Tchaikovsky's "Little Russian" & Prokofiev with Conrad Tao

c l a s s i c a l l y

UTAH SYMPHONY SEASON / MAR – APR

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March/April 2018 Performances

CONTENTS

Purchase tickets at utahsymphony.org or call 801-533-6683

6 Welcome

MARCH 2–3 | 7:30 PM

8 Utah Symphony

BERNSTEIN AT 100: CHICHESTER PSALMS & DIVERTIMENTO

10 Board of Trustees 15 Music Director 16 Preconcert Rituals 21 DVMF Celebrates 15 Years 24 Getting to Know you our Volunteers 30 Season Sponsors 31–38 Tonight‘s Concert

MARCH 16 | 7:30 PM

DVOŘÁK’S SERENADE FOR STRINGS

39 Support USUO 40 Thank You 41 Young Musicians in Concert 51 Tanner & Crescendo Societies 52 Legacy Giving 53 Utah Symphony Guild

MARCH 23–24 | 7:30 PM

AUDRA MCDONALD WITH THE UTAH SYMPHONY

54 Administration 59 House Rules 61 A Ghost Light Podcast Extra!

64 Acknowledgments Program notes and artist bios for upcoming and past performances are available on utahsymphony.org. @UtahSymphony

PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR / PRODUCTION MANAGER Jackie Medina GRAPHIC DESIGNERS Ken Magleby Patrick Witmer

ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas OFFICE ASSISTANT Jessica Alder ADMINISTRATIVE ASSISTANT KellieAnn Halvorsen EDITOR Melissa Robison

The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801-467-8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities.

APRIL 6 | 10 AM APRIL 6–7 | 7:30 PM

TCHAIKOVSKY’S “LITTLE RUSSIAN” & PROKOFIEV WITH CONRAD TAO

APRIL 13–14 | 7:30 PM

WHOLE LOTTA SHAKIN’ FROM SWING TO ROCK

APRIL 20–21 | 7:30 PM

GRIEG’S PIANO CONCERTO WITH ALEXANDRA DARIESCU

APRIL 27–28 | 7:30 PM

FISCHER CONDUCTS SHOSTAKOVICH

© COPYRIGHT 2018

UTAHSYMPHONY.ORG

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5

WELCOME

Paul Meecham

Thierry Fischer

Kem Gardner

President & CEO

Symphony Music Director

Chair, Board of Trustees

Welcome to Abravanel Hall and this performance of the Utah Symphony!

We believe in the power of music to bring people closer through a shared experience and have recently taken steps to make it easier for families to experience our concerts together. With our new Family Pass, a family of four can attend a performance—and sit in the best seats available—for a total of just $30, and additional youth tickets are only $5 each! While children 5 and older may enjoy any of our concerts, we have two performances in March and April specifically targeted for family enjoyment that include actors and visuals to enhance the musical experience. Dr. Seuss’ Green Eggs and Ham will be presented on March 17 and Enchantment Theatre Company Presents Scheherazade on April 14, both with live music by the Utah Symphony musicians.

Our Masterworks and Entertainment series concerts in March and April embrace a wide range of music to enjoy with classical

6

masterpieces from Bernstein to Shostakovich and lighter favorites from Broadway to Elvis and Johnny Cash. We’re thrilled to present debuts by conductor Karina Canellakis and pianists Alexandra Dariescu and Boris Giltburg, as well as the return of conductor Kazuki Yamada, pianist Conrad Tao, and Broadway star Audra McDonald!

When our musicians are not in Abravanel Hall in March and April, they will be performing for youth in schools throughout the state and beyond. And, for the second year, 17 members of the Utah Symphony and music director Thierry Fischer will be travelling to Haiti during their week off at the end of March to provide much-valued instruction and mentorship to 100 young Haitian instrumentalists.

On behalf of the musicians, staff, and board members at Utah Symphony | Utah Opera, thank you for helping us bring people together through the shared experience of great live music!

UTAH SYMPHONY

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Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Assistant Conductor

Roberta Zalkind Associate Principal

Robert Stephenson Associate Principal

Sam Elliot Associate Principal

Barlow Bradford Symphony Chorus Director

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

Lissa Stolz

BASS TROMBONE Graeme Mutchler† David Hagee††

VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt•• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Amanda Kofoed†† Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Lynnette Stewart Bonnie Terry• Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

8

ENGLISH HORN Lissa Stolz

TUBA Gary Ofenloch Principal

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 Louis-Philippe Robillard Kevin Shumway Pegsoon Whang

Lee Livengood

PERCUSSION Keith Carrick Principal

BASS CLARINET Lee Livengood

Eric Hopkins Michael Pape

E-FLAT CLARINET Erin Svoboda

BASS* David Yavornitzky Principal

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

KEYBOARD Jason Hardink Principal

Corbin Johnston Associate Principal James Allyn Benjamin Henderson†† Lee Philip†† Edward Merritt Jens Tenbroek Thomas Zera†

Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos

HARP Louise Vickerman Principal

HORN Edmund Rollett Acting Principal

FLUTE Mercedes Smith Principal The Val A. Browning Chair

Alexander Love†† Acting Associate Principal

Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair

Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal Jeff Luke Associate Principal

TIMPANI George Brown Principal Eric Hopkins Associate Principal

LIBRARIANS Clovis Lark Principal Maureen Conroy† 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 † Leave of Absence # Sabbatical †† Substitute Member

Peter Margulies Gabriel Slesinger†† TROMBONE Mark Davidson Principal

UTAH SYMPHONY

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BOARD OF TRUSTEES ELECTED BOARD Kem C. Gardner* Chairman

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

Thomas Thatcher David Utrilla Craig C. Wagstaff Bob Wheaton Kim R. Wilson Thomas Wright

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

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

Warren K. McOmber E. Jeffrey Smith Barbara Tanner

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

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

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 Howard S. Clark Gary L. Crocker

MUSICIAN REPRESENTATIVES

Elizabeth Beilman* Mark Davidson* EX OFFICIO

Margaret Sargent 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 Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous NATIONAL ADVISORY COUNCIL

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UTAH SYMPHONY

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MUSIC DIRECTOR

Thierry Fischer has been Music Director of the Utah Symphony since 2009 and Principal Guest Conductor of the Seoul Philharmonic since January 2017. During his tenure in Utah he has revitalized the orchestra, and his contract has been extended to 2022. He has led the orchestra in annual composer cycles including Mahler, Ives, and Nielsen; has toured to Utah’s five national parks; and has forged outreach links in Haiti. In celebration of its 75th anniversary season in 2016, the orchestra appeared at Carnegie Hall to critical acclaim and released an album of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas on Reference Recordings. Following a well-reviewed recording of Mahler’s 1st Symphony, the Utah Symphony recorded Mahler’s 8th Symphony in Utah with the worldrenowned Mormon Tabernacle Choir, recently released in Autumn 2017.

Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation

Maestro Fischer has guested with many leading orchestras, most recently the Boston, Atlanta, Cincinnati, and Detroit Symphonies; the Mostly Mozart Festival Orchestra (New York); London Philharmonic; BBC Symphony; Oslo Philharmonic; Bergen Philharmonic; Rotterdam Philharmonic; Maggio Musicale Firenze; Salzburg Mozarteumorchester; and the Orchestre de la Suisse Romande. In Autumn 2016, he visited South America for the first time to conduct the Sao Paulo Philharmonic. In recent years, he has also conducted the Scottish, Swedish, and Munich Chamber Orchestras; London Sinfonietta; and Chamber Orchestra of Europe. He is committed to contemporary music and has performed and commissioned many world premieres, and this season he conducts the Ensemble Intercontemporain for the first time.

Maestro Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra from 2001–2006. He was Chief Conductor of the Nagoya Philharmonic from 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

Thierry Fischer is represented by Intermusica.

UTAHSYMPHONY.ORG

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Preconcert Rituals

By Renée Huang, Director of Communications

Professional musicians often spend much of their lives on the road performing in concert venues around the globe. Amid the hectic travel schedules, rehearsals, practice time, and adjustments to a different time zone, culture, and climate, regular routine is sacrificed. We asked two of our guest artists to share what pre-concert rituals help keep them grounded.

It would be so cool to have a formula that would guarantee you a good performance! No stress, no worries, just do a, b, c, and d and you’re fresh and in top shape, every single time.

(That might sound a little boring, but, oh, it would be such a hard thing to refuse). Unfortunately, despite dreaming of such a formula for years and thinking, multiple times, that I’ve stumbled on it, I haven’t really. The closest I came is finding that there is—perhaps!—a formula, one that would work for one specific day and one specific performance. But how to find it, without the help of hindsight or a personal coach?

Boris Giltburg piano

An afternoon nap is good—unless you wake up with a heavy head. A relaxing walk to take your mind off the performance is good—unless you’re so excited that your brain seems to contain ten Energizer bunnies who won't stay quiet. Even the bowl of pasta you always swear by (“slowburn energy!”) may find itself sitting uneasily in your stomach next to the superfluous panna cotta, both not quite helping concentration. Or you may be in a country where no serious food is to be found at all between 2:30 PM (when you’re still rehearsing) and 7 PM (by which time you’re already warming up backstage, your heart so thumping with adrenaline that no thought of even a sandwich would dare to encroach).

Even practicing—the most obvious thing to do—can sometimes reach a point at which it’s more beneficial to close the lid of the piano and go outside for some fresh air.

So, a concert day might be a combination of some (or all) of the above—but the moment of going onstage and playing for the audience is the highest point of the day, guaranteed, and with no formula needed.

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Preconcert Rituals

By Renée Huang, Director of Communications

Professional musicians often spend much of their lives on the road performing in concert venues around the globe. Amid the hectic travel schedules, rehearsals, practice time, and adjustments to a different time zone, culture, and climate, regular routine is sacrificed. We asked two of our guest artists to share what pre-concert rituals help keep them grounded.

Alexandra Dariescu piano

UTAHSYMPHONY.ORG

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My ritual starts in the morning with a positive attitude. You never know what can go wrong on the day of a concert (flights canceled, trains running late, piano missing…) so an optimistic outlook is incredibly helpful. I like to practice slowly in the morning, on the score, looking at every detail and refreshing the memory. If there’s a rehearsal with an orchestra, I usually save energy for the evening performance. Lunch consists of fish, rice, and lots of veggies.

A nap is always welcome but if I can’t fall asleep, I lie down and breathe three in seven out, a ritual I’ve had for years. I also visualize the hall, coming in and feeling free. Freedom, inspiration, and being in the moment are my essentials for a great performance. As musicians, we always practice for tomorrow’s concert, think about what we’ll play in two year’s time. But when the spotlight is on, “now” is the most important! Forget anything else and live in the moment, think only about the music and then the magic happens! I like a good cup of coffee and chocolate about an hour before the concert, followed by warming up (Grindea technique), and the 30 minutes prior to the performance I spend alone, no talking, no phone, just thinking about the music, what I want to communicate to the audience. Every concert is a blessing and I sincerely feel grateful for every opportunity I have to perform, to do what I love!

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DVMF Celebrates 15 Years

By Renée Huang, Director of Communications

As a resident of Park City, Director of Communications Renée Huang first fell in love with summer in the mountains while attending Deer Valley® Music Festival outdoor orchestra concerts. As the festival celebrates its 15th season in 2018, she takes a look at the growth and impact it’s had on the local economy.

During the summer months when Abravanel Hall lies quiet to the reverberating sounds of classical music, the hills surrounding Park City come to life as the Utah Symphony retreats to its home in Deer Valley. Founded in 2004, the vision of the Deer Valley® Music Festival is to deliver a high quality and musically diverse experience in casual settings of unparalleled natural beauty.

The 6-week festival provides as many as 18 chamber music, classical, and pops concerts in several venues throughout Park City: the Deer Valley® Resort Snow Park Outdoor Amphitheater, St. Mary’s Church, and salon events in private homes in the Park City area.

UTAHSYMPHONY.ORG

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Over the years, the festival has featured bigname stars including Earth, Wind and Fire, Tony Bennett, Steve Martin and the Steep Canyon Rangers, the Beach Boys, Jewel, and Broadway legends such as Idina Menzel, Kristin Chenoweth, Matthew Morrison, and Leslie Odom Jr. As part of the educational outreach mission of Utah Symphony | Utah Opera, the festival education events offered 3 sessions of Pro-Am clinics, in which Utah Symphony members coached 49 area community orchestra musicians and music students from Park City High School in strings, woodwinds, and brass sections. Over the course of the

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DVMF Celebrates 15 Years

2016–17 academic year, Summit County school participation in Utah Symphony | Utah Opera education programs totaled 1,710 students and 85 teachers from 9 schools.

Beyond educational outreach, the popularity of the festival has grown exponentially, seeing an 80 percent increase in audience numbers since the festival's inception, and a 25 percent increase in attendance in 2017 from the previous year.

What does the continued growth trajectory and exciting future mean for the 15th anniversary of the festival? A hootenanny “Barn Bash” of epic proportions is being planned at High West Distillery’s Blue Sky Ranch in celebration of 15 years of summer music in the mountains. The Western-themed fundraiser will feature a musical performance

by American country group Asleep at the Wheel. For more information or to purchase a ticket, please contact Heather Weinstock at 801.869.9011 or vipevents@usuo.org.

