La bohème

COVER

PUC

CIN

I’S

OCTOBER

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JANET QUINNEY LAWSON CAPITOL THEATRE

EVERY VOICE TELLS A STORY

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Contents

PRESIDENT Dan Miller

OFFICE ADMINISTRATOR Cynthia Bell Snow

ART DIRECTOR/ PRODUCTION MANAGER Jackie Medina

PUCCINI'S

PUBLICATION DESIGNER

LA BOHÈME

Patrick Witmer

GRAPHIC DESIGNERS Jessika Huhnke Ken Magleby Patrick Witmer

ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas

OFFICE ASSISTANT Jessica Alder

ADMINISTRATIVE ASSISTANT KellieAnn Halvorsen

EDITOR Melissa Robison The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc.,772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801/467.8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities.

© COPYRIGHT 2017

23

6 Welcome 8 Artistic Director’s Welcome 10 Board of Trustees 15 Q&A with Celena Shafer 19 Synopsis 22 Production Sponsors 24 Cast / Artistic Staff 29 Composer & Librettists 30 Every Voice Tells a Story 32 To Be Young, In Love, and In Paris 36 Backstage to Bohemian 39 1896 42 Support USUO 43 Utah Symphony 45 Introducing USUO's new Chairman of the Board 46 Thank You 60 Legacy Giving 61 Crescendo & Tanner Societies 62 Administration 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.

@UtahOpera

5

Welcome

Paul Meecham President & CEO

Kem Gardner USUO Board of Trustees Chair

In the mid-1970s, Salt Lake City community leaders, including Obert Tanner, Calvin Rampton, Jack Gallivan, and Eldon Tanner, were seeking to elevate the performing arts spaces through the Utah Bicentennial Commission. At the same time, Utah native son Glade Peterson, who had enjoyed a remarkable career as an operatic tenor in Europe, was looking for his next life adventure and one that would bring him closer to the land he loved. Utah’s people had demonstrated an appetite for the operatic art form through various special presentations throughout the history of the community, and more recently, through the University of Utah Opera Company productions led by Ardean Watts. But up until that decade, a professional opera company that complemented the quality and reputation of Ballet West or Utah Symphony had not yet emerged. The people of this community embraced the idea of Utah Opera and 40 years later, the company continues to thrive.

Utah Opera began its professional productions with La bohème. Its selection was undoubtedly due to its popularity in the repertoire thanks to its sympathetic characters whose narrative is set to joyful and heartbreaking music, and also because it was a perfect vehicle to showcase Glade’s talent. We begin our 40th anniversary season with this timeless classic in homage to Glade, who not only starred as Rodolfo in that first Utah Opera production, but launched his European career with the role. Furthermore, we salute all of the Utahns who’ve contributed their voices to the story of Utah Opera. We are sharing the stories of many of those voices this season with our lobby display and through social media posts, and encourage you to join in that chorus of people whose lives have been enriched through experiences with Utah Opera.

Opera is the original multimedia experience, a connector of all the arts (musical, visual, poetic, dramatic, and dance), the combination of which stirs all of our senses.

In fact, the original slogan of Utah Opera was “Bringing the Arts Together”. Utah Symphony | Utah Opera brings people together through great live music. Thank you for participating in this dynamic community which values great arts as an important aspect to a great quality of life.

Sincerely,

6

Paul Meecham

Kem Gardner

President & CEO

Chair, Board of Trustees

UTAH OPERA 2017–18 SEASON

EVERY VOICE TELLS A STORY G E HE JA K

GIE

&G

SCH ENE

EER

’S

JANUARY

20, 22, 24, 26, 28

COMMISSIONED BY THE DALLAS OPERA COMPANY

JANET QUINNEY LAWSON CAPITOL THEATRE

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Don’t miss this incredible combination of astounding visuals and spellbinding music as Utah Opera sweeps you out to sea on a quest fueled by one man’s willingness to risk everything for revenge.

4 0 TH A N N I V E R S A R Y S E A S O N S P O N S O R

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Artistic Director’s Welcome

Dear Utah Opera Friends and Family, Forty years ago something extraordinary occurred: Utah Opera came into existence. A visionary man who had enjoyed a significant career as a performer used his experience and passion for opera to give life to an organization in such a determined manner, and with the support of so many generous individuals and families, that we now celebrate a milestone anniversary. So I say, “Thank you, Glade Peterson”. As the Artistic Director of this wonderful company, I am personally thankful for his efforts, as well as those of the countless others in this community who helped establish Utah Opera.

Anniversary seasons are an ideal time for an organization to reflect on its history, take stock of growth, and stretch out for something new and Christopher McBeth exciting. I feel we are accomplishing all of this in the Artistic Director 2017–18 season. I hope you were able to join us in a brilliant kick-off event with the recent “An Evening with Renée Fleming” gala concert. Future events to look forward to this season are new productions of Pagliacci and Gianni Schicchi, tragedy and comedy at their finest, and the ultimate party opera, Die Fledermaus, featuring several favorite artists of Utah Opera’s audience. However, before we get to those presentations we will bring to life a ground-breaking production of Moby-Dick. This opera premiered in 2010, immediately became the latest classic American opera, and has experienced unparalleled success around the country.

The creators, Jake Heggie and Gene Scheer-the leading composer and librettist team of our generation –are thrilled to have Utah Opera create the second-only existing production for their work. This new production, designed by one of the most exciting creative teams working today, will make it possible for a wider variety of companies to present the opera. Built in Utah Opera’s facility, it will also showcase the astonishing artisanship we have here in Utah.

Tonight we begin, as the company did almost forty years ago, with the perennial favorite, La bohème. The youth, hope, and vitality represented in the characters, music, and story of this opera were the perfect metaphorical paradigms for a fledgling organization, and its premiere production to an enthusiastic community.

Even with the obligatory tragic ending (it IS opera, after all), every time I come to Puccini’s masterpiece, I am filled with optimism for the future. Thank you for forty years of support and I hope you join me in looking forward to what is yet to come.

Appreciatively, Christopher

8

UTAH OPERA 2017–18 SEASON

DAYS of OPERA

C

elebrating the

40th anniversary season of Utah Opera with

UTAH SYMPHONY | UTAH OPERA CU LTU R AL FESTIVAL

40 days of local opera events

september 1 — october 15

culminating in our production of Puccini’s La bohème

visit utahopera.org /festival for a complete listing of events 4 0 TH A N N I V E R S A R Y S E A S O N S P O N S O R

Board of Trustees ELECTED BOARD Kem C. Gardner* Chairman

Bob Wheaton Kim R. Wilson Thomas Wright

Jesselie B. Anderson Doyle L. Arnold* Judith M. Billings Howard S. Clark Gary L. Crocker David Dee* Alex J. Dunn

Brian Greeff Lynnette Hansen Matthew Holland Thomas N. Jacobson Mitra Kashanchi Thomas M. Love Brad W. Merrill Theodore F. Newlin III* Dee O’Donnell Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Brad Rencher Joanne F. Shiebler* Diane Stewart Naoma Tate Thomas Thatcher David Utrilla Craig C. Wagstaff

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 David A. Petersen*

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

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

Kristen Fletcher Burton L. Gordon Richard G. Horne Ronald W. Jibson

Warren K. McOmber E. Jeffrey Smith Barbara Tanner

HONORARY BOARD 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. Edward Moreton Marilyn H. Neilson O. Don Ostler

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

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.)

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

10

MUSICIAN REPRESENTATIVES

Mark Davidson* Lissa Stolz* EX OFFICIO

Margaret Sargent Utah Symphony Guild Dr. Robert Fudge Ogden Symphony Ballet Association Judith Vander Heide Ogden Opera Guild *Executive Committee Member

UTAH OPERA 2017–18 SEASON

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Q&A Celena Shafer is a Utah-born soprano who has sung countless roles with Utah Opera over the years, garnering acclaim for her silvery voice, fearlessly committed acting and phenomenal technique. She has won praise for her roles with Santa Fe Opera, Los Angeles Opera, and Lyric Opera of Chicago, to name a few. She returns to Utah Opera’s La bohème singing Musetta. choices and abilities fresh by including me in the Utah Opera family.

My best supporters have come from the Utah Opera circle. I see people in the community all the time who I know are my Utah Opera friends! I may not remember their names, but I know their dear faces.

How do you identify with the character?

I do identify with Musetta. She has chosen a certain lifestyle out of necessity (whether that be emotional or physical, or both). I can see that there are choices in my life that I have made out of desperation. It gives me a lot of compassion for her.

What does it mean to perform the role of Musetta again with Utah Opera for the company’s 40th anniversary season?

I am so happy and honored to be included in the company’s 40th anniversary! I feel that this company and community have always nurtured, supported, and believed in my talent.

The first opera I ever saw was Carmen at Utah Opera when I was 11 years old with my fifth grade class at education night. I was enthralled. It was only a few years later that I decided I wanted to be an opera singer. From that point on, the Utah community has cheered me on and given me so much love as they watched me bud from a young, immature singer to a professional.

When I made decisions to primarily concertize in order to raise a family, Christopher McBeth kept my operatic UTAHOPERA.ORG / (801) 533-NOTE

I also like this role because the audience gets to see three distinctly different parts of her persona. Act 2 shows her “public” loud self, well known as a floozy. She seems quite shallow and selfish in character. She is full of disdain for anything that does not suit her.

In Act 3 we get to see that she loves Marcello deeply, but the pressures of their lifestyle tear them apart through bitter arguing.

Finally, the last act gives us a glimpse of the true core of her character.

We see her tenderness and sincere compassion for others. We even have a few measures revealing her religious background. Musetta, religious? Yep. It’s there in the score.

15

Q&A continued…

Share some of your memories of performing with Utah Opera. What has the company meant to you as a local singer?

Oh wow. The memories I have with this company are far too many and so dear to me. I was barely pregnant when I performed in La rondine. I couldn’t figure out why my costume was getting tighter so fast, every night! I knew I was pregnant, but, come on! I couldn’t be getting that fat yet! It was during the production that I found out why: I was having twins! Those twins are now 11 years old!

Another favorite memory was Britten’s A Midsummer Night’s Dream. I played Titania and had to be suspended in the air on a piece of scenery with Bottom.

Super scary and fun!!

