Deer Valley® Music Festival 2022

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WELCOME TO THE DEER VALLEY® MUSIC FESTIVAL

Steven Brosvik President & CEO

Utah Symphony | Utah Opera

Thomas Love Chairman

USUO Board of Trustees

W. James Tozer Chairman

Deer Valley® Music Festival Council

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Deer Valley® Music Festival

Thank you for joining us for this performance of the 18th 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 the financial support of a growing number of donors. The founding of the festival nearly 20 years ago was made possible by the vision and generosity of the Prothro Family, Bill and Joanne Shiebler, 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, Zions Bank, Tony and Renee Marlon, Hal and Diane Brierley, and the Sorenson Legacy Foundation that has made each year more successful than the last. (Please see pages 14-17 for a full list of our supporters.)

As you look through this program, we think you’ll agree that we have a varied and exciting group of guest artists joining the renowned Utah Symphony 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.

Proud Sponsor of The Deer Valley® Music Festival We know what it takes to complete a successful performance. There is no substitute for working hard, staying on top of your game and accepting only perfection.

We are proud of our participation in the Utah community working to bring new and vibrant businesses to our state. We understand business and we are equipped through our various affiliations to undertake any assignment, large or small.

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ESCAPE INTO THE MUSIC

Ken Magleby Patrick Witmer Graphic Designers Paula Bell Dan Miller Paul Nicholas Advertising Representatives Melissa Robison 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 produces playbills for many performing arts groups.

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© Copyright 2022

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Welcome to the Deer Valley® Music Festival

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Utah Symphony

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The Board of Trustees

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Deer Valley® Music Festival Series Sponsors

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Testimonials

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Deer Valley® Music Festival Stage Sponsors

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Cumulative Giving

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Deer Valley® Music Festival Concerts

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Thank You

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Festival Council

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Support USUO

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Administration

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Acknowledgments

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

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CONTENTS

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ARRIVAL FROM SWEDEN: THE MUSIC OF ABBA

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HARLOW PERIWINKLE RUG

331 S. RIO GR ANDE STREET , STE.105 S A LT L A K E C I T Y, U TA H 8 41 0 1 8 0 1 . 5 7 5 . 6 5 2 5 | R E G E N C Y R O YA L E . C O M

UTAH SYMPHONY Thierry Fischer, Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation

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 Second Associate Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt•• Sara Bauman~ Erin David Joseph Evans LoiAnne Eyring Lun Jiang# Rebekah Johnson Tina Johnson~ Veronica Kulig David Langr Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Bonnie Terry Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Yuan Qi Associate Principal

• First Violin •• Second Violin

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Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas

Principal The Gerald B. & Barbara F. Stringfellow Chair

Jeff Luke Associate Principal

Brooks Fisher~ Acting Associate Principal

Peter Margulies Paul Torrisi

CELLO* Matthew Johnson Acting Principal The J. Ryan Selberg Memorial Chair

Lissa Stolz

TROMBONE Mark Davidson Principal

Andrew Larson Acting Associate Principal John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah Thomas-Hollands~ Pegsoon Whang BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn Andrew Keller Edward Merritt James Stroup~ Jens Tenbroek Thomas Zera** HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal

ENGLISH HORN Lissa Stolz CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell Erin Svoboda-Scott Associate Principal Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda-Scott BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Jessica Danz Principal

Caitlyn Valovick Moore

Edmund Rollett Associate Principal

PICCOLO Caitlyn Valovick Moore

Brian Blanchard** Stephen Proser

OBOE James Hall

TRUMPET Travis Peterson Principal

* String Seating Rotates ** On Leave

# Sabbatical ~ Substitute Member

Sam Elliot Associate Principal BASS TROMBONE Graeme Mutchler TUBA Alexander Purdy Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Claudia Restrepo ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Hannah Thomas-Hollands Orchestra Personnel Manager

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THE BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair Doyle L. Arnold* Brian Greeff* Joanne F. Shiebler* Vice Chairs Annette W. Jarvis* Secretary John D’Arcy* Treasurer Steven Brosvik* President & CEO Austin Bankhead Dr. Stewart E. Barlow Judith M. Billings George Cardon-Bystry

Gary L. Crocker David L. Dee* Barry L. Eden Senator Luz Escamilla Dr. Julie Aiken Hansen Daniel Hemmert* Stephen Tanner Irish Thomas N. Jacobson Abigail E. Magrane Brad W. Merrill Robin J. Milne Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Jason Price Shari H. Quinney Miguel R. Rovira Stan Sorensen Dr. Shane D. Stowell Naoma Tate

Thomas Thatcher W. James Tozer David Utrilla Kelly Ward Dr. Richard B. Williams Kim R. Wilson Thomas Wright* Henry C. Wurts

Clark D. Jones Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker

David A. Petersen Patricia A. Richards* Harris Simmons David B. Winder

Howard S. Clark Kristen Fletcher Richard G. Horne

Ron Jibson E. Jeffery Smith

Lisa Eccles Spencer F. Eccles Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler

Stanley B. Parrish Marcia Price Jeffrey W. Shields, Esq. Diana Ellis Smith

MUSICIAN REPRESENTATIVES Kathryn Eberle* Hugh Palmer* EX OFFICIO Doyle Clayburn Utah Symphony Guild Jennifer Webb Onstage Ogden

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

TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer John Bates

HONORARY BOARD Jesselie B. Anderson Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous

* Executive *Executive Committee Committee Member Member † Deceased

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DEER VALLEY® MUSIC FESTIVAL SERIES SPONSORS DEER VALLEY® MUSIC FESTIVAL SEASON SPONSOR

SUMMER ENTERTAINMENT SPONSOR

SUMMER SYMPHONY SPONSOR

SHIEBLER FAMILY FOUNDATION CHAMBER SERIES SPONSOR

OFFICIAL VEHICLE OF THE UTAH SYMPHONY SUMMER FESTIVAL

BMW OF MURRAY BMW OF PLEASANT GROVE

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Deer Valley® Music Festival

With appreciation to our

SEASON SPONSOR

Music is a language we all understand.

— STEVIE WONDER —

TESTIMONIALS I’m proud to be a member of the Utah Symphony | Utah Opera Board of Trustees.

I’m deeply committed to its mission, and the Deer Valley® Music Festival is a perfect example of how the company “connects the community through great live music.” I take great pleasure and pride in showing off the best that Utah has to offer in the way of entertainment to clients and colleagues from near and far.

The Deer Valley® Music Festival is an experience that never fails to impress and to attract repeat visitors year after year. It contributes to our local economy, elevates Utah’s reputation, showcases the excellence and versatility of our full-time musicians, and creates lasting memories for families and friends. Music has always played a significant role in my life as it profoundly affects my sense of wellbeing and optimism. I’m grateful for the opportunity to serve our community through music, and thank our audiences and supporters for joining in this shared journey.

—Annette Jarvis Greenberg Traurig Shareholder; Secretary and Vice Chair elect, Utah Symphony | Utah Opera Board of Trustees 16

Deer Valley® Music Festival

Attending the Deer Valley® Music Festival is one of the most anticipated events of every summer. We look forward to bringing family, friends and business associates to share this fantastic experience featuring our very own Utah Symphony with special guest artists representing many musical genres. We are so proud of the excellent reputation of our Utah Symphony | Utah Opera and the accolades it garners for our state.

It creates what we at O. C. Tanner also strive for—a celebration of those experiences that make up the fabric of life.

—Dave Petersen President & CEO, O.C. Tanner Company; Lifetime Trustee, Utah Symphony | Utah Opera

TESTIMONIALS Because music has always been an important part of my life, I’m particularly proud of and grateful to have Utah Symphony and Utah Opera in our community.

I’ve been a long-time fan year-in and year-out, enjoying the variety of outstanding concerts and operas at Maurice Abravanel Hall and the Janet Quinney Lawson Capitol Theatre. The opportunity to experience great music throughout the summer in our gorgeous Wasatch Mountains is the icing on the cake. I’m excited that my children and grandchildren attend the Deer Valley® Music Festival with me and are committed to supporting this wonderful treasure in our community.

—Joan Firmage

Our Foundation is delighted to continue to support the ever-growing excellence of the Utah Symphony | Utah Opera.

We are especially pleased to be the Season Sponsor of this year’s Deer Valley Music Festival ® concerts, offering one of the most wonderful ways to enjoy summer evenings in Utah! How exciting it is to return to live performances in one of our state’s most glorious Alpine settings, whether on the beautiful Deer Valley mountainside or St. Mary’s Church in White Pine Canyon meadows.

Here, all of us in Utah and visitors from near and far can enjoy the extraordinary talents of the Utah Symphony and its guest artists… a highlight of every summer. Our directors—Spencer F. Eccles, Robert M. Graham, and myself— hope you return with us often to enjoy the Utah Symphony’s ‘gifts of music’ as they ring out in our beloved Utah mountains!

—Lisa Eccles President & COO George S. and Dolores Doré Eccles Foundation Salt Lake City Deer Valley® Music Festival

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CUMULATIVE GIVING

Utah Symphony | Utah Opera expresses deep gratitude to donors who over the past 18 seasons through extraordinary generosity have made the Deer Valley® Music Festival a resounding success. We appreciatively acknowledge cumulative giving in support of USUO and the Festival:

* In-kind donation

** In-kind & Cash Donations

† Deceased

Dominion Energy The Grand America* LOVE Communications** Marlon Family Foundation / Anthony & Renee Marlon O.C. Tanner Company Perkins-Prothro Foundation / Mark & Dianne Prothro Patricia A. Richards & William K. Nichols Shiebler Family Foundation / Joanne & Bill Shiebler

Sorenson Legacy Foundation Summit County Cultural RAP & Restaurant Tax The Swartz Foundation / Jim & Susan Swartz Utah Division of Arts & Museums Zions Bank

Thomas & Lorie Jacobson Montage Deer Valley** Jim† & Marilyn Parke Alice & Frank Puleo

St. Regis Deer Valley** Stein Eriksen Lodge** WCF Mutual Insurance Company

$500,000+

Harold & Diane Brierley Church of Jesus Christ of Latter-day Saints Foundation Deer Valley Resort** George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation Kem & Carolyn Gardner Dell Loy Hansen & Julie Aiken Hansen

$250,000–$499,000

Scott & Kathleen Amann Richard K. & Shirley S. Hemingway Foundation Holland & Hart

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prevent wildfires, for the love of the outdoors.

ON THE HILL STEWART COPELAND:

POLICE DERANGED FOR ORCHESTRA JULY 1 / 2022 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER EDWIN OUTWATER, conductor STEWART COPELAND, drums ARMAND SABAL-LECCO, bass CARL VERHEYEN, guitar AMY KEYS, vocals ARETHA SCRUGGS, vocals CARMEL HELENE, vocals

PRESENTING SPONSOR

LARRY CLEMMENSEN

ORCHESTRA SPONSOR

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ARTISTS’ PROFILES POLICE DERANGED FOR ORCHESTRA

By Stewart Copeland Way back in the mists of 1976 I fired up this band called The Police. In the fashion of the day it was supposed to be a punk band but one of the guys started writing actual songs.

Hit songs—songs that were so cool and fun to play that our manifesto evolved from “We will eat your children!” to “Come dance with us!”

Sting had joined the mission as a bass player who could also sing, although singing wasn’t much required in those early days. But then Andy Summers came along with his large vocabulary of fancy guitar chords and our ears pricked up to music possibilities that went way beyond our hostile hairdos. Sting’s hitherto undisclosed (even to him I suspect) gift for song writing led to another amazing reveal: Dang! That guy can really sing!

Edwin Outwater Conductor

A truly visionary conductor, Edwin Outwater regularly works with orchestras and institutions throughout the world, producing, curating, and conducting unique concert experiences. He is equally adept at interpreting canonical works, and regularly premieres new commissions and connects audiences with repertoire beyond the mainstream. He is, in the words of Michael Tilson Thomas, “one of the most innovative conductors on the scene today.”

Recent guest performance highlights for him include New York Philharmonic; Philadelphia Orchestra; New World Symphony; and the symphony orchestras of Baltimore, Chicago, Seattle; as well as Toronto, Victoria, and Kitchener-Waterloo Symphony, where he currently holds the position of Music Director 26

Deer Valley® Music Festival

The Derangement of those songs began as music score for a movie I made out of Super8 footage of the band that I had shot during our rise to glory. Film puts capricious demands on music, which is why these popular songs had to be deranged. I had to carve up the music to serve the scenes in the movie, and once the scalpel was out, a whole new frenzy of inspiration from Police music began. Delving into the multi-tracks of the original recordings as well as live performances revealed lost guitar solos, bass lines, and vocal improvisations that were just too cool to leave in dark obscurity.

Meanwhile, my two decades before the mast as a hired-gun film composer had forced an education in orchestration upon me, and the idea formed to make this combination that brings us here tonight. Sting’s songs, Andy’s inventions, and my impunity, all on the page for a wild ride with the Utah Symphony.

Laureate. In April 2020, Edwin Outwater was appointed Music Director of San Francisco Conservatory of Music and began his tenure in September 2020.

International appearances include the Tokyo Metropolitan Orchestra, Tokyo Symphony, the Brussels Philharmonic, BBC National Orchestra of Wales, the New Zealand Symphony, Adelaide Symphony, Malmö Symphony, Mexico City Philharmonic, and Hong Kong Sinfonietta.

Outwater has a long association with the San Francisco Symphony. The 2019-20 season began with a hugely successful collaboration between the orchestra, Outwater and legendary metal band Metallica at the new Chase Center arena.

He also regularly conducts and curates their SoundBox series and “Holiday Gaiety,” an LGBTQ holiday concert he created with drag performer Peaches Christ.

ARTISTS’ PROFILES Stewart Copeland Composer/Drums

Stewart Copeland has spent more than three decades at the forefront of contemporary music as rock star and acclaimed film composer, as well as in the disparate worlds of opera, ballet, and world and chamber music. Recruiting Sting and Andy Summers in 1977, Copeland is renowned as the founder of The Police, a band that became a defining force in rock music from the ‘80s through to the present day. His career includes the sale of more than 60 million records worldwide, and numerous awards, including five GRAMMY® awards.

Copeland moved beyond the rock arena in the mid-1980s when he returned to his classical roots with creative pursuits in concert and film music. His concert works include BEN-HUR, A Tale of the Christ, which features Copeland as soloist in a live orchestral score for the

Armand Sabal-Lecco Bass

Born in Ebolowa, Cameroon, bassist and composer Armand Sabal-Lecco was first inspired musically by his siblings, reputed contributors to their native country’s rich musical history. Armand rose to prominence in the mid-‘80s in Paris among the pioneering new wave of African musicians who helped redefine the sound of the world music genre. Since then, as a specialist in creating musical bridges between cultures, Sabal-Lecco’s artistic savoir faire has

1925 silent film; Tyrant’s Crush: Concerto for Trapset and Orchestra commissioned by the Pittsburgh Symphony Orchestra; Poltroons in Paradise commissioned by the Royal Liverpool Philharmonic Orchestra; and Gamelan D’Drum, commissioned by the Dallas Symphony Orchestra for the world percussion group D’Drum.

