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October 10–18, 2015

Christopher MCBeth / Artistic Director




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Contents PUBLISHER Mills Publishing, Inc.






Cynthia Bell Snow



GRAPHIC DESIGNERS Leslie Hanna Ken Magleby Patrick Witmer

ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas


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.


Photo credit: Utah Opera Tosca 2008, Kent Miles

6 Welcome 8 Artistic Director’s Welcome 10 Board of Trustees 15 Director’s Notes 16 Season Honorees 22 Staff Spotlight: Milivoj Poletan 24 Q & A with Michael Chioldi 26 Production Sponsors 28 Cast / Artistic Staff / Chorus 34 Synopsis 36 Composer & Librettists 37 “Leap Lore” by Jeff Counts 40 “Reality Opera” by Paula Fowler 44 Making it Real 45 Utah Opera Resident Artists 47 Utah Symphony 49 Campaign for Perpetual Motion 52 Crescendo & Tanner Societies 55 Plan Big 56 Alligator 58 Corporate & Foundation Donors 60 Individual Donors 67 Classical 89 Broadcasts 69 Administration 72 Acknowledgments

PRELUDE LECTURES Prelude lectures by principal coach Carol Anderson offer insights before each Utah Opera production. This introduction includes historical context, musical highlights, and a behind-the-scenes perspective.


Preludes are free with your opera ticket and begin one hour before curtain in the Capitol Room.



On behalf of the board and staff, it is our pleasure to welcome you to the opening of Utah Opera’s 2015–16 Season featuring Puccini’s masterful melodrama Tosca. We’re so glad you’ve joined our community of people who value great live musical experiences, and we hope you enjoy encountering the broad cross-section of Utahns and visitors to our state who come together in the Janet Quinney Lawson Capitol Theatre to be inspired by our performances.

Patricia A. Richards Interim President & CEO Dave A. Petersen USUO Board of Trustees Chair

Opera was born in the 1600s as an art form where poetry, dance, and music were combined into a single work. Although the art form has evolved over time, the tradition of collaboration continues today with operas featuring talented singers, actors, dancers, visual artists, orchestral musicians, craftsmen, fashion designers, and more. In the spirit of opera’s tradition of bringing creative people together on the stage, Utah Opera connects creative people in our community off stage through our Creative Community initiative which features programs and events that celebrate creativity in Utah. Please visit the ‘Watch Listen and Learn’ section of for more information and a list of events. We hope you join us as we explore the many ways that creativity intersects in our community. Next month, Utah Opera continues our community collaboration theme when we help the Utah Symphony celebrate its 75th Anniversary Season with a collaborative performance of Ravel’s The Child and the Enchantments in Abravanel Hall as part of the Masterworks Series. We hope you will join us on November 13 or 14 for one of those performances, then again in January when we’re back in our Janet Quinney Lawson Capitol Theatre home performing Franz Lehár’s effervescent operetta The Merry Widow. Sincerely,

Patricia A. Richards Interim President & CEO 6

David A. Petersen Chair, Board of Trustees UTAH OPERA 2015–16 SEASON

Artistic Director’s Welcome

Christopher McBeth Artistic Director

Welcome to the historic Janet Quinney Lawson Capitol Theatre! I absolutely love the beginning of the Utah Opera season each year, and for this one we come out of the gate at full speed. Few operas have the palpable electricity and streamlined focus of Puccini’s Tosca. Even though the critical response to the piece has been mixed ever since its premiere, the work has always been an indisputable favorite with opera lovers new and experienced. The music is immediately visceral...from the opening abrupt, fortissimo chords which portend in Wagnerian fashion the violence to come (and represent our villain in this drama), to the heart-wrenching arias of our title character’s desperate supplication to the almighty and our doomed hero’s acceptance that he will not be able to live out life with his love. This is the hair raising stuff that even today’s most exciting movie theater experiences are made of! In addition to these characteristics which have made the opera immensely popular with audiences (in a recent poll, it was listed as the fifth most presented world-wide), I find it stirring personally. As one who is a die-hard lover of the human voice and the Herculean feats of expression of which it is capable, the roles offer us the opportunity to see and hear singers in rare moments of power, transparency, and everything in between. These are the roles that helped define the careers of some of the most famous artists in the history of the art form: Maria Callas; Renata Tebaldi; Giuseppe di Stefano; Tito Gobbi; Placido Domingo; Luciano Pavarotti; and Sherrill Milnes to name a few. Only the most daring, exciting singers of Italian opera attempt these roles, and we get to witness their musical and dramatic feats. The 2015–16 season includes many of the highlights in all of opera. I hope you will be able to join us for each of our offerings. I can’t think of a better way to open a season of opera favorites than with one of the most exciting pieces that the great master Puccini gave us.



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Board of Trustees

ELECTED BOARD David A. Petersen* Chair

Bob Wheaton John W. Williams Thomas Wright

Jesselie B. Anderson Doyle L. Arnold* Edward R. Ashwood Dr. J. Richard Baringer Kirk A. Benson Judith M. Billings Howard S. Clark Gary L. Crocker David Dee*

Alex J. Dunn Kristen Fletcher Kem C. Gardner* David Golden Gregory L. Hardy Thomas N. Jacobson Ronald W. Jibson* Thomas M. Love R. David McMillan Brad W. Merrill Greg Miller Edward B. Moreton Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Shari H. Quinney Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart Naoma Tate Thomas Thatcher

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

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

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

TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates

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

Mardean Peterson E. Jeffrey Smith Barbara Tanner

HONORARY BOARD Senator Robert F. Bennett Rodney H. Brady Kim H. Briggs Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano

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

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

William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Patricia A. Richards* Interim President & CEO


John Eckstein* Travis Peterson* EX OFFICIO

Donna L. Smith Utah Symphony Guild Genette Biddulph Ogden Symphony Ballet Association Dr. Nathaniel Eschler Vivace Judith Vander Heide Ogden Opera Guild *Executive Committee Member

NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Susan H. Carlyle Chair (Utah) (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

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

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

Alvin Richer (Arizona)



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August 29 - December 13, 2015 PRESENTING SPONSORS Katherine W. Dumke and Ezekiel R. Dumke Jr. Special Exhibition Endowment

John Constable, A Cottage in a Cornfield, 1817. Oil on canvas, 12 3/8 x 10 1/4 in. National Museum Wales (NMW A 486). Courtesy American Federation of Arts.

This exhibition is organized by the American Federation of Arts and Amgueddfa Cymru–National Museum Wales. The exhibition tour and catalogue are generously supported by the JFM Foundation, Mrs. Donald M. Cox, and the Marc Fitch Fund. In-kind support is provided by Barbara and Richard S. Lane and Christie’s.


Director’s Notes by Kathleen Clawson When asked to write notes, directors usually comment on their concept or “take” on the piece. I am not shy about re-thinking the time or place of an opera to provide a fresh way of experiencing a work, but Puccini’s masterpiece needs no such re-thinking. The story, based on a play by Sardou, of Tosca and Cavaradossi, two lovers caught in a net of political intrigue by Scarpia, the villain-you-love-to-hate, has been denigrated as mere melodrama, but Puccini’s music elevates it to greatness. From the first three fortissimo chords we are thrust into the action, which unfolds grippingly before us. In preparation for this production I made a trip to Rome to see the real locations where the opera is set. Visiting the Basilica of Sant’Andrea della Valle, I retraced Angelotti’s steps, imagining each moment in the first Act. The Palazzo Farnese (now the French Embassy) was not open while I was there, but gazing up at its windows I could envision Scarpia closing them to shut out the sound of the cantata while he interrogates Tosca. Walking up the stone steps of the Castel Sant’Angelo with the haunting clarinet solo in “e lucevan le stelle” playing in my mind, I stopped short of following Tosca’s steps off the parapet. It was my good fortune to see a new production of Tosca at the Opera di Roma while I was there, part of a project called “La Memoria” that will revive historic productions. The 1900 world premiere of Tosca was meticulously re-created with the original costume and scenic designs by Adolf Hoehenstein and the original staging notes carefully followed. It was one of the most memorable nights of theatre I’ve ever experienced. No technological wizardry or directorial slight of hand was required. It was an evening filled with great singing, a magnificent orchestra, and a production that respected the brilliance of its creators. The production you will see is richly informed by the experience of seeing those places and that production. Our own sets by the Italian master Ercole Sormani hark back to this time of magnificent painted scenery. Here’s hoping there is a nine-year-old in the audience, whose memory of our production (or at least the beautiful red velvet Act Two dress) will incite a lifetime of operatic experiences. UTAHOPERA.ORG / (801) 533-NOTE

Photo Credit: Cynthia Clayton, 2008 Utah Opera Tosca; Kent Miles


Season Honorees `M I L L EN I U M

$250,0 0 0 & A BOV E

Utah Symphony | Utah Opera is grateful to our generous donors who through annual cash gifts and multi-year commitments at the following levels make our programs possible. The following listing reflects contributions and multi-year commitments as of 8/15/2015.