I also really enjoyed the cowboy production of Don Pasquale. I particularly enjoyed using the gun in my big aria. Christopher McBeth gave me some good advice; he said to never point at the audience—you never know who will shoot back.

David Gately. It has a slow-motion fight scene in it. I had never laughed so hard at an opera before I saw this production!! Then, a few years ago, I got to play Rosina in Utah Opera’s Barber of Seville. The slow-motion fight scene was incorporated in the production!! It was so much fun!

How do you prepare for performance night? Do you have any rituals that help you get in the character’s frame of mind?

Preparation for a performance night starts the night before. I have to make sure I have enough sleep. That means my husband is on child patrol.

If anyone needs a drink of water or comforting, he gets to do it. In the morning I hydrate like crazy... you would be surprised how dry your mouth feels when you get on stage!

As a young adult, I saw the Barber of Seville at Utah Opera, directed by

I try to stay busy during the day to keep my mind occupied. My character preparation has happened in the previous weeks and if I think too much about the evening’s performance it messes with my psyche. At that point I just need to get out on stage and do it! I have to make sure I eat a dinner with enough calories to get me through the show.

A Midsummer Night's Dream, Utah Opera.

Photo by Kent Miles.

Don Pasquale, Utah Opera.

Photo by Kent Miles.

16

UTAH OPERA 2017–18 SEASON

NOVEMBER 11, 2017 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 UtahMONCAuditions.org after November 4 for 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.

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La bohème

synopsis

ACT I Christmas Eve, Paris, early 19th Century The poet Rodolfo and his painter friend Marcello shiver with cold in their garret apartment. Rodolfo is forced to burn his manuscript in an attempt to keep warm. Enter the philosopher Colline and the musician Schaunard, who brings food, fuel, and funds he has collected from an eccentric Englishman.

The group plans to continue celebrating their good fortune at Café Momus when they are interrupted by their landlord, Benoît, who demands the rent. As a distraction the bohemians get him drunk, whereupon Benoît brags about his amorous affairs—despite being married. Feigning indignation, the friends throw him out, minus the rent money.

The group then departs without Rodolfo, who remains to finish writing

UTAHOPERA.ORG / (801) 533-NOTE

an article. A knock at the door and the next door neighbor enters. Her candle has blown out and she has no matches to relight it. Coughing and obviously exhausted, she is helped to a chair by Rodolfo and given a glass of wine. Feeling better, she starts to leave but drops her key, which Rodolfo finds and surreptitiously keeps. They introduce themselves—she says she is called Mimì—and tell each other about their lives, his as an aspiring poet and hers as a humble seamstress. A shout from the waiting trio in the street below summons Rodolfo, and he leaves with Mimì. The pair realizes in their brief time together that they have fallen in love.

ACT II Later that evening, in the Latin Quarter Throngs gather as street vendors hawk their wares, and the toy seller Parpignol entices children to ogle the toys. Rodolfo buys Mimì a bonnet and introduces her to his friends. The

19

La bohème

synopsis

group enters the café and Musetta, a former lover of Marcello, arrives with her elderly patron, Alcindoro.

Clearly the coquette and Marcello are still in love, for they instantly begin flirting. Musetta sends Alcindoro on a trivial errand and departs with the bohemians, leaving the flabbergasted Alcindoro to foot the bill.

ACT III The following February, at Barrière d’ Enfer Mimì enters through the city gates searching for Marcello. She is haggard, ill and coughing. Marcello exits the tavern where he now lives and works as a sign painter. Mimì confesses that she intends to leave Rodolfo because his intense jealousy is making their lives miserable.

Rodolfo, who has been asleep in Marcello’s quarters, emerges from the tavern. Mimì conceals herself but overhears Rodolfo tell Marcello that it is not jealousy that inspires his behavior, but fear that Mimì is dying of consumption. He believes that she must seek a wealthy patron who can support her.

Mimì’s presence is revealed by a fit of coughing. She and Rodolfo first decide to separate, but then find that they cannot. They agree to remain together until spring. Meanwhile Musetta arrives, and she and Marcello engage in one of their many angry quarrels about her outrageous flirting.

20

ACT IV A few months later, back at the garret Rodolfo and Marcello cavort in the garret while bemoaning how much they miss their girlfriends, both of whom have been observed in luxurious settings.

The other bohemians, Colline and Schaunard, arrive with a scanty meal.

To lighten their mood the four begin a dance which turns into a mock duel. At the height of their antics, Musetta bursts in to say that Mimì is outside, too weak to climb the stairs.

Mimì is seriously ill from the ravages of consumption and is helped to bed. The bohemians depart to sell personal possessions in order to buy medicine, leaving Rodolfo and Mimì alone to reminisce about their first meeting when they fell in love. When Musetta and Marcello return, they give Mimì a muff to warm her hands and Rodolfo returns to her the bonnet he had bought when they first met.

Mimì seems to rally but then drifts into unconsciousness; the bohemians realize she has died, and Rodolfo, in a fit of weeping, collapses over her prostrate body.

Judy Vander Heide is the president of the Ogden Opera Guild, which supports Utah Opera. She also serves on the board of Utah Symphony | Utah Opera and Opera Volunteers, International and is a proud member of the Crescendo Society of Utah Opera.

UTAH OPERA 2017–18 SEASON

UTAH OPERA 40TH ANNIVERSARY SEASON SPONSOR

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

Utah Opera’s Carmen 2016 – Photo by Dana Sohm

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

40TH ANNIVERSARY SEASON & OPENING NIGHT SPONSOR

PRODUCTION SPONSOR

TED & CAROL NEWLIN

SET AND COSTUME SPONSOR

OPERA ARTISTIC DIRECTOR SPONSOR

EMMA ECCLES JONES FOUNDATION

FLORAL SEASON SPONSOR

CA S T PA R T Y S P O N S O R

22

UTAH OPERA 2017–18 SEASON

La bohème

program

La bohème

October 7, 9, 11, 13 | 7:30 pm October 15 | 2 pm Janet Quinney Lawson Capitol Theatre Composed by Giacomo Puccini Libretto by Giuseppe Giacosa & Luigi Illica Supertitle Translation by Kathleen Clawson Sung in Italian with English supertitles Premiere: Teatro Reggio, Turin, 1896 Utah Opera: 1978, 1983, 1988, 1995, 2003, 2010

CAST Marcello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Adams Rodolfo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scott Quinn Colline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ao Li Schaunard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Samuel Schultz Benoît /Alcindoro . . . . . . . . . . . . . . . . . . . . Christopher Clayton Mimì . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jennifer Black Parpignol . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Oglesby* Musetta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Celena Shafer Customs Guard /Officer . . . . . . . . . . . . . . . . . . . . Scott Palmer

ARTISTIC STAFF Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Tweten Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kathleen Clawson Set & Properties Designer . . . . . . . . . . . . . . . Peter Dean Beck Costume Designer . . . . . . . . . . . . . . . . Susan Memmott-Allred Lighting Designer . . . . . . . . . . . . . . . . . . . . . . Matthew Antaky Wigs & Make-up Designer . . . . . . . . . . . . . . . Daniel Jacob Hill Chorus Master & Children’s Choir Director . . . Melanie Malinka Musical Preparation . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . Stephanie Rhodes Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amy Soll Assistant Stage Manager . . . . . . . . . . . . . . . . . . . Claire Friday Supertitle Musician . . . . . . . . . . . . . . . . . . . . Robert Bosworth*

*Current Utah Opera Resident Artist

Scenery and properties for this production are owned by Arizona Opera, built by Utah Opera.

The performance will last approximately 2 hours 30 minutes with one intermission.

UTAHOPERA.ORG / (801) 533-NOTE

23

La bohème

cast

Michael Adams (Texas) Marcello Utah Opera Debut Recently: La bohème, Alcina, Grand Théâtre de Genève; Don Giovanni, Washington National Opera; Manon, Turandot, Billy Budd, Des Moines Metro Opera; Turandot, Deutsche Oper Berlin Upcoming: Alcina, Washington National Opera; Così fan tutte, Seattle Opera; Don Giovanni, Grand Théâtre de Genève Scott Quinn (Texas) Rodolfo Utah Opera Debut Recently: La bohème, Minnesota Opera; Káťa Kabanová, Seattle Opera; Madama Butterfly, Palm Beach Opera Upcoming: Rigoletto, Lyric Opera of Kansas City; La traviata, Austin Opera Ao Li (China) Colline Utah Opera Debut Recently: An American Dream, Seattle Opera; Don Pasquale, National Center for the Performing Arts (Beijing); Don Giovanni, The Metropolitan Opera Upcoming: Don Giovanni, National Center for the Performing Arts (Beijing) Samuel Schultz (Wisconsin) Schaunard Utah Opera Debut Recently: Ariadne auf Naxos, Berkshire Opera Festival; Champion, Washington National Opera; La bohème, Opera Omaha Upcoming: Carmina Burana, Omaha Symphony 24

UTAH OPERA 2017–18 SEASON

La bohème

cast

Christopher Clayton (Utah) Benoît/Alcindoro Most Recently at Utah Opera, Le nozze di Figaro Recently: Pagliacci, Cavallaria rusticana, Cedar Rapids Opera Theatre; Il trovatore, St. Petersburg Opera Company Upcoming: Carmina Burana, Ballet West Jennifer Black (Texas) Mimì Utah Opera Debut Recently: Tristan und Isolde, Chamber Orchestra of San Antonio; La traviata, Sacramento Philharmonic & Opera; La mère coupable, On Site Opera Upcoming: Norma, Sarasota Opera Christopher Oglesby (Georgia) Parpignol Utah Opera Debut Current Utah Opera Resident Artist Recently: Cox & Box, Opera in Concert; Amahl and the Night Visitors, Opera Diversita; Bastien und Bastienne, The Dallas Opera Upcoming: Die Fledermaus, Moby-Dick, Utah Opera Celena Shafer (Utah) Musetta Most Recently at Utah Opera, The Abduction from the Seraglio Recently: Leonore, Washington Concert Opera; Carmina Burana, Colorado Springs Philharmonic; Messiah, Phoenix Symphony Upcoming: Carmina Burana, Orquesta Sinfónica Nacional de Costa Rica; Mass in C Minor “The Great,” Utah Symphony