For more information, visit deervalleymusicfestival.org

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Getting to know you our Volunteers…

By Melissa Robison

We have over 600 volunteers each year that work as hosts, gift shop volunteers, light walkers, supernumeraries, and docents, as well as for our special events, Guild and Youth Guild, and our galas. We couldn’t function without the endless hours they dedicate to Utah Symphony | Utah Opera. Enjoy getting to know two of our wonderful volunteers and join us by emailing volunteers@usuo.org.

Anne Polinsky is a Utah native and has lived here and in Idaho. She graduated from the University of Utah with a degree in accounting, but is now retired. She also volunteers for several other local organizations, including Sundance Film Festival and Park City Kimball Arts Festival.

How long have you been a USUO volunteer and what do you love most about volunteering here? Carolyn Holloway was the

person who first got me involved and we think it was about 2006, so just over a decade! I enjoy working with the other volunteers and the patrons. It’s nice to see the outreach that USUO does, and the younger people from Youth Guild and students attending performances.

Would you share any memorable moments or favorite concerts?

I think one of my favorite concerts (among many) is the first time I saw Pink Martini at Deer Valley and how the audience reacted to their talent.

Why is it important to have classical music and opera in your life? I made a New Year’s resolution a couple of years ago

to have more music in my life and this was a perfect way to do it. It not only helps with relaxation, but I’ve read that it also keeps one’s brain from deteriorating, and who doesn’t love that?

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Getting to know you our Volunteers…

Whit Wirsing was born in Roanoke, Virginia. He has a degree in philosophy from Virginia Tech and a degree in Spanish from the University of Utah. He teaches English as a second language for the Granite District and Continuing Education department at the University of Utah and Lumos School. He is the author of the Ultimate Spanish Phrase Finder published by McGraw-Hill in 2009. Whit is most often seen at the symphony intermission receptions acting as the head “sommelier.” His beautiful origami cranes add a bright spot to the tables.

How long have you been a USUO volunteer and what do you love most about volunteering here? I’ve been volunteering since

September 2011. I enjoy several things about volunteering. I want people to enjoy the experience of coming to the symphony, to have a good time, and want to come back. Second, I like the people that I work with.

Would you share any memorable moments or favorite concerts?

I remember the night of a post-concert reception when the whole orchestra, the staff, and the board were in attendance.

The champagne was flowing, and everyone was in high spirits.

Another night that was memorable was about three years ago when it was a Latino night. I loved that because I speak Spanish, and the Latino community that likes classical music fits like glove with the rest of the music-loving community.

Why is it important to have classical music and opera in your life? My grandmother was a concert pianist. She mostly

played with symphonies in the Roanoke and southwest Virginia area, but once she played César Franck’s Symphonic Variations. I have a CD of it, and my CD is no better than what my grandmother played that night. My mother also played the piano (she died when I was 12), and both my aunts played. So it’s in the blood. I can’t imagine life without it. And we are the organization for people whose love of music is in their blood.

Melissa Robison is our Front of House and Publication Manager who also managers our Volunteer Network and has the pleasure of working with over 600 volunteers each season.

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UTAH SYMPHONY

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TCHAIKOVSKY’S “LITTLE RUSSIAN” & PROKOFIEV

FAMILY NIGHTS ADD SOME WONDER & EXCITEMENT

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WHOLE LOTTA SHAKIN’

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April 13 & 14

GRIEG’S PIANO CONCERTO

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FISCHER CONDUCTS SHOSTAKOVICH April 27 & 28

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UTAH SYMPHONY

program

Tchaikovsky’s “Little Russian” & Prokofiev with Conrad Tao

Healthcare Night at the Symphony

Tchaikovsky’s “Little Russian” & Prokofiev with Conrad Tao April 6 / 2018 / 10AM / ABRAVANEL HALL April 6–7 / 2018 / 7:30PM / ABRAVANEL HALL KARINA CANELLAKIS, conductor CONRAD TAO, piano

FRANCK PROKOFIEV

Le Chasseur maudit (The Accursed Huntsman) Concerto No. 2 in G minor for Piano and Orchestra, Op. 16 I. II. III. IV.

Andantino Scherzo: Vivace Moderato Finale: Allegro tempestoso

CONRAD TAO, piano

/ INTERMISSION /

TCHAIKOVSKY

Symphony No. 2 in C minor, Op. 17 “Little Russian” I. II. III. IV.

Andante sostenuto - Allegro vivo Andantino marziale, quasi moderato Scherzo: Allegro molto vivace Finale: Moderato assai - Allegro vivo

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Tchaikovsky’s “Little Russian” & Prokofiev with Conrad Tao

evelyn rosenblatt young artist award

This weekend’s Masterworks concerts mark the annual Evelyn Rosenblatt Artist recognition created to honor a young soloist or conductor of exceptional promise who has an emerging national reputation. The 2017–18 Artist of Distinction is Karina Canellakis, this evening’s talented conductor. This annual recognition is endowed in perpetuity by Evelyn Rosenblatt and her family, who personally selected Ms. Canellakis as this year’s honored artist. Previous Rosenblatt tributes have been awarded to pianists Joyce Yang, Olga Kern, Yu Kosuge, Denis Matsuev, Cédric Pescia, and Denis Kozhukhin; violinists Viviane Hagner, Veronika Eberle, Scott St. John, Baiba Skride, and Will Hagen; cellists Narek Hakhnazaryan, Julie Albers, and Matthew Zalkind; and conductors Keri-Lynn Wilson and Andrew Grams.

Evelyn Rosenblatt

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The love of great music always played an important role in the life of Evelyn Rosenblatt. As a high school student, Evelyn took the train from Ogden to Salt Lake City every Saturday to study piano. Following her marriage to Joseph Rosenblatt in 1930, she hosted many of Utah Symphony’s musicians and guest artists in her home over the years.

These include Leonard Bernstein, Jascha Heifetz, Gregor Piatigorsky, Arthur Rubinstein, Beverly Sills, Glenn Gould, and Isaac Stern. The Rosenblatt sculptural plaque, designed to honor Evelyn Rosenblatt for her care and love of the Utah Symphony, is located in the lobby outside the First Tier Reception Room in Abravanel Hall. In the 1997–98 season, Mr. and Mrs. Rosenblatt served as the first chairs of the Symphony’s Annual Fund Committee. In January 2000, the Rosenblatt family created the Evelyn Rosenblatt Young Artists Endowment to honor Mrs. Rosenblatt on the occasion of her 90th birthday. Mr. Rosenblatt passed away in May 1999, and Mrs. Rosenblatt in April 2004. Utah Symphony | Utah Opera gratefully thanks and recognizes Evelyn Rosenblatt.

