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PHOTO: Gary David Gold for Opera Saratoga




31, 2017 | 7:30 PM



2017 | 7:30 PM

Rose Wagner Performing Arts Center Jeanné Wagner Theatre The real fight begins when a soldier comes home. Opera becomes overwhelmingly personal in this contemporary story of an American soldier coping with blast-induced traumatic brain injury after he returns home from duty in Iraq. Based on the book The Long Walk: A Story of War and the Life that Follows, Brian Castner’s best-selling memoir, this opera offers a visceral look at the realities of modern warfare and the unseen battles that rage inside our hearts. Commissioned by American Lyric Theater.

BRIAN Daniel Belcher

CONDUCTOR Steven Osgood

JESSE Megan Marino ALL SEATS $46

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U TA H O P E R A S E A S O N S P O N S O R :

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6 Welcome 8 Artistic Director’s Welcome 10 Board of Trustees 15 Tribute: Mardean Peterson 16 Director’s Cut 18 Elise Quagliata Q&A 19 Dominick Chenes Q&A 20 Staff Spotlight: Michael Spassov 22 Production Sponsors 24 Cast / Artistic Staff / Chorus / Supernumenaries 30 Composer & Librettist 32 Synopsis 34 Deadlier than the Male 38 Support USUO 39 Utah Symphony 40 Campaign for Perpetual Motion 42 Crescendo & Tanner Societies 43 Legacy Giving 44 Season Honorees 50 Corporate & Foundation Donors 51 Individual Donors 54 Tagged & Hashtagged! 59 Classical 89 Broadcasts 61 Administration 62 Education 64 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. Preludes are free with your opera ticket and begin one hour before curtain in the Capitol Room.



On behalf of the board, musicians, and staff of Utah Symphony | Utah Opera, it is my great pleasure to welcome you to the opening of Utah Opera’s 39th season featuring Bizet’s timeless classic Carmen. Of all art forms, perhaps it is opera, with its theatrical blend of song and words, that has the most potential to express emotions in vivid, affecting colors. That’s certainly the case this season as we encounter the ‘femme fatale’ in Carmen; the chivalric escapades of Don Quixote in Man of La Mancha; the gothic madness of Lucia di Lammermoor; the womanizing and eventual damnation of the libertine Don Giovanni; and the contemporary story of an American soldier returning from Iraq as he copes with blastinduced traumatic brain injury in The Long Walk. Since joining USUO on July 1 as President and CEO, I have quickly become inspired by the superb quality of the organization’s artistic offerings. I am excited to work with forward thinking artistic leaders in Christopher McBeth at Utah Opera and Thierry Fischer at Utah Symphony, and with our worldclass musicians, and trustees, staff, volunteers, and supporters. Our shared vision is to grow and excel in artistic achievement as we connect and serve our unique community through great live music. Of course, none of this would be possible without your loyal support through attendance and vital contributions. Your confidence in us is the surest sign that we can sustain and grow Utah Opera long into the future. Thank you, and I hope to see you back this season for more performances filled with drama and emotion! Paul Meecham President & CEO Utah Symphony | Utah Opera



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Artistic Director’s Welcome

Dear Opera Friends and Family, Welcome once again to the Capitol Theatre. It is time to return to one of the all-time great operas, Carmen! There are probably more recognizable melodies in this opera than any other in the repertory. So many, in fact, the instrumental Carmen suite is also one of the most favorite pieces of all the symphonic pops works. If this is your first Carmen, you’ll soon understand what I mean and you will probably find yourself recognizing many of the musical themes. Most likely, however, this isn’t your first encounter with this French operatic masterpiece and you know exactly of what I speak. However, is it just the familiar melodies that draw us back to this opera over and over again? No, I think that regardless of gender it is also the archetypal characters and their stories that also pull us into the theater time and time again. How is it possible NOT to be fascinated with a woman who has the power to have and dispose of whomever she wishes? We all want to be wanted – in one form or another – and Carmen can choose whomever she wishes. Of course, in this story her focus has to be the sole man who initially regards her with indifference. Don José really doesn’t resist that long but, in trying to do so, feels the full force of Carmen’s charms which eventually lead him down a dark path to a place where he loses all self-control. It is a fascinating tale told in the “realistic” style that was becoming in vogue in all theatrical art 8

forms. Not seeing people on stage that were metaphors but rather people that we recognize and, perhaps only in a small way, saw in ourselves making the drama that much more potent. Singing the title role is a wonderful artist who has performed it many times to critical acclaim and is new to the Janet Quinney Lawson Capitol Theatre, Elise Quagliata. Her Don José is Dominick Chenes who returns to Utah Opera as a former Resident Artist. Mr. Chenes’ career has been on an upward trajectory for several years with this role being one of his most successful and we are thrilled to have him back. Other notable debuts to our stage are Christian Bowers playing everyone’s favorite toreador, the dashing and cavalier Escamillo, and Sarah Tucker as the wholesome Micaëla. It is my pleasure to introduce these extraordinary artists to you who come from around the country. Returning to bring the piece to life is the wonderful stage director, Tara Faircloth, who has long history of successes with Utah Opera and one of the Utah Symphony’s favorite opera conductors, Maestro Robert Tweten. I invite you to sit back, relax and enjoy everything that has made Carmen the number one French opera in the world. Warmly,

Christopher McBeth UTAH OPERA 2016–17 SEASON

NOVEMBER 12, 2016 Libby Gardner Concert Hall, University of Utah 11 AM to 1 PM and 2 PM to 5 PM* The auditions are open to the public to experience free of admission charge. *Visit after November 4 for more information and a complete schedule of auditioners. The MONC Utah District Auditions are supported in part by the Utah Division of Arts & Museums, with funding from the State of Utah and National Endowment for the Arts. Additional support is provided by the residents of Salt Lake County through the Zoo, Arts & Parks (ZAP) Program, the Salt Lake City Arts Council, BYU Broadcasting, and the University of Utah School of Music.

Board of Trustees

ELECTED BOARD David A. Petersen* Chair

Thomas Thatcher Bob Wheaton Kim R. Wilson Thomas Wright

Jesselie B. Anderson Doyle L. Arnold* Dr. J. Richard Baringer Judith M. Billings Howard S. Clark Gary L. Crocker David Dee*

Alex J. Dunn Kristen Fletcher Kem C. Gardner* Lynnette Hansen Matthew Holland Thomas N. Jacobson Ronald W. Jibson* Tyler Kruzich Thomas M. Love R. David McMillan Brad W. Merrill Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Shari H. Quinney Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart Naoma Tate

LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Sr. Jon Huntsman, Jr. G. Frank Joklik

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

Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder

TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates

Burton L. Gordon Richard G. Horne Warren K. McOmber

E. Jeffrey Smith Barbara Tanner

HONORARY BOARD Rodney H. Brady Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous

Lisa Eccles Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Marilyn H. Neilson O. Don Ostler

Stanley B. Parrish Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith Ardean Watts

NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Chair (Utah)

Susan H. Carlyle (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

Anthon S. Cannon, Jr. (S. California)

Senator Orrin G. Hatch (Washington, D.C.)

Alvin Richer (Arizona)

William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO



Travis Peterson* Karen Wyatt* EX OFFICIO

Carol Radinger Utah Symphony Guild Paul C. Kunz Ogden Symphony Ballet Association Judith Vander Heide Ogden Opera Guild

*Executive Committee Member


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“Please, sir,” replied Oliver, “I want to open a University Credit Union savings account.” Federally Insured by NCUA

Tribute This production of Carmen is lovingly dedicated to the memory of Mardean Peterson, widow of Utah Opera Founder and first General Director, Glade Peterson. Since its founding in 1978, Mardean worked tirelessly behind the scenes championing Utah Opera throughout the community. From organizing Utah Opera Guild fundraisers such as Equestrian Elegance, to welcoming artists of all backgrounds into the opera family, to hosting innumerable dinners and other special events, her influence was felt in countless ways. She cheered each opening night, rose to every challenge, and never wavered in her commitment to enriching lives through the arts. Today, nearly forty years later, Utah Opera is a more vibrant company thanks to her hard work performed with grace, humor, and dedication. Mardean Peterson First Lady of Utah Opera 1933–2016



Director’s Cut By Tara Faircloth, director

TEN THINGS YOU MAY NOT KNOW ABOUT CARMEN Carmen is one of the most beloved and often-performed operas in the entire world, and even if you’ve never stepped foot in an opera house, you probably already know all the big tunes. HOWEVER, here are ten things that you may not know about this opera: 1. French composer Georges Bizet wrote more than 30 operas and Carmen is the only one that is performed with any regularity. 2. After its premiere in 1875, Carmen was critically panned, and many believe the poor reception led to Bizet’s early death, at age 37. He died not knowing how beloved his opera would become. 3. The leading man in the story, Don José, had trained to be a priest. As a young man, he got into a fight after a game of paume (similar to tennis) and killed a man. He ran away from his hometown and joined the military to avoid arrest. 4. Micaëla, Don José’s hometown sweetheart, usually is portrayed with blond hair. She and José are from the Basque region of Navarre, in the northern part of Spain. The Navarrese were often fair, with blond hair and blue eyes.  5. When Don José attacks Escamillo in the mountains, he uses a Navaja


knife. This large folding knife could lock open, and was favored for its easy concealment. Originally a weapon of the aristocracy, over time it became very popular among the criminal element. 6. The most famous song in the opera features a completely made up word: Toreador. The proper term is torero, but Bizet needed another syllable to fit the tune. 7. Matadors often came from a very poor background, and chose the sport as a way to get out of the ghetto. In early days, the prize for killing a bull was an ear (or two for excellent performance!) Winning also meant the bullfighter could claim the meat of the bull, a welcome source of food for a poor family. Finding a wealthy patron was the quickest way out of poverty. 8. The use of cards for divination is called cartomancy. Either Tarot or traditional playing cards may be used. They share a common origin, having been developed in China in the 9th century, and used for fortune telling in Europe as early as 1440. 9. A great quote from the beleaguered Bizet: “Ah, music! What a beautiful art! But what a wretched profession!” 10. Georges Bizet never set foot in Spain.