Season Honorees










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

















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

Scott & Jesselie Anderson B. W. Bastian Foundation Thomas Billings & Judge Judith Billings Patricia Dougall Eager† Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Elaine & Burton L. Gordon Grand & Little America Hotels* Janet Q. Lawson Foundation


Montage Deer Valley** Scott & Sydne Parker Frank R. Pignanelli & D’Arcy Dixon Albert J. Roberts IV St. Regis Deer Valley** M. Walker & Sue Wallace Wells Fargo Wheeler Foundation Lois A. Zambo


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

Arnold Machinery Mr. & Mrs. William C. Bailey

Richard K. & Shirley S. Hemingway Foundation

Simmons Family Foundation Harris H. & Amanda Simmons

BMW of Murray

Love Communications*

Stein Eriksen Lodge**

BMW of Pleasant Grove

Carol & Anthony W. Middleton,

Summit Sotheby’s

Rebecca Marriott Champion Chevron Corporation C. Comstock Clayton Foundation Thomas D. Dee III & Dr. Candace Dee Delta Air Lines*

Jr., M.D. OPERA America’s Getty Audience Building Program

Foundation Vivint

James A. & Marilyn Parke

Jack Wheatley

Charles Maxfield & Gloria F.

John W. Williams

Parrish Foundation

John H. & Joan B. Firmage

Alice & Frank Puleo

Kristen Fletcher & Dan McPhun

S. J. & Jessie E. Quinney

Holland & Hart**

Nora Eccles Treadwell

Workers Compensation Fund Edward & Marelynn Zipser


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

Adobe Scott & Kathie Amann American Express Anonymous Ballard Spahr, LLP Haven J. Barlow Family H. Brent & Bonnie Jean Beesley Foundation Berenice J. Bradshaw Charitable Trust Judy Brady & Drew W. Browning BTG Wine Bar* Caffe Molise* Marie Eccles Caine FoundationRussell Family Chris & Lois Canale CenturyLink Howard & Betty Clark Daynes Music* Skip Daynes* Dr. & Mrs. Ralph Earle Sue Ellis Every Blooming Thing Thomas & Lynn Fey Gastronomy* General Electric Foundation Ann & Gordon Getty Foundation Douglas & Connie Hayes Susan & Tom Hodgson


Hyatt Escala Lodge at Park City** Tom & Lorie Jacobson Ronald & Janet Jibson G. Frank & Pamela Joklik Katharine Lamb Louis Scowcroft Peery Charitable Foundation Marriott Residence Inn* Pete & Cathy Meldrum Harold W. & Lois Milner Rayna & Glen Mintz Moreton Family Foundation Fred & Lucy Moreton Terrell & Leah Nagata National Endowment for the Arts Park City Chamber/Bureau David A. Petersen Glenn D. Prestwich & Barbara Bentley Promontory Foundation ProTel* David & Shari Quinney Radisson Hotel* Brad & Sara Rencher Dr. Clifford S. Reusch Resorts West* The Joseph & Evelyn Rosenblatt Charitable Fund David & Lois Salisbury

Salt Lake City Arts Council Lori & Theodore Samuels Pauline Collins Sells George & Tamie† Speciale Stalwart Films LLC* Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds Barbara Tanner Thomas & Kathy Thatcher Zibby & Jim Tozer Tom & Caroline Tucker Utah Food Services* Utah Hispanic Chamber of Commerce* Utah Symphony Guild

See pages 58–62 for an additional listing of our generous donors whose support has made this season possible.

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



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Staff Spotlight: Milivoj Poletan

Whether the performers on stage are bohemians traipsing the streets of Paris in La Bohème or running from the Queen of the Night in The Magic Flute, one thing is certain in every Utah Opera production: the costumes designed are always works of art themselves. Even the performers agree that no one can make a man look as good on stage as Utah Opera’s own Mililvoj Poletan.

Milivoj Poletan Tailor

Mili studied fashion design at a university in Bosnia which led to a lifelong career in design. He’s done it all, from working as a production employee and creating sample pieces for a clothing company in Switzerland to supervising a suit line for Hugo Boss. After immigrating to the United States in 2002, he is now a proud American citizen. He has been bringing his knowledge and expertise to Utah Opera for the past 13 years, and steals the show every time. A background in fashion has given Mili meticulous attention to detail that translates into the costumes he must build with versatility to fit a wide variety of body types, as they are often rented to other opera companies. Costumes are built with three-inch seamlines to allow for flexible alterations to fit singers of all shapes. He says this presents certain challenges. “With fashion clothes, you buy to fit your specific size, but for costumes, we need to create them to fit many people and many sizes.” Comparing his work in the costume shop with his years as a fashion tailor, Mili says, “Costumes are different, they’re made to be bigger.“ He is a big fan of the current form-fitting trend in street clothes and advises budding fashionistas to have a tailor adjust clothes to fit your form. “Clothes always look better when they are made to fit your specific body.” Indeed, Mili’s workmanship has earned him an esteemed reputation in the opera world. Visiting directors who come to Salt Lake City comment how they have never come across a more talented tailor. When he speaks of what inspires him the most, it’s the satisfaction of the finished project and the process by which he sees a designer’s vision on paper realized on the clothes form or performer.



Love without limits



Merry WidoW

January 16,18,20,22 (7:30 pm), January 24 (2 pm) Janet Quinney Lawson CapitoL theatre

What price would you pay for love? Hanna, tHe merry widow, is beautiful, wealthy and attracting a lot of attention from suitors looking to cash in. A former love interest, Danilo, returns, but does not seem interested in money or in competing with other men for Hanna’s affection. Flirtations and accusations fly, swept along by Lehár’s magical score, featuring the famous “Vilja” song, the “Merry Widow Waltz,” and more! Season Sponsor:

Tickets start at $18. UTAHOPERA.ORG

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Q & A with Michael Chioldi How were you first introduced to opera? Growing up in an Italian-American family outside of Pittsburgh, PA, I can remember my grandfather Guglielmo listening to the Texaco Metropolitan Opera radio broadcasts. The Chioldi family originates from Parma, Italy, and carries a very old Italian name. The Chioldis worked on facades of churches all throughout Italy, many of which took over 100 years to complete, involving several generations of workmen. And some of the best food in the world comes from Parma, including Parmigiano Reggiano cheese and Prosciutto di Parma. I guess what I’m getting at is that, although I was exposed to it at a very early age, opera is naturally in my blood. Spaghetti sauce runs through these veins! What do you like about performing as Scarpia? Scarpia is a dream role for all dramatic baritones. Act 2 of Tosca is probably my very favorite act in all of opera. And certainly one of the most expertly devised dramatic scenes ever composed. From his first dramatic entrance music to his very last breath, Puccini’s Scarpia is a work of genius. Baritones do not often get such compelling characters to play nor enthralling music to sing. In Scarpia, Puccini has developed the most dynamic of characters with the most beautiful and powerful music, often in direct contrast with one another. Talk about a challenge! I mean, who wouldn’t want to do this role? I feel extremely blessed every time I get to do it. What are the biggest challenges in opera for performers? I would have to say two things. Firstly, the sacrifice of always being away from 24

your friends, family and loved ones is very difficult. Often times you find yourself in a country where you do not speak the language and don‘t know anyone in the cast. This can be isolating and very challenging. But the love that you get from the audiences makes up for that in a big way. Secondly, I would have to say staying ever-conscious of your health and surroundings. Many of you might be shocked to learn that if I get ill and cannot sing, I do not get paid. That’s right. If I cancel a night’s performance, I do not get paid. SO, I’m constantly washing my hands and trying to stay clear of sniffling people. You should see me on airplanes. It is a sight to behold. I look like some sort of science experiment.  You’ve performed several of the same characters but in different productions. How do you make each performance unique? I am always striving to find new and different angles to play as I grow and mature as an artist. As your technique is mastered it frees you artistically to try and experiment with different readings of lines. Different colors, shadings, innuendos, tempi. Also, you are rarely faced with exactly the same components in each differing production of the same opera. For instance, I have sung with our wonderful Tosca, Cavaradossi and conductor before. Some even in this opera. But not all together at the same time. Even if the components were all the same, we are always growing and changing as people and artists. On any given day our reading of a certain character will be different from day to day, hour to hour, minute to minute. It is what makes what we do so rewarding and exciting. UTAH OPERA 2015–16 SEASON

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Tosca Oct 10, 12, 14, 16 | 7:30 pm Oct 18 | 2 pm Janet Quinney Lawson Capitol Theatre by Giacomo Puccini (1858â&#x20AC;&#x201C;1924) Libretto By Luigi Illica & Giuseppe Giacosa Opera sung in Italian with English supertitles Supertitles translated by Kathleen Clawson World Premiere: Teatro Costanzi in Rome on January 14, 1900 Previous Utah Opera Productions: 2008, 1999, 1992, 1984, 1978 The performance will last approximately 2 hours 30 minutes with two intermissions.

