As we come to the end of our 75th Anniversary Season, we’re reflecting on a year of extraordinary music, storytelling, and shared experiences. From the heartfelt harmonies of performances like The Brother Brothers to the timeless grandeur of Mozart’s Requiem, these final performances of the season reflect what we stand for—resonant and relevant performances that foster an engaged community.
Thanks for celebrating this milestone with us. Over the past 75 years, Onstage Ogden has grown from a single concert at Ogden High School to presenting world-class performances, all while staying true to our mission of elevating and connecting the community through the performing arts. That mission is made possible thanks to you—our audience, donors, and supporters.
While this season is drawing to a close, another is about to begin, as we have already started announcing our 2025/2026 season—our biggest season yet. It features more shows than ever before and an expanded slate of summer concerts at the Ogden Amphitheater. Whether you’ve been with us for decades or are just discovering us for the first time, we invite you to be part of what’s next.
We also extend our deepest gratitude to our 75th Anniversary Celebration Circle and to those who have joined the Beverly Lund & Ginny Matthei Legacy Circle. Your generosity ensures that Onstage Ogden’s legacy will continue for future generations, bringing the joy of live performance to Northern Utah for years to come.
Thanks again for celebrating this incredible milestone with us. We look forward to welcoming you back next season for more unforgettable performances!
James Fredrick
Executive Director,
Onstage Ogden
BOARD & STAFF
2024/2025 ONSTAGE OGDEN BOARD OF DIRECTORS
Jean Vaniman
President
Christina Myers President-Elect
Danielle Bendinelli Vice President
Joyce Stillwell
Secretary
Jennifer Webb Treasurer
* New Board Members starting in FY25*
FOUNDATION
Russel King Chair
Meg Naisbitt Vice Chair
Marti M. Clayson Secretary
STAFF
James Fredrick Executive Director
Andrew Barrett Watson Outreach & Events Manager
Sarah Lorna Bailey Development Coordinator
Kate Holbrook Clark
Cirilo Franco
Pam Higginson*
Russel King
Rosemary Lesser
Flor Lopez*
Wendy Roberts
Deborah Uman
Dotty Steimke Treasurer
Dr. Robert Fudge
Michael S. Malmborg
Dr. Judith Mitchell
Carolyn N. Rasmussen
Sherm Smith
Nikki Thon
Camille Washington Marketing & Box Office Manager
Avery Franklin Audience Engagement & Administrative Coordinator
Mills Publishing, Inc.
Dan Miller, President; Cynthia Bell Snow, Office Administrator; Jackie Medina, Art Director; Ken Magleby, Graphic Design; Patrick Witmer, Graphic Design/Web Developer; Paula Bell, Dan Miller Advertising Representatives
Onstage Ogden is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106 Phone: 801.467.8833 Email: advertising@millspub.com Website: millspub.com Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. Copyright 2024.
2024–25 SEASON
MICHAEL CLEVELAND & FLAMEKEEPER
Sunday, July 28, 2024 at 8PM
BIG BAD VOODOO DADDY
Wednesday, July 31, 2024 at 8PM CIRQUE CINEMA: TROUPE VERTIGO
Thursday, September 19, 2024 at 7:30PM
BYU WORLD OF DANCE
Saturday, September 21, 2024 at 2PM and 7:30PM
SAMMY MILLER & THE CONGREGATION
Friday, October 4, 2024 at 7:30PM ROYAL WOOD
Thursday, October 10, 2024 at 7:30PM
ONSTAGE OGDEN’S 75TH ANNIVERSARY CONCERT AN AMERICAN IN PARIS
Thursday, October 24, 2024 at 7:30PM
NOSFERATU LIVE-TO-FILM WITH CAMERON CARPENTER
Wednesday, October 30, 2024 at 7:30PM
NATIONAL GEOGRAPHIC LIVE: WILD WOLVES OF YELLOWSTONE
Friday, November 1, 2024 at 7:30PM
COCO LIVE-TO-FILM
Wednesday, November 6, 2024 at 7:30PM
BALLET WEST’S THE NUTCRACKER
Friday, November 29, 2024 at 2PM & 7PM
Saturday, November 30, 2024 at 2PM & 7PM
Sunday, December 1, 2024 at 12PM
CHOIR!CHOIR!CHOIR!
Tuesday, December 3, 2024 at 7:30PM
CAMPANA SOBRE CAMPANA: CHRISTMAS IN MEXICO
Friday, December 6, 2024 at 7:30PM
HOLIDAY POPS EXTRAVAGANZA
Thursday, December 19, 2024 at 7:30PM
TRINITY IRISH DANCE: JIG
Wednesday, January 22, 2025 at 7:30PM
ONE-MAN STAR WARS TRILOGY
Friday, January 31, 2025 at 7:30PM
MAEVE GILCHRIST
Wednesday, February 12, 2025 at 7:30PM
BRAVO BROADWAY!
Thursday, February 13, 2025 7:30PM
BALLET FOLKLÓRICO DE MÉXICO
Monday, February 17, 2025 at 7:30PM
INTERNATIONAL GUITAR NIGHT
Wednesday, March 5, 2025 at 7:30PM
HOLST’S THE PLANETS: AN HD ODYSSEY
Thursday, March 27, 2025 at 7:30PM
LIVE FROM LAUREL CANYON
Wednesday, April 9, 2025 at 7:30PM
THE BROTHER BROTHERS
Thursday, April 17, 2025 at 7:30PM
MOZART’S REQUIEM
Thursday, April 17, 2025 at 7:30PM
TURTLE ISLAND STRING QUARTET
Thursday, May 8, 2025 at 7:30PM Val A. Browning Charitable Foundation
The Onstage Ogden’s 2024–2025 season is funded in part by grants from the National Endowment for the Arts, the Utah Division of Arts and Museums, Weber County Recreation, Arts, Museums, Stewart Education Foundation, and Parks (RAMP) program, and Val A. Browning Charitable Foundation.
ONSTAGE OGDEN
75 Years of Elevating and Connecting the Community Through Performing Arts
Special thanks to the Board of Directors’ 75th Anniversary Subcommittee for researching and compiling all the archival materials on view: Danielle Bendinelli, Christina Myers, Wendy Roberts, Joyce Stillwell, Jean Vaniman, and Jennifer Webb.
Unmatched Academic Results
Come tour a campus and see for yourself!
