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OCT 13 - 21




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NOVEMBER 17, 2018 Libby Gardner Concert Hall, University of Utah 11 AM to 1 PM and 2 PM to 5 PM* The auditions are open to the public to experience free of admission charge. *Visit after November 10 for a complete schedule of singers. 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, and the University of Utah School of Music.

Contents PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR/ PRODUCTION MANAGER Jackie Medina GRAPHIC DESIGNERS Ken Magleby Katie Steckler Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas Chad Saunders OFFICE ASSISTANT Jessica Alder ADMINISTRATIVE ASSISTANT Caleb Deane 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: Website: 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.




Utah Opera’s 2005 Roméo et Juliette, photo by Kent Miles




6 Welcome 7 Artistic Director’s Welcome 8 Of All the Unmitigated Gaul! 15 Board of Trustees 16 Q&A - Anya Matanovič (Juliette) 18 Q&A - Joshua Dennis (Roméo) 20 Production Sponsors 22 The Story of the Opera 27 Company / Artistic Staff / Chorus 33 Utah Symphony 36 Composer / Librettists 38 So Many Juliets 40 United in Love...and in Death 43 Support USUO 44 Donors 51 Utah Opera Resident Artists 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.


Welcome On behalf of the board, staff, artists, and musicians of Utah Symphony | Utah Opera, it is our pleasure to welcome you to the Janet Quinney Lawson Capitol Theatre and the opening production of Utah Opera’s 41st season, Charles Gounod’s Roméo et Juliette. Gounod’s opera is one of many musical settings of Shakespeare’s tragic play that remains, after more than 400 years in existence, one of the greatest and most famous love stories ever told. Its everlasting themes of love and hate enable people to relate deeply to the story and Gounod’s music heightens the emotions we feel as an audience witnessing it together.

Paul Meecham President & CEO

Of all art forms, perhaps it is opera, with its theatrical blend of song and words that best fosters empathetic understanding through a shared experience. The next two Utah Opera productions feature stories that can be enjoyed by people of a wide range of ages providing the perfect family outing. In January The Little Prince by Oscar-winning composer Rachel Portman and librettist Nicholas Wright sets Antoine de Saint-Exupéry’s beloved story to accessible film-like music in a charming new production featuring sets and costumes built by Utah Opera’s scenic and costume artisans. And the March production (conducted by Utah Symphony Music Director Thierry Fischer) will be Mozart’s The Magic Flute, a family favorite for more than 200 years. With USUO’s new Family Pass, it is extremely affordable for families to enjoy these performances together. You can learn more about our family pass at: Thank you for attending today’s performance. Do join us throughout the season for memorable productions of musical storytelling for the whole family, and help us connect our community through great live music here at the Janet Quinney Lawson Capitol Theatre!

Kem Gardner USUO Board of Trustees Chair


P.S. Utah Opera is collaborating with Utah Symphony to present a staging of Bernstein’s Broadway hit Candide on the Abravanel Hall stage November 9 and 10. Please join us for this hilarious and touching comedy! 6


Artistic Director’s Welcome Dear Utah Opera family and friends, Welcome to the historic Janet Quinney Lawson Capitol Theatre for Utah Opera’s 2018–19 season! I love when the opera season begins and am happy to have you join us. Few stories in book, theater, and music are as wellknown as the “star cross’d lovers” and few stories are as topical as the Bard’s story is today. It is a tragedy for certain: families (or factions) diametrically opposed and yet, love finds a way. Love. Yes, often used in opera plots and inspiring wonderful music for several millennia, yet it can’t be denied as a powerful force. Against all odds, two people find a connection that can’t be repudiated and that is what has inspired so many composers. However, to my mind, Gounod connected to the richly-drawn characters and Shakespearean story more than any others. Christopher McBeth Artistic Director

It is story of tension and contrast and Gounod’s music aptly portrays this. The chorus music is glorious plumbing the heights of grandiose and the quiet, focused, reverent moments that make grand opera exciting. That stated, it is the moments between our protagonists that truly define the opera. Gounod’s music so wonderfully defines the relationship between Roméo and Juliette. Listen to each of their duets and how their music explores their love as it matures and brings them to an inevitable ending. It is truly inspiring, even in its tragic conclusion. I’m so pleased to continue the relationship with Maestro Robert Tweten on the podium for this production. I’m also happy to have Joshua Dennis return in the title role of Roméo and Anya Matanovič as Juliette. Making their main stage debuts are Adam Lau as the Frère Laurent, Ephraín Solís as Mercutio, and Meghan Marino in the pants role of Stéphano. New to Utah Opera is stage director Vera Lúcia Calábria who brings an absolute passion for this piece. Thank you for your patronage. Opera is an extraordinary art form requiring an army of forces and the most important is the audience without which we would not exist. I hope you enjoy your experience and invite you to join me after each performance in the Capitol Room for a Q&A session where we can share our mutual experience. With appreciation,



Of All the Unmitigated Gaul! By Michael Clive

Gounod’s Roméo et Juliette is at the heart of a lively, age-old controversy. When it comes to Gallic opera, just where do you stand?

No blood was shed, but make no mistake: This was war. It was the German partisans on one side, and the Italian loyalists on the other. The French were in between. The cause of this “war” was opera, and the composer Charles Gounod played a role that was quite literally central in the hostilities. He was a rising star when he composed Faust, but his early operas had not hinted at the degree of success that Faust and Roméo et Juliette would achieve. For the operagoer in Belle Epoque Paris or New York in the Gay 90s, Faust offered everything: an inexhaustible buffet of tunes and spectacle. Here was melodrama, a ballet, and a meditation on religious morality that came along with a nearorgy. When the Metropolitan Opera House opened its doors three decades after Faust’s premiere, opera was the most glittering performance venue in New York, with the Met’s ring of parterre boxes known as the “diamond horseshoe.” But attendance was not merely a matter of seeing and being seen; repertory was hotly contended along nationalistic lines—German versus Italian—with French operas, notably Faust, caught in the middle. “The sauerkraut opera cannot last,” declared Col. J.H. Mapleson, an influential impresario, in a New York Times interview on April 21, 1885.


“Italian opera is the only opera that can depend upon fashionable support.” A response the next day from “A Born American of German Descent” called the Italian works “ash barrel operas.” A Times editor mediated. “It cannot be said that either of these rival epithets is accurate or exhaustive,” he noted drily. “The word ‘sauerkraut’ does not convey a vivid sense of the dignity and grandeur of Wagner’s music-dramas; neither does the word ‘ash barrel’ convey in its fullness the tunefulness, the vocal art, and the sensual charm that belong to the works of Verdi and Donizetti. Perhaps it would be better to refer to the rival schools of dramatic music simply as ‘German’ and ‘Italian’ opera respectively.” Perhaps, but not much. A contemporary cartoon depicts ferocious opera patrons squaring off on two sides: the Germanic, with their Wagnerian horned helmets and breastplates, ready to do battle with the Italian partisans wielding the spears and royal trappings of a Verdian historical drama. Devotees of French opera cowered on the sidelines under the protection of their exquisite sensibilities. During this period Faust was presented far more frequently than any other opera in New York, and the Metropolitan Opera became known as the “Faustspielhaus”—a pun on the “Festspielhaus” where German opera festivals are traditionally performed.




SEPTEMBER 14 & 15, 2018


SEPTEMBER 28 & 29, 2018 GOUNOD’S







DECEMBER 21 & 22, 2018


JANUARY 11 & 12, 2019


NOVEMBER 2 & 3, 2018

JANUARY 19–27, 2019



NOVEMBER 24 & 25, 2018



FEBRUARY 1 & 2, 2019

801-533-NOTE (6683)

Of All the Unmitigated Gaul! Such bickering had been commonplace in Europe for generations. In Germany and Austria, simply saying “Brahms oder Wagner?” could turn a quiet cafe into a raucous debate club. In France there were similar controversies over the relative merits of tradition versus innovation. With the huge success of Faust, Gounod found himself at the center of an argument that pitted German partisans against French loyalists; he composed Roméo et Juliette both to leverage Faust’s popularity and to preclude the kind of controversy Faust had provoked. He had based Faust on the deeply philosophical novel by Goethe, known even then as “the German Shakespeare.” The choice was bold, and while one couldn’t readily argue with the beauty or the theatricality of the result— which includes characteristically memorable tunes, spectacular stage effects, seduction, gore, and an ascent to heaven—the opera proved insufficiently German for the Germans. According to the prevailing joke, its title should have been “Marguerite,” the character whom Faust seduces, impregnates, and then abandons. It’s no coincidence that Gounod moved from the German Shakespeare to the English one, and from one deeply philosophical romance to another; though he was a composer to his bones, he was irresistibly attracted


to other arts, notably literature and drama. For him the challenge of adapting Romeo and Juliet was more literary than geocultural. Opera audiences are, thankfully, no longer so factionalized, and “sauerkraut opera” has established itself as great and enduring music drama that even fans of Italian opera can love (and vice-versa). But despite its growing place in the standard repertory, and the international popularity of such composers as Gounod, Bizet, and Massenet, some aficionados of French opera are wary; they think it takes a special, French-tuned ear to appreciate the Gallic elegance, concision and nuance at the heart operas by Massenet and Gounod. Roméo et Juliette may well be the opera that proves them wrong. After more than a century as Gounod’s second-most esteemed opera, Roméo has been gaining on Faust in the past decade. Increasingly, critics are daring to call it Gounod’s finest drama. And by framing Shakespeare’s universality in the elusive expressiveness of French Romantic style, he has opened its subtleties to all of us. Cultural writer Michael Clive is program annotator for the Utah Symphony, the Louisiana Philharmonic Orchestra, and the Pacific Symphony, and is editor-inchief of The Santa Fe Opera.