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Tchaikovsky’s “Little Russian” & Prokofiev with Conrad Tao

artists’ profiles

Winner of the 2016 Sir Georg Solti Conducting Award, Karina Canellakis is internationally acclaimed for her emotionally charged performances, technical command, and interpretive depth. She made her European conducting debut in 2015 with the Chamber Orchestra of Europe in Graz, Austria, replacing the late Nikolaus Harnoncourt, returning the following June to conduct Concentus Musicus Wien in four Beethoven symphonies. She first made headlines in 2014 filling in at the last-minute for Jaap van Zweden in Shostakovich Symphony No. 8 with the Dallas Symphony Orchestra, where she held the position of Assistant Conductor for two seasons.

Karina Canellakis conductor C O N D U C TO R S P O N S O R S

EVELYN ROSENBLATT YOUNG ARTIST AWARD

Ms. Canellakis began the 2017–18 season with her debut at the BBC Proms in London with the BBC Symphony Orchestra and a return to the Zurich Opera to conduct Mozart’s Die Zauberflöte. Notable debuts this season include the Paris Orchestra, Vienna Symphony, Rundfunk Symphony Orchestra Berlin, Gürzenich Orchestra Cologne, Bamberger Symphony, National Orchestra of Spain, Netherlands Radio Philharmonic, the Hallé Orchestra, and Seattle Symphony; alongside re-invitations to the Royal Stockholm Philharmonic, Swedish Radio Orchestra, Danish National Orchestra, Scottish Chamber Orchestra, Los Angeles Chamber Orchestra, and Vancouver Symphony.

Last season, Ms. Canellakis debuted with the Los Angeles Philharmonic at the Hollywood Bowl, City of Birmingham Symphony Orchestra, Royal Scottish National Orchestra, Orchestre National de Lyon, and the Toronto and Milwaukee Symphony Orchestras. She conducted the world premiere of David Lang’s new opera the loser at the Brooklyn Academy of Music (BAM), Peter Maxwell Davies‘ new opera The Hogboon with the Luxembourg Philharmonic, and a fully staged production of Verdi‘s Requiem at the Zurich Opera.

Ms. Canellakis is a graduate of the Curtis Institute of Music and the Juilliard School. Her other major mentors have been Alan Gilbert and Fabio Luisi. She was born and raised in New York City and speaks French, German, and Italian.

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Tchaikovsky’s “Little Russian” & Prokofiev with Conrad Tao

artists’ profiles

Conrad Tao has appeared worldwide as a pianist and composer, and has been dubbed a musician of “probing intellect and open-hearted vision” by The New York Times, a “thoughtful and mature composer” by NPR, and “ferociously talented” by Time Out New York. In June of 2011, the White House Commission on Presidential Scholars and the Department of Education named Tao a Presidential Scholar in the Arts, and the National Foundation for Advancement in the Arts awarded him a YoungArts gold medal in music. Later that year, Tao was named a Gilmore Young Artist, an honor awarded every two years highlighting the most promising American pianists of the new generation. In May of 2012, he was awarded the prestigious Avery Fisher Career Grant.

Conrad Tao piano GUEST ARTIST SPONSOR

NORA ECCLES TREADWELL FOUNDATION

Outside of the U.S., Tao has been re-invited to perform with the Berner Symphoniker and Mario Venzago in Switzerland, and will also make his debut with the Finnish Radio Symphony Orchestra and James Gaffigan. He will also return to Italy with the Orchestra Verdi Milano and Vladimir Fedoseev, and Malaysia with the Malaysian Philharmonic and Eiji Oue. This busy season comes after recent performances with the Philadelphia Orchestra and Stéphane Denève (Conrad’s SPAC debut) and Chicago’s Grant Park Music Festival with Carlos Kalmar, as well as premieres of his commissions by the Pacific Symphony, the Atlantic Classical Orchestra, and Jaap van Zweden and the Hong Kong Philharmonic. Conrad also had an on-stage performance role in the world premiere of David Lang’s the loser at BAM and an acclaimed recital in Unison Media’s Crypt Sessions series.

Tao was born in Urbana, Illinois, in 1994. He has studied piano with Emilio del Rosario in Chicago and Yoheved Kaplinsky in New York, and composition with Christopher Theofanidis.

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Tchaikovsky’s “Little Russian” & Prokofiev with Conrad Tao

program notes

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Notes by Michael Clive

César Franck (1822–1890)

Le Chasseur maudit (The Accursed Hunstman) PERFORMANCE TIME:

15 minutes

BACKGROUND

Your intrepid annotator has never hesitated to exploit the differences between French and German culture to make a musical point—perhaps even overdramatizing those differences on occasion. The idea is that never the twain shall meet, and that the exceptions prove the rule…as in the case of Charles Gounod’s popular operatic adaptation of Goethe’s Faust, which German critics often deride. They call it a characteristically French misinterpretation of a German masterpiece. And so it goes.

On the other hand, César Franck’s exciting tone-poem Le Chasseur maudit is an exception that really is an exception. Based on the ballad Der wilde Jäger (“The Wild Hunter”) by the German poet Gottfried August Bürger, Le Chasseur maudit draws color and drama from one aspect of life in which the French of Franck’s day were, like their German counterparts, sticklers for strict obedience to the rules: religion. When it was written, France had an official state religion—Roman Catholicism—and it remains predominantly Catholic today. The tone poem’s drama is propelled by a hunter’s violation of the commandment to honor the Sabbath.

Born in 1822 in the Belgian city of Liege (then part of the Netherlands), Franck was

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concertizing publicly by the time he was 12, and at age 13 he ventured to Paris for private study. Schooled in the great (and notoriously demanding) tradition of French organ playing and composition, he became professor at the Paris Conservatoire in 1872 and took French nationality.

Franck was born during the Romantic era, while Beethoven was still alive and Wagner was a child of nine. He survived long enough to know Modernism was just over the horizon. As was often the case in France, his training as an organist produced a composer of lapidary craftsmanship whose music was strongly religious. And what training it was: Just months after his entry into the notoriously difficult Paris Conservatoire at age 15, he received a special grand prix d’honneur for the feat of playing an organ fugue a third lower on sight. The following year he received a first prize in piano; the next, a second prize in counterpoint; a first prize in fugue the year after that; and a second prize for organ the year after that.

He was by now 19.

WHAT TO LISTEN FOR

In Franck’s organ and symphonic compositions we enjoy traditionally elegant French construction along with a sense of immanence and fluidity in the harmonies.

We can hear that the modal freedom of Ravel and Debussy has not yet arrived, but is on its way. Fauré was 37 in 1882 when Franck composed Le Chausseur maudit, and the younger composer’s liberated, late-Romantic expressiveness was already having an impact. Berlioz’ daring Symphonie fantastique, which had once shocked Parisian

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Tchaikovsky’s “Little Russian” & Prokofiev with Conrad Tao

program notes

sophisticates, had by then been popular for 50 years. Even the musical arch-conservative Camille Saint-Saëns had produced his creepy tone poem Danse macabre in 1874.

