Villegas plays Concierto de Aranjuez

OGDEN SYMPHONY BALLET

Villegas plays Concierto de Aranjuez April 25, 2019 | 7:30pm

ASSOCIATION

2018–19 season

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WELCOME Dear Friends, I want to extend a warm welcome to each of you attending this performance. Thank you for coming! I am honored to serve as Executive Director of Onstage Ogden and wish to express my gratitude for your support as I have become acclimated to this new role. As a life-long musician, administrator, and advocate for the arts I am inspired and motivated by the dedication and commitment I have seen from so many donors, patrons, and volunteers. I am extremely enthusiastic about what we can accomplish together.

Looking ahead, I am excited about the increase in energy surrounding the blossoming arts scene in Ogden, and the strong consortium of cultural leaders we have around us. I believe that Onstage Ogden’s value lies in the ability to connect our community through music and dance; and to bring the countless positive benefits of the performing arts to as many in our community as possible. If you haven’t already, I invite you to join our efforts by sharing your passion with others; bring a friend, persuade a coworker to attend, introduce us to someone new in town. I cannot overestimate the impact of these activities. There are many other ways to make a difference, and I encourage you to contact a staff member if you would like to share your time, talents, or resources.

I am eager to get to know each of you, and learn about the facets of Onstage Ogden that you enjoy, and where we have room for improvement. I am always open to your feedback— positive or negative. We can only succeed by working together to protect and grow our cherished organization.

Melissa Klein, Executive Director

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ONSTAGE OGDEN BOARD & STAFF

BOARD OF DIRECTORS Dr. Robert Fudge President Mark Stratford President Elect Paul Kunz Past President Melissa Bennett Vice President Jennifer Webb Secretary Dr. David Malone Treasurer Steven Carter Robbyn Dunn Dr. Ann Ellis Linda Forest John Fromer John Gordon Dr. Val Johnson Russ King (Onstage Ogden Foundation) McClain Lindquist Dr. Robert Newman Nancy Pinto-Orton Dr. Carolyn Rich-Denson Dr. Jan Slabaugh

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ADVISORS Marlene Barnett Karen Fairbanks Alan Hall Robert Harris Thomas Moore Suzy Patterson FOUNDATION Russ King Chair Marti M. Clayson Secretary Richard White Treasurer Paul C. Kunz Andrea Lane Michael S. Malmborg Dr. Judith Mitchell Meg Naisbitt Ellen Opprecht Carolyn N. Rasmussen Sherm Smith Dr. Paul Sonntag Dotty Steimke

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EXECUTIVE DIRECTOR Melissa Klein DEVELOPMENT DIRECTOR Taylor Knuth BOX OFFICE & MARKETING MANAGER Camille Washington OUTREACH & VOLUNTEER COORDINATOR Andrew Barrett Watson AUDIENCE ENGAGEMENT COORDINATOR Ginger Bess Simons

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Under the direction of numerous dedicated Board Members and long-serving Executive Directors like Jean Pell (27 years) and Sharon Macfarlane (14 years), Onstage Ogden has expanded its programming but remains committed to its mission to enrich the lives of people in northern Utah by sponsoring world-class classical music and dance programming in the Greater Ogden Area. Since its inception, Onstage Ogden has presented over 800 performances.

In 1949, Beverly Lund and Ginny Mathei decided they wanted to add even more culture to Weber County, so, with the help of a few friends and their husbands’ checkbooks, they brought the Utah Symphony to Ogden for a single performance. The total cost was $400, and three hundred people attended the concert.

This 1949 concert was a big success, so the women decided to present even more concerts in Ogden. They organized a committee within the Welfare League (later the Junior League) to raise funds for the Symphony Concerts.

Then, in 1957, this committee reformed and incorporated as the Ogden Guild. After a few more name changes and the addition of Ballet West performances in 1982, the organization became the Ogden Symphony Ballet Association.

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In addition, Onstage Ogden actively works to engage and educate younger patrons.