Recipient of the Hollywood Film Festival’s first Outstanding Music in Film Visionary Award, a GRAMMY nominee for his 2005 CD Orchestralli, and a 2003 inductee to the Rock and Roll Hall of Fame, Copeland has been responsible for some of the film world’s most innovative and ground breaking scores. His numerous film scores include Oliver Stone’s Wall Street, the seminal score for the Golden Globe-nominated soundtrack for Francis Ford Coppola’s Rumble Fish, the score for Bruno Barreto’s Oscar-nominated Four Days in September and his Emmy nomination for the Showtime pilot and series Dead Like Me.

generated both praise and demand from artists including Sir George Martin, Peter Gabriel, Mercedes Sosa, Ringo Star, João Bosco, Ziggy Marley, among many others.

He has composed for Carole King, Jeff Beck, Stewart Copeland, and Herbie Hancock. Sabal-Lecco recorded the vocals for the track Képéré, sung in Képéré, an eastern Cameroonian dialect, on the feature film Blood Diamond as well as advertising campaigns for international brands.

Sabal-Lecco’s solo project Positive Army, released in 2012, is a bass-driven, African groove alchemy with jazz harmonies and features a cast of international guest artists.

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ARTISTS’ PROFILES Carl Verheyen Guitar

In his 50-plus years of playing the instrument, Carl Verheyen has created a wildly successful, multi-faceted career. He is a critically acclaimed musician, vocalist, songwriter, arranger, producer, and educator with sixteen albums and two live DVDs released worldwide. Verheyen is commonly regarded as a guitar virtuoso capable of

Amy Keys Vocals

Originally from Washington, DC, Amy Keys started singing with groups in college while becoming a member of Delta Sigma Theta Sorority and earning a degree in Biology with a minor in Chemistry. Her education continued with studies in voice at the Peabody Institute, with Seth Riggs, Nolan Van Way, and Gerald White. Her first “major” tour was with Leonard Cohen and

Aretha Scruggs Vocals

Aretha Scruggs is a professional jazz-gospel singer who resides in Los Angeles, but counts herself blessed to have used her gift all over the United States and in 19 countries for the last 30+ years in music. She has been a touring background singer for Natalie Cole, Christina Aguilera, Anita Baker, and Chaka Khan. On both television and live shows, she has also supported legends Whitney Houston and Patti LaBelle; neo-soul powerhouses Jill Scott, India Arie; and pop 28

Deer Valley® Music Festival

playing any style of music with remarkable mastery and conviction. He has been one of LA’s elite “first call” session players for the past 38 years, playing on hundreds of records, movie soundtracks, and television shows. Verheyen has graced the pages of countless industry publications and been the subject of numerous articles chronicling his rise to the forefront of the modern-day guitar scene. Verheyen has won numerous polls and musical honors in the US, Germany, France, Italy, and the UK.

was quickly followed by a tour with the LA All Stars, whose members included Al McKay and Verdine White of Earth, Wind and Fire. Later that same year, she was offered the opportunity to perform with one of her idols...Phil Collins. Other touring credits include: Herbie Hancock, Barbra Streisand, Toto, Dave Stewart, kd lang, Joe Cocker, Tears For Fears, Kevin Spacey (“Beyond the Sea” Tour), Michael Bolton, Philip Bailey, and many more. In May 2006, she began touring with Johnny Hallyday... singing completely in French!

producers/artists Justin Timberlake, Pharell and more. She has sung with such gospel greats as Mary Mary, Kirk Franklin, Israel Houghton, Tye Tribbett, Fred Hammond, Marvin Sapp, and Yolanda Adams. As a film and TV session singer her voice can be heard on Trolls 2, Sing 2, Just Mercy, Bad Boys III, Respect, and Harriet Tubman to name a few. Currently, as a solo artist, Scruggs has been featured at the Long Beach Jazz Festival, and even got to debut her jazz-gospel inspired EP, Not of This World in France. Currently, she is working on a full-length jazz CD to share with her audience and hopes to tour with it in 2022.

ARTISTS’ PROFILES Carmel Helene Vocals

Carmel Helene is a diverse singer/songwriter and producer from San Francisco. From street performing solo with her guitar, to traveling to over 34 countries with featured performances for over 80,000 people, she has been a musical veteran for over 25 years. Her talents run the gamut from writing and recording to producing and mixing her own compositions. Her voice and songs have been featured in films, national commercials, and television including

National Lampoon’s Gold Diggers, McDonald’s, CSI, Jimmy Kimmel Live!, Black Monday, The Good Wife, NBC Super Bowl, BET Jazz, Perrier, Iomega, Dr. Pepper, Friedman’s Jewelers, and ESPN. She has toured with acts including Miley Cyrus, Billy Ray Cyrus, Michael Bolton, and Johnny Hallyday. She has also appeared as a backing vocalist on shows such as American Idol, The Voice, The Tonight Show, American Music Awards, American Academy of Country Music Awards, Country Music Hall of Fame to name a few. Carmel Helene has recorded on major-selling albums, and has released her own albums as well.

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ON THE HILL UTAH SYMPHONY’S

PATRIOTIC POPS

WITH LAKISHA JONES JULY 2 / 2022 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER BENJAMIN MANIS, conductor LAKISHA JONES, vocalist CARLETON BLUFORD, narrator

PRESENTING SPONSOR

SCOTT & KATHIE AMANN

CONCERT SPONSOR

JOHN & JEAN YABLONSKI

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LODGING SPONSOR

PROGRAM / ARTISTS’ PROFILES SOUSA

“The Washington Post” March

ARLEN

“Over the Rainbow” from The Wizard of Oz

GERSHWIN JOHN WILLIAMS LEE GREENWOOD COPLAND BERLIN

“Summertime” from Porgy and Bess “Midway” March “God Bless the USA” Lincoln Portrait “God Bless America” INTERMISSION

BERNSTEIN SMALLS COPLAND DOLLY PARTON LOWDEN & EILERS JOHN WILLIAMS WARD

Overture to Candide “Home” from The Wiz “Saturday Night Waltz” and “Hoedown” from Rodeo “I Will Always Love You” “Armed Forces Salute” “Hymn to the Fallen” from Saving Private Ryan “America the Beautiful”

Benjamin Manis Associate Conductor

Conductor Benjamin Manis will join the Utah Symphony as Associate Conductor in September 2022. Manis just completed his third season as Resident Conductor of the Houston Grand Opera (HGO), and returns to Houston to conduct Tosca and El Milagro del Recuerdo in the 2022–23 season. He made his HGO debut with Verdi’s Rigoletto, and this season conducted Carmen, Roméo et Juliette, and The Snowy Day. Manis was winner of the 2019 Solti Foundation US Career Assistance Award,

as well as the Richard S. Weinert Award from Concert Artists Guild. He has served as cover conductor for the St. Louis, Dallas, and National Symphonies, working with conductors David Robertson, Stéphane Denève, and Gianandrea Noseda. After three years in the Aspen Conducting Academy, Manis returned to Aspen in the summer of 2021 as Assistant Conductor, where he conducted two programs with the Aspen Chamber Symphony.

Benjamin Manis studied cello and conducting at the Colburn School, and in 2019 he completed his Master of Music degree at Rice University’s Shepherd School of Music.

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ARTISTS’ PROFILES LaKisha Jones Vocalist

Best known to millions of TV viewers as a top four finalist during the 2007 season of American Idol, LaKisha Jones is ready to reclaim center stage in music, theatre, and television.

Having worked with hit-making songwriters and producers including Tony Nicholas (Patti LaBelle, Luther Vandross), Ro & Sauce (Brandy, Ne-Yo) and Greg Curtis (Keyshia Cole, Yolanda Adams), Jones’ album featured a spirited mix of R&B and soul. A few noteworthy songs included the single “Same Song,” penned by award-winning songwriter Diane Warren, Whitney Houston’s

Carleton Bluford Narrator

Carleton Bluford played Riff Raff in The Rocky Horror Show, Graffiti Pete in Pioneer Theatre Company’s In The Heights, and Joshua Moore in Pioneer’s reading of An Alabama Story. Bluford has previously appeared in Plan-B’s Wallace, Slam and The Third Crossing which was nominated for three Arty Awards in Salt Lake City Weekly.

Other acting credits include Jesus Christ Superstar (Park City’s Egyptian Theatre), Ragtime (Hale Center Theatre), The

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Deer Valley® Music Festival

“You Give Good Love,” the gospel song “Just As I Am,” and Jones’ soaring ballad to her daughter, “Beautiful Girl.”

A frequent soloist with symphonies around the world, Jones has performed as a guest soloist with the National Symphony, San Diego Symphony, Utah Symphony, Winnipeg Symphony, Evansville Philharmonic, Jacksonville Symphony, Minnesota Orchestra, Houston Symphony, Phoenix Symphony, Colorado Symphony, Winnipeg Symphony, Windham Chamber Singers, Grand Rapids Symphony, Vancouver Symphony, Calgary Symphony, Battle Creek Symphony, Reno Philharmonic, Oregon Symphony, Long Bay Symphony, and the Festival Cesky Krumlov in the Czech Republic.

Overwhelming (Salt Lake Acting Company), Ruined (People Productions), and Civil War with Merrill Osmond (Hale Centre Theatre).

Recent film credits include Saints and Soldiers: The Void, Stop Pepper Palmer (Best Supporting Actor, WorldFest Houston); The Step Sister; and most recently, the remake of Saturday’s Warrior. As a playwright, his play Breathe was read as part of the Utah AIDS Foundation/Plan-B Aids Plays and his play Niggah was read as part of the Edward Lewis Black Theatre Festival. Mama was his first full-length production at Plan-B. He is excited to be returning to Salt Lake Acting Company for Streetlight Woodpecker.

ST. MARY’S CHAMBER CONCERTS LÓPEZ SINGS

BARBER AND MOZART JULY 6 / 2022 / 8 PM ST. MARY’S CHURCH

CONNER GRAY COVINGTON, conductor CECILIA VIOLETTA LÓPEZ, soprano

NATHAN LINCOLN DE CUSATIS

BARBER

A Collection of Sand I. An Ocean of Words II. Herd Mentality III. Melodic Abyss Knoxville: Summer of 1915, Op. 24

INTERMISSION

MOZART FARRENC

“E Susanna non vien!..Dove sono i bei momenti” from The Marriage of Figaro Symphony No. 3 in G minor, Op. 36 I. Adagio(em dash) Allegro II. Adagio cantabile III. Scherzo: Vivace IV. Finale: Allegro

Stay after the concert for a Q&A with the guest artists of each evening’s concert in St. Mary’s.

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ARTISTS’ PROFILES Conner Gray Covington Conductor

Conner Gray Covington recently completed a four-year tenure with the Utah Symphony as Associate Conductor and as Principal Conductor of the Deer Valley® Music Festival. During his tenure in Utah, Covington conducted nearly 300 performances of classical subscription, education, film, pops, and family concerts as well as tours throughout the state. This season he returns to the Utah Symphony as a guest conductor on several occasions and debuts with the Amarillo Symphony, Fort Wayne Philharmonic, Idaho State Civic Symphony, North Carolina Symphony, and the San Diego Symphony. Previously, he was a Conducting Fellow at the Curtis Institute of Music in Philadelphia. He began his career as Assistant Conductor of the Memphis

Cecilia Violetta Lopéz Soprano

Celebrated soprano Cecilia Violetta López has been named one of “Idaho’s Top 10 Most Influential Women of the Century.”

In past seasons, López has made several role debuts including her now critically acclaimed role of Adina in L’elisir d’amore with Opera Idaho, Virginia Opera, and Opera Las Vegas; the title role in Massenet’s Manon with Opera Idaho; Nedda in I Pagliacci with Opera Colorado; Marguerite in Faust with Opera Omaha; Mimì in La bohème with Opera Orlando; Rosalba in Florencia en el Amazonas with Florida Grand Opera; Beatrice Russo in

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Symphony Orchestra and Music Director of the Memphis Youth Symphony Program.

Born in Louisiana, Covington grew up in East Tennessee and began playing the violin at age 11. He completed high school at the renowned High School for the Performing and Visual Arts in Houston, Texas. He then went on to study violin with Dr. Martha Walvoord and conducting with Dr. Clifton Evans at the University of Texas at Arlington where he graduated summa cum laude with a degree in violin performance. He continued his studies with Neil Varon at the Eastman School of Music where he earned a Masters of Music degree in orchestral conducting and was awarded the Walter Hagen Conducting Prize.

Conner currently lives in Boston with his wife Mischa and their two cats, Razel and Oreo.

Il Postino with Opera Southwest and Opera Saratoga; Rosina in Il barbiere di Siviglia; Fiordiligi in Così fan tutte; and Contessa in Le nozze di Figaro with Opera Tampa amongst others across the country.

López also completed a two-year-tenure as a Soprano Resident Artist at Opera San José where she performed Leïla in Les pêcheurs de perles, Rosalinde in Die Fledermaus, Leonora in Il trovatore, the title role in Suor Angelica, Lauretta in Gianni Schicchi, Nannetta in Falstaff, Gretel in Hänsel und Gretel, Donna Anna in Don Giovanni, and Cio-Cio San in Madama Butterfly.

In January 2021, Opera Idaho appointed López as the company’s first Artistic Advisor.

HISTORY OF THE MUSIC

By Jeff Counts

A Collection of Sand Nathan Lincoln de Cusatis Duration: 12 minutes in three movements

The biography of American composer Nathan Lincoln de Cusatis identifies his eclectic suite of cultural influences as “past musical traditions, communal improvisation, cult films, iconic works of art, and the ambient sounds of the urban landscape.” It is the last item on that partial list that forms the molecular heart of his 2021 work for small orchestra A Collection of Sand. “The common thread,” he writes about the work’s three movements, “is a preoccupation with the pervasive noises of the modern world where foreground and background merge into a single chaotic sonic experience.”

In this “sandbox,” Lincoln de Cusatis riffs on the idea of collecting as he assembles “tiny grains” of music into “movements of contrasting sound, form, and attitude that still seem to complement each other.”

A secondary collection opportunity then occurs for the listener, who the composer hopes will “sort…through the grains of sound in order to extract the ones they want to keep.” Continuing with Lincoln de Cusatis’ own note on the piece, Movement I, Ocean of Words, “begins and ends with a chattering montage of independent lines forming a whirling cloud of sound like the murmuring of an anxious crowd. The abrupt ending represents a kind of Information Age apocalypse where the hyperactive pace of human communication accelerates off a cliff.”

Movement II, Herd Mentality, “is a raucous hive of sound that I begrudgingly dedicate

to all the time I spend sitting in traffic.

You can hear spewing exhaust, clanging engines and a general subservience to the migratory patterns of the herd.” The last movement, Melodic Abyss, “takes a quasi-operatic aria and places it into a contradictory auditory environment of sporadic popping and squeaking.” It is as if we are “hearing a piece within a piece… through static-prone speakers.”