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Board of Trustees ELECTED BOARD Kem C. Gardner* Chairman

Alex J. Dunn Brian Greeff Stephen Tanner Irish Thomas N. Jacobson Mitra Kashanchi Thomas M. Love* Abigail E. Magrane Brad W. Merrill Robin J. Milne Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Brad Rencher Miguel R. Rovira Joanne F. Shiebler* Naoma Tate

Thomas Thatcher David Utrilla Bob Wheaton Kim R. Wilson Thomas Wright Henry C. Wurts

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

Howard S. Clark Kristen Fletcher Burton L. Gordon Richard G. Horne

Ron Jibson Warren K. McOmber E. Jeffery Smith Barbara Tanner

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

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 Jesselie B. Anderson* Doyle L. Arnold* Judith M. Billings Gary L. Crocker David L. Dee*


Elizabeth Beilman* Mark Davidson* EX OFFICIO

Henriette Mohebbi Utah Symphony Guild Dr. Robert Fudge Ogden Symphony Ballet Association *Executive Committee Member

LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow John Bates HONORARY BOARD Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles Spencer F. Eccles NATIONAL ADVISORY COUNCIL



Q& A


delve into. She begins as this lovely wide-eyed girl, and grows up and experiences the deepest love and tragedy all in a few hours in front of our eyes. The journey is echoed in the music she sings, from the buoyant and naive “Waltz” which requires quite a different color and skill set to the “Poison Aria” in Act IV.

Anya in Utah Opera’s 2012 The Elixir of Love, photo by Kent Miles

Describe how it feels to be returning to Utah Symphony | Utah Opera Utah Opera was one of the first companies that hired me as a young professional. I have always felt embraced by the company and welcomed into their family, and that is what I love most about them. I’m also excited to be back in Utah for the first time in a season other than the dead of winter! I hope to explore some of the surrounding parks this time. What do you enjoy most about coming and performing in Utah?  I find that my most satisfying artistic experiences are in places that provide a safe space to take risks and take the music and drama to the next level. Having a group of committed actors, extremely gifted singers, and fabulous music staff who are also great colleagues is rare, but I have encountered this during all of my Utah Opera experiences. I always leave the shows having made deep bonds and feeling very artistically fulfilled.  Why is singing the role of Juliette exciting to you? I find the challenge of Juliette's character arc extremely exciting to 16

With you and your husband both having successful careers, how do you balance your busy schedules to make time for each other? First off, we embrace it. For us, it is the only way to stay sane. We have seen so many cities, met so many incredible people, been paid to do what we love, and found support from each other in the midst of that. We have been lucky in the last few years to have been able to spend more time together since our daughter was born two years ago. We try not to spend more than two weeks apart, and when we are together we try to have lots of adventures and quality time with each other. Luckily, our daughter is a great traveler! What advice do you have for mothers who are trying to balance motherhood and having a career? Be kind to yourself. Priorities change, and that is a beautiful thing for those of us involved in an art form that can often feel very self-focused. Time management takes on a whole new meaning when you have a toddler tugging at your leg or putting her hands to your mouth every time you try to practice, saying “shhh mommy, don’t sing!” I have learned that engaging fully in every activity and forgetting about the rest for that moment makes me so much happier than letting the worry of not being able to do it all nag at me. UTAH OPERA 2018–19 SEASON

Q& A


What is your favorite role you have performed? My favorite role I have performed is Violetta from La traviata. Sometimes when I am having a tough day or struggling with something, I sing through the last act of La traviata. It is thrilling every time I hear or sing it, and it gives me chills. I weep just sitting at the piano by myself!   What is your dream role? I would love to sing the Governess in Britten’s The Turn of the Screw. Back in my young artist days, I sang the girl Flora and fell in love with the brilliance of Britten. I’ve also always wished I could sing Don José (from Bizet's Carmen). In opera, I think he has the most fascinating journey and thrilling music to sing.



Why do you think the story of Romeo and Juliet still resonates with audiences around the world? Love! It really is what makes the world go ‘round. What is one challenge you have had to overcome during your career? The voices in my head that tell me I can’t or I shouldn’t or I don’t deserve to do this. But, I find ways to overcome them and by performance time I forget all about them. Having an audience is a beautiful communion of energies, and it always helps remind me why I am doing this in the first place. What do you enjoy about performing with Utah Symphony | Utah Opera? I enjoy the beautiful mountains, generous and big-hearted people, incredible talent, and the engaged and enthusiastic audiences. What more could I ask for?

Q& A


want that passion. We all mourn the loss of innocence. We all want love to last. It’s a human story that could have been any of us at one time, and we all love a great love story. If you love opera, you also love a tragedy. This is the best of both worlds. How is auditioning challenging for you and what tactics do you use to cope with audition nerves? Joshua Dennis in Utah Opera’s 2018 Moby-Dick, photo by Dana Sohm

Why do you think opera is still relevant today? Some operas tell very relevant, real world stories, and some are just fun and goofy. I think opera is entertainment. It’s a form of storytelling. The tradition of storytelling seems to be part of our human DNA. Adding storytelling with the power of music and the operatic voice is unique and can move the audience in a way other art forms can’t. What is most exciting for you as you reprise the role of Roméo? I love singing this role so much. The character arc is a blast. I really love the progression Roméo makes musically. His music gets more and more powerful and heart-rending as the opera goes along. I think it is so beautiful and moving and an honor to sing. Why does the story of Romeo and Juliet still resonate with audiences around the world? I think it still resonates because we all


Auditioning is awful! It’s expensive to fly all over the place only to sing a couple of songs. You could be asked to sing early in the morning even if you take a red-eye flight in. You only have one chance to make an impression, even if you have allergies that day. It’s an art form in itself that doesn’t get as much practice as doing a full performance. I’m not sure I’ve met anyone who likes it. One thing I do to make auditioning easier is to sing what I enjoy singing, and not what I think the panel wants to hear. I try to show my artistic side on my terms. If I try to please the panel, I end up not being happy with how I sang or satisfied with my audition artistically. What do you enjoy about performing in Utah and with Utah Opera? I love the company and everyone is so nice. I’ve worked with members of this company for many years. I feel a sense of home being in Salt Lake City that is unique to my lineage. I have a lot of family near because my ancestors were some of the original LDS pioneers and settlers. I don’t have that deep history in other cities.


Q& A


Do you and your twin brother sometimes have identical behaviors and thoughts, also known as twinning? Ha! No we don’t have any type of twin super powers. However, I do get very excited when we sing together. Since we are identical twins, our voices sound essentially the same. It’s a pretty fun experience for me, which is why we plan on doing a Twin Tenors concert series within the next couple of years. With you and your wife both having successful careers, how do you balance your busy schedules to make time for each other? My wife is the Production Stage Manager at the LA Opera and The Santa Fe Opera. Because of that, I’m glad that when I come home she is there. She’s my home base, and if she has weekends free she’ll fly out to me. Otherwise we just don’t get to see each other much. Thank goodness for FaceTime and text messaging. We get to see each other and text each other throughout the day and that makes things easier.

What is your dog’s name and how did you come up with it? Her name is Venus. We adopted a Great Dane puppy from the Albuquerque Humane Society. We thought that she needed a big strong Greek goddess name for when she is fully grown. The way she is growing right now, I think she’ll grow into the name nicely. What is your favorite role you have performed? That is a very tough question. I am a huge fan of new American works. Last year I premiered the role of Bern Venters in Craig Bohmler’s Riders of the Purple Sage. That was a very special piece for me. In the classic repertoire, Roméo might be my favorite role. Roméo et Juliette causes me to feel all of the emotions in the work. What is one challenge you have had to overcome in your career? That’s easy, being a tenor! Ha. The pressure that comes with singing the high notes in popular songs can weigh pretty heavily. But, with enough practice the tenor repertoire is so fun and gets easier all the time.







Production Sponsors Utah Opera gratefully acknowledges the following generous sponsors who have made this production of Roméo et Juliette possible.