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Farmington (PS–G7) (801) 451-6565 1089 Shepard Creek Parkway
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Salt Lake (PS–G8) (801) 487-4402
1325 South Main Street
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West Jordan (PS–G1) (801) 565-1058 2247 West 8660 South
ONSTAGE OGDEN
WEDNESDAY, APRIL 9, 2025 AT 7:30PM
PEERY’S EGYPTIAN THEATER
THE PLAYERS
Brian Chartrand (vocalist/acoustic guitarist/ creator of Live from Laurel Canyon)
Holly Pyle (vocalist)
David Freeman (vocalist)
Todd Chuba (drums)
Lamar Gaines (keys)
Adam Armijo (electric guitar)
Will Gaines (bass)
SELECTIONS TO BE ANNOUNCED FROM STAGE
SEASON SPONSOR
ARTISTS’ PROFILES
THE
STORY | The Birth of a Rock & Roll Neighborhood
Laurel Canyon is located in the Hollywood Hills of Los Angeles, CA. Laurel Canyon Boulevard connects northern LA suburbs in the San Fernando Valley to artsy West Hollywood and the now infamous Sunset Strip. The Canyon housed artists as early as the beginning of the 20th century as major motion-picture companies set up production around Los Angeles. The Canyon became a sort of de facto artist community as the entertainment and night life industry grew. Musicians especially enjoyed the rural feel and seclusion the canyon provided but also its proximity to the night life on Sunset Boulevard and beyond. Fast forward to 1965, when our story starts…
Based on the success of California Dreamin’ The Mamas & The Papas all took up residence in the Canyon in 1965 which almost started a movement of artists, both aspiring and successful, to be a part of this community. Follow the twists and turns of the side roads off of Laurel Canyon Boulevard between 1965 and 1975 and you’d find some of the musicians who redefined American popular music and inspired the “LA sound” of the early 70s; artists like the Byrds, Buffalo Springfield, the Doors, Crosby, Stills, and Nash, Neil Young, James Taylor, Joni Mitchell, Carole King, Jackson Browne, Linda Ronstadt, America, and the Eagles.
“Live From Laurel Canyon ~ Songs & Stories of American Folk Rock” is a 90-minute journey through a very special time in American popular music. A time when an entire generation of youth felt abandoned by their own culture and were searching for a sound that helped define them; a sound that shared the protest and awareness of folk music and the attitude and look of rock music. Join us as we follow these legendary artists and share stories on how they ended up in the Canyon and how this neighborhood of like-minded artists influenced the music that was created.
The show features some the finest singers and most well versed musicians in the country. Singers and musicians whose take on these classic songs draw from the musical history of Laurel Canyon and its vast influence.
Much more than a ‘tribute’ act, Live from Laurel Canyon not only performs the music you love, but shares with you the stories that inspired them. Live from Laurel Canyon is a journey through a special time in American pop music.
THE SHOW | California Dreamin’ to Hotel California. Songs & Stories.
ARTISTS’ PROFILES
THE PLAYERS | Founders and featured artists
Brian Chartrand (vocalist/acoustic guitarist/creator of Live from Laurel Canyon) grew up in rural Massachusetts and made his way to Phoenix in 2003. Brian’s main focus is Live from Laurel Canyon and his original music with his bands The Sweet Remains and The Project. A longtime fan of 60s and 70s music and a rock and roll history fanatic, Brian came up with the idea for Live from Laurel Canyon while working as an entertainer on a luxury cruise ship in the Summer of 2012. Since it’s inception, the show tours all over the country and in Europe.
Holly Pyle (vocalist) was voted best vocalist of 2019 by Phoenix New Times. Holly channels her “liquid-like voice” and intense presence into a variety of local and traveling music projects, most frequently as the front-woman of progressive soul outfit House of Stairs. Holly completed studies in jazz, opera and psychology at Northern Arizona University in 2010, and since then has given nearly 1500 performances, released 3 albums and gives lectures about loop station technology and arranging.
David Freeman (vocalist) grew up in a musical family and started singing at a young age. He went to college at Missouri State University where he majored in vocal performance. He currently resides in Phoenix, AZ with his family and is involved in a plethora of musical endeavors but says what he enjoys most about his life today is getting to be with and bring his kids to school everyday, date nights with his wife, Ashlee, and taking their German Shepherd (Jack the Dog) on walks at night.
Todd Chuba (drums) is originally from rural Michigan but moved to Arizona to study music at ASU. He has been a professional drummer and percussionist, specializing in a variety of musical genres and styles, for over 35 years.
Lamar Gaines (keys) is originally from Cleveland, Ohio. He grew up immersed in music that turned into a life long passion. Apart from playing music professionally, he runs his own production company with his brother called Jeemusic.
Adam Armijo (electric guitar) is an in-demand session musician currently residing in the Phoenix area. Growing up in an art and music loving home, Adam took to guitar very early and began playing professionally at the age of 16. Adam is known for his unique approach, musicality and the ability to play many genres authentically. He has recorded and toured with a wide variety of Grammy™ award winners and Billboard™ chart toppers. Recently, Fender & Gretsch Guitars have featured Adam on dozens of youtube product demos which have been extremely successful and have racked up over 3 million views.
Will Gaines (bass) was born the son of a jazz musician in Cleveland. He now resides in Denver where he works as an independent musician, singer/songwriter, producer, film scorer and international touring artist. More recently he started a music production company with his brother releasing 3 albums under the moniker Gaines Brothers. He is currently working on his fourth album
THE BROTHER BROTHERS
THURSDAY, APRIL 17, 2025 AT 7:30PM THE MONARCH
SELECTIONS TO BE ANNOUNCED FROM STAGE SEASON
ARTISTS’ PROFILES
The Brother Brothers are the indie folk duo of Adam and David Moss. The identical twins were born and raised in Peoria, Illinois and originally based in Brooklyn, but have been ultimately and profoundly shaped by a life surrounded by travel and the web of community worldwide. They are the kind of people who have a story about everything, and moreso, one you might genuinely like to hear.
American Songwriter magazine once said, “no matter what musical context Adam and David Moss may come to put themselves in, what the duo want to say through music will always come to show the beauty that exists—even in the deepest cracks—of human living.” Proclaims No Depression, “the warm harmonies and silky melodies of identical twins David and Adam Moss
evoke the kind of ’60s-era folk tunes that reverberated through dark, wood-paneled bars in the Village… If these brothers aren’t among the Americana Music Association’s nominees for Emerging Artist or DuoGroup, I want a recount.”