Knoxville: Summer of 1915, Op. 24 Samuel Barber (1910-1981) Duration: 14 minutes

There is no shortage of music written about nostalgia and reminiscence. You could fill multiple playlists with these works, but few composers have captured the wistfully discursive path of memory like Samuel Barber. When he was approached by soprano Eleanor Steber to write a brief voice and orchestra work for premiere in 1947, Barber turned to a prose poem by James Agee. Agee later incorporated the poem into the prologue of his novel A Death in the Family, but when Barber first read it, it was included in an issue of the New York-based literary anthology Partisan Review as a gorgeously self-contained expression of youthful recollection. Though he grew up in Pennsylvania, Barber found much to relate to in Agee’s poem about a boy lying in his backyard grass on a languid Knoxville evening. When he met the writer sometime later, in fact, the two men uncovered a few literal parallels in

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HISTORY OF THE MUSIC their separate childhood experiences.

They both had a musically inclined aunt.

They could both hear a streetcar from their porch. This instant relatability is perhaps Barber’s greatest gift to Agee’s prose. The music he created to transport the text sounds as if he borrowed it from a collective well of innocent recall, as if the experiences of folks lucky enough to have had peaceful childhoods were already mixed and manifested and simply waiting for someone to give them a single voice. Equal to this effortless supernatural aptness is the sense of place Barber creates. Leontyne Price, a longtime champion of the piece, once said “You can smell the South in it.” The original version included a full orchestra, but Barber made the wise choice to reduce the instrumental forces in 1950, and this more intimate setting has been the rightful standard ever since.

“Dove sono i bei momenti” from The Marriage of Figaro Wolfgang Amadeus Mozart (1756-1791) Duration: 4 minutes

The Marriage of Figaro was the first of three successful collaborations between librettist Lorenzo da Ponte and Mozart. Based on the second part of the Beaumarchais Figaro Trilogy, Mozart’s brilliant opera buffa continues the story begun with The Barber of Seville. As the curtain lifts, we find ourselves among the familiar characters on the day of Figaro’s wedding to Susanna, but the ceremony is delayed by various intrigues, plots, and other flights

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of aristocratic spoofery. Figaro shows, as much as anything he ever wrote, Mozart’s effortless genius for the pairing of literary absurdity and stunningly beautiful music.

That the opera would become the beloved repertory standard it is today, however, was not immediately apparent. The play was banned at first and it took some effort by da Ponte to get permission for his libretto treatment. Also afoot in Vienna at that time was the ongoing feud between the Italian supporters of Antonio Salieri, his perceived artistic “enemies,” Mozart not least among them. Salieri and da Ponte had been court colleagues, but professional differences left the poet free to join Mozart. Both men would benefit greatly from the new alliance.

Once complete, Figaro enjoyed a successful premiere but only eight more performances in Vienna, where paid hecklers attempted to bring Mozart down. Mozart soon took the production on the road to Prague, and it was there that the history begins to match our own affection. The aria “Dove sono i bei momenti” occurs halfway into Act III. Countess Almaviva has paused for a moment to reflect on the many emotional crosses she must bear, thanks to her philandering husband—loneliness, humiliation and, of course, righteous indignation.

Symphony No. 3 in G minor, Op. 36 Louise Farrenc (1804-1875) Duration: 36 minutes in four movements

The fact that so many 21st-century concert goers have not yet heard of Louise Farrenc is unforgivable. Ensembles around the world are working to fix this problem, true, but it is

HISTORY OF THE MUSIC overdue. Born in 1804 and surrounded by artists of every disciplinary stripe, Farrenc was a piano prodigy who entered the Paris Conservatory at the age of 15. From there, she launched a decades-long performing career that culminated in a return to the Conservatory as Professor in 1842. The fact that it took her almost an additional decade to earn as much as her male teaching colleagues didn’t discourage Farrenc from holding the job for 30 years, during which time she cultivated a loyal following as a pedagogue and a composer. Loyalty and popularity are not the same thing in this business, however, so Farrenc’s success as a composer was limited during her lifetime to a few scattered prizes and the high opinion of peers like Hector Berlioz.

Farrenc’s chamber music is how the painfully few who do know her work today became familiar, but she wrote a handful of overtures and symphonies as well. Last in this orchestral section of her catalogue was the Symphony No. 3 of 1847. Large-scale performance opportunities were difficult to come by in mid-19th century France, even for men, so it is likely Farrenc thereafter sought the more reliable refuge of sonatas and piano quintets for highly strategic reasons. Even without the systemic limits of her home country to contend with, composing a symphony in the creative world left behind by Beethoven could not have been easy for Farrenc. This was a space controlled by Mendelssohn and Schumann and, though her Symphony No. 3 stands up comfortably to theirs, it has taken far too long to acknowledge it.

JULY 3–AUGUST 27 SIR DONALD RUNNICLES, MUSIC DIRECTOR JACKSON HO L E, W YO MING

“One of the best places to hear classical music in the summer.”

WALL ST RE E T J OU RNAL

Join us for exhilarating musical experiences this summer in Jackson Hole!

ON THE HILL DISNEY IN CONCERT:

MAGICAL MUSIC FROM THE MOVIES JULY 8 / 2022 / 8 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER BENJAMIN MANIS, conductor STEPHANIE BURKETT GERSON, vocalist PAYSON LEWIS, vocalist LISA LIVESAY, vocalist AARON PHILLIPS, vocalist

DISNEY IN CONCERT Magical Music from the Movies is produced by Symphony Pops Music Sherilyn Draper – Director and Writer Ted Ricketts – Musical Director Presentation licensed by Disney Concerts © All rights reserved

“Disney Classics Overture”

Arranged by Bruce Healey © 1993 Walt Disney Music Co. (ASCAP) & Wonderland Music Co., Inc. (BMI)

Songs from The Little Mermaid

Music by Alan Menken Lyrics by Howard Ashman Arranged by A. Menken, R. Merkin T. Pasatieri and T. Ricketts © 1990 Wonderland Music Co., Inc. (BMI)

“How Far I’ll Go” from Disney’s Moana Words and Music by Lin-Manuel Miranda © 2016 Walt Disney Music Company

Disney’s Beauty and the Beast Suite

Music by Alan Menken Lyrics by Howard Ashman Arranged by Danny Troob and Franck van der Heijden Edited by Ted Ricketts © 1992 Wonderland Music Co., Inc. (BMI) & Walt Disney Music Company (ASCAP)

“I Wan’na Be Like You”

Words and Music by Richard M. Sherman and Robert B. Sherman Arranged by Franck van der Heijden © 1966 Wonderland Music Company, Inc. (BMI)

Medley From Disney’s Mary Poppins

Words and Music by Richard M. Sherman and Robert B. Sherman Arranged by Bruce Healey and Ken Whitcomb © 1963 Wonderland Music Company, Inc. (BMI)

Disney’s The Hunchback Of Notre Dame Orchestral Suite Music by Alan Menken Arranged by Michael Starobin Edited by Ted Ricketts © 1996 Wonderland Music Co., Inc. (BMI)

“Let it Go” from Disney’s Frozen

Music and Lyrics by Kirsten Anderson-Lopez and Robert Lopez Orchestrated by David Metzger Adapted by Ted Ricketts © 2013 Wonderland Music Company, Inc. (BMI)

Disney’s Aladdin Suite

Music by Alan Menken Lyrics by Howard Ashman and Tim Rice Arranged by Danny Troob and Bruce Healey © 1992 Wonderland Music Co., Inc. (BMI) & Walt Disney Music Company (ASCAP)

Pirates of the Caribbean Suite

Music by Klaus Badelt Arranged by Ted Ricketts © 2003 Walt Disney Music Company (ASCAP)

Disney’s The Lion King Song Suite

Music by Elton John Lyrics by Tim Rice Score by Hans Zimmer Arranged by Brad Kelley and Ted Ricketts © 1994 Wonderland Music Co., Inc. (BMI)

INTERMISSION Deer Valley® Music Festival

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ARTISTS’ PROFILES Stephanie Burkett Gerson Vocalist

Stephanie Burkett Gerson has a wide range of credits to her name, from theater and theme parks to cruise ships and a favorite national anthem vocalist. As a proud member of Actor’s Equity, Gerson has been seen as a lead vocalist and Mrs. Claus in the Rockette’s Radio City Christmas Spectacular National Tour and appeared in I Love A Piano as Ginger at Moonlight Stage Productions in Vista California. Regional Theatre credits: Joseph and the Amazing

Payson Lewis Vocalist

Payson Lewis is originally from outside Philadelphia and currently resides in the entertainment capital of the world, Hollywood, CA. His unique blend of artistic talents has lent itself to his equally diverse career as a performer. His acting credits include TV shows like S.W.A.T. (CBS), Jane The Virgin (CW), American Crime Story: The People v. O.J. Simpson (FX), Revenge (ABC), and How I Met Your Mother (CBS), among many others. As an award-winning

Lisa Livesay Vocalist

Lisa Livesay is thrilled to travel the world with Disney in Concert, singing the beloved music of her childhood! Career highlights include playing Glinda in Wicked on Broadway, and appearing in the film Monday Nights at Seven with Oscar winner 40

Deer Valley® Music Festival

See page 31 for Benjamin Manis’ profile

Technicolor Dreamcoat (Narrator), Smokey Joe’s Café (Delee), Nine (Carla), Cats (Jellylorum), Beauty and the Beast (Babette), The Full Monty (Estelle), The Buddy Holly Story (Vi, Mary Lou), Meet Me in St. Louis (Lucille), Sweeny Todd, and Richard Sherman’s Pazzazz. Other theatre credits include: You’re a Good Man, Charlie Brown (Lucy), Grease (Sandy), and The Wizard of Oz (Dorothy). Gerson is an active member of New York City’s most well known gospel choir, Michael McElroy’s Broadway Inspirational Voices. She also regularly lifts the spirits of America’s troops and their families with the USO Show Troupe.

theatrical performer, he has starred in shows in Las Vegas, Chicago, New York, Los Angeles, and was a part of the star-studded cast of Mamma Mia! at the world famous Hollywood Bowl. However, it’s in music that his career started and it remains his true passion. As a singer he appeared on the soundtracks of major motion pictures including The Lego Movie 2 and Superintelligence, has toured the world as a soloist with numerous world-class orchestras, and is an independent recording artist and songwriter with well over a million streams to his name. You can follow him on all social media platforms @paysonlewis.

Edward James Olmos. She is featured in audiobook musicals such as Puss in Boots and Spin!, for which she won Audie awards. Livesay resides in Los Angeles, where she contributes to soundtracks for film and TV. In her spare time she is earning her degree in Interdisciplinary Arts and Sciences at the City College of New York. Boundless love and gratitude to her biggest fans—her family.

ARTISTS’ PROFILES Aaron Phillips Vocalist

Aaron Phillips is very excited to be part of this wonderful production. Phillips is an Ovation Award nominated actor/singer, proud member of Actors’ Equity, and can frequently be seen on film and TV. Past theatre credits include: Jekyll and Hyde (John Utterson), Batboy: The Musical (Batboy/Edgar), Songs for a New World, and Les Misérables (Foreman/ Combeferre). Opera credits include: La bohème with the Greensboro Opera Company conducted by Valery Ryvkin,

The Pirates of Penzance (Pirate King), and Lakmé (Frédéric) by Delibes. Phillips recently appeared in a staged reading of The Bone Wars (O’Conner) with the prestigious New York playwright group, Youngbloods.

You may have seen Phillips as Carl, half of the duo that is the face of Lipton Iced Tea. He is also an accomplished voice-over talent and can be heard in video games such as World of Warcraft, Grand Theft Auto V, Red Dead Redemption, and The Lord of the Rings. He is a man of many voices for commercials, cartoons, and music sessions everywhere. Phillips has been a Disney fan his entire life, and is happy to help bring this music to fans of all ages.

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5/12/22 5:43 PM

ON THE HILL

THE HOT SARDINES

FEATURING NELLIE MCKAY WITH THE UTAH SYMPHONY

JULY 9 / 2022 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CHRISTOPHER DRAGON, conductor NELLIE MCKAY, vocalist THE HOT SARDINES, guest artist

PRESENTING SPONSOR

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PROGRAM / ARTISTS’ PROFILES

BERNSTEIN ARMSTRONG GERSHWIN

Selections from West Side Story Satchmo! (A Tribute to Louis Armstrong) Porgy and Bess, Selections for Orchestra

INTERMISSION

THE HOT SARDINES

Guest Artist Performance

Christopher Dragon Conductor

Christopher Dragon has a versatile portfolio, ranging from live-to-picture performances of Nightmare Before Christmas, Jurassic Park, and Mary Poppins, to conducting Danny Elfman’s Violin Concerto, and leading the Colorado Symphony’s “Classical Top 40” series.

Dragon has worked with Ben Folds, Gregory Alan Isakov, Indigo Girls, Wynton Marsalis, Pink Martini, and the Flaming Lips.

Dragon works regularly in Australia and has guest conducted the Sydney, Melbourne, Adelaide, and West Australian symphony orchestras. His 2015 debut performance at the Sydney Opera

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House with Josh Pyke and the Sydney Symphony Orchestra was released on album by ABC Music and won an ARIA the following year. Dragon’s international guest conducting includes the Orquestra Sinfônica de Porto Alegre, the San Diego Symphony Orchestra, and the New Zealand Symphony Orchestra.

Dragon began his conducting studies in 2011 and was a member of the prestigious Symphony Services International Conductor Development Program in Australia under the guidance of course director Christopher Seaman. He has also studied with numerous distinguished conductors including Leonid Grin, Paavo and Neeme Järvi at the Järvi Summer Festival, Fabio Luisi at the Pacific Music Festival, and conducting pedagogue Jorma Panula.

ARTISTS’ PROFILES Nellie McKay Vocalist

Nellie McKay has won a Theatre World Award for her portrayal of Polly Peachum on Broadway in The Threepenny Opera; performed onscreen in the films PS I Love You and Downtown Express; and her music was used in Rumor Has It, Monster-in-Law, PS I Love You, GasLand, Last Holiday, and Private Life.

McKay co-created and starred in the award-winning off-Broadway hit Old Hats and has written three acclaimed musical biographies. McKay’s music has been heard on Mad Men, Boardwalk Empire, Weeds, Grey’s Anatomy, NCIS, Nurse Jackie, and SMILF, and she has appeared on TV

The Hot Sardines Guest Artists

Over the last few years, The Hot Sardines have emerged from the Brooklyn neospeakeasies where they got their start to make a global name for themselves playing hot jazz as it was in the era when live music was king, bridging generations and captivating 21st-century audiences. The group, led by frontwoman Elizabeth Bougerol and piano player Evan Palazzo,

shows including The Late Show with David Letterman, Conan, The Late Show with Craig Ferguson, and The View. McKay has made numerous radio appearances on NPR’s Mountain Stage, A Prairie Home Companion, eTown, and Marion McPartland’s Piano Jazz.

The Chase Brock Experience produced a ballet of her third album, Obligatory Villagers, and she contributed the forward to the 20th anniversary edition of The Sexual Politics of Meat. Her writing has also appeared in The Onion, Interview, and The New York Times Book Review.