Roméo et Juliette

Roméo et Juliette October 13, 19 | 7:30 pm October 15, 17 | 7:00 pm October 21 | 2:00 pm

Janet Quinney Lawson Capitol Theatre Composed by Charles-François Gounod Libretto by Jules Barbier and Michael Carré Based on William Shakespeare’s Romeo and Juliet Premiere, April 27, 1867 at the Théâtre-Lyrique Impérial du Châtelet in Paris Previously performed at Utah Opera, 1998, 2005 Sung in French with English supertitles Supertitle translation by Paul Dorgan

COMPANY Juliette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anya Matanovič Roméo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joshua Dennis Frère Laurent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adam Lau Mercutio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Efraín Solís Stéphano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Megan Marino Count Capulet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Seth Keeton Tybalt . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Oglesby* Gertrude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Holly Sorensen The Duke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Nakatani Count Pâris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephen Pace Grégorio . . . . . . . . . . . . . . . . . . . . . . . . . Jesús Vicente Murillo* Benvolio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jonah Hoskins

ARTISTIC STAFF Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vera Lúcia Calábria Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Tweten Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . Emily E. Duffin Assistant Stage Manager . . . . . . . . . . . . . . . . Sarah Ackerman 2nd Assistant Stage Manager . . . . . . . . . . . . . . . . . . . Liz Petley Fight Director . . . . . . . . . . . . . . . . . . David Christopher DuVal Assistant Fight Director . . . . . . . . . . . . . . . . . . . . . . . Ava Kostia Scenic Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eric Fielding Lighting Design . . . . . . . . . . . . . . . . . . . . . . . . Matthew Antaky Costume Design . . . . . . . . . . . . . . . . . . Susan Memmott Allred Wig/Makeup Design . . . . . . . . . . . . . . . . . . . . . . Kate Casalino Chorus Master . . . . . . . . . . . . . . . . . . . . . . Michaella Calzaretta Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . Willem van Schalkwyk** Chorus Pianist . . . . . . . . . . . . . . . . . . . . . . . . . Robert Bosworth* Supertitle Musician . . . . . . . . . . . . . . . . . . . . . . Maris Bosworth Production is 3 hours with 1 intermission. *Current Utah Opera Resident Artist UTAHOPERA.ORG / (801) 533-NOTE

**Previous Utah Opera Resident Artist 21

Roméo et Juliette

The Story of the Opera Prologue The opera is presented in flashback, opening with a chorus of Veronese nobles. Somber and dignified, they recount the years of ongoing feuding between the city’s two great families, the Montagues and the Capulets, and the story of the love that brought tragedy and peace to both sides. Act I The action takes place in 14th-century Verona and opens at a masked ball at the palazzo of the Capulet family. The affair is not only an elegant entertainment, but also a birthday party to introduce Count Capulet’s pride, his daughter Juliette, to Veronese society. He wants to hasten a favorable match between her and Count Pâris, who is assured by her cousin, Tybalt, of her beauty. But the party has been surreptitiously crashed by rival forces including Montague’s son, Roméo. One look at Juliette so overwhelms him that he forgets his latest amour and can think only of her. They meet, and are instantly drawn to each other. As they discover each other’s respective identities, Tybalt intrudes and they hurriedly part as the party continues. Act II Later that night, Roméo returns looking for Juliette. Hiding in a garden outside her window, he overhears as she expresses her love for him. He then comes forward and declares his love for her. When Capulet servants come looking for an intruder, they tease Juliette’s nurse, Gertrude, as Roméo hides. When the servants leave, Roméo and Juliette reaffirm their love and vow to marry. Act III It is daybreak, and the sleepless Roméo has come to the chamber of Laurent, a Veronese friar. Juliette and Gertrude arrive, and Laurent, convinced of the two lovers’ sincerity, agrees to unite them in marriage. He hopes that their union will end the bitter ongoing conflict between their families. INTERMISSION

Utah Opera’s 2005 Roméo et Juliette, photo by Kent Miles


(Synopsis continued on page 25…)


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Roméo et Juliette


Later, in the street outside Capulet’s house, factions loyal to the two families are behaving like rival gangs, taunting and baiting each other. Roméo’s young page, Stéphano, struts and mocks the Capulet forces in an attempt to establish his own machismo. But the result is dire: When Tybalt challenges Stéphano, Roméo intervenes and tries to make peace between the opposing sides, but swordplay erupts. With a crowd gathering, Tybalt kills Roméo’s friend Mercutio, and then Roméo kills Tybalt, who dies in Capulet’s arms. The Duke of Verona banishes Roméo. Act IV Roméo has stolen back to Juliette’s bedroom, where he and Juliette spend one night as husband and wife before he must leave Verona. The now-wiser Juliette understands that if Roméo had not killed her cousin Tybalt, Tybalt would have killed Roméo. After the newlyweds reaffirm their love and sing an extended, agonized farewell, Roméo departs. But soon Juliette’s father enters and insists that she marry Count Pâris that very day. Desperate, she is comforted by Laurent, who provides a sleeping potion to thwart the wedding ceremony. It will give her every appearance of death; then, notified by Laurent, Roméo will come to rescue her. She drinks the potion and collapses as guests arrive to lead her to the chapel. Act V Though Laurent wrote a letter for Roméo to inform him of the plan, it could not be delivered. Arriving at the Capulets’ family crypt, the unknowing Roméo finds Juliette apparently lifeless and arrayed for interment. Distraught, he drinks a draught of poison just as Juliette begins to awaken. They share a final dream of a future together; then, as Roméo weakens, Juliette draws a dagger that she has concealed, and stabs herself. The dying couple pray for God’s forgiveness.

Utah Opera’s 2005 Roméo et Juliette, photo by Kent Miles








What better way to wrap up the HUGH RUSSELL, DR. PANGLOSS celebrations of Leonard Bernstein’s VICTORIA LIVENGOOD, OLD LADY 100th anniversary year than with ALEKS ROMANO, PAQUETTE his satirical, hilarious, and touching MARK DIAMOND, MAXIMILIAN comic operetta, Candide! Produced UTAH OPERA CHORUS in collaboration with Utah Opera, an impressive cast of vocalists, joined by the Utah Opera Chorus, tells the story of a young man’s journey from innocence to worldliness, from Europe to South America, in love and in death, and finally to a life of contentment and peace. Bernstein’s brilliant score includes such musical favorites as “Glitter and be gay” and “Make our garden grow.” You won’t want to miss this event of the season!


visit UTAHSYMPHONY.ORG \ 801-533-NOTE (6683)


2018-19 Season Fundraising Soirée The adventures of Candide continue after Saturday’s performance at a special fundraising event.


Roméo et Juliette


Anya Matanovič (California) Juliette Most Recently at Utah Opera, Die Zauberflöte Recently: The Rake’s Progress, Boston Lyric Opera; Hansel and Gretel, Seattle Opera; La bohème, Opera Colorado Upcoming: The Crucible, Opera Santa Barbara; Mozart Mass in C minor, North Carolina Symphony Joshua Dennis (California) Roméo Most Recently at Utah Opera, Moby-Dick Recently: Rigoletto, Roméo et Juliette, Minnesota Opera; Der Schauspieldirektor, Los Angeles Philharmonic; La traviata, Seattle Opera Upcoming: Die Entführung aus dem Serail, New Orleans Opera; The Thirteenth Child (Paul Ruders, world premiere), The Santa Fe Opera Adam Lau (California) Frère Laurent Utah Opera Debut Recently: Die Zauberflöte, Il barbiere di Siviglia, Kentucky Opera; Samson et Dalila, North Carolina Opera Upcoming: Il trovatore, The (R)evolution of Steve Jobs, Seattle Opera; Il barbiere di Siviglia, Portland Opera Efraín Solís (California) Mercutio Utah Opera Debut Recently: Cruzar la Cara de la Luna/To Cross the Face of the Moon, Houston Grand Opera, New York City Opera; Roméo et Juliette, Virginia Opera, Opera Carolina, Toledo Opera; Le nozze di Figaro, Opera Memphis Upcoming: María de Buenos Aires, Opera Southwest; Roméo et Juliette, San Francisco Opera UTAHOPERA.ORG / (801) 533-NOTE


Roméo et Juliette


Megan Marino (Colorado) Stéphano Most Recently at Utah Opera, The Long Walk Recently: Manon, Rusalka, The Metropolitan Opera; Madama Butterfly, The Santa Fe Opera; Il barbiere di Siviglia, Kentucky Opera, Florida Grand Opera, Virginia Opera, Fort Worth Opera  Upcoming: Falstaff, The Dallas Opera; Eugene Onegin, The Atlanta Opera Seth Keeton (Georgia) Capulet Utah Opera Debut Recently: Tosca, Il barbiere di Siviglia, Mill City Opera; Nabucco, Bremen Opera Theater Upcoming: Die Zauberflöte, Utah Opera Christopher Oglesby (Georgia) Tybalt Most Recently at Utah Opera, Die Fledermaus Current Utah Opera Resident Artist Recently: The Rake’s Progress, Merola Opera Program; Gianni Schicchi, Moby-Dick, Utah Opera Upcoming: Messiah, Utah Symphony; The Little Prince, Utah Opera Holly Sorensen (Utah) Gertrude Most Recently at Utah Opera, Hansel and Gretel Recently:  Madama Butterfly, Utah Festival Opera; Samson et Dalila, St. Petersburg Opera; Verdi Requiem, American Festival Choir Upcoming: Mark Hayes Gloria, Distinguished Concerts International New York at Carnegie Hall