CAST (in order of appearance) Angelotti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Nakatani Sacristan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Wanko Mario Cavaradossi . . . . . . . . . . . . . . . . . . . . . . . . . Dinyar Vania Floria Tosca . . . . . . . . . . . . . . . . . . . . . . . . Kara Shay Thompson Baron Scarpia . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Chioldi Sciarrone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tyler Oliphant Spoletta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . James Miller Shepherd Boy . . . . Chorister of The Madeleine Choir School Jailer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Markel Reed*

ARTISTIC STAFF Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Tweten Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kathleen Clawson Costume Designer . . . . . . . . . . . . . . . . Susan Memmott Allred Lighting Designer . . . . . . . . . . . . . . . . . . . . Nicholas Cavallaro Wigs/Make-up Designer . . . . . . . . . . . . . . . . . . Yancey J. Quick Chorus Master . . . . . . . . . . . . . . . . . . . . . . . . . Melanie Malinka Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . . Rebecca Pacheco Fight Choreographer . . . . . . . . . . . . . . . . . Christopher DuVal Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amy E. Soll Assistant Stage Manager . . . . . . . . . . . . Amber Lewandowski Supertitle Musician . . . . . . . . . . . . . . . . . . . . Timothy Accurso* Set designed by Ercole Sormani, rented from Seattle Opera. Costumes constructed by Utah Opera Costume Shop. *Utah Opera Resident Artist





Kevin Nakatani (California) Angelotti Most Recently at Utah Opera, Madame Butterfly Recently: La Bohème, Utah Festival Opera & Musical Theatre; How to Succeed..., Utah Festival Opera & Musical Theatre; Il Barbiere di Siviglia, Opera Idaho

Michael Wanko (Bronx, NY) Sacristan Most Recently at Utah Opera, The Barber of Seville Recently: The Elixir of Love, Opera on The James; The Marriage of Figaro, Austin Lyric Opera; The Mikado, Michigan Opera Theatre Upcoming: The Merry Widow, Utah Opera Dinyar Vania (New Jersey) Mario Cavaradossi Utah Opera Debut Recently: Madama Butterfly, Opera Colorado, Glimmerglass Opera; Tosca, Lyric Opera Baltimore; Rigoletto, Opera Omaha; Upcoming: La Fanciulla del West, Opera Omaha   Kara Shay Thomson (Ohio) Floria Tosca Utah Opera Debut Recently: The Consul, Florida Grand Opera; Tosca, Atlanta Opera; Fidelio, Kentucky Opera; Bluebeard’s Castle, Opera Omaha Upcoming: Fidelio, Sarasota Opera





Michael Chioldi (New York) Baron Scarpia Most Recently at Utah Opera, Salome Recently: Macbeth, Royal Opera House of Oman; Un Giorno di Regno, Odyssey Opera, Boston; Ballo in Maschera, Austin Opera Upcoming: Rigoletto, Filarmonia de Jalisco, Guadalajara, Mexico; Macbeth, Detroit Opera Theater Tyler Oliphant (Utah) Sciarrone Most Recently at Utah Opera, La Traviata Recently: Tosca, Lyrical Opera Theater; La Cenerentola, University of Utah Lyric Opera Ensemble; Madama Butterfly, Intermountain Opera Bozeman Upcoming: La Bohème, Lyrical Opera Theater James Miller (Utah) Spoletta Most Recently at Utah Opera, Salome Recently: Tosca, Lyrical Opera Theater; Madame Butterfly, Lyrical Opera Theater; Of Mice and Men, Utah Opera Upcoming: La Bohème, Lyrical Opera Theater Markel Reed (Kentucky) Jailer Utah Opera Debut Recently: Current Utah Opera Resident Artist; Le nozze di Figaro, Kentucky Opera; Don Giovanni, Carmen, Kentucky Opera Upcoming: The Merry Widow, Le nozze di Figaro, Utah Opera




artistic staff

Robert Tweten (New Mexico) Conductor Most Recently at Utah Opera, Madame Butterfly Recently: Lucia di Lammermoor, Edmonton Opera; Le nozze di Figaro, Calgary Opera; Carmen, Tulsa Opera Upcoming: Madame Butterfly, Dayton Opera; The Magic Flute, Calgary Opera Kathleen Clawson (New Mexico) Director Utah Opera Debut Recently: The Magic Flute, Dayton Opera; I Pagliacci/Suor Angelica, Opera Birmingham; Noah’s Flood, The Santa Fe Opera Upcoming: Otello, Dayton Opera UnShakeable, The Santa Fe Opera Susan Memmott Allred (Utah ) Costume Designer Most Recently at Utah Opera, Così fan tutte Recently: PBS Christmas special with Mormon Tabernacle Choir 2015 Resident Designer, Utah Opera, 1979–2011; Mormon Miracle Pageant; Utah Shakespearean Festival; Southern Utah State College Upcoming: The Merry Widow, The Marriage of Figaro, Utah Opera Yancey J. Quick (Utah) Wig and Makeup Designer Most Recently at Utah Opera, The Rake’s Progress Recently: Resident Wig and Makeup Designer, Utah Opera; Wig Master, Ballet West; Wig and Makeup Designer, Utah Festival Opera & Musical Theatre 30


artistic staff / chorus


Melanie Malinka (Germany) Chorus Master Most Recently at Utah Opera, Turandot (children’s choir) Recently: Shoes for the Santo Niño, Utah Opera and The Cathedral of the Madeleine; The Magic Flute, Utah Opera (preparation of children) Upcoming: L’enfant et les sortilèges, Utah Opera (children’s choir); Noye’s Fludde, The Cathedral of the Madeleine

Utah Opera Chorus Soprano Emily Dages Blythe Enke Kristin Jensen Hilary Koolhoven Heather Morrey Stania Shaw Carolyn TalboysKlassen Gioconda A. Vaca Jillian Weaver

Alto Mandi Barrus Paula Fowler Jennifer Hancock Heather R. Madsen-Trump Christine McDonough Ruth Rogers Sue Sohm Sammie Tollestrup Ruth Wortley

Tenor Sidnei Alferes Christopher Camp Michael G. Cram Phillip A. Lammi Edward Lopez Kevin Schuwer Josh Steed Scott Tarbet Eric Taylor

Bass Steven Finkelstein Merrill Flint Nelson LeDuc Steve Mathews Tony Porter Garrett Schoonover Mark Sorensen Daniel Tuutau Greg Watts

Supernumeraries Peter Corroon Michael Drebot


Chris Johnston Mark Murphy

Rick Paine Markel Reed




Music preparation: 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 humanities, mathematics and sciences, 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 assist with the worship life of the Cathedral and participate in The Choir of the Cathedral of the Madeleine’s Annual Concert Series, performing over 9,000 hours of service annually. In addition, the choristers perform regularly with local arts organizations, including the Utah Symphony | Utah Opera, Ballet West, Utah Chamber Artists, The Mormon Tabernacle Choir, Helena Symphony, and the San Francisco Opera. They have five CD recordings available. Performance tours are an integral part of every student’s experience at the Choir School. Past tours have encompassed performances in Rome, Florence, Madrid, Sevilla, Prague, Berlin, Leipzig, Munich, and Vienna—including St. Peter’s Basilica, and Notre Dame de Paris. Please visit for more information on admissions and concert dates.

Choristers of The Madeleine Choir School Liam Alfred Airam Alvarez-Marmolejo James Corroon Stephen Grant Max Gross Charles Haley Oliver Haley Jonas Malinka-Thompson


Thomas Morelli Ian Murphy Henry Poppe Alvin Reed William Schulte William Selfridge Anthony Villanueva Alex Yannelli


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TOSCA by Puccini Setting: Rome, June 1800 Act I Daytime: Church of San’Andrea della Valle The Kingdom of Naples’ control of Rome is threatened by Napoleon’s invasion of Italy. Political prisoner Cesare Angelotti has bolted from the Neapolitan prison and fled to his sister’s private chapel in the Church of Sant’Andrea della Valle. As an aged Sacristan kneels to pray, Mario Cavaradossi enters the church to continue work on his painting of Mary Magdalene, a portrait which is modeled on the image of the lovely Marchesa Attavanti, Angelotti’s sister. In a fit of reverie the artist compares the blond beauty of the Marchesa to his own raven-haired lover, the famous singer Floria Tosca. When old friends Angelotti and Cavaradossi meet, the escaped prisoner is barely recognizable for the beatings he has endured from Police Chief Scarpia. He hides as Tosca enters the church; she is immediately suspicious and distrustful, having spied the painting of the Magdalene. Finally she allows Mario to reassure her as to his fidelity and their love. After Tosca departs, the two old friends and political allies plan for Angelotti to hide in the garden of Cavaradossi’s villa. A blast from the cannon at Castel Sant’Angelo proclaims the prisoner’s 34

escape. As the Sacristan goes into the church accompanied by choristers who will sing the Te Deum, the supposition is that Napoleon has been defeated. Baron Scarpia, Chief of Police, enters, searches, but cannot find Angelotti. Upon the return of Tosca he manipulates her jealousy by slyly encouraging her belief that Mario and the Marchesa have formed a relationship. Furious, Tosca departs for Cavaradossi’s villa and unwittingly is followed by the police. Scarpia revels in his plan to possess Tosca as the procession sings the Te Deum. ACT II Evening: Scarpia’s Study in Palazzo Farnese Tosca has received a note summoning her to Scarpia’s apartment. Frustrated because he has been unable to locate Angelotti, Scarpia has had Cavaradossi arrested, but the artist denies any knowledge of Angelotti. He sees Tosca for a brief moment and cautions her to remain silent about Angelotti’s whereabouts. Scarpia threatens Tosca, and after hearing Cavaradossi’s cries of anguish from the torture he is enduring, she reveals Angelotti’s hiding place. Now Cavaradossi has been brought before Scarpia; he is furious that Tosca has betrayed Angelotti but rejoices in the next instant when a police officer delivers the news that Napoleon, who for Cavaradossi embodies liberty, equality, and fraternity, has won a significant victory. The artist is returned to prison. UTAH OPERA 2015–16 SEASON



Scarpia proposes to Tosca that he will release Cavaradossi if she submits to him. Tosca cries out to God, asking why she must endure such misfortune when she has lived for art and piety. She hears a drum beat announcing the forthcoming execution of her lover. Angelotti has committed suicide, and Scarpia, now in total control, tells Tosca he will arrange a feigned execution. She demands a letter confirming safeconduct out of Rome and, as Scarpia finishes writing, she seizes a knife that is lying on the table and plunges it into him. Taking the precious letter, she then lights candles and drapes a crucifix on Scarpia’s body.

joyously tells him of the letter she has secured from Scarpia which promises his safe conduct—and that she has killed Scarpia. Cavaradossi praises her fortitude and they rhapsodize about their future together. She instructs him how he should conduct himself during the sham execution by Scarpia’s firing squad: he is to remain silent and prostrate as if dead until she signals.

