2024-25 SEASON
USUO Main Content
Cover Issue #1
Season Sponsor
On behalf of the board, musicians, artists, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to today’s performance. We conclude this exceptional season of great live music with four classical orchestral programs, a beloved opera presented from a new perspective, and several non-traditional performances that invite a broader audience to experience the thrill of live music performed by a renowned professional orchestra–Utah’s other major league team.
The final four Masterworks concerts of the season in Maurice Abravanel
Hall include audience-favorite works led by world-class conductors and feature extraordinary soloists with the outstanding musicians of our orchestra. Whether it is the Classical era perfection of Mozart; evocative orchestration by Berlioz, Bartok, Saint-Saëns, and Korngold; or exciting contemporary music from living composers, you will hear the musicians of our orchestra demonstrate their remarkable expertise as they deliver moments that will live long in your memory. These months also include special Utah Symphony concerts that will allow you to connect through great live music with cherished friends and family who have a variety of musical tastes—from classic rockers (Revolution: the Music of The Beatles), to children of all ages (Wild Symphony), to gamers (Video Games Live), to movie fans (Pirates of the Caribbean), to those who cherish the modern acoustic songwriting and vocals of Amos Lee.
In May, we present a bold new production of Puccini’s Madame Butterfly at the Janet Quinney Lawson Capitol Theatre. This production, created by a talented team of Japanese and Japanese American designers, offers a modern-day reimagining of this well-known opera that frames the story through the lens of a lonely gamer entering a virtual, vibrant, Japanese fantasy world. This innovative approach acknowledges the cultural misconceptions inherent in the original plot by providing the context that they are playing out in an imagined realm, while preserving the opera’s brilliant music and emotional depth that have made it a cherished masterpiece.
The second week of June, we are honored to host the League of
American Orchestras 80th National Conference right here in Salt Lake City. We know that our musical colleagues will be surprised in the best possible ways by our vibrant and beautiful home in the Intermountain West. We can’t wait to share the exceptional musicianship of our orchestra, sincere hospitality of our community, and stunning natural setting of our state with our colleagues from throughout North America.
This summer we hope you will “Escape into the Music” with USUO for our annual Deer Valley® Music Festival. The six-week summer concert series, which runs from July 3 through August 9, features a broad musical lineup of performances featuring the musicians of our orchestra in the cool mountain air of Park City. Also watch for concerts featuring the Utah Symphony at outdoor community venues throughout the Wasatch Front.
We thank you for the energy you bring to our performances, inspiring our artists to create the best symphonic and operatic experiences with and for you. Your presence matters and we look forward to seeing you outdoors this summer and once again in the marvelous settings of Maurice Abravanel Hall and the Janet Quinney Lawson Capitol Theatre for our 2025–26 season! Please visit USUO.org for more information about upcoming performances.
Steven Brosvik President & CEO
The O.C. Tanner Chair
Brian Greeff Chairman, Board of Trustees
Our Mission
More than 80 years ago, a miracle was set into motion. A miracle for its ability to inspire and astound through music, yes; but also a miracle for its capacity to gain momentum through the decades rather than stand still.
Our mission is to connect the community through great live music. To perform. To engage. To inspire.
Education & Community Engagement
130,000 students and teachers served
614 schools served
316 concerts, classes & programs
35 school districts visited
40+ symphony performances
5 sold out Family Series concerts
Tickets for Utah Symphony | Utah Opera events can be purchased online at usuo.org, by calling USUO Patron Services at 801-533-NOTE (6683), and through authorized ArtTix sellers. Discounts may be available for subscribers, students and under-30s, and groups of 10 (or more).
Utah Symphony | Utah Opera Patron Services
Abravanel Hall Ticket Office
123 W South Temple Salt Lake City, UT 84101
801-533-NOTE (6683)
Utah Symphony | Utah Opera Box Office Hours
Monday through Friday: 12:00 PM – 6:00 PM
Saturday WITH a scheduled performance: 2:00 PM – Showtime* Sunday (Opera matinee): 2 hours prior to Showtime*
Box Office Hours
• Monday through Friday: 12:00 PM–6:00 PM
• CLOSED Saturdays and Sundays without a scheduled performance.