21, 23, 25, 27, 2017 | 7:30 PM 29, 2017

| 2:00 PM

Janet Quinney Lawson Capitol Theatre

The dream isn’t impossible to him. Some call Don Quixote a fool. Others call him a lunatic. But in Man of La Mancha, you might end up calling him an inspiration a s y o u f o l l o w t h e u n l i k e l y j o u r n e y o f a m a n w h o d re a m s t h e i m p o s s i b l e d re a m o f a b e t t e r w o r l d a l l a ro u n d h i m . B e l i e v e i n h i s d re a m w i t h t h i s ro u s i n g p e r f o r m a n c e b y U t a h O p e r a . DON QUIXOTE /CERVANTES Robert Orth



SANCHO PANZ A Keith Jameson

ALDONZA Audrey Babcock



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U TA H O P E R A S E A S O N S P O N S O R :


Elise Quagliata Q&A Mezzo-soprano Elise Quagliata is a juggler. Off stage she plays mommy to an 18-month-old daughter, Lila, who travels with her as she performs in opera houses and concert halls across the country. She discusses finding the balance between motherhood and career, and the unexpected similarities in playing the roles of Sister Helen Prejean in Jake Heggie’s Dead Man Walking and the title role in Bizet’s Carmen. On balancing motherhood and career: It’s always a fine balance between being a full time mom and a singer. Utah Opera’s production of Carmen will be my daughter’s 31st gig. She’s been on the road with me since she was three months old. When she was born, I was preparing for my role in Dead Man Walking and we were living in a brownstone in Chicago with Sister Helen herself. My mother was our nanny. Lila slept only in 45-minute chunks back then. She’s a good traveler now that she’s a year and a half. She gets what I do, she comes to the theater, she likes witnessing the transformation I undergo. She is really fun to have around. When I go to the theatre, she said, “Lila is going to the theatre. Lila is singing opera.” It’s a funny thing to have and lighten my perspective before I go onstage. As a working mother there’s nothing you can do but chill out and relax. She is my priority. She makes the art deeper and more meaningful. I have a level of empathy that I didn’t have previously. I have an amazingly supportive husband who knows that our daughter will be on the road with me and that the contracts that I had in place while I was pregnant are still in place. She’s turned into this super adaptable kid and is totally up for new things and new people.


On playing strong female characters: It seems so strange to compare these two women because one is a real human being who is quite literally an angel among men and Carmen is this kind of iconic, sexy character. Although it might be unexpected to consider, I think these two ladies are not entirely different. Sister Helen is a multi-dimensional human who has a multifaceted persona. She is this equally strong and fiery personality because she cultivated this singular mission to abolish the death penalty that she has spent the last 50 years working towards. She is passionate and impassioned in a complex, compelling way. By contrast, having done Carmen so many times and seen it performed, it’s easy for her to seem like a one dimensional character. Carmen is basically the same human being from beginning to end. She is often played in a superficial, sexy way. But if you’re playing Carmen knowing that you’re going to die and that it’s your fate, to me she becomes a more interesting character. Then she’s not just a sexpot. She is dynamic and magnetic. She knows who she is and what she wants, and how to get there. In terms of strength as women, strength in character, strength in mission, they are surprisingly similar.


Dominick Chenes Q&A By Madeleine Tolk Tenor Dominick Chenes has been called a “breakout star” by Huffington Post but he is no stranger to the Utah Opera stage—he toured Utah as a Resident Artist in 2008. He sat down with Madeleine Tolk to discuss his passions and how he connects with the role of Don José.

Tell us what led you down the path to becoming an opera singer I didn’t always want to be a performer—I had wanted to be a pediatrician first. I always liked to sing and I auditioned for a talent show in high school. The choir director encouraged me to sing and encouraged me to do an audition at the local university, which eventually is where I went to get my undergraduate and graduate degrees. It was kind of like the best accident that’s ever happened. You are no stranger to Utah Opera, having performed eight years ago as one of our Resident Artists introducing school children to opera as an artform. How did that experience help you develop as a performer? It really helped me to get on my own two feet as a performer and not have to rely on a school environment (I went to the apprentice program right out of school). I was able to understand what it meant to prepare myself in the complete sense of the word... to get up in the morning and be ready to perform for anybody, whether it was for kids or whether it was in a Utah Opera production. What is your favorite thing about opera as an art form? Opera itself has blown me away with its capacity to enthrall the soul with how it lives, because it is a living creature that you create with your colleagues. It’s really special. Carmen UTAHOPERA.ORG / (801) 533-NOTE

is very special to me because Don José came to me at a time in my career where I was very uncertain of where I was going and I hadn’t done any roles in a couple years and I was just studying, working, being a student and an emerging artist and trying to put one foot in front of the other as a singer. I decided to maybe go a different way and I went back to school for hospitality, thinking I could go into catering or something. But my university teacher at the time asked me if I wanted to sing Don José. It just took me back again and I was taken over by opera and the character and the whole production of it. I decided “No, this is what I have to do.” I was accepted into the Academy of Vocal Arts in Philadelphia that year and then I spent four years studying and preparing to be an artist. It is the magic [of opera] that draws me to it. There is nothing else on earth like the experience of an opera singer being on stage and watching everything come together—what you’ve prepared, what your colleagues have prepared, and what the orchestra and conductor have prepared. You have these moments of perfection when maybe the audience doesn’t know what’s going on, but they just know that something makes them gasp and wonder “Wow, that was special.” It convinces them that they’ve been transported somewhere else. 19

Staff Spotlight: Michael Spassov Michael Spassov was appointed Utah Opera Chorus Master in May 2016. Carmen will be his first production with Utah Opera. A native of Ottawa, Canada, Mr. Spassov has been playing the piano and composing music since he was very young. When he was about eight years old, he was introduced to opera when his father took him to a production of Mozart’s Don Giovanni at the National Arts Centre in Ottawa. He says of the experience, “I’m not sure that I understood all the subtleties of what was going on, but I was terrified by the final scene, where the statue comes to take Don Giovanni off to Hell.” Despite this frightening childhood memory, he became more interested in opera as he learned more about music and theater. As a young boy he participated in the Opera Lyra Boys’ Choir. He enjoyed singing in a chorus setting and particularly appreciated the excitement and anticipation of being backstage before a show. Mr. Spassov’s favorite thing about opera is its ability to convey emotions and stories through the intersection of different art forms. “Opera is where drama and music come together, creating this overwhelming impression and burst of experience that you don’t really get with other art forms,” he says. “Everything shows the biggest emotions, but at the same time, it can be extremely intimate, so you get the extremes of human experience. The coming together of both the music and the drama creates something new and greater than what either of them could create by themselves.” One of his favorite things about working with an opera chorus is the opportunity to explore many different roles. He says, “If you’re one of the principal singers, you get to play only one character. But when 20

you’re in the chorus, you get to play many different characters over the course of an opera. Carmen is an amazing example of this because the chorus will be playing soldiers, drug smugglers, gypsies, guys from the tavern waiting around for the cigarette girls, and cigarette girls.” Mr. Spassov feels that working with an opera chorus is very fulfilling because of its unique environment. “It’s a place where you can come together and make great music. Nothing is competitive, and people are really committed and supportive of each other. It’s a really wonderful, satisfying way to make music with other people.” He looks forward to working with Utah Opera beginning this season. He aims to help the chorus be its best by allowing chorus members to feel comfortable experimenting artistically, creating a supportive environment, and providing musical guidance. As he approaches the upcoming season, he is especially looking forward to Carmen because of the opportunities it provides the chorus to explore different forms of music. He says, “You can never get tired of [Carmen] because there is so much in it…. It’s exciting, but also an interesting challenge because there is every kind of singing in it. There’s really legato singing and there’s really articulate singing, so it shows off every kind of singing that a chorus can do.” He is also looking forward to working on Leigh’s Man of La Mancha, Donizetti’s Lucia di Lammermoor and Mozart’s Don Giovanni—even that final terrifying scene from his childhood—later in Utah Opera’s 2016–17 season. UTAH OPERA 2016–17 SEASON

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Production Sponsors Utah Opera gratefully acknowledges the following generous sponsors who have made this production of Bizet’s Carmen possible.