In Le Chausseur maudit, Franck found a subject that was at once religious and dramatically lurid: the story of a count of the Rhine who goes hunting on a Sunday morning, ignoring the sanctity of the Sabbath.

The drama enfolds us from the very outset as we hear the church bells’ call to prayer in conflict with the count’s hunting horn.

The orchestral textures are somber and the colors dark, reflecting not only the darkness of the woods but also the recesses of the count’s soul. As the drama draws to its close, we know that the count is not only chasing his prey, but is also being pursued in a fiery chase for his eternal soul; here Franck pays tribute to the Witches’ Sabbath movement of Berlioz’ Symphonie fantastique. In the end, the count is lost in every sense: alone and deep in the woods, with his soul in Satan’s sights. A fearsome voice rises, condemning him to be hunted by demons for eternity.

Sergei Prokofiev (1891–1953)

Concerto No. 2 in G minor for Piano and Orchestra, Op. 16 PERFORMANCE TIME:

BACKGROUND

31 minutes

It’s difficult to know exactly why Prokofiev’s thrilling piano concertos are not heard

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more often. But in considering what makes these concertos masterworks, Beethoven is a good place to start. We rightly think of Beethoven as the Promethean composer who engaged the great philosophical ideas of his time, struggling with—and against!—existing Classical forms in a way that radically changed and expanded them. The symphony is the sine qua non of this idea. But in his concertos, the pattern is much the same: His first two concertos sound intentionally Classical and Mozartean, while the later ones evolve into something far more grandiose.

Prokofiev, like Beethoven—and like his famous contemporaries Rachmaninoff and Shostakovich—was a pianist. And like Beethoven, he produced five piano concertos. Together, these five works comprise one of the most remarkable groups of concertos since Beethoven, and probably the greatest grouping of concertos for a single instrument written in the 20th century.

Composed between 1911 and 1932, their style is often described as “muscular,” “powerful” or “percussive;” though Prokofiev’s music incorporates sweeping lyrical phrases, his writing for the piano is more precise and astringent than that of Rachmaninoff, who was far more popular as a piano soloist in the U.S. than Prokofiev. In more recent years, controversy over Shostakovich’s tortured relationship with Stalin has shifted focus onto compositions including his excellent concertos for piano and violin, perhaps at the expense of Prokofiev’s.

Prokofiev’s Second Piano Concerto began to take shape in 1912, when he was just 21. He was already marked for greatness but had

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Tchaikovsky’s “Little Russian” & Prokofiev with Conrad Tao

program notes

not yet achieved it, and Shostakovich, at age six, was not yet on the scene. He completed the concerto in 1913 and performed it that year in St. Petersburg. Later (while Prokofiev was traveling abroad), the score was lost in a fire—perhaps in the turmoil of the Russian Revolution, or perhaps, as neighbors in Petrograd told him, as fuel to cook an omelet.

He undertook a reconstruction more than a decade later, two years after completing his Piano Concerto No. 3; the composer himself quipped that the revised version could be renumbered as his fourth. How close is it to the original? We will probably never know, but musicologists tell us that the reconstruction’s scoring bears unmistakable hallmarks of later Prokofiev.

WHAT TO LISTEN FOR

Today the dazzling virtuosity of Prokofiev’s concertos thrills us, but it baffled his earliest audiences. In a review following the premiere of his second concerto (with the composer as soloist), the Saint Petersburg Gazette noted that he “sat down at the piano and appeared to be either dusting the keyboard or tapping it at random, with a sharp dry touch. The public did not know what to make of it.” He slyly quoted this review in his Brief Autobiography.

We can infer from his comments that the reconstructed piano part, at least, is quite similar to his original—though perhaps even more complex and contrapuntal.

The concerto is traditionally structured in four movements, though the interior movements don’t really offer the soloist a chance to slow down very much. Its opening is almost fragile and lacelike, yet it somehow becomes the basis for powerful climaxes that come later

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on. As always, Prokofiev demands explosive power in every finger (especially those of the right hand) in huge chords, and seemingly impossible speed in both hands. The concerto’s passages of lyricism and folk-style melodies are all the more expressive as they alternate with more acrobatic playing.

Pyotr Ilyich Tchaikovsky (1840—1893)

Symphony No. 2 in C minor, Op. 17 “Little Russian” PERFORMANCE TIME:

33 minutes

BACKGROUND

We think of Tchaikovsky and Rachmaninoff as composers of different centuries: Rachmaninoff a 20th-century composer and pianist who was still alive during most of World War II, while the 19th-century Tchaikovsky was born 20 years before the American Civil War began. Yet both were essentially Romantic composers with a gift for singable, soulful Russian melodies that seem to combine ice and fire. And they had more than the Russian musical temperament in common. Did you know that both played Carnegie Hall? True, the dates were separated by 50 years: Tchaikovsky in 1891, when the Hall opened, and Rachmaninoff in 1941. In the case of Tchaikovsky’s Symphony No. 2, we are reminded of another trait they shared: their frightful insecurity and vulnerability to adverse critical opinion.

Today we cherish the works by these geniuses, but in their own lifetimes they were

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Tchaikovsky’s “Little Russian” & Prokofiev with Conrad Tao

program notes

beset by unduly harsh judgments that could and often did halt their creativity in its tracks.

We find Tchaikovsky’s Symphony No. 2 noteworthy before we hear a note because it is one of the few compositions that critics loved from the outset. In fact, they liked its initial version more than he did.

Tchaikovsky composed this symphony in 1872, incorporating Russian folk tunes in every movement—not just folk-like melodies, but actual themes from Russian songs that many of his contemporary listeners could recognize, and that his colleagues comprising the influential “Mighty Five”—Modest Mussorgsky, Alexander Borodin, Mily Balakirev, and César Cui—mightily approved. The conservatorytrained Tchaikovsky did not fully share their narrowly nationalistic philosophy of composition; and the Mighty Five, for their part, were suspicious of European-style academic musical training. Still, Tchaikovsky was Russian to his bones. He was thrilled with the expressiveness of the folk sources he chose for this symphony, most especially a popular song called “Down by Mother Volga.”

Despite the enthusiastic reception accorded this symphony, Tchaikovsky revised it extensively in 1879 and 1880, seven years after its premiere. His second version, with its reworked introduction and shortened final movement, is the standard performing edition today.

WHAT TO LISTEN FOR

This is probably Tchaikovsky’s most joyful symphony, and certainly his shortest. The period of its composition was one of his

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happiest, when he was summering in Ukraine with the family of his sister Aleksandra; the closeness they shared there might account for much of the symphony’s golden mood as well as its Ukrainian folk sources. Its first quoted melody, a Ukrainian version of “Down by Mother Volga” that Tchaikovsky loved, launches the symphony, and the first movement’s development leads us back to this tune—though we do not hear it fully restated until the movement’s coda.