• USUO Patron Services will remain open 30 minutes after a performance begins for in-person assistance.
For hours of operation during weekends, holidays, and Special events, please visit us online or contact USUO Patron Services for more information.
Accessibility
Utah Symphony | Utah Opera is committed to making all of our programs accessible to people with disabilities. It is our goal to integrate accessibility in all we do, including:
Website Accessibility Interface
Assisted hearing devices, available by request at Guest Services.
ASL-Interpreted performances
Closed-captioned or supertitled performances
· Braille or Large Print Programs available by advance request
Wheelchair, limited mobility, and Bariatric seating available
• Weighted lap pads, earplugs, and other sensory aids available by request at guest services.
We understand that accessibility needs and standards are shifting daily so if you see something you would like us to implement or change, please contact USUO Patron Services.
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ELECTED BOARD
Brian Greeff* Chair
Annette W. Jarvis* Vice Chair & Secretary
Judy Moreton* Vice Chair
Joanne F. Shiebler* Vice Chair
Thomas Wright* Vice Chair
Steven Brosvik* President & CEO
The O.C. Tanner Chair
Dr. Stewart E. Barlow
Judith M. Billings†
LIFETIME BOARD
Kem C. Gardner
Jon Huntsman, Jr.
G.Frank Joklik
Thomas M. Love*
TRUSTEES EMERITI
Carolyn Abravanel
Dr. J. Richard Baringer
Howard S. Clark
HONORARY BOARD
Jesselie B. Anderson
Kathryn Carter
Raymond J. Dardano
Geralyn Dreyfous
Lisa Eccles
* Executive Committee Member †Deceased
Larry Brownstein
Paul E. Burdiss
George Cardon-Bystry
Gary L. Crocker
John D’Arcy*
David L. Dee
Barry L. Eden*
Jason Englund*
Senator Luz Escamilla
Jonathan Freedman
Brandon Fugal
Dr. Julie Aiken Hansen
Daniel Hemmert*
Dennis H. Hranitzky
Stephen Tanner Irish*
Thomas N. Jacobson
Abigail E. Lowder
Dr. Dinesh C. Patel
Frank R. Pignanelli
Gary B. Porter
Shari H. Quinney
Miguel R. Rovira
Stan Sorensen
Clint Stone
Dr. Shane D. Stowell
Thomas Thatcher
W.James Tozer
David Utrilla
Sharlene Wells
Don Willie
Kim R. Wilson
Henry C. Wurts*
MUSICIAN REPRESENTATIVES
Barbara Scowcroft*
Travis Peterson*
EX-OFFICIO REPRESENTATIVE
Jean Vaniman
Onstage Ogden
David T. Mortensen
Scott S. Parker
David A. Petersen
Patricia A. Richards*
Harris Simmons
David B. Winder
Kristen Fletcher
Richard G. Horne
Ronald W. Jibson
E.Jeffery Smith
Spencer F. Eccles
Dr. Anthony W. Middleton, Jr.
Edward Moreton
Marilyn H. Neilson
Stanley B. Parrish
Marcia Price
Jeffrey W. Shields, Esq.
