La traviata

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LA TRAVIATA VERDI’S

OCTOBER 12, 14, 16, 18, 20, 2019 JANET QUINNEY LAWSON CAPITOL THEATRE

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LA TRAVIATA VERDI’S

25 PG.

Utah Opera La traviata, 2014; photo Kent Miles

6 WELCOME 8 ARTISTIC DIRECTOR’S WELCOME 10 BOARD OF TRUSTEES 15 TO LOOK INTERESTING IN DYING 18 FIRST LOVE. LAST LOVE. PATERNAL LOVE. OPERATIC LOVE. 22 SEASON SPONSORS 26 CAST / ARTISTIC STAFF / CHORUS / DANCES / SUPERNUMERARIES 34 THE STORY OF LA TRAVIATA 35 THE MANY FACES OF LA TRAVIATA 36 COMPOSER / LIBRETTIST 37 UTAH SYMPHONY 38 SUPPORT USUO 40 DONORS 52 CRESCENDO & TANNER SOCIETIES 53 LEGACY GIVING 54 ADMINISTRATION 57 UTAH OPERA RESIDENT ARTIST 58 ACKNOWLEDGMENTS

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

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

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

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WELCOME On behalf of the board, staff, artists, and musicians of Utah Symphony | Utah Opera, it is our pleasure to welcome you to the newly refreshed Janet Quinney Lawson Capitol Theatre and the opening production of Utah Opera’s 42nd season, Giuseppe Verdi’s beautifully heart-wrenching La traviata.

Paul Meecham

President & CEO

For more than 100 years Utahns have been coming together for entertainment in the Capitol Theatre (originally opened as the Orpheum Theatre) and all of us at USUO are grateful to Salt Lake County and its Arts & Culture Division for continuing to refurbish and modernize the building. Utah Opera has been proud to call this historic community space its performance home since the 1978 renovation funded by the Bicentennial Center for the Arts Commission.

The Commission invested in the creation of venues for the newly-formed Utah Opera, the young and already nationally-recognized Ballet West, and the wellestablished and treasured Utah Symphony—the venue for the latter being Abravanel Hall, which opened in September 1979.

The civic leaders of our past recognized the value of experiencing live performances together as a community. Those shared moments where we witness and contemplate with others something that may be beautiful, humorous, moving, thought-provoking, or perhaps just diverting, bond us in a way that is increasingly rare and valuable in this digital age.

Please join us in thanking our season sponsor the George S. and Dolores Doré Eccles Foundation and the many community leaders who make it possible for Utahns to enjoy the great live music and drama of Utah Opera productions.

Thank you for attending today’s performance. We hope you will join us throughout the season for memorable productions of musical storytelling that connect our community through great live music here in the Janet Quinney Lawson Capitol Theatre!

Thomas M. Love

Sincerely,

Chair, Board of Trustees

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ARTISTIC DIRECTOR’S WELCOME Dear Utah Opera friends and family, Welcome to the historic Janet Quinney Lawson Capitol Theatre. Over the summer our partners at Salt Lake County Arts & Culture have demonstrated a heroic effort to complete part two of renovations to our beloved venue. Please take a moment to view the timeline and goals of the renovation project on display in the lobby. I think you’ll agree with me that the work is a success and a fitting tribute to our one hundred and six-year-old jewel box home. Bravo to our partners from Salt Lake County and all of the entities involved.

As we enjoy a revived theatrical home, so we embark on a new season with a classic and universally loved chestnut of the opera repertoire, Verdi’s La traviata. Whether you first heard the music from this perennial favorite in a movie, radio, or live performance, it is undeniable how moving the piece is. Like many operas, La traviata focuses on Christopher different forms of love, family, and death and musically and McBeth dramatically balances these ideas as well as any other opera.

Artistic Director Maestro Verdi contributed a trove of wonderful operas to the repertoire, but La traviata could, arguably, be the finest of the list. Without argument, it is certainly the most popular of his output today.

In addition to being a favorite amongst opera goers around the world, it provides an opportunity to showcase some of our audience’s most favorite artists from Utah Opera performances. In the role of the tragic heroine is Anya Matanovič, most recently here just last season in major success as Juliette. As the complicated father figure, Michael Chioldi, one of today’s most sought after Verdi baritones. Many will remember his riveting Baron von Scarpia from our most recent presentation of Tosca. And Garnett Bruce, who has brought several wonderful productions to life at the Capitol Theatre, returns as director. I’m just as excited to introduce to you debut artists Rafael Moras as the impetuous Alfredo and Maestro Steven White, whose conducting credits include many of the world’s finest opera houses.

With beautiful sets and costumes of 19th century Paris, a compelling tragedy brought to life by a wonderful cast and director, and Verdi’s sumptuous music including the Utah Symphony, there is something for everyone in La traviata.

Yours,

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

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TO LOOK INTERESTING IN DYING

Diagnosing the Function of Illness in Opera

By Jeff Counts

Live drama often relies on the suspension of disbelief for thematic effectiveness and, to that end, must employ certain storytelling manipulations to make sure the entire audience is reached. Distillation and exaggeration are the best of these techniques, especially when they are used together and most especially in opera. For example, wars between nations are boiled down to petty disputes between individual men. Complex social intrigues are laid bare during the briefest cocktail party dance sequences. Eternal, unbreakable loves flower in seconds, usually after a single encounter. Even the curtain, humble as it is, has the power to pass time and transport us over great distances in a single, trusted instant. We know why the archetypes and tropes of opera are simultaneously simplified and embellished in this way, and not only because we have been well-trained through their repetition.

They are a means of efficient plot delivery, yes, but their real job is to get us to that very important place where the music speaks most directly.

Consider the case of Violetta in La traviata. She is afflicted with that bygone, boutique disease of consumption, and as dramatic contrivances go, her sickness has a lot of heavy lifting to do. So much of the story’s emotional depth rests on the implications of her infection, but she has good fictional company in this regard.

Tuberculosis, the actual name of Violetta’s UTAHOPERA.ORG / (801) 533-NOTE

Utah Opera La traviata, 2006; photo Kent Miles

condition, was a common theme in 19th century art and society. It was known as ‘The Romantic Disease’ and could be found nearly anywhere you looked.

Edvard Munch’s painting The Sick Child was based on it. Fantine had it in Les Misérables. So did Mimì in La bohème, Katerina in Crime and Punishment, Antonia in The Tales of Hoffmann and seemingly everyone in every novel Charles Dickens ever wrote. Not to be limited to the world of the imagination, the list continues into the real life of the creators themselves. Keats, Shelley, Poe, two Brontës, Chopin—all consumptives.

It was the disease of starving artists and the noble poor, meant in their work to portray the creeping darkness beneath the surface of everyday life. This is certainly true for Violetta, the quintessential hothouse flower.

But why tuberculosis? The dramatic possibilities of presenting something so interior are intriguingly varied but they are also quite subtle. Why not a limp or something else we can actually see?