For example, our Youth Guild has provided generations of high school students with opportunities to serve. We also offer a variety of education classes, from Masterworks Music Detectives to Music and Dance Explorers. And we are partnering with several local community organizations to expand these programs to reach even more children and students. This May, we will present our 3rd Annual Youth Benefit Concert, featuring Young Concert Artist, violinist Bella Hristova. The proceeds from this concert will go to fund music education scholarships for local children. If you would like to know more about any of these programs, please do not hesitate to call our office!

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ONSTAGE OGDEN 2018–19 SEASON

ENTERTAINMENT SERIES

DANCE SERIES

Bernstein on Broadway September 13

BalletX October 6

Pink Martini December 20

Stars of American Ballet November 2

My Fair Lady in Concert February 14

Jessica Lang Dance February 2

Troupe Vertigo April 18

BYU Living Legends February 28

MASTERWORKS SERIES

FAMILY SERIES

An American in Paris September 27

Here Comes Santa Claus December 17

Bach’s Brandenburg Concertos 3 & 4 December 6

Peter and the Wolf March 14

Rachmaninoff’s Piano Concerto No. 2 March 21

Story Pirates April 16

Villegas plays Concierto de Aranjuez April 25

SPECIAL EVENTS Patriotic Pops June 29 Frank & Ella August 7 The Nutcracker November 23 & 24 The Queen’s Six February 19 Youth Benefit Concert May 8

Arts

The Onstage Ogden’s 2018–2019 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, and Parks (RAMP) program, and Ogden City Arts.

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MASTERWORKS SERIES VILLEGAS PLAYS

CONCIERTO DE ARANJUEZ APRIL 18, 2019 / 7:30PM / VAL A. BROWNING CENTER

CONCERT SPONSORED BY

ONSTAGE OGDEN BOARD OF DIRECTORS

RICHARD EGARR, conductor PABLO SÁINZ VILLEGAS, guitar

MOZART

Symphony No. 31 in D Major, K. 300a [297] “Paris”

I. Allegro assai II. Andantino III. Allegro

RODRIGO

Concierto de Aranjuez for Guitar and Orchestra PABLO SÁINZ VILLEGAS, guitar

I. Allegro con spirito II. Adagio

III. Allegro gentile

/ INTERMISSION /

SCHUMANN

Symphony No. 2 in C Major, Op. 61

I. II. III. IV.

Sostenuto assai - Allegro ma non troppo Scherzo: Allegro vivace Adagio expressivo Allegro molto vivace

ADDITIONAL FUNDING PROVIDED BY

Arts

The Onstage Ogden’s season 2018–2019 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, and Parks (RAMP) program, and Ogden City Arts.

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ARTISTS’ PROFILES

Richard Egarr Conductor

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Egarr was appointed Music Director of the Academy of Ancient Music in 2006, and shortly thereafter he established the Choir of the AAM. He was Associate Artist with the Scottish Chamber Orchestra 2011–17, and from 2019 adds responsibilities as Principal Guest of the Residentie Orkest The Hague and Artistic Partner of the St Paul Chamber Orchestra. He will become Music Director Designate of Philharmonia Baroque Orchestra and Chorale in 2020–21 and assume Music Directorship from 2021–22. He conducts leading symphony orchestras such as London Symphony, Royal Concertgebouw, and Philadelphia, as well as period ensembles such as Handel and Haydn Society Boston. As well as an accomplished conductor he is a brilliant harpsichordist, and equally skilled on the organ and fortepiano. He regularly plays solo at major venues such as Wigmore and Carnegie Hall and has recorded many discs for Harmonia Mundi, notably of J.S. Bach, Couperin, Purcell, and Mozart, with Byrd and Sweelinck released by Linn in 2018. He trained as a choirboy at York Minster, was organ scholar at Clare College Cambridge, and later studied with Gustav and Marie Leonhardt. He teaches at the Amsterdam Conservatoire and is Visiting Artist at the Juilliard School in New York. Richard Egarr is represented by Intermusica.