For the second movement, Tchaikovsky recycles a bridal march that he originally intended for an opera to be based on the tale of Undine, which he never completed, twining the march theme with another folk melody. A lively, skittering scherzo movement leads us to the symphony’s fourth movement, which is based on one of the most oft-quoted of all Russian folk songs: “The Crane,” a recurring symbol of hope in Russian literature and cinema. You may hear echoes of Mussorgsky’s Pictures at an Exhibition here, though Tchaikovsky’s work actually preceded Mussorgsky’s.

A month before the premiere, the glow of this symphony gave rise to a euphoric response for the finale, which Tchaikovsky played on piano during a private reception hosted by Rimsky-Korsakov. Tchaikovsky wrote to his brother Modest that the assembled guests “almost tore me to pieces with rapture—and Mme. Rimskaya-Korsakova begged me in tears to let her arrange it for piano duet.”

Assessments of the first public performance were equally enthusiastic…a rare and welldeserved moment of glory for Tchaikovsky.

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“Thank you for playing such beautiful music last week. Thank you for spending so much of your time and energy to put a smile on my face.”

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We are proud of the incredible talent of Utah’s youth musicians, and we’re excited to share their performances with you. Two opportunities for you to hear outstanding young musicians in concert are coming up soon.

Utah Symphony Youth Guild Recital Saturday, April 14

| 7 pm

Utah Symphony All-Star Evening Tuesday, May 22

| 7 pm

T H E WAT E R F O R D S C H O O L C O N C E R T H A L L

ABRAVANEL HALL

Youth Guild members prepared for months in dedicated practice. Auditions in March selected a wonderful array of talents and repertoire for you to enjoy.

Join us for the Youth Guild Recital, which is free and open to the public.

High schooler Jarom Martineau from Provo, Utah solos with the Utah Symphony playing Rachmaninoff’s Piano Concerto No. 1. In the second half of the program students from 11 different youth orchestras sit side-by-side with the musicians of the Utah Symphony. Conner Gray Covington conducts the concert.

For tickets, visit utahsymphony.org or call 801-533-6683

TH E 2018–19 SALUTE TO YOUTH

concert in September 2018 will be the 59th year for this concert. Audition repertoire is available at www.usuoeducation.org.

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Thank You FRIEND $1,000 to $1,499 Anonymous (5) Carolyn Abravanel Christine A. Allred Drs. Crystal & Dustin Armstrong Curtis Atkisson, Jr. Diane Banks & Dr. Mark Bromberg Mr. & Mrs. William D. Callister, Jr. Dana Carroll & Jeannine Marlowe Po & Beatrice Chang Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Gloria Comiskey Dr. & Mrs. David Coppin Denise Corr Dorothy B. Cromer James & Rula Dickson Margaret Dreyfous Alice Edvalson Eric & Shellie Eide Carolyn & Tom Fey Naomi K. Feigal Harry Franta† David & Ann George Robert & Mary Gilchrist Ralph & Rose Gochnour John Graham Mr. & Mrs. Richard R. Graham Geraldine Hanni John Edward Henderson Connie C. Holbrook

Jay & Julie Jacobson Todd & Tatiana James Dale & Beverly Johnson Jocelyn Johnson Chester & Marilyn Johnson Paulette Katzenbach Thomas H. Klassen & Carolyn Talboys-Klassen Robert & Karla Knox Greg Larson Sheryl Laukat Mr. & Mrs. Melvyn L. Lekowitz Tiffany & Mark Lemons Allan & Kay Lipman Dennis & Pat Lombardi John Lucas Julie & John Lund Yuki MacQueen Peter Margulies & Louis Vickerman Edward & Grace McDonough Clifton & Terri McIntosh Mr. & Mrs. Michael Mealey Lex Hemphill & Nancy Melich Hal & JeNeal Miller Harold & Dylan Miller Mary Muir Dan & Janet Myers Oren & Liz Nelson Charles & Amy Newhall Richard O’Brien Mary Jane O’Connor Ruth & William Ohlsen

Linda S. Pembroke Rori & Nancy Piggott David Porter Keith & Nancy Rattie Dr. Barbara S. Reid Gina Rieke Theodore Rokich Mr. & Mrs. Robert Rollo David & Louis Salisbury Janet Schaap James Schnitz Mr. August L. Schultz Frances & Ron Schwarz Annabelle & Dennis Shrieve Sandra Sigman Dorotha Smart Mercedes Smith Larry R. & Sheila F. Stevens Dr. & Mrs. Michael H. Stevens Hope Stevens Walter & Lorraine Stuecken Amy Sullivan & Alex Bocock Douglas & Susan Terry Gail Tomlinson Craig & Christy Wagstaff M. Walker & Sue Wallace Gerard & Sheila Walsh Mary & Scott Wieler Margaret & Gary Wirth Marsha & Richard Workman John & Jean Yablonski

Donations received as of January 12, 2018 * In-kind donation ** In-kind and cash donation

46

UTAH SYMPHONY

Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT

Annual Fund

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

ENCORE $100,000 & ABOVE AHE/CI Trust The Church of Jesus Christ of Latter-day Saints Dominion Energy George S. & Dolores Doré Eccles Foundation The Florence J. Gillmor Foundation Emma Eccles Jones Foundation Janet Q. Lawson Foundation The Tony & Renee Marlon Charitable Foundation

Larry H. & Gail Miller Family Foundation O.C. Tanner Perkins-Prothro Foundation John & Marcia Price Foundation 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

Lawrence T. & Janet T. Dee Foundation Marriner S. Eccles Foundation

FJ Management, Inc. Grand & Little America Hotels* Utah Symphony Guild

BRAVO $50,000 to $99,999 Carol Franc Buck Foundation Frederick Q. Lawson Foundation Huntsman Foundation

OVERTURE $25,000 to $49,999 Arnold Machinery B.M.W. of Murray | B.M.W. of Pleasant Grove The Brent & Bonnie Jean Beesley Foundation Chevron Corporation C. Comstock Clayton Foundation Deer Valley Resort** Moreton Family Foundation

Perkins-Prothro Foundation Montage Deer Valley** Charles Maxfield & Gloria F. Parrish Foundation S.J. & Jessie E. Quinney Foundation Simmons Family Foundation Harris H. & Amanda P. Simmons Foundation

Stein Eriksen Lodge** The Sam & Diane Stewart Family Foundation Summit Sotheby’s Nora Eccles Treadwell Foundation Vivint.SmartHome Wells Fargo Foundation

Donations received as of January 12, 2018

UTAHSYMPHONY.ORG

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Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT

MAESTRO $10,000 to $24,999 Adobe Bambara* Bank of Utah B.W. Bastian Foundation R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine Foundation– Russell Family CenturyLink Community Foundation of the Lowcountry