CARMEN October 8, 10, 12, 14 | 7:30 pm October 16 | 2 pm Janet Quinney Lawson Capitol Theatre by Georges Bizet Libretto by Henri Meilhac & Ludovic Halévy Opera sung in French with English supertitles Supertitle translation by Tara Faircloth Set in Seville, Spain 1830 World Premiere: Paris 1875 Previous Utah Opera Productions: 1979, 1985, 1996, 2001, 2010

CAST (in order of appearance) Moralès . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tyler Oliphant Micaëla . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sarah Tucker Zuniga . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Nakatani Don José . . . . . . . . . . . . . . . . . . . . . . . . . . . Dominick Chenes** Carmen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elise Quagliata Frasquita . . . . . . . . . . . . . . . . . . . . . . . . . . . . Abigail Rethwisch* Mercédès . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sarah Coit* Escamillo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christian Bowers Le Remendado . . . . . . . . . . . . . . . . . . . . . . . Christian Sanders* Le Dancaïre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Markel Reed*


*Current Utah Opera Resident Artist

Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Tweten Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tara Faircloth Set Designer . . . . . . . . . . . . . . . . . . . . . . . . . Allen Charles Klein Costume Designer . . . . . . . . . . . . . . . . Susan Memmott Allred Lighting Designer . . . . . . . . . . . . . . . . . . . . Nicholas Cavallaro Wigs/Make-up Designer . . . . . . . . . . . . . . . . . . Yancey J. Quick Chorus Master . . . . . . . . . . . . . . . . . . . . . . . . . Michael Spassov Fight Director . . . . . . . . . . . . . . . . . . . . . . . . Christopher DuVal Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Miller Rehearsal Pianist/Supertitle Musician . . . . Timothy Accurso* Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . Anthony Buck Assistant Fight Director . . . . . . . . . . . . . . . . . . . . . . . Ava Kostia Stage Manager . . . . . . . . . . . . . . . . . . . . . . Jayme Marrs Castle Assistant Stage Managers . . . . . . . . . . . Amber Lewandowski Amanda Craig

**Former Utah Opera Resident Artist

The performance will last approximately 3 hours with two intermissions.

Sets built by Florida Grand Opera





Tyler Oliphant (Utah) Moralès Most Recently at Utah Opera, Tosca Recently: La bohème, Lyrical Opera Productions La traviata, Opera Idaho La Cenerentola, Utah Lyric Opera Ensemble Upcoming: Elijah, Idaho State Civic Symphony Carmen, Lyrical Opera Productions Sarah Tucker (Texas) Micaëla Utah Opera Debut Recently: Jenůfa, San Francisco Opera; Carmen, Don Giovanni, Arizona Opera Upcoming: War Stories, Opera Philadelphia Kevin Nakatani (California) Zuniga Most Recently at Utah Opera, The Merry Widow Recently: Gianni Schicchi, Ragtime, Peter Pan, Utah Festival Opera & Musical Theatre

Dominick Chenes (Nevada) Don José Most Recently at Utah Opera, Madame Butterfly Recently: Carmen, Palm Beach Opera; Tosca, Minnesota Opera; Les Troyens, Grand Théâtre de Genève Upcoming: La bohème, Welsh National Opera; Madame Butterfly, Austin Lyric Opera




cast Elise Quagliata (New Jersey) Carmen Utah Opera Debut Recently: Doubt, Union Avenue Opera; Hopper’s Wife, New York City Opera; Carmen, Opera on the James; Dead Man Walking, Des Moines Metro Opera Upcoming: Dead Man Walking, Pensacola Opera; Carmen, New York City Opera Asian Tour; Il ritorno d’Ulisse in patria, Opera Louisiane Abigail Rethwisch (Iowa) Frasquita Utah Opera Debut Current Utah Opera Resident Artist Recently: La traviata, Chautauqua Opera; Sweeney Todd, Iolanta, Tri-Cities Opera Upcoming: Man of La Mancha, Lucia di Lammermoor, The Long Walk, Utah Opera Sarah Coit (Florida) Mercédès Most Recently at Utah Opera, The Merry Widow Current Utah Opera Resident Artist Recently: The Child and the Enchantments, Utah Symphony | Utah Opera; Don Giovanni, Roméo et Juliette, The Santa Fe Opera Upcoming: Man of La Mancha, Don Giovanni, Utah Opera Christian Bowers (New York) Escamillo Utah Opera Debut Recently: Il barbiere di Siviglia, Opera Project Columbus; HMS Pinafore, Carmen, Shreveport Opera; Carmen, Washington National Opera Upcoming: South Pacific, Annapolis Opera; Candide, Théâtre Capitole de Toulouse and Opéra National de Bordeaux; Duruflé Requiem, National Symphony Orchestra




cast / artistic staff

Christian Sanders (Colorado) Le Remendado Most recently at Utah Opera, The Marriage of Figaro Current Utah Opera Resident Artist Recently: Manon, Des Moines Metro Opera; Aida, The Merry Widow, Utah Opera Upcoming: Man of La Mancha, Lucia di Lammermoor, Utah Opera Markel Reed (North Carolina) Le Dancaïre Most Recently at Utah Opera, The Merry Widow Current Utah Opera Resident Artist Recently: Il Barbiere di Siviglia, Soo Opera Theatre; Tosca, Utah Opera; Le Nozze di Figaro, Bronx Opera Upcoming: The Long Walk, Don Giovanni, Utah Opera ARTISTIC STAFF Robert Tweten (New Mexico) Conductor Most recently at Utah Opera, Tosca Recently: Die Zauberflöte, Calgary Opera; Madama Butterfly, Dayton Opera; Lucia di Lammermoor, Edmonton Opera Upcoming: The (R)evolution of Steve Jobs, The Santa Fe Opera; La Cenerentola, El Paso Opera




artistic staff

Tara Faircloth (Texas) Director Most Recently at Utah Opera, The Marriage of Figaro Recently: Don Giovanni, Arizona Opera; La bohème, Tulsa Opera ; Madama Butterfly, Wolf Trap Opera Upcoming: La rondine, Opera Santa Barbara; Giulio Cesare, Rice University Susan Memmott Allred (Utah) Costume Designer Most Recently at Utah Opera, The Marriage of Figaro Recently: PBS Christmas Special with Mormon Tabernacle Choir 2015; Resident Designer, Utah Opera, 1979–2011; Mormon Miracle Pageant; Utah Shakespeare Festival; Southern Utah State College Yancey J. Quick (Utah) Wig and Make-up Designer Most Recently at Utah Opera, The Marriage of Figaro Recently: Resident Wig and Makeup Designer, Utah Opera; Wig Master, Ballet West; Wig and Makeup Designer, Utah Festival Opera & Musical Theatre Michael Spassov (Canada) Chorus Master Utah Opera debut Recently: Capriccio, La fanciulla del West, The Santa Fe Opera; Roméo et Juliette, Atlanta Opera Upcoming: Lucia di Lammermoor, Don Giovanni, Utah Opera




artistic staff / chorus

Melanie Malinka (Germany) Children’s Choir Director Most Recently at Utah Opera, The Marriage of Figaro Recently: Noye’s Fludde, The Cathedral of the Madeleine; Tosca, Utah Opera (chorus master); The Child and the Enchantments, Utah Symphony | Utah Opera; (children’s chorus) Upcoming: Dixit Dominus, The Cathedral of the Madeleine; Pueri Cantores Children’s Choir Festival, Chicago UTAH OPERA CHORUS Keanu Aiono-Netzler Julie Barker Jessica Benson Matthew Castleton Andrea da Silva Natalie Easter Gregory Harrison Paul Hill Melissa James Alyssa Jenks Tom Klassen Hilary Koolhoven Phil Lammi

Nelson LeDuc Telmar Lochridge Julie McBeth Garrett Medlock April Meservy Mike Moyes Dan Nichols Dale Nielsen Gonzalo Peña Geneil Perkins Tony Porter Heidi Robinson Ben Shaw

Mark Sorensen Kelly Southworth Carolyn Talboys-Klassen Scott Tarbet Kathryn Thompson Sammie Tollestrup Daniel Tuutau Davis Underwood Dawn Veree Alene Wecker Ruth Wortley Lennika Wright Brooke Yadon

SUPERNUMERARIES Dominic Barsi Gabriel Cabal Michael Drebot Jenny Evans

Rob Hall Joe Jenkins David Lach Will Morrey

Evan Trewitt Ryan Sawicki


Do you have questions to ask or comments to share about tonight’s performance and Utah Opera?