A recipient of PETA’s Humanitarian Award and the Humane Society’s Doris Day Music Award in recognition of her dedication to animal rights, Nellie McKay is a vocal advocate for feminism, civil rights, and other deeply felt progressive ideals.

has been described as “potent and assured” (The New York Times) and “simply phenomenal” (The Times of London), notching more than a year on the Billboard Jazz chart and 25 million streams on Spotify (over 90 countries). They’ve guested on Later… With Jools Holland, NPR’s Weekend Edition, CBS Saturday Morning, NPR’s Soundcheck, Live at WFUV, and appeared at major jazz festivals including Newport, Montreal, Toronto, London, and Blue Note in Japan in addition to sold-out shows at more than 400 venues worldwide. They’ve performed their Boston Pops-debuted symphony show with orchestras throughout North America. Their three major albums have landed on best-of lists in the jazz press (Downbeat, JazzTimes) but also crossed over to the mainstream, with Rolling Stone noting that “100-year-old jazz standards get reborn” in the hands of The Hot Sardines.

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ST. MARY’S CHAMBER CONCERTS

BEETHOVEN’S SYMPHONY NO. 4 JULY 13 / 2022 / 8 PM ST. MARY’S CHURCH

KEREM HASAN, conductor ZLATOMIR FUNG, cello

KODÁLY TCHAIKOVSKY FAURÉ

Dances of Galánta Variations on a Rococo Theme for Cello and Orchestra, Op. 33 Élégie for Cello and Orchestra INTERMISSION

BEETHOVEN

Symphony No. 4 in B-flat Major, Op. 60 I. Adagio—Allegro vivace II. Adagio III. Allegro vivace IV. Allegro ma non troppo

Stay after the concert for a Q&A with the guest artists of each evening’s concert in St. Mary’s.

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ARTISTS’ PROFILES Kerem Hasan Conductor

Kerem Hasan commences his third season as chief conductor of the Tiroler Symphonieorchester Innsbruck, after starting the position in September 2019. In summer 2017, the young British conductor laid the foundations for a very promising international career by winning the Nestlé and Salzburg Young Conductors Award. Prior to this, he had already attracted attention as a finalist in the Donatella Flick Conducting Competition in London and as Associate Conductor of the Welsh National Opera.

Apart from his concerts with the Tiroler Symphonieorchester, Hasan also returns to the Tiroler Landestheater in Innsbruck to conduct Rossini’s L‘Italiana in Algeri and

Zlatomir Fung Cello

The first American in four decades and youngest musician ever to win First Prize in the cello division of the International Tchaikovsky Competition, Zlatomir Fung is poised to become one of the preeminent cellists of our time. A recipient of the Borletti-Buitoni Trust Fellowship 2022 and a 2020 Avery Fisher Career Grant, Fung’s impeccable technique demonstrates a mastery of the canon and an exceptional insight into the depths of contemporary repertoire. A winner of the 2017 Young Concert Artists International Auditions and the 2017 Astral National Auditions, Fung has taken the top prizes at numerous competitions and was selected as a 2016 US Presidential Scholar for the Arts.

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Mozart‘s Die Zauberflöte. Further highlights of his 2021–22 season include opera productions at the English National Opera (Così fan tutte) and in Glyndebourne (The Rake’s Progress) as well as concerts with the Tonkünstlerorchester Niederösterreich, Borusan Philharmonic Orchestra, and Antwerp Symphony Orchestra. Furthermore, Hasan debuts with the BBC Philharmonic Orchestra, Bournemouth Symphony Orchestra, and Orquesta Sinfónica de Galicia and returns to the ORF Radio Symphonieorchester Wien, Orchestre National du Capitole de Toulouse, Royal Philharmonic Orchestra, and Noord Nederlands Orkest.

Kerem Hasan was born in London in 1992 and studied piano and conducting at the Royal Conservatoire of Scotland. Later, he continued his education at the Zurich University of the Arts with Johannes Schlaefli.

Recent highlights include a multi-city US tour culminating in a Carnegie Hall recital debut, and performances with the Detroit, Kansas City, Seattle, Ann Arbor, Asheville, and Aiken Symphonies.

Of Bulgarian-Chinese heritage, Fung began playing cello at age three and earned fellowships at Ravinia’s Steans Music Institute, Heifetz International Music Institute, MusicAlp, and the Aspen Music Festival and School. He studied at The Juilliard School under the tutelage of Richard Aaron and Timothy Eddy. Fung has been featured on NPR’s Performance Today and has appeared on From the Top six times. In addition to music, he enjoys cinema, reading, and blitz chess.

HISTORY OF THE MUSIC

By Jeff Counts

Dances of Galánta Zoltán Kodály (1882-1967) Duration: 16 minutes in five sections.

The 1930s provided interesting commission opportunities for Kodály.

Many were related to anniversaries. During the decade, the Concertgebouw and the Chicago Symphony would both celebrate their 50th and the Budapest Philharmonic Society would have its 80th. The latter engaged the composer to compose a commemorative work in 1933, and Kodály, a pre-eminent folk scholar and proud native son, had plenty of material to bring to the project. The Slovakian town of Galánta, where Kodály spent several years as a child, was once part of Hungary.

Kodály always spoke fondly of his Galánta days and owed much of his adult devotion to folk song collecting to the formative musical experiences he had there. An important element of the city’s cultural legacy was the town band, led in Kodály’s youth by a fiddle player named Mihók.

Though not yet obvious to Kodály as a youngster, Mihók and his fellow musicians were part of a long-standing source of civic pride in Galánta. As famous as Mihók was in his own right, Kodály would later learn that the notoriety he enjoyed was based in part on a century-old custom, preserved in a large collection of old Hungarian dances that quoted the Galánta Gypsy tradition as a primary source. These legendary dances, paired with the sounds of Mihók’s more modern Galánta band formed the DNA of Kodály’s 1933 tribute to his adopted hometown. Most of the material Kodály chose for the Dances of Galánta

was reconstructed in the Verbunkos style.

Verbunkos was originally a form of military recruiting music meant to entice young males to enlist in the army, but it became an important 19th century Hungarian folk standard, one also occasionally referred to in the music of Kodály’s compatriot Béla Bartók. Kodály handled the conducting duties himself at the premiere in 1934.

Variations on a Rococo Theme, Op. 33 Piotr Ilych Tchaikovsky (1840-1893) Duration: 18 minutes.

Tchaikovsky’s famous row with Nikolai Rubenstein over the First Piano Concerto in 1874 led to a rare moment of courage from the composer, who refused to change a single note and withdrew the planned dedication in a huff. Little of that strength of will was present just two years later, however, when a disastrous marriage and ongoing financial woes left Tchaikovsky tentative and eager to please. The next test of fortitude came in the form a new work for cello and orchestra. Tchaikovsky sought the advice of Wilhelm Fitzenhagen and, to the surprise and frustration of his publisher, the composer acquiesced to nearly every suggestion Fitzenhagen offered. Fitzenhagen was a highly acclaimed cellist for whom Tchaikovsky had great respect, but it is difficult to imagine why the composer allowed him such a strong editorial hand. Fitzenhagen made many changes to the Rococo Variations (including the re-ordering of the variations themselves and even the deletion of one)

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HISTORY OF THE MUSIC and the sum of their impact altered the score significantly. The Rococo theme Tchaikovsky created for the work was purposefully reminiscent of Mozart and that brief moment in history when music was both Post-Baroque and Pre-Classical. The variations flow with incredible ease and stylistic mastery. Much is demanded of the soloist, but the rewards are equally plenty, with the virtuosity and beauty co-existing in perfect accord. Tchaikovsky was often defensive before questions of his demurrals to Fitzenhagen. Perhaps he found the joyous charisma of the piece too difficult to reconcile, given the turbulent personal issues that were leading him so inexorably toward the late symphonies. Or maybe he just saw it for what it really was—a genial, magnificent relic from a bygone day that was better served by Fitzenhagen’s enthusiasm than his own darkening mind.

Élégie, Op. 24 Gabriel Fauré (1845-1924)

reaction to an early private performance encouraging, he never did finish the sonata.

The orphaned single movement did not suffer much though, and soon took on a new life as the highly appealing concert work we know today. Fauré called the “new” piece Élégie and dedicated it in tribute to cellist Jules Loeb, who had passed away in 1883. The piece was first performed that December in its sonata guise—cello and piano—but Fauré would orchestrate it several years later at the request of conductor Éduoard Colonne. For a composer who is remembered more for his many small efforts than his few grand ones, the Élégie represents Fauré’s voice as surely as his Requiem. His style would certainly evolve in various ways as he aged (indeed it was already starting to do so by the time the Élégie was orchestrated) and he would prove an innovative link between the declining Romantic era and the rising 20th Century. It is from early distillations of the former aesthetic into simple, often monochromatic mood settings that we know Fauré best, however, and the somber straight lines of the Élégie display his lifelong gift for combining passion with grace.

Duration: 8 minutes.

When Fauré’s solo cello Élégie was officially premiered late in 1883, he was only weeks away from the birth of the first of two sons he would have with Marie Fremiet, his new wife as of the previous March. Life as a family man forced Fauré to be financially productive in ways that took time away from his composing, a pursuit he confined now mostly to the summer months. The Élégie actually dates unofficially back to 1880, at which time Fauré still intended it as part of full sonata for cello and piano. Though he found the positive

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Symphony No. 4 in B-flat Major, Op. 60 Ludwig van Beethoven (1770-1827) Duration: 34 minutes in four movements.

The latter half of 1806 was productive for Beethoven, a composer for whom the fits of quantity in his professional life were perpetually tethered to the regular variations of quality in his personal life.

After a bit of a creative lull, due in large part

HISTORY OF THE MUSIC to the all-consuming work of Fidelio and the ultimately unsuccessful relationship with his beloved Josephine, Beethoven was overdue for a burst of activity.

In a manner not uncommon over the next two years, Beethoven bundled the premiere of the fourth Symphony with other first performances. A private concert was given in March of 1807 at the Vienna palace of Prince Joseph Franz von Lobkowitz and included not only the new symphony but also the Fourth Piano Concerto and the Coriolon Overture. Little was written about the initial reception of the premieres, but later commentary indicates that the symphony made a favorable impression on Viennese reviewers, who found it charming if anachronistic by the standards set forth in “Eroica.” The dedicatee of the piece might well provide insight into

MEMBER OF

that frequently voiced opinion. Beethoven completed the piece in late 1806 while in Silesia. He spent some time at the home of Count Franz von Oppersdorff, a man greatly enamored of the composer’s Second Symphony. The Count was anxious to commission a new symphony and Beethoven agreeably obliged him with the fourth. Scholars often posit connections between the Fourth Symphony and the earlier, equally “Classical” Second (as opposed to the Third and Fifth) but the fact that this analysis matches so neatly with Count Oppersdorff’s original motivation for the commission cannot be a coincidence.

The academic grouping of Beethoven’s symphonic catalogue into odd and even subsets is a well-worn exercise but, in this specific case, it seems reasonable to imagine that the composer had his patron’s ear in mind while he worked.

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ON THE HILL

BRAVO BROADWAY

MASTERS OF MUSICAL THEATER JULY 15 / 2022 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER BENJAMIN MANIS, conductor SCARLETT STRALLEN, vocalist ANNE RUNOLFSSON, vocalist HUGH PANARO, vocalist

PRESENTING SPONSOR

CONCERT SPONSOR

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PROGRAM / ARTISTS’ PROFILES STYNE PORTER STYNE LOESSER LOEWE

Overture from Funny Girl “Another Op’nin, Another Show” from Kiss Me, Kate “Don’t Rain on My Parade” from Funny Girl “Luck Be a Lady” from Guys and Dolls “I Could Have Danced All Night” from My Fair Lady

GERSHWIN

“I Got Rhythm” from Girl Crazy

BERNSTEIN

West Side Story Medley

SONDHEIM

“Send in the Clowns” from A Little Night Music

KANDER & EBB WILLSON SONDHEIM

“Cabaret” from Cabaret “Ya Got Trouble” from The Music Man “Getting Married Today” from Company INTERMISSION

LLOYD WEBBER

Jesus Christ Superstar Medley “Don’t Cry For Me, Argentina” from Evita “Jellicle Ball” and “Memory” from Cats “The Phantom of the Opera” and “The Music of the Night” from The Phantom of the Opera

Scarlett Strallen Vocalist

Scarlett Strallen performs with symphony orchestras all over the world and has been requested by Her Majesty Queen Elizabeth II on three separate occasions to sing for her. Strallen has starred in productions on Broadway at London’s West End, including Singin’ in the Rain at Chichester Festival Theatre and The Palace Theatre London, for which she was nominated for an Olivier Award for Best Actress in a Musical. She most recently starred on Broadway as Gwendolyn in Travesties and has appeared

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in the title role of Mary Poppins, a role she also played in the West End, and as Sibella Hallward in A Gentleman’s Guide to Love and Murder.

Strallen made her German debut at the Philharmonie in Berlin with the John Wilson Orchestra in “A Celebration of the MGM Film Musicals.” She has recorded with Simon Keenlyside “Something’s Gotta Give” for Chandos conducted by David Charles Abell. Film and television credits include: the movie Beyond The Sea and the title role in the BBC production of Mary Poppins celebrating Queen Elizabeth’s 80th birthday.

See page 31 for Benjamin Manis’ profile

Anne Runolfsson Vocalist

Anne Runolfsson has entertained audiences worldwide for the past 35 years. A veteran of the stage and concert venues, her Broadway and National tour appearances include: The Phantom of the Opera (Carlotta), Victor/Victoria (stand-by for Julie Andrews and Liza Minelli), Les Misérables (Fantine), Cyrano: The Musical (Roxane), The Secret Garden (Lily), Aspects of Love, and James Joyce’s The Dead (Gretta). Currently, Runolfsson is performing alongside her daughter Tess in

Hugh Panaro Vocalist

Hugh Panaro is perhaps best known for having played the role of the Phantom in Broadway’s The Phantom of the Opera over 2,000 times, including the 25th Anniversary production. In fact, Panaro is one of the few actors to be cast by Harold Prince as both the Phantom and Raoul in the show’s Broadway production. Most recently, Panaro starred in the title role in the New York production of Sweeney Todd.

Panaro made his Broadway debut in the original production of Les Misérables as

ARTISTS’ PROFILES their biographical show entitled The Story Goes On. The Story Goes On chronicles the highs and lows of their life together onstage and off as a single mother/ daughter performing team. Runolfsson has appeared on NBC’s The Blacklist, and made her directorial debut December 2021 in Los Angeles with My Unauthorized Hallmark Movie Musical.

Recently, Runolfsson appeared with the Allentown Symphony Orchestra and is scheduled to appear in 2022 with the Phoenix Symphony and the Florida Orchestra. She lives in Maryland with her husband Don and their beloved dog Obi.

Marius, the role he originated in the First National Company. He also created the roles of Buddy in the original Side Show (Sony cast recording); Julian Craster in Jule Styne’s last musical, The Red Shoes; and the title role in the American premiere of Cameron Mackintosh’s Martin Guerre. An active concert artist, Panaro has performed with numerous symphony orchestras including the New York Pops at Carnegie Hall, Philly Pops, Dallas, Detroit, San Francisco, Seattle, Utah Symphonies, and the London Sinfonietta, among many others. A native of Philadelphia, Panaro graduated from Temple University and was awarded the Boyer College of Music Certificate of Honor.