The Brother Brothers’ luminous touring career spans international headlining, support runs with the likes of Keb Mo, I’m With Her, Big Thief, Lake Street Dive, and Shakey Graves, as well as key plays at NPR’s Mountain Stage, FreshGrass Festival, Folk Alliance, Woodford Folk, Nelsonville Music Festival, and Edmonton Folk among others.
Visit thebrotherbrothersmusic.com for more information.
UTAH SYMPHONY
MOZART’S REQUIEM
THURSDAY, APRIL 17, 2025 AT 7:30 PM
BROWNING CENTER AT WSU
CHRISTOPHER ALLEN, conductor
DEANNA BREIWICK, soprano
CECELIA HALL, mezzo-soprano
MATTHEW NEWHOUSE, tenor
LEVI HERNANDEZ, baritone
UTAH SYMPHONY CHORUS | AUSTIN MCWILLIAMS, director
UTAH SYMPHONY
Overture to The Magic Flute (7’)
Symphony No. 25 in G minor (24’)
I. Allegro con brio
II. Andante
III. Menuetto
IV. Allegro
INTERMISSION
Requiem - completed by Robert Levin (47’)
I. Introitus
Requiem aeternam
Kyrie
II. Sequentia
Dies irae
Tuba mirum
Rex tremendae
Recordare
Confutatis
Lacrimosa - Amen
III. Offertorium
Domine Jesu
Hostias
IV. Sanctus
Sanctus
Benedictus
V. Agnus Dei
Agnus Dei
VI. Communio
Lux aeterna
Cum sanctis tuis
CONCERT SPONSOR
Val A. Browning
Charitable Foundation
CONCERT SPONSOR
Dr. Val Johnson
The Franzen Family
ARTISTS’ PROFILES
CHRISTOPHER ALLEN
Conductor
Recipient of The Sir Georg Solti Conducting Award, Christopher Allen is featured in Opera News as “one of the fastest-rising podium stars in North America.” He has led acclaimed operatic and symphonic performances with the Atlanta Symphony Orchestra, Cincinnati Symphony Orchestra, National Symphony Orchestra, Kansas City Symphony, Oregon Symphony, Virginia Symphony, North Carolina Symphony, Orquestra Sinfônica do Estado de São Paulo, George Enescu Philharmonic, West Los Angeles Symphony, Cincinnati Opera, Los Angeles Opera, Opera Philadelphia, Opera Omaha, Opéra de Montréal, English National Opera, Lyric Opera of Chicago, Opera Theatre of Saint Louis, Lyric Opera of Kansas City, Washington National Opera, Detroit Opera, North Carolina Opera, Florida Grand Opera, Atlanta Opera, Des Moines Metro Opera, Daegu Opera House in South Korea, Korean Symphony Orchestra, and China National Opera Orchestra and Chorus.
DEANNA BREIWICK
Soprano
In the 23/24 season, Ms. Breiwick returned to The Dallas Opera for the world premiere of Gene Scheer and Jody Talbot’s The Diving Bell and the Butterfly, singing the role of Claude. In concert, she performed Lisette in La rondine with Washington Concert Opera, Messiah with the Oregon Symphony, Vaughan-Williams’ Dona Nobis Pacem with the Venice and Owensboro Symphonies, and held a residency with the Moab Music Festival. In recital, she will return to the Laguna Art Museum to present a solo recital.
CECELIA HALL Mezzo-soprano
Hailed by the Financial Times for her “easy flexibility, arresting poise and enveloping warmth,” mezzo-soprano Cecelia Hall is a member of Oper Frankfurt’s prestigious ensemble and appears regularly as a guest artist on many of the world’s finest stages. For her recent debut as Carmen at Austin Opera, Cat McCarrey of the Austin Chronicle wrote “Hall’s sultry mezzo conveyed strength with a current of madness in each fluidly sensual move.”
American soprano Deanna Breiwick, hailed by The New York Times for her “sweet sound and floating high notes” and for being a “vocal trapeze artist,” is enjoying an exciting and diverse career. In the 24/25 season, Deanna Breiwick will sing Lisette in La rondine at Opéra de Monte Carlo, Adele in Die Fledermaus at Opera Theatre of St. Louis, and join the Utah Symphony for Mozart’s Requiem, the Allentown Symphony for Vaughan-Williams’ Dona Nobis Pacem, as well as present recitals under the auspices of The Florentine Opera and the Pacific Vocal Series in Laguna Beach, CA.
Highlights of Hall’s 2024-25 season include Der Komponist in Strauss’ Ariadne auf Naxos at Seville’s Teatro de la Maestranza conducted by Guillermo García Calvo and directed by Joan Antón Rechi, and four new productions at Oper Frankfurt: Henze’s Der Prinz von Homburg conducted by Takeshi Moriuchi and directed by Jens-Daniel Herzog, Berg’s Lulu conducted by Thomas Guggeis and directed by Nadja Loschky, Magnard’s Guercoeur conducted by Marie Jacquot and directed by David Hermann, and Reimann’s Melusine conducted by Karsten Januschke and directed by Aileen Schneider. In concert, she sings Mozart’s Requiem with Utah Symphony conducted by Christopher Allen, and Mendelssohn’s Lobgesang at the Alte Oper Frankfurt conducted by Thomas Guggeis.
ARTISTS’ PROFILES
MATTHEW NEWHOUSE Tenor
Tenor Matthew Newhouse is a powerful storyteller in concert and historical performance. He has performed across North America, the United Kingdom, and Germany with esteemed conductors Masaaki Suzuki, Grete Pedersen, Nic McGegan, David Hill, and Christopher Allen. Alongside his well-anticipated Utah Symphony debut, Newhouse debuted with the Tucson Symphony Orchestra in Handel’s Messiah Recent soloist highlights include Evangelist in Schütz’s Weihnachtshistorie with Harmonia Stellarum, Monteverdi’s Vespers of 1610 with Bach Akademie Charlotte, Evangelist in J.S. Bach’s Weihnnachtsoratorium with Yale Schola Cantorum, and Mendelssohn’s Lobgesang at the Norfolk Chamber Music Festival.
Most recently he joined El Paso Opera for their Mozart by Moonlight concert, Opera San Antonio as the Father in Hansel and Gretel, appeared as Dandini in La Cenerentola with Boston Lyric Opera, performed Tonio in Pagliacci with Hawaii Opera Theatre, returned to opera Omaha as Diego Rivera in El último sueño de Frida y Diego, and appeared with the Virginia and Oregon Symphonies in Handel’s Messiah.