Roméo et Juliette


Kevin Nakatani (Utah) The Duke Most recently at Utah Opera, Man of La Mancha Recently: Songs They Won’t Let Us Sing, Oregon Cabaret Theatre; You’re A Good Man, Charlie Brown!, The Barber of Seville, Into the Woods, The Pirates of Penzance, Rex, Utah Festival Opera & Musical Theatre; The Merry Widow, Utah Opera Stephen Pace (California) Count Pâris Utah Opera Debut Recently: Gianni Schicchi, Il barbiere di Siviglia, BYU Opera Theater

Jesús Vicente Murillo (Michigan) Grégorio Most Recently at Utah Opera, Gianni Schicchi Current Utah Opera Resident Artist Recently: Moby-Dick, Utah Opera; Messiah, Utah Symphony; Cyrano, La fanciulla del West, Michigan Opera Theater Upcoming: Candide, Utah Symphony | Utah Opera; The Little Prince, Utah Opera Jonah Hoskins (Utah) Benvolio Utah Opera Debut Recently: Candide, Cloclo, Iolanthe, The Ohio Light Opera  Upcoming: Theodora, BYU Opera Theater



Roméo et Juliette

Artistic Staff

Robert Tweten (New Mexico) Conductor Most Recently at Utah Opera, La bohème Recently: Turandot, Lyric Opera of Chicago; Il barbiere di Siviglia, Kentucky Opera; The (R)evolution of Steve Jobs, The Santa Fe Opera Upcoming: Rigoletto, Calgary Opera; Music Director of Opera, New England Conservatory Vera Lúcia Calábria (Brazil) Director Utah Opera Debut Recently: Così fan tutte, L'enfant et les sortilèges & Scenes, CSU Fullerton; Le nozze di Figaro, Rice University; Der Rosenkavalier, Israeli Opera Upcoming: Opera Scenes, CSU Fullerton Michaella Calzaretta (Iowa) Chorus Master Most Recently at Utah Opera, Die Fledermaus Recently: 1812 Overture, Utah Symphony; Patience, University Gilbert and Sullivan Society; In Memoriam, Marilyn’s Room, New Voices Opera Upcoming: Utah Opera 2018–19 season; Candide, Utah Symphony | Utah Opera; Harry Potter and the Prisoner of Azkaban™ in Concert, Utah Symphony Eric Fielding (Utah) Scenic Design Most Recently at Utah Opera, Don Giovanni (2008) Recently: The Magic Flute (1993), Un ballo in maschera (1992), Gilbert and Sullivan operettas at the Deer Valley® Music Festival (2014–16), Utah Opera; Utah Shakespeare Festival; Tuacahn Theatre; Pioneer Theater Company 30


Roméo et Juliette

Artistic Staff

Susan Memmott Allred (Utah) Costume Design Most Recently at Utah Opera, Die Fledermaus Recently: PBS Christmas Special with Mormon Tabernacle Choir 2016; Resident Designer, Utah Opera, 1979–2011; Mormon Miracle Pageant; Utah Shakespeare Festival; Southern Utah State College Mathew Antaky (California) Lighting Design Most Recently at Utah Opera, Pagliacci & Gianni Schicchi Recently: MASS, Stumptown Productions, Portland, OR; Pagliacci, The Seven Deadly Sins, Festival Opera; Les Enfants Terribles, Flight, Opera Parallele Upcoming: For details visit David Christopher DuVal (Utah) Fight Director Most Recently at Utah Opera, Pagliacci Recently: Cyrano de Bergerac, Colorado Shakespeare Festival; Tosca, Carmen, Utah Opera; Head of the Actor Training Program, University of Utah

Kate Casalino (New York City) Wig/Makeup Design Most Recently at Utah Opera, Die Fledermaus Recently: Gettin‘ The Band Back Together, Broadway; Usher House, The Canterville Ghost, LA Opera; Saint Joan, Manhattan Theater Club Upcoming: The Little Prince, Utah Opera



RomĂŠo et Juliette


UTAH OPERA CHORUS Keanu Aiono-Netzler Hayley Bell Jessica Benson Frederick Brind Anthony Buck Cody Carlson Lauren Cartwright Mishelle Cipriani Rachel Cooke Chad DeMaris Natalie Easter Bretton Floyd Ryan Francis

Kyra Chantel Furman Genevieve Gannon Elijah Hancock Paul Leland Hill Thomas Klassen ShaRee Larsen Nelson LeDuc Becky Ludlow Ivana Martinic Julie McBeth Garrett Medlock Daniel Nichols Christopher Puckett

SUPERNUMERARIES Dominic Barsi Michael Drebot

Joe Jenkins Steve Moga

Heidi Robinson Ruth Rogers Haley Slade Mark Sorensen Carolyn Talboys-Klassen Scott Tarbet Mandi Titcomb Sammie Tollestrup Daniel Tuutau Steve Valenzuela Gregory Watts Ruth Wortley Lennika Wright

Utah Symphony

Roméo et Juliette

Thierry Fischer, Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson† Associate Concertmaster David Porter Acting Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt•• Joseph Evans LoiAnne Eyring Laura Ha• Lun Jiang Rebekah Johnson Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Ju Hyung Shin• Lynnette Stewart Bonnie Terry• Julie Wunderle

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Elizabeth Beilman Acting Associate Principal Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Whittney Thomas CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn Benjamin Henderson†† Edward Merritt Jens Tenbroek Thomas Zera HARP Louise Vickerman† Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore

OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair Robert Stephenson Associate Principal Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell Erin Svoboda Associate Principal Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal 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 Peter Margulies Gabriel Slesinger††


TROMBONE Mark Davidson Principal Sam Elliot Associate Principal BASS TROMBONE Graeme Mutchler TUBA Gary Ofenloch Principal TIMPANI George Brown# Principal Eric Hopkins Acting Principal Michael Pape Acting Associate Principal PERCUSSION Keith Carrick Principal Michael Pape Stephen Kehner†† KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Katie Klich†† ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel 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 † On Leave # Sabbatical †† Substitute Member






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Roméo et Juliette

Composer / Librettists

Composer CharlesFrançois Gounod (1818–93) was the first native-born French composer to make his mark on the Parisian opera scene. He brought a more intimate and character-driven sensibility to the opera stage, in contrast to the spectacle of the grand operas of Meyerbeer and Halèvy. Gounod was born in Paris to artistic parents: his father was a painter and his mother a trained pianist. After initial music studies with his mother, he entered the Paris Conservatory in 1836, where he won the coveted Grand Prix de Rome in 1839 for his cantata Fernand. As part of his award, Gounod was provided three years of composition study in Rome, where he focused on sacred music of the 16th century, particularly the works of Palestrina. Subsequent to his time in Rome, Gounod studied theology for two years with the intent to take holy orders, but the soprano Pauline Viardot encouraged him to explore composition for the stage. Gounod’s first opera Sapho was produced by the Paris Opera in 1851, with Madame Viardot in the title role, and was a critical, though not a financial, success. Gounod’s place in opera history was secured with his 1859 opera Faust, based on the play by Johann Wolfgang von Goethe, which has become one of the most popular operas of all time. It seemed for a time that Gounod’s brilliance was a one-time event, as several failed operas followed. However, the 1867 production of Roméo et Juliette, Gounod’s setting of the Shakespeare’s tragic tale of star-crossed lovers, was well-received, and helped cement his reputation as the most important composer in nineteenth-century France.


In 1870 Gounod chose to flee the Franco-Prussian War, and continued to write mostly vocal music from his temporary home in England. Upon his return to Paris in 1874, he composed three new operas which were not received with the same enthusiasm as his earlier works. Gounod retired from opera composition and turned his attention back to liturgical music. In 1893, while putting the finishing touches to a requiem written for his four-year-old grandson, Gounod died of a stroke at his residence in St. Cloud, on the outskirts of Paris.

Michel Carré (1822–72) and Jules Barbier (1825–1901) were each successful playwrights and librettists on their own, but as a team they became one of the great partnerships of nineteenth-century French opera. They first collaborated on the libretto for an 1852 setting of Galathée, by the lesser-known composer Victor Massé. In the following years, the writing partners created over twentyfive libretti, including works for Fromental Halévy , Jacques Offenbach (Les contes d’Hoffman), Ambroise Thomas (Hamlet), and Charles Gounod (seven operas, including Faust and Roméo et Juliette). Their French adaptation of Shakespeare’s tragedy closely follows the original plot, retaining such iconic scenes as the Prologue, the Balcony Scene, and Mercutio’s “Queen Mab” speech.