UTAHOPERA.ORG / (801) 533-NOTE

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La bohème

artistic staff Robert Tweten (New Mexico) Conductor Most Recently at Utah Opera, Carmen Recently: The (R)evolution of Steve Jobs, The Santa Fe Opera; Die Zauberflöte, Calgary Opera; La Cenerentola, El Paso Opera Upcoming: Turandot, Lyric Opera of Chicago; Il barbiere di Siviglia, Kentucky Opera Kathleen Clawson (New Mexico) Director Most Recently at Utah Opera, Tosca Recently: The Magic Flute, Dayton Opera; Pagliacci, Suor Angelica, Opera Birmingham; Noah’s Flood, The Santa Fe Opera Upcoming: Otello, Dayton Opera; UnShakeable, The Santa Fe Opera Peter Dean Beck (New York) Set and Properties Design Most Recently at Utah Opera, La traviata Recently: Dialogues of the Carmelites, Hawaii Opera Theatre; The Sound of Music, Skylight Music Theatre; Cold Sassy Tree, Florida State Opera; The Rake’s Progress and Falstaff, University of Colorado, Boulder Upcoming: Turandot, Hawaii Opera Theatre; Les Misérables, Skylight Music Theatre Susan Memmott Allred (Utah) Costume Design Most Recently at Utah Opera, Lucia di Lammermoor Recently: PBS Christmas Special with Mormon Tabernacle Choir 2016; Resident Designer, Utah Opera, 1979–2011; Mormon Miracle Pageant; Utah Shakespeare Festival; Southern Utah University

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UTAH OPERA 2017–18 SEASON

La bohème

artistic staff / chorus / supernumeraries Mathew Antaky (California) Lighting Design Most Recently at Utah Opera, La Cenerentola Recently: Pagliacci, The Seven Deadly Sins, Festival Opera; Les Enfants Terribles, Flight, Opera Parallèle Upcoming: For details visit matthewantakydesign.com Daniel Jacob Hill (Utah) Wig and Makeup Design Most Recently at Utah Opera, Don Giovanni Recently: The Long Walk, Utah Opera; Lucia di Lammermoor, Utah Opera; Man of La Mancha, Utah Opera Upcoming: Moby-Dick, Utah Opera; Pagliacci, Gianni Schicchi, Utah Opera Melanie Malinka (Germany) Chorus Master and Children’s Choir Director Most Recently at Utah Opera, Carmen Recently: Noye’s Fludde, The Cathedral of the Madeleine; Tosca, Utah Opera (chorus master) Upcoming: Dixit Dominus, The Cathedral of the Madeleine; Pueri Cantores Children’s Choir Festival, Chicago

CHORUS Keanu Aiono-Netzler Anadine Burrell Matthew Castleton Kahli Dalbow Gregory Harrison Melissa James Alyssa Jenks Karissa Kim Sharee Larsen Nelson LeDuc Edward Lopez Julie McBeth

Garrett Medlock Michael Moyes Dan Nichols Dale Nielsen Scott Palmer Gonzalo Peña Tony Porter Alyssa Powers Heidi Robinson Ruth Rogers Lauren Slagowski Sue Sohm

Mark Sorensen Mitchell Sturges Carolyn Talboys-Klassen Scott Tarbet Eric Taylor Sammie Tollestrup Daniel Tuutau Vanessa Vega Greg Watts Jillian Weaver Ruth Wortley Lennika Wright

Joe Jenkins David Lach Jonas Malinka-Thompson Steve Moga

Rick Paine Ryan Sawicki

SUPERNUMERARIES Dominic Barsi Gabriel Cabal Michael Drebot Kevin Hardy UTAHOPERA.ORG / (801) 533-NOTE

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LA BOHÈME CHILDREN’S CHOIR CHORISTERS OF THE MADELEINE CHOIR SCHOOL ALEXANDRE ANDTBACKA • AARON BURRIS • CHANCE CANNON • SHEPHERD FOY ROISIN KHOR-BROGAN • CLAIRE SOPHIE MALINKA-THOMPSON • OLIVER RAY FRANCIS REED • RUBEN REED • LUCY ROBERTSON • HENRY RYAN • OLIVER RYAN LUCY STARKS • ALLISON SWENEY • ANTHONY VILLANUEVA • GRETCHEN WALSH MUSICAL PREPARATION OF CHORISTERS: MELANIE MALINKA, DIRECTOR OF MUSIC, THE MADELEINE CHOIR SCHOOL

Located in downtown Salt Lake City, The Madeleine Choir School is a mission of The Cathedral of the Madeleine, serving young people in Pre-Kindergarten through Grade Eight. Modeled after the historic cathedral schools in Europe, the Choir School offers a rigorous academic program in the math, science, the humanities, and the arts, as well as strong character formation. It provides every student an exceptional music education, including two years of violin study, music theory and history and intensive vocal training. The choristers regularly assist with the worship life of the Cathedral Church as members of The Choir of the Cathedral of the Madeleine. They also present an Annual Concert Series, collaborate with major local arts organizations and travel on international and domestic performance tours. In April of 2017, the Choir traveled to England and France including performances in London’s Westminster Cathedral and Notre Dame de Paris.

Visit UTMCS.ORG for information on STUDENT ADMISSION and concert dates.

La bohème

Giacomo Puccini composer

Luigi Illica librettist

Giuseppe Giacosa librettist

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composer & librettists Giacomo Puccini was an Italian composer whose operas are among the most frequently performed in the standard repertoire. Puccini was born in Lucca in Tuscany, Italy into a family with five generations of musical history behind them. Starting in 1891, Puccini spent most of his time at Torre del Lago where he composed Manon Lescaut (1893), his third opera, and first great success. Manon Lescaut launched his remarkable relationship with the librettists Luigi Illica and Giuseppe Giacosa. This collaboration produced Puccini's most well-known and beloved operas, La bohème, Tosca, and Madama Butterfly. Puccini died on November 29, 1924. When news of his death reached Rome during a performance of La bohème, the opera was immediately stopped, and the orchestra played Chopin’s Funeral March for the stunned audience.

Luigi Illica wrote librettos for composers such as Giacomo Puccini (usually in partnership with Giuseppe Giacosa), Alfredo Catalani, and Umberto Giordano. His most famous opera librettos are those for La bohème, Tosca, Madama Butterfly, and Andrea Chénier. Illica’s personal life often imitated his libretti.

He was always photographed with his head slightly turned because he lost his right ear in a duel over a woman. As a playwright of considerable quality, he is today remembered through one of Italy’s oldest awards, the Luigi Illica International Prize founded in 1961, which is awarded to world-famous opera singers, opera conductors, directors, and authors.

Giuseppe Giacosa was an Italian poet, playwright, and librettist. His father was a magistrate, and Giacosa went to the University of Turin and earned a degree in law, but did not pursue this career. Giacosa gained initial fame for writing the poems in the opera Una partita a scacchi (A Game of Chess) in 1871. His main focus was playwriting, which he accomplished with both insight and simplicity, using subjects set in Piedmont and themes addressing contemporary bourgeois values. He wrote La signora di Challant (La Dame de Challant, The Lady of Challand) for noted French actress Sarah Bernhardt, which she produced in New York in 1891.

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Every Voice Tells a Story Glade Peterson's daughter shares memories of her father and his founding of Utah Opera

By Leslie Peterson

Every voice tells a story, and certainly our dad’s resonated loud and clear, both from the stage and within the community. As a singer, he was known as an emotional interpreter, gifted with languages, a strong actor, and a congenial colleague. The same charisma he exuded on stage was characteristic of his leadership of Utah Opera. What he lacked in any formal training as an administrator, he made up for with an entrepreneurial spirit and a fearless attitude. He became a familiar figure pounding the pavement on Main Street or meeting with community leaders at Lamb’s Grill or the New Yorker (or just sharing a hot dog with his daughters in the basement of ZCMI!). He related easily to people from all walks of life, was convinced that everyone could and should enjoy opera, and was not shy in sharing his passion.

Likewise, he was embraced as a ”native son done good.” Legislators could count on his annual rendition of “Danny Boy” during the session to bring a tear to their eye, and parade goers and rodeo fans applauded the singing cowboy riding his favorite horse Popeye during the Days of ’47 (how fondly we remember polishing his silver saddle every summer!). Whatever sleepless nights accompanied his daring venture forty-plus years ago were offset by optimism and good fortune. Talented local singers, helpful political, religious and community leaders, and good timing combined to make his dream of starting an opera company a reality.

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Early endeavors included a state-wide education program, thanks largely to Haven Barlow and to then-Governor Cal Rampton. Perhaps some of you remember seeing Little Red Riding Hood performed at your elementary school, or one of our final dress rehearsals in the Capitol Theatre when you were a teenager. Amahl and the Night Visitors became an early Christmas tradition, with a touring production braving ice and snow to reach audiences in Wyoming.

The ingredients needed to build an opera company are much the same today, and might resemble a plot for a good opera: take an unsuspecting, somewhat naïve tenor, mix well with Western frontier attitude, add extra and much-needed moisture from humidifiers, and cap it all off with a generous pinch of tender loving care. Mix with great artists, a supportive public, and forty years later, we have a thriving, respected opera company that still exudes the warm welcome of a gathering place for our artists and audience members alike.

Each of the operas we are doing this season has a particular connection to our father: while earlier forays set the stage, our 1978 production of La bohème at Kingsbury Hall marks the official beginning of Utah Opera, and Rodolfo was a role our dad sang all over Europe and throughout the United States. His gripping intensity became a hallmark of his interpretation of Canio in Pagliacci. Dad loved Puccini’s delightful comedy Gianni Schicchi, and as a young tenor sang the role of Rinuccio. He was honored when famed bass Giorgio Tozzi UTAH OPERA 2017–18 SEASON

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Every Voice Tells a Story

Utah Opera Founder and first General Director Glade Peterson as Alfred and Pamela Kucenic as Rosalinda in Utah Opera’s 1989 production of Die Fledermaus.

accepted his invitation to appear in the title role of our 1988 production. Dad had a great sense of humor, which was put to the test in his final appearance on the Capitol Theatre stage in 1989 during a production of Die Fledermaus.

Staging in Act I had him leaping on to a couch during a duet with his Rosalinda.

He rambunctiously overestimated the momentum needed for the leap, which catapulted the couch and Dad into a somersault. Rosalinda had a hard time maintaining her composure, and in response to her next line in the operetta, “Is there anything I can get you, my dear?” Dad responded to the audience’s delight, “yes, some BenGay!”

epitomizes the risks that were inherent and necessary in the early years of Utah Opera, and is a bold choice that is a nod to our future, and the ever-evolving art form of opera and its ability to address relevant themes.