The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Every Blooming Thing* Gastronomy* Anne & Gordon Getty Foundation Richard K. & Shirley S. Hemingway Foundation Hyatt Centric Park City** McCarthey Family Foundation Merrill Lynch Wealth Management

National Endowment for the Arts Ogden Opera Guild Park City Chamber Bureau Promontory Foundation Salt Lake City Arts Council The Swartz Foundation Union Pacific Foundation University of Utah Health Utah Office of Tourism Workers Compensation Fund

Flynn Family Foundation The Val. A. Green & Edith D. Green Foundation Holland & Hart** Huntsman International LLC J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Macy’s Martine*

Pro Helvetia, The Swiss Arts Council Raymond James & Associates Resorts West by Natural Retreats* St. Regis / Deer Crest Club U.S. Bancorp Foundation Utah Autism Foundation Victory Ranch & Conservancy

Graystone Consulting LOVE Communications Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Park City Foundation Park City Community Foundation Peczuh Printing* Prime Steakhouse* Ray, Quinney & Nebeker Foundation Rocky Mountain Power Foundation

Sinclair Oil Corporation Snell & Wilmer Snow, Christensen & Martineau Foundation Squatters Pub* Stay Park City Stoel Rives Swire Coca-Cola, USA* TraskBritt P.C. The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Fdn. Zuvii*

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

Bessemer Trust The Capital Group Deluxe Corporation Foundation Discover Financial Services The Dorsey & Whitney Foundation Patricia Dougall Eager Trust Spencer F. & Cleone P. Eccles Family Foundation

FRIEND $2,500 to $4,999 Bertin Family Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Boeing Employees Community Fund Robert S. Carter Foundation Castle Foundation Cope & Cope Investments, LLC D’Addario Foundation Diamond Rental* Henry W. & Leslie M. Eskuche Charitable Foundation Fanwood Foundation * In-kind donation ** In-kind and cash donation

UTAHSYMPHONY.ORG

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Donations received as of January 12, 2018

49

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

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 & Bambara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation

Kenneth† & Jerrie Randall The Evelyn Rosenblatt Young Artist Award Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner M. Walker & Sue Wallace

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

Herond & Gaylen Hoyt Pamela Robinson-Harris & Jeff Harris

Joanne & Bill Shiebler The Right Reverend Carolyn Tanner Irish

GIFTS MADE IN MEMORY OF Anita Alcabes Jay T. Ball Dr. Ray Beckham Janet Bennett Winifred Bradley Robert H. Burgoyne, M.D. Jeffrey L. Chaney Kathie Dalton Charles Dean Dean E. Eggertsen Loraine L. Felton Harry E. Franta Rosalie Frost Ursula Gleason Joanne Johnson Muriel Lindquist Panos Johnson

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Joseph S. Knowlton Valice M. Laramee Sonja Margulies Frank & Maxine McIntyre Bill Peters Glade & Mardean Peterson John A. Reinertsen Alvin Richer Kathryn Romney Frank & Shirley Russell Bert Schaap Aurelia H. Schettler Catherine Schettler Ben Schippen J. Ryan Selberg Ann O’Neill Shigeoka, M.D.

Claudia Silver-Huff Phyllis Sims Rebecca “Becky” Sharp Sorensen Hope B. Stevens Patrick L. Wade Robert Van Wagenen Nadine Ward Marie Watkins Ardean Watts John W. Williams Lawrence Young Dr. I. Zelitt Martin Zwick

Donations received as of January 12, 2018

UTAH SYMPHONY

TANNER & CRESCENDO SOCIETIES

“You are the music while the music lasts.” ~T.S. Eliot

Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning.

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

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

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

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

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

Mahler Circle Anonymous (3) Eva-Maria Adolphi Edward Ashwood & Candice Johnson 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

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

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

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

UTAHSYMPHONY.ORG

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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.

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

Utah Arts Festival 2018

MA K E A REGUL AR NIGHT OUT

A B IG NI GHT OUT.

June 21-24 Library Square Personalize your Ruth’s Chris experience with our popular three-course Prime Time dinner menu offered nightly until 6:30PM starting at just $49.95.

uaf.org

Salt Lake City • 801.363.2000 275 S. West Temple

ADMINISTRATION ADMINISTRATION Paul Meecham

Kate Throneburg

Mike Lund

David Green

Heather Weinstock

Manager of Special Events & DVMF Donor Relations

Joan Shiflett

Senior Vice President & COO

Julie McBeth

Alina Osika

Ali Snow

Lisa Poppleton

President & CEO

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

SYMPHONY ARTISTIC Thierry Fischer

Symphony Music Director

Anthony Tolokan

Vice President of Symphony Artistic Planning

Conner Gray Covington Assistant Conductor

Barlow Bradford

Symphony Chorus Director

Walt Zeschin

Director of Orchestra Personnel

Andrew Williams

Orchestra Personnel Manager

Director of Individual Giving

Manager of Corporate Partnerships Grants Manager

Chelsea Kauffman

Annual Fund Coordinator

Steven Finkelstein

Development Coordinator

MARKETING & COMMUNICATIONS Jon Miles

Director of Information Technologies Controller

Alison Mockli

Payroll & Benefits Manager

Jared Mollenkopf

Patron Information Systems Manager

EDUCATION Paula Fowler

Director of Education & Community Outreach

Beverly Hawkins

Symphony Education Manager

Kyleene Johnson

Vice President of Marketing & Public Relations

Symphony Education Assistant

RenĂŠe Huang

Opera Education Assistant

Director of Communications & Digital Media

Paul Hill

Aaron Sain

OPERA TECHNICAL Jared Porter

Chad Call

Kyle Coyer

Director of Creative and Brand Strategy

Senior Technical Director

Marketing Manager - Audience Development

Technical Director

Executive Assistant to the Music Director & Symphony Chorus Manager

Mike Call

Properties Master

SYMPHONY OPERATIONS Jeff Counts

Kathleen Sykes

Lance Jensen

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

Properties Manager & Assistant Stage Manager

Erin Lunsford

Website Manager Digital Content Producer

Steven Jerman

Junior Graphic Designer

PATRON SERVICES Nina Starling

Director of Patron Engagement

Faith Myers

Sales Manager

Andrew J. Wilson

Patron Services Manager

Robb Trujillo

Group Sales Associate

Ellesse Hargreaves

Artist Logistics Coordinator

Patron Services Assistant

0PERA ARTISTIC Christopher McBeth

Marketing Manager - Patron Loyalty

Opera Artistic Director

Carol Anderson Principal Coach

Michelle Peterson

Opera Company Manager

Michaella Calzaretta Opera Chorus Master

Mandi Titcomb

Opera Production Coordinator

DEVELOPMENT Leslie Peterson

Vice President of Development

Hillary Hahn

Kelly Nickle

Lane Latimer

Assistant Props

Keith Ladanye

Production Carpenter

Travis Stevens Carpenter

Dusty Terrell

Scenic Charge Artist

COSTUMES Verona Green

Costume Director

Melonie Fitch

Rentals Supervisor

Jessica Cetrone Kierstin Gibbs LisaAnn DeLapp

Rachel Campbell

Rentals Assistants

Genevieve Gannon Sarah Pehrson Jackie Seethaler Powell Smith

Wardrobe Supervisor

Nicholas Barker Mateusz Jagiello Ellen Lewis Rhea Miller Ananda Spike

Donna Thomas

Sales Associates

Ticket Agents

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Vice President of Finance & CFO