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ON THE HILL ARRIVAL FROM SWEDEN:

THE MUSIC OF ABBA JULY 16 / 2022 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER ARRIVAL FROM SWEDEN STEVEN REINEKE, conductor

PRESENTING SPONSOR

CONCERT SPONSOR

GUEST ARTIST SPONSOR

JIM & ZIBBY TOZER CONDUCTOR SPONSOR

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ORCHESTRA SPONSOR

ARTISTS’ PROFILES

ARRIVAL from Sweden Guest Artists

ARRIVAL from Sweden was founded by Vicky Zetterberg in 1995 in Gothenburg, Sweden and very soon became one of the world’s most popular and best-selling ABBA bands. Since its start in 1995 the band has toured in 70 countries and has appeared in several TV and radio shows all over the world. Since 2005 ARRIVAL from Sweden has made 80 successful tours in the USA. ARRIVAL from Sweden in the production The Music of ABBA has sold out arenas and venues all over the world and and is regarded as the most authentic ABBA show there is.

Hits like: “Dancing Queen,” “Mamma Mia,”

Steven Reineke Conductor

Steven Reineke has established himself as one of North America’s leading conductors of popular music and is in his second decade as Music Director of The New York Pops. Additionally, he is Principal Pops Conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts and Principal Pops Conductor of the Houston and Toronto symphony orchestras.

“Does Your Mother Know,” “Take A Chance,” “SOS,” “The Winner Takes it All,” “Super Trouper,” “Money Money Money,” “Waterloo,” “Honey Honey,” “Fernando,” “Chiquitita,” “Knowing Me Knowing You,” “Thank You for the Music,” “Lay All Your Love on Me,” “Gimme Gimme Gimme” and many more are delivered with such accuracy that it’s hard to believe that it’s not the real ABBA on stage.

ARRIVAL From Sweden has also played with more than 100 symphony orchestras throughout the world including the Boston Symphony Orchestra, San Francisco Symphony Orchestra, Dallas Symphony Orchestra, Houston Symphony Orchestra, and Atlanta Symphony Orchestra.

ARRIVAL from Sweden is the only group that has been given a previously unreleased ABBA song directly from Björn Ulvaeus and Benny Andersson of ABBA. The song “Just A Notion” was released by ARRIVAL from Sweden in 1999 and was yet again released by the original ABBA in 2021 on their latest record “Voyage.”

Reineke has created programs and collaborated with a range of leading artists from the worlds of hip hop, R&B, Broadway, television and rock, including: Maxwell, Common, Kendrick Lamar, Nas, Cynthia Erivo, Sutton Foster, Megan Hilty, Cheyenne Jackson, Wayne Brady, Peter Frampton, and Ben Folds, amongst others.

A native of Ohio, Reineke is a graduate of Miami University (2020 Alumnus Distinguished Achievement Medal), where he earned bachelor of music degrees with honors in both trumpet performance and music composition.

He currently resides in New York City with his husband Eric Gabbard.

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ST. MARY’S CHAMBER CONCERTS MOZART’S

SINFONIA CONCERTANTE JULY 20 / 2022 / 8 PM ST. MARY’S CHURCH

BENJAMIN MANIS, conductor KATHRYN EBERLE, violin YUAN QI, viola

RAVEL

MOZART

Mother Goose Suite I. Pavane of the Sleeping Beauty II. Tom Thumb III. Laideronette, Empress of the Pagodas IV. Conversations of Beauty and the Beast V. The Enchanted Garden Sinfonia Concertante in E-flat Major for Violin, Viola, and Orchestra, K. 364 I. Allegro maestoso II. Andante III. Presto INTERMISSION

POULENC

Sinfonietta I. Allegro con fuoco II. Molto vivace III. Andante cantabile IV. Finale: Prestissimo et très gai

Stay after the concert for a Q&A with the guest artists of each evening’s concert in St. Mary’s.

CONCERT SPONSOR

PATRICIA A. RICHARDS & WILLIAM K. NICHOLS 58

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ARTISTS’ PROFILES Kathryn Eberle Violin

Acclaimed 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 artist. She made her subscription series debut in 2014 performing Leonard Bernstein’s Serenade. Most recently, she performed Edgar Meyer’s Violin Concerto in January 2020. Other solo appearances include performances with the Los Angeles Philharmonic, the Nashville Symphony, the Louisville Orchestra, the National Academy

Yuan Qi Viola

Yuan Qi joined Utah Symphony | Utah Opera as Associate Principal Viola in September of 2020. Prior to joining Utah Symphony, Qi was the Assistant Principal Viola of the Delaware Symphony and a fellow at the New World Symphony, serving as Principal Viola under the batons of Michael Tilson Thomas and others. She has also made regular appearances with the Philadelphia Orchestra and performed with the New York Philharmonic as a Global Academy Zarin Metha Fellow.

As a soloist, Yuan is a 2nd prize winner of the Hugo Kauder Competition for Viola. Ms. Qi is a dedicated performer whose passionate

See page 31 for Benjamin Manis’ profile

Orchestra of Canada, and the Bahia Symphony in Brazil.

An avid chamber musician, Eberle has collaborated with such artists as Arnold Steinhardt, Edgar Meyer, Jaime Laredo, and Ricardo Morales. She has been a guest artist at numerous music festivals including Yellow Barn, Banff, Aspen, Missillac, Sewanee, Laguna Beach, Fairbanks Summer Arts, Innsbrook Institute, and Festival Mozaic.

A native of Nashville, Tennessee, Eberle began her violin studies on her third birthday. She received a Master’s Degree from The Juilliard School studying with Sylvia Rosenberg. She previously studied with Robert Lipsett and Cornelia Heard at the Colburn School, Blair School of Music and the University of Southern California where she received the String Department and Symphony awards upon graduation.

Eberle performs on a 1754 Gennaro Gagliano violin, the ex “Von Vecsey.”

artistry has been heard and embraced by many music festivals including Seiji Ozawa Music Academy, serving as co-principal viola, Seiji Ozawa International Chamber Music Festival in Okushiga Japan, Kneisel Hall Chamber Music Festival, Norfolk Chamber Music Chamber Music Festival, Music Academy of the West, principal viola.

Ms. Qi holds a graduate performance diploma from Peabody Institute where she studied with the Choong-Jin (C.J.) Chang, a master’s degree from Yale School of Music as a student of Ettore Causa and a Bachelor’s degree from Central Conservatory of Music in Beijing under the instruction of Changhai Wang. Yuan was a first prize winner for an amateur cooking competition, and she enjoys spending her spare time cooking and reading.

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HISTORY OF THE MUSIC

By Jeff Counts

Mother Goose Suite Maurice Ravel (1875-1937) Duration: 16 minutes in five movements.

Ravel’s frustration with the shunning he received from the Parisian musical establishment—namely the magisterial Société Nationale de Musique and the priestly elite of the Schola Cantorum— fueled his leading role in the creation of the Société Musicale Indépéndante. The new group was founded with an open, foreign-friendly ethic that expressly flouted the stodgy authority of the Schola.

Their inaugural concert took place in 1910. In addition to new works by Fauré and Debussy, the program included the premiere performance of Ravel’s five movement suite for piano 4-hands, Ma Mère l’Oye (Mother Goose). Drawing on the fairy tales of Charles Perrault and others, each miniature is a touching musical representation of childlike wonder. Fittingly, the suite is both dedicated to children and composed for them to perform. The Polish ex-pat artist Cipa Godebski was a great friend to the Ravels and Maurice was quite close with his family, eventually dedicating his Sonatine to Cipa and his wife Ida. The Mother Goose dedication came just a few years later, but this time for the Godebski’s young children, Mimi and Jean. Ravel was hopeful that the two budding pianists would perform the premiere on the Société Musicale Indépéndante concert but the pressure of the event was reportedly too much for them. The honor instead fell to Jeanne Leleu and Geneviève Durony who, if less nervous, were also very young and perfectly suited to Ravel’s intentions for

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the piece. The premiere was very wellreceived, and demand came quickly for an orchestration. Ravel obliged in 1911, creating the version we know best today, but he also later expanded the music into a ballet on a commission from Jacques Roché and the Théâtre des Arts. Ravel himself devised the ballet scenario, using Sleeping Beauty as the centerpiece and working the other stories in by way of her dreams.

Sinfonia Concertante in E-flat Major for Violin, Viola and Orchestra, K. 364 Wolfgang Amadeus Mozart (1756-1791) Duration: 30 minutes in three movements

For a two-year stretch in 1778 and 1779, Mozart’s desire to grow beyond the narrow demands of his day job in the court of Archbishop Colloredo found an outlet in a succession of multiple instrument concerti. Surviving works from this period of experimentation were the Flute and Harp Concerto, the Concerto for Two Pianos and the Sinfonia Concertante for Violin and Viola. The environment in which these novel compositions were drafted was not a happy one. Mozart had just returned to work after the tour to Mannheim and Paris he had hoped would result in new employment. But, instead of a release from the mounting tedium of his Salzburg professional life, he lost his mother while they were in France. Scholars believe he wrote the Sinfonia Concertante in the last months of his Colloredo period in 1779, and some even suspect his firing shortly

HISTORY OF THE MUSIC thereafter was related to its extracurricular nature. Upon receiving his walking papers, Mozart moved to Vienna immediately and permanently, without his mother but also without the mind-numbing oversight of the Archbishop. In the words of Michael Steinberg, a “Sinfonia Concertante” is “a symphony that behaves like a concerto” in that a surprising richness is pulled from the accompanying ensemble, despite its modest size. Mozart achieves this in part by dividing the viola section into two groups, a unique mechanism through which he establishes the work’s color.

Mozart was a highly capable violinist, but he loved the viola most, so the solo parts have equal footing in this piece. So much does the composer rely on the virtuosic standing of the violist, in fact, he asks them to tune their strings up one half-step to take advantage of the slightly brighter projection of a D Major sonority. Not many are willing to take on that particular challenge these days.

Sinfonietta Francis Poulenc (1899-1963) Duration: 30 minutes in four movements

In a publisher’s catalogue of his works, Poulenc is described by author Jean Roy as “daring, but not provocative.” He was, according to Roy, a composer who “tried to please” but did so “in his own manner.”

The essay, which might appear from these limited quotations to be of the damning with faint praise variety, is actually a highly affectionate portrait of the 20th century’s most charmingly humble composer.

Poulenc was always eager to acknowledge his influences and inspirations before his accomplishments and, when tipping his hat to a forbear like Debussy, he would mention that he did not want anyone to think him “born of an unknown father.” As influential for Poulenc as any artist from a former time, however, was his early membership in the irreverent crew known as Les Six. This creative collective included Erik Satie, Darius Milhaud, and Arthur Honneger, and Poulenc took their shared ethos of humor and wit very seriously. “The Six” eventually moved on to other individual things, of course, but Poulenc’s compositional voice carried an accent of elegant lightness for the rest of his days. His breezy Sinfonietta was composed in 1947 on a commission from the BBC Third Programme radio show and premiered over the airwaves a year later. Poulenc never did write a symphony and, perhaps in good-natured preemptive agreement with the reviewer at the time who declared the Sinfonietta “too indecently daffy to earn its degree” as one, he gave it a diminutive title and a tongue-in-cheek attitude. It works as well as it does because of the type of person Poulenc was. On that score, Jean Roy gets the last word. Poulenc’s music, in Roy’s opinion, was “like a self-portrait” through which he could project the best parts of himself. “Sincerity,” Roy concludes, “was his greatest quality.”

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ON THE HILL

THE MUSIC OF JOHN WILLIAMS JULY 22 / 2022 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER JACK EVERLY, conductor

PRESENTING SPONSOR

LAW OFFICES OF THOMAS N. JACOBSON

CONCERT SPONSOR

CONDUCTOR SPONSOR

LODGING SPONSOR

DOUG & CONNIE HAYES

See page 66 for Jack Everly’s profile

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PROGRAM

JOHN WILLIAMS

“Call of the Champions” E.T. The Extra-Terrestrial “Flight to Neverland” from Hook Close Encounters of the Third Kind “Devil’s Dance” from The Witches of Eastwick “Hymn to the Fallen” from Saving Private Ryan “The Raiders March” from Raiders of the Lost Ark INTERMISSION

JOHN WILLIAMS VARIOUS (ARR. JOHN WILLIAMS) JOHN WILLIAMS

Superman March Tribute to the Film Composer The Mission Theme “Harry’s Wonderous World” from Harry Potter and the Sorcerer’s Stone A.I. Artificial Intelligence Star Wars Selections: 20th Century Fox Fanfare Star Wars Main Title Across the Stars Rey’s Theme Princess Leia’s Theme Imperial March

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ON THE HILL

BOYZ II MEN

WITH THE UTAH SYMPHONY JULY 23 / 2022 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER BOYZ II MEN JACK EVERLY, conductor

PRESENTING SPONSOR

CONCERT SPONSOR

JIM & ANN NEAL

CONDUCTOR SPONSOR

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LODGING SPONSOR

ARTISTS’ PROFILES to Music, a star on the Hollywood Walk of Fame, as well as a Casino Entertainment Award for their acclaimed residency at the Mirage Resort and Casino in Las Vegas, which has been ongoing since 2013.

Boyz II Men Guest Artists

Boyz II Men redefined popular R&B and continue to create timeless hits that appeal to fans across all generations. The band has penned and performed some of the most celebrated classics of the past two decades. The group’s four GRAMMY® Awards are just the tip of the iceberg: throughout their 30-year career, Boyz II Men have also won a whopping nine American Music Awards, nine Soul Train Awards, three Billboard Awards, and a 2011 MOBO Award for Outstanding Contribution

Jack Everly Conductor

Jack Everly is the Principal Pops Conductor of the Indianapolis and Baltimore Symphony Orchestras, Naples Philharmonic Orchestra, and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl, The New York Pops at Carnegie Hall, the San Francisco Symphony, and numerous appearances with The Cleveland Orchestra at Blossom Music Center. Maestro Everly will conduct over 90 performances in more than 22 North American cities this season.

As Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS,

Boyz II Men have won fans the world over with their soulful multi-octave sound and incredible vocals. Given the monumental success of their albums and the timeless quality of their vocals, it’s easy to see why Boyz II Men remains the most popular R&B group of all time. Ask any successful pop or R&B superstar which artists have inspired them—chances are Boyz II Men will be at the top. From Justin Timberlake and Usher to Justin Bieber and Beyoncé, the most successful stars in the industry look to Boyz II Men as their idols.

For more information on tour dates and everything Boyz II Men, head to: www.BoyzIIMen.com Maestro Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the West Lawn of the US Capitol. These concerts attract hundreds of thousands attendees on the lawn and the broadcasts reach millions of viewers and are some of the very highest rated programming on PBS television.

Everly, a graduate of the Jacobs School of Music at Indiana University, is a recipient of the 2015 Indiana Historical Society Living Legends Award and holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. He is a proud resident of the Indianapolis community, and when not on the podium you can find Maestro Everly at home with his family.