AUSTIN MCWILLIAMS
Chorus Director
An equally skilled ensemble singer, Newhouse is a core member of Fourth Wall Ensemble and The Leonids. Additional professional collaborations include TENET Vocal Artists, Apollo’s Fire, Clarion Music Society, and more. Newhouse champions Icelandic vocal repertoire and strives for its inclusion in the classical canon. He holds a Master of Music degree in Early Music Voice from Yale University.
LEVI HERNANDEZ Baritone
With a velvety tone and a stage presence which exudes confidence and charm, Levi Hernandez has made a name for himself in a wide variety of baritone repertoire. Opera News has praised him for his “voice with natural power,” and “warm, inviting baritone.” The El Paso native has joined the rosters of leading opera companies including the Metropolitan Opera, San Francisco Opera, and Houston Grand Opera where he débuted as Sharpless in Madama Butterfly
Austin McWilliams is a conductor and countertenor who specializes in contemporary vocal music. He strives to present compelling, intriguing art that is directly relevant to the communities in which it is performed. He began his tenure as Chorus Director & Opera Assistant Conductor at Utah Symphony | Utah Opera with the 2024/25 season.
Previously Austin was Associate Conductor and Chorus Master at Opera Grand Rapids, Head of Music at West Michigan Opera Project, and Co-Artistic Director at Ad Astra Music Festival. In Grand Rapids he was the choir director at his beloved Fountain Street Church, a nondenominational, non-creedal institution that serves as a venue for heterodox speakers and ideologies. Content in both the rehearsal hall and classroom, Austin has served as the Director of Choral Activities at Aquinas College and as adjunct faculty and opera conductor at Western Michigan University, where he studied with Kimberly Dunn Adams. He is also a faculty member at Missouri Scholars Academy, a governor’s school for gifted high school juniors in his native state.
UTAH SYMPHONY CHORUS
SOPRANO
Zoe Allen
Jenny Andrus
Rebekah Barton Stockton
Abigail Bendixsen
Julia Bigelow
Caitlyn Bramble
Erin Bramscher
Christina Brandt
Isabella Carlton
Lauren Cartwright Bohannan
A. Elizabeth Davis
Alexis Dazley
Cydnee Barnum Farmer
Julie Fleming
Kaylynne Fox
Olivia Fryer
Emelia Hartford
Kaily Jacobs
Macy Kelson
Rachel Kibler
Jeanne Lancaster
Audrey Meservy
Abby Payne-Peterson
Claire Phillips
Erin Rubin
Natalie Sandberg
Michaela Shelton
Cherry Lynn Stewart
Margaret Straw
Carolyn Talboys-Klassen
Shichun Wang
Cassie Weintz
Lindsay Whitney
ALTO
Maya Allred
Christine Anderson
MJ Ashton
Naomi Bawden
Sara Bayler
Caite Beck
Joan Jensen Bowles
Katherine Filipescu
Kate Fitzgerald
Carrie Froyd
Kyra Furman
Gabriella Gonzales
Erika Gray
Jennifer Hancock
Annette Jarvis
Catherine Jeppsen
Angela Keeton
Samantha Lange
Sylvia Miera-Fisk
Camila Ogden-Castro
Kate Olsen
Brittany Rogers
Anastasia Romanovskaya
Jenica Sedgwick
Sue Sohm
Matthew Tang
Jennifer Taylor
Maizie Toland
Sammie Tollestrup
Valerie Wadsworth
Ruth Wortley
TENOR
Stephen Anderson
Drake Bennion
Geordie Burdick
Dyson Ford
Orion Gray
Brynnen Green
Samuel Hancock
Timothy Hanna
Hayden Höglund
Matthew Koster
Camden Lawrence
Isaac Lee
Jeanne Leigh-Goldstein
David McMurray
David Mitchell
Lehi Moran
Dale C. Nielsen
John Pearce
Elijah Powell
Jesse Skeen
John P. Snow
Scott Tarbet
Carl Wadsworth
John Woeste
Edgar Zuniga
BASS
Bruce Boyes
Colton Butler
Richard Butler
Kevin DeFord
Paul Dixon
Jim Hardwick
Michael Hurst
Stephen Jackson
Seth Jensen
Thomas Klassen
Andrew Luker
Tom McFarland
Steven McGregor
Michael Moyes
Vincent Nguyen
Ryan Oldroyd
Richard Olsen
Chris Patch
Say-Eow Quah
Bryce Robinson
Jude Ruelas
Jaxson Skeen
Carson Smith
Philip Snow
HISTORY OF THE MUSIC — REQUIEM
By Jeff Counts
Overture to Die Zauberflöte, K. 620 (
The Magic Flute)
Duration: 7 minutes.
THE COMPOSER – WOLFGANG AMADEUS
MOZART (1756-1791) – Mozart was working simultaneously on the Requiem, the clarinet concerto, his final string quartet and two operas during the incredibly prolific year of 1791, his last on Earth. The drama of these final creations was matched only by that of his actual life and the ill health and mysterious visits of 1791 leant an air of urgency to everything Mozart produced. It was a furious dash to the finish, the finish
of an existence cut far too short after 35 brief years. Theories about the cause of Mozart’s demise have varied over the years (rheumatic fever? acute miliary fever or the ridiculous but persistent typo of “military” fever?), but his wife Constanze believed he had simply worked himself to death. She would know.
THE HISTORY – Though he started it before La clemenza di Tito, Die Zauberflöte (The Magic Flute) was the last opera Mozart completed. It was an example of the popular dramatic style known as Singspiel (a blend of singing and spoken text) and a crafty intellectual allegory on Mozart’s own Masonic associations and beliefs. The highly unusual plot is essentially the story of a prince and a bird catcher, who must complete a series of magical tests to rescue a
HISTORY OF THE MUSIC — REQUIEM
princess and banish evil from the world. Mozart would live to see it successfully staged and conducted the premiere performances, but his death just months later would deprive him of knowing how lasting and important the work was meant to become. Three chords begin the overture in direct tribute to the Masonic themes of the opera (three being an important symbolic number). After the mysterious but inexorable introduction, it is a fleet-footed five minutes until the end. Mozart treats us right away to fugue, transformation, delightful instrumental playfulness and an invigorating sense that something special is in store. Right in the middle of this infectious activity are the famous three times three chords, the “dreimalige Akkord,” which not only echo the overture’s opening but clear the air for a brief moment with spectacular effect. It is important to view The Magic Flute not as Mozart’s benediction or farewell to opera but rather as the excited, forward-looking declaration of a young genius in his prime. This is the hopeful music of a man with plans for the future, not the last rites of someone who felt time slipping and assumed he had said enough. From this perspective, the Overture to The Magic Flute may well be the most rewarding six minutes in music.