Diana Ellis Smith
SALT LAKE CITY'S BEST GARDEN PATIO
OPENING MAY 4TH
DINE AT LAUREL BRASSERIE & BAR
Markus Poschner
Music Director Designate
The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
Thierry Fischer
Music Director Emeritus
David Robertson Creative Partner
Jessica Rivero Altarriba Assistant Conductor
Austin McWilliams
Chorus Director & Opera Assistant Conductor
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
Laura Ha 2nd Associate Concertmaster
Claude Halter Principal Second
Evgenia Zharzhavskaya
Acting Associate Principal Second
Karen Wyatt
Acting Assistant Principal Second
Sara Bauman~
Erin David
Joseph Evans
Lun Jiang
Rebekah Johnson
Tina Johnson~
Alison Kim
Amanda Kofoed~
Jennifer Kozbial Posadas~
Veronica Kulig
David Langr
Hannah Linz
Yuki MacQueen
Alexander Martin
Rebecca Moench
Hugh Palmer
David Porter
Lynn Maxine Rosen
Barbara Ann Scowcroft
Ju Hyung Shin
Bonnie Terry
Julie Wunderle
Wen Yuan Gu
VIOLA*
Brant Bayless Principal
Yuan Qi
Associate Principal
Julie Edwards
Joel Gibbs
Carl Johansen
Scott Lewis
John Posadas
Leslie Richards~ Whittney Sjogren
CELLO*
Matthew Johnson
Acting Principal
The J. Ryan Selberg Memorial Chair
Andrew Larson
Acting Associate Principal
John Eckstein
Walter Haman
Ian Jones~
Anne Lee
Louis-Philippe Robillard
Kevin Shumway
Hannah Thomas-Hollands~ Pegsoon Whang#
BASS*
David Yavornitzky Principal
Corbin Johnston# Associate Principal
Andrew Keller
Edward Merritt
Masaru Podgorny~
James Stroup~
Jens Tenbroek
Thomas Zera
HARP
Louise Vickerman Principal
FLUTE
Mercedes Smith Principal
The Val A. Browning Chair
Lisa Byrnes Associate Principal
Caitlyn Valovick Moore
PICCOLO
Caitlyn Valovick Moore
OBOE
Zachary Hammond Principal
The Gerald B. & Barbara F. Stringfellow Chair
James Hall Associate Principal
Lissa Stolz
ENGLISH HORN
Lissa Stolz
CLARINET
Tad Calcara Principal
The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
Erin Svoboda-Scott Associate Principal
Lee Livengood
BASS CLARINET
Lee Livengood
E-FLAT CLARINET
Erin Svoboda-Scott
BASSOON
Lori Wike Principal
The Edward & Barbara Moreton Chair
Leon Chodos Associate Principal
Jennifer Rhodes
CONTRABASSOON
Leon Chodos
HORN
Jessica Danz Principal
Edmund Rollett Associate Principal
Jonathan Chiou
Julia Pilant~ Stephen Proser
TRUMPET
Travis Peterson Principal
Jeff Luke
Associate Principal
Seretta Hart~ Paul Torrisi
TROMBONE
Mark Davidson Principal
Sam Elliot
Associate Principal/Second Trombone
BASS TROMBONE
Graeme Mutchler
TUBA
Alexander Purdy Principal
TIMPANI
Micah Harrow
Acting Principal
Eric Hopkins
Associate Principal
PERCUSSION
Keith Carrick Principal
Eric Hopkins
Michael Pape
KEYBOARD
Jason Hardink Principal
LIBRARIANS
Clovis Lark Principal
Anna Thompson~ Acting Librarian
ORCHESTRA PERSONNEL
Walt Zeschin Director of Orchestra Personnel
Hannah Thomas-Hollands Orchestra Personnel Manager
Unmatched Academic Results
Come tour a campus and see for yourself!
Challenger School offers uniquely fun and academic classes for preschool to eighth grade students. Our students learn to think for themselves and to value independence.