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ST. MARY’S CHAMBER CONCERTS

TCHAIKOVSKY’S SERENADE FOR STRINGS JULY 27 / 2022 / 8 PM ST. MARY’S CHURCH

CHRISTOPHER DRAGON, conductor STEVEN BANKS, alto saxophone

CHEVALIER DE SAINT-GEORGES

GLAZUNOV

Symphony No. 1 in G Major, Op. 11 Allegro Andante Allegro assai Concerto in E-flat Major for Saxophone and String Orchestra, Op. 109 INTERMISSION

JESSIE MONTGOMERY TCHAIKOVSKY

Strum Serenade in C Major for Strings, Op. 48 I. Pezzo in forma di sonatina: Andante non troppo—Allegro moderato II. Valse: Moderato—Tempo di valse III. Elégie: Larghetto elegiaco IV. Finale (Tema Russo): Andante— Allegro con spirito

Stay after the concert for a Q&A with the guest artists of each evening’s concert in St. Mary’s.

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ARTISTS’ PROFILES Christopher Dragon Conductor

Christopher Dragon has a versatile portfolio, ranging from live-to-picture performances of Nightmare Before Christmas, Jurassic Park, and Mary Poppins to conducting Danny Elfman’s violin concerto and leading the Colorado Symphony’s “Classical Top 40” series.

Dragon has worked with Ben Folds, Gregory Alan Isakov, Indigo Girls, Wynton Marsalis, Pink Martini, and the Flaming Lips. Also known for his charisma and affinity for a good costume, Dragon consistently delivers outstanding and unforgettable performances.

Dragon works regularly in Australia and has guest conducted the Sydney, Melbourne, Adelaide and West Australian

Steven Banks Alto Saxophone

Recognized for his “glowing mahogany tone” and “breathtaking” performances, American classical saxophonist Steven Banks (b. 1993) “is at the forefront of musicians of his generation in his display of the highest level of both artistry and pedagogy.”

Steven Banks is the first saxophonist to earn a place on the Young Concert Artists roster in its 59-year history. Banks has an ongoing relationship with The Cleveland Orchestra, having performed with the legendary ensemble in Severance Hall, Carnegie Hall, and at the Blossom Music Center. Banks is the baritone saxophonist of the award-winning Kenari Quartet. Banks is an advocate for diversity and inclusion in music education, performance, and newly 68

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Symphony Orchestras. His 2015 debut performance at the Sydney Opera House with Josh Pyke and the Sydney Symphony Orchestra was released on album by ABC Music and won an ARIA the following year. Christopher’s international guest conducting includes the Orquestra Sinfônica de Porto Alegre, the San Diego Symphony Orchestra and the New Zealand Symphony Orchestra.

Dragon began his conducting studies in 2011 and was a member of the prestigious Symphony Services International Conductor Development Program in Australia under the guidance of course director Christopher Seaman. He has also studied with numerous distinguished conductors including Leonid Grin, Paavo and Neeme Järvi at the Järvi Summer Festival, Fabio Luisi at the Pacific Music Festival and conducting pedagogue Jorma Panula.

commissioned works in the classical realm.

He gave a talk at the TEDxNorthwesternU 2017 conference with ideas about how to create change in institutionalized prejudices against women and people of color.

Banks serves proudly as Assistant Professor of Saxophone at Ithaca College. He previously served on faculty at the Baldwin Wallace Conservatory. He has a Master of Music degree from the Northwestern University Bienen School of Music in Saxophone Performance and a Bachelor of Arts degree in Saxophone Performance with a minor in Jazz Studies from the Indiana University Jacobs School of Music. His primary saxophone teachers have been Taimur Sullivan, Otis Murphy, Jr., and Galvin Crisp.

Banks is an endorsing artist for ConnSelmer instruments, D’Addario Woodwinds, lefreQue Sound Solutions, and Key Leaves.

HISTORY OF THE MUSIC

By Jeff Counts

Symphony No. 1 in G Major, Op. 11 Chevalier de Saint-Georges (1745-1799) Duration: 14 minutes in three movements

Without question, Chevalier de SaintGeorges (or Joseph Bologne) has the single most outrageous and impressive biography of any composer from any era.

The son of a wealthy European planter and an enslaved African woman, SaintGeorges was a fencing champion, brilliant horseman, revolutionary fighter, regimental captain, skilled dancer, illicit paramour to many high-born ladies, and so much more.

This brief rundown barely scratches the surface of what he accomplished during his incredible life as a man of mixed race in 18th-century Europe. His could not have been an easy reality to navigate, but Saint-Georges lived every second of his 53 years to the fullest and took advantage of the opportunities begrudgingly offered by French high society. How Saint-Georges found time, amid everything else he got up to (did I mention that he was imprisoned after the French Revolution and barely escaped the guillotine?), to study music and achieve such success as a composer and conductor is yet another baffling miracle. Not much is known about his formal training, but we can confirm that he joined François-Joseph Gossec’s prestigious orchestra in 1769 as a violinist.

In addition to his virtuoso instrumental talents, Chevalier de Saint-Georges’ list of completed works and podium engagements is as impressive as any other part of his spectacular story (did I also mention he was involved in a slave revolt on his native island of Guadeloupe

at one point, and presumed dead for a few years?). Saint-Georges’ Symphony No. 1 was likely written in the late 1770s and, in addition to great taste and better instincts, it shows the influence of Haydn and other early Classical Period practitioners.

Concerto for Saxophone in E-flat Major, Op. 109 Alexander Glazunov (1865-1936) Duration: 13 minutes

It is impossible to consider the place of the saxophone in classical music without recalling a particular quote from Igor Stravinsky. It happened in 1949 when fellow composer Ingolf Dahl told Stravinsky he was writing a concerto for one and the Russian master remarked that “the saxophone has always reminded me of a slimy, pink worm.” By then the instrument had been around for a century and had certainly made its mark on “serious” orchestral music, thanks to Prokofiev, Ravel, Bizet, and Mussorgsky by way of Ravel. Stravinsky did not speak for everyone, it would seem, when making his memorably uncharitable assessment, and indeed one of his own countrymen had previously walked the path Dahl was then considering. Germanborn saxophone virtuoso Sigurd Rascher approached Alexander Glazunov about a concerto in 1934. Glazunov’s letters show an interest in the instrument from at least two years prior, when he mentioned his intention to compose a saxophone quartet to a colleague at the Leningrad

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HISTORY OF THE MUSIC Conservatory. He was fascinated by the saxophone’s directness of sound and its ability to project over other instruments in an ensemble, and the excellent performers who premiered the quartet convinced him that the instrument had limitless expressive potential as well. Glazunov was quite ill with bronchitis and the flu during the first months of 1934 (sadly a common circumstance for him) but got to work on the Concerto anyhow, claiming that he did so “under the influence of attacks rather than requests from…Rascher.”

He completed the piece in the summer and Rascher premiered it in Sweden the following December. Glazunov was not present (illness, again) for those concerts and there is no indication he ever heard the piece live before he died in 1936. The Saxophone Concerto would turn out to be Glazunov’s last major work and it remains an important pillar of the small but thrilling classical canon for this unique instrument.

Strum Jessie Montgomery (b. 1981) Duration: 7 minutes ­­­­­

American composer Jessie Montgomery’s biography describes her compositional style as an interweaving of “classical music with elements of vernacular music, improvisation, poetry, and social consciousness, making her an acute interpreter of 21st-century American sound and experience.” “I’ve always

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been interested in trying to find the intersection between different times of music,” she told the Chicago Symphony (where she is currently Composer in Residence) in 2021, “I imagine that music is a meeting place at which all people can converse about their unique differences and common stories.” Montgomery grew up in Manhattan’s Lower East Side with activist/artist parents and she experienced the intersection of culture and advocacy from a very early age. In the years that followed those formative days, Montgomery has received awards and commissions from a staggering list of prestigious institutions and remains a highly sought-after educator, performer, and creator. About the construction of Strum, a work she revised often from 2006 to 2012, Montgomery writes, “Originally conceived for the formation of a cello quintet, the voicing is often spread wide over the ensemble, giving the music an expansive quality of sound. Within Strum I used texture motives, layers of rhythmic or harmonic ostinato that string together to form a bed of sound for melodies to weave in and out. The strumming pizzicato serves as a texture motive and the primary driving rhythmic underpinning of the piece.”

From lonely campfires to packed arenas, strumming is a quintessentially North American tradition and Strum clearly takes its title and its “texture motives” from this onomatopoeic guitar technique and its analog in the classical string instruments.

“Drawing on American folk idioms and the spirit of dance and movement,” Montgomery continues, “the piece has a kind of narrative that begins with fleeting nostalgia and ecstatic celebration.”

HISTORY OF THE MUSIC Serenade for Strings, Op. 48 Piotr Ilyich Tchaikovsky (1840-1893) Duration: 28 minutes in three movements.

In an effort to stave off gossip regarding his sexuality, Tchaikovsky married in 1877.

For reasons including but not at all limited to the most obvious one, the arrangement fell apart quickly and left Tchaikovsky a bit listless for the next few years. He spoke of “emptiness” and “boredom” and the notion that he was “incapable of living long without work.” Sadly, fulfilling projects were rare for a time.

Rare, but not unknown. Tchaikovsky was able to admit to a patron in 1880 that the suddenly “benevolent muse” had inspired a Serenade for String Orchestra that he “wrote from an inward impulse” and hoped was “not without artistic qualities.” Given that the immediately previous project had been the 1812 Overture (a work that gave Tchaikovsky little pleasure at the

time), the modesty of both the Serenade and the composer’s estimation of it are noteworthy. “Artistic qualities” indeed abound. Tchaikovsky said that he came to the Serenade form by chance, after sketching out ideas for a work he called “something between a symphony and a string quartet.” Tchaikovsky seems to have had a desire to emulate Mozart with this music. Mozart was indeed a hero of Tchaikovsky’s and, after the bombast of 1812, he may well have been inspired to channel the classical cleanness of an older time. The juxtaposition of 1812 and the Serenade is also an important example of the difference between the external and internal motivations of an artist. While the overture was public commission and not much more, the Serenade was built of pure inspiration and the beautifully simple (and simply beautiful) score shows the true value of the latter. With such powerful symphonies in his catalogue, Tchaikovsky’s emotional/musical temperament is often measured in muscle, making the understated grace of the Serenade all the more thrilling.

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ON THE HILL

SYMPHONIC SHOWSTOPPERS! JULY 29 / 2022 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER JOHN MORRIS RUSSELL, conductor CHANGYONG SHIN, piano

SHOSTAKOVICH SAINT-SAËNS

Festive Overture, Op. 96 “Bacchanale” from Samson and Delilah

RACHMANINOFF

Rhapsody on a Theme of Paganini, Op. 43 INTERMISSION

BIZET STRAVINSKY

“Infernal Dance” and “Finale” from The Firebird

RIMSKY-KORSAKOV

“Flight of the Bumblebee” from The Tale of Tsar Saltan, Op. 57

DEBUSSY

“Clair de lune” from Suite Bergamasque

BORODIN

“Polovtsian Dances” from Prince Igor

MUSSORGSKY/RAVEL

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“Danse bohème” from Carmen

“The Great Gate of Kyiv” from Pictures at an Exhibition

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Deer Valley® Music Festival

ARTISTS’ PROFILES John Morris Russell Conductor

A master of American musical style, John Morris Russell has devoted himself to redefining the American orchestral experience.

Beginning his 11th season as conductor of the Cincinnati Pops Orchestra, the widerange and diversity of his work as a conductor, collaborator, and educator continues to reinvigorate the musical scene throughout Cincinnati and across the continent. As Music Director of the Hilton Head Symphony Orchestra in South Carolina, Russell leads the classical subscription series as well as the prestigious Hilton Head International Piano Competition; he also serves as Principal Pops Conductor of the Buffalo Philharmonic Orchestra, following in the footsteps of Marvin Hamlisch and Doc Severinsen. As a guest conductor,

Changyong Shin

JMR has worked with many of the most distinguished orchestras in North America.

With the Cincinnati Pops, Russell leads performances at historic Music Hall and concerts throughout the region, as well as domestic and international tours—including Florida in 2014 and China/Taiwan in 2017.

He is in his sixth season as Principal Pops Conductor of the Buffalo Philharmonic Orchestra, and he is widely considered one of North America’s leaders in orchestral educational programming.

John Morris Russell earned degrees from the University of Southern California, Los Angeles and Williams College in Massachusetts; and has studied at the Guildhall School of Music and Drama in London; the Cleveland Institute of Music; the Aspen Music Festival in Colorado; and the Pierre Monteux School for Conductors in Hancock, Maine.

Passionate, inspired performances and brilliant technique are the hallmark of pianist Changyong Shin, First Prize Winner of the Gina Bachauer International Artist Competition, Seoul International Music Competition, and the Hilton Head International Piano Competition.

chamber musician, Shin has given chamber music recitals across the United States and in Seoul, Korea, and Paris, France. He has appeared as a soloist with many orchestras, including Utah Symphony, Hilton Head Symphony, Oakland Symphony, Seoul Philharmonic Orchestra, KBS Symphony Orchestra, Korean Chamber Orchestra, as well as the Daegu, Gwacheon, Bucheon, Sendai, Daejeon, and Incheon Philharmonic Orchestras, among others.

In the 2021–22 season, Changyong will make his debut performing two concerts of Prokofiev Piano Concerto No. 5 with Seoul Philharmonic Orchestra at Lotte Concert Hall and Seoul Art Center Concert Hall in Korea. He has also given numerous solo performances throughout Asia, North America, and Europe. An accomplished

A native of South Korea, Changyong Shin received his Bachelor of Music from the Curtis Institute of Music, where he studied with Robert McDonald. Shin also earned his Master of Music and Artist Diploma at The Juilliard School as a fullscholarship candidate and studied with Robert McDonald.

Piano

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ON THE HILL

GUSTER

WITH THE UTAH SYMPHONY JULY 30 / 2022 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER GUSTER EDWIN OUTWATER, conductor

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ARTISTS’ PROFILES poring over these floppy disks while the band gawked at the mellotrons, harpsichords, and other vintage equipment housed at Studio Bell. It was the beginnings of a stylistic clash that would ultimately play out beautifully. Our band had always gravitated to “warm” sounds. Leo would introduce us to “cold” sounds and the way they challenge us as listeners. He was the perfect complementary piece for Guster.

Guster

Guest Artists

Look Alive is our eight album. The bulk of it was recorded in a vintage keyboard museum in Calgary, AB, during a January stretch when the temperature reached 30 degrees below zero. We ended up in Canada because our British producer, Leo Abrahams, couldn’t turn around an American work visa fast enough, and we feel lucky to have discovered Studio Bell at the last minute. Despite having access to room after room of well-maintained analog keys, Leo gravitated to a cheap Ensoniq Mirage synth from the 1980’s that made Janet Jackson Rhythm Nation-era sounds from floppy disks. Leo spent countless hours

Edwin Outwater Conductor

Edwin Outwater is a visionary conductor who is reinventing the concert experience with major orchestras and institutions throughout the world. Equally adept at interpreting canonical masterworks, premiering new commissions, and connecting audiences with repertoire beyond the mainstream, he is, in the words of Michael Tilson Thomas, “one of the most innovative conductors on the scene today.”