Many medical scholars have taken up these questions. Dr. Judith Wagner, to name just one, wrote a wonderful piece in 2015 for the Hektoen International Journal of Medical Humanities that suggests four reasons why consumption was more appealing to 19th century authors and composers than the other common ailments of the time. Principal 15

TO LOOK INTERESTING IN DYING among these reasons was the notion of exclusivity and how the tubercular waif was someone to be admired and envied, not pitied. To accept this, we must imagine the fainting couch of those days as a dais, from which a court of mannered misery could be held.

Breathlessness, it appears, was seen as a sign of thoughtfulness, and a perfectly timed cough into a handkerchief signaled great emotional sensitivity, more so if it was accompanied by a spot of blood. Alexandre Dumas, fils, the author of the traviata source material, knew very well the time and place he was invoking with his Lady of the Camellias. “It was the fashion to suffer from the lungs…” he recalled, “…and to die before reaching the age of thirty.”

Byron, also fully aware of the allure of consumption during his day, once quipped that if he caught it the ladies might say, “See that poor Byron—how interesting he looks in dying.”

The mention of the lungs and breathlessness is important here. It is referenced often in the libretto of La traviata and when Violetta sings of the shortness of her breath, she’s singing about the shortness of her life. It’s literal and symbolic at the same time. Other operatically relevant symptoms of tuberculosis include chest pain, chills, fatigue, weight loss and a generally slow but exquisitely inevitable decline.

These, truly, are the base ingredients of compelling theatrical sympathy and the best Violettas play up these romanticized ‘wasting away’ aspects over the savage authentic truth of the disease’s final moments. Susan Sontag also studied this topic in her fantastic Illness as Metaphor and observed depictions of consumption as glamorous in comparison to the 16

way we viewed cancer and AIDS in the 20th century. One interpretation of her thesis is to interpret fictional tuberculosis, in the more innocent years before we learned to call it that, as an essentially cultural construction, defined and modified by an elite cadre of practitioner-sufferers who simply wrote about what they believed they were experiencing. This just wouldn’t be possible today, with today’s superbugs and epidemics. We know too much.

Violetta is sick because the plot needs her to be sick, but the nuance implied by her complaint is what separates opera from novels and other more deliberate forms. Consumption works well in this environment because it can be distilled and exaggerated to taste and, because of this, is as critical a theatrical element as any piece of clothing or prop. Violetta’s vitality is quite literally ‘consumed’ over the course of the opera, and the musical/ medical process is heartbreaking to watch and to hear. Another feature of tuberculosis that has so much stage potential is that it feels fabricated is the spes phthisica. This is what Dr. Wagner calls the ‘paradoxical terminal euphoria’ during which the patient can experience a kind of elation which can bring about momentary periods of mental sharpness and, for 19th century poets at least, creative profligacy. Violetta’s last few minutes are of this sort. “The spasms of pain have ceased!” she exclaims, “I feel I am coming back to life.” If only.

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

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FIRST LOVE. LAST LOVE. PATERNAL LOVE. OPERATIC LOVE.

By Michael Clive

In one of those convenient quirks of music history, the two titans of operatic composition—opposites in many ways—were both born in 1813. In Germany there was Richard Wagner, the revolutionary. Mad, obsessed and inspired, Wagner was the demented genius who shattered operatic norms, changing the course not just of music but of all the arts. In Italy there was Giuseppe Verdi, the evolutionary—no less a genius, no less inspired, and no less astonishing.

Born in Italy before it was a unified nation, Verdi grew up in an oddly decentralized country…a messy array of politically diffuse states bound together

by Roman Catholicism, opera, and not much else. As a young composer Verdi quickly emerged as the great hope of the bel canto tradition represented by Rossini, Bellini and Donizetti. By the time of his death in 1901, Italy was a unified country and Verdi was its most famous citizen, the man who had mastered Italian operatic style and then changed everything about it. He expanded forms and modernized them. He kept pace with developments in compositional techniques throughout Europe. He found dramatic subjects of new relevance and urgency. All of these dimensions are evident in La traviata. Though Verdi was only forty years old when he composed 18

Utah Opera La traviata, 2014; photo Kent Miles

it, this is an innovative opera—both in its musical freedom and in its daringly intimate story.

As we listen, one strategic contrast between Verdian and Wagnerian style is especially telling: While Wagner melds orchestra and voices into a unified dramatic expression, Verdi’s orchestra accompanies the singers.

Thus in Verdi and in pre-Wagnerian composers, operatic melody often resides exclusively with the singers and is underlined by a deceptively simple ostinato “oom-pah-pah” beat. In La traviata that beat captures us from the opening moments of the melancholy prelude and never lets us go. It is Violetta’s heart—beating, but for how long? Those trembling chords that introduce the beat hint at the tragedy to come, and the oom-pah-pah bass line lifts the curtain on a flood of memories.

When the Act III prelude reprises the same music, it is even sadder, and the curtain has begun to fall even as it rises.

This is the perfect dramatic arc of La traviata, ingeniously presented as a series of flashbacks. Verdi’s musical frame suggests a story recollected, much as Dumas’ original La Dame aux Camélias did. The play, by contrast, shocked the opening-night audience with its straight-ahead account of the UTAHOPERA.ORG / (801) 533-NOTE

FIRST LOVE. LAST LOVE. PATERNAL LOVE. OPERATIC LOVE. romance between principals Marguerite and Armand—and was shut down in Paris after just one night.

What attracted Verdi to this story? He was a public figure, but a very private man. Yet his private life and its relation to his operas remains a subject of fascination to opera-lovers more than a century after his death. According to one of his most perspicacious biographers, the late Mary Jane Phillips-Matz, this is especially true of La traviata. “The composer never would have admitted that La traviata reflected anything of his life,” she wrote. “Verdi was taciturn about his personal affairs and rigorously guarded his privacy. But something of the artist is always reflected in a work, and La traviata is a ‘domestic melodrama,’ so people naturally ask whether some of that drama was based on Verdi’s experiences.”

Key among those experiences was his relationship with prominent soprano Giuseppina Strepponi, with whom he lived for more than four decades, at least half of that time without a legal marriage.

In those days unmarried cohabitation was rare and socially unacceptable at Verdi’s level of Italian society, and not even his family and close friends knew the truth. But with his international prominence, everyone seemed to be gunning for the details of his personal life—the neighbors from the villa across the road, reporters from across the ocean, fans from everywhere. Their intrusions on his privacy infuriated him.

Things were scarcely more comfortable with Verdi’s nearest and dearest.

Antonio Barezzi, his loyal patron and former father-in-law (Verdi’s first wife UTAHOPERA.ORG / (801) 533-NOTE

Margherita had died young), remained a steadfast friend through good times and bad. But if the tragedy of Margherita’s death drew them closer, the relationship between Verdi and Strepponi tested their loyalty. When Barezzi asked about whether Verdi and Strepponi were lawfully married, Verdi answered angrily, “Who knows whether she is or is not my wife?” (Imagine emphatic hand gestures here.)