Farmington (PS–G7) (801) 451-6565
1089 Shepard Creek Parkway
Holladay (PS–K) (801) 278-4797
4555 South 2300 East
Salt Lake (PS–G8) (801) 487-4402
1325 South Main Street
Sandy (PS–G8) (801) 572-6686
10670 South 700 East
Lehi (PS–G8) (801) 407-8777
3920 North Traverse Mountain Boulevard
West Jordan (PS–G1) (801) 565-1058
2247 West 8660 South
UTAH SYMPHONY | UTAH OPERA SEASON SPONSORS
UTAH SYMPHONY | UTAH OPERA SEASON SPONSOR
MASTERWORKS SERIES SPONSOR
POPS SERIES SPONSOR
FAMILY SERIES SPONSOR NOORDA CENTER SERIES SPONSOR
UTAH OPERA ARTISTIC DIRECTOR SPONSOR OPERA ENHANCEMENT FUND
EMMA ECCLES JONES FOUNDATION SCOTT & JENNIFER HUNTSMAN
OFFICIAL VOCAL CARE
2024-25 Utah Symphony | Utah Opera Season Sponsor
Enriching excellence in the arts in Utah for more than half a century
1. Once upon a time, a princess discovered the magic of music!
2. Raise your hands (and a mic) as the ultimate showtunes were brought to life with Bravo Broadway!
3. Did someone say mood lighting? Abravanel Hall is aglow for our incredible pops series performances.
4. Smiles all around—and a healthy dose of applause— this is what our concerts are all about.
5. Every maestro starts somewhere... today, it’s with a mighty first note!
6. Music Director Emeritus Thierry Fischer leads with expert skill and enthusiasm! (Did you catch his performances of Mahler’s Symphony 5 and 6?)
10. Students attending the Opera-tunities final dress rehearsal for Pagliacci learn about the International Phonetic Alphabet that singers use to prepare for performances in a foreign language. 6 8 9 7 10
7. Music and theater students from Taylorsville High School tour the Janet Quinney Lawson Capitol Theatre during our production of Pagliacci to get peek behind the curtain and below the seats.
8. Not all heroes wear capes—some wield triangles with unmatched enthusiasm!
9. Our performances bring incredible music to life—and sometimes, the characters step right off the screen and into your photos!
ADMINISTRATION
Steven Brosvik
President & CEO
The O.C. Tanner Chair
David Green
Senior Vice President & COO
Micah Luce
Director of Human Resources & Organizational Culture
Julie McBeth
Executive Assistant to the CEO
Natty Taylor
Human Resources Generalist
Madison Wilde Thunhorst
Executive Assistant to the Senior VP & COO
SYMPHONY ARTISTIC
Kerry Smith
Vice President of Artistic Planning
Anthony Tolokan
Artistic Consultant
Cassandra Dozet
Artistic Consultant
Walt Zeschin
Director of Orchestra Personnel
Hannah Thomas-Hollands
Orchestra Personnel Manager
Morgan Moulton
Artistic Planning Manager
Isabella Zini
Artistic Planning Coordinator & Assistant to the Music Director
Jessica Rivero Altarriba
Assistant Conductor
OPERA ARTISTIC
Christopher McBeth
Opera Artistic Director
Austin McWilliams
Chorus Director & Opera
Assistant Conductor
Carol Anderson
Principal Coach
Michelle Peterson
Director of Production
Ashley Tingey
Production Coordinator
Stephanie Chee, Soprano
Sarah Scofield, Mezzo-Soprano
Aaron McKone, Tenor
Rodney Sharp II, Baritone
Jie Fang Goh, Pianist
Resident Artists
SYMPHONY OPERATIONS
Jen Shark
Director of Orchestra Operations
Melissa Robison
Front of House Director
Chip Dance Director of Production
Marcus Lee
ADMINISTRATION
Operations Manager
Sarah Madany
Stage Manager
Morgane Walton
Assistant Stage Manager
OPERA TECHNICAL
Sam Miller
Technical Director
Kelly Nickle
Properties Master
Dusty Terrell
Scenic Charge Artist
JR Orr
Head Carpenter/Shop Foreman
COSTUMES
Carol Wood
Costume Director
Marcos Ambriz
Costume Rentals & Collections Manager
Mallory Goodman
Costume Rentals & Collections Assistant Manager
Milivoj Poletan
Master Tailor
Aries Limon
Assistant Tailor
Molly Hartvigsen
Cutter/Draper
Julie Porter
Crafts Artisan/Milliner
Amy Fernelius
Kathryn Wieland
Stitchers
Abby Gehring
First Hand
DEVELOPMENT
Leslie Peterson