Please join Christopher McBeth in the Capitol Room after each performance for a Question & Answer session. 28



Georges Bizet Composer

Henri Meilhac Librettist

Ludovic Halévy Librettist


composer / librettist Georges Bizet (Paris, 25 October 1838—3 June 1875) was a French composer and pianist of the Romantic era. His father, Adolphe Armand Bizet, (1810–86) was an amateur singer and composer, and his mother, Aimée Léopoldine Joséphine née Delsarte, was the sister of the famous singing teacher François Delsarte. He entered the Paris Conservatory of Music on October 9, 1848, a fortnight before his tenth birthday. His teachers there were Pierre Zimmermann, Antoine François Marmontel, François Benoist, and on Zimmermann’s death, Fromental Halévy, whose daughter Bizet later married. He is best known for the opera Carmen. Henri Meilhac (Paris, 1831–1897) as a young man began writing fanciful articles for Parisian newspapers and vaudevilles, in a vivacious boulevardier spirit which brought him to the forefront. About 1860, he met Ludovic Halévy, and their collaboration for the stage lasted twenty years. Their most famous collaboration is the libretto for Georges Bizet’s Carmen. However, Meilhac’s work is most closely tied to the music of Jacques Offenbach, for whom he wrote over a dozen librettos, most of them together with Halévy. He died in his hometown of Paris. Ludovic Halévy’s father, Leon, was a civil servant as well as a clever and versatile writer. In 1865, Ludovic Halévy’s own increasing popularity as an author enabled him to retire from the public service. Ten years earlier, he had become acquainted with the musician Offenbach, who was about to start a small theatre of his own in the Champs-Élysées, and he wrote a sort of prologue for the opening night. Other little productions followed, and in the spring of 1860 Halévy was commissioned to write a play for the manager of the Variétés in conjunction with another vaudevillist, Lambert Thiboust. The latter having abruptly retired from the collaboration, Halévy was at a loss how to carry out the contract, when on the steps of the theatre he met Henri Meilhac, then comparatively a stranger to him. He proposed to Meilhac the task rejected by Lambert Thiboust, and the proposal was immediately accepted. Thus began a collaboration which was to last over twenty years, and which proved most fruitful both for the reputation of the two authors and the prosperity of the minor Paris theatres. During this period, they wrote the libretto to Carmen, but it was a sideline to their other work. Halévy died in Paris on 8 May 1908.


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By Judy Vander Heide

Carmen by Bizet Act I

Act II

Seville, Spain

A tavern

Soldiers loiter near a cigarette factory in Seville observing the townspeople. A peasant girl, Micaëla, approaches Moralès and inquires about a recent recruit, Don José. With the changing of the guard, led by Lt. Zuniga, the newly minted soldier enters.

Carmen learns from Zuniga that José, who has been in prison, has just been released. She and her friends Frasquita and Mercédès have been partying in a tavern owned by Lillas Pastia when the renowned bullfighter Escamillo swaggers in, full of braggadocio and amorous innuendos directed at Carmen; she denies him, asserting her love for Don José. When he leaves, the smugglers discuss a future raid they have planned; Carmen’s friends are ready to help but she will not participate because she is in love.

On a break from their jobs, women, including the saucy gypsy Carmen, emerge from the cigarette factory. Carmen claims she is free to live and love as she pleases. All the soldiers are beguiled by her with the exception of Don José, who pointedly ignores her. Carmen flirts with him and then tosses him a rose which he picks up and hides. Micaëla brings a letter from Don José’s mother, which pleads with him to return to the countryside and the virtuous life it offers. Embarrassed by the implication that José should marry, Micaëla flees. The factory women have returned to work, when a fight breaks out between Carmen and another girl. Zuniga sends Don José to quell the disturbance, but haughty Carmen refuses to answer questions and is sentenced to prison, to be escorted there by José. Seduced by her beauty and her promise for an amorous liaison, he allows her to escape while he is apprehended.


When Don José arrives, Carmen dances for him until a bugle call summons him to return to the troops. To prove his love, he shows her the flower he has treasured while serving her prison term. Then Carmen taunts him, urging him to desert the army and join the vagabonds in the mountains. Meanwhile Zuniga returns to pursue Carmen and a struggle ensues with Don José who is wildly jealous. Now discredited as a soldier, his only option is to join the smugglers. Act III In the mountains

Life in the mountains in the gypsy smugglers’ hideout has disenchanted José. Quarrels erupt between him and Carmen; she is tired of him and UTAH OPERA 2016–17 SEASON



suggests that he return to his mother. He is ordered to be on guard while Carmen and her girlfriends read each other’s fortunes. The cards say Frasquita and Mercédès will lead lives of luck and prosperity, but Carmen has drawn the Ace of Spades, signifying death. Micaëla enters in search of José, bearing the news that his mother is dying. Upon hearing a shot, she hides. José has fired at an intruder, Escamillo. Their fight is halted by the smugglers, and the toreador invites all to the bullring. Anxious to be rid of José, Carmen encourages him to accompany Micaëla to his mother’s side. Still hopelessly in love, José swears to Carmen that he will return.

Act IV Seville, Outside a bullring

In Seville, the crowd cheers for the bullfighters as they approach the arena. Carmen appears with Escamillo and is warned that Don José is in the area. When he appears, she tells him that their romance is finished and insults him by throwing his ring in the dust. Unable to live without her, José stabs her. She dies in his arms. Judy Vander Heide is the president of the Ogden Opera Guild, which supports Utah Opera. She also serves on the boards of Utah Symphony | Utah Opera and Opera Volunteers, International and is a proud member of the Crescendo Society of Utah Opera.

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Taste What People Are Talking About

Deadlier than the Male By Michael Clive

Ignore the statistics. Though Carmen’s frequency of performance lags slightly behind a couple of others, such as Puccini’s La bohème, there is something about this opera that puts it ahead of all others in familiarity and fascination; it’s the opera we’ve all grown up with, the one whose melodies we’re most likely to hear in the schoolyard or as elevator music. Most of all, there is Carmen herself. In 1875, when Bizet was composing Carmen, the phrase “Gypsy girl” alone was sufficient to conjure a whole world of wanton sensuality and danger, and this world was the focus of the Bizet’s source for his music drama: Prosper Mérimée’s novella Carmen, a firstperson narrative set in Spain among the culture we now know as Romani and an early example of fatal attraction. We hear this in the opera’s explosive opening bars. Almost immediately after those smashing, cymbal-accented chords, we hear a second melody that takes Bizet’s drama beyond its source: Carmen’s “fate theme,” which evokes the fatal destiny that looms ever closer for her. Bizet composed Carmen in 1875, when he was 37 and had a decent reputation as a composer, but was not classed as one of the most important in France; in fact, considering the high expectations of him in musical circles, his career so far had been something of a disappointment. He was one of the youngest pupils ever admitted to the famously rigorous Paris Conservatoire, and won its highest award for 34

composition at age 19. Though his early operas did not hint at the boldness of inspiration in Carmen, they did reveal the freshness of his melodic inspiration. Just three years before Carmen, when Bizet composed the incidental music for the play L’Arlésienne, playwright Alphonse Daudet supposedly described his own play as “a glittering flop with the loveliest music in the world.” Tragically, Carmen would prove to be Bizet’s final masterpiece. In Mérimée’s novella Carmen we learn more about Carmen’s doomed lover Don José than we see in the opera. He is depicted as an ordinary man who undergoes an extraordinary disintegration. This kind of story, representing female sexuality as a corrupting influence and southern peoples as dangerous, was common in pulp novels of Mérimée’s day; he wrote at a time when Gypsies were seen by most Europeans as filthy and dangerous. But it’s possible that his view of this subject was more complex, since he had visited Spain and had a relationship with a Gypsy girl who may well have been the model for his Carmen. Another source contemporaneous with Bizet was George Henry Borrow, a British writer and translator who explored Madrid, Granada, Seville and Cordoba. In 1875, such characters were simply not seen on the operatic stage. Queen Victoria was still on the throne, and the moralists of her generation were in full cry. Nor were they alone in fighting a decency crusade; the Empress UTAH OPERA 2016–17 SEASON



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Deadlier than the Male

Eugénie had left a mark on Bizet’s France by imposing her rigid, SpanishCatholic code on it. If such shocking material was to be introduced in opera, the Opéra-Comique was perhaps the last place where it might have been expected; this venue, after all, was where respectable bourgeoisie could expect reliably inoffensive entertainment. But change was in the air, and with it came Realism. Opera had already taken important steps toward Realism in the 1850s with Verdi’s La traviata, with its shockingly frank depiction of the elegant courtesan Violetta Valéry. But Bizet’s opera took such candor to a level for which the public was not yet prepared. Controversy erupted over Carmen even before the first rehearsals began. By the time of its premiere at the OpéraComique in Paris on March 3, 1875, arguments over the scandalous plot were raging in cafés and in the theater itself. Bizet was also criticized for producing it at the Opéra-Comique, “A place where a man can take his wife and daughters.” The first performance of the opera brought condemnation in the press, but there were also dissenters — including the writer Blaze de Bury, who praised Bizet and said he had “no doubt about the composer’s future.” The story of Carmen’s supposedly calamitous first-season has been exaggerated in the retelling. The opera was performed 37 times at the


Comique during its first run (though often to a half-empty house), and successfully revived during the next season. A real fiasco would have closed after just one performance or, in the worst possible scenario, the audience would have forced the curtain down in the middle of the show and made the impresario refund the ticket money, as sometimes happened in Paris. When Bizet died, three months after the premiere of his wildly revolutionary opera, he knew it would survive. But could he have dreamed that it would become one of the most popular and influential works in the history of the theater, setting the parameters for a new structure and style in opera? Public and critical enthusiasm for Carmen only grows with time. Perhaps the first “daughter” of Carmen was Jules Massenet’s Manon (1884), with its amoral heroine; from there, the raw brutality of Italian verismo was already within reach. Today, Carmen’s irresistibly passionate music and stark drama have transcended style and geography, and are embraced throughout the world. 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 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-in-chief of The Santa Fe Opera.