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ARTISTS’ PROFILES

Pablo Sáinz Villegas Guitar

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Praised as “the soul of the Spanish guitar”, Pablo Sáinz Villegas has become a worldwide sensation known as this generation’s great guitarist. The list of some of the world’s most prestigious stages that he has performed includes Carnegie Hall in New York City, Philharmonie in Berlin, and Concertgebouw in Amsterdam.

He regularly inspires new invitations and reengagements to perform in different festivals and with different orchestras, including Orquesta Nacional de España and the Philharmonics of Israel, Bergen, and Denmark. In the American continent, he has performed with symphonic orchestras of New York, Pittsburgh, Cincinnati, Peru, Colombia, and Panama. Sáinz Villegas continues to search for innovative ways to inspire diverse communities of society since he believes that “music is the best language for communication because it is something intangible and ethereal.” In the last decade, he has been able to reach, through his social projects, more than 32,000 children and youth audiences in different regions of Spain, México, and the United States. Sáinz Villegas was born in Spain, the country in which his musical instrument has deep roots. During his career he has achieved more than 30 international awards. Sáinz Villegas currently lives in New York and is the official Tourism Ambassador of La Rioja, his homeland.

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NOTES ON THE PROGRAM

by Michael Clive

Wolfgang Amadeus Mozart (1756–1791)

Symphony No. 31 in D Major, K. 300a [297] “Paris” PERFORMANCE TIME: 16 MINUTES

Mozart’s continuing quest for appreciative patrons and audiences made him unusually well-traveled for his day, and gave us a trove of letters to pore over, since he sent scouting reports back home to whichever parent wasn’t with him on his work-hunting expeditions.

His frequent grouchiness went undisguised in his letters. We can only wonder how his correspondence might have been different if he had known that every word would be scrutinized and analyzed by later generations…perhaps not at all, since he was never one to self-censor. He generally felt that his prospective patrons couldn’t quite grasp the extent of his talents and, of course, he was right. But his impatience did not exactly endear him to those who might hire him.

In the spring of 1778, Mozart’s search for work found him in Paris, a city he had not visited since his parents brought him there as a child prodigy. Now he was 22, traveling with his mother, and well established as a composer with full-blown masterpieces to his credit. For Mozart, the trip did not go particularly well: his mother was ill; a performance of one of those masterpieces, the Sinfonia Concertante, went disastrously (sabotaged, he suspected, by a rival composer); and he found the orchestral playing to be of a shockingly low standard.

For today’s listeners, however, the trip was a brilliant success: it gave us his “Paris” Symphony, No. 31, which in its form and freshness was specifically intended to please the French ear. If Mozart himself could not ingratiate himself with the French, perhaps the 16

symphony could do it for him: as he wrote back home to his father, Leopold, “I hope that even these idiots will find something in it to like.”

The commission for the symphony came from Joseph Legros, producer of a Parisian concert series, to compensate for the Sinfonia Concertante debacle, which meant that the symphony had to be produced on the spot and on relatively short notice. This was no problem for Mozart, who often composed so rapidly that he seemed to be taking dictation. His reports of the work to his father are an odd mixture of pros and cons, of snobbery and satisfaction. He is contemptuous of most French listeners, and sees “no great harm if they don’t like it,” but is pleased with the reaction it receives at a private read-through. He ridicules a French symphonic convention called the premier coup d’archet— “What a fuss these boors make of this!…they all begin together just as they do elsewhere.

It’s a joke.”—and yet he emphasizes it in his opening movement to extremely dramatic effect. Writing for The Guardian (London), Tom Service calls this opening “one of the grandest, most thrilling sounds Mozart ever made from an orchestra.”

Despite Mozart’s sincere misgivings about the level of orchestral playing, his letters home after the premiere indicate that the performance was highly successful and that his efforts to tailor the symphony to the specifics of French taste were well judged.

There also seems to have been an element of spectacle about the whole event; the score called for the largest orchestra Mozart had used to date for a symphony, and it was the first time his symphonic ensemble included a relatively new instrument, the clarinet.