Vice President of Development
Garrett Murphy
Director of Development
David Hodges
Director of Development, Institutional Giving
Calli Forsyth
Assistant Director of Institutional Sponsorships and Engagement
Katie Swainston
Assistant Director of Individual Giving
Lisa Poppleton
Grants Manager
Dallin Mills
Development Database Manager
Maren Holmes
Manager of Special Events
Ellesse Hargreaves
Corporate Engagement Manager
MARKETING & COMMUNICATIONS
Meredith Kimball Laing
Vice President of Marketing & Communications
Adia Thornton
Director of Marketing
Julia Lyon
Communications Manager
Nina Starling
Website Content Coordinator
Emma Price
Marketing & Communications Coordinator
PATRON SERVICES
Faith Myers
Director of Patron Engagement
Jaron Hatch
Patron Services Manager
Toby Simmons
Patron Services Assistant Manager
Caitlin Marshall
Sales & Engagement Manager
Genevieve Gannon
Group Sales Associate
True Moore
Salem Rogers
Patron Services Specialists
Lorraine Fry
Michael Gibson
Ian Painter
Ananda Spike
Val Tholen
Chloe Toyn
Leah Medley
Patron Services Associates
ACCOUNTING & INFORMATION
TECHNOLOGY
Steve Hogan
Vice President of Finance & CFO
Mike Lund
Director of Information Technologies
Melanie Giles Controller
Jared Mollenkopf
Patron Information Systems Manager
Bobby Alger
Accounts Payable Specialist
EDUCATION & COMMUNITY
ENGAGEMENT
Ben Kipp
Vice President of Education & Community Engagement
Jessica Wiley
Symphony Education Manager
Kevin Nakatani
Opera Education Manager
Beth Foley
Education Coordinator
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.
REVOLUTION: THE MUSIC OF THE BEATLES
FRIDAY, APRIL 11, 2025 / 7:30 PM / MAURICE ABRAVANEL HALL
SATURDAY, APRIL 12, 2025 / 7:30 PM / MAURICE ABRAVANEL HALL
LAWRENCE LOH, conductor
REVOLUTION: THE MUSIC OF THE BEATLES. A SYMPHONIC EXPERIENCE. a Schirmer Theatrical/Greenberg Artists co-production Arrangements by Jeff Tyzik
“Get Back” originally released on Let It Be (1970)
“Ticket to Ride” originally released on Help! (1965)
“Drive My Car” originally released on Rubber Soul (1965)
“Yesterday” originally released on Help! (1965)
“Penny Lane” originally released on Magical Mystery Tour (1967)
“If I Needed Someone” originally released on Rubber Soul (1965)
“Lady Madonna” originally released on Past Masters: Volume Two (1988) “Blackbird” originally released on The Beatles (1968)
“In My Life” originally released on Rubber Soul (1965)
“Paperback Writer” originally released as a single (1966)
“Eleanor Rigby” originally released on Revolver (1966)
“Hello, Goodbye” originally released on Magical Mystery Tour (1967)
“Here Comes the Sun” originally released on Abbey Road (1969)
“Hey Jude” originally released on Past Masters: Volume Two (1988)
INTERMISSION
“Got to Get You into My Life” originally released on Revolver (1966) “The Fool on the Hill” originally released on Magical Mystery Tour (1967) “Maxwell’s Silver Hammer” originally released on Abbey Road (1969)
“With a Little Help From My Friends” originally released on Sgt. Pepper’s Lonely Hearts Club Band (1967)
“Come Together” originally released on Abbey Road (1969)
“Something” originally released on Abbey Road (1969)
“She’s Leaving Home” originally released on Sgt. Pepper’s Lonely Hearts Club Band (1967)
“I Am the Walrus” originally released on Magical Mystery Tour (1967)
“Let it Be” originally released on Let It Be (1970)
“Golden Slumbers/Carry That Weight/The End” originally released on Abbey Road (1969)
“Twist and Shout” originally released on Please Please Me (1963)
Lawrence Loh Conductor
Described as bringing an “artisan storyteller’s sensitivity… shaping passages with clarity and power via beautifully sculpted dynamics… revealing orchestral character not seen or heard before” (Arts Knoxville) Lawrence Loh enjoys a dynamic career as a conductor of orchestras all over the world.