Fortunately, our journey is a happier one than that of the Pequod, and while not without our own challenges, we face them in a world solidly connected with others who share our passion.

Our new production of Moby-Dick will grace other stages beyond Utah, and highlight our reputation as a company and a state that are innovative, resourceful, and successful. We are grateful to be a part of that journey!

While Moby-Dick is a more recent addition to the operatic repertoire, Christopher McBeth’s decision to include it in our 2017–18 season

Leslie Peterson is the Vice President of Development for Utah Symphony | Utah Opera and also the daughter of Utah Opera founder Glade Peterson.

UTAHOPERA.ORG / (801) 533-NOTE

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To Be Young, In Love, and In Paris

By Michael Clive

I don’t understand the Parisians Making love every time they get the chance I don’t understand the Parisians Wasting every lovely night on romance This charming lament comes to us from a girl named Gigi—the gawky teenager poised on the brink of womanhood in Hollywood’s 1959 Best Picture Oscar winner (Gigi). Her words are funny precisely because we do understand the Parisians. We know that they are surrounded by the joys and sorrows of love in the most romantic city on earth… that to be young, in love, and in Paris is a universal ideal of romance. And we know that soon, inevitably, Gigi will know it, too.

Puccini’s swooningly emotional evocation of young Parisians in love has made La bohème, by some reckonings, the most popular opera ever composed. The story of the lovers Mimì and Rodolfo and their band of friends ends sadly, with Mimì’s death.

Still, it is far gentler than the gritty operas—often violent and shockingly sexualized—that brought Puccini to prominence as the foremost composer of Verismo (“realistic”) operas. The turn away from romanticism and idealism toward realism was reflected in books ranging from Balzac’s La Comédie humaine and Zola’s Germinal to the novels of Charles Dickens and stories of Guy de Maupassant; on the opera stage, Bizet’s 1875 masterpiece Carmen shocked respectable Parisians with its frankness, opening the way for Puccini’s close colleagues Leoncavallo and Mascagni. Their accounts of sex, 32

squalor, and street life in Cavalleria rusticana and Pagliacci astounded audiences in 1890, as Carmen had 15 years earlier. In 1893 Puccini’s first big hit, Manon Lescaut, grafted an elegant veneer onto an equally sordid story.

By 1895, when Puccini composed La bohème, operagoers were eager for just such a music-drama as this—one that combined a realistic account of illness and the privations of urban poverty with a glowingly sympathetic portrayal of young love.

Henri Murger, the source for the episodes dramatized in La bohème, wrote from firsthand experience. Like Puccini’s Rodolfo (and like the George Orwell of Down and Out in Paris and London), Murger was born to financial UTAH OPERA 2017–18 SEASON

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privilege and spent time “slumming” for the sake of his art; he spent the 1840s writing now-forgotten poetry while living in a series of frigid attic apartments and hotel rooms in Paris’s Latin Quarter, an area that housed the lower class and a large student population. If Murger’s hardships were real, his choices suggest a certain dilettantism…a kind of willful wantonness. His disapproving father withheld financial support, forcing Henri to resort to writing personal essays to help pay the rent. Urged on by a friend, he produced some thirty installments entitled Scènes de la vie de bohème, which were published in 1848 in the satirical Parisian periodical Le Corsaire. The following year these vignettes, which together told a realistic and largely autobiographical story of life and love on the seamy Left Bank, were rewritten as a play. Its tremendous success secured Murger sufficient income to move to the more respectable side of the Seine.

Although Murger died relatively young, his stories have endured. His use of the word “bohemian” came to identify for later generations the poverty-stricken, footloose lifestyle of aspiring young artists and youth in rebellion. It’s easy to see why these tales, when animated

by Puccini’s genius, are irresistibly popular. Who hasn’t experienced the pleasures and pains of everyday life?

The vicissitudes of hardship, poverty and despair? The pleasures of a good meal and the company of friends?

Murger’s stories were so apt for this purpose that in the space of nine years

they inspired operas by three different composers. Only Puccini’s remains in the standard repertory.

BEHIND THE OPERA La bohème’s enduring appeal is not only that it is a timeless tale with which we can identify; it is that Puccini and his librettists have captured, in word and music, the story and its characters. The bohemian life was something Puccini could write and compose about; he had lived in a garret apartment as a student at the Milan Conservatory, and for a time shared it with Mascagni, composer of Cavalleria rusticana. His first two operas had been disappointing failures, but from them he had learned that a bad libretto could ruin even a good story and a better-than-average score. The opera that followed, Manon Lescaut, was his first big hit and had no fewer than seven different writers, including the composer Leoncavallo and Puccini himself. Two of its librettists, Giuseppe Giacosa and Luigi Illica, worked with him on his next three operas, all of which have achieved lasting success.

Nonetheless, collaboration with Puccini did not always go smoothly. He was demanding in his attention to detail and demanded constant revision, often finishing an opera’s orchestration before finalizing the vocal lines. Yet this attention to detail is Puccini’s genius: every word and note in La bohème serves the characters and the story. The transitions from conversational exchange and crowd banter to arias, duets, and

La bohème

To Be Young, In Love, and In Paris

quartets and back again, flow with an appealing naturalness. The characters reveal their thoughts and feelings, and events in the story are believable.

La bohème is shaped around two love stories, the fragile new love between the poet Rodolfo and Mimì, his downstairs neighbor, and the tempestuous, on-again-off-again affair between the painter Marcello and Musetta, the beautiful coquette. But the center of our attention is Mimì, not a queen or courtesan, but a humble seamstress who embroiders flowers on bonnets and other garments. She’s a common working woman, apparently simple in her desires, yet not as innocent as she initially seems. Her love affair with Rodolfo is complicated by his jealousy and his realization that she suffers from late-stage consumption, which is only worsened by their poverty and the cold—themes that recur throughout the opera.

Surprisingly, Puccini’s use of melody subjected him to criticism; he has been accused of succumbing to sentimentalism and being an unworthy successor to earlier great Italian composers. But Puccini’s sense of theater is a glory of his music. Rather than framing displays of vocal agility such as one finds in Bellini or Rossini, his melodies are constructed in gentle, step-like intervals that make his lyrical arias and duets some of the most easily recognizable in opera. In bohème Puccini fully established his signature style, which is heard in the

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rhythmic relationship between the vocal lines and the orchestration. Both orchestration and vocal parts are full of color, and in bohème Puccini begins to use particular instruments, as well as tempo, for descriptive effect. And finally, leaving nothing to chance, Puccini wrote copious instructions on his scores for the conductor.

La bohème was not an immediate success. Critics were unappreciative at its world premiere in Turin in 1896.

London’s Covent Garden refused to mount it when first offered the opportunity, and a 1924 American textbook edition of Scènes de la vie de bohème even omitted the stories of Mimì and Musetta, considering them inappropriate for college students.

But bohème’s (and Puccini’s) success was soon confirmed, championed by conductor Arturo Toscanini and tenor Enrico Caruso. In a more recent tribute to bohème’s appeal, Jonathan Larson based his rock-opera Rent on it, setting the action in New York’s East Village with Mimì as an HIV/AIDS patient.

Rent premiered in New York exactly one hundred years after La bohème’s opening in Turin.

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 online articles (for Classical TV.com and Classical Review) and television (for the PBS series Live From Lincoln Center). He is program annotator for the Utah Symphony, the Louisiana Philharmonic Orchestra, and the Pacific Symphony, and is editor-in-chief of The Santa Fe Opera.

UTAH OPERA 2017–18 SEASON

Broadway’s Best Friday nights at 8PM beginning Oct. 20 Get a front row seat to “She Loves Me,” “Falsettos,” “Present Laughter,” “In the Heights,” “Holiday Inn”, and more. There’s no place like KUED for a night at the theater.

Backstage to Bohemian AN INSIDE LOOK INTO THE EVOLVING COSTUMES OF LA BOHÈME

By Kathleen Sykes

Kathleen Thompson as Mimì and Utah Opera Founder Glade Peterson as Rodolfo in the 1978 production.

Celena Shafer as Musetta in the 2010 production of La bohème.

The stage is set: Friends gather in a metropolitan café on Christmas Eve for drinks as they have lively conversations about life, romance, philosophy, and jealousy. This scene wouldn’t be out of place in our day, even though the first performance of La bohème premiered in 1896.

The costumes in each of these productions held the power to transform the characters and mood of the show. For example, in our prewar rendition of La bohème, Musetta is bedecked in a scene-stealing red, mermaid-style gown topped with a fur-trimmed coat and smart-looking hat. Musetta’s sparkling personality and over-the-top aria, “Quando m’en vo,’” already dominate the second act, but this look goes even further revealing other aspects of her story and personality. As a performer, she loves being in the spotlight—this unmissable ensemble punctuates a muted Parisian street from a France that was on the verge of war.

The fashion icon Yves Saint Laurent once said, “Fashions fade, style is eternal.” When it comes to the costumes, this timeless classic has no shortage of style. Since our first performance of La bohème (and as a company) in 1978, this production has undergone multiple iterations ranging from a traditional staging set in the mid-1800s to a more modern one set in an ominous Paris shortly before World War II. 36

Even in other productions, Musetta's personality and style do not go UTAH OPERA 2017–18 SEASON

La bohème

Backstage to bohemian

unnoticed. From the traditionally shocking shades of red this character wears, to her incredible hats and jewels, to her unapologetic arias, this character’s performance is unforgettable.

In contrast, the simple and subtle Mimì is literally the show’s “girl next door.” The ill-fated protagonist's looks are effortless and understated, usually consisting of romantic blue dresses.

Her costumes tell the story of her life as a humble seamstress even before she sings her first aria.

Take, for example our original Mimì, played by Kathleen Thompson opposite Utah Opera Founder Glade Peterson as Rodolfo, in our very first production as a company. This soft dress with fluttering lace sleeves showcases a much quieter and romantic personality. The soft look brings emotion and character to the role, and makes it even more tragic as Mimì slowly succumbs to her illness.

The path towards transformation doesn’t begin here—the ideas behind the costumes can begin a year or more in advance.