A long association with the San Francisco Symphony continues this season with S&M2, a collaboration with Metallica and the opening performance at San Francisco’s new Chase Center arena. A frequent conductor and curator of their SoundBox series, he returns for a performance with composer Missy Mazzoli. He also conducts and hosts “Holiday

Writing songs for the second straight record with multi-instrumentalist Luke Reynolds (who joined the band in 2010) has been a key to our evolution. Working with artists like Leo Abrahams, John Congleton, and Collin DuPuis proved to be inspiring and adds to a “brain trust” that bolsters the songs. With Look Alive the plan is simple.

Grow our musical community. Write better and better songs. Keep our minds open.

Never repeat ourselves and create a legacy of music that is undeniable.

- Brian Rosenworcel, drummer of Guster Gaiety,” an LGBTQ holiday concert he created with drag performer Peaches Christ, now in its third year. Outwater premiered and recorded The Composer is Dead by Nathaniel Stookey and Lemony Snicket, which was subsequently released by HarperCollins and has become one of the most-performed works written in the 21st century.

A native of Santa Monica, California, Edwin Outwater graduated cum laude in English literature from Harvard University, where he was music director of the Bach Society Orchestra and the a cappella group Harvard Din and Tonics, and wrote the music for the 145th annual production of the Hasty Pudding Theatricals. He received his degree in conducting from UC Santa Barbara, where he studied with Heiichiro Ohyama and Paul Polivnick, besides studying music theory and composition with John Stewart, Joel Feigin, and Leonard Stein.

ST. MARY’S CHAMBER CONCERTS

BEETHOVEN’S SYMPHONY NO. 4 AUGUST 3 / 2022 / 8 PM ST. MARY’S CHURCH

STEPHANIE CHILDRESS, conductor GENEVA LEWIS, violin

VAUGHAN WILLIAMS

Concerto Grosso I. Intrada. Largo II. Burlesca ostinata. Allegro moderato III. Sarabande. Lento IV. Scherzo. Allegro (tempo di valse) V. March and reprise. Alla marcia

MOZART

Concerto No. 5 in A Major for Violin and Orchestra, K. 219 I. Allegro aperto II. Adagio III. Rondo: Tempo di menuetto INTERMISSION

MENDELSSOHN

Symphony No. 1 in C minor, Op. 11 I. Allegro di molto II. Andante III. Menuetto: Allegro molto IV. Allegro con fuoco

Stay after the concert for a Q&A with the guest artists of each evening’s concert in St. Mary’s.

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ARTISTS’ PROFILES Stephanie Childress Conductor

Stephanie Childress, now in her early 20s, is making her mark as a conductor of remarkable skill who has been likened to “other notable young conductors of the past such as Sir John Eliot Gardiner and Sir Simon Rattle” (Varsity). Her musicianship and command of a broad scope of repertoire has led to international engagements with symphony orchestras, contemporary chamber groups, and opera houses.

In the 2020–21 season, Childress took up her position as Assistant Conductor of St. Louis Symphony Orchestra. As a violinist, Childress rose to prominence as a string finalist in BBC Young Musician of the Year in both 2016 and 2018. She was featured in the BBC’s 2019 Proms Launch Video

Geneva Lewis Violin

New Zealand-born violinist Geneva Lewis has forged a reputation as a musician of consummate artistry whose performances speak from and to the heart. Lauded for the “remarkable mastery of her instrument” (CVNC) and hailed as “clearly one to watch” (Musical America), Lewis is the recipient of a 2022 Borletti-Buitoni Trust Award, 2021 Avery Fisher Career Grant, and Grand Prize winner of the 2020 Concert Artists Guild Competition. Other recent accolades include Kronberg Academy’s Prince of Hesse Prize and being named a Finalist at the 2018 Naumburg Competition, a Performance Today Young Artist in Residence, and Musical America’s New Artist of the Month.

After her solo debut at age 11 with the Pasadena POPS, Lewis has gone on to

ahead of her Proms debut at the Royal Albert Hall with the Southbank Sinfonia and Jessica Cottis. Shortly after, she performed alongside the BBC Scottish Symphony Orchestra at Glasgow’s Proms in the Park. In January 2020 she made her solo debut with the Royal Liverpool Philharmonic Orchestra under the baton of Vasily Petrenko.

Childress is an active supporter of the Tri-borough Music Hub, an award-winning organization for music education. She has taken part in a number of programs with the association, including leading the junior string ensemble at an “Artists for Inclusivity” event and speaking at the Youth Music Conference 2020 held at the Royal College of Music. She has appeared on BBC Radio 3’s In Tune and BBC Proms Extra, as well as joining adjudicating panels for the RPS Awards (Storytelling Category) and the Ivor Novello Awards (Orchestral Category). perform with orchestras around the world and worked with a number of notable conductors.

An advocate of community engagement and music education, Lewis was selected for the New England Conservatory’s Community Performances and Partnerships Program’s Ensemble Fellowship.

Lewis is currently in the Artist Diploma program as the recipient of the Charlotte F. Rabb Presidential Scholarship at the New England Conservatory studying with Miriam Fried. Prior to that, she studied with Aimée Kreston at the Colburn School of Performing Arts. Past summers have taken her to the Marlboro Music Festival, Ravinia Steans Institute, Perlman Music Program’s Chamber Workshop, International Holland Music Sessions, Taos School of Music, and the Heifetz International Music Institute.

Lewis currently performs on the “JoachimMa” Stradivarius, c. 1714, courtesy of the New England Conservatory of Music.

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HISTORY OF THE MUSIC

By Jeff Counts

Concerto Grosso Ralph Vaughan Williams (1872-1958) Duration: 14 minutes in five movements

For reasons unknown and unwarranted, the legacy of Ralph Vaughan Williams is too often limited by his interest in English folk music and the handful of works he wrote in a pastoralist style. He was so much more than that, and music history always suffers at the hands of this kind of reductive sorting. Vaughan Williams made meaningful contributions to chamber music, choral music, opera, film scoring, and was one of the most important symphonists of the 20th century. He was also an incredibly generous collaborator, as is evidenced by his many contributions to English music education. It was early 1950 when Vaughan Williams was approached by a group of teachers to compose a work for the string students of the Rural Music Schools Association. He loved the idea and set to work right away on a Baroque Era inspired Concerto Grosso that would involve three distinct orchestras, separated by skill and education. The “Concertino” group was expected to possess the greatest level of refinement and their music reflected their status. The “Tutti” group was not required to go beyond third position and basic double stops, while the “Ad lib” team played music on open strings alone.

Today, most performances leave out the “easy” music of the Ad lib orchestra, but with this simple but ingenious tripartite construction, Vaughan Williams created an opportunity for all 400 students (even the beginners!) to participate in the November premiere at Royal Albert Hall. Everyone

was challenged according to their station in this massive assemblage, and no player was left behind. In both design and impact, the Concerto Grosso was a big success.

Vaughan Williams, in keeping with his abiding humility, refused a place of honor in a box seat for the performance and set himself instead among the second violins on stage.

Concerto No. 5 in A Major for Violin and Orchestra, K. 219 Wolfgang Amadeus Mozart (1756-1791) Duration: 31 minutes in three movements

Mozart’s five violin concerti share not only the same birth year, but also the same birth reason. His father Leopold (is it possible to write about Wolfgang without mentioning Leopold within the first two sentences?) was a renowned violin pedagogue and author of a respected technical treatise on the instrument. It is no surprise then that young Wolfgang began his violin studies at the age of six and was participating in concerts with his father’s colleagues just a few short years later. From there Wolfgang’s exposure to other expert violinists during various trips abroad increased and sparked within him a drive to explore the limits of his own virtuosity. This preoccupation culminated in 1775 with the exact handful of concerti Mozart composed in quick succession.

Written in a roughly half-year stretch at the age of 19, these 5 works show a musician grappling with his own rapidly expanding compositional abilities, at first within the Continued on page 83.

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HISTORY OF THE MUSIC confines of current thought on the concerto form and then moving confidently beyond it. There is indication that he wrote these pieces for himself but, even if Mozart didn’t perform them all in public, they stamp this moment in his life with a fascinating specificity. Concerto No. 5 is, of course, the most robustly mature of the set, in that the composer’s imagination is as recognizable as his education. It was also a goodbye of sorts, since Mozart shifted more definitively towards the keyboard in the years that followed. He rarely thereafter picked up the violin in professional settings, preferring the viola whenever a bow was required of him. The now unfashionable nickname of Concerto No. 5 must be mentioned here, at least briefly.

Called the “Turkish” in reference to a minor-keyed dance of the third movement that interrupts the traditional minuet, the work reflected a general Western European obsession with Turkey as a cultural standin for anything considered “exotic” in art.

Symphony No. 1 in C Minor, Op. 11 Felix Mendelssohn (1809-1847) Duration: 32 minutes in four movements.

On the occasion of his 15th birthday in 1824, Mendelssohn graduated from apprentice to professional in the eyes of his teacher Carl Zelter. The acknowledgment, though generous in spirit, might have been unnecessary with Mendelssohn already so

productive. But Zelter had instilled in his pupil a great love for the music of Bach, Mozart, and Haydn and truly felt he was ready to take his place among them.

Mendelssohn was not new to the symphony genre in 1824. He had already composed over a dozen by that point but none yet had included the requisite winds and brass that would make him eligible for comparison to the old masters.

Those youthful efforts remain unnumbered in tacit validation of Mendelssohn’s “coming of age” in 1824. Zelter’s birthday pronouncement, which seemed to confirm Mendelssohn’s precocious brilliance and also presage his brief life, made it possible for the pupil to get an early start on his maturity as an artist. Still, at 15, it was to be expected that Mendelssohn’s voice would still include glimpses of his influences. His early “sound,” as would become manifest in the official Symphony No. 1, contained a fair portion of Mozart’s sense of style and structure as well as evidence that Mendelssohn took his study of Bach’s counterpoint quite seriously.

There were also bits of more contemporary exemplars like Weber and Beethoven. All of these fantastic seeds of genius found very fertile ground with Mendelssohn, who would put them to respectful but sparing use. His highly selective application of the current but nascent Romantic-era ideals to Symphony No. 1 was emblematic of an ethic that would come to define a short but robust composing life. Mendelssohn already displayed the poise and discipline of a life-long Classicist, taking from the revolution only what was necessary to feed his own highly refined musical personality.

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ON THE HILL

ARETHA: A TRIBUTE

WITH THE UTAH SYMPHONY AUGUST 5 / 2022 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER LUCAS WALDIN, conductor CAPATHIA JENKINS, vocalist DARRYL WILLIAMS, vocalist

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ORCHESTRA SPONSOR

ARTISTS’ PROFILES Lucas Waldin Conductor

Lucas Waldin is a dynamic and versatile conductor whose performances have delighted audiences across North America.

He has collaborated with some of today’s most exciting artists including Carly Rae Jepsen, Ben Folds, The Canadian Brass, and Buffy Sainte-Marie, in addition to conducting presentations such as Disney in Concert, Blue Planet Live, Cirque de la Symphonie, and the groundbreaking symphonic debut of R&B duo Dvsn as part of the global Red Bull Music Festival.

Waldin has been a guest conductor for numerous orchestras in the US and Canada, including the Cleveland Orchestra, the Houston Symphony, the Dallas Symphony, the Grant Park Festival Orchestra, the St. Louis Symphony, the

Capathia Jenkins Vocalist

Brooklyn-born Capathia Jenkins most recently released the criticallyacclaimed CD Phenomenal Woman: the Maya Angelou Songs with her collaborator Louis Rosen, and they sold out the world-famous Birdland Theatre in NYC for three nights. She recently starred as Medda in the hit Disney production of Newsies on Broadway. She made her Broadway debut in The Civil War, where she created the role of Harriet Jackson. Jenkins also created the roles of The Washing Machine in Caroline, Or Change and Frieda May in Martin Short-Fame Becomes Me. In 2007 she starred in (mis)Understanding Mammy: The Hattie McDaniel Story for which she was nominated for a Drama Desk Award. She

Louisiana Philharmonic, the Vancouver Symphony, the Calgary Philharmonic, and the Toronto Symphony.

Having joined the Edmonton Symphony Orchestra (ESO) as Resident Conductor in 2009, Waldin was subsequently appointed Artist-in-Residence and Community Ambassador—the first position of its kind in North America. He appeared with the ESO over 150 times and conducted in Carnegie Hall during the orchestra’s participation in the 2012 Spring for Music festival. In recognition of his accomplishments he was awarded the Jean-Marie Beaudet Award in Orchestral Conducting and received a Citation Award from the City of Edmonton for outstanding achievements in arts and culture.

A native of Toronto, Canada, Waldin holds degrees in flute and conducting from the Cleveland Institute of Music.

has also been seen in Godspell, The Look of Love, and Nora Ephron’s Love, Loss, and What I Wore.

An active concert artist, Jenkins has appeared with orchestras around the world. She had the great honor of performing in the “Broadway Ambassadors to Cuba” concert as part of the Festival De Teatro De La Habana. She also sang in a Tribute to Marvin Hamlisch at the Library of Congress. Her television credits include 30 Rock, the Practice, Law & Order SVU, and The Wiz in a live performance on NBC. the Sopranos, Law & Order. She can be seen in the film Musical Chairs directed

by Susan Seidelman. She can be heard on the following film soundtracks: Nine, Chicago, and Legally Blonde 2. www.capathiajenkins.com Deer Valley® Music Festival

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ARTISTS’ PROFILES Darryl Williams Vocalist

Williams’ return to center stage as a frontman with the Here to Stay set resulted in a 2017 Best New Artist nomination from the Smooth Jazz Network. “The compositions were inspired by different experiences we went through in our journey throughout that period. It took me ten years to finish this album and while it takes me back in time, the reaction from fans, radio, and reviewers has me looking forward with excitement. I couldn’t be more proud of this album,” said Williams.

Williams was a teenager when he opened for R&B acts Lakeside and Al Green along with gospel legend Shirley Caesar. After studying jazz at San Diego State University,

Williams went from regular gigs backing many of San Diego’s most prominent homegrown talent to the neon lights of the Las Vegas strip where he accompanied such nationally-renowned headliners as Clint Holmes, Angela Bofill, Tevin Campbell, Howard Hewett, and Keith Washington, and did a road stint with Chaka Khan.

After moving back to California in 2008, Williams dropped his debut album, That Was Then, garnering praise from JazzTimes and national airplay on SiriusXM. He has become a fixture on the smooth/ contemporary jazz scene where he has shared the stage with the genre’s heavy hitters: Richard Elliot, Peter White, Gerald Albright, Mindi Abair, Brenda Russell, Darren Rahn, Jessy J, Everette Harp, and Jeff Kashiwa. He has also recorded with Jackiem Joyner, Blake Aaron, Nils Jiptner, U-Nam, and Kay-Ta Matsuno.

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COMMUNITY EVENTS 2022 DEER VALLEY® MUSIC FESTIVAL

FREE “POP-UP” PERFORMANCES For a schedule, visit DeerValleyMusicFestival.org/community

Q&A’S AFTER CONCERTS AT ST. MARY’S Gather in the back section of the performance space to meet and ask questions of featured performers following concrts on July 6, 13, 20, 27, and August 3.