THE WORLD – Elsewhere in 1791, Methodist Church founder John Wesley died, the element Titanium was discovered, the Brandenburg Gate was completed in Berlin and Thomas Paine’s “Rights of Man” was published in London.
THE CONNECTION – The Utah Symphony has performed The Magic Flute Overture countless times. The most recent performances took place in 2018 under the baton of Conner Gray Covington.
Symphony No. 25 in G minor, K. 183
Duration: 24 minutes in four movements.
THE COMPOSER – WOLFGANG AMADEUS MOZART (1756-1791) – Fortunes shifted for
the Mozart family in 1771 when their devoted benefactor Archbishop Schrattenbach died. His replacement instituted significant changes to Salzburg’s court music scene in 1772. The new Archbishop Colloredo was a bull in the China shop of the Mozarts’ world. Concerts and masses were shortened, and purely instrumental music was restricted so punitively, Leopold and young Wolfgang traveled to Vienna in search of a better court to serve. Though they were initially unsuccessful, they both knew their days in Salzburg were numbered. The end of an era approaching fitfully for the Mozarts, but Wolfgang did what he always did. He worked.
THE HISTORY – Hieronymous von Colloredo had distinct ideas on how masses and other liturgical pieces were to be administered and his new regulations had hard and fast time limits attached to each of them. Mozart was not thrilled with the stopwatch mentality of his new employer, but he did not allow these and other restrictive frustrations to impact his other work, not in terms of quality or quantity. The 1773 trip to Vienna might not have yielded a new job, but there were other benefits to the change of scenery. Perhaps to throw Colloredo off the scent, the Mozarts first visited an old family friend, one Franz Anton Mesmer (yes, the one from whose name the term “mesmerize” is derived) and heard the physician play a recently acquired glass harmonica. “Wolfgang too has played upon it,” his father wrote in a letter, “how I should like to have one!” Also, while in Vienna, and decidedly more germane to this topic, Mozart heard performances of several important works by Haydn. With the sounds of his idol fresh in his ear, Mozart returned home inspired to move fully beyond the elegant, confectionary quality of his early music and into a more serious compositional phase. Mozart was only 17 at the time, but maturity is the thing that shines through most brightly in the two symphonies he wrote back in Salzburg during 1773 and 1774. These sibling creations, Symphony No. 25 and Symphony No. 29, signaled a new interest in drama and emotional complexity for Mozart. This clearly came from Haydn, but the growing formal mastery and creative instrumental choices that
HISTORY OF THE MUSIC — REQUIEM
underpinned the theatricality were all Wolfgang. Symphony No. 25, known affectionately as the “Little G minor,” was one of only two he would ever write in that dark key. The other was the “Great” No. 40, of course, and No. 25 predicts that work’s fierce emotional forthrightness.
THE WORLD – Elsewhere in 1773, the Boston Tea Party occurred in America, the first ship crossing of the Antarctic Circle by James Cook took place and the later-named “Whirlpool Galaxy” was discovered by French astronomer Charles Messier.
THE CONNECTION – Symphony No. 25 was last performed by the Utah Symphony in 2018 under the baton of Conner Gray Covington.
Requiem, K. 626
Duration: 47 minutes in fifteen sections.
THE COMPOSER – WOLFGANG AMADEUS MOZART (1756-1791) – Mozart was not able to complete his greatest work. His progress on the Requiem was undermined by the busy commission schedule and failing health that marked his final year of life. Other pieces that took up his attention in 1791 were the operas La clemenza di Tito and Die Zauberflöte, the Piano Concerto No. 27, a handful of orchestra dances and couple of organ works. The Requiem was left for last and, by all accounts, Mozart labored unsuccessfully to finish it from his deathbed, often in great agony. That sad image calls up the most provocative questions of his biography. Was this suffering really due to illness or was Mozart poisoned? If so, by whom? A bitter rival? The secret commissioner himself?
THE HISTORY – If the mystery surrounding the Requiem sounds like grand fiction, it is because most of it is. First things first: Antonio Salieri did not poison Mozart. No one did. The most credible diagnosis of his fatal sickness was rheumatic inflammatory fever, a condition with symptoms very similar to those mentioned
in Mozart’s medical history. Another popular myth concerns the shadowy “gray messenger” who called on Mozart to offer the secret Requiem commission. This man was likely no more “sinister” than a lawyer’s clerk under the employ of Count Franz von Walsegg. The name Walsegg, at last, offers us some certainty. He did commission the Requiem in honor of the recently departed Countess and though he did forbid Mozart to attempt to learn his identity, it was not for the reasons popular history would have us assume. It wasn’t about murder. It was about larceny. Walsegg evidently had a penchant for commissioning works in secret so he could present them later as his own. It was a relatively harmless habit, when compared to a poisoning, and his name came to light soon after Mozart’s death anyhow. Still, Mozart’s wife Constanze had to work on Walsegg for nearly a decade to get him to officially credit Mozart. The incomplete score left the Count and Constanze with a dilemma. Who should complete the Requiem? Mozart’s student Süssmayr had specific instructions from the composer about his musical intentions should the worst come to pass, so he took an early stab at fleshing it out. He was certainly not the last. Many scholars have since tried to improve upon that original effort, including Robert Levin (in 1994), who made changes to the orchestration and added the then recently discovered Amen fugue. Interestingly, the shared and sometimes murky authorship of the complete Requiem did not bother Beethoven, who stated “If Mozart did not write the music, then the man who wrote it was a Mozart.”
THE WORLD – Elsewhere in 1791, the United States ratified the Bill of Rights, the element Titanium by English mineralogist William Gregor, the London Observer was founded and the Champs de Mars Massacre occurred in Paris.
THE CONNECTION – The Mozart Requiem is a popular work. The last Utah Symphony Masterworks presentation came in 2017 under the direction of Thierry Fischer.