Costume Director,Verona Green, who has been working in the Utah Opera costume shop for 35 years, says this journey all starts with the vision of the stage director. The costume designer and stage director will discuss all the details of the production from the time period in which it's set, to even the exact shade of red Musetta will wear.

From there, the costume designer does

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extensive research on the history of the opera, the clothing of that period, and what the set will look like to determine his or her ideas.

Susan Allred, Utah Opera’s legendary costume designer whose career stretched back to our first performance of Otello in 1978, would often send her research, drawings, and fabric swatches back and forth many times to the stage director before any final designs were decided upon.

According to Ms. Green, costumes are a feature piece in the opera—they help tell the story and transform people.

She says there are always challenging details of a production like what kinds of fabric they want to use to portray a time and place, or how to transform chorus members into what they need to become in that particular opera, but the final product is incredibly satisfying.

She says, “If we got the design right and got the costume to fit and saw the performer smiling, we knew we got it right. They can turn into a completely different person.”

This timeless story of romance and struggling artists still speaks to us today—and through transformative costuming we’re brought even deeper into the story.

Kathleen Sykes is the digital content producer for Utah Symphony | Utah Opera. When she’s not writing articles, she’s busy snapping photos and posting them to @utahopera.

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1896

By Jeff Counts

Dates are important. Not only are they signposts that allow us to reach back through time and measure our progress against important historical moments, they also offer fuel for our imaginations as we look toward future milestones and guess at how our lives might change. As such, the world at the turn of the previous century was an anxious one. Both mainstream religion and the classical sciences were on the ropes as the planet became a much more knowable entity. The blank spaces on the maps were filling up rapidly. The secrets of the human body were yielding to an ever more refined scrutiny. Technology was exploding. With the electrification of our cities, the rise of international telephone communication and the advancement of revolutionary thought on subjects like women’s rights, Freud’s “unconscious” and the pervasive “degeneration” of mankind, it seemed that life in general was undergoing a process of rapid de-mystification. At the very least, it was obvious to all that the materialistic old ways were soon to suffer at the hands of radical change, a concept welcomed by many in the arts.

In contrast to our own time, the period now known as fin-de-siècle looks like a moment in history defined more by its answers than its questions.

It was in this era of doomed decadence that Puccini premiered what was to become his most beloved work, La bohème, in 1896. Performed first in Italy but based on a quintessentially French text, Henri Murger’s Scènes de la vie de bohème, the opera tells the UTAHOPERA.ORG / (801) 533-NOTE

story of a time gone by when lovesick artists lived hand-to-mouth lives among the Parisian bourgeoisie they loathed and envied. In truth, bohème was met with rather faint praise at first which according to its conductor, Arturo Toscanini, could be attributed to the success of Puccini’s previous work, Manon Lescaut. He felt audiences might have been expecting something much grander from bohème and weren’t initially prepared for a piece that was so intimate and sweetly understated. It is also possible to imagine that in such an adventurous period of music history, Puccini’s score, though in many respects quite progressive and maybe even somewhat “modern” by the traditional standards of grand opera, struck the ear as simultaneously a bit old-fashioned and not old-fashioned enough.

Consider some of the other important musical trends and events of 1896.

Claude Debussy was in the midst of a 10-year occupation with his opera, Pelléas et Mélisande, and was regularly pushing innovation in the areas of form, harmony, and instrumentation. Richard Strauss premiered his Also Sprach Zarathustra in November and was on a run of successes with large orchestral compositions that would soon cement him as a living icon. Tchaikovsky had been gone for just three years and Bruckner would die that very year, leaving it to Gustav Mahler to continue the progressive evolution of the symphonic form. And for Brahms, the venerable master, 1896 was his last full year of life, after which he would effectively surrender the defense of the 39

La bohème

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Germanic tradition to the Wagnerites and the French Symbolists. In another arena, Gilbert and Sullivan premiered their last operetta, The Grand Duke, to disastrous effect in March. And what of American Bandmaster, John Philip Sousa? He was in Europe in 1896 too and, according to his autobiography, he conceived of his masterpiece, the Stars and Stripes Forever, while there on Christmas Day. To be sure, there was a lot going on and quietly watching it all unfold was a young Arnold Schoenberg who, in the new century, would change compositional thought forever with Pierrot Lunaire.

It wasn’t only the concert stages that experienced the effects of the coming “modernization.” As is still often the case, the nimble and visionary theatre scene led the way and it was in this discipline the revolution could be felt most acutely.

There were two contrasting dramatic premieres in 1896 Paris that provide us today with an interesting perspective on the environment into which Puccini was releasing his latest creation, namely Oscar Wilde’s Salome and Alfred Jarry’s Ubu Roi. Salome was originally planned for an earlier debut, in 1892, but was banned by the British government due to its “illegal” representation of Biblical characters on stage. Rarely far from controversy, Wilde would be absent when the work was finally staged in Paris due to his 1895 conviction and imprisonment for “gross indecency.”

Wilde’s “unacceptable” lifestyle was emblematic of the times and left him on the wrong side of a troublesome fin-de-siècle debate. He was an aesthetic and, as such, thought art 40

ought to be based on beauty rather than morals. This put him at odds with the proposed “regeneration” of human values many hoped would erase the prevailing sensual gluttony they perceived in others, others like the Bohemian-style artists who were regularly testing the limits of the cultural patience. The play itself was a blend of prior styles and perspectives on the Salome story and was alternately described as plainly derivative and a brilliantly modern fusion of ideas. In any case, Wilde’s creation would be immortalized in the opera world within a decade by Strauss, who would unabashedly take the tale to its controversial conclusion through some startlingly original music. Puccini himself would attend on opening night in 1905.

Back in the early winter of 1896, however, an acquaintance and colleague of Wilde’s named Alfred Jarry created a smaller but much more shocking scandal. Jarry was by all accounts an odd person with ambiguous social tastes who also lived, appropriately enough, a rather Bohemian existence in Paris. He was an artistic anarchist whose work, Ubu Roi in particular, is often cited as a precursor to the Surrealist movement of the 1920s. The piece is based on the exploits of a wholly unlikable fool called Père Ubu who, over the course of five acts, blusters and swears and makes a ridiculous mockery of the elite and their unwarranted, ill-used power. It is an intentionally absurd indictment of the politics of class and, whether or not the author intended to start a movement, it was truly a work ahead of its time by decades. The UTAH OPERA 2017–18 SEASON

La bohème

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December premiere was marked by the disturbance caused when Père Ubu made his first utterance, a cleverly misspelled version of the French word “Merde.” It apparently took a full 15 minutes for the crowd to calm itself sufficiently enough for the play to continue and each subsequent statement of the word (there were many) elicited a new barrage of shouts.

Alfred Jarry and Oscar Wilde both died penniless and ill within a few years of these events, a condition Puccini’s characters from La bohème would have understood all too well.

1896 itself though, had little the fictional Rodolfo and Mimì would have immediately recognized. This was the year of the first x-ray machine, the first modern Olympic games, the first publication of the Dow Jones Industrial Average, the first photo of a barechested woman to appear in National Geographic, the entrance of Utah into statehood. It was a thoroughly contemporary world in 1896, one that was expanding in almost every way and one that was seemingly much more distant from the 1830s than the number of years might tell.

It hardly seems possible that an endearingly anachronistic work like bohème could have been born during such a forward-looking period and of the same soil that made Ubu Roi. But maybe Puccini’s great masterpiece has stood the test of time precisely because it is not of its time. Maybe the subject matter and the musical language used to tell the story are essentially timeless and because of that remain unbound by either the date of Murger’s book or that of the opera’s premiere. Puccini makes no grand or critical statements about the nature of humanity at the end of the 19th century but offers instead an alternative to that popular impulse by allowing his audience to enjoy something simple and instantly recognizable.

La bohème is a slice of history from a less complicated age and as such provides us a chance to forget ourselves for a while. It isn’t radical but it is necessary.

Jeff Counts is Vice President of Operations and General Manager of Utah Symphony. He was program annotator for Utah Symphony from 2010 to 2014 and has been writing articles for Utah Opera since 2010.

Q&A

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.

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GIVE TODAY Founder Glade Peterson established Utah Opera not only to perform mainstage operas, but to develop education programming in tandem with the season.

Support Utah Opera, both for the performances you enjoy on stage and the music education experiences students across Utah enjoy.

2017/18

ANNIVERSARY SEASON

EVERY VOICE TELLS A STORY

VISIT our website at USUO.ORG/GIVE CALL us at 801–869–9015 MAIL a check payable to: Utah Symphony | Utah Opera 123 West South Temple Salt Lake City, UT 84101

For my first opera, I really enjoyed it. If all operas are as good as this one, I can’t wait to see another one.

Thanks for sharing this experience with me.

— STUDENT ROOSEVELT JUNIOR HIGH DUCHESNE SCHOOL DISTRICT

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UTAH OPERA 2017–18 SEASON

Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair

Conner Gray Covington Assistant Conductor

Roberta Zalkind# Associate Principal

Barlow Bradford Symphony Chorus Director

Elizabeth Beilman Acting Associate Principal

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

Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Leslie Richards†† Whittney Thomas

Robert Stephenson Associate Principal

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

CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair

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

Ralph Matson Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Amanda Kofoed†† Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Lynnette Stewart Bonnie Terry• Julie Wunderle Karen Wyatt•• VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn# Antonio Escobedo†† Benjamin Henderson†† Lee Philip†† Edward Merritt Jens Tenbroek Thomas Zera† HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore

Lissa Stolz ENGLISH HORN Lissa Stolz

Erin Svoboda Associate Principal Lee Livengood BASS CLARINET Lee Livengood

TROMBONE Mark Davidson Principal Sam Elliot Associate Principal BASS TROMBONE Graeme Mutchler† David Hagee†† TUBA Gary Ofenloch Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape

E-FLAT CLARINET Erin Svoboda

KEYBOARD Jason Hardink Principal

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

LIBRARIANS Clovis Lark Principal Maureen Conroy† Katie Klich††

Leon Chodos Associate Principal

ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel

Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Edmund Rollett Acting Principal Alexander Love†† Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal Jeff Luke Associate Principal

Andrew Williams Orchestra Personnel Manager STAGE MANAGEMENT Chip Dance Production & Stage Manager Jeff Herbig Properties Manager & Assistant Stage Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

Peter Margulies Gabriel Slesinger†† UTAHOPERA.ORG / (801) 533-NOTE

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“Why not have a big life?”