During its 2018-19 season, Utah Symphony | Utah Opera joins the long list of Utah organizations commemorating the 150th anniversary of the laying of the Golden Spike, which officially connected the transcontinental railroad on May 10, 1869.




Utah Opera’s 10-minute opera commissioning project, with additional support from the McCarthey Family Foundation.

Utah Symphony’s participation in the Gift of Music concert on May 10, 2019, the official Golden Spike celebration.

Utah Symphony’s performance of Chinese composer Zhou Tian’s new work, a co-commission with other orchestras along the transcontinental railroad’s route.


So Many Juliets

Fighting Off Dilution by Repetition By Jeff Counts

Gounod’s Roméo et Juliette is at the heart of a lively, age-old controversy. When it comes to Gallic opera, just where do you stand?

Shakespeare. Does any person of western letters cast a shadow as long as The Bard? Homer might come close. Dante too. Not to mention Chaucer, Herodotus, Dostoyevsky, Plato, Stowe, Marx…the list of contenders is as impressive as it is subjective but, let’s be honest, they are all really just jockeying for second place. No writer has ever captured the breadth of human experience quite like Shakespeare, and from his vantage as the keenest possible observer of his time, he managed to draw the map of ours. Shakespeare didn’t merely comment on culture, he created it. This realization brings us hard upon the matter of influence and the ways in which new art continues to memorialize his contributions. Opera was one of the earliest and most logical vectors for this tendency toward homage. And why not? What is opera if not music in search of suitable words? The debate over who had the best words was long settled by the time opera started to look like something we might recognize today. Writing stage music based on Shakespeare was a perfect extension of the practice of providing incidental music for traditional productions of his work and the first examples of these operatic conceptions began showing up later in the 17th century with works by Purcell and others.


Right from the start, the perils of adaptation were apparent. Librettists made cuts, changes, additions and other artistic sacrifices to fit the plays into a new set of constraints. The results were not all well-received. Rossini’s Otello (1816) placed Desdemona in the spotlight and though this met with some criticism, it highlighted a significant change in the performance practices of the 19th-century. Shakespeare’s female roles (played by men until the 1660s, well after his death) were notoriously under-written and, as a result, not well-suited to the emerging reality of the soprano role as a key to success in Romantic opera. Clearly, Shakespearean women needed an upgrade if his texts were to have an ongoing life in opera and Romeo and Juliet provided a perfect opportunity. Over 20 versions have been created to date, with Charles Gounod’s 1867 treatment still standing among the tallest. Apart from the then common choice of re-awakening Juliet for a duet before the famous double death, Gounod and his librettists left Shakespeare’s basic plot alone. The same cannot be said for the countless adaptations that have followed, especially those depicted on film. This is no great crime, of course. Shakespeare himself was using older material to tell this tale (Arthur Brooke’s The Tragicall Historye of Romeus and


Juliet from 1562) but some of the more contemporary renditions have gone pretty far afield. So how does a 400-year-old piece of art retain its original potency after so many liberal iterations? How many strange, fauxJuliets can we absorb before she disappears entirely? Leaving the obvious aside for just a moment (West Side Story needs no introduction here), there have been many big-screen attempts at this story, dating from as far back as 1900. The movie Juliets are seemingly legion, with Sandra Dee (Ustinov’s Romanoff and Juliet, 1961), Olivia Hussey (Zeffirelli, 1968), Claire Daines (Luhrmann’s Romeo + Juliet, 1996) and Hailee Steinfeld (Carlei, 2013) representing only a small portion of the list alongside Natalie Wood’s Maria (1961). The directors of each of these films took distinct liberties with the setting, language and plot in ways that made artistic and cinematic sense to them, but others have ventured into truly bizarre territory. Consider the animated Romie-0 and Julie-8 of 1979 which cast the protagonists as robots. What about the incredibly odd punk/ comedy setting of Tromeo and Juliet from 1996? Have you seen Romeo. Juliet (1990) which featured John Hurt as an “eccentric bag-lady” who served as the film’s only human character amidst a pack of stray cats? Let’s not forget the martial-arts version Romeo Must Die (2000) or the hip-hop version Rome & Jewel (2006) or the cartoon version Gnomeo & Juliet (2011) or the…you get the point. It’s hard to imagine a dramatic creation, by Shakespeare or anyone


else, that has received a more thorough set of transformations than Romeo and Juliet. At least they all had a Juliet (or at least a Julie-8) and, we assume, intended to do some justice to her first form. But whether or not they, or any future visionaries, achieve an appropriate level of tribute depends largely on us and our ability to recall the words Shakespeare wrote back in 1597. Those ancient phrases matter, if for no other reason than to show us how timeless concepts like star-crossed love really are. Truly, in this case, no modern spin on Juliet and her cohort has proven more effective than the source material because the predictive quality of Shakespeare’s genius has always carried more weight than its vernacular echoes. I recall a relevant bit dialogue from a 1990s sitcom in which a teenager was telling her parents about studying Romeo and Juliet in school. When they asked her what she thought of it she remarked that it was a cheap rip-off of West Side Story. It’s a funny line, but it highlights how easy it can be to take something precious and, through either adoration or impertinence, adapt it right out of meaningful context. Lucky for those us of here tonight, Gounod tells it straight and you will recognize his Juliette as the one we know best. Did I mention that Dorothy Hamill played her in Romeo and Juliet on Ice back in 1983? 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 for over 8 years.


United in Love …and in Death By Michael Clive

Shakespeare’s star-crossed teenage lovers have inspired about twenty operas at last count. Most critics agree that Gounod’s Roméo et Juliette is the best of the bunch.

Charles Gounod was a master of graceful melody, French elegance, and superb musical craft. But in the lush sensuality of Roméo et Juliette we hear something more: the sound of youth and of overwhelming love. Gounod’s music makes the heart leap and the rest of the world seem to disappear as he immerses us in one of the greatest of all romances. As the opera opens, Juliette‘s youthful femininity sparkles, while Roméo is all masculine impetuosity. But their shared love matures them both, and their intense duets convey a deepening commitment that transcends their ages and their families’ ugly feuding. As we first encounter Gounod’s Juliette, her girlish vivacity shines forth in a cherished coloratura aria we have come to know as “The Waltz Song.” “Je veux vivre dans le rêve,” she sings—“I want to live the dream.” But even as we’re captivated by her innocence, we know what she has yet to learn: her life, though barely begun, is already nearly over. Her dream is ineffably tragic. Prophetically, she almost casually observes that “Cette ivresse de jeunesse / Ne dure, hélas! qu’un jour!” “This youthful intoxication lasts only a day!” Alas, she’s right. As the aria ends she begs the sweetly joyous flame of youth to endure, but soon it will end in another kind of fire: a romance that will burn all too brightly, consuming her and her young husband in its flames. 40

So sad…so poetic…so French! Roméo et Juliette, Charles Gounod’s second most popular opera (after Faust), would seem to be an ideal subject for a French master of melody and operatic craft: it has romantic ardor, poetic melancholy, the burnished patina of its antique setting, and the physical beauty of its youthful lovers. Most of all, it has Shakespeare—a dramatist who, despite his Englishness, fascinated French composers including one of Gounod’s early champions, Hector Berlioz. Truly a child of the 19th century, Charles Gounod was born in 1818, five years after Verdi and Wagner. The arts were everywhere in his household. When Charles was only five, the loss of his father, an artist, brought him even closer to his adored mother, a pianist; his only sibling, a brother, was 11 years his senior. It was his mother who nurtured his musical talent, not only providing his earliest musical instruction, but also bringing him to a performance of Mozart’s Don Giovanni when he was 13—an experience that overwhelmed him with its beauty and theatrical impact. His mature recollections of this first exposure to Mozart’s opera are that rare combination of a child’s point of view and an adult’s understanding. Reading them, we know that this boy—whatever else he might do—was destined to grow up and write operas. UTAH OPERA 2018–19 SEASON