UTAH SYMPHONY
Markus Poschner
Music Director Designate
The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
Thierry Fischer Music Director Emeritus
David Robertson Creative Partner
Jessica Rivero Altarriba Assistant Conductor
Austin McWilliams
Chorus Director & Opera Assistant Conductor
VIOLIN*
Madeline Adkins
Concertmaster
The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton
Kathryn Eberle
Associate Concertmaster
The Richard K. & Shirley S. Hemingway Chair
Laura Ha 2nd Associate Concertmaster
Claude Halter Principal Second
Evgenia Zharzhavskaya Acting Associate Principal Second
The Utah Symphony Chorus is an audition-only group composed of volunteer and professional singers from the Salt Lake City area. The Chorus typically performs a concert each season with the Utah Symphony, along with offering vocal development opportunities such as Alexander Technique classes, vocal masterclasses exploring technique and repertoire, and live Q & A sessions with local and international vocal stars.
ONSTAGE OGDEN
ISLAND PRAYERS
TURTLE ISLAND QUARTET
THURSDAY, MAY 8, 2025 AT 7:30PM
THE MONARCH
GABE TERRACCIANO, VIOLIN
DAVID BALAKRISHNAN, VIOLIN, ARTISTIC DIRECTOR
BENJAMIN VON GUTZEIT, VIOLA
NASEEM ALATRASH, CELLO
DAVID BALAKRISHNAN Little Mouse Jumps (b. 1954)
RHIANNON GIDDENS Pompey Ran Away * (b. 1977)
JEROD IMPICHCHAACHAACHA’ TATE Little Loksi’ * (b. 1968)
DAVID BALAKRISHNAN Island Prayers * I. Dialog II. Atonement III. Redemption
INTERMISSION
DAVID BALAKRISHNAN Groove in the Louvre Darkness Dreaming
TERENCE BLANCHARD Turtle Trajectory * (b. 1962)
DAVID BALAKRISHNAN The Second Wave
*CO-COMMISSIONED BY LINCOLN CENTER FOR THE PERFORMING ARTS MEANY CENTER FOR THE PERFORMING ARTS THE MUSIC HALL, PORTSMOUTH SAVANNAH MUSIC FESTIVAL SCHWARTZ CENTER FOR THE PERFORMING ARTS - EMORY UNIVERSITY CONCERT
ABOUT THE ARTISTS’
Since its inception in 1985, the Turtle Island Quartet has been a singular force in the creation of bold, new trends in chamber music for strings. Winner of the 2006 and 2008 Grammy Awards for Best Classical Crossover Album, Turtle Island fuses the classical quartet esthetic with contemporary American musical styles, and by devising a performance practice that honors both, the state of the art has inevitably been redefined. Cellist nonpareil Yo-Yo Ma has proclaimed TIQ to be “a unified voice that truly breaks new ground — authentic and passionate — a reflection of some of the most creative music-making today.”
The Quartet’s birth was the result of violinist David Balakrishnan’s brainstorming explorations and compositional vision while completing his master’s degree program at Antioch University West. The journey has taken Turtle Island through forays into folk, bluegrass, swing, be-bop, funk, R&B, new age, rock, hip-hop, as well as music of Latin America and India…a repertoire consisting of hundreds of ingenious arrangements and originals. It has included over a dozen recordings on labels such as Windham Hill, Chandos, Koch, Telarc, Azica and Blue Note, soundtracks for major motion pictures, TV and radio credits such as the Today Show, All Things Considered, Prairie Home Companion and Morning Edition, feature articles in People
and Newsweek magazines, and collaborations with famed artists such as trumpeter Terence Blanchard, clarinetist Paquito D’Rivera, vibraphonist Stefon Harris, guitar legends such as Leo Kottke and the Assad brothers, The Manhattan Transfer, pianists Billy Taylor, Kenny Barron, Cyrus Chestnut and Ramsey Lewis, singers Tierney Sutton and Nellie McKay, the Ying Quartet and the Parsons and Luna Negra Dance Companies. Another unique element of Turtle Island is their revival of venerable improvisational and compositional chamber traditions that have not been explored by string players for nearly 200 years. At the time of Haydn’s apocryphal creation of the string quartet form, musicians were more akin to today’s saxophonists and keyboard masters of the jazz and pop world, i.e., improvisers, composers and arrangers. Each Turtle Island member is accomplished in these areas of expertise.
As Turtle Island members continue to refine their skills through the development of repertory by some of today’s cutting edge composers, through performances and recordings with major symphonic ensembles, and through a determined educational commitment, the Turtle Island Quartet stakes its claim as the quintessential ‘New World’ string quartet of the 21st century.
Photo: Sylvia Elzafon
ABOUT THE PROGRAM
The inception of this project coincided with the start of the pandemic. My piece, “Second Wave,” had just been recorded for Terence Blanchard’s Blue Note release Absence, and Terence’s unwavering support of my writing gave me the confidence to imagine a return to the original vision of Turtle Island Quartet — a group that performed my original music, along with other original works by Jazz and American Roots composers.
When we started thinking of how to best announce this renewed identity for the quartet to the world, we knew that the statement had to be on a grand scale, and that the voices needed to be both artistically expansive and revered. Terence Blanchard had just received his second Academy Award nomination for Best Original Score, and it had been recently announced that his second opera, Fire Shut Up in My Bones, would be staged at the Metropolitan Opera. Rhiannon Giddens had been named the new Artistic Director of Silk Road Ensemble and the rescheduling of the premiere of her now Pulitzer Prize winning opera, Omar, was imminent. Jerod Impichchaachaaha’ Tate’s Ghost of the White Deer had premiered with Dallas Symphony, which inspired me to listen recordings of his compositions, including to his powerful work Iholba, featuring the San Francisco Symphony and Symphony Chorus.
In addition to the intense gravitational pull from these massive works, all three voices naturally coalesce around a broader idea: that for the highest achieving individuals, “classical music” is now no longer confined to traditional expectations, even in its original forms. It was intentional that we found one voice each to represent jazz, folkloric and new music, but that each voice had broad stylistic influences beyond the preconceived limits of their genre, in this case ranging from West African, Caribbean and Indigenous cultures. What we wanted to show is that even these three primary stylistic pillars, which all happen to find their way in my writing as well, were not contained to one exclusive artistic or cultural subset. As a result, we have quite naturally built a program that not only compliments my original works, but truly reflects the history and essence of “Turtle Island,” the borrowed name for North America, based on many creation myths of the
people who have been in the United States for millennia. In this context, Turtle Island is a place or idea where traditions and cultures merge into this gorgeous, cohesive, compelling mosaic that happens most naturally in music and through the vehicle of the string quartet.