His account reveals that the French audience applauded not only between but also within movements (quelle horreur!) and that certain passages that were especially pleasing had to

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NOTES ON THE PROGRAM be repeated—exactly which ones are subjects of scholarly debate. What’s not open to debate: the job-hunting aspect of Mozart’s Paris trip was a failure.

While the symphony broke new ground in its scope, it is structured in the traditional three-movement, fast-slow-fast form. It does, however, omit the usual Mozartean minuet (possibly another concession to the French taste). And while much has been written about Mozart’s clever pains in playing to the French crowd, less is said about the truly sublime effect he created in doing so. Perhaps, when it comes to Mozart, we take sublime beauty for granted, but Monsieur Legros did not. He observed that this symphony was the finest that had ever been created for his orchestra.

Joaquin Rodrigo (1901–1999)

Concierto de Aranjuez for Guitar and Orchestra PERFORMANCE TIME: 22 MINUTES

So many of classical music’s great geniuses led tragically short lives—Mozart, Schubert, Mendelssohn, and Bizet all died in their 30s—that when we encounter those blessed with longevity, we rejoice. The Spanish composer Joaquin Rodrigo, though blinded by diphtheria at age 3, lived to be 98. He credited the apparent calamity of his illness for his lifelong involvement in music.

Rodrigo made rapid progress at the conservatory in Valencia, graduating early and going on to Paris, where he studied with Paul Dukas at the École Normale de Musique. But while he absorbed the elements of French style and refinement, his music remains Spanish to its very core. With Manuel de Falla (b. 1876) 801.399.9214

and Enrique Granados (b. 1867), Rodrigo was central to the flowering of musical creativity that raised the prominence of Spanish music in the 20th century. These composers burst upon the music world like a new discovery, although their cultural lineage extended back centuries. Musicians and audiences greeted them like long-lost brothers, but their distinctively Iberian sound, drenched in folk melodies and in the traditions of Spanish church music of the Baroque period, was like nothing to be heard in the rest of Europe.

While Manuel de Falla gained renown for ballet scores that traveled with Serge Diaghilev’s Ballets Russes, and Granados’ orchestral and piano compositions earned their standing as repertory staples (and his opera Goyescas in opera houses including New York’s Metropolitan), Rodrigo became known for his remarkable concertos. They reflect the Spanish affinity for the guitar; the two bestknown examples, his Fantasy for a Nobleman and the Concierto de Aranjuez, are both for that instrument. But there are other notable examples, including a spectacularly original concerto for harp. Rodrigo composed the Fantasy for a Gentleman in 1954 for Andrés Segovia, and though it is often mistakenly associated with Molière’s Le Bourgeois Gentilhomme—inspiration for many musical adaptions—the gentleman of Rodrigo’s title is actually Segovia himself. But the Concierto de Aranjuez remains his most popular and widely performed composition.

The website devoted to Rodrigo’s life and work includes the composer’s charming personal account of “how and why the Concierto de Aranjuez came about:” In September of 1938, I was in San Sebastián on my return to France…It was during a dinner organized by the

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NOTES ON THE PROGRAM Marqués de Bolarque with Regino Sáinz de la Maza and myself. We ate well and the wine was not bad at all; it was the right moment for audacious fantasizing…All of a sudden, Regino, in that tone between unpredictable and determined which was so characteristic of him, said: -Listen, you have to come back with a ‘Concerto for guitar and orchestra’ – and to go straight to my heart, he added in a pathetic voice: - It’s the dream of my life – and, resorting to a bit of flattery, he continued: - This is your calling, as if you were ‘the chosen one.’

other on the piano keyboard, are rarely heard or mentioned. And, yes, we do hear them frequently in this concerto. But are they so fully responsible for the concerto’s distinctive sound? Or do they function more like the rainfall on a streetscape in Paris or at the Palacio Real de Aranjuez, adding a poetic dimension to a scene that is already beautiful?

Robert Schumann (1810—1856)

Symphony No. 2 in C Major, Op. 61 PERFORMANCE TIME: 34 MINUTES

I quickly swallowed two glasses of the best Rioja, and exclaimed in a most convincing tone: - All right, it’s a deal!