After an extensive two year search, Lawrence Loh was recently named Music Director of the Waco Symphony Orchestra beginning in the Spring of 2024. Since 2015, he has served as Music Director of The Syracuse Orchestra (formerly called Symphoria), the successor to the Syracuse Symphony Orchestra. Loh will hold this position until the end of the 2024–2025 season. “The connection between the organization and its audience is one of the qualities that’s come to define Syracuse’s symphony as it wraps up its 10th season, a milestone that might have seemed impossible at the beginning,” (Syracuse.com). The Syracuse Orchestra and Lawrence Loh show that it is possible to create a “new, more sustainable artistic institution from the ground up.”
CONCERT SPONSOR ORCHESTRA SPONSOR
WOODBURY CORPORATION
Cedarwood at Sandy offers Independent Living, Assisted Living, and Memory Care, with our Life Enrichment® wellness program featuring activities like museum visits, concerts, and plays.
Start the new year in our charming 55+ Independent Living cottages— the first of their kind in Utah! These twin homes include two bedrooms, two baths, an office/den, a fireplace,
FIRST NEIGHBORHOOD OF ITS KIND IN SANDY
55+ Independent Living COTTAGES NOW LEASING
WILD SYMPHONY
SATURDAY, APRIL 12, 2025 / 11:00 AM & 12:30 PM / MAURICE ABRAVANEL HALL
JESSICA RIVERO ALTARRIBA , conductor
LATOYA CAMERON , narrator
BEN YOUNG , narrator
Join us early for an Instrument Petting Zoo hosted by Summerhays Music, visit with Hogle Zoo, complete a craft hosted by UMOCA and purchase Dan Brown’s WILD SYMPHONY book in the gift shop with other animal merchandise.
CONDUCTOR SPONSOR
Jessica Rivero Altarriba
Conductor
Utah Symphony Assistant Conductor
Latin American conductor Jessica Rivero Altarriba is known for her charismatic stage presence, dynamic energy, and communicative skills. Recently announced as a Taki Alsop Fellowship Award Recipient from 2024–26 and named the New Jersey Symphony’s first-ever Colton Conducting Fellow for the 2023–24 season, she is also a Freeman Conducting Fellow with Chicago Sinfonietta. Altarriba is concurrently pursuing her master’s degree in conducting at the Peabody Institute of Johns Hopkins University.
Upcoming engagements this season include performances with the Mozarteumorchester Salzburg, New Jersey Symphony, Peabody Symphony Orchestra, and the NOI Institute and National Seminario Orchestra at the Ravinia Festival. During the 2022-23 season she worked with the Baltimore Symphony Orchestra, Peabody Symphony Orchestra, and Lüneburg Symphoniker in Germany as a guest conductor.
Altarriba’s guest engagements include performances with the Málaga Camerata in Spain, Virtuós Mediterrani Orchestra, Lüneburg Symphoniker in Germany, and professional orchestras in Cuba such as the Holguín Symphony Orchestra, Camagüey Symphony Orchestra, Esteban Salas Symphony Orchestra, Chamber Orchestra of the National School of Art, Eastern Symphony Orchestra, Amadeo Roldán Orchestra, Lyceum Mozartiano Orchestra, and the Philharmonic and Chamber Orchestra of the University of Arts of Cuba. She also conducted incidental music with the Havana-Martin Camerata for the national premiere of The Phantom of the Opera.
Festival credits include Cuba’s A Tempo Con Caturla Festival, Jazz Plaza Festival, Contemporary Music Festival, Mozart Havana Festival, and the Arts Festival, where she was awarded first prize for young conductors.
Born in Cuba, Altarriba is equally vested in both established and well-known repertoire and contemporary compositions. Her devotion to her craft is evident in her prior posts, which include serving as guest conductor of the Esteban Salas Symphony Orchestra in Cuba and Music Director of the University of Arts Band and the Eastern Symphony Orchestra in Santiago de Cuba, Cuba. She received her bachelor’s degree in conducting from the Arts University in Havana in 2018. During her time at the University of Arts, Altarriba gave world premieres of contemporary pieces including “Calabi’’ by Nathalie Hidalgo Reyes, and “The Creation’’ by Dania Suarez Piorno—in collaboration with the university’s composition faculty. Altarriba is the recipient of an Excellence in Music Leadership Fellowship at The Peabody Institute of Johns Hopkins University, where she is currently pursuing her master’s in orchestral conducting under Marin Alsop.