At the time, Strepponi was Verdi’s mistress, not his wife. But in modern corporate terms, she was also the chief operating officer for the Verdi operawriting business, a savvy executive who knew the opera world from the inside out. An acclaimed singer who was also the daughter of a successful opera composer, Strepponi proved herself as an able businesswoman as well as an artist and, with the death of her father, took financial responsibility for her mother, brother, and sister. She enabled her brother to study medicine at the University of Pavia and become a physician, and helped to support their mother and sister; with her brother’s early death, she became her family’s sole breadwinner while struggling to build her singing career. Rather than engendering sympathy, these dire circumstances left her open to professional and personal gossip.

Before Strepponi and Verdi became intimate, they were collegial: Strepponi starred in Verdi’s first successful opera at a time when she was singing almost every week of the year. When the strain on her voice took its toll, she went—as another unmarried superstar soprano, Maria Callas, would do a century later— to Paris. There she became a popular 19

FIRST LOVE. LAST LOVE. PATERNAL LOVE. OPERATIC LOVE. voice teacher. In 1847 Verdi joined her there, and they enjoyed a reasonably private existence. But when he brought her home to Busseto, his small, provincial hometown, everyone was curious about this woman who was, perhaps, better than a prostitute, but still just a “woman from the theater.”

Their situation intolerable, Verdi packed up and moved with Strepponi to a farmhouse he had bought some years before: Villa Verdi, in the village of Sant’Agata, about two miles outside Busseto. Now a national monument, Villa Verdi is a popular tourist attraction with several rooms open to the public.

But during Verdi’s lifetime, despite his struggles to live there quietly with Strepponi, they were rarely left alone. That may account for La traviata, which was so unlike his previous works and which, in Act II, seems to create a musical paradigm for a life of quiet romantic seclusion in the country, and then destroys it.

Among the many fascinations of La traviata is the nuanced portrayal of its title character and the depiction of her world. In the 1800s, courtesans such as Violetta were everywhere. Mistresses of upper- and middle-class men, these kept women were better off than street-walking prostitutes, often living very well—with luxurious apartments, domestic servants, expensive clothing made by the best dressmakers, and carriages of their own. Nonetheless, society saw them as pariahs. Thus, it took courage for Dumas and Verdi to depict a courtesan’s daily life.

There is no English equivalent for the Italian “traviata,” but we can see the burden of hard work and sadness in 20

the word. Violetta, the lady of travails, captures our sympathies from the very first chords of La traviata and never lets them go. But who is she? First and most important, she is a woman of the ultrachic Parisian demimonde. Despite her beauty and refinement, this was not the kind of girl to bring home to mother, and her very contradictory mix of glittering charm, inner goodness and social disapprobation attracted Verdi, who had known his share of ostracism. Because the darker realities of the courtesan’s life went unspoken in polite society, they were often eclipsed by its luxurious refinements; in an old joke, a blue-haired matriarch storms out of the Metropolitan Opera and snarls, “I thought the soprano made Violetta seem just like a whore!”

Though surrounded by beautiful things and respected as arbiters of fashion, courtesans were also virtually owned by men who sexually objectified them, sometimes brutally. They were kept only as long as it pleased men to do so—birds in gilded cages. We have only to look to Emile Zola to see the consequences.

The title character of his novel Nana, once incomparably beautiful, quickly becomes the embodiment of decay; the illness that overwhelms her shows the corruption beneath the dazzling surfaces of her life. In the American movie Gigi, Lerner and Loewe’s setting of the novella by Collette, Gigi puts the matter more delicately. “You told Grandmama that you wanted to take care of me beautifully,” she tells Gaston Lachaille, the dashing playboy who wants her as his latest playmate. “They pound it into my head that I am backward for my age, but I know very well what all this means. To take care of me beautifully means I shall go with you to the Riviera UTAHOPERA.ORG / (801) 533-NOTE

FIRST LOVE. LAST LOVE. PATERNAL LOVE. OPERATIC LOVE. and the races at Deauville, and I shall have my picture in all the papers...that I shall go away with you and sleep in your bed. When it’s over and done with, Gaston Lachaille goes off with another lady, and I have only to go into another gentleman’s bed.”

All of these sensitive matters made Dumas’ story a tantalizing but risky subject for Verdi. It was a romanticized account of matters understood but left unspoken and of real events involving real people, some of whom were still alive.

But one element outweighed all other considerations, and made the substance of the drama: forgiveness. Forgiveness made it possible for Verdi and Antonio Barezzi to put their differences behind them. Verdi forgave Barezzi for criticizing his life with Strepponi, and Barezzi got beyond Strepponi’s role in Verdi’s life. We

see the authenticity of this forgiveness echoed in the opera’s evocation of the elder and younger Germont, who struggle to reconcile, and in the elder Germont’s rueful, belated recognition of Violetta’s inner goodness. In writing this opera, Verdi departed from Dumas’ story to make his art imitate his life, with all of the principals ultimately finding an imperfect peace.

Michael Clive’s writing on music and the arts has appeared in publications throughout the U.S. and in the U.K., as well as on the Internet (for Classical TV.com and Classical Review) and television (for the PBS series Live From Lincoln Center). He is program annotator for the Utah Symphony, the Louisiana Philharmonic Orchestra and the Pacific Symphony, and is editor-inchief of The Santa Fe Opera.

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LA TRAVIATA VERDI’S

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JANET QUINNEY LAWSON CAPITOL THEATRE

Composed by Giuseppe Verdi Libretto by Francesco Maria Piave Based on La Dame aux Camélias by Alexandre Dumas Sung in Italian Supertitles prepared by Paul Dorgan Premiere: Teatro La Fenice, Venice 1853 Previously performed at Utah Opera, 1980, 1987, 1998, 2006 and 2014 CAST

Violetta Valéry . . . . . . . . . . . . . . . . . . . . . . . Anya Matanovič Alfredo Germont . . . . . . . . . . . . . . . . . . . . . . . . Rafael Moras Giorgio Germont . . . . . . . . . . . . . . . . . . . . . . Michael Chioldi Gastone de Letourières . . . . . . . . . . . . . . . Addison Marlor* Baron Douphol . . . . . . . . . . . . . . . . . . Christopher Holmes Marquis d’Obigny . . . . . . . . . . . . . . . . . . . . . Kevin Nakatani Doctor Grenvil . . . . . . . . . . . . . . . . . . . . . . . . . Brandon Bell* Flora Bervoix . . . . . . . . . . . . . . . . . . . . . Quinn Middleman* Annina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grace Kahl* Giuseppe . . . . . . . . . . . . . . . . . . . . . . . . . Steven Valenzuela** Messenger . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel Tuutau** Flora’s Servant . . . . . . . . . . . . . . . . . . . Richard Parkinson** ARTISTIC STAFF

Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steven White Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Garnett Bruce Chorus Master . . . . . . . . . . . . . . . . . . . . Michaella Calzaretta Choreographer . . . . . . . . . . . . . . . . . . . . . . . . . Daniel Charon Set Designer . . . . . . . . . . . . . . . . . . . . . . . . . Peter Dean Beck Costume Designer . . . . . . . . . . . . . Susan Memmott Allred Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . James Sale Wig/Makeup Designer . . . . . . . . . . . . . . . . . . Kate Casalino Principal Coach . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . Patrick Harvey Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Nictakis Assistant Stage Manager . . . . . . . . . . . . . . Sarah Ackerman Supertitle Musician . . . . . . . . . . . . . . . . . Taylor Burkhardt* * Utah Opera Resident Artist ** Role as part of the Utah Opera Chorus The performance will last approximately 2 hours 45 minutes with two intermissions.