The title Island Prayers came from the revelation that the deep connection live performance has to the human psyche is only paralleled by spiritual practice — through both the rituals of performing arts and spiritual celebration are our most profound and meaningful human characteristics engaged: community, reflection and collective imagination. What we present here are works both meditative and celebratory — “Prayers,” if you will, for the continued future of this new, exciting paradigm.
— David Balakrishnan, Artistic Director and Composer
Pompey Ran Away RHIANNON GIDDENS
Pompey Ran Away — listed as a “Negroe Jig” in the Selection of Scotch, English, Irish and Foreign Airs, Volume 1, from the collection of Alexander Wood Inglis of Scotland — is a repetitive, trance-like snippet of sound from a time in the late 1800s that is hard for us to fathom. In this piece Pompey is a fiddler — many enslaved people who self-emancipated during this time would have had to have a skill, and being a fiddler was highly prized, and we follow his journey through the American landscape. This piece captures the essence of American Fiddle Music — the techniques, harmonies and voicings, and rhythms all harken to a tradition quintessentially American that was derived from many original sources and cultures. These same techniques have vastly influenced the techniques and works written by Turtle Island Quartet.
Vignette 1: “...is remarkably fond of playing the fiddle”
Vignette 2: “Pompey ran...”
Vignette 3: “...he stammers some, in talking, and always says mar instead of but...”
Vignette 4: “...is extremely fond of frolicking”
Vignette 5: “...they call him GODBOLD”
ABOUT THE PROGRAM
Vignette 6: “He pretends to be free, and perhaps by that means may procure a pass...”
Vignette 7: “...took his fiddle with him”
Little Loksi’
JEROD IMPICHCHAACHAAHA’ TATE
Little Loksi’ is a rhapsodic composition based upon the book of the same title by Chickasaw author, Trey Hays. In this story, Little Loksi’ (little turtle) is on a daily adventure with his parents. Turbulent weather causes him to be turned over on his back, from which he cannot recover. Nashoba (wolf) takes the lead in finding woodland animals that might be able to help Little Loksi’ turn back over. Through a lively adventure of finding his neighbors to help, Nashoba aids his precious community in pooling all of their unique talents, ending in a glorious success. The animals conclude their adventure with a stomp dance, celebrating their teamwork. I have a beautiful and blessed life as a Chickasaw composer, because I have the privilege of expressing our culture and stories through classical composition. This work is deeply informed by our Southeastern American Indian melodies, and it is a favorite story of my son, Heloha (thunder).
— Jerod Impichchaachaaha’ Tate
Groove in the Louvre
DAVID BALAKRISHNAN
The wordplay in this title refers to a treasured memory of a time when my wife and I toured the iconic Louvre Museum. Afterwards we walked the streets of Paris basking in a most unbelievable multicultural experience in this grand cosmopolitan city. In this setting, in which history could not be lost, we stumbled upon Moreno, a guitarist, performing in a small tent directly across from the Louvre. Here was a taste of the thriving Paris jazz scene of the 1930s in a modern day surrounding. It was a glorious juxtaposition of worlds.
Darkness Dreaming
DAVID BALAKRISHNAN
The melodic and harmonic material of Darkness Dreaming is derived from an Indian scale known as the “Todi Raga,” believed to have originated in Rajasthan, a region of Northern India also known as the ancestral homeland of
the European Gypsies (Roma). The Rajasthani culture is renowned for their artistic tradition of miniatures, in which they give the ragas human form and character — in this case the raga is depicted as “Ragini Todi,” a “lovesick woman who attracts the deer.” An Indian audience listening to a successful performance of this raga would experience a mood of “delighted adoration in a gentle, loving sentiment.”
Turtle Trajectory TERENCE BLANCHARD
When Terence Blanchard invited the quartet to join him for his 2021 album Absence, a bond was created that continues to grow and evolve after 70 performances together. Over this time, Blanchard has had the opportunity to hear all that makes this quartet unique and has become a vital influence and inspiration for the group. This work is written with their signature sound and techniques in mind, a true celebration of their artistic legacy and future.
The Second Wave
DAVID BALAKRISHNAN
The Second Wave was inspired by the 2003 tsunami disaster in South Asia that struck my family’s ancestral homeland. It is an attempt to convey both the awesome majesty of water as well as the powerlessness and surrender that comes with facing life-changing events of any sort, nature or man-made.
Island Prayers
DAVID BALAKRISHNAN
Closer to the end of the journey than the beginning, I find much gratitude in having been granted the precious gift of a lifetime in music. In my younger days, I yearned to attain an indisputable expert level that I could hold onto. But the cross-genre path made it nigh impossible, since every style I was drawn to explore, there was a pinnacle of achievement that I would sense was a trap, compelling me to change direction. Similarly, in the process of composing this music, the imperative to come up with something heroic or noble as befitting the theme was causing me to get in my own way. Dropping that, I focused in on channeling the feelings the intent of the program brought up in me, and let the piece write itself.
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FRIENDS OF ONSTAGE OGDEN
Onstage Ogden is grateful for the individuals, corporations, foundations, and government agencies who have made a charitable contribution in support of the performing arts in our community. Donors listed made their contributions between January 1, 2024, and March 1, 2025.