INSTRUMENT PETTING ZOO Bring your kids early on July 8 prior to the Disney in Concert performance for an instrument petting zoo hosted by the Utah Symphony Youth Guild and Summerhays Music. Zoo Hours: 6-7pm.

PLAZA FEST July 2 - Utah Conservatory Patriotic Kids Camp will sing patriotic tunes preceding the Patriotic Pops concert.

July 30 & August 5 - The Park City Rockers @ Utah Conservatory will perform preceding the Guster and Aretha: A Tribute with Capathia Jenkins concerts.

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ON THE HILL

KRISTIN CHENOWETH

WITH THE UTAH SYMPHONY AUGUST 6 / 2022 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER MARY-MITCHELL CAMPBELL, conductor KRISTIN CHENOWETH, vocalist

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ARTIST’S PROFILE Kristin Chenoweth Vocalist

Emmy and Tony Awardwinning actress and singer Kristin Chenoweth’s career spans film, television, voiceover, and stage.

In 2015, Chenoweth received a coveted star on The Hollywood Walk of Fame. In 2009, she received an Emmy Award for Best Supporting Actress in a Comedy Series for her role in Pushing Daisies. In 1999, she won a Tony Award for You’re A Good Man, Charlie Brown and she was also nominated for her original role of Glinda the Good Witch in Wicked in 2004. Chenoweth has been nominated for two Emmy Awards and for a People’s Choice Award for her role on Glee. In 2009, she wrote an upliftingly candid, comedic chronicle of her life so far, A Little Bit Wicked, which debuted on The New York Times Hardcover Non-Fiction Best Seller List.

Chenoweth has performed to sold-out audiences across the world, including performances at Carnegie Hall and Royal Albert Hall. Chenoweth recently starred in the second season of NBC’s hit comedy series Trial & Error, receiving critical acclaim for her performance as Heiress Lavinia Peck-Foster. She was seen in the Starz original series American Gods, where she reunited with executive producer Bryan Fuller in the role of Easter. Notable television roles include appearances in The West Wing, Disney’s Descendants, and The Muppets. In film, Chenoweth voiced the role of Gabi in the hit animated film Rio 2 and Fifi, Snoopy’s beloved French poodle in The Peanuts Movie.

Chenoweth is a graduate of Oklahoma City University with a Master’s degree in Opera Performance. She is an inductee into the Oklahoma Hall of Fame, as well as the Oklahoma Music Hall of Fame.

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* In-kind Gift ** In-kind & Cash Gift

† Deceased ~ Designates DVMF sponsor and/or VIP package supporter

DEER VALLEY ® MUSIC FESTIVAL FOUNDERS

Mark & Dianne Prothro Bellecorp Perkins - Prothro Foundation

Bill & Joanne Shiebler

Shiebler Family Foundation

Jim & Susan Swartz Swartz Foundation

MILLENNIUM ($250,000 AND ABOVE)

Anonymous The Church of Jesus Christ of Latter-Day Saints Foundation

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George S. & Dolores Doré Eccles Foundation~ Kem & Carolyn Gardner

O.C. Tanner Company~ Zions Bank~

THANK YOU ENCORE ($100,000–$249,999)

Lawrence T. & Janet T. Dee Foundation Marriner S. Eccles Foundation~ The Florence J. Gillmor Foundation

Emma Eccles Jones Foundation Frederick Q. Lawson Foundation LOVE Communications** The Tony & Renee Marlon Charitable Foundation~

Shiebler Family Foundation~ Elizabeth Solomon Sorenson Legacy Foundation~ Jacquelyn Wentz

John & Carol Firmage~ The Grand America Hotel & Little America Hotel* The John C. Kish Foundation~ Janet Q. Lawson Foundation Perkins-Prothro Foundation~ Mark & Dianne Prothro~ John & Marcia Price Foundation

S.J. & Jessie E. Quinney Foundation Patricia A. Richards & William K. Nichols~ Harris H. & Amanda P. Simmons Foundation George Speciale Wheatley Family Charitable Fund

BRAVO ($50,000–$99,999)

Anonymous BMW of Murray/BMW of Pleasant Grove~ Doyle Arnold & Anne Glarner~ Judy Brady & Drew W. Browning Larry Clemmensen~ John & Flora D’Arcy Dominion Energy~ John† H. & Joan B. Firmage~

OVERTURE ($25,000–$49,999)

Scott & Kathie Amann~ Arnold Machinery Thomas Billings & Judge Judith Billings~ Jim and Susan Blair~ Carol Franc Buck Foundation Cache Valley Electric C. Comstock Clayton Foundation Deer Valley Resort* Kristen Fletcher & Dan McPhun~ Brian & Detgen Greeff Intuitive Funding~

Tom & Lorie Jacobson~ Joseph & Kathleen Sorenson Legacy Foundation The Kahlert Foundation McCarthey Family Foundation Charles & Pat McEvoy~ Fred & Lucy Moreton Moreton Family Foundation Charles Maxfield & Gloria F. Parrish Foundation James & Ann Neal~ Promontory Foundation~ Kenneth† & Jerrie Randall Ben & Peggy Schapiro~

Theodore & Elizabeth Schmidt Family Foundation Joanne L. Shrontz Family Foundation Simmons Family Foundation Struck* Summit Sotheby’s~ Jonathan & Anne Symonds~ Naoma Tate & the Family of Hal Tate Jim & Zibby Tozer~ Nora Eccles Treadwell Foundation John & Jean Yablonski~ Edward & Marelynn† Zipser

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THANK YOU MAESTRO ($10,000–$24,999)

Anonymous Altabank~ Austin & Kristi Bankhead HJ & BR Barlow Foundation B.W. Bastian Foundation Suzanne & Clisto Beaty~ Brent & Bonnie Jean Beesley Foundation Bertin Family Foundation Berenice J. Bradshaw Trust Diane & Hal Brierley~ Judy & Larry Brownstein~ R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine FoundationRussell Family The Christian V. and Lisa D. Young Family Foundation Shelly Coburn Cranshaw Corporation Cultural Vision Fund Discover Pat & Sherry Duncan~ Dr. & Mrs. Ralph Earle~ Barry & Traci Eden Matthew B. Ellis Foundation Carolyn & Craig Enenstein~ Midge & Tom Farkas Lynn & Tom Fey~

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Robert & Elisha Finney~ Gardner Company Goldman Sachs & Co. LLC Greenberg Traurig~ Douglas & Connie Hayes~ Richard K. & Shirley S. Hemingway Foundation~ Susan & Tom Hodgson~ Mary P.† & Jerald H. Jacobs Family Stephen C.† and Lynda M. Jacobsen Johnson Foundation of the Rockies G. Frank & Pamela Joklik Mr. & Mrs. Christopher J. Lansing~ Bill Ligety & Cyndi Sharp~ Tom & Jamie Love~ Microsoft Corporation* Jed Millburn~ Amanda & Spencer Millerberg Harold W. & Lois Milner~ Edward Moreton Terrell & Leah Nagata~ Park City Chamber/Visitor’s Bureau Parr Brown Gee & Loveless Leslie Peterson & Kevin Higgins

Frank R. Pignanelli & D’Arcy Dixon Stephen & Cydney Quinn~ David & Shari Quinney Raymond James~ Regence BlueCross BlueShield of Utah Albert J. Roberts IV Richard & Carmen Rogers~ The Joseph & Evelyn Rosenblatt Charitable Fund Miguel Rovira Sandefur Schmidt Semnani Family Foundation St. Regis / Deer Crest Club** Mr. & Mrs. G. B. Stringfellow Steve & Betty Suellentrop~ Thomas & Marilyn Sutton~ The Swartz Foundation~ Norman C. & Barbara L. Tanner Second Charitable Trust Teoma Corporate LLC W. Mack and Julia S. Watkins Foundation WCF Insurance Y2 Analytics* Kathie & Hugh Zumbro

THANK YOU Utah Symphony | Utah Opera is grateful to the following generous sponsors for supporting our 2022 Deer Valley® Music Festival.

BRONZE ($8,000–$9,999) 4Girls Foundation Bill & Susan Bloomfield Charlotte & Bill Browning Anne Daigle & Rich Heyman Marian Davis & David Parker

Ray & Howard Grossman Sunny & Wes Howell Rick & Paulette Katzenbach Hallie & Ted McFetridge Michal & Maureen Mekjian

Brooks & Lenna Quinn Barbara & Paul Schwartz Brad E. & Linda P. Walton

AMBASSADOR ($5,000–$7,999) Anonymous Maria & Bill Boyce David & Deborah Brown Hannalorre Chahine Jack & Marianne Ferraro Grandeur Peak Global Advisors Goldman Sachs Holland & Hart Hotel Park City*

In Memory of Gary Kitching M.D. Howard & Merele Kosowsky Dan & Deena Lofgren Robert & Kim Marling Tom & Janet McDougal Joyce Rice Sea to Ski Premier Home Management

Brent & Lisa Shafer Mary & Doug Sinclair Craig Stuart Tim & Judy Terrell Victory Ranch Douglas & Rebecca Wood YESCO Outdoor Media*

Nanci & Hans Fastre Blake & Linda Fisher Adele & James Forman Thomas & Darlis Fuller Joe & Dixie Furlong Robert & Annie Lewis Garda Amy & Ken Goodman Shari Gottlieb Sue & Gary Grant Susan Graves Mary Haskins Nancy & Ken Heaps Don Hendricks Michael Huerta & Ann Sowder Hyatt Centric Park City Jim & Carol Katsikas Les Kratter Michael Liess John & Kristine Maclay Keith & Vicki Maio Miriam Mason & Greg Glynis Karen & Mike McMenomy

Glenn & Dav Mosby Ashton & Becky Newhall Vincent & Elizabeth Novack Charlotte & Pat O’Connell Mr. and Mrs. James S. Pignatelli Mr. & Mrs. Robert Rollo Rebecca Roof & Gary Smith Lisa & Joel Shine Spitzberg-Rothman Foundation Ray and Ann Steben Toni Stein Richard E. Valliere Gerard & Sheila Walsh Renee & Dale Waters Betsy & Scott Wertheimer Kelly & James Whitcomb Cindy Williams Barry & Fran Wilson Kay Winzenried Bruce Woollen Peter Zutty

Blair Childs & Erin Shaffer Caroline & David Hundley

Stephen Watson Emily & Danny Weingeist

PATRON ($3,000–$4,999) Robert & Cherry Anderson Pam & Paul Apel Tina & John Barry Charles & Jennifer Beckham BioSelective Capital Investments The Blue Wave Car Wash Michael & Vickie Callen Vincent Cannella Dr.† & Mrs. Anthony Carter Mark & Marcy Casp George & Katie Coleman Debbi & Gary Cook Cindy Corbin Ruth & Phil Davidson Michael & Sheila Deputy Margarita Donnelly John D Doppelheuer M.D. & Kirsten A. Hanson M.D. Karey & Phillip Dye Carol & Greg Easton Barbara & Melvin Echols GRASS PASS ($2,000–$2,999) Sue Barsamian Donna Birsner

VIP FOR A NIGHT ($1,000–$1,999) Craig & Joanna Adamson Marlene Abbott Barber Sarah Bienvenue & Jake Tingley Karen Fletcher

Kimberly & Mark O. Haroldsen LeeAnn Havner Jeanne Kimball Gary & Debbie Lambert

Robert & Rochelle Light Robin & Richard Milne Gayle & Sam Youngblood

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ADMINISTRATION ADMINISTRATION Steven Brosvik President & CEO

David Green

Senior Vice President & COO

Micah Luce

Director of Human Resources & Organizational Culture

Julie McBeth

Executive Assistant to the CEO

Ellen Lewis

Executive Assistant to the Senior V.P. & COO & Office Manager

SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director

Barlow Bradford

Symphony Chorus Director

Walt Zeschin

DEVELOPMENT Leslie Peterson

Alison Mockli

Jessica Proctor

Patron Information Systems Manager

Vice President of Development Director of Institutional Giving

Heather Weinstock

Director of Special Events & DVMF Donor Relations

Stephanie Ogden

Director of Individual Giving

Katie Swainston

Individual Giving Manager

Lisa Poppleton Grants Manager

Dallin Mills

Development Database Manager

Erin Marr

Artistic Planning Manager Artistic Planning Coordinator & Assistant to the Music Director

Robert Bedont

Director of Orchestra Operations

Melissa Robison

Program Publication & Front of House Director

Chip Dance

Production & Stage Manager

Jeff F. Herbig

Properties Manager & Assistant Stage Manager

Lyndsay Keith

Operations Manager

Robyne Anderson

2nd Assistant Stage Manager

OPERA ARTISTIC Christopher McBeth

Opera Artistic Director

Carol Anderson Principal Coach

Michelle Peterson

Interim VP of Marketing & Communications Marketing Manager

Nina Starling

Website Content Coordinator

PATRON SERVICES Faith Myers

Director of Patron Engagement

Mara Lefler

Sales Manager

Janae Graham

Patron Services Manager

Genevieve Gannon

Group Sales Associate

Alicia Ross Val Tholen

Sales Associates

Lorraine Fry Naomi Newton Ian Painter Ananda Spike Ticket Agents

Michaella Calzaretta

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Ashley Tingey

Mike Lund

Director of Production Opera Chorus Master

Production Coordinator

Zac Cameron Payroll Clerk

EDUCATION Paula Fowler

Director of Education & Community Outreach

Kyleene Johnson

Symphony Education Manager

Paul Murphy

Symphony Education Assistant

Dusty Terrell

MARKETING & COMMUNICATIONS Meredith Kimball Laing

SYMPHONY OPERATIONS Cassandra Dozet

Accounts Payable Specialist

Stewardship & Event Coordinator

Orchestra Personnel Manager

Isabella Zini

Kyle Siedschlag

OPERA TECHNICAL Kelly Nickle

Director of Orchestra Personnel

Morgan Moulton

Jared Mollenkopf

Donor Engagement (DVMF) & Special Events Coordinator

Ellesse Hargreaves

Hannah Thomas-Hollands

Payroll & Benefits Manager

Properties Master

Scenic Charge Artist

Glenn Linder

Interim Technical Director

Jason Barroncini

Production Technical Director

COSTUMES Cee-Cee Swalling Costume Director

Verona Green

Costume Rentals & Stock Manager

Milivoj Poletan Master Tailor

Tiffany Lent

Cutter/Draper & Costume Shop Foreman

Amanda Meyer First Hand

Donna Thomas

Crafts & Millinery Artisan

Nyssa Startup

Wardrobe Supervisor & Rentals Assistant

Lisa Ann De Lapp Rentals Assistant

Aoibheann Herrmann

Rentals Assistant & Stitcher

Lauryn Nebeker Sally McEntire Stitchers

Vice President of Finance & CFO

Director of Information Technologies

Melanie Giles Controller

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

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

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

Tanner, llc

LEGAL REPRESENTATION PROVIDED BY

Ballard Spahr Andrews & Ingersoll, llp Jones Waldo ADVERTISING SERVICES

Provided by Love Communications, Salt Lake City

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

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

By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.

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