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CAST Anya Matanovič (Washington)

Violetta Valéry Most Recently at Utah Opera, Roméo et Juliette Recently: The Crucible, Opera Santa Barbara; La bohème, Opera Colorado; The Rake’s Progress, Boston Lyric Opera Upcoming: Agrippina, The Metropolitan Opera Rafael Moras (Texas)

Alfredo Germont Utah Opera Debut Recently: Rigoletto, Sacramento Philharmonic & Opera; Carmen, The Dallas Opera; Caribe Clásico, Lyric Opera of Chicago Upcoming: El Milagro del Recuerdo, Houston Grand Opera; Recital Artist, Tuesday Musical Club of San Antonio Michael Chioldi (New York)

Giorgio Germont Most Recently at Utah Opera, Tosca Recently: Luisa Miller and Andrea Chénier, Gran Teatre del Liceu; Tosca, San Antonio Opera; La traviata, Washington National Opera Upcoming: Rigoletto, Austin Opera; Pagliacci, Portland Opera Addison Marlor (Utah)

Gastone de Letourières Most Recently at Utah Opera, Norma Current Utah Opera Resident Artist Recently: The Magic Flute, The Little Prince, Utah Opera; Candide, Utah Symphony; Sapho, Washington Concert Opera; The Rake’s Progress, Sāvitri, Merola Opera Program; Candide, La rondine, University of Utah Upcoming: Messiah, Utah Symphony; Silent Night, Utah Opera Christopher Holmes (Utah)

Baron Douphol Utah Opera Debut Recently: Le nozze di Figaro, Utah Festival Opera; L’elisir d’amore, Opera Company of Middlebury; Carmen, Pine Mountain Music Festival Upcoming: Rigoletto, St. Petersburg Opera Company

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UTAHOPERA.ORG / (801) 533-NOTE

CAST Kevin Nakatani (Utah)

Marchese d’Obigny Most Recently at Utah Opera, Roméo et Juliette Recently: Le nozze di Figaro, Utah Festival Opera; Il barbiere di Siviglia, Utah Festival Opera; Into the Woods, Utah Festival Opera Upcoming: Silent Night, Utah Opera Brandon Bell (Virginia)

Doctor Grenvil Utah Opera Debut Current Utah Opera Resident Artist Recently: La bohème, West Bay Opera; Breaking the Waves, West Edge Opera; La fille du regiment, Opera Saratoga Upcoming: Messiah, Utah Symphony; Silent Night, The Barber of Seville, Thaïs, Utah Opera Quinn Middleman (Washington)

Flora Bervoix Utah Opera Debut Current Utah Opera Resident Artist Recently: The Ghosts of Versailles, Chautauqua Opera; The Scarlet Ibis, Chicago Opera Theatre; Suor Angelica, St. Petersburg Opera Upcoming: Messiah, Utah Symphony; Silent Night, Thaïs, Utah Opera Grace Kahl (New York)

Annina Most Recently at Utah Opera, The Magic Flute Current Utah Opera Resident Artist Recently: Apprentice Program, The Santa Fe Opera; The Little Prince, Utah Opera; Candide, Messiah, Utah Symphony; The Tender Land, Rusalka, Des Moines Metro Opera; Falstaff, Intermountain Opera Bozeman Upcoming: Messiah, Utah Symphony; The Barber of Seville, Thaïs, Utah Opera

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ARTISTIC STAFF Steven White (Virginia)

Conductor Utah Opera Debut Recently: Faust, Opera Omaha; Rigoletto, San Diego Opera; Otello, Austin Opera Upcoming: Pagliacci, Greensboro Opera; Ariadne auf Naxos, Arizona Opera Garnett Bruce (Maryland)

Director Most Recently at Utah Opera, Aïda Recently: Candide, Utah Symphony; Porgy and Bess, Cincinnati Opera; Faust, Opera San Antonio, Washington National Opera Upcoming: Ariodante, University of Maryland; Porgy and Bess, Atlanta Opera Michaella Calzaretta (Iowa)

Chorus Master Most Recently at Utah Opera, Norma Recently: 2018–19 Season, Utah Opera 1812 Overture, Utah Symphony; Candide, Harry Potter and the Prisoner of Azkaban, Utah Symphony Upcoming: 2019–20 season, Utah Opera Harry Potter and the Half-Blood Prince, Utah Symphony Daniel Charon (Utah)

Dance Choreographer Most Recently at Utah Opera, Moby-Dick Currently: Artistic Director, Ririe-Woodbury Dance Company Recently: Moby-Dick, Pittsburgh Opera, Chicago Opera Theater; Aïda, The Pearl Fishers, Utah Opera

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ARTISTIC STAFF Peter Dean Beck (New York)

Set and Properties Design Most Recently at Utah Opera, La bohème Recently: Dialogues of the Carmelites, Hawaii Opera Theatre; The Sound of Music, Skylight Music Theatre; Cold Sassy Tree, Florida State Opera The Rake’s Progress and Falstaff, University of Colorado, Boulder Upcoming: Turandot, Hawaii Opera Theatre; Les Misérables, Skylight Music Theatre Susan Memmott Allred (Utah)

Costume Design Most Recently at Utah Opera, The Magic Flute Recently: PBS Christmas Special with Mormon Tabernacle Choir 2016; Resident Designer, Utah Opera, 1979–2011; Mormon Miracle Pageant; Utah Shakespeare Festival; Southern Utah University James Sale (Colorado)

Lighting Design Utah Opera Debut Recently: Candide, Utah Symphony; Ariadne auf Naxos, Austin Opera; Cruzar la Cara de la Luna, Soraya Center; The Pirates of Penzance, Lyric Opera of Kansas City; Madama Butterfly, La bohème, Austin Opera Upcoming: 2 People, 4 Hands, Cincinnati Playhouse in the Park Turandot, Austin Opera Kate Casalino (New York)

Wig/ Makeup Design Most Recently at Utah Opera, Norma Recently: Cagney, Pioneer Theatre Company; The Magic Flute, Mostly Mozart Festival at Lincoln Center; The Little Prince, Utah Opera Upcoming: Silent Night, Utah Opera; A Streetcar Named Desire, Opera Roanoke