After studies at the Paris Conservatoire, Gounod won the Prix de Rome in 1839 (as his father had for painting in 1783), permitting composition studies and travel in Italy. Instrumental and orchestral music including two symphonies followed. When he finally composed his first opera at the urging of the legendary soprano Pauline Viardot, he was 32. Its failure did not help the cause of his theatrical ambitions. But Gounod persevered, aided by the breadth of his cultural background and an exquisite sensitivity to the written word (as evidenced not only in his 12 operas, but in his superb songs). The sensation over Faust, which came eight years later, marked his first great success. Clearly unafraid of literary masterpieces, Gounod tackled Roméo et Juliette in 1864, choosing the same librettists—Jules Barbier and Michel Carré—as he had for Faust. But musically and dramatically, the team’s approach for this project was quite different. While the highly episodic Faust treats us to a buffet of famous melodies, Roméo et Juliette has a more streamlined and elegant structure. Instead of delineating the bitter aristocratic feuding and street violence of Shakespeare’s drama, the opera compresses these elements while focusing on the ardor that Roméo and Juliette share, contrasting darkness with light. The plotline of the libretto, unlike many adaptations of the play, follows Shakespeare’s closely. These are the Bard’s characters to the life, reborn in music. Roméo and Juliette share an incandescent love, but they inhabit a world of darkness. Street violence and bitter political feuding dominate daily life. Before he falls for Juliette, Roméo is a love-’em-and-leave-’em kind of guy, full of callow bluster. We hear all of this in Gounod’s rich score: There is ardor in sweepingly romantic arias and UTAHOPERA.ORG / (801) 533-NOTE

duets, and darkness in the burnished gleam and antique textures of the orchestra. Listen as Gounod’s music evokes the rising sun that must end the young lover’s night of ardent devotion; the sweet sadness of a calling bird; the magical, hypnotic drone of the orchestra as Roméo succumbs to the Friar’s sleeping potion. Though some incidents and characters are pared away and the ending is altered, the essence is preserved. And the BarbierCarré resolution, in which the dying Juliette awakens in time to bid Roméo farewell, was probably based on a contemporary version of Shakespeare’s text by the English actor and playwright David Garrick. This ending was also chosen by Berlioz for his large-scale choral symphony of the drama. In keeping with the opera’s economy of means, its most famous aria—Juliette’s “Waltz Song”—is the coloratura showcase that Gounod’s audiences wanted, but also brilliant character development. Fresh, bright and sadly ironic all at once, it tells us all we need to know about Juliette. But Roméo et Juliette is built upon its duets. Gounod was well aware that even Faust’s detractors praised the glories of its great love duet, and its merits may have pointed him toward Shakespeare’s play, with its many duet opportunities. The love theme that Roméo and Juliette share frames the opera, and in their four duets we hear their love and their character mature from the bloom of youthful passion to solemn commitment to something even deeper: a love that is holy, eternal and magnificent…a love for the ages. Cultural writer Michael Clive is program annotator for the Utah Symphony, the Louisiana Philharmonic Orchestra and the Pacific Symphony, and is editor-inchief of The Santa Fe Opera. 41

With a Sunday Brunch this grand, half the fun is wondering where to begin and why your appetite can’t be endless. 8 01- 2 5 8 - 6 0 0 0 | G R A N DA M E R I CA . C O M

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ENCORE Anonymous Doyle Arnold & Anne Glarner John & Flora D’Arcy BRAVO Scott & Kathie Amann Diane & Hal Brierley OVERTURE Michael & Vickie Callen Kristen Fletcher & Dan McPhun Elaine & Burton L. Gordon

MAESTRO A. Scott & Jesselie Anderson Dr. J.R. Baringer & Dr. Jeannette J. Townsend David & Sylvia Batchelder Thomas Billings & Judge Judith Billings Judy Brady & Drew W. Browning Po & Beatrice Chang & Family Howard & Betty Clark Joseph & Cathy Cleary Pat & Sherry Duncan Dr. & Mrs. Ralph Earle Sue Ellis Thomas & Lynn Fey



Individual Donors ALLEGRO Anonymous Carol & Alan P. Agle Edward Ashwood & Candice Johnson Mr. & Mrs. William C. Bailey Fred & Linda Babcock Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair David Brown Carol, Rete & Celine Browning Judy & Larry Brownstein Chris Canale Mary Ciminelli Marc & Kathryn Cohen Mr. & Mrs. Kenneth R. Cutler Patricia Dougall Eager Trust Spencer & Cleone Eccles Jack & Marianne Ferraro

Ray & Howard Grossman Lowell & Bernice Hicks Mr. James Keras & Mrs. Penny Keras Ashley Kirk Allison Kitching Katherine Lamb Mr. & Mrs. Christopher J. Lansing Harrison & Elaine Levy Paul Meecham & Laura Leach Elizabeth & Michael Liess Daniel & Deena Lofgren Thomas & Jamie Love Beatrice Lufkin Mr. & Mrs. Richard Mithoff Dr. Louis A. Moench & Deborah Moench Charles & Amy Newhall

Howard & Nancy Parker Dr. Thomas Parks & Dr. Particia Legant Dr. Dinesh & Kalpana Patel Mr. David A. Petersen Brooks & Lenna Quinn Joyce Rice Peggy & Ben Schapiro Brent & Lisa Shafer Thomas & Gayle Sherry John Shigeoka Stuart & Molly Silloway Elizabeth Solomon Janice K. Story Thomas & Caroline Tucker E. Woolston & Connie Jo Hepworth-Woolston Chris & Lisa Young

Sandra & David Cope Dr. Thomas D. & Joanne D. Coppin Thomas D. Dee III & Dr. Candace Dee Elizabeth deForest Michael & Sheila Deputy Margarita Donnelly Carol & Greg Easton Mr. & Mrs. Robert Ehrlich Neone F. Jones Family Blake & Linda Fisher Adele & James Forman Drs. Fran & Cliff Foster Mr. Joseph F. Furlong III Robert & AnnieLewis Garda David & Lisa Genecov Jeffrey L. Giese, M.D. & Mary E. Gesicki David & SandyLee Griswold** The James S. Gulbrandsen, Sr. Family Arlen Hale

Dennis & Sarah Hancock Dr. & Mrs. Bradford D. Hare David & Judi Harris Jeff & Peggy Hatch Don & Lisanne Hendricks Debbie Horton Dixie S. & Robert P. Huefner Sunny & Wes Howell Mr. & Mrs. Jerry Huffman Adam Jackson Jay & Julie Jacobson Drs. Randy & Elizabeth Jensen Ronald & Janet Jibson M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Susan Keyes Abravanel & Peterson Society Jeanne Kimball Howard & Merele Kosowsky Val Lambson Donald L. & Alice A. Lappe Paul Lehman

ABRAVANEL & PETERSON SOCIETY Anonymous (4) Craig & Joanna Adamson Robert & Cherry Anderson Robert Baker Robert & Melisse Barrett E. Wayne & Barbara Baumgardner Mary Beckerle & David Murrell Melissa J. Bentley, MD Charlotte & Hal Browning Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Mark & Marcy Casp Hannalorre Chahine Robert Chamberlain Hal & Cecile Christiansen Amalia Cochran George Coleman Tracy Collett Raymond & Diana Compton Debbi & Gary Cook



Individual Donors ABRAVANEL & PETERSON SOCIETY CONT. Bill Ligety & Cyndi Sharp Dennis & Pat Lombardi David & Donna Lyon Keith & Vicki Maio Jed & Kathryn Marti Daniel & Noemi P. Mattis Christopher & Julie McBeth David & Nickie McDowell Michael & Julie McFadden Elinor S. McLaren & George M. Klopfer George & Nancy Melling George & Linda Mendelson Glenn Mosby Dale Moses Marilyn H. Neilson Thomas & Barbara O’Byrne O. Don & Barbara Ostler Dr. S. Keith & Barbara Petersen Robert & Kelley Petkun Ray Pickup

Victor & Elizabeth Pollak J. Patrick Prothro David & Shari Quinney Dr. & Mrs. Marvin L. Rallison W.E. & Harriet R. Rasmussen Kenneth Roach & Cindy Powell James & Anna Romano Lousje & Keith Rooker Thomas Safran Mark & Loulu Saltzman Margaret P. Sargent Grant H. Schettler Shirley & Eric Schoenholz Barbara & Paul Schwartz William G. Schwartz & Jo Ann Givan Dewelynn H. Selberg Mary & Doug Sinclair Diana & Paul Smith Spitzberg-Rothman Foundation

Naoma Tate & the Family of Hal Tate Tim & Judy Terrell Richard & Janet Thompson Mr. & Mrs. Glen R. Traylor Joseph Urban Dr. Ralph & Judith Vander Heide Robert G. Vernon Susan & David† Wagstaff Susan Warshaw Bryan & Diana Watabe Suzanne Weaver & Charles Boynton Kelly Whitcomb Dan & Amy Wilcox David & Jerre Winder Wendy S. Wirth & Kandy Perkins Catherine Wong Gayle & Sam Youngblood Kathie & Hugh Zumbro

Kathleen & Frank Dougherty Robert S. Felt, M.D. William Fickling Thomas Fuller Heidi Gardner Dave Garside Catherine Gorrell Dr. & Mrs. John Greenlee Ronald & Kaye Gunnell Kenneth & Kate Handley Christine St. Andre & Cliff Hardesty Drs. Carolyn & Joshua Hickman Caroline & David Hundley Gordon Irving W. Carroll Jackson Annette & Joseph Jarvis Laurie Zeller & Matthew Kaiser Carl & Gillean Kjeldsberg Gary & Suzanne Larsen Mel & Wendy Lavitt James Lether