Inspired by the gardens at the Palacio Real de Aranjuez, the concerto opens with two themes in alternation. As Rodrigo notes, the movement is “animated by a rhythmic spirit and vigor without either of the two themes… interrupting its relentless pace.” Their rhythmic impetus makes the slow hush of the second movement all the more dramatic, with a dialogue between solo instrument and ensemble that is traditional in concertos. The last movement, as Rodrigo notes, “recalls a courtly dance in which the combination of double and triple time maintains a taut tempo right to the closing bar.”

Listening to the sunlit music of Robert Schumann’s second symphony, one could easily imagine naming it for the spring season. But “Spring” is actually the nickname for his Symphony No. 1, and the predominant sense of life and affirmation in both these symphonies tells us much about their composer. Throughout his adult life, Schumann experienced bouts of crippling depression, yet he managed to breathe the most positive elements of Romanticism into his music. His illness was so severe that he periodically needed hospitalization, yet he was a devoted husband, a productive composer, and a champion of up-and-coming composers. Schumann’s life was a dark struggle, yet in his music we sense light.

The late George Jellinek—a perceptive musicologist and commentator not inclined to exaggerate—called Rodrigo’s concertos revolutionary, and asserted that their freshness resulted from the composer’s use of the second interval. Even listeners with no musical background are likely to have heard about other harmonic intervals—thirds, fourths, fifths, and so on—but seconds, comprised of two notes that lie next to each

Born in the Saxon town of Zwickau (now Germany), Schumann began his musical studies at age six. After customary studies at the Zwickau Gymnasium and facing intense family pressure, he matriculated at the University of Leipzig to study law.

But music continued to preoccupy him; the year before his enrollment at Leipzig he encountered another fantastically gifted young composer named Franz Schubert, who

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NOTES ON THE PROGRAM was thirteen years his senior. Inspired by Schubert’s example as well as the poems of Jean Paul Richter, Schumann began exploring song composition—to the detriment of his law studies. He turned to one of the most celebrated German piano teachers of the day, Friedrich Wieck, for intensive piano studies.

Friedrich Wieck’s daughter Clara was a nineyear-old piano prodigy when Schumann first met her; by the time he prevailed over her father’s personal and legal objections to marry her, she was 21. (One wonders whether his truncated legal studies helped him win her hand.) In the intervening years, Schumann had begun to lay the foundation for his own career as a virtuoso pianist. When a hand injury foreclosed that option, he turned to piano composition: more songs and jewel-like piano pieces. It was Clara who persuaded him to look beyond the keyboard to full orchestra, and to the symphony as a form.

With Clara’s encouragement and sound musical judgment, Schumann published his first symphony in 1841, the year after they married. He completed another that same year but withheld it from publication, making his Symphony No. 2 his third complete work in symphonic form. (He eventually completed a fourth symphony, No. 3 in the catalogue; his second effort, published posthumously, became No. 4.)

Schumann began sketching his Symphony No. 2 in early December of 1845 in a burst of inspiration. In little more than two weeks he had completed a draft score for piano. But the slower work of refining and orchestrating, which began the following February, was interrupted by bouts of depression, dementia, and tinnitus—a ringing in the ears that plunged his musical imagination into shadow, like an eclipse. His joints ached, his head throbbed, but he persevered. Finally, he 801.399.9214

finished the score for full orchestra on October 19, 1846, and published it the following year.

In presenting the Symphony No. 2 to his publisher, Schumann worried that his illness might be evident in the music. But in listening to it, what we hear most is not suffering, but striving; not illness, but strength and even heroism. Composed mainly in the optimistic key of C Major, its positive sound seems to affirm individual action in the face of life’s challenges, beginning with a simple fanfare that slowly and surely builds energy.

Eventually a dark, melancholy mood shrouds the third movement, an adagio. But while that section may reference Schumann’s personal struggles, it also pays tribute to Schumann’s musical ancestors, all the way back to J.S. Bach, whose revered surname is encoded in the cipher that forms the initial fanfare and its variation in the second movement.