Support USUO

Utah Symphony | Utah Opera’s Annual Fund supports our general operations, including our educational outreach. Together with our main-stage performances, these programs are at the core of our vision to connect the community through great live music. USUO visits each of Utah’s forty-two school districts on a three- to five-year rotation and reaches roughly 25% of the entire state’s K–12 student and teacher populations annually to supplement arts education. USUO also partners with schools, medical facilities, and families to provide performances to our neighbors, friends, and relatives with autism, vision impairments, memory loss, and other special needs, serving differently-abled individuals in our community who have fewer opportunities to attend cultural events. In addition, USUO musicians give more than 1,000 hours of instructional time annually to children, averaging almost three hours per day, every day. This makes USUO one of the largest providers of professional music education in the United States. To offer educational outreach programs free of charge, we rely on institutional support and donations by individuals like you. Please donate today by visiting or contact the USUO Development team at 801.869.9015. Photo, Kent Miles for Utah Opera

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Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda 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 Park Assistant Concertmaster Claude Halter Principal Second

Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas 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


BASS TROMBONE Graeme Mutchler

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

TUBA Gary Ofenloch Principal

Erin Svoboda Associate Principal

Eric Hopkins Associate Principal

Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

TIMPANI George Brown Principal

PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal

Wen Yuan Gu Associate Principal Second

BASS* David Yavornitzky Principal

Hanah Stuart Assistant Principal Second

Corbin Johnston Associate Principal

Leon Chodos Associate Principal

Leonard Braus• Associate Concertmaster Emeritus

James Allyn Benjamin Henderson†† Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera#


ORCHESTRA PERSONNEL Llewellyn B. Humphreys Acting Director of Orchestra Personnel

HORN Edmund Rollett Acting Principal

Nathan Lutz Orchestra Personnel Manager

Karen Wyatt•• Jerry Chiu• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Paige Kossuth†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian Lynnette Stewart Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Roberta Zalkind Associate Principal

HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore OBOE Robert Stephenson Principal The Gerald B. & Barbara F. Stringfellow Chair James Hall Associate Principal

Jennifer Rhodes

Alexander Love†† Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Nick Norton# TROMBONE Mark Davidson Principal

LIBRARIANS Clovis Lark Principal Maureen Conroy

STAGE MANAGEMENT Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

Sam Elliot†† Acting Associate Principal

Lissa Stolz












The momentum and impact of Utah Symphony | Utah Opera’s Comprehensive Campaign, The Campaign Co-Chairs Campaign for Perpetual Motion, has resulted in contributions totaling nearly $40 million dollars since Scott & Jesselie Anderson it was launched in 2011. Through a combination of Lisa Eccles cash gifts, multi-year pledges, endowment gifts and Kem & Carolyn Gardner bequests, the campaign has helped fund special Gail Miller & Kim Wilson projects and core priorities for our orchestra, opera Bill & Joanne Shiebler performances, and educational outreach for Utah’s youth. This extraordinary effort, led by the George S. and Dolores Doré Eccles Foundation, O.C. Tanner, Honorary Co-Chairs and our Campaign Leadership, has enabled us to celebrate a major milestone, the Utah Symphony’s Spencer F. Eccles 75th Anniversary, with unique events ranging from Jon M. Huntsman community collaborations to the Mighty 5® Tour; raise The Right Reverend our national profile and put Utah in the spotlight Carolyn Tanner Irish with recordings and a performance at Carnegie Hall; increase our endowment by $5.5 million; help us close the last four years with a balanced budget; and set the stage for a bright future of Connecting the Community UFS_SymphonyAd2012.pdfthrough 1 12/8/11 11:12Music: AM Great Live Perform-Engage-Inspire.

P ER P ET UA L motion

We extend special appreciation to the George S. and Dolores Dore Eccles Foundation, our Utah Opera Season Sponsor, for its extraordinary leadership and generosity, including a $500,000 challenge grant matched by the community. Our profound thanks to all who participated in this campaign.

FOUNDING CAMPAIGN DONORS George S. and Dolores Doré Eccles Foundation ($7 Million) O.C. Tanner Company ($5.1 Million) PRINCIPAL GIVING ($1 Million & above) Gael Benson The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation Kem & Carolyn Gardner Larry H. & Gail Miller Family Foundation Mark & Dianne Prothro Questar® Corporation Patricia A. Richards & William K. Nichols Shiebler Family Foundation Sorenson Legacy Foundation Zions Bank LEADERSHIP GIVING (up to $1 Million) Anonymous (3) Anthony & Renee Marlon Scott & Jesselie Anderson Carol & Anthony W. Middleton, Jr., M.D. Doyle Arnold & Anne Glarner Edward & Barbara Moreton Edward Ashwood & Candice Johnson William H. & Christine Nelson Mr. & Mrs. William C. Bailey Carol & Ted Newlin Dr. J. R. Baringer & Dr. Jeanette J. Townsend James A. & Marilyn Parke Thomas Billings & Judge Judith Billings Scott & Sydne Parker R. Harold Burton Foundation Dr. Dinesh & Kalpana Patel Howard & Betty Clark Frank R. Pignanelli & D’Arcy Dixon Thomas D. Dee III & Dr. Candace Dee John & Marcia Price Family Foundation Deer Valley Resort Dr. Wallace Ring E.R. (Zeke) & Katherine W.† Dumke Bert Roberts Burton & Elaine Gordon Theodore Schmidt Mr. & Mrs. Martin Greenberg The Sam & Diane Stewart Family Foundation Douglas & Connie Hayes Norman C.† & Barbara Tanner Roger & Susan Horn The Right Reverend Carolyn Tanner Irish Ronald & Janet Jibson Naoma Tate & the Family of Hal Tate Frederick Q. Lawson Foundation M. Walker & Sue Wallace Wells Fargo



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 Kate Throneburg at or 801-869-9028 for more information, or visit our website at CRESCENDO SOCIETY OF UTAH OPERA Anonymous Doyle Arnold & Anne Glarner Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Dr. Robert H. † & Marianne Harding Burgoyne Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage

Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean Henkels Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Constance Lundberg Gaye Herman Marrash Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin Pauline C. Pace†

Stanley B. & Joyce Parrish Patricia A. Richards & William K. Nichols Mr. & Mrs. Alvin Richer Robert L.† & Joyce Rice Richard G. Sailer† 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 Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith† Brinn Shelly R. Coburn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers

Grace Higson† Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Joyce Merritt† Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bentley Kenneth A.† & Jeraldine S. Randall

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

Herbert C. & Wilma Livsey Mrs. Helen F. Lloyd† Gaye Herman Marrash Ms. Wilma F. Marcus† Dr. & Mrs. Louis A. Moench Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Pauline C. Pace† Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn

Helen Sandack† Mr. Grant Schettler Glenda & Robert† Shrader Dr. Robert G. Snow† Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† Kathleen Sargent† JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Afton B. Whitbeck† Edward J. & Marelynn Zipser

Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Patricia Dougall Eager† Mr.† & Mrs.† Sid W. Foulger Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Mr. Ray Horrocks† Richard W. James† Estate Mrs. Avanelle Learned† Ms. Marilyn Lindsay Turid V. Lipman




Legacy Giving

Photo, Dana Sohm for Utah Opera

There are many ways to leave a legacy, and for those who would like their legacy to include a long-term gift to Utah Symphony | Utah Opera, there are many options to consider. From leaving a gift in your will to leaving part or all of your IRA to USUO, your financial advisor or estate planning attorney can help you build a gift that can meet your goals and benefit USUO for years to come. You have the ability to build a musical future for the state of Utah. When you leave a gift to USUO in your estate plans, you are building a proud legacy that will inspire tomorrow’s musicians and music lovers. For over 75 years, USUO has been a leader in music excellence and community education. Your gift will make a difference. To learn more about how your estate planning can benefit both you and USUO, please call Kate Throneburg at 801-869-9028, or visit us online at



Season Honorees

We applaud our generous donors, who through cash gifts and multi-year commitments make our programs possible. This list reflects gifts received as of August 20, 2016.