SEASON SPONSOR ($100,000+)
Stewart Education Foundation Weber County RAMP
SERIES SPONSOR ($25,000+)
Val A. Browning Charitable Foundation
The Franzen Family
SPONSOR ($10,000–$24,999)
Robert & Marcia Harris
Dr. Val Johnson
Lawrence T. Dee and Janet T. Dee Foundation
PROTECTOR ($5,000–$9,999)
Beaver Creek Foundation
George S and Dolores Dore Eccles Foundation
Marriner S. Eccles Foundation
PARTNER ($2,500–$4,999)
Bank of Utah
Better Being
Marti M. Clayson ● CreativeWest
BENEFACTOR ($1,000–$2,499)
Danielle Bendinelli ●
Brian & Vicky Boyle
Geraldine and Evan Christensen
Dr. Rosemary Conover
Brent and Vicki Cox
Doug and Shelly Felt
MSL Family Foundation
Lucio Casillas and Cirilo Franco ● ●
James & Nicole Fredrick ● ● ●
John Fromer
Alan and Jeanne Hall
Utah Division Of Arts and Museums
Richard & Shirley Hemingway Foundation
Norman C. & Barbara L. Tanner Charitable Support Trust
Rosemary & Dave Lesser ●
Christina & Shaun Myers ● Ogden City Arts
Weber State University
Dr. Robert Fudge and Sylvia Newman ●
Bill & Barbara Hughes
Suzy Patterson
Marty and Carolyn Rasmussen ●
William and Deborah Hackett
George and Mary Hall
Russel R. and Jane T. King ●
Charles Leonhardt
Beth A. Mannino & Paul E. Schick
Willis McCree
Dr. Judith Mitchell ●
Robert and Sally Neil
Scott and Pam Parkinson
Ralph Nye Charitable Foundation
Carolyn Rich-Denson ●
Harry and Becky Senekjian
Jonathan and Beverly Souder
Jean A. Vaniman & Harry P. Schoen ● ●
Jennifer & Dr. Michael
Webb ●
Glenn and Connie Wimer
FRIENDS OF ONSTAGE OGDEN
PATRON ($500–$999)
Joan Alf
Roger Christensen
Catherine Clark ●
Tim and Candace Dee
Allan & Kellie Diersman
Diana & Ralph Dunkley
Ralph Friz
Cliff and Elizabeth Goff in memory of Nanette Smith, Bill Tribe, Susan W. Nilson,
ADVOCATE ($250–$499)
Tom and Carolyn Austad
Lisa Bailey
Raymond and Betty Christian
Katrina Daniel in memory of
Carol Warren Daniel
Steve & Shellie Ericson
Steven Ewert
Greg and Caitlin Gochnour
Becky & Kim Hale
DONOR (100–$249)
Zana Anderson
Clyde Baker
Daniel Bedford
Gracemarie Belvedere
Phil and Melanee Berger
Jean Branch
Yaeko Bryner
Edwin Cannon
Brad and Lynn Carroll
Sharon Charley
Dr. Allen and Janis Christensen
Ellie Cole
Phillip & Gail Coleman
Julie and Stephen Coley
Deirdre Conway
Ludene Dallimore ●
Lynn and Natalie Dearden
Dr. Douglas Deis
Gloria Dixon
David and Lisa Edwards
Stephen and Judy Farr
William and Anita Ford
Pat Fuller
Dixie Funk
Karen Gall
Dennis & Katherine Gladwell
David and Ruth Ann Gladwell
David and Joan Hadley ●
Terry Hartman-Smith
Jean M. Frischknect & Judith
Elertson Wilson
Kay Hoogland & James O’Brien
Marlin & Kathleen Jensen
Michelle and Grant Ley ●
Flor Lopez ●
Frank and Sharon Markos
Wayne Miller
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Paul and Sandra Perkin
Holly and Stephen Handy
Hayden Hernandez
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Sandy and Phillip Maxwell
Daniel Neumann
Gary and Marilyn Newman
Eileen & Steve Santella ●
Cheryl Smith
Carol and Paul Sonntag
The Hearn Family
Linda Hearn
Heather Heileson in memory of Merlene Heileson ●
Tina and Robert Herman
Anthony Hirst
Grover Hoopes
Amy Huntington & Tom Parsons ●
Carol Jackson
Eric & Becky Jacobson
Matthew Janzen
Alisa Jenney
Melba and Denis Kirby
Marilyn Konieczny
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Roy Mecham
Sandi Mohr
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Inga Newton
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Ned and Sheila Stephens
Joyce and Robert Stillwell ●
Deborah Uman and Michael Sander ●
Janice and Sheldon Ward
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Korryn Wiese, Body Tune PT
Keith and Marlys Sorbo
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Dr. John and Colleen Starley
Dorothy & Dan Steimke ●
Ruth Turner
Linda Watson
Paula Weick and Carl Stuart
Dr. Michael & Cindy Palumbo
Donald Pantone
Jeff Paulson
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Bobbie Ramer
MaryAnn Rientjes
Linda Roth
Ralph Rowley
Juergen Sass
Craig Schriber
Shane & Pamela Schvaneveldt
Kathy Sedgwick & Ron Tymcio
Sempre Musical Society in memory of Helen Smith Rabe
Denise Sly
Rocky Stone & Judith Faulkner ●
David Suehsdorf
Robert Tillotson
Kelly VanNoy
Lucinda and Phillip Wagner
Andrew and Suzanne Wall
Barbara & Gerald West
Aloha Whitney
ShaRon Williams
Carl and Helgard Wolfram
Michael Wutz & Marilee Rohan
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Larry Zaugg
FRIENDS OF ONSTAGE OGDEN
MEMBER ($50–99)
Jerome Andersen
Marsha Ashby
Grant Baer
Mr. Randy and Mrs. Laura Browne
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Joan and Paul Powell
Sarah Quistberg
Cindy Reaveley
Bonnie & William Rembacz
Carol Rhees
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Charlene Smith
Please contact Onstage Ogden Development Coordinator, Sarah Bailey, at 801.612.0757 or sarah@onstageogden.org, if you would like to make a donation or if your name has inadvertently been left off or is misspelled.
BEVERLY LUND & GINNY MATTHEI LEGACY CIRCLE
75 years ago, Beverly Lund and Ginny Matthei organized a concert by the Utah Symphony at Ogden High School. They did so believing in the power of live performance to elevate and connect a community. Over the decades their vision has evolved into what it is today, Onstage Ogden. To honor their legacy this 75th season, Onstage Ogden established The Beverly Lund & Ginny Matthei Legacy Circle.
Recognizing those individuals and families who have included Onstage Ogden as a beneficiary in their estate plan.
Nancy Pinto-Orton*
Kent & Joann Smith*
Jean Vaniman & Harry Schoen
*indicates donors being recognized posthumously
Glenn & Connie Wimer
If you would like to join the Beverly Lund & Ginny Matthei Legacy Circle or have already included Onstage Ogden in your will, estate plan, or beneficiary arrangement, please let us know by calling Sarah Bailey at 801-399-9214 or by emailing sarah@onstageogden.org. Visit onstageogden.org/give for more information.
75TH ANNIVERSARY CELEBRATION CIRCLE
Celebration Circle members are a group of our patrons dedicated to celebrating 75 years of elevating and connecting our community through the performing arts. Members enjoy exclusive 75th anniversary swag, seasonal goodies, and priority invitations to special events throughout the season. By joining the Celebration Circle, patrons are not only celebrating Onstage Ogden’s legacy but also supporting our mission to foster resonant and relevant performances that connect and engage the community.