Latoya Cameron Narrator
Latoya Cameron (she/her) is an actor, singer, writer, and director. She is an Equity, Diversity, and Inclusion Dramaturg at Salt Lake Acting Company. As an actor, you may have seen her on the local stages at Pioneer Theatre Company, Utah Shakespeare Festival, Salt Lake Acting Company, and Plan-B Theatre Company. She made her Off-Broadway debut as the lead in Shelter, the musical, at the formally known New York Musical Theater Festival in New York City. In 2022, she was part of the production, The Clean-Up Project, which was named the Utah Review’s Top Moment of the Utah Enlightenment by Les Roka.
In 2022, she made her directing debut with the production of RENT. Since then, she has directed Sankofa, This Journey: Go Back and Get It (a collaboration with Utah Black Artists Collective (UBLAC) and Salt Lake Acting Company), Title of Show (The Grand), and Town Hall (University of Utah). As a Change Leader, she raises her voice for Black, Indigenous, People of Color, and other marginalized groups within her community. She’s part of the 2022-23 National Leaders of Color Fellows, representing the WESTAF region, and is one of the 2023 Mayor’s Artist Award recipients. She continues to be an advocate and activist for inclusion, representation, and equity in the arts.
Ben Young Narrator
Ben Young is a graduate of the University of Utah’s Actor Training Program. Previous credits include Climbing With Tigers (Algernon) and You Will Get Sick (1) with Salt Lake Acting Company; Gruesome Playground Injuries (Doug) with Wasatch Theatre Company; Big Love (Constantine), Our Country’s Good (Phillip/Wisehammer), The Odyssey (Odysseus) with the University of Utah’s Theatre Department; My Brother Was a Vampire (Callum), RIVER.SWAMP.CAVE.MOUNTAIN (JJ), Alli and #3 (#3) with Plan-B Theatre Company.
IGNITING YOUNG IMAGINATIONS ONE CONCERT AT A TIME
By Megs Vincent
The lights dim, and the rustling of over two thousand eager fifth graders—their sneakers swinging above the concert hall floor—settles into an expectant hush. A single baton rises above the sea of instruments, and with one sweeping motion, the silence is shattered by a cascade of sound—bold brass fanfares, shimmering strings, the deep pulse of percussion. In that moment, young minds spark with possibility. This is not just a concert. For many, this is a first encounter with a symphony—an introduction to a world where music tells stories, evokes emotions, and opens doors to imagination.
For more than 40 years, Utah Symphony’s fifth grade concerts have served as an electrifying introduction to the power of live orchestral music. More than 16,000 students from 250 schools were in the audience this school year, hearing classical masterpieces and modern works come alive.
As one teacher shared, “Thank you so much for putting together this program. It was the first time almost all of my 33 students have been to a symphony!”
Another teacher echoed this sentiment, “Thank you for providing our students with an experience that most of them will never have outside of this performance. The music is always enjoyable and engaging.”
Each concert is carefully curated to transport students through soundscapes rich with adventure. Whether it’s
the rushing wings of the phoenix in Stravinsky’s Firebird, the swirling chaos of Beethoven’s Symphony No. 6, or the wonder of Hisaishi’s Princess Mononoke and Howl’s Moving Castle, the program is designed to engage young ears and minds. Students not only hear music—they feel it.
One young listener marveled, “I liked how calm some of the music was and then it would get really loud!” Another shared their enthusiasm for specific instruments, “The French horns were my favorite.” Among the most popular pieces? “The most liked pieces from my class were Clair de Lune and The Firebird.”
But these concerts are more than just performances—they are conversations. Guided by a charismatic conductor, the students learn not only to hear but to listen. They discover how music can tell stories without words, how a simple shift from major to minor can change an entire mood, how composers weave emotion into sound. Teachers also receive pre-concert materials to help students explore musical concepts before they ever set foot in the concert hall, ensuring that when the downbeat falls, they are active listeners, ready to engage.