Castel Sant’Angelo

While Cavaradossi is led before the soldiers, Tosca hides; then a volley of bullets strikes her lover. Scarpia, however, has had his revenge and betrayed her. Clutching Cavaradossi’s lifeless body, she weeps. As Scarpia’s henchmen, having discovered their patron’s murder, approach to apprehend her, Tosca evades them and plunges over the parapet to her death.

Shortly before dawn Cavaradossi has been dragged to the battlements of the castle. As he gazes at the stars, he is overwhelmed with memories of Tosca and pens a farewell note to her affirming his love. Tosca enters and

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



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.




Giacomo Puccini Composer

Luigi Illica Librettist

Guiseppe Giacosa Librettist


composer and librettists

Giacomo Puccini was born in Lucca in Tuscany, Italy, into a family with five generations of professional musicians behind him. His father died when he was five years old, and he was sent to study with his uncle Fortunato Magi. Later, Puccini took the position of church organist and choir master in Lucca, but it was not until he saw a performance of Verdi’s Aida that he became inspired to be an opera composer. After his education at Milan Conservatory, Puccini composed Manon Lescaut (1893), his third opera, and his first great success. It launched his remarkable relationship with the librettists Luigi Illica and Giuseppe Giacosa, who collaborated with him on his next three operas, which became his most famous and often-performed operas: La Bohème, Tosca, and Madama Butterfly. Puccini died on November 29, 1924. Luigi Illica wrote libretti for composers including Giacomo Puccini (usually with Giuseppe Giacosa), Alfredo Catalani, and Umberto Giordano. His most famous opera libretti were 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 goes 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 to earn a degree in law, but did not pursue this career. Giacosa gained initial fame for writing the poems in A Game of Chess in 1871. His 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 Dame de Challant for noted French actress Sarah Bernhardt, which she produced in New York in 1891. Giacosa wrote the libretti used by Giacomo Puccini in La Bohème, Tosca, and Madama Butterfly in conjunction with Luigi Illica. UTAH OPERA 2015–16 SEASON


leap lore

Leap Lore by Jeff Counts

The Leap is the Thing Spend a few moments online in search of information about Tosca and you learn quickly that you are expected to endure an endless, torturous succession of writerly riffs on the word “leap.” The headlines will cover everything from the innocent (“Celebrated Soprano Takes First Leap into TOSCA”) to the slightly lame (“[Insert city name] Opera Takes Leap of Faith with New TOSCA Production”) to some real eye-rollers (“Company Celebrates Leap Year with a Perennial Favorite”). You will, I promise, start looking for your own parapet before long. The legendary leap scene at the end of Act III is legendary with good reason, and it’s no great shock that we opera lovers are obsessed with it. We love all of our legends. Disastrous opening night mishaps, unscripted pratfalls, onstage temper tantrums. There is a secret history behind what we see from our seats and we, as the most dedicated observers, are thrilled to hear it all. It thrills us because it colors the suspension of our disbelief with a touch of actual dramatic truth. We know that Tosca must leap at the end of the show, as she has for over a century now, but the technical how of her leap is an uncertainty we can savor. To Leap is Human Before we explore the how, let’s discuss the why. The complex history of the leap as a stunt may have entered the realm of myth, but the reason for it is fairly simple, storywise. Tosca has murdered Scarpia but learns that he tricked her before


dying by making sure her beloved Cavaradossi would die as well. Faced with this stunning realization and the threat of her own firing squad, she jumps. We all might have. It is one of the most exciting closing moments in opera, this leap by Tosca, and it’s due not only to the dramatic efficacy of the scene in a fictional sense but also the physical act of the leap as it happens in real time on stage. We are fully invested in the plight of the character Tosca, but we are also constantly aware that the singer/ actor Tosca has a big trick coming up. It fascinates us to think about the planning required to make the trick both safe and compelling. Safety, in this case, has never been guaranteed as the venerable Sarah Bernhardt might be quick to report. “Divine Sarah” was THE leading stage actor of the Belle Époque and her participation in the original theater version of La Tosca eventually cost her a leg. Bernhardt suffered a knee injury during a poorly executed leap scene and was forced to amputate a few years later in 1911. Regardless, Puccini had already decided to keep the leap for his operatic version in spite of his librettist’s attempt to convince him that a “mad scene” would be preferable. Nothing as serious as a lost limb exists in the record since poor Ms. Bernhardt, but the opera Tosca has had its own share of noteworthy leap moments. A word about how it’s been done over the years. This was no second story



leap lore

apartment building Tosca threw herself from. If you’ve been to Rome, you’ve seen the Castel Sant’Angelo there on the Tiber River near Vatican City. It’s an imposing 2nd century fortress and Pope Clement VII knew what he was doing when he sought refuge there during the Sack of Rome in 1527. To leap from this massive structure would be a grand statement indeed, one that cannot be approximated with a simple flop behind some fake three-foot wall. To be remotely believable, our Toscas have to fall, I mean really fall, to give the impression of verticality and consequence. The distance, of course, can be faked through various theatrical means. You can do it with lighting and shadow play if you like. Maybe she can step into the darkness of a perceived open space and then remain still while the technicians project her form on a screen that artfully transports it down into a presumed oblivion. You can do that, if you really want to, or something even more sophisticated and cinematic, but nothing sells the scene like a real leap from the highest place on the set. It’s that genuine submission to gravity that adds a flicker of no-nonsense peril into the mix, and it’s right there in that willingness to embrace the practical effect over the special effect that things can become really exciting. The tried and true method for catching sopranos involves the careful placement of crash pads or mattresses. She merely has to see her mark and jump to it, and if the set allows for it, she can really bring a lot of personal flair to


the moment. There’s a wonderful article on the Opera League of Los Angeles website that compiles eyewitness accounts (mostly) of how various famous sopranos have handled this challenge over the years. It details how some really went for broke, launching spread-eagle into the void without a trace of fear, while others looked more nervous, bracing for impact well before they left the sightlines of the audience. Still more refused the ruse outright. Montserrat Caballe apparently just walked offstage as if she was looking for her dressing room, and a great debate raged among the commenters about whether or not Renata Tebaldi ever leaped either. Some said always, others never, but a few were certain they saw it at least once. Who knows? In a 2011 interview with the Washington Post, Stage Director David Kneuss recalled the many Toscas he’d worked with during his career. A few, Patricia Racette being the most recent example for Kneuss at the time, were daredevils who he feared might enthusiastically over-leap the pads. Eva Marton was another who displayed considerable commitment and courage and once broke the pads with the force of her landing. Kneuss had worked once with Caballe too and confirmed that it had been necessary to create an illusion that allowed her to disappear behind a curtain. No leaping for her. Finally, Kneuss’ experience with Tebaldi in New York, in her last ever Tosca appearance apparently, involved her having to be pushed at the last moment! Maybe she froze at the precipice. We all might have.



leap lore

Leap, Memory One part of the leap lore that won’t die no matter how much we might protest is the legend of the bouncing Tosca. As the story goes, the crash pads in a particular production were replaced with a trampoline (you know, for extra safety) and the soprano in question (there are many names associated with this but none validated) forgot to roll on impact and bounced back up into view a few times before finally settling into her demise. It’s a hilarious if harrowing anecdote, but the desire for it to be true seems to outpace the evidence. Such is the abiding resilience of the Tosca leap in our

collective consciousness. On occasion, the production of a thing becomes as important to us as its meaning, but lest we lose sight of caution entirely, we must remember Sarah Bernhardt. Her leg was re-discovered in a Bordeaux University storeroom back in 2009 and, much more than a historical curiosity, that famous relic is a grisly remark on risk and reward to which even we in the performing arts should pay heed. 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 five years.