Actually, professional musicians and musicologists find this symphony to be chock-full of ciphers, coded messages, and micro-quotations from earlier works by Bach, Schubert, Mozart, and Schumann himself. The most poignant of these comes as the darkly contemplative fugal section of the adagio leads us to the symphony’s final movement, where the once-slow theme returns with stormy energy. In the course of a complex, three-part development, Schumann seems to lead us in a campaign that goes forward from darkness to light…from the adversity of his illness to triumph over it. And in one of those encoded “secret messages,” he ends the movement with a tribute to Clara, quoting the love song he dedicated to her on their wedding day.

Music history is full of what-if questions. One of the most tantalizing is suggested by Schumann’s illness, which afflicted him in both body and mind. It would be treatable today. What if it had been treatable during his lifetime?

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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† Associate Concertmaster David Porter Acting Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair

Elizabeth Beilman Acting Associate Principal

Robert Stephenson Associate Principal

Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Whittney Thomas

Lissa Stolz

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

CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang

Wen Yuan Gu Associate Principal Second

BASS* David Yavornitzky Principal

Evgenia Zharzhavskaya Assistant Principal Second

Corbin Johnston Associate Principal

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

ENGLISH HORN Lissa Stolz

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

Erin Svoboda Associate Principal

Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore

Sam Elliot Associate Principal BASS TROMBONE Graeme Mutchler TUBA Gary Ofenloch Principal TIMPANI George Brown# Principal Eric Hopkins Acting Principal Michael Pape Acting Associate Principal

Lee Livengood

PERCUSSION Keith Carrick Principal

BASS CLARINET Lee Livengood

Michael Pape Stephen Kehner††

E-FLAT CLARINET Erin Svoboda

KEYBOARD Jason Hardink Principal

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos

FLUTE Mercedes Smith Principal The Val A. Browning Chair

TROMBONE Mark Davidson Principal

HORN Edmund Rollett Acting Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal

LIBRARIANS Clovis Lark Principal Katie Klich ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager • First Violin •• Second Violin * String Seating Rotates † On Leave # Sabbatical †† Substitute Member

Jeff Luke Associate Principal Peter Margulies Gabriel Slesinger††

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FRIENDS OF ONSTAGE OGDEN Onstage Ogden thanks the following individuals, corporations, foundations, and public funding sources for their generous donations! Onstage Ogden is an exempt organization as described in section 501(c)(3) of the Internal Revenue Code. The following is a list of contributors from June 2018 through May 2019. Please contact Onstage Ogden's Development Director, Taylor Knuth, at 801-399-9214 if you would like to make a donation or if your name has been inadvertently left off the following list or is misspelled. Thank you again for your generous support!

Season Sponsor ($100,000+) Onstage Ogden Foundation Stewart Education Foundation

Weber County RAMP

Series Sponsor ($25,000+) Alan & Jeanne Hall Foundation The Standard- Examiner

Val A. Browning Charitable Foundation

Concert Sponsor ($10,000+) Lawrence T. Dee & Janet T. Dee Foundation Matthew B. Ellis Foundation Richard K. & Shirley S. Hemingway Foundation Robert & Marcia Harris

Norman C. & Barbara L. Tanner Charitable Trust National Endowment for the Arts The Pinto Foundation Utah Division of Arts & Museums

Diamond ($5,000 – $9,999) George S. & Dolores Dore Eccles Foundation Marriner S. Eccles Foundation Beaver Creek Foundation

Edith Dee Green Foundation Ogden City Arts Merrill Lynch - Bank of America

Platinum ($2,500 – $4,999) MSL Family Foundation Dr. Robert Fudge & Sylvia Newman Dr. William & Barbara Hughes Dr. Val Johnson

Keith & Ellen Opprecht Charlie & Jean McFadden Marty & Carolyn Rasmussen Dr. Carolyn Rich-Denson

Gold ($1,000 – $2,499) Dwight & Cindy Baldwin Glen & Genette Biddulph Evan & Geraldine Christensen Dr. & Mrs. Fred Clayson Dr. Rosemary Conover & Luckey Heath Brent & Vicki Cox Foundation Ralph Nye Charitable Foundation 26