Peter† & Susan Loffler John & Kristine Maclay Peter Margulies & Louise Vickerman Edward & Grace McDonough Warren K. & Virginia G. McOmber Dr. Nicole L. Mihalopoulos & Joshua Scoville Richard & Robin Milne Stephen & Mary Nichols Ann G. Petersen Dr. Richard & Frances Reiser David & Lois Salisbury James Schnitz Gibbs† & Catherine W. Smith Walter & Lorraine Stuecken Whittney Thomas Ann & Steven Tyler Jamie Weeks Jeremy & Hila Wenokur Mary & Scott Wieler Dan & Amy Wilcox Patrick Zimmerman

PATRON Anonymous (4) Cynthia Adams Madeline Adkins & John Forrest Fran Akita Dr. & Mrs. Jeffrey L. Anderson Tina Barry Kathy Becker Mr. & Mrs. William Bierer Harvey & Donna Birsner Roger & Karen Blaylock Patricia Bragg Jeff Brown Mr. & Mrs. Neill Brownstein Kelly Burt Mr. & Mrs. William D. Callister, Jr. Mr. & Mrs. Lee Forrest Carter Donald Dalton Drs. Pilar & Christopher Dechet Ashby & Anne Cullimore Decker UTAHOPERA.ORG / (801) 533-NOTE


Individual Donors FRIEND Anonymous (4) Christine A. Allred Drs. Crystal & Dustin Armstrong David Bailin Mr. & Mrs. Lawrence R. Barusch Leslie Bender Amy Sullivan & Alex Bocock Rodney & Carolyn Brady Diane Banks & Dr. Mark Bromberg Dana Carroll & Jeannine Marlowe Michael & Beth Chardack Dr. & Mrs. David Coppin Dorothy B. Cromer Elisabeth B. Dean David & Karen Gardner Dee James & Rula Dickson Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Margaret Dreyfous Alice Edvalson Eric & Shellie Eide Tom & Carolyn Fey Margo Franta James & Barbara T. Gaddis Robert & Mary Gilchrist Ralph & Rose Gochnour Mr. & Mrs. Richard R. Graham Dr. & Mrs. David Guidry John Gurr Geraldine Hanni Robert & Marcia Harris


Jonathan Hart Lex Hemphill & Nancy Melich John Edward Henderson Connie C. Holbrook Dr. & Mrs. John Howarth Scott Huntsman Todd & Tatiana James Eldon Jenkins & Amy Calara Chester & Marilyn Johnson Paulette Katzenbach Umur Kavlakoglu Thomas H. Klassen & Carolyn Talboys-Klassen Robert & Karla Knox David & Sandra Lamb Guttorm & Claudio Landro Tim & Angela Laros Greg Larson Mr. & Mrs. Melvyn L. Lefkowitz Allan & Kay Lipman Julie & John Lund Peter Margulies & Louise Vickerman Susan R. Marquardt Clifton & Terri McIntosh Lex Hemphill & Nancy Melich Hal & JeNeal Miller Mary Muir Joe Mulvehill Sir David Murrell IV & Mary Beckerle Dan & Janet Myers Oren & Liz Nelson

Nancy Nichols Richard O’Brien Ruth & William Ohlsen Linda S. Pembroke Rori & Nancy Piggott David Porter Dr. Barbara S. Reid Dr. Richard & Frances Reiser Gina Rieke Mr. & Mrs. Robert Rollo Debra Saunders Janet Schaap Mr. August L. Schultz Frances & Ron Schwarz Gerald & Sharon Seiner Jill & Richard Sheinberg Dennis & Annabelle Shrieve Barbara Slaymaker Mercedes Smith Michael & Linda Sossenheimer Hope Stevens Dr. & Mrs. Michael H. Stevens Larry R. & Sheila F. Stevens Mitch & Dawn Taubin Douglas & Susan Terry Gail Tomlinson Gerard & Sheila Walsh Judith Warner Mark Webber Scott & Mary Wieler Margaret & Gary Wirth Caroline & Thomas Wright Michael & Olga Zhdanov


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

Thomas & Candace Dee Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation

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

Burton & Elaine Gordon Neeta Helms Mrs. Barbara Nellestein Abigail Rethwisch Paulson

Joanne & Bill Shiebler Constance & Marcus Theodore

Sharon R. Lewis Marilyn Lindsay Clyde Dennis Meadows Frank & Maxine McIntyre Jo McIntyre Mrs. Karen Severs Nourallah Glade & Mardean Peterson Frank & Shirley Russell J. Ryan Selberg

Ann O’Neill Shigeoka, M.D. Phyllis Sims Rebecca “Becky” Sharp Sorensen Shirl Swenson Marie Watkins Ardean Watts Sarah Maxine Winn Lawrence Young Dr. I. Zelitt

IN HONOR Neill & Linda Brownstein Classical Movements Peggy Chase Dreyfous The Emily Company

IN MEMORY Anita Alcabes Jay T. Ball Dr. Ray Beckham Janet Bennett Winifred Bradley Harry E. Franta Crawford Gates Lowell P. Hicks Muriel Lindquist Panos Johnson








Sponsored by Michael & Vickie Callen





NEW RESIDENT ARTIST soprano Grace Kahl joins returning artists mezzo-soprano Melanie Ashkar, tenor Christopher Oglesby, baritone Jesús Vicente Murillo, and pianist Robert Bosworth for Utah Opera’s 2018-19 season. soprano


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 North Sanpete, Sevier, Washington, Emery, Carbon, Duchesne, and Uinta School Districts. MORE INFORMATION ABOUT THE RESIDENT ARTISTS AND UTAH OPERA EDUCATION PROGRAMS CAN BE FOUND AT




Institutional Donors We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from September 4, 2017 to September 4, 2018. * in-kind donation

** in-kind & cash donation

$100,000 OR MORE AHE/CI Trust The Church of Jesus Christ of Latter-day Saints Lawrence T. & Janet T. Dee Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation Dominion Energy The Florence J. Gillmor Foundation

Emma Eccles Jones Foundation O.C. Tanner John & Marcia Price Foundation Utah State Legislature / Utah State Board of Education Salt Lake County Salt Lake County Zoo, Arts & Parks Shiebler Family Foundation

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

The Huntsman Foundation

Frederick Q. Lawson Foundation

Deer Valley Resort** Janet Q. Lawson Foundation LOVE Communications** McCarthey Family Foundation Montage Deer Valley** Moreton Family Foundation Nora Eccles Treadwell Foundation Perkins-Prothro Foundation

S.J. & Jessie E. Quinney Foundation St. Regis / Deer Crest Club** Simmons Family Foundation Summit Sotheby’s Vivint.SmartHome WCF Mutual Insurance Company

$50,000 TO $99,999 The Grand America Hotel & Little America Hotel*

$25,000 TO $49,999 Anonymous Arnold Machinery B.M.W. of Murray | B.M.W. of Pleasant Grove Brent & Bonnie Jean Beesley Foundation Cache Valley Electric Charles Maxfield & Gloria F. Parrish Foundation Chevron Corporation C. Comstock Clayton Foundation



heartfelt hospitality In The Heart of Downtown

From weekend escapes to family getaways, Little America Hotel’s tradition of excellence offers impeccable accommodations and gracious service.



Institutional Donors $10,000 TO $24,999 Adobe B.W. Bastian Foundation Berenice J. Bradshaw Trust R. Harold Burton Foundation Caffé Molise* The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Every Blooming Thing* Gastronomy* Goldman Sachs & Co. LLC

HJ & BR Barlow Foundation Richard K. & Shirley S. Hemingway Foundation Hyatt Centric Park City** Marie Eccles Caine Foundation-Russell Family The New Yorker* Ogden Opera Guild Park City Chamber Bureau Promontory Foundation James Riepe Family Foundation

The Joseph & Evelyn Rosenblatt Charitable Fund Salt Lake City Arts Council The Sam & Diane Stewart Family Foundation Stein Eriksen Lodge** The Swartz Foundation The Val A. Green & Edith D. Green Foundation Wells Fargo

Grandeur Peak Global Advisors Holland & Hart** J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Kulynych Family Foundation Martine*

National Endowment for the Arts Raymond James & Associates Ruth’s Chris Steak House Spencer F. & Cleone P. Eccles Family Foundation U.S. Bank Foundation Utah Autism Foundation

Victor Herbert Foundation Intuitive Funding InvitedHome* Inwest Title Service, Inc. Millcreek Coffee Roasters* Morgan Stanley Prime Steakhouse Peczuh Printing*

Robert S. Carter Foundation Rocky Mountain Power Foundation Snell & Wilmer Stay Park City TraskBritt P.C. Wilmington Trust Company Zurchers*

$5,000 TO $9,999 Anonymous (2) Bambara* The Capital Group Deluxe Corporation Foundation The Dorsey & Whitney Foundation Patricia Dougall Eager Trust