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making it real

Making it Real by Paula Fowler

Like many opera composers in the late 19th century, Giacomo Puccini aimed for a greater ‘truth in theatre’ than had existed in operas of the past century. The established bel canto opera tradition of the time included all kinds of conventions that resulted in operas focused more on the technical abilities of the singers than the emotional journeys of the characters they portrayed. Puccini wanted to create stories and musical experiences that were more connected to reality. Puccini’s Tosca, which premiered in 1900, manifests its creator’s dedication to realism in many ways. First of all, in the setting: Tosca’s story occurs in known buildings, in an existing city, in the midst of an actual historical event, all in the space of one day. It takes place in Rome on June 17, 1800, the day of Napoleon’s triumph in Marengo. At first the battle is reported as a loss for Napoleon, who at that time was a champion of freedom for the common man. Thus the charming artist Cavaradossi is a Napoleonsympathizer; and the corrupt chief of police, Scarpia, opposes Napoleon and his democratic ideals. It’s a bit confusing to those of us who know what Napoleon pursued after 1800—but the allegiances in the opera are true to the actual partisanship of the times. The source of Tosca’s story was Victorien Sardou’s 1887 play La Tosca, written as a showpiece for the famous actress Sarah Bernhardt. The stage play had 5 acts and featured 23 characters, and so, like every play turned to opera, needed great reduction. Librettist Luigi Illica had already written a libretto based on the 40

play for another composer (who was talked out of the project once Puccini expressed interest). The poet Giuseppe Giacosa was added to the team to create the libretto’s lyrical moments. Giacosa was reportedly never happy with this project: he complained that the whole opera was just a series of duets, and concluded that while La Bohème (1896) had been all poetry and no plot, Tosca was all plot and no poetry. Puccini must have felt the sacrifice a valuable one, and most of us (not named Giacosa) still find plentiful poetry remaining in this libretto. Despite Giacosa’s grumblings, two of his own greatest poetic achievements do live on in this opera: Tosca’s “Vissi d’arte” and Cavaradossi’s “E lucevan le stelle.” The tale of each of these arias gives testament to Puccini’s dedication to realism in theatrical presentation, and his concern that a moment focused on poetry might disturb the flow of an energized plot. Puccini considered removing Tosca’s heart-rending aria “Vissi d’arte” from the opera altogether because it brings the action in Act II to a total halt. Just before the aria, Scarpia has promised to stop physically torturing Tosca’s boyfriend if she will divulge information; moreover, he will agree to fake Cavaradossi’s scheduled execution if she will ‘give herself’ to Scarpia. Everything comes to a stop as Tosca grapples with this horrible decision. She sinks into herself and sings, ‘Why, when I’ve always been a good person, and have dedicated myself to art and love, why am I faced with this terrible situation?’ Puccini worried that this UTAH OPERA 2015–16 SEASON



Metropolitan Opera National Council Utah District Auditions

Be there when the next group of young local hopefuls begin their journeys

Saturday, November 14, 2015 Libby Gardner Concert Hall, University of Utah *11:00 AM to 1:00 PM and 2:00 to 5:00 PM: Auditions *5:00 to 5:30 PM: While the judges deliberate, enjoy a reception with the competitors and vote for your favorite singer to receive an audience choice award *5:30 PM: Announcement of the Winner(s)

The auditions are open to the public to view free of admission charge. *Schedule subject to change depending on number of competitors, please visit our website after November 7, 2015 for an updated schedule. 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, as well as additional support from the Salt Lake City Arts Council, BYU Broadcasting, the University of Utah School of Music, and by the residents of Salt Lake County through the Zoo, Arts & Parks (ZAP) Program.


making it real

musical number halted the drama that otherwise hurtles forward in this tensionfilled act. But the emotionally powerful aria stayed. Puccini also did battle over Cavaradossi’s Act III aria “E lucevan le stelle,” but this time his warfare was with the librettists, who wanted the painter’s final words before his execution by firing squad to be a farewell to art and life. Puccini insisted that a man facing a death sentence would spend his last moments inwardly saying goodbye to his beloved. And thus we have this wonderful aria, because Puccini insisted it would be more realistic. Not only the subject matter, but the musical style of this aria also demonstrates his dedication to authenticity. Instead of the traditional format of recitative, orchestral introduction, and then aria, Puccini starts with just the orchestra accompanying stage action. Then, after Cavaradossi begins writing his farewell letter to Tosca, a quartet of cellos plays the music of the Act I love duet, wordlessly communicating to us that Cavaradossi is thinking of his beloved. The next development features the young man chanting on a single note, while underneath, a solo clarinet starts musicalizing the emotion that is just beginning to develop into words. When Cavaradossi finally finds the words, he catches the wave of the melody already introduced by the clarinet, and sings it into fully-orchestrated musical expression of true human sorrow, yearning, and love. Puccini used a different technique for realistic effect in Cavaradossi’s Act I aria: as Cavaradossi compares the beauty 42

of two women, Puccini inserted the Sacristan’s mumblings throughout. It just wouldn’t be realistic that the Sacristan stops thinking just because the tenor is singing, so he is allowed to interject. Puccini’s sense of verisimilitude extended to smaller details as well: he researched the ‘Te Deum’ plainsong melody used in the Act I ‘Te Deum’ so that his opera uses music actually sung in churches in Rome. He studied the order of the Cardinal’s procession in that same scene, and investigated the style of the Swiss Guard costumes of 1800 himself. He checked the exact pitch of the great bell at St. Peter’s so he could write it into the orchestration, and made a special visit to hear the matin (morning) bells from the ramparts of the Castel Sant’Angelo. In so many ways, Puccini’s Tosca is not realistic: it’s opera, after all. Opera is always going to be—as we like to say—of “operatic proportions,” larger than life. But clearly, Puccini cared that his audience would be able to believe the story of his Tosca. He wanted to head in the direction of greater realism than he had seen in the operas of his day. In musical creation as well as story-telling, he attended to details and effects that would help the drama hit home. And perhaps it is Puccini’s expressive music accompanying all the action—that element that defines opera as perpetually different from real experience—that does the most effective work of drawing Tosca’s story and characters into our hearts. It may not ultimately be realistic, but it feels true to life. Paula Fowler is USUO’s Director of Education & Community Outreach. She has been writing opera commentaries for Utah Opera for more than 15 years. UTAH OPERA 2015–16 SEASON

A little family time.

Treat your family to a menu of traditional favorites at The Little America Coffee Shop. Call 801.596.5708


Make It Your Masterpiece Photo Credit: Cynthia Clayton, UO 2008 Tosca; Kent Miles

Utah Opera is back on stage, and what a glorious season awaits us! This is truly a year of masterpieces, and we invite you to make it your masterpiece by contributing to the Annual Fund. The Annual Fund supports the general operations of Utah Symphony | Utah Opera. Last season, individuals like you contributed to the Annual Fund and were instrumental to Utah Opera’s success: • • • • • • • • •

Five performances of four productions, for twenty nights and days of opera, Two Utah Premieres, 61 guest artists from twenty-three U.S. states and four countries, 80 Utah Opera Chorus members, 85 Utah Symphony Orchestra musicians, Five Utah Opera Resident Artists, One newly reengineered set with original backdrop by staff scenic painter, One refreshed historical production (set and costumes), Newly designed costumes for three productions built by staff artisans.

If you enjoyed the performance tonight, please support the Annual Fund and look forward to a great season ahead. Every gift counts! And if you want to support us beyond this season and plan with us for the future, join our Grassroots Giving Campaign and become a sustaining patron: Pledge your support for the next five years or document a planned gift, and make this season your masterpiece. Please visit or contact the USUO Development team at 801-869-9015.



Join us in welcoming the 2015–16 Opera OPEN FULLUtah PAGE

Resident Artists

Tim Accurso Pianist

Sarah Coit Mezzo-Soprano

Markel Reed Baritone

Jessica Jones Soprano

Mezzo-soprano Sarah Coit, Tenor Christian Sanders, Baritone Markel Reed, and Pianist Tim Accurso prevailed in national auditions last fall and were invited to become members of Utah Opera’s Resident Artist program for the 2015–16 season. They join returning Soprano Jessica Jones. 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 Daggett, Duchesne, Garfield, Grand, Sevier, South Sanpete, Uintah and Washington school districts. our resident artists receive vocal coaching and dramatic training to continue their professional development. They have been cast in comprimario roles in our main-stage operas. Look for them in upcoming productions in the Janet Quinney Lawson Capitol Theatre! More information about the Resident Artists and Utah Opera Education Programs can be found at

SUPPORT OUR EDUCATION & COMMUNITY OUTREACH PROGRAMS By donating, you help provide music education experiences for both students and teachers. Invest in the future citizens of Utah, and support your USUO. DONATE TODAY! Contact our Development Department at

(801) 869-9015.