M I L L EN I U M $250,0 0 0 & A BOV E













Season Honorees










Season Honorees EN CO R E $10 0,0 0 0 & A BOV E















B R AVO $50,0 0 0 & A BOV E

Anonymous Scott & Jesselie Anderson Thomas Billings & Judge Judith Billings Deer Valley Resort** Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Grand & Little America Hotels* Douglas & Connie Hayes Frederick Q. Lawson Foundation 46

Scott & Sydne Parker Frank R. Pignanelli & D’Arcy Dixon Albert J. Roberts IV St. Regis Deer Valley** Gerald & Barbara Stringfellow Norman C. & Barbara L. Tanner Charitable Trust David Wall* Lois A. Zambo UTAH OPERA 2016–17 SEASON

Enriching excellence in the arts in Utah for more than half a century.

Utah Opera Season Sponsor | 2016-17 Photo, Kent Miles for Utah Opera


reak away from the traditional hotel room… for a night or a lifetime! Sky Harbor’s quiet community is ideally positioned between the airport and downtown Salt Lake City. We know you are used to the conveniences and space of your own home, so our award winning studios, one or two bedroom suites are completely furnished.









NA LS.c o m /s k y s u it e s

1 8 7 6 W E S T N O RT H T E M P L E S A LT L A K E C I T Y, U TA H 8 4 1 1 6

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Season Honorees OV ER T U R E $25,0 0 0 & A BOV E

Anonymous in honor of the March of Dimes Scott & Kathie Amann Arnold Machinery Mr. & Mrs. William C. Bailey BMW of Murray BMW of Pleasant Grove Judy Brady & Drew W. Browning R. Harold Burton Foundation Michael & Vickie Callen Chevron Corporation C. Comstock Clayton Foundation John & Flora D’Arcy Thomas D. Dee III & Dr. Candace Dee John H. & Joan B. Firmage

Kristen Fletcher & Dan McPhun Holland & Hart** Richard K. & Shirley S. Hemingway Foundation Tom & Lorie Jacobson Janet Q. Lawson Foundation Love Communications* Markosian Family Trust Carol & Anthony W. Middleton, Jr., M.D. Montage Deer Valley** OPERA America’s Getty Audience Building Program Charles Maxfield & Gloria F. Parrish Foundation Alice & Frank Puleo

S. J. & Jessie E. Quinney Foundation Dr. Wallace Ring Simmons Family Foundation Harris H. & Amanda Simmons Stein Eriksen Lodge** Summit Sotheby’s Nora Eccles Treadwell Foundation Utah Symphony Guild Vivint M. Walker & Sue Wallace Wells Fargo Jack Wheatley John W. Williams† Workers Compensation Fund Edward & Marelynn Zipser

Ann & Gordon Getty Foundation Goldman Sachs Elaine & Burton L. Gordon Susan & Tom Hodgson Chuck & Kathie Horman Hyatt Centric Park City** Josh & Cherie James Robert & Debra Kasirer Katharine Lamb Residence Inn Marriott* McCarthey Family Foundaton Charles & Pat McEvoy Pete & Cathy Meldrum Harold W. & Lois Milner Moreton Family Foundation Fred & Lucy Moreton Terrell & Leah Nagata National Endowment for the Arts The New Yorker* Ogden Opera Guild Park City Chamber/Bureau David A. Petersen Glenn D. Prestwich & Barbara Bentley Promontory Foundation David & Shari Quinney Radisson Hotel* Brad & Sara Rencher

Dr. Clifford S. Reusch† Resorts West* The Joseph & Evelyn Rosenblatt Charitable Fund Lori & Theodore Samuels Ben & Peggy Schapiro Pauline Collins Sells Sounds of Science Commissioning Club George & Tamie† Speciale Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds Zibby & Jim Tozer Tom & Caroline Tucker Utah Food Services* Utah Hispanic Chamber of Commerce* U.S. Bancorp Foundation

M A E S T RO $10,0 0 0 & A BOV E

Anonymous Adobe American Express Ballard Spahr, LLP Haven J. Barlow Family B.W. Bastian Foundation H. Brent & Bonnie Jean Beesley Foundation Berenice J. Bradshaw Charitable Trust BTG Wine Bar* Caffe Molise* Marie Eccles Caine FoundationRussell Family Chris & Lois Canale Capital Group Howard & Betty Clark** Daynes Music* Skip Daynes* Delta Air Lines* The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Dr. & Mrs. Ralph Earle Sue Ellis Chip & Gayle Everest Robert & Elisha Finney Gastronomy* General Electric Foundation


* In-Kind Gift ** In-Kind & Cash Gift † Deceased


Corporate & Foundation Donors $5,000 to $9,999 Anonymous (2) Bambara Restaurant* Bourne-Spafford Foundation The Aaron Copland Fund for Music Diamond Rental* Discover Financial Services The Jarvis & Constance Doctorow Family Foundation The Dorsey & Whitney Foundation Spencer F. & Cleone P. Eccles Family Foundation EY Finca* Hoak Foundation Intermountain Healthcare J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Macy’s Foundation Martine* Microsoft* Louis Scowcroft Peery Charitable Foundation Ruth’s Chris Steak House, Salt Lake City* Salt Lake City Arts Council Sky Harbor Apartments* Union Pacific Foundation Vanguard Charitable Endowment Program Victory Ranch & Conservancy $1,000 to $4,999 Anonymous Advanced Retirement Consultants Bertin Family Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Byrne Foundation Castle Foundation

City Creek Center Deseret Trust Company Henry W. & Leslie M. Eskuche Charitable Foundation ExxonMobil Foundation Victor Herbert Foundation Hotel Park City* Hyatt Place Hotel* Intermountain Healthcare Jones & Associates Lewis A. Kingsley Foundation Marriott City Center* MedAssets Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation The Prudential Foundation Ray, Quinney & Nebeker Foundation Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation sPower Squatters Pub Brewery* Strong & Hanni, PC Summerhays Music* Swire Coca-Cola USA* Bill & Connie Timmons Foundation UMA Financial Services Inc. United Jewish Community Endowment Trust Utah Families Foundation The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation

Gifts received prior to 8/20/16

Utah Symphony | Utah Opera is the proud recipient of Charity Navigator’s highest rating for sound fiscal management, commitment to accountability and transparency, and adherence to good governance and best practices—all of which allow us to execute our mission in a responsible way.



Individual Donors ABRAVANEL & PETERSON SOCIETY $5,000 to $9,999 Anonymous (4) Fred & Linda Babcock Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair Carol, Rete & Celine Browning Judy & Larry Brownstein Neill & Linda Brownstein Thomas Christofferson Amalia Cochran Marc & Kathryn Cohen Spencer & Cleone† Eccles Tom Farkas Jack & Marianne Ferraro John F. Foley, M.D. & Dorene Sambado, M.D.** Joseph & Dixie Furlong Jeffrey L. Giese, M.D. & Mary E. Gesicki David & SandyLee Griswold** Ray & Howard Grossman John & Dorothy Hancock Robert & Carolee Harmon Gary & Christine Hunter Mary P. Jacobs† & Jerald H. Jacobs Family Dale & Beverly Johnson G. Frank & Pamela Joklik Jeanne Kimball Thomas & Jamie Love Leslie Peterson & Kevin Higgins Rayna & Glen Mintz Dr. Thomas Parks & Dr. Patricia Legant Brooks & Lenna Quinn Dr. Richard & Frances Reiser James & Gail Riepe Robert & Kim Rollo Eric & Shirley Schoenholz Suzanne Scott

Stuart & Molly Silloway Lynn Suksdorf Alexander & Sarah Uhle Albert & Yvette Ungricht Kathleen Digre & Michael Varner $3,000 to $4,999 Anonymous (4) Craig & Joanna Adamson Robert W. Brandt Jonathan & Julie Bullen Richard & Suzanne Burbidge Lindsay & Carla Carlisle Mark & Marci Casp Rebecca Marriott Champion Paul & Denise Christian Edward & Carleen Clark Gary & Debbi Cook David & Sandra Cope** Mr. & Mrs. Kenneth R. Cutler Mike Deputy Carol & Greg Easton Mr. & Mrs. Robert Ehrlich Midge Farkas Mr. Peter Fillerup Flynn Family Foundation C. Chauncey & Emily Hall Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Mr. & Mrs. Jerry Huffman James & Penny Keras Hanko & Laura Kiessner Harrison & Elaine Levy Bill Ligety & Cyndi Sharp Herbert C. & Wilma S. Livsey Daniel & Noemi P. Mattis Michael & Julie McFadden Rich & Cherie Meeboer Richard & Jayne Middleton Richard & Ginni Mithoff Mr. & Mrs. Ralph Muller James & Ann Neal