FROM HUMBLE BEGINNINGS TO A BIG LIFE “Why not have a big life?”

Those of you who know Kem Gardner understand that this quote from Emily Dickinson aptly describes Utah Symphony | Utah Opera’s new Board of Trustees Chairman. Many of you recognize Kem not only from his long and distinguished career as a developer, but also for the extraordinary leadership he provides to enhance the quality of life for everyone in our community. From the 2002 Olympics to the United Way to Intermountain Healthcare to the Rodeo to Utah Symphony | Utah Opera, his varied interests and commitments demonstrate a desire to make a difference for our community wherever he serves.

Kem & Carolyn Gardner Utah Symphony | Utah Opera's Chairman of the Board

Kem’s humble beginnings in Star Valley, Wyoming, taught him the value of hard work, which led him on a path to obtaining a law degree from the University of Utah, building a successful career, and becoming engaged in the political and civic life of our community. Along with his wife Carolyn, he started attending Utah Symphony concerts in the Tabernacle’s student section. Those early experiences convinced Mr. Gardner of the need to provide children and students with exposure to quality music.

“I’m thrilled to see the impact USUO has on our state, particularly on our youth and the underserved.”

A supporter of all of the arts in Utah, Kem is dedicated to investing in the future of our symphony and opera: “It’s been a joy to see the organization thrive in the last several years and to embark on so many meaningful experiences. As an aficionado of great literature, I am particularly looking forward to seeing Melville’s classic Moby-Dick realized as an opera on the Janet Quinney Lawson Capitol Theatre stage. I intend to build on that excitement and momentum, and to help the organization achieve even greater heights.”

USUO is honored to welcome Kem C. Gardner as our Chairman of the Board beginning with the 2017–18 season, and is deeply grateful for his leadership and service.

Leslie Peterson is the Vice President of Development for Utah Symphony | Utah Opera and also the daughter of Utah Opera founder Glade Peterson.

UTAHOPERA.ORG / (801) 533-NOTE

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Thank You MILLENNIUM DONORS $250,000 & above We are grateful to those individuals, corporations, foundations and public institutions who have given $250,000 or more either to the annual fund, or to a combination of annual fund and endowment, as a one-time gift or as a multi-year gift or as a multi-year pledge during the past five years. Their generous support sustains and enhances our artistic excellence. Thank you.

INDIVIDUALS Gael Benson

Anthony & Renee Marlon

Theodore Schmidt

Diane & Hal Brierley

James A. & Marilyn Parke

E.R. & Katherine† W. Dumke

Patricia A. Richards & William K. Nichols

Naoma Tate & the Family of Hal Tate Jacquelyn Wentz

The Right Reverend Carolyn Tanner Irish

CORPORATIONS, FOUNDATIONS & PUBLIC SUPPORT The Church of Jesus Christ O.C. Tanner of Latter-day Saints Perkins-Prothro Foundation Foundation Lawrence T. & Janet T. John & Marcia Price Dee Foundation Foundation Dominion Energy Salt Lake County George S. & Dolores Doré Salt Lake County Zoo, Eccles Foundation Arts & Parks Larry H. & Gail Miller Family Foundation

Shiebler Family Foundation Sam & Diane Stewart Family Foundation Utah State Legislature / Utah State Board of Education Zions Bank

Donations received as of July 20, 2017

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UTAH OPERA 2017–18 SEASON

Thank You INDIVIDUAL GIVING Annual Fund Utah Symphony | Utah Opera is grateful to the individuals who support our mission with annual gifts and those who have pledged multi-year gifts (recognized in bold) to the annual fund.

ENCORE $100,000 & above Anonymous Estate of Edith C. Brinn Kem & Carolyn Gardner

Anthony & Renee Marlon Naoma Tate & the Family Kenneth† & Jerrie Randall of Hal Tate Elizabeth Solomon Jacquelyn Wentz

BRAVO $50,000 to $99,999 Anonymous Diane & Hal Brierley Stephen C.† & Lynda M. Jacobsen

Charles & Crystal Maggelet Patricia A. Richards & James A. & Marilyn Parke William K. Nichols

OVERTURE $25,000 to $49,999 Scott & Kathie Amann Doyle Arnold & Anne Glarner Judy Brady & Drew W. Browning Michael & Vickie Callen Rebecca Marriott Champion John & Flora D’Arcy John & Joan Firmage

Thierry & Catherine Fischer Elaine & Burton L. Gordon Martin & Jane Greenberg Tom & Lorie Jacobson Ron & Janet Jibson Kristen Fletcher & Dan McPhun Fred & Lucy Moreton Edward & Barbara Moreton

Carol & Ted Newlin Alice & Frank Puleo Albert J. Roberts IV Harris H. & Amanda Simmons Sam & Diane Stewart Jim & Zibby Tozer Jack Wheatley Lois A. Zambo Edward & Marelynn Zipser

Donations received as of July 20, 2017

UTAHOPERA.ORG / (801) 533-NOTE

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Thank You Members of Maestro and above support the symphony or opera through major gifts of $10,000 or more, and enjoy exclusive Utah Symphony | Utah Opera benefits throughout the season. For more information, please call 801-869-9010.

MAESTRO $10,000 to $24,999 A. Scott & Jesselie Anderson Anonymous Dr. J. R. Baringer & Dr. Jeannette J. Townsend Thomas Billings & Judge Judy Billings Estate of Berenice Bradshaw Estate of Barbara Burnett Chris & Lois Canale Howard & Betty Clark Kathleen Digre & Michael Varner Pat & Sherry Duncan Dr. & Mrs. Ralph Earle Sue Ellis

J. I. “Chip” & Gayle Everest Douglas & Connie Hayes Susan & Tom Hodgson G. Frank & Pamela Joklik Robert & Debra Kasirer Bill Ligety & Cyndi Sharp Estate of Gaye Herman Marrash Mr. & Mrs. Charles McEvoy Harold W. & Lois Milner Terrell & Leah Nagata William H. & Christine Nelson Dr. Dinesh & Kalpana Patel

Frank R. Pignanelli & D’Arcy Dixon Leslie Peterson & Kevin Higgins Stephen & Cydney Quinn David & Shari Quinney Brad & Sara Rencher Richard & Carmen Rogers Lori & Theodore Samuels Theodore Schmidt George & Tamie† Speciale Jennifer Speers Mr. & Mrs. G. B. Stringfellow Thomas & Marilyn Sutton Jonathan & Anne Symonds

ALLEGRO $5,000 to $9,999 Anonymous (2) Edward Ashwood & Candice Johnson Dr. & Mrs. Clisto Beaty Carol, Rete & Celine Browning Mr. & Mrs. Neill Brownstein Judy & Larry Brownstein Thomas Christofferson Joseph Cleary Amalia Cochran Marc & Kathryn Cohen Mr. & Mrs. Kenneth R. Cutler David & Karen Gardner Dee Jack & Marianne Ferraro Robert & Elisha Finney Mr. Joseph F. Furlong III Mr. & Mrs. Eric Garen David & Lisa Gencov

Ray & Howard Grossman Dennis & Sarah Hancock Julie & Dave Hirz Mr. James Keras & Mrs. Penny Keras Jeanne Kimball Mr. & Mrs. Christopher J. Lansing Elizabeth & Michael Liess Mr. & Mrs. Wayne Lyski Paul Meecham & Laura Leach Nathan & Karen B. Morgan Carol & Anthony W. Middleton, Jr., M.D. James & Ann Neal James & Marianne Nelson Charles & Amy Newhall Howard & Nancy Parker

Dr. Thomas Parks & Dr. Patricia Legant Brooks & Lenna Quinn Dr. & Mrs. Marvin L. Rallison James & Gail Riepe Dr. Wallace Ring Peggy & Ben Schapiro Mr. & Mrs. D. Brent Scott Dewelynn Selberg Stuart & Molly Silloway Tim Terrell Albert & Yvette Ungricht Susan & David† Wagstaff Ardean† & Elna Watts David & Jerre Winder E. Art Woolston & Connie Jo Hepworth-Woolston Chris & Lisa Young

Donations received as of July 20, 2017

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UTAH OPERA 2017–18 SEASON

Photo, Kent Miles for Utah Opera

Thank You ABRAVANEL & PETERSON SOCIETY $4,000 to $4,999 Members of the Maurice Abravanel & Glade Peterson Societies pay tribute to our founders through an annual financial commitment of $4,000 or more, while enjoying benefits throughout the season. For more information, please call 801-869-9028.

Anonymous Mr. & Mrs. William C. Bailey Debbi & Gary Cook Michael & Sheila Deputy Mr. & Mrs. Robert Ehrlich Midge Farkas

Dr. & Mrs. Bradford D. Hare Laura Kiessner Allison Kitching Donald L. & Alice A. Lappe Harrison & Elaine Levy Keith & Vicki Maio

Michael & Julie McFadden Stephen & Mary Nichols Thomas & Gayle Sherry Verl & Joyce Topham

ABRAVANEL OR PETERSON SOCIETY $2,500 to $3,999 Members of the Maurice Abravanel or Glade Peterson Society support the symphony or opera through annual gifts of $2,500 or more and enjoy symphony or opera benefits throughout the season. For more information, please call 801-869-9028.