$2,500 TO $4,999 Anonymous Bertin Family Foundation Blume Haiti CBRE The George B. and Oma E. Wilcox & Gibbs M. and Catherine W. Smith Fdn. George Q. Morris Foundation



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Sometimes the truth is more frightening than fiction. Join storyteller Aaron Mahnke and musical guest Chad Lawson for an unforgettable evening of dark, spine-tingling tales—the perfect way to celebrate All Hallows’ Eve. Lore is an award-winning, critically acclaimed podcast that exposes the darker side of history, exploring the people, places, arts and things westage fear the most. October 31, 2018 | 7:30 pm de Jong Concert Hall ON SALE NOW

THE MOUSETRAP by agatha christie

directed by david morgan

Trapped in a local bed and breakfast by a snowstorm, a group of strangers is horrified to learn there is a murderer in their midst. Join us for the longest-running play of the modern era, a tale of suspense and terror that ends as shockingly today as it did in 1952. “The Mousetrap” is presented by special arrangement with SAMUEL FRENCH, INC. October 26–November 10, 2018 Pardoe Theatre ON SALE NOW


Recognized as one of America’s most adventurous string quartets, ETHEL strives for common creative expression forged in the celebration of community. ETHEL is joined by Grammy Award-winning Robert Mirabal, a Taos Pueblo composer and songwriter known especially for his work with the Native American flute. December 7, 2018 | 7:30 pm de Jong Concert Hall ON SALE NOW


music by frank wildhorn lyrics by jack murphy original book by gregory boyd and jack murphy

uk adaptation by robert hudson directed by tim threlfall choreographed by nathan balsar music direction by gayle lockwood

From the team that brought you the BYU smash hit The Count of Monte Cristo, this new musical takes Lewis Carroll’s classic story and sets it in present day New York. Jump down the rabbit hole to discover this inspirational story of love, redemption, and the power of imagination. January 24–February 2, 2019 de Jong Concert Hall On sale November 19, 2018

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Institutional Donors $1,500 TO $2,499 Blue Lemon Restaurant & Bistro* Castle Foundation D’Addario Foundation Ditta Caffè*

Henry W. & Leslie M. Eskuche Charitable Foundation Oquirrh Hills Performing Arts Alliance* Ray, Quinney & Nebeker Foundation

Rodney H. & Carolyn Hansen Brady Charitable Foundation Salt Lake Comic Con* Snow, Christensen & Martineau Foundation Swire Coca-Cola, USA*

Huntsman International LLC The Kanter Family Foundation Swire Coca-Cola, USA*

Thomas Family Foundation Wrona, Gordon & Dubois

$1,000 TO $1,499 ExxonMobil Foundation Five Penny Floral* The Handley Foundation, Inc.


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B-Breakfast B-BreakfastL-Lunch L-Lunch D-Dinner D-Dinner S-Open S-Open SundayDL-Delivery DL-DeliveryT-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre Top: Image licensed by Ingram ImageSunday LL-Liquor LL-LiquorLicensee LicenseeRR-Reservations RR-ReservationsRequired RequiredRA-Reservations RA-ReservationsAccepted AcceptedCC-Credit CC-CreditCards CardsAccepted AcceptedVS-Vegetarian VS-VegetarianSelections Selections B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections UTAHOPERA.ORG / (801) 533-NOTE


Legacy Giving 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.

Photo credit: Kent Miles, Utah Opera, Don Giovanni, May 2017

To learn more about how estate planning can benefit both you and USUO, please call Rachel McNassor at 801-869-9010 or visit us online at

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 Rachel McNassor at or 801-869-9010 for more information, or visit our website at

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

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

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


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

Anne C. Ewers Flemming & Lana Jensen Edward R. Ashwood & Candice A. Johnson James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane Miner Glenn Prestwich Kenneth A.† & Jeraldine S.

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

Dianne May 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 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




Administration ADMINISTRATION Paul Meecham


David Green

Anthony Tolokan

Vice President of Marketing & Public Relations

Conner Gray Covington

Director of Communications & Digital Media

Barlow Bradford

Marketing Manager - Audience Development

Walt Zeschin

Graphic & Digital Media Designer

Andrew Williams

Digital Content Producer

Lance Jensen

Website Content Coordinator

President & CEO

Senior Vice President & COO

Symphony Music Director

Julie McBeth

Vice President of Symphony Artistic Planning

Ali Snow

Associate Conductor

Executive Assistant to the CEO Executive Assistant to the COO & Office Manager

0PERA ARTISTIC Christopher McBeth Opera Artistic Director

Carol Anderson Principal Coach

Michelle Peterson

Opera Company Manager

Michaella Calzaretta Opera Chorus Master

Brooke Yadon

Opera Production Coordinator


Senior Technical Director

Kyle Coyer

Technical Director

Kelly Nickle

Properties Master

Lane Latimer

Symphony Chorus Director Director of Orchestra Personnel Orchestra Personnel Manager Executive Assistant to the Music Director & Symphony Chorus Manager

SYMPHONY OPERATIONS Jeff Counts Vice President of Operations & General Manager

Cassandra Dozet Director of Operations

Melissa Robison

Program Publication & Front of House Director

Chip Dance

Production & Stage Manager

Jeff F. Herbig

Assistant Props

Properties Manager & Assistant Stage Manager

Travis Stevens

Lyndsay Wygant


Dusty Terrell

Scenic Charge Artist

Artist Logistics Coordinator

DEVELOPMENT Leslie Peterson

COSTUMES Verona Green

Vice President of Development

Jessica Cetrone

Olivia Custodio

Kierstin Gibbs LisaAnn DeLapp

Chelsea Kauffman

Costume Director

Costume Rentals Supervisor

Rentals Assistants

Amanda Reiser Meyer Wardrobe Supervisor

Milivoj Poletan Tailor

Tiffany Lent

Rachel McNassor Director of Major Gifts

Director of Individual Giving Annual Fund Coordinator

Kathleen Sykes Nina Starling


Director of Patron Engagement

Merry Magee

Marketing Manager - Patron Loyalty

Andrew J. Wilson Patron Services Manager

Ellesse Hargreaves Patron Services Assistant

Genevieve Gannon Sarah Pehrson Jackie Seethaler Powell Smith Sales Associates

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

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

Mike Lund

Director of Information Technologies

Alison Mockli

Heather Weinstock

Jared Mollenkopf

Grants Manager

Alina Osika

Development Operations Manager

Chris Chadwick Yoojean Song Connie Warner


Payroll & Benefits Manager Patron Information Systems Manager

Bobbie Williams

Accounts Payable Accountant

EDUCATION Paula Fowler

Director of Education & Community Outreach



Mike Call

Lisa Poppleton

Donna Thomas

Wigs/Make-up Crew

Chad Call

Karyn Cunliffe

Director of Government & Foundation Giving


Hope Bird Shelley Carpenter Krissa Lent Katie Satot

Renée Huang

Jessica Proctor

Manager of Special Events & DVMF Donor Relations

Milliner & Craftsperson


Kyleene Johnson 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.

Symphony Education Manager

Paul Hill

Opera Education Assistant

Annie Farnbach

Symphony Education Assistant


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

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


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



Struck, Salt Lake City / Portland The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief. Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.

Redeemable at any Market Street Restaurant or Fish Market 64


801.531.0226 Book us for your next event!

Utah’s Catering Company Proud Partner of the UTAH SYMPHONY | UTAH OPERA

THANK OUR ADVERTISERS YOU TO Ad Council BYU Arts Caffè Molise Castle Creek Inn Challenger School City Creek | Living The Grand America Hotel Hamilton Park Interiors Homewood Suites by Hilton Jaquar Land Rover Downtown Salt Lake Jerry Seiner Cadillac Kayenta Homes

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

KUED Little America Hotel The Metropolitan Opera National Council Auditions New Yorker Parson Behle & Latimer RC Willey Rowland Hall Ruby’s Inn The Nature Conservancy Utah Food Services Utah Humane Society





NATIONAL EXPERTISE. REGIONAL LAW FIRM. Where is it written that the farther away your law firm, the better? Attorneys at Parsons Behle & Latimer are right here and among the most competent in the country. From acquiring to selling, financing to developing, to workouts and restructuring, our real estate team has your interests covered. Making it that much easier to choose a law firm in the best location, location, location.

201 S. Main St., Suite 1800

Salt Lake City, Utah 84111





Kayenta, where vistas and environment are preserved. Diverse viewpoints and

community are embraced. Enjoy hiking and






surrounded by the stunning red rock

landscape. Explore shopping and dining in

the Art Village or take in a show at the

new Center for the Arts at Kayenta. Not far from St. George in southern Utah.



Profile for Mills Publishing Inc.

Romeo and Juliet  

Utah Opera October 13–21, 2018

Romeo and Juliet  

Utah Opera October 13–21, 2018