Beyond the music, there is something almost magical about the setting. Abravanel Hall itself—its golden chandeliers glittering like frozen raindrops, its pristine acoustics allowing even the softest flute solo to reach every corner—adds to the sense of occasion.
As one teacher remarked, “Congratulations for this concert. This is an incredible experience for our students. They have enjoyed being in Abravanel Hall, the concert, and the projections. The music has been amazing. Thank you!”
Long after the final note fades, the experience lingers—in the chatter of students filing back onto school buses, in the excited recounting of favorite moments to parents that evening, and in the newfound appreciation for the way music can shape emotion and imagination. And perhaps the most telling of all is the question heard over and over: “Can we go again?”
SEASON 2024–25
Mozart’s
REQUIEM
THURSDAY, APRIL 17, 2025 / 7:30 PM / BROWNING CENTER, WEBER STATE, OGDEN
FRIDAY, APRIL 18, 2025 / 7:30 PM / MAURICE ABRAVANEL HALL
SATURDAY, APRIL 19, 2025 / 5:30 PM / MAURICE ABRAVANEL HALL
CHRISTOPHER ALLEN , conductor
DEANNA BREIWICK , soprano
CECELIA HALL , mezzo-soprano
MATTHEW NEWHOUSE , tenor
LEVI HERNANDEZ , baritone
UTAH SYMPHONY CHORUS | AUSTIN MCWILLIAMS , director
UTAH SYMPHONY
CONCERT SPONSOR
GUEST ARTISTS SPONSOR
ORCHESTRA SPONSOR
MOZART
MOZART
Overture to The Magic Flute (7’)
Symphony No. 25 in G minor (24’)
I. Allegro con brio
II. Andante
III. Menuetto
IV. Allegro
INTERMISSION
MOZART
Requiem - completed by Robert Levin (47’)
I. Introitus
Requiem aeternam
Kyrie
II. Sequentia
Dies irae
Tuba mirum
Rex tremendae
Recordare
Confutatis
Lacrimosa - Amen
III. Offertorium
Domine Jesu
Hostias
IV. Sanctus
Sanctus
Benedictus
V. Agnus Dei
Agnus Dei
VI. Communio
Lux aeterna
Cum sanctis tuis
Christopher Allen Conductor
Recipient of The Sir Georg Solti Conducting Award, Christopher Allen is featured in Opera News as “one of the fastest-rising podium stars in North America.” He has led acclaimed operatic and symphonic performances with the Atlanta Symphony Orchestra, Cincinnati Symphony Orchestra, National Symphony Orchestra, Kansas City Symphony, Oregon Symphony, Virginia Symphony, North Carolina Symphony, Orquestra Sinfônica do Estado de São Paulo, George Enescu Philharmonic, West Los Angeles Symphony, Cincinnati Opera, Los Angeles Opera, Opera Philadelphia, Opera Omaha, Opéra de Montréal, English National Opera, Lyric Opera of Chicago, Opera Theatre of Saint Louis, Lyric Opera of Kansas City, Washington National Opera, Detroit Opera, North Carolina Opera, Florida Grand Opera, Atlanta Opera, Des Moines Metro Opera, Daegu Opera House in South Korea, Korean Symphony Orchestra, and China National Opera Orchestra and Chorus.
Deanna Breiwick Soprano
American soprano Deanna Breiwick, hailed by The New York Times for her “sweet sound and floating high notes” and for being a “vocal trapeze artist,” is enjoying an exciting and diverse career. In the 24/25 season, Deanna Breiwick will sing Lisette in La rondine at Opéra de Monte Carlo, Adele in Die Fledermaus at Opera Theatre of St. Louis, and join the Utah Symphony for Mozart’s Requiem, the Allentown Symphony for VaughanWilliams’ Dona Nobis Pacem, as well as present recitals under the auspices of The Florentine Opera and the Pacific Vocal Series in