Craig & Joanna Adamson Mr. & Mrs. Alan P. Agle Robert & Cherry Anderson Anonymous (4) Robert & Sandy Baker David & Rebecca Bateman E. Wayne & Barbara Baumgardner Melissa Bentley Suzanne Weaver & Charles Boynton Robert W. Brandt† David Brown Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Kelly Burt Mark & Marcy Casp Hal & Cecile Christiansen Edward & Carleen Clark

Shelly Coburn Raymond & Diana Compton David & Sandra Cope Dr. & Mrs. Thomas Coppin Ruth Davidson Graeme Dayton Thomas D. Dee III & Dr. Candace Dee Margarita Donnelly Carol & Greg Easton Janet Ellison Blake & Linda Fisher Susan F. Fleming John F. Foley, M.D. & Dorene Sambado, M.D. Laura Forsgren Drs. Fran & Cliff Foster Robert & Annie-Lewis Garda Jeffrey L. Giese, M.D. & Mary E. Gesicki

Susan Glasmann & Richard Dudley David & SandyLee Griswold The James S. Gulbrandsen, Sr. Family Kenneth & Kate Handley David & Judi Harris Lisanne & Don Hendricks Debbie Horton Sunny & Wes Howell Dixie & Robert Huefner Sherry & Jim Hulse Scott Huntsman Annette & Joseph Jarvis Mr. & Mrs. Jerry Huffman M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Maxine & Bruce Johnson Neone F. Jones Family

Donations received as of July 20, 2017

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UTAH OPERA 2017–18 SEASON

Thank You ABRAVANEL OR PETERSON SOCIETY $2,500 to $3,999 Catherine Kanter Susan Keyes & Jim Sulat Merele & Howard Kosowsky Victoria McNeil Le Vine Herbert C. & Wilma S. Livsey Patricia & Mark Lucas Milt & Carol Lynnes David & Donna Lyon Jed & Kathryn Marti Zelda Marzec Christopher & Julie McBeth David & Nickie McDowell Mr. & Mrs. Charles McEvoy George & Nancy Melling

Mr. & Mrs. Richard Mithoff Dr. Louis A. Moench & Deborah Moench Marilyn Neilson Thomas & Barbara O’Byrne O. Don & Barbara Ostler Dr. S. Keith & Barbara Petersen Dan & June Ragan Joyce Rice Kenneth Roach & Cindy Powell Lousje & Keith Rooker Thomas Safran

Mark & Loulu Saltzman Margaret P. Sargent Shirley & Eric Schoenholz Barbara & Paul Schwartz Dawn & Mitch Taubin Richard & Janet Thompson Mr. & Mrs. Glen R. Traylor Karen & Richard Wankar Dr. Ralph & Judith Vander Heide Bryan & Diana Watabe Gayle & Sam Youngblood

Carl & Gillean Kjeldsberg Val Lambson Guttorm & Claudia Landro Anne Lee & Claude Halter Dr. Vivian S. Lee & Mr. Benedict Kingsbury James Lether Dennis & Pat Lombardi Ross & Kathleen Matthews Daniel & Noemi P. Mattis Warren K. & Virginia G. McOmber George & Linda Mendelson Dr. Nicole L. Mihalopoulos & Joshua Scoville Dr. Jean H. & Dr. Richard R. Miller Dan & Janet Myers Robert & Catherine Pedersen

Victor & Elizabeth Pollak Jana Ramacher Gina Rieke Grant Schettler Gibbs & Catherine W. Smith Christine St. Andre & Cliff Hardesty Ronald W. Tharp & Kate F. Little Rachel Varat-Navarro Susan Warshaw Erik & Linda Watts Dan & Amy Wilcox Caroline & Thomas Wright Norman & Kathy Younker Laurie Zeller & Matthew Kaiser Michael & Olga Zhdanov

PATRON $1,500 to $2,449 E. Wayne & Barbara Baumgardner Mary Beckerle & David Murrell Barry Bergquist Shauna Bona Mr. & Mrs. Lee Forrest Carter C. Floyd & Mary Anne Cooper Katherine W.† & E. R. Dumke, Jr. Robert S. Felt, M.D. Heidi Gardner Kenneth & Kate Handley Drs. Carolyn & Joshua Hickman Kay Howells Caroline & David Hundley James Hynes Drs. Randy & Elizabeth Jensen Dr. & Mrs. Michael A. Kalm J. Allen & Charlene Kimball

Donations received as of July 20, 2017

UTAHOPERA.ORG / (801) 533-NOTE

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Thank You FRIEND $1,000 to $1,499 Madeline Adkins & John Forrest Fran Akita Christine A. Allred Anonymous (5) Drs. Crystal & Dustin Armstrong Curtis Atkisson, Jr. Diane Banks & Dr. Mark Bromberg Mr. & Mrs. William Bierer Roger & Karen Blaylock Dana Carroll & Jeannine Marlowe Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Denise Corr Dorothy B. Cromer† James & Rula Dickson Margaret Dreyfous

Alice Edvalson Ralph & Rose Gochnour Dr. & Mrs. John Greenlee John Edward Henderson Connie C. Holbrook Todd & Tatiana James Dale & Beverly Johnson Chester & Marilyn Johnson Gary & Suzanne Larsen Sheryl Laukat Tiffany & Mark Lemons Peter Margulies & Louise Vickerman Edward & Grace McDonough Clifton & Terri McIntosh Mr. & Mrs. Michael Mealey Lex Hemphill & Nancy Melich Hal & JeNeal Miller Mary Muir Oren & Liz Nelson Ruth & William Ohlsen Linda S. Pembroke

Rori & Nancy Piggott David Porter Frederick Quinn Keith & Nancy Rattie Aden Ross Janet Schaap James Schnitz Mr. August L. Schultz William G. Schwartz & Joann Givan Annabelle & Dennis Shrieve Barbara Slaymaker Dr. & Mrs. Michael H. Stevens Amy Sullivan & Alex Bocock Douglas & Susan Terry M. Walker & Sue Wallace Judith Warner Margaret & Gary Wirth Marsha & Richard Workman John & Jean Yablonski Kathie & Hugh Zumbro

Donations received as of July 20, 2017

utahfoodservices.com

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Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT

Annual Fund Utah Symphony | Utah Opera is grateful to the corporations, foundations & public institutions that sustain our mission and to those who have pledged multi-year gifts (recognized in bold). For more information, please call 801-869-9013.

ENCORE $100,000 & ABOVE The Church of Jesus Christ of Latter-day Saints Dominion Energy George S. & Dolores Doré Eccles Foundation Emma Eccles Jones Foundation Janet Q. Lawson Foundation Larry H. & Gail Miller Family Foundation

Shiebler Family Foundation Utah State Legislature / Utah State Board of Education Sorenson Legacy Foundation Summit County Restaurant Tax / RAP Tax Zions Bank

Utah Division of Arts & Museums / National Endowment for the Arts O.C. Tanner John & Marcia Price Foundation Salt Lake County Salt Lake County Zoo, Arts & Parks

BRAVO $50,000 to $99,999 Carol Franc Buck Foundation FJ Management, Inc. Frederick Q. Lawson Lawrence T. & Janet T. The Florence J. Gillmor Foundation Dee Foundation Foundation Marriner S. Eccles Foundation Grand & Little America Hotels*

OVERTURE $25,000 to $49,999 Arnold Machinery Brent & Bonnie Jean Beesley Foundation R. Harold Burton Foundation Chevron Corporation C. Comstock Clayton Foundation Deer Valley Resort** Nora Eccles Treadwell Foundation

Intuitive Funding Charles Maxfield & Gloria F. Parrish Foundation Montage Deer Valley** Moreton Family Foundation Perkins-Prothro Foundation S. J. & Jessie E. Quinney Foundation Simmons Family Foundation Stein Eriksen Lodge**

The Sam & Diane Stewart Family Foundation Summit Sotheby’s Utah Symphony Guild Vivint.SmartHome Wells Fargo Foundation Workers Compensation Fund

Donations received as of July 20, 2017

UTAHOPERA.ORG / (801) 533-NOTE

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Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT

MAESTRO $10,000 to $24,999 Adobe Haven J. Barlow Family Foundation B. W. Bastian Foundation Caffé Molise* The Capital Group CenturyLink Marie Eccles Caine Foundation-Russell Family Richard K. & Shirley S. Hemingway Foundation

Hyatt Centric Park City** McCarthey Family Foundation Merrill Lynch Wealth Management National Endowment for the Arts Ogden Opera Guild Park City Chamber Bureau Promontory Foundation Salt Lake City Arts Council

St. Regis Deer Valley / Deer Crest Club The Swartz Foundation Norman C. Tanner & Barbara L. Tanner Trust Union Pacific Foundation University of Utah Health Utah Office of Tourism

Spencer F. & Cleone P. Eccles Family Foundation Flynn Family Foundation Holland & Hart Leavitt Group Insurance LOVE Communications Macy’s Martine* Millcreek Cacao Roasters*

Pro Helvetia, The Swiss Arts Council Raymond James & Associates Resorts West by Natural Retreats* U.S. Bancorp Foundation Utah Autism Foundation Victory Ranch & Conservancy J. Wong’s Thai & Chinese Bistro*

ExxonMobile Foundation FatPipe Networks Graystone Consulting Jones & Associates Jones Waldo Park City M. Lazy M. Foundation George Q. Morris Foundation Nebeker Family Foundation Ray, Quinney & Nebeker Foundation

Sinclair Oil Foundation Snell & Wilmer LLP Snow, Christensen & Martineau Foundation Squatters Pub* Stay Park City Stoel Rives Zuvii*

PATRON $5,000 to $9,999 Art Works for Kids!

Bambara* Rodney H. & Carolyn Hansen Brady Charitable Foundation Deluxe Corporation Foundation Discover Financial Services The Dorsey & Whitney Foundation

FRIEND $2,500 & ABOVE Bertin Family Foundation Boeing Employees Community Fund Robert S. Carter Foundation Castle Foundation City Creek Center Cope & Cope Investments D’Addario Foundation Henry W. & Leslie M. Eskuche Charitable Foundation

* In-kind donation only ** In-kind and cash donation

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Donations received as of July 20, 2017

UTAH OPERA 2017–18 SEASON

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Thank You DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps ensure the long-term wellbeing and stability of USUO, and through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9028.

Anonymous Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools

Lawrence T. & Janet T. Dee Foundation Thomas & Candace Dee Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton

Estate of Pauline C. Pace Perkins-Prothro Foundation Kenneth†& Jerrie Randall The Evelyn Rosenblatt Young Artist Award Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner M. Walker & Sue Wallace

GIFTS MADE IN HONOR OF Dr. J. R. Baringer & Dr. Jeannette J. Townsend Neill & Linda Brownstein

Herond & Gaylen Hoyt Pamela Robinson-Harris & Jeff Harris

The Right Reverend Carolyn Tanner Irish

GIFTS MADE IN MEMORY OF Jay T. Ball Dr. Robert H. Burgoyne M.D. Jeffrey L. Chaney Kathie Dalton Dean E. Eggertsen Loraine L. Felton Rosalie Frost Ursula Gleason Joanne Johnson Muriel Lindquist Panos Johnson

Joseph S. Kowlton Valice M. Laramee Sonja Margulies Frank & Maxine McIntyre Bill Peters Mardean Peterson John A. Reinertsen Alvin Richer Kathryn Romney J. Ryan Selberg Bert Schaap

Aurelia H. Schettler Ben Shippen Claudia Silver-Huff Patrick L. Wade Robert Van Wagenen Nadine Ward John W. Williams Martin Zwick

Donations received as of July 20, 2017

UTAHOPERA.ORG / (801) 533-NOTE

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Legacy Giving

2016–17 Utah Opera Resident Artists and Elise Quagliata in Carmen. Photo by Dana Sohm.