Bean Family Foundation Dr. Ann Ellis Donna & Ralph Friz George & Mary Hall Dean Hurst Michael & Sharon Lloyd Drs. Jean & Richard Miller Dr. Judith Mitchell OnstageOgden.org

Robert & Jelean Montgomery Robert & Eleanor Newman Harry & Becky Senekjian E. K. & Grace Walling Dr. Michael & Jennifer Webb Glenn & Connie Wimer

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FRIENDS OF ONSTAGE OGDEN Silver ($500 – $999) Kay Ballif Marlene Barnett Rich & Kristin Bauter Melissa & William Bennett Taylor Knuth & Sean Bishop Melissa & Jon Klein Mary & Lee Forrest Carter Lynne & Steven W. Carter Dr. Douglas Deis Rick & Karen Fairbanks Doug & Shelley Felt

Willis McCree & John Fromer John & Heather Gordon Marlin Jensen Paul C. & Cindy Kunz Allan & Kay Lipman Val & Karen Lofgreen Dr. David Malone & Madonne Miner Dr. Rand & Cynthia Mattson Dr. Mark & Meg Naisbitt Maurine Naisbitt Robert & Sally Neill

Ornata Motor Company Scott & Pam Parkinson Suzy Patterson Patrick E. Poce & Deon Gooch Eloise Runolfson Greg & Susan Shreeve Jan & Mike Slabaugh Jonathan Beverly Souder Richard & Judy Webber Hal Wheelwright

Thomas Fearn Jill Flamm Christopher Ford William & Anita Ford Linda Forest Pat Fuller John Gingrich David & Ruth Ann Gladwell Nancy Green Jeff Gyllenskog David & Joan Hadley Mardee Hagen Austin Halbritter Kim & Becky Hale Tina & Robert Herman Jeanne Hinchman Robert & Rula Hunter Robert Irvine Carol Jackson Dr. Michael & Lori Jacobazzi Eric & Becky Jacobson Dorothy Johnson Steve Johnston William & Jackie Jones Melba & Denis Kirby Knights of Columbus #14399 Paul Kriekard Andrea Lane Kent & SannDee Lindquist William & Sarah Lindsay Jeanette Long Eugene & Pat Low Melba L. Lucas Jan & Jerome Luger

Ivaloo Lund Verlene Lund Sharon Macfarlane Dwayne Manful Debra Marin Frank & Sharon Markos Erika Martin Sandy & Phillip Maxwell Evalyn McBurnie Andy & Susan Mccrady James & Jennifer McGregor Arturo & Sarah Mendoza Wayne & Nada Miller Karen Miner Dr. & Mrs. Noel Nellis Wendy Nelson Gary & Marilyn Newman Arthur & Ruth Nielsen Claude Nix OGCC Ladies Association Jason & Kristina Olsen Cheryl Orme Donald Pantone Val & Marlene Parrish Jeff Paulson Paul & Sandra Perkin Janet Petersen Matt Pollard Joan & Paul Powell Keith & Mary Sue Rasmussen Juergen Sass Howard Schuyler Jackie Shafer

Bronze ($100 – $499) Anonymous Jon & Calee Adam Lyle & LaVon Allen Vickie Anderson Zana Anderson Lee Badger Paul & Georgia Bennion Phil & Melanee Berger Lisa Brasher Kathleen P. Browning Arthur & Marian Budge Janice Burk Jeffry & Linda Burton Brad & Lynn Carroll Kitty Chatelain Dr. Allen & Janis Christensen Cathay Christiansen Franco Cirilo Ellie Cole Clark & Pat Combe Phyllis Combe Kim & Becky Crumbo Lynn & Natalie Dearden Carolyn Deru Allan & Kellie Diersman DeLoris & Dale Dorius Kathy Douglas Diana Dunkley David & Robbyn Dunn John Eckstein David & Lisa Edwards Ogden Chapter of MacDowell Ensemble Janet & Steven Evans

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FRIENDS OF ONSTAGE OGDEN Bronze ($100 – $499) continued.