Marilyn H. Neilson Mr. & Mrs. Alvin Richer James & Anna Romano David & Lois Salisbury William G. Schwartz & Joann Givan Thomas & Gayle Sherry Gibbs & Catherine W. Smith Elizabeth Solomon Marilyn Sorensen Verl & Joyce Topham Mr. & Mrs. Vincent Trotta Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff Ardean & Elna Watts Suzanne Weaver David & Jerre Winder E. Art Woolston & Connie Jo HepworthWoolston Chris & Lisa Young Gayle & Sam Youngblood $2,000 to $2,999 Anonymous (3) Robert & Cherry Anderson Dr. Melissa Bentley Anneli Bowen, M.D. & Glen M. Bowen M.D. Mr. & Mrs. John Brubaker Luann & James Campbell Chris & Lois Canale Coley & Jennifer Clark Raymond & Diana Compton Dr. & Mrs. Thomas Coppin David & Carol Coulter James & Rula Dickson Margarita Donnelly Howard Edwards Neone F. Jones Family Thomas & Lynn Fey Robert & Annie-Lewis Garda Heidi Gardner Mr. & Mrs. Eric Garen Mark Gavre & Gudrun Mirin Diana George Susan Glassman & Richard Dudley

Randin Graves Dennis & Sarah Hancock John B. & Joan Hanna Geraldine Hanni Richard Herbert Sunny & Wes Howell Jay & Julie Jacobson Annette & Joseph Jarvis Sharon Jenkins M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Pauline WeggelandJohnson James R. Jones & Family J. Allen & Charlene Kimball Merele & Howard Kosowsky Val Lambson Mr. & Mrs. Melvyn L. Lefkowitz Paul Lehman Roger Leslie James Lether Lisa & James Levy Elizabeth & Michael Liess Milt & Carol Lynnes David & Donna Lyon Mr. & Mrs. Wayne Lyski Jed & Kathryn Marti George & Nancy Melling Dr. Louis A. & Deborah Moench Barry & Kathy Mower Daniel & Janet Myers Thomas & Barbara O’Byrne Jason Olsen & Tim Thorpe O. Don & Barbara Ostler Linda S. Pembroke Ann G. Petersen Dr. & Mrs. S. Keith Petersen Jon Poesch Victor & Elizabeth Pollak Dan & June Ragan Dr. & Mrs. Marvin L. Rallison


Individual Donors

W. E. & Harriet R. Rasmussen Dr. Barbara S. Reid Joyce Rice Kenneth Roach & Cindy Powell Tom & Jeanne Rueger Thomas Safran Mark & Loulu Saltzman K. Gary & Lynda Shields Deborah & Brian Smith Christine St. Andre Larry R. & Sheila F. Stevens Steve & Betty Sullentrop Mr. & Mrs. Glen R. Traylor Susan Warshaw Bryan & Diana Watabe Jeremy & Hila Wenokur PATRON $1,000 to $1,999 Anonymous (2) Carolyn Abravanel Fran Akita Christine A. Allred Patricia Andersen Drs. Crystal & Dustin Armstrong Graham & Janet Baker Mr. Barry Bergquist Mr. & Mrs. William Bierer Reverend James Blaine Shauna Bona Jim & Marilyn Brezovec Timothy F. Buehner Foundation Mr. & Mrs. William D. Callister, Jr.

Bartell & Kathleen Cardon Mr. & Mrs. Lee Forrest Carter Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Margaret Dreyfous Alice Edvalson Janet Ellison Naomi K. Feigal Robert S. Felt, M.D. Susan Gillett Rose & Ralph Gochnour Robert & Joyce† Graham Dr. & Mrs. John Greenlee Arlen Hale Dr. Elizabeth Hammond Lex Hemphill & Nancy Melich John Edward Henderson Steve Hogan & Michelle Wright Connie C. Holbrook Patricia Horton David & Caroline Hundley Todd & Tatiana James Drs. Randy & Elizabeth Jensen Maxine & Bruce Johnson Chester & Marilyn Johnson Dr. & Mrs. Michael A. Kalm

Umur Kavlakoglu Susan Keyes Allison Kitching Carl & Gillean Kjeldsberg Robert & Karla Knox Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Tim & Angela Laros Dr. Vivian Lee Dennis & Pat Lombardi Peter Margulies & Louise Vickerman Christopher & Julie McBeth Edward & Grace McDonough Clifton & Terri McIntosh Johanna & Jack McManemin David & Colleen Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville Dr. Jean H. & Dr. Richard R. Miller Nathan & Karen B. Morgan John & Mary Ann Nelson Oren & Liz Nelson Stephen & Mary Nichols Ruth & William Ohlsen Blaine & Shari Palmer Nancy & Rori Piggot Mr. Steven Price Keith & Nancy Rattie Richard C. & Margaret V. Romano Bertram H. & Janet Schaap

Ralph & Gwen Schamel Mr. Grant Schettler Mr. August L. Schultz Daniel & Angela Shaeffer Dennis & Annabelle Shrieve Barbara Slaymaker Dr. Otto F. Smith & Mrs. June Smith Dr. & Mrs. Michael H. Stevens Amy Sullivan & Alex Bocock Douglas & Susan Terry Carol A. Thomas Mrs. Rachel J. VaratNavarro Mr. & Mrs. Brad E. Walton Nadine Ward Charles & Ellen Wells Margaret & Gary Wirth Marsha & Richard Workman Norman & Kathy Younker* Michael & Olga Zhdanov Mr. & Mrs. Hugh Zumbro

*In-kind gift **In-kind & cash gift † Deceased

Gifts received prior to 8/20/16

“Music is the art which is most nigh to tears and memory.” ~Oscar Wilde IN HONOR OF Dr. J. R. Baringer & Dr. Jeannette J. Townsend George Brown Paula J. Fowler Abe & Arline Markosian David Park Mark & Dianne Prothro Clark T. Randt, Jr. Patricia A. Richards Bill & Joanne Shiebler Kevin Sohma


IN MEMORY OF Jay T. Ball Mikhail Boguslavsky Robert Burgoyne Ann Dick Ed Epstein Loraine L. Felton Neva Langley Fickling Herold L. “Huck” & Mary E. Gregory Judith Ann Harris Roger Hock

Marian Holbrook Steve Horton Winona Simonsen Jensen Eric Johnson Joan McEvoy Maxine & Frank McIntyre Dr. Walter Needham Russell Alan Peters Chase N. Peterson Mardean Peterson

Kenneth Randall Dr. Clifford Reusch Ann O’Neill Shigeoka Maestro Joseph Silverstein Barbara Singleton Tamie Speciale Marjorie Whitney John Williams Merrill L. Wilson, M.D.


Hamilton’s America Premieres Fri. Oct. 21, 8PM See the story behind the smash Broadway hit.

Tagged & Hashtagged! We loved seeing your photos this summer in Park City.

When Principal Trombone Mark Davidson isn’t performing, he loves exploring the local trails. He shared some of his favorites on

@CarolineBelnap had a fun night with friends hearing @utahsymphony perform all their “John Williams’ faves” at #DVMF.

@susandoubleu explored @ visitparkcity by participating in our #DVMFadventure contest on Instagram.

It was music to our ears to see kids enjoying the #DVMF instrument petting zoo with @summerhaysmusiccenter.

#wegotothesymphonybecausewereclassy. We agree @nankarae. Classy people love @utahsymphony!


@homerjes beautifully captured this summer evening @deervalleyresort.



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Classical 89 Broadcasts October 8 | 9:30 AM

November 19 | 9:30 AM

BEETHOVEN Piano Concerto No. 1, Mvt. 1 Hannah Jean Baker, Piano Rei Hotoda, Conductor (recorded 9/22/15)  

GRIEG Piano Concerto Lang Lang, piano Thierry Fischer, Conductor (recorded 10/1/15)       

October 15 | 9:30 AM

RACHMANINOFF Piano Concerto No. 2, Mvt. 3 Trenton Chang, Piano Rei Hotoda, Conductor (recorded 9/22/15)

October 22 | 9:30 AM

VIVALDI Violin Concerto Op 7/11 RV 208, Mvt. 1 Soonyoung Kwon, Violin Rei Hotoda, Conductor (recorded 9/22/15)  

October 29 | 9:30 AM

BEETHOVEN Egmont: Overture Thierry Fischer, Conductor (recorded 10/1/15)

November 5 | 9:30 AM

MOZART Piano Concerto No. 24, K 491 Lang Lang, Piano Thierry Fischer, Conductor (recorded 10/1/15)

November 12 | 9:30 AM

November 26 | 9:30 AM

DEBUSSY Suite bergamasque: Clair de lune Jun Märkl, Conductor (recorded 10/24/15)

December 3 | 9:30 AM

RAVEL La valse Thierry Fischer, Conductor (recorded 11/14/15)

December 10 | 9:30 AM

RAVEL Miroirs: No. 3, Une Barque sur l’océan Thierry Fischer, Conductor (recorded 11/14/15)

December 17 | 9:30 AM

RESPIGHI Three Botticelli Pictures Rei Hotoda, Conductor (recorded 1/14/16)

December 31 | 9:30 AM

MAHLER Symphony No. 6, Tragic:  Mvt. 1 Thierry Fischer, Conductor (recorded 11/21/15)

WAGNER Die Meistersinger: Act 1 Prelude Thierry Fischer, Conductor (recorded 10/1/15) UTAHOPERA.ORG 89.1 & 89.5 fm

/ (801) 533-NOTE


Sit. Stay. Heal.