Leave a lasting legacy of excellent music. When you make a gift through your estate, either now or at the end of your life, you provide invaluable support to Utah Symphony | Utah Opera. Your financial advisor or estate planning attorney can help you build a gift that can meet goals for you or your heirs, and provide USUO with the resources that create incredible music. Help USUO preserve our future of performing favorite symphonic and operatic works and new works for years to come.

To learn more about how estate planning can benefit both you and USUO, please call Kate Throneburg at 801-869-9028 or visit us online at usuo.giftplans.org.

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UTAH OPERA 2017–18 SEASON

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 kthroneburg@usuo.org or 801-869-9028 for more information, or visit our website at usuo.giftplans.org.

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

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

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

TANNER SOCIETY OF UTAH SYMPHONY Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Doyle Arnold & Anne Glarner Dr. J. Richard Baringer Haven J. Barlow Shelly Coburn Captain Raymond & Diana Compton Anne C. Ewers Flemming & Lana Jensen

James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bentley Kenneith A.† & Jeraldine S. Randall

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

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

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

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

†Deceased

UTAHOPERA.ORG / (801) 533-NOTE

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Administration ADMINISTRATION Paul Meecham

Anthony Tolokan

Mike Call

Vice President of Symphony Artistic Planning

Website Manager

President & CEO

David Green

Conner Gray Covington

Director of Creative and Brand Strategy

Senior Vice President & COO

Assistant Conductor

Julie McBeth

Barlow Bradford

Executive Assistant to the CEO

Symphony Chorus Director

Ali Snow

Walt Zeschin

Executive Assistant to the COO & Office Manager

Director of Orchestra Personnel

0PERA ARTISTIC Christopher McBeth Opera Artistic Director

Carol Anderson Principal Coach

Andrew Williams Orchestra Personnel Manager

Lance Jensen Executive Assistant to the Music Director and Symphony Chorus Manager

Aaron Sain Kathleen Sykes Digital Content Producer

Tyler Bloomquist Junior Graphic Designer

PATRON SERVICES Nina Richards Starling Director of Ticket Sales & Patron Services

Faith Myers Sales Manager

Andrew J. Wilson

SYMPHONY OPERATIONS Jeff Counts

Patron Services Manager

Mandi Titcomb

Vice President of Operations & General Manager

Group Sales Associate

Opera Production Coordinator

Cassandra Dozet

Patron Services Assistant

Michelle Peterson Opera Company Manager

OPERA TECHNICAL Jared Porter Senior Technical Director

Kyle Coyer Technical Director

Kelly Nickle Properties Master

Director of Operations

Jackie Seethaler Powell Smith Elliott Wood

Jeff Herbig

Sales Associates

Properties Manager & Assistant Stage Manager

Melissa Robison Program Publication & Front of House Manager

Assistant Props

Erin Lunsford

Production Carpenter

Travis Stevens Carpenter

Artist Logistics Coordinator

DEVELOPMENT Leslie Peterson Vice President of Development

COSTUMES Verona Green

Hillary Hahn

Costume Director

Natalie Cope

Melonie Fitch Rentals Supervisor

Kierstin Gibbs LisaAnn DeLapp Rentals Assistants

Amanda Reiser Meyer Wardrobe Supervisor

Milivoj Poletan Tailor

Tiffany Lent Cutter/Draper

Donna Thomas Milliner & Crafts Artisan

Chris Chadwick Yoojean Song Connie Warner Stitchers

Yancey J. Quick Daniel Hill Michelle Laino

Senior Director of Institutional Gifts Director of Major Gifts

Kate Throneburg Director of Individual Giving

Heather Weinstock Manager of Special Events & DVMF Donor Relations

Alina Osika Manager of Corporate Partnerships

Lisa Poppleton Grants Manager

Chelsea Kauffman Annual Fund Coordinator

Steven Finkelstein Development Coordinator

MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations

Wigs/Make-up Crew

Renée Huang

SYMPHONY ARTISTIC Thierry Fischer

Chad Call

Symphony Music Director

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Ellesse Hargreaves

Production & Stage Manager

Chip Dance

Lane Latimer Keith Ladanye

Robb Trujillo

Nick Barker Mara Lefler Rhea Miller Pat Murnin Anthony Roberts Ry’lee Scott Ananda Spike Ticket Agents

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO

Mike Lund Director of Information Technologies

Jim Hadley 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

Kyleene Johnson Symphony Education Assistant

Paul Hill Opera Education Assistant

Director of Communications & Digital Media Marketing Manager

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

UTAH OPERA 2017–18 SEASON

OUT ON THE TOWN

dining guide THE NEW YORKER 60 West Market Street. SLC’s

255 South West Temple, SLC. SPENCER’S premier dining establishment.

Modern American

Whether before in orrefined after the showand or an evening cuisine isit’s featured dishes approachable dinner with friends and family—enjoy handfrom cut steaks, comfort food.

From classic to innovative, fresh seafood, locally-crafted beers, classically contemporary seafood to Angus Beef steaks – the inspired cocktails and anfor award wine list. menu provides options everywinning taste. Served in a L,D,ST,C,LL,RA,CC, VS. 801-238-4748 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 SQUATTERS PUB BREWERY 147 West MARKETSLC. STREET GRILLand DOWNTOWN Broadway Join us before after the show 48 for West Market Unanimous favorites seafood eclectic dailyStreet. specials and traditional pubfor favorites dining, providing exceptional service and award winning. such as bacon topped meatloaf, pizzas and a delicious The contemporary highest quality array of burgers, all menu pairedfeatures with ourthe world-class beer available.

Selectatmosphere. from an abundant offering of fresh and welcoming L, S, AT ,LL, D, CC, VS seafood flown in daily, Angus Beef steaks, and a variety 801-363-2739 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. Exceptional ambience, located in a historic Martine offers Salt MARTINE 22 Eastbrownstone.

100 South. Award winning ambience, Lake Cityinaasophisticated dining experience kept located historic brownstone.

Martine offers Salt Lake simple.

Convenientlydining located on First kept South around City a sophisticated experience simple.

Locally the corner from the Eccles Theater.

Extensive sourced ingredients, pre-event $25 three coursebar prixand fixe. wine service. martinecafe.com L, D, T, LL, RA, CC, VS. Extensive bar and wine service. martinecafe.com 801-363-9328 L, D, T, LL, RA, CC, VS. 801-363-9328

Consistently Rated “Tops”

COMPLIMENTARY VALET AND SELF-PARKING FOR–Zagat ALL GUESTS 255 S • WEST TEMPLE 60801.238.4748 W. Market Street 801.363.0166 RESERVATIONS AT OPENTABLE.COM

Salt Lake City’s #1 Most Popular Restaurant

–Zagat SINCE

1989 W. Market Salt Lake48• Airport • ParkStreet City (340 South) squatters.com 801.322.4668

Open until Midnight Sun-Thur Fri-Sat until 1:00 am

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

Local, Independent Chef Owned Phone • 801.363.9328 www.martinecafe.com 22 East 100 South

Top Photo: Image licensed by Ingram Image Phone • 801.363.9328 www.martinecafe.com

B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take C-Children’s MenubySR-Senior Menu AT-After-Theatre Top Out Photo: Image licensed Ingram Image LL-Liquor Required Accepted CC-Credit Cards Selections B-BreakfastLicensee L-LunchRR-Reservations D-Dinner S-Open SundayRA-Reservations DL-Delivery T-Take Out C-Children’s MenuAccepted SR-SeniorVS-Vegetarian Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections

… u o Y k n a Th to our advertisers Ad Council Adib’s Rug Gallery American Red Cross Caffè Molise Challenger Schools City Creek Living Classical 89 Eldredge Furniture Every Blooming Thing Hamilton Park KUED Legacy Village of Sugar House The Metropolitan Opera Auditions Nature Conservancy

New Yorker OC Tanner RC Willey Residence Inn Marriott Rowland Hall Ruby’s Inn Best Western Salt Lake Acting Company Sky Harbor Suites Summit Sotheby’s International Realty University Credit Union Utah Food Services Utah Museum of Fine Art Zions Bank

If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833

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

Melissa Robison PROGRAM NOTES ANNOTATOR

Michael Clive Cultural writer Michael Clive 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.

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

Tanner, llc LEGAL REPRESENTATION PROVIDED BY

relax and enjoy our complimentary shuttle!

The New Yorker is a Salt Lake City icon that set the stage for fine dining in Utah and has been providing fresh, innovative food and outstanding hospitality in a warm, inviting atmosphere for decades of diners.

Enjoy delicious food, relax and ride our complimentary shuttle to Abravanel Hall, Capitol Theatre and the new Eccles Theatre.

Ride back and enjoy dessert and a nightcap, a cozy way to end your evening out on the town!

R E S TA U R A N T / D O W N T O W N

60 West Market Street (340 S) • Salt Lake City • 801.363.0166 Open Monday – Saturday at 5 pm, closed Sundays Reservations recommended – newyorkerslc.com

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

Provided by Shuman Associates, New York City ADVERTISING SERVICES

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

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.

Redeemable at any Market Street Restaurant or Fish Market 64

UTAH OPERA 2017–18 SEASON

JOIN US IN WELCOMING THE 2017–18 UTAH OPERA RESIDENT ARTISTS

tenor

CHRISTOPHER OGLESBY

pianist

ROBERT BOSWORTH

bass-baritone

JESÚS MURILLO

mezzo-soprano

MELANIE ASHKAR

NEW RESIDENT ARTISTS mezzo-soprano Melanie Ashkar, tenor Christopher Oglesby, bass-baritone Jesús Murillo, and pianist Robert Bosworth join returning soprano Abigail Rethwisch for Utah Opera’s 2017–18 season.

soprano

ABIGAIL RETHWISCH

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 Cache, Logan, Rich, Juab, Tintic, Millard, Iron, and Tooele School Districts.

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

USUOEDUCATION.ORG

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