Lawanna Shurtliff Darin & Jo Sjoblom Denise Sly Carolyn Smith Sempre Musical Society Paul & Carol Sonntag Keith & Marlys Sorbo Forrest & Rolayne Staffanson Dr. John & Colleen Starley Edward & Mari Lou Steffen Dorothy Steimke

Ned & Sheila Stephens Darlene Stoddard Edna Stratford Mark & Elizabeth Stratford Jeneile Tams Jeane Taylor Joann Taylor Jan Thurston Craig & Emilyn Umbrell Patti Van Aarle Harold & Emily Vonk

Lucinda & Phillip Wagner A. Steven Waldrip Melvin Walker Andrew & Suzanne Wall Bruce Wallace Brent & Gloria Wallis Sheldon & Janice Ward Barbara & Gerald West Kent & Trudy Whiteman Helgard Wolfram Larry Zaugg

I Fly I Float The Front Industrial Art & Design Dr. Michael & Jennifer Webb Julie Johnson Kaffe Mercantille Klymit Linda Forest Mainstreet Music Mount Ogden Golf Course Northrop Grumman Conference Center Ogden Athletic Club Ogden School Foundation Ogden’s Own Distillery

Play Like a Pro Tennis Academy REAL Salt Lake Red Butte Gardens Red Pine Adventures Roosters Brewing Schneiter’s Golf Course Sean Slatter Social Axe Sylvia Newman Taggart’s Talisman Brewing Company Utah Museum of Natural History Utah Royals Wendy Roberts WSU Lindquist College Zucca Trattoria

In-Kind Donors Alamexo ALSCO Argo House Attention to Detail Bella Muse Bhav Yoga Den Bigelow Hotel CenterPoint Legacy Theatre Color Me Mine Corn Belly’s Maze at Thanksgiving Point Costa Vida at the Junction Eccles Art Center Egan Auto Farr Better Ice Cream Hale Centre Theatre

MEMORIAL DONATIONS In Memory of Robert & Joyce Anderson In Memory of Joseph Draper Michael & Sharon Lloyd Sharon Macfarlane

In Memory of Bob Lewis Sempre Musical Society

In Memory of E. Rich Brewer William & Lorna Kennedy OGCC Ladies Association Myrth Priest Carolyn & Marty Rasmussen

In Memory of Nyla Petersen Sharon Macfarlane Jan Thurston

In Memory of Dorothy Gibby Sharon Macfarlane In Memory of Marie Irvine Zana Anderson

In Memory of Charles Combe Phyllis Combe

In Memory of Dorothy Jones Ann Alene Dunn William & Lorna Kennedy

In Memory of Joseph Dixon Karen Miner

In Memory of Roseanne Peery King Keith & Ellen Opprecht

In Memory of James E. Schroeder Sharon Macfarlane In Memory of Bruce E. & Rella Wallace Bruce Wallace

ADD YOUR NAME TO OUR LIST OF AMAZING DONORS! Support Onstage Ogden with Donations of: Cash in the form of . . . . . . . . . . . . . . . . . . . Cash, Check, Credit Cards, Money Orders, Etc. Securities in the form of . . . . . . . . . . . . . . . . . . . . . . . . . . Stocks, Bonds, Mutual Funds, Etc. Planned gifts in the form of . . . . . . . . . . . . . . . . . . . Wills, Bequests, Trusts, Annuities, Etc. Gifts-in-kind . . . . . . . . . . . . . . . . . . . . Services and tangible items to offset budgeted items 28 OnstageOgden.org 801.399.9214 Matching gifts . . . . . . . . . . . . . . . . . . . . . . . . Inquire with your Company’s HR department

Joseph and the Amazing Technicolor Dreamcoat

Life Happens Here 2019 Season June 27 to October 12 HAMLET MACBETH JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT TWELFTH NIGHT THE BOOK OF WILL EVERY BRILLIANT THING THE PRICE THE CONCLUSION OF HENRY VI: PARTS TWO AND THREE

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