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CHORUS / DANCERS / SUPERNUMERARIES UTAH OPERA CHORUS

Frederick Brind Anadine Burrell Cody Carlson Lauren Cartwright Chad DeMaris Dyson Ford Genevieve Gannon Elijah Hancock Justin Ibarra Rebecca Roberts Keel ShaRee Larsen Nelson LeDuc

Kristen Lenth Julie McBeth April Meservy Rhea Miller Lauryn Moscon Dale C. Nielsen Scott Palmer Ricky Parkinson Daniel Perez Alyssa Powers Lucas Henry Proctor Ruth Rogers

Brian Rowe Jude Ruelas Sue Brown Sohm Mark Sorensen Carolyn Talboys-Klassen Sammie Tollestrup Daniel Tuutau Steve Valenzuela Robyn VanLeigh Ruth Wortley Lennika Wright

MEMBERS OF RIRIE-WOODBURY DANCE COMPANY

Dominica Greene Nicholas Jurica

Megan McCarthy Brian Nelson

Ririe-Woodbury (Rī-rē Woŏdbûr-ē) Dance Company is Utah’s most established institution for contemporary dance. The Company actively embraces and commissions the work of contemporary choreographers, tours worldwide, and develops dynamic education and community outreach programming. Through these performance and educational undertakings, the Company pursues its mission to make dance a viable part of an audience’s experience—whether it be as creators, performers, dance educators, critics, or as patrons. Over the 56 years of its history, Ririe-Woodbury has always advocated the Company motto that “Dance is for Everybody.”

Bashaun Williams Melissa Rochelle Younker

Ririe-Woodbury was founded in 1964

by Joan Woodbury and Shirley Ririe, who were both professors of dance at the University of Utah. Their passions included performance, choreography, and pedagogy. Over the years, the Company has grown from its beginnings as a local entity, into an internationally renowned contemporary dance company, having performed in every state in the United States, as well as on six continents. Under the direction of Executive Director Jena Woodbury, Artistic Director Daniel Charon, and Education Director Ai Fujii Nelson, RirieWoodbury Dance Company is committed to building upon the vision of its founders as it continues to evolve as an important voice for innovation in contemporary dance and dance education.

SUPERNUMERARIES

Dominic Barsi Michael Drebot

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David Lach Steve Moga

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THE STORY OF LA TRAVIATA Act I

After a muted prelude that foreshadows the tragic romance to come, the action opens on a spirited party at the home of Violetta Valéry, a glamorous courtesan and hostess. One of the guests, Alfredo Germont, is younger and less experienced than the other guests; when introduced to Violetta, he reveals that he has loved her from afar for some time. Violetta laughingly deflects his ardor, asking him to lead the party in a drinking song. The guests leave to dance, but Violetta, who has been concealing illness, is too weak to follow.

She finds herself alone with Alfredo, who promises to love and care for her.

But she resists him, insisting that she lives only for pleasure. After he leaves, Violetta reconsiders her situation and Alfredo’s declarations of love.

decision will force her to return to the demimonde. Alfredo returns and she reassures him of her love even as she prepares to leave him. She leaves a note informing him that she is returning to her former patron, Baron Douphol. Germont tries to reassure his son, but Alfredo is incensed. He leaves for Paris vowing revenge.

Violetta’s closest friend, the courtesan Flora Bervoix, is hosting a party where Violetta and her patron, Baron Douphol soon appear. Alfredo is also in attendance, and Douphol challenges him to a card game in which Alfredo’s luck proves as hot as his temper. When Violetta refuses to leave with Alfredo, he reviles her before all the party guests, throwing his winnings at her feet. The Baron challenges him to a duel.

Act II

Act III

Violetta has left Paris and the demimonde; she has been living happily with Alfredo in a modest country villa for three months.

When Alfredo discovers that she has been selling her possessions to finance their household, he leaves for Paris to raise money. Germont, his father, arrives unexpectedly and asks Violetta to renounce Alfredo for the sake of his family’s honor and his sister’s upcoming marriage. Violetta reluctantly agrees, realizing that the

Alfredo’s father has told him of Violetta’s sacrifice and they are on their way to her bedside in Paris, but she is in the final stages of consumptive illness and is not sure she will survive long enough to see them. Alfredo rushes in and they declare their mutual love; he describes a new life he has planned for them away from Paris, but Violetta’s death is clearly imminent. She gives her portrait to him in the hope he will think of her even after he finds someone else. After a final moment of strength, she dies.

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UTAHOPERA.ORG / (801) 533-NOTE

THE MANY FACES OF LA TRAVIATA Deathless Beauty on Stage and Screen

La traviata is the most intimately romantic story Verdi ever set to music. From its very first moments the strings are hushed and breathless, sadly echoing times gone by before giving way to the clamorous party scene that opens Act I. Transporting us from boudoir intimacy to public gaiety, this potent musical vignette introduces us to one of the most romantic couples in literature—lovers we know by many names, and on many stages: Alexandre Dumas the Younger and Marie Duplessis

Before he wrote such classics as The Count of Monte Cristo and The Three Musketeers, the dashing young writer Alexandre Dumas shocked even worldly Parisians with the story of his real-life love affair with the courtesan Marie Duplessis. At first, the play he based on their all-consuming romance was banned from the stage; later it was Verdi’s inspiration for La traviata.

Born to poverty, beautiful and brilliant, Duplessis had liaisons with many of the most important men of her day.

Marguerite and Armand: Margot Fonteyn and Rudolf Nureyev

Choreographer Sir Frederick Ashton created his ballet Marguerite and Armand for Margot Fonteyn and Rudolf Nureyev, confirming the popular conception of Dumas’ romance as that of a young, impetuous lover pursuing an older, wiser woman—even though Duplessis was only 23 when she died. The ballet is set to the B minor piano sonata of composer Franz Liszt, who was one of Duplessis’ patron-lovers.

Camille: Greta Garbo and Robert Taylor

The Hollywood star machine has produced many versions of Camille based on Dumas’ novel The Lady of the Camellias, but the sheer glamor of the 1936 version with Greta Garbo and Robert Taylor has never been surpassed. Garbo’s legendary beauty, icy and enigmatic, projects the sad worldliness of a doomed lover.

UTAHOPERA.ORG / (801) 533-NOTE

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COMPOSER & LIBRETTIST Giuseppe Verdi

(Roncole, 1813; Milan, 1901) Giuseppe Verdi was born into a family of small landowners and taverners.

When he was seven he was helping the local church organist; by twelve he was studying with the organist at the main church in nearby Busseto, and in 1829 he became this organist’s assistant. It was there that he first took lessons on composition.

placing it first in the Operabase list of most performed operas worldwide.

Verdi spent his later years in Milan; rich, authoritarian, but charitable. He was visited often at his home there, and was much revered and honored. He died at the beginning of 1901, and it is said 28,000 people lined the streets for his funeral procession.

Francesco Maria Piave

(Murano, 1810 — Milan, 1867) Verdi’s first success as an opera composer came in 1841 with Nabucco. By 1851, when Rigoletto first saw the stage, Verdi had produced 18 operas. He became the most popular opera composer of his age, and every opera house in Italy sought to produce his works.

