the YOLA National Team in festival programming and conducting a final concert in collaboration with Dudamel.

Cannoneers of the Wasatch

he Cannoneers of the Wasatch have traveled the Wasatch Front for more than 50 years blasting self-made cannons while orchestras perform. They formed in 1971 when the University of Utah—Snowbird Summer Arts Institute wanted to perform Tchaikovsky’s 1812 Overture with cannon fire, but lacked cannons. For more than five decades, the Cannoneers have performed in Taylorsville, Layton, Deer Valley, and Sun Valley with more than 18 historical replica cannons, ranging in size from 25 to 1,000 pounds in their arsenal.

CANNON SPONSOR

THE LAW FIRM OF TOM JACOBSON

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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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MEMORIALS & TRIBUTES Many donors have made gifts to Utah Symphony | Utah Opera in memory or to honor friends and loved ones. Thank you for your generous tributes.

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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 Joseph and Evelyn Rosenblatt Charitable Fund Bill† & Joanne Shiebler Steven P. Sondrop Family Trust James R. & Susan Swartz Clark L. Tanner Foundation Norman C. & Barbara L. Tanner Charitable Trust Norman C. & Barbara L. Tanner Second Charitable Trust O.C. Tanner Company Estate of Frederic & Marilyn Wagner Jack & Mary Lois Wheatley Family Trust Edward & Marelynn† Zipser

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DVMF COUNCIL

Jim Tozer

Larry Brownstein Co-Chairs Scott Amann

Tony Marlon

Beth Armstrong

Charles McEvoy

Hal Brierley

Dan McPhun

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Tom Billings

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Zibby Tozer

From all of us at USUO, we thank our DVMF Council members for their generous support, insightful guidance, and unwavering dedication.

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

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The remaining 2/3 comes from generous supporters like you. With ticket sales covering roughly 30% of the cost of our performances, your contribution helps complete the experience. Here’s how you can help:

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UTAH SYMPHONY | UTAH OPERA DEER VALLEY® MUSIC FESTIVAL 123 W. South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR

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Thoughtfully designed floor plans that feature all main floor living, no-step entry villas, spacious layout with plenty of storage, two suites, with the primary featuring a no-step shower.

55+ communities

Resort-like Amenitites! Clubhouse with a gym, kitchen, gathering space; outdoor pool, hot tub and pickleball court.

West Jordan

Heber

South Jordan

– spring 2025 –

801-913-3553 Peterson homes reserves the right to make changes at any time, including, but not limited to design, plans, elevations, pricing, sitemaps, amenities. All dimensions and square footage are approximate. Renderings are for reference only and do not represent standard features, inclusions, etc. Inquire within for information. All information deemed reliable, not guaranteed. Buyer to verify all information.

Whatma es i Red I:.edges so

Neighbors who are truly friends, a community where people live life to the fullest. A place where an afternoon stroll on the Golf Park or a day on the mountain can turn into an impromptu dinner party. An unmistakable authenticity in the culture, the members, the staff, the lifestyle. But still, it's so much more. It's Je ne sais quoi. Inexplicable. Indefinable. Ineffable. All words used to describe something that's difficult to put into words, so... maybe it's time you come see it for yourself. Discover Utah's Premier Private Community Scan the QR code to learn more.

©2025 Christie's International Real Estate. All Rights Reserved. Each office is independently owned and operated. All information provided is deemed reliable but is not guaranteed and should be independently verified. All recreational facilities are privately owned and operated as a club with mandatory membership fees. All descriptions, depictions, pricing, and renderings are subject to change. Equal Housing Opportunity. ©2025 Red Ledges Land Development, Inc.