Christian Sanders Tenor


Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Ralph Matson 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 David Park Assistant Concertmaster Alex Martin Acting Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Hanah Stuart Assistant Principal Second Karen Wyatt •• Leonard Braus • Associate Concertmaster Emeritus Joseph Evans LoiAnne Eyring Teresa Hicks Lun Jiang Rebekah Johnson Tina Johnson†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Rebecca Moench David Porter Lynn Maxine Rosen Barbara Ann Scowcroft • M. Judd Sheranian Lynnette Stewart Aubrey Woods †† Julie Wunderle ••

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Roberta Zalkind Associate Principal Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas

OBOE Robert Stephenson Principal

Peter Margulies Nick Norton

James Hall# Associate Principal

TROMBONE Mark Davidson Acting Principal

Titus Underwood†† Acting Associate Principal Lissa Stolz ENGLISH HORN Lissa Stolz

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

Matthew Johnson Associate Principal

Erin Svoboda Associate Principal

John Eckstein Walter Haman Andrew Larson Anne Lee Kevin Shumway Pegsoon Whang

Lee Livengood

BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn Edward Merritt Claudia Norton 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

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 Bruce M. Gifford Principal Edmund Rollett Associate Principal Llewellyn B. Humphreys Ronald L. Beitel Stephen Proser TRUMPET Travis Peterson Principal The Robert L. & Joyce Rice Chair Jeff Luke Associate Principal


Sam Elliot†† Acting Associate Principal BASS TROMBONE Graeme Mutchler TUBA Gary Ofenloch Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy ORCHESTRA PERSONNEL Llewellyn B. Humphreys Acting Director of Orchestra Personnel Nathan Lutz Orchestra Personnel Manager STAGE MANAGEMENT Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member





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PERP ET UA L motion

CAMPAIGN LEADERSHIP Campaign Co-Chairs Scott and Jesselie Anderson Lisa Eccles Kem and Carolyn Gardner Gail Miller and Kim Wilson Bill and Joanne Shiebler

Honorary Co-Chairs Spencer F. Eccles Jon M. Huntsman The Right Reverend Carolyn Tanner Irish


The 2015–16 season has truly been 75 years in the making. We are grateful for the visionary audacity of our founders, the temerity of our community, and the opportunity to celebrate the legacy given to us today. The momentum and impact of The Campaign for Perpetual Motion, a $20 million public campaign to support special projects and our core priorities in our orchestra, artists, and youth, have set the stage for this celebration and allow us to look forward to the next 75 years. The Campaign began with a remarkable $5 million lead gift from the George S. and Dolores Doré Eccles Foundation, whose tradition of support totaling more than $32 million spans three decades. This lead gift was made in addition to a $1 million gift from the Foundation to our Leadership Campaign, which during 2011 and 2012 prepared a solid foundation for the public fundraising effort. More than 35 individuals, corporations, and foundations contributed to the Leadership Campaign, including an extraordinary $4.6 million capstone gift from O.C. Tanner Company. O.C. Tanner also committed an additional $500,000 to our Anniversary season efforts, bringing their total campaign giving to $5.1 million.

Now you can join the momentum and contribute to our 75th anniversary celebrations, as well as the future well-being of USUO, by participating in our grassroots campaign. As Utah’s flagship arts group, Utah Symphony | Utah Opera belongs to the people of Utah. Our patrons and donors have allowed us to reach new heights in artistic excellence over the past 75 years. By becoming a sustaining patron you will help us achieve even more. Find out more at UTAHOPERA.ORG / (801) 533-NOTE


P E RP ET UAL motion

We are forever grateful to the following leaders whose visionary support secured the permanence of Utah Symphony | Utah Opera through our Leadership Campaign in 2011 and 2012, and who are setting the stage for its bright future as lead supporters of The Campaign for Perpetual Motion. FOUNDING CAMPAIGN DONORS George S. and Dolores Doré Eccles Foundation ($6 Million) O.C. Tanner Company ($5.1 Million) PRINCIPAL GIVING ($1 Million & above) Gael Benson The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation Kem & Carolyn Gardner Larry H. & Gail Miller Family Foundation Mark & Dianne Prothro Questar® Corporation Patricia A. Richards & William K. Nichols Shiebler Family Foundation Sorenson Legacy Foundation Zions Bank LEADERSHIP GIVING (up to $1 Million) Anonymous (2) Scott & Jesselie Anderson Doyle Arnold & Anne Glarner Edward Ashwood & Candice Johnson Mr. & Mrs. William C. Bailey Dr. J. R. Baringer & Dr. Jeanette J. Townsend Thomas Billings & Judge Judith Billings R. Harold Burton Foundation Howard & Betty Clark Thomas D. Dee III & Dr. Candace Dee Deer Valley Resort E.R. (Zeke) & Katherine W.† Dumke Burton & Elaine Gordon Mr. & Mrs. Martin Greenberg Dell Loy & Lynette Hansen Roger & Susan Horn Frederick Q. Lawson Foundation 50

Anthony & Renee Marlon Carol & Anthony W. Middleton, Jr., M.D. Edward & Barbara Moreton William H. & Christine Nelson Carol & Ted Newlin Scott & Sydne Parker Dr. Dinesh & Kalpana Patel Frank R. Pignanelli & D’Arcy Dixon John & Marcia Price Family Foundation Bert Roberts Theodore Schmidt The Sam & Diane Stewart Family Foundation Norman C.† & Barbara Tanner The Right Reverend Carolyn Tanner Irish Naoma Tate & the Family of Hal Tate M. Walker & Sue Wallace Wells Fargo UTAH OPERA 2015–16 SEASON

Visit to see how integral Utah Symphony has become to life in our community.

Photos provided by musicians of the Utah Symphony.

Utah Symphony celebrates its 75th anniversary by creating special performances with our arts partnersâ&#x20AC;&#x201D;and by participating in events throughout the community. In 2015â&#x20AC;&#x201C;16, we will highlight more than 75 of these community collaborations.

Tanner & Crescendo Societies Utah Symphony | Utah Opera thanks the members of our Tanner and Crescendo Societies, patrons who have included USUO in their financial and estate planning. Membership is open to all those who express their commitment through a planned gift at any level. Please contact Kate Throneburg at or 801.869.9028 for more information, or visit our website at

Crescendo Society of Utah Opera Anonymous Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Dr. Robert H. † & Marianne Harding Burgoyne Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage

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

Pauline C. Pace† Stanley B. & Joyce Parrish Patricia A. Richards Mr. & Mrs. Alvin Richer Robert L.† & Joyce Rice Richard G. Sailer† Jeffrey W. Shields G. B. & B. F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser

Tanner Society of Utah Symphony Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers Flemming & Lana Jensen

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

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

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

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

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





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Plan Big.

Plan Big.

Utah Opera joins in celebrating Utah Symphony’s momentous 75th anniversary. For nearly 40 years, Utah Opera has brought stunning operatic performances to Utah audiences and we have been joined for every single production, with one exception while the orchestra toured, by the musicians of Utah Symphony. Utah Opera’s big voices and big productions have brought to life the operas of the world’s best and brightest composers. We continue to do so and reach new heights of artistic excellence together as Utah Symphony | Utah Opera. Imagine our future, with a national reputation on the rise, tours across the state and beyond, renowned recordings, and extraordinary music education programs for the children of Utah. All this while performing with the best voices and musicians in our homes of Abravanel Hall and the Janet Quinney Lawson Capitol Theatre, and on the road. By including USUO in your plans, your legacy will carry us forward, providing us with the support to build on our legacy. To learn more about how your estate planning can benefit USUO and you, please call Kate Throneburg at 801-869-9028, or visit us online at




Have You Seen Utah Opera’s Oldest Star? You may be surprised to know that Utah Opera’s veteran star is none other than a prop alligator. Originally placed in a production as a joke, the 15-inch plastic alligator has appeared in every production for decades, albeit in clever disguise. Previous locations include on top of the Witch’s house in Hansel and Gretel, on the side of a cart in II Trovatore, on top of a wedding cake in The Ballad of Baby Doe, and even tucked in the bustle of a chorus member’s skirt in The Gondoliers. If you spot the alligator in a performance, email a detailed description of its location to, or call the box office at (801) 533-5626 for a special reward. Purchase your own Alligator charm at the Utah Opera Boutique in the lobby.

UTAH OPERA Open prior to and during the intermission of Utah Opera performances. Located in the Capitol Theatre lobby.

T H e a r T o f g o o d e aT i n g .

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BYU School of Music Jules Massenet’s


Performed in French with English supertitles Directed by Lawrence Vincent BYU Philharmonic Conducted by Kory Katseanes Previews Sat., Oct. 17 & Tues. Oct. 20, 7:30 p.m., $10 Wed.–Sat., Oct. 21–24, 7:30 p.m., $15 Discounts with BYU ID, alumni & sr. citizens

The tragic story of the beautiful young Manon, who faces the consequences of her choices when she is lured by a life of luxury and the attention of men. Filled with lyrical arias and duets, Manon is considered a jewel of French operas.

Corporate & Foundation Donors We sincerely appreciate our annual fund contributors who have supported our programs with gifts up to $10,000. The following listing reflects contributions received between 8/15/14 and 8/15/15. For a listing of season honorees who have made gifts of $10,000 and above see pages 16–20.

$5,000 to $9,999 Anonymous (2) Bambara Restaurant* Bourne-Spafford Foundation Discover Financial Services The Jarvis & Constance Doctorow Family Foundation The Dorsey & Whitney Foundation Spencer F. & Cleone P. Eccles Family Foundation EY Hoak Foundation J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Macy’s Foundation Larry H. Miller Sandy Ford Lincoln Martine* McCarthey Family Foundaton New York LTD Ogden Opera Guild Ruth’s Chris Steak House, Salt Lake City* Sky Harbor Apartments* U. S. Bancorp Foundation Union Pacific Foundation Vanguard Charitable Endowment Program Victory Ranch & Conservancy $1,000 to $4,999 Anonymous Advanced Retirement Consultants Rodney H. & Carolyn Hansen Brady Charitable Foundation Castle Foundation Deseret Trust Company


Durham Jones & Pinegar, P.C. Henry W. & Leslie M. Eskuche Charitable Foundation ExxonMobil Foundation Goldener Hirsch Inns* Goldman Sachs Victor Herbert Foundation Hilton Hotel* Hyatt Place Hotel* Intermountain Healthcare Jones & Associates Kirton | McConkie Lewis A. Kingsley Foundation Marriott City Center* Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation The Prudential Foundation Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation Squatters Pub Brewery* Stoel Rives Strong & Hanni, PC Swire Coca-Cola USA* Bill & Connie Timmons Foundation United Jewish Community Endowment Trust Utah Families Foundation The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation


163 West 200 South Salt Lake City, Utah 84101

801.350.0888 â&#x20AC;˘

Located on the South side of the Salt Lake Convention Center

Just one block away from Abravanel Hall!