Verdi visited Paris from late 1851 through March 1852. In February he attended a performance of Alexander Dumas, Jr.’s La Dame aux Camélias.

Verdi biographer Mary Jane PhillipsMatz reports that as a result of this, “the composer immediately began to compose music for what would later become La traviata”. However, Julian Budden notes that Verdi had probably read the Dumas novel some time before and, after seeing the play and returning to Italy, “he was already setting up an ideal operatic cast for it in his mind,” as shown by his dealings with La Fenice.

On his return to Italy, the composer had immediately set to work on Il trovatore for the January 1853 premiere in Rome, but at the same time seemed to have ideas for the music for La traviata in his head. Since then, La traviata has become the most popular of all Verdi’s operas,

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Piave was an Italian librettist and composer. He abandoned an ecclesiastical carrier, continuing his studies in Rome, where he had moved with his family. In 1842 he became performance director at the La Fenice Theatre in Venice, where from 1848 to 1859 he was named official poet.

In 1842 he also worked with the Scala Theatre in Milan, and was official poet there from 1859 to 1867. He wrote about 60 librettos for various composers: Mercadante, Pacini, Ponchielli and the Ricci brothers for whom he wrote the poetry for Crispino e la comare (1850).

His most important librettos, though, were those he wrote for Verdi, of whom he became an assiduous and devoted collaborator. He did 10 librettos for the Maestro of Busseto: Ernani and I due foscari (1844), Attila (1846), Macbeth (1847), Il corsaro (1848), Stiffelio (1850), Rigoletto (1851), La traviata (1853), Simon Boccanegra (1857) and La forza del destino (1862).

UTAHOPERA.ORG / (801) 533-NOTE

UTAH SYMPHONY Thierry Fischer, Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Associate Conductor

Barlow Bradford Symphony Chorus Director

VIOLIN* Madeline Adkins

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

Kathryn Eberle

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

Ralph Matson†

VIOLA* Brant Bayless

Principal The Sue & Walker Wallace Chair

Elizabeth Beilman

Acting Associate Principal

Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Leslie Richards†† Whittney Thomas CELLO* Rainer Eudeikis† Principal The J. Ryan Selberg Memorial Chair

PICCOLO Caitlyn Valovick Moore

TRUMPET Travis Peterson

OBOE James Hall

Jeff Luke

Principal The Gerald B. & Barbara F. Stringfellow Chair

Robert Stephenson Associate Principal

Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara

Principal

Associate Principal

Peter Margulies# Paul Torrisi TROMBONE Mark Davidson Principal

Sam Elliot

Associate Principal

BASS TROMBONE Graeme Mutchler

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

TIMPANI George Brown

John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah ThomasHollands†† Pegsoon Whang

Erin Svoboda-Scott

PERCUSSION Keith Carrick

BASS* David Yavornitzky

E-FLAT CLARINET Erin Svoboda-Scott

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

Corbin Johnston

BASSOON Lori Wike

Caitlyn Valovick Moore

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

• First Violin •• Second Violin

* String Seating Rotates † On Leave

# Sabbatical †† Substitute Member

Associate Concertmaster

David Porter

Acting Associate Concertmaster

David Park

Assistant Concertmaster

Claude Halter

Principal Second

Wen Yuan Gu

Associate Principal Second

Evgenia Zharzhavskaya Assistant Principal Second

Matthew Johnson Acting Principal

Andrew Larson

Acting Associate Principal

Principal

Associate Principal

James Allyn Benjamin Henderson†† Edward Merritt Jens Tenbroek Thomas Zera HARP Louise Vickerman Principal

FLUTE Mercedes Smith

Principal The Val A. Browning Chair

Lisa Byrnes

Associate Principal

UTAHOPERA.ORG / (801) 533-NOTE

Associate Principal

Lee Livengood BASS CLARINET Lee Livengood

Principal The Edward & Barbara Moreton Chair

Leon Chodos

Principal

Eric Hopkins

Associate Principal

Principal

Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal

LIBRARIANS Clovis Lark Principal

Katie Klich ORCHESTRA PERSONNEL Walt Zeschin

Associate Principal

Director of Orchestra Personnel

Jennifer Rhodes

Andrew Williams

CONTRABASSOON Leon Chodos

Orchestra Personnel Manager

HORN Edmund Rollett Acting Principal

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

George Klopfer & Joy Simeonova Howard & Merele Kosowsky Les Kratter Donald L. & Alice A. Lappe Lisa & James Levy Bill Ligety & Cyndi Sharp Herbert† & Helga Lloyd Ms. Susan Loffler Daniel & Deena Lofgren Mr. & Mrs. Kit Lokey Dennis & Pat Lombardi Jeramy Lopez Tom & Jamie Love Gregg & Karen Lund Milt & Carol† Lynnes David & Donna Lyon Keith & Vicki Maio Jennifer & Gideon Malherbe Jed & Kathryn Marti Daniel & Noemi P. Mattis Dale & Carol Matuska Christopher & Julie McBeth Tom & Janet McDougal

Michael & Julie McFadden Michal & Maureen Mekjian Mr. & Mrs. Richard Mithoff Dr. Louis A. Moench & Deborah Moench Glenn & Dav Mosby Marilyn H. Neilson Stephen & Mary Nichols Thomas & Barbara O’Byrne Ruth & William Ohlsen O. Don & Barbara Ostler Chris Parker Dr. S. Keith & Barbara Petersen Robert Petkun Ray Pickup Victor & Elizabeth Pollak Dr. & Mrs.† Marvin L. Rallison Kenneth Roach & Cindy Powell James & Anna Romano Spitzberg-Rothman Foundation Thomas Safran

David & Lois Salisbury Mark & Loulu Saltzman Margaret P. Sargent Grant H. Schettler James & Janet Schnitz Shirley & Eric Schoenholz William G. Schwartz & Jo Ann Givan Howard & Audrey Seares Dewelynn & J. Ryan† Selberg Stuart & Mary Silloway Mary & Doug Sinclair Tim & Judy Terrell Richard & Janet Thompson Ann & Steven Tyler Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff John & Susan Walker Gerard & Sheila Walsh Wesley Warren & Amber Hawkins-Warren Susan Warshaw Dan & Amy Wilcox Gayle & Sam Youngblood

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

Anonymous (5) Drs. Crystal & Dustin Armstrong Fred & Linda Babcock Susan Benson Roger & Karen Blaylock Mr. & Mrs. William D. Callister Mr. & Mrs. Lee Forrest Carter Larry & Judy Cohen Dorothy B. Cromer Pat & Nancy Forester Thomas Fuller Heidi Gardner Dr. & Mrs. John Greenlee