Amanda Reiser Meyer Milivoj Poletan Tailor

Tiffany Lent

Cutter/Draper Milliner & Crafts Artisan

Chris Chadwick Yoojean Song Connie Warner Stitchers

Yancey J. Quick Daniel Hill Michelle Laino

Wigs/Make-up Crew

Senior Director of Institutional Gifts 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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HOUSE RULES

ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Abravanel Hall. Ask at the Coat Check for details.

WHEELCHAIR SEATING Ample wheelchair seating is available. Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager.

LATECOMERS In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating will be used. During some productions late seating may not occur until an intermission after which time you may be seated by an usher in an alternate section. When traveling to performances, please allow ample time for traffic delays, road construction, and parking.

YOUNG CHILDREN Utah Symphony | Utah Opera welcomes children five years of age and older. Some concerts, including Family Matinees and special programs, are open to children of all ages. Please call 801-533-6683 for a list of these special performances. All children,

UTAHSYMPHONY.ORG

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(801) 533-NOTE

regardless of age, must have their own tickets for all performances. No babes-in-arms are allowed unless specifically indicated.

QUIET PLEASE As a courtesy to performers on stage and to other audience members, please turn off cell phones, pagers, beeping watches, or any other noisemaking device. Also, please refrain from allowing concession items such as candy wrappers and water bottles to become noisy during the performance.

CLEANLINESS Thank you for placing all refuse in trash receptacles as you exit the theatre.

COPYRIGHT ADHERENCE In compliance with copyright laws, it is strictly prohibited to take any photographs or any audio or video recordings of the performance.

NEED EXTRA LEG ROOM? Let us know when making reservations; we can help.

EMERGENCY INFORMATION In the event of an emergency, please remain seated and wait for instructions. Emergency exits are located on both sides of the house. Please identify the exit closest to your location.

59

KUED’s NEW LIFESTYLE CHANNEL

Now on Channel 7.4 and still on Comcast 393

Re-Scan your TV sets to make sure you get all of our channels.

A Ghost Light Podcast Extra!

Host Jeff Counts interviews Concertmaster Madeline Adkins

Jeff: So, Madeline, tell us about this incredible instrument you’re playing now.

Madeline: It’s really very exciting. As you know, for the past five years I was playing on Marin Alsop’s Guadagnini, which she graciously allowed me to bring to Utah for my first season.

I took it into the shop of my friend, violin maker John Young, here in Salt Lake City to be cleaned up in preparation for its return and while discussing what I might possibly do next, he said “A friend of mine owns a beautiful Guad and may be looking to lend it to the right person.”

Jeff: You’re kidding. That almost seems like fate.

Madeline: I know! Turns out, John was a longtime friend of Jacques Israelievitch, the concertmaster of Toronto Symphony for 20 years and St. Louis before that. Sadly, Jacques died in 2015 from cancer at the quite young age of 67. His wife Gabrielle had been reluctant to loan the instrument at first, as she felt like this was the embodiment of Jacques and couldn’t bear to part with it. But she was thinking it’d be best for the instrument to be played.

Jeff: What can you tell us about Jacques?

Madeline: He came to the U.S. as a teenager when his family’s business in France was destroyed during a wave of anti-semitism. On the plane over he met Oistrakh, if you can believe it! Anyhow, he bought this Guadagnini (the “ex-Chardon”) when he got his first concertmaster job in St. Louis and, since he was the recipient of incredible generosity throughout his career and always maintained a commitment to teaching and mentoring the next generation of musicians, Gabrielle felt compelled to pay it forward.

Jeff: Incredible. So, you went to meet Gabrielle. What is she like?

UTAHSYMPHONY.ORG

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(801) 533-NOTE

Madeline: Gabrielle Israelievitch is an acclaimed children’s book author, psychologist, and artist.

A real Renaissance woman. She is truly an incredible spirit. We spent several hours speaking about Jacques and then it came time to play the instrument for the first time. It was right there in the living room, where Jacques had taught so many students over the years, and in fact only feet from where he had played the violin for the last time. The first notes I played were the slow movement of Bruch. Almost instantly, Gabrielle was in tears. “It sounds just like Jacques,” John (who was with me) said. Gabrielle used FaceTime with one of her sons so he could hear. The experience was incredibly emotional for all.

Jeff: I can imagine that this moment will always be one of the highlights of your career.

Madeline: Of my life! When I brought it back to Utah, that weekend was my first Scheherazade with the Utah Symphony. Although I only had played the violin for two days, that opening E of the piece was such a gorgeous note that I forged ahead and decided to make the switch immediately. So that weekend, only four days after playing the instrument for the first time, and on what would have been Jacques’ 69th birthday, I played Scheherazade. In my dressing room was a huge bouquet of flowers. The note read “Thank you from Jacques.”

Jeff: What an honor for you and for the Utah Symphony.

Madeline: It’s humbling. And also thrilling. I can’t wait to perform a concerto on this instrument!

Jeff Counts is Vice President of Operations and General Manager of Utah Symphony. He hosts Utah Symphony's Ghost Light podcast, a behind the curtain look into the world of classical music and the artists who make it, available on Stitcher, iTunes, and www.utahsymphony.org.

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

Melissa Robison PROGRAM NOTES ANNOTATOR

Michael Clive Cultural writer Michael Clive is program annotator for the Utah Symphony, the Louisiana Philharmonic Orchestra, and the Pacific Symphony, and is editor-in-chief of the Santa Fe Opera.

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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!

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

Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts.

By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.

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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 Top Photo: Image licensed by Ingram Image

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LEGACY LEGACY VILLAGE VILLAGE OF OF SUGAR SUGAR HOUSE HOUSE

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INDEPENDENT LIVING • ASSISTED LIVING • MEMORY CARE INDEPENDENT LIVING • ASSISTED LIVING • MEMORY CARE

801.486.6000 801.486.6000 1212 E. Wilmington Avenue • Salt Lake City, UT 84106 1212 E. Wilmington Avenue • Salt Lake City, UT 84106 www.legacyvillagesugarhouse.com www.legacyvillagesugarhouse.com

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