Serving Our Communities Since 1993


Administration ADMINISTRATION Paul Meecham President & CEO David Green Senior Vice President & COO Julie McBeth Executive Assistant to the CEO Jessica Chapman Executive Assistant to the COO & Office Manager 0PERA ARTISTIC Christopher McBeth Opera Artistic Director Michael Spassov Opera Chorus Master Carol Anderson Principal Coach Michelle Peterson Opera Company Manager Mandi Titcomb Opera Production Coordinator OPERA TECHNICAL Jared Porter Opera Technical Director Kelly Nickle Properties Master Lane Latimer Assistant Props Keith Ladanye Production Carpenter John Cook Scenic Artist COSTUMES Verona Green Costume Director Melonie Fitch Rentals Supervisor Kierstin Gibbs LisaAnn DeLapp Rentals Assistants Amanda Reiser Meyer Wardrobe Supervisor Milivoj Poletan Tailor Tara DeGrey Cutter/Draper Anna Marie Coronado Milliner & Crafts Artisan Chris Chadwick Yoojean Song Connie Warner Stitchers Yancey J. Quick Wigs/Make-up Designer Shelley Carpenter Tanner Crawford Daniel Hill Michelle Laino Wigs/Make-up Crew


SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director Anthony Tolokan Vice President of Symphony Artistic Planning Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director Llew Humphreys Director of Orchestra Personnel Nathan Lutz Orchestra Personnel Manager Lance Jensen Executive Assistant to the Music Director and Symphony Chorus Manager SYMPHONY OPERATIONS Jeff Counts Vice President of Operations & General Manager Cassandra Dozet Director of Operations Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager Melissa Robison Program Publication & Front of House Manager Erin Lunsford Artist Logistics Coordinator DEVELOPMENT Leslie Peterson Vice President of Development Hillary Hahn Senior Director of Institutional Gifts Natalie Cope Director of Special Events & DVMF Community Relations Alina Osika Manager of Corporate Partnerships Lisa Poppleton Grants Manager Kate Throneburg Manager of Individual Giving Conor Bentley Development Manager Heather Weinstock Manager of Special Events MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations RenĂŠe Huang Director of Public Relations Chad Call Marketing Manager Mike Call Website Manager Ginamarie Marsala Marketing Communications Manager Aaron Sain Graphic Design & Branding Manager

PATRON SERVICES Nina Richards Director of Ticket Sales & Patron Services Faith Myers Sales Manager Andrew J. Wilson Patron Services & Group Sales Assistant Robb Trujillo Group Sales Associate Ellesse Hargreaves Patron Services Coordinator Sarah Pehrson Jackie Seethaler Nicholas Siler Powell Smith Sales Associates Nick Barker Jordan Duberow Brittney Feller Hilary Hancock Ellesse Hargreaves Garrett Hatfield Nava Payandeh Ticket Agents ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO Mike Lund Director of Information Technologies SaraLyn Greenwood Controller Alison Mockli Payroll & Benefits Manager Jared Mollenkopf Patron Information Systems Manager Julie Cameron Accounts Payable Clerk EDUCATION Paula Fowler Director of Education & Community Outreach Beverly Hawkins Symphony Education Manager Tracy Hansford Education Coordinator Kyleene Johnson Education Fellow Timothy Accurso Sarah Coit Markel Reed Abigail Rethwisch Christian Sanders Utah Opera Resident Artists

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.


Join us in welcoming the 2016–17 Utah Opera

Resident Artists


SARAH COIT Mezzo-Soprano



soprano abigail rethwisch prevailed in national auditions last fall and was invited to become a member of Utah Opera’s Resident Artist program for the 2016–17 season. She joins returning Mezzo-soprano Sarah Coit, Tenor Christian Sanders, Baritone Markel Reed, and Pianist Tim Accurso. 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 Piute, Wayne, Kane, Garfield, Grand, San Juan, and Washington school districts. our resident artists receive vocal coaching and dramatic training to continue their professional development. They have been cast in comprimario roles in our main-stage operas. Look for them in upcoming productions in Capitol Theatre! MORE INFORMATION ABOUT THE RESIDENT ARTISTS AND UTAH OPERA EDUCATION PROGRAMS CAN BE FOUND AT





dining guide THE NEW YORKER 60 West Market Street. SLC’s premier dining establishment. Modern American cuisine is featured in refined dishes and approachable comfort food. From classic to innovative, from contemporary seafood to Angus Beef steaks – the menu provides options for every taste. Served in a casually elegant setting with impeccable service. Private dining rooms for corporate and social events. Lunch & Dinner. No membership required. L, D, LL, AT, RR, CC, VS. 801.363.0166 MARKET STREET GRILL DOWNTOWN 48

West Market Street. Unanimous favorites for seafood dining, providing exceptional service and award winning. The contemporary menu features the highest quality available. Select from an abundant offering of fresh seafood flown in daily, Angus Beef steaks, and a variety of non-seafood dishes. Open 7 days a week serving breakfast, lunch, dinner, Sunday Brunch. B, L, D, C, AT, S, LL, CC, VS. 801.322.4668

MARTINE 22 East 100 South. Award winning ambience, located in a historic brownstone. Martine offers Salt Lake City a sophisticated dining experience kept simple. Locally sourced ingredients, pre-event $25 three course prix fixe. Extensive bar and wine service. L, D, T, LL, RA, CC, VS. 801-363-9328

Consistently Rated “Tops”–Zagat 60 W. Market Street • 801.363.0166

Salt Lake City’s #1 Most Popular Restaurant –Zagat

48 W. Market Street (340 South) 801.322.4668

• An intimate euro café • Free Valet Parking 22 East 100 South

Phone • 801.363.9328 Top Photo: Image licensed by Ingram Image

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


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

Academic Outreach - Continuing Education Bank of American Fork Challenger School City Creek Living Every Blooming Thing Grand America Hotel Hale Centre Theatre Hilton Intermountain Therapy Animals Ivy House Weddings J. Wong’s Asian Bistro KUED Little America Hotel Martine Nature Conservancy New Yorker OC Tanner RC Willey Residence Inn Marriott Rowland Hall Ruby’s Inn Salt Lake Acting Company Sky Harbor Suites The Madeleine Choir School United Way University Credit Union University of Utah Health Care Utah Food Services Zions Bank If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833

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


Ballard Spahr Andrews & Ingersoll, LLP Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo GOVERNMENTAL RELATIONS REPRESENTATIVE

Frank Pignanelli, Esq. NATIONAL PR SERVICES

Provided by Shuman Associates, New York City ADVERTISING SERVICES

Provided by Love Communications, Salt Lake City Utah Symphony | Utah Opera is funded by the Utah Division of Arts & Museums, Professional Outreach Programs in the Schools (POPS), Salt Lake City Arts Council, Salt Lake County Zoo, Arts, and Parks Tax (ZAP), Summit County Restaurant Tax, Summit County Recreation, Arts and Parks Tax (RAP), Park City Chamber Bureau. 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.





Our 2016–17 cultural festival shines a spotlight on veterans and current military, focusing on ways our arts community can appreciate and support them. As part of this festival, many local arts organizations will present events on military themes and will also provide access for active and separated military personnel to a variety of arts performances. We will also draw attention to veterans’ active art-making as a means of self-expression. FESTIVAL HIGHLIGHTS INCLUDE:

The Western US Premiere of The Long Walk by Utah Opera Guest writer events with Brian Castner, author of the memoir The Long Walk Performances and events based on military experiences, produced by Salt Lake Acting Company, Art Access, Ballet West, U of U Creative Writing, and more Annual Veterans Creative Arts Festival at the VA SLC Medical Center Free/discounted tickets to performances and other events for veterans and current military FOR MORE INFORMATION, VISIT



FEB 15 through ~ APR 8

Call 801.984.9000 or online at


DEC 31 through ~ FEB 4

APR 15 through ~ MAY 20

JUNE 2 through ~ AUG 12

AUG 25 through ~ OCT 14

SEPT 1 through ~ NOV 15

OCT 21 through ~ NOV 30

NOV 17 through ~ JAN 20

DEC 1 through ~ DEC 23



University of Utah Health Care Ear, Nose and Throat is proud to support the Utah Symphony | Utah Opera. Our physicians artfully orchestrate the latest medical advances with personalized, ovation-worthy service. | 801.587.8368





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Utah Opera | 2016


Utah Opera | 2016