42

David & SandyLee Griswold** Kenneth & Kate Handley Connie C. Holbrook Mr. & Mrs. Jerry Huffman Caroline & David Hundley James R. Jones & Family Bill & Sharon Macey Clifton & Terri McIntosh Cheri Measom George & Nancy Melling Dan & Janet Myers Dr. & Mrs. Richard T. O’Brien Lee K. Osborne Robert† & Catherine Pedersen

Jayne Roth Gibbs† & Catherine W. Smith Neylan McBaine & Elliot Smith Christine St. Andre & Cliff Hardesty Douglas & Susan Terry Robert R. & Sue A. Webb Charles & Ellen Wells Jeremy & Hila Wenokur Marsha & Richard Workman Carol Zimmerman Greg Grimshaw

UTAHOPERA.ORG / (801) 533-NOTE

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

Anonymous (3) Christine A. Allred Dr. & Mrs. Jeffrey L. Anderson Ian Arnold David & Rebecca Bateman E. Wayne† & Barbara Baumgardner Jennie & Charlie Beckham Victoria Bennion C. Kim & Jane Blair Michael Blum & Abigail Rose Diane Banks Bromberg & Dr. Mark Bromberg Janice Burk Lindsay & Carla Carlisle Dana Carroll & Jeannine Marlowe Carroll Michael & Beth Chardack William J. Coles & Joan L. Coles Dr. & Mrs. David Coppin James Dashner Larry Dickerson James & Rula Dickson Kathleen & Frank Dougherty Alice Edvalson Eric & Shellie Eide Eva Carlston Academy Robert S. Felt, M.D. James & Barbara T. Gaddis Quinn & Julie Gardner Bob & Mary Gilchrist Ralph & Rose Gochnour

UTAHOPERA.ORG / (801) 533-NOTE

Mr. & Mrs. Richard R. Graham Sue & Gary Grant John & Ilauna Gurr Geraldine Hanni Robert & Marcia Harris Jonathan Hart Courtney Henley Camille Huchton Scott Huntsman Eldon Jenkins & Amy Calara Chester & Marilyn Johnson Jill Johnson Rick & Paulette Katzenbach Umur Kavlakoglu Robert & Karla Knox Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Mr. & Mrs. Bruce M. Lake Guttorm & Claudia Landro Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Thomas & Mary McCarthey Lex Hemphill & Nancy Melich Dr. Nicole L. Mihalopoulos & Joshua Scoville Hal & JeNeal Miller Dr. Jean H. & Dr. Richard R. Miller Henriette Mohebbizadeh Barry & Kathy Mower Sir David Murrell IV & Mary Beckerle Oren & Liz Nelson

Timothy & Lisa O’Brien Joseph J.† & Dorothy Moyle Palmer Linda S. Pembroke Rori & Nancy Piggott Thomas B. Pilger Renee & Russell Plumb W.E. & Harriet R. Rasmussen Dr. Barbara S. Reid Dr. Richard & Frances Reiser Gina Rieke Janet Schaap Sandefur Schmidt Mr. August L. Schultz Bianca Shepard Dennis & Annabelle Shrieve Barbara Slaymaker Mr. & Mrs. Isaac Stein Dr. & Mrs. Michael H. Stevens Richard & Karen Urankar David H. & Barbara S. Viskochil Gerald & Sheila Walsh Brad E. & Linda P. Walton Dr. James C. Warenski Renee Waters Scott & Mary Wieler Cindy Williams Margaret & Gary Wirth David B. & Anne Wirthlin Doug & Becky Wood

43

THANK YOU DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT

Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being & stability of USUO, & through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9015.

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

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

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

GIFTS MADE IN HONOR Neill & Linda Brownstein Barbara Scowcroft & Ralph Matson Mrs. Barbara Nellestein

Joanne & Bill Shiebler Grant Gill Smith Dale Strobel

Matthew & Maria Proser Whittney Thomas J. Brian Whitesides

GIFTS MADE IN MEMORY

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

44

Crawford Gates Lowell P. Hicks Dr. Gary B. Kitching M.D. Harry Lakin Warren K. (Sandy) McOmber Dr. Richard George Middleton Jack Newton

Glade & Mardean Peterson Clyde Dennis Meadows Shirley Corbett Russell J. Ryan Selberg Frank & Maxine McIntyre Ann O’Neill Shigeoka, M.D. Phillis “Philly” Sims Maxine Winn

UTAHOPERA.ORG / (801) 533-NOTE

INSTITUTIONAL SUPPORT We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from August 2, 2018 to August 28, 2019. * in-kind donation

** in-kind & cash donation

$100,000 OR MORE

Anonymous The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation Dominion Energy Emma Eccles Jones Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation

The Florence J. Gillmor Foundation Hearst Foundation Larry H. & Gail Miller Family Foundation O.C. Tanner John and Marcia Price Family Foundation Salt Lake County Salt Lake County Zoo, Arts, and Parks The Shiebler Family Foundation

Sorenson Legacy Foundation Summit County Restaurant Tax/RAP Tax Utah Division of Arts & Museums / National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank

$50,000 TO $99,999

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

Janet Q. Lawson Foundation The Kahlert Foundation League of American Orchestras’ Futures Fund

Perkins-Prothro Foundation Utah Symphony Guild

$25,000 TO $49,999

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

UTAHOPERA.ORG / (801) 533-NOTE

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

Simmons Family Foundation Stein Eriksen Lodge** STRUCK* Summit Sotheby’s Norman C.† & Barbara L. Tanner Second Charitable Trust Nora Eccles Treadwell Foundation Vivint.SmartHome

45

INSTITUTIONAL DONORS $10,000 TO $24,999

Anonymous Adobe HJ & BR Barlow Foundation B.W. Bastian Foundation Big D Construction R. Harold Burton Foundation Caffè Molise* Marie Eccles Caine Foundation-Russell Family Cultural Vision Fund Daynes Music Company* Discover Financial Services Matthew B. Ellis Foundation

The Joseph & Evelyn Rosenblatt Charitable Fund Every Blooming Thing* Goldman Sachs & Co. LLC Grandeur Peak Global Advisors Richard K. & Shirley S. Hemingway Foundation The John C. Kish Foundation Johnson Foundation of the Rockies Park City Chamber/ Visitors Bureau

Promontory Foundation S.J. & Jessie E. Quinney Foundation Regence Blue Cross Blue Shield of Utah St. Regis / Deer Crest Club** University of Utah Health WCF Mutual Insurance Company W. Mack & Julie S. Watkins Foundation Wells Fargo The Christian V. & Lisa D. Young Family Foundation

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INSTITUTIONAL DONORS $5,000 TO $9,999

Anonymous The Aaron Copland Fund for Music, Inc. Deluxe Corporation Foundation The Dorsey & Whitney Foundation George Restaurant* The Val A. Green & Edith D. Green Foundation

Holland & Hart Hyatt Centric Park City** J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Martine* Onstage Ogden Orem City CARE Tax Rancho Markets

Raymond James & Associates Rocky Mountain Power Foundation Ruth’s Chris Steak House* Salt Lake City Arts Council Stay Park City* U.S. Bank Foundation Union Pacific Foundation Utah Autism Foundation