Taste What People Are Talking About

Individual Donors We sincerely appreciate our annual fund contributors who have supported our programs with gifts up to $10,000. The following listing reflects contributions received between 8/15/14 and 8/15/15. For a listing of season honorees who have made gifts of $10,000 and above see pages 16–20. ABRAVANEL & PETERSON SOCIETY $5,000 to $9,999 Anonymous (3) Mr. & Mrs. Alan P. Agle Fred & Linda Babcock E. Wayne & Barbara Baumgardner Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair Carol, Rete & Celine Browning Neill & Linda Brownstein Michael & Vickie Callen Ken & Shelly Coburn Amalia Cochran Marc & Kathryn Cohen Spencer & Cleone† Eccles J. I. “Chip” & Gayle Everest Jack & Marianne Ferraro Mr. Joseph F. Furlong III Ray & Howard Grossman David & SandyLee Griswold** John & Dorothy Hancock Gary & Christine Hunter Mary P. Jacobs & Jerald H. Jacobs Family Robert & Debra Kasirer Roger & Sally Leslie Mr. & Mrs. Charles McEvoy Elinor S. McLaren & George M. Klopfer Rich & Cherie Meeboer Brooks & Lenna Quinn Dr. Richard & Frances Reiser Mr. & Mrs. Robert Rollo Peggy & Ben Schapiro Stuart & Molly Silloway Elizabeth Solomon Dorotha Smart Melia & Mike Tourangeau Albert & Yvette Ungricht Kathleen Digre & Michael Varner $3,000 to $4,999 Anonymous (2) Robert & Cherry Anderson


Richard† & Alice Bass Charles Black Robert W. Brandt Jonathan & Julie Bullen Brian Burka & Dr. Jerry Hussong Robyn Carter Mark & Marcy Casp Dr. H. Sam & Kuiweon Cho Hal & Cecile Christiansen Edward & Carleen Clark Mr. & Mrs. Kenneth R. Cutler Gary & Debbi Cook Mike Deputy B. Gale† & Ann Dick Midge & Tom Farkas John F. Foley, M.D. & Dorene Sambado, M.D. Jeffrey L. Giese, M.D. & Mary E. Gesicki Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Annette & Joseph Jarvis James & Penny Keras Hanko & Laura Kiessner Jeanne Kimball Paul Lehman Peter & Susan Loffler Daniel Lofgren David & Donna Lyon Mr. & Mrs. Wayne Lyski Mac & Ann MacQuoid David Mash Richard & Anne Mastain Daniel & Noemi P. Mattis Michael & Julie McFadden List Hallie & Ted McFetridge Richard & Jayne Middleton Mr. & Mrs. Richard Mithoff Christie Mullen Marilyn H. Neilson Leslie Peterson & Kevin Higgins Mr. & Mrs. Alvin Richer Gina Rieke Dr. Wallace Ring Richard & Carmen Rogers William G. Schwartz & Joann Givan Marilyn Sorensen

Verl & Joyce Topham Mr. & Mrs. Glen R. Traylor Ardean & Elna Watts Jeremy & Hila Wenokur David & Jerre Winder Gayle & Sam Youngblood $2,000 to $2,999 Anonymous (4) Craig & Joanna Adamson Fran Akita Drs. Wolfgang & Jeanne Baehr Dr. Melissa Bentley Anneli Bowen, M.D. & Glen M. Bowen M.D. Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Mr. & Mrs. William D. Callister, Jr. Raymond & Diana Compton David & Sandra Cope Dr. & Mrs. Thomas Coppin Margarita Donnelly Robert Edwards Mr. & Mrs. Robert Ehrlich Neone F. Jones Family Robert S. Felt, M.D. William Fickling Blake & Linda Fisher Sarah Foshee Robert & Annie-Lewis Garda Heidi Gardner Diana George Susan Glassman & Richard Dudley Randin Graves The James S. Gulbrandsen, Sr. Family C. Chauncey & Emily Hall Dennis & Sarah Hancock John B. & Joan Hanna Geraldine Hanni Sunny & Wes Howell Dr. Gary & Christine Hunter Jay & Julie Jacobson M. Craig & Rebecca Johns Dale & Beverly Johnson James R. Jones & Family

Mr. & Mrs. Alan D. Kerschner Susan Keyes & Jim Sulat J. Allen & Charlene Kimball Carl & Gillean Kjeldsberg Mr. Darryl Korn & Ms. Jeannie Sias Mr. & Mrs. Christopher J. Lansing Donald L. & Alice A. Lappe James Lether Harrison & Elaine Levy Elizabeth & Michael Liess Bill Ligety & Cyndi Sharp Herbert C. & Wilma S. Livsey Mr. & Mrs. Kit Lokey Jed & Kathryn Marti David & Nickie McDowell Mike & Jennifer McKee Warren K. & Virginia G. McOmber Mr. & Mrs. Michael Mealey George & Nancy Melling George & Linda Mendelson Matt & Andrea Mitton Dr. Louis A. Moench & Deborah Moench Barry & Kathy Mower Mr. & Mrs. Ralph Muller Dan & Janet Myers James & Ann Neal Rachel L. Oberg Dr. & Mrs. Richard T. O’Brien Thomas & Barbara O’Byrne Bradley Olch O. Don & Barbara B. Ostler Dr. Thomas Parks & Dr. Patricia Legant Linda S. Pembroke Joel & Diana Peterson Dr. & Mrs. S. Keith Petersen Jon Poesch Victor & Elizabeth Pollak Dan & June Ragan Dr. & Mrs. Marvin L. Rallison Thomas Safran



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

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

Salt Lake City’s #1


Most Popular Restaurant

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

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


48 W. Market Street (340 South) 801.322.4668

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

Phone • 801.363.9328 Top Photo: Image licensed by Ingram Image

B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections

THANK YOU TO OUR ADVERTISERS Ad Council Alaskan Inn Bambara BMW of Murray BTG Wine Bar BYU Arts Caffè Molise Challenger Schools City Creek Living Country Hills Eye Center Every Blooming Thing Ferguson Grand America Hilton J. Wong’s Asian Bistro Larry H. Miller Lexus

Little America Hotel MAC Martine Maserati New Yorker OC Tanner Parsons, Behle & Latimer Plan-B Theatre RC Willey Residence Inn Rowland Hall Ruby’s Inn Ruth’s Chris Steak House Sagewood at Daybreak Salt Lake School for the Performing Arts

San Francisco Design Sierra West Jewelers Sky Harbor University Credit Union University of Utah Hospital Utah Food Services Utah Museum of Fine Arts Webster Media Western Gardens Zions Bank If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833

Individual Donors

Mark & Loulu Saltzman Margaret P. Sargent Shirley & Eric Schoenholz K. Gary & Lynda Shields Gibbs & Catherine W. Smith Christine St. Andre & Cliff Hardesty Jerry Steichen Gerald & Barbara Stringfellow Karen Urankar Dr. Ralph & Judith Vander Heide William & Donna R. Vogel John & Susan Walker Gerard & Sheila Walsh Bryan & Diana Watabe Suzanne Weaver $1,000 to $1,999 Anonymous (3) Carolyn Abravanel Christine A. Allred Patricia Andersen Joseph & Margaret Anderson Drs. Crystal & Dustin Armstrong David & Rebecca Bateman C. Kim & Jane Blair Rodney & Carolyn Brady Timothy F. Buehner Foundation Mr. & Mrs. Lee Forrest Carter William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Carol Coulter Margaret Dreyfous Howard Edwards Dr. Richard J. & Barbara N. Eliason Naomi K. Feigal Mr. & Mrs. Eric Garen Michael & Catherine Geary


Ralph & Rose Gochnour Robert & Joyce Graham Dr. & Mrs. John E. Greenlee Robert & Marcia Harris Dr. Alan B. Hayes Lex Hemphill & Nancy Melich John Edward Henderson Mr. John P. Hill, Esq. Steve Hogan & Michelle Wright Connie C. Holbrook The Steven Horton Family Kay Howells David & Caroline Hundley Todd & Tatiana James Drs. Randy & Elizabeth Jensen Jill Johnson Maxine & Bruce Johnson Chester & Marilyn Johnson Mr. & Mrs. Clark D. Jones Dr. & Mrs. Michael A. Kalm Travis & Erin Kester Richard Lane & Andrea Martin Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Christopher & Julie McBeth Oren & Liz Nelson Stephen & Mary Nichols Mary Jane O’Connor Ruth & William Ohlsen Barbara Patterson Rori & Nancy Piggott W. E. & Harriet R. Rasmussen Mr. Bill Reagan Debra Saunders Ralph & Gwen Schamel Deborah Schiller Mr. August L. Schultz Mr. & Mrs. D. Brent Scott