Henry W. & Leslie M. Eskuche Charitable Foundation Homewood Suites* Inwest Title Services, Inc. M Lazy M Foundation Marriott City Center*

Moka Morris Murdock Travel Residence Inn by Marriott Salt Lake City Downtown* Snell & Wilmer Squatters Pub* Zurchers

Millcreek Coffee Roasters* Prime Steakhouse Ray, Quinney & Nebeker Foundation Glenna & Lawrence Shapiro Family Foundation

The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation Snow, Christensen & Martineau Foundation

$2,500 TO $4,999

Bambara* Bertin Family Foundation Robert S. Carter Foundation CBRE Ditta Caffè*

$1,500 TO $2,499

Castle Foundation City Creek Center Corning Incorporated Foundation Constellation Brands The Helper Project

$1,000 TO $1,499

Anonymous The Fanwood Foundation Western Office

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Nebeker Family Foundation Strong & Hanni, PC Swire Coca-Cola, USA*

51

CRESCENDO & TANNER SOCIETIES

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

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

Please contact Leslie Peterson at lpeterson@usuo.org or 801869-9012 for more information, or visit our website at usuo.giftplans.org.

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

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

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

TANNER SOCIETY OF UTAH SYMPHONY

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

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

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

Dianne May Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn Dan & June Ragan

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

Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Virginia A. Hughes Turid V. Lipman Herbert C. & Wilma Livsey

†Deceased

52

UTAHOPERA.ORG / (801) 533-NOTE

ADMINISTRATION ADMINISTRATION Paul Meecham

SYMPHONY ARTISTIC Thierry Fischer

David Green

Anthony Tolokan

Vice President of Marketing & Public Relations

Conner Gray Covington

Director of Communications & Digital Media

Barlow Bradford

Digital Content Producer

Walt Zeschin

Website Content Coordinator

Andrew Williams

PATRON SERVICES Faith Myers

President & CEO

Senior Vice President & COO

Symphony Music Director

Julie McBeth

Vice President of Symphony Artistic Planning

Collette Cook

Associate Conductor

Executive Assistant to the CEO Executive Assistant to the Sr. VP and COO & Office Manager

OPERA ARTISTIC Christopher McBeth Opera Artistic Director

Carol Anderson Principal Coach

Symphony Chorus Director Director of Orchestra Personnel Orchestra Personnel Manager

Lance Jensen

Michelle Peterson

Executive Assistant to the Music Director Symphony Chorus Manager

Michaella Calzaretta

SYMPHONY OPERATIONS Cassandra Dozet

Opera Company Manager Opera Chorus Master

Brooke Yadon

Opera Production Coordinator

OPERA TECHNICAL Jared Porter

Senior Technical Director

Travis Stevens

Assistant Technical Director/ Production Carpenter

Kelly Nickle

Properties Master

Dusty Terrell

Scenic Charge Artist

COSTUMES Verona Green

Costume Director

Jessica Cetrone

Costume Rentals Supervisor

LisaAnn DeLapp Kierstin Gibbs Rentals Assistants

Amanda Reiser Meyer Wardrobe Supervisor

Milivoj Poletan Tailor

Tiffany Lent

Cutter/Draper

Donna Thomas

Milliner & Craftsperson

Lindsey Lopez Alyssa Lund Sally McEntire Nyssa Startup Louise Vanderhooft Connie Warner

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

Kate Henry

Operations Manager

Lyndsay Keith

Artist Logistics Coordinator

Robyne Anderson

2nd Assistant Stage Manager

DEVELOPMENT Leslie Peterson

Vice President of Development

Jessica Proctor

Director of Institutional Giving

Olivia Custodio

Director of Individual Giving

Heather Weinstock

Wigs/Make-up Crew

54

RenĂŠe Huang

Kathleen Sykes Nina Starling

Director of Patron Engagement

Merry Magee

Marketing Manager - Patron Loyalty

Mara Lefler

Sales Manager

Andrew J. Wilson

Patron Services Manager

Hallie Wilmes

Patron Services Assistant

Genevieve Gannon

Group Sales Associate

Sarah Pehrson Jackie Seethaler Powell Smith Sales Associates

Nicholas Barker Gavin Benedict Lorraine Fry Jodie Gressman Ellen Lewis Ananda Spike Ticket Agents

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Karyn Cunliffe

Director of Special Events & DVMF Donor Relations

Controller

Lisa Poppleton

Payroll & Benefits Manager

Nikki Orlando

Patron Information Systems Manager

Ali Snow

Accounts Payable Accountant

Ellesse Hargreaves

EDUCATION Paula Fowler

Grants Manager

Development Operations Manager Annual Fund Coordinator Development Assistant

Stitchers

Hope Bird Bryn Campbell Claire Jones Juliette Lewis

MARKETING & COMMUNICATIONS Jon Miles

Alison Mockli

Jared Mollenkopf Bobbie Williams

Director of Education & Community Outreach

Kyleene Johnson

Symphony Education Manager 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.

Becca Gee

Opera Education Assistant

Annie Farnbach

Symphony Education Assistant

UTAHOPERA.ORG / (801) 533-NOTE

HOUSE RULES ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Abravanel Hall. Ask at the Coat Check for details.

WHEELCHAIR SEATING Ample wheelchair seating is available. Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager.

LATECOMERS In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating

will be used. During some productions late seating may not occur until an intermission after which time you may be seated by an usher in an alternate section.

When traveling to performances, please allow ample time for traffic delays, road construction, and parking.

COPYRIGHT ADHERENCE In compliance with copyright laws, it is strictly prohibited to take any photographs or any audio or video recordings of the performance.

EMERGENCY INFORMATION In the event of an emergency, please remain seated and wait for instructions. Emergency exits are located on both sides of the house.

Please identify the exit closest to your location.

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

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

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

INTRODUCING THE 2019–20 UTAH OPERA RESIDENT ARTISTS:

tenor

ADDISON MARLOR

soprano

GRACE KAHL

bass-baritone

BRANDON BELL

mezzo-soprano

QUINN MIDDLEMAN

New Resident Artists Brandon, Quinn and Taylor join returning artists Grace and Addison for Utah Opera’s 2019–20 season.

pianist

TAYLOR BURKHARDT Nearly every day of the school year, Utah Opera’s Resident Artists

perform age-appropriate programs designed to introduce students to the art form of opera. They perform in scores of schools in the metropolitan area, and this year will tour Uintah, South Sanpete, Emery, Washington, Iron and Beaver School Districts.

MORE INFORMATION ABOUT THE RESIDENT ARTISTS AND UTAH OPERA EDUCATION PROGRAMS CAN BE FOUND AT UTAHOPERA.ORG

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

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

Tanner, llc LEGAL REPRESENTATION PROVIDED BY

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

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

Love Communications, Salt Lake City

ADVERTISING CREATIVE & BRANDING SERVICES PROVIDED BY

Struck, Salt Lake City / Portland

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

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

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

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