Bradley Senet Angela Shaeffer Karen Shepherd Margot L. Shott† Barbara Slaymaker Phillip & Jill Smith Elizabeth Sullentrop Douglas & Susan Terry Carol A. Thomas Mr. & Mrs. Vincent Trotta Robb Trujillo Rachel Varat-Navarro Mr. & Mrs. Brad E. Walton Susan Warshaw Pam & Jonathan Weisberg Michael & Judy Wolfe E. Art Woolston & Connie Jo HepworthWoolston Marsha & Richard Workman Mr. & Mrs. Hugh Zumbro In Honor of Barbara & Steven Anderson Paula J. Fowler David Park Mark & Dianne Prothro Patricia A. Richards Susan Schulman Erin Svoboda Melia Tourangeau In Memory Of Gary & Connie Anderson Jay T. Ball Berry Banks David Wells Bennett Mikhail Boguslavsky Robert H. Burgoyne, M.D. Stewart Collins Kathie Dalton John R. Dudley Carolyn Edwards Loraine L. Felton Neva Langley Fickling Calvin Gaddis

Anton Gasca Patricia Glad Gloris Goff Herold L. “Huck” Gregory Carolyn Harmon Duane Hatch Steve Horton Mary Louis Scanlan Humbert Eric Johnson Howard Keen Tony Larimer Robert Louis Beverly Love Clyde Dennis Meadows Chester Memmott Jean Moseley Joseph Palmer Scott Pathakis Chase N. Peterson Klaus Rathke Kathy Sargent Shirley Sargent Ruth Schwager Ryan Selberg Dr. Ann O’Neill Shigeoka Robert P. Shrader David Bennett Smith Tamie Speciale John Henry “Jack” Totzke Roger Van Frank David Wagstaff Rick Wallace Sandra Wilkins Bruce Woodward Rosemary Zidow

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


stage arts

Furniture | Electronics | Appliances | Flooring | Mattresses

Syracuse 801-774-2800 • Orem 801-227-8800 • Murray 801-261-6800 South Salt Lake 801-461-3800 • Riverdale/Ogden 801-622-7400 Draper 801-567-2200 Open 11 Hours A Day • 6 Days A Week Monday-Saturday 10am – 9pm Closed Sunday Shop on-line


stage arts


Research-based insights into the development of young children’s thinking stress the importance of providing high quality lessons in mathematics each day. Rowland Hall’s earliest learners regularly engage in innovative hands-on activities with blocks, robots, and other engineering materials. Visit to see Rowland Hall’s professional, intentional, and extraordinary Beginning School in action. Schedule a tour by calling 801.355-7485. INDEPENDENT | 2Prek - 12 | 801.355.7485 | | EXTRAORDINARY LEARNING

stage arts





BEST OF STATE (again) in Education and the stage arts Performing Arts SALT LAKE SCHOOL FOR THE PERFORMING ARTS is a fully accredited, no audition tuition-free, public charter high school, where students grades 9 through 12 receive rigorous training in MUSIC, DANCE, THEATRE, TECHNICAL THEATRE, FILMMAKING and ACADEMICS


WWW.SALTLAKESPA.ORG 2291 South 2000 East, SLC




Going anyplace else is a compromise.

SLPerforming Art.indd 1

and Fine Art

8/28/15 12:27 PM

Ivy House Weddings at Western Gardens Downtown

A timeless venue for all types of events featuring original paintings by Utah Artists.

Call for Availability! 801-792-3161

Classical 89 Broadcasts September 12 / 9:30 AM

November 7 / 9:30 AM

BORODIN Prince Igor: Dance of the Polovtsian Maidens

J. STRAUSS Im Krapfenwaldl


(recorded 1/3/15)


(recorded 1/3/15)

September 19 / 9:30 AM BORODIN Prince Igor: Polovtsian Dance with Chorus

November 14 / 9:30 AM STRAUSS Eljen a Magyar! THIERRY FISCHER, Conductor

(recorded 1/3/15)


(recorded 1/3/15)

September 26 / 9:30 AM SHOSTAKOVICH Jazz Suite No. 2

November 21 / 9:30 AM J. STRAUSS Radetsky March THIERRY FISCHER, Conductor

(recorded 1/3/15)


(recorded 1/3/15)

November 28 / 9:30 AM R. STRAUSS Ein Heldenleben

October 3 / 9:30 AM


BERLIOZ Damnation of Faust: Hungarian March

(recorded 1/31/15)



(recorded 1/3/15)

December 5 / 9:30 AM MAHLER Symphony No. 3

October 10 / 9:30 AM


J. STRAUSS Künstlerleben




(recorded 1/3/15)


(recorded 2/6/15)

October 17 / 9:30 AM LUMBYE Champagne Galop

December 12 / 9:30 AM


SHOSTAKOVICH Symphony No. 15, I. Allegretto

(recorded 1/3/15)


(recorded 1/10/15)

October 24 / 9:30 AM BRAHMS Hungarian Dance No. 5

December 26 / 9:30 AM


MOZART Rondo for Piano and Orchestra

(recorded 1/3/15)


(recorded 11/7/14) 89.1 & 89.5 fm



Administration ADMINISTRATION Patricia A. Richards Interim President & CEO David Green Senior Vice President & COO Julie McBeth Executive Assistant to the CEO Jessica Chapman Executive Assistant to the Sr. VP & COO & Office Manager 0PERA ARTISTIC Christopher McBeth Opera Artistic Director Carol Anderson Principal Coach Michelle Peterson Opera Company Manager Shaun Tritchler Production Coordinator OPERA TECHNICAL Jared Porter Opera Technical Director Nathan Kluthe Assistant Technical Director Kelly Nickle Properties Master Lane Latimer Assistant Props Keith Ladanye Production Carpenter John Cook Scene Shop Manager & Scenic Artist COSTUMES Verona Green Costume Director Melonie Fitch Assistant Rentals Supervisor Kierstin Gibbs LisaAnn DeLapp Amanda Reiser, Rentals Assistants Vicki Raincrow Wardrobe Supervisor Milivoj Poletan Tailor Tara DeGray Cutter/Draper Anna Marie Coronado Milliner & Crafts Artisan Chris Hamberg Yoojean Song Connie Warner Stitchers Yancey J. Quick Wigs/Make-up Designer Shelley Carpenter Tanner Crawford Daniel Hill Michelle Laino Wigs/Make-up Crew


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

PATRON SERVICES Nina Richards Director of Ticket Sales & Patron Services Natalie Thorpe Patron Services Manager Shawn Fry Group & Corporate Sales Manager Faith Myers Sales Manager Andrew J. Wilson Patron Services & Group Sales Assistant Ellesse Hargreaves Patron Services Coordinator Jackie Seethaler Garry Smith Powell Smith Robb Trujillo Sales Associates Nick Barker Maren Christensen Ivan Fantini Hilary Hancock Emily O’Connor Aubrey Shirts Ticket Agents ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO Mike Lund Director of Information Technologies SaraLyn Pitts Controller Alison Mockli Payroll & Benefits Manager Jared Mollenkopf Patron Information Systems Manager Julie Cameron Accounts Payable Clerk EDUCATION Paula Fowler Director of Education & Community Outreach Beverly Hawkins Symphony Education Manager Tracy Hansford Education Coordinator Timothy Accurso Sarah Coit Jessica Jones Markel Reed Christian Sanders Resident Artists

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













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Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo GOVERNMENTAL RELATIONS REPRESENTATIVE Frank Pignanelli, Esq. National PR Services Provided By Shuman & Associates, New York City Advertisting Services Provided By Love Communications, Salt Lake City. Utah Symphony | Utah Opera is funded by the Utah Arts Council, Professional Outreach Programs in the Schools (pops), Salt Lake City Arts Council, Salt Lake County Zoo, Arts, and Parks Tax (ZAP), Summit County Restaurant Tax, Summit County Recreation, Arts and Parks Tax (RAP), Park City Chamber Bureau, and the Utah Humanities Council.

202 S. Main, Salt lake City (801) 363-5454 | baMbara-SlC.CoM Bambara is hip urban chic, casual and comfortable upscale American bistro dining; bringing a sophisticated, yet approachable element to Salt Lake City’s dining scene. Enjoy Bambara’s seasonally inspired menu for special occasions or business...before and after the arts...or just because. Voted: 2011 Best Lunch Salt Lake magazine Annual Dining Awards. 72

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.


Enjoy the Best seat in the house.


(801) 467-2701 2970 Highland Dr.


(435) 645-7072 1890 Bonanza Dr.

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Corporate Housing Made Easy.

Sky Harbor’s quiet community is ideally positioned between the airport and downtown Salt Lake City.









1-800-677-8483 1876 WEST NORTH TEMPLE SALT LAKE CITY, UTAH 84116



Our ENT physicians artfully deliver the latest medical advances with kind, personalized service. | 801.587.8368


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At Sagewood at Daybreak, life is different here. Itâ&#x20AC;&#x2122;s not just a place to live. This is where residents discover the community experience and put passions into practice. Engage, challenge yourself, share knowledge, and build a legacy for future generations. This is where your personal journey begins.

Call 866.620.4978 to schedule your move in. | License #000685


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Utah Opera  

Tosca 2015

Utah Opera  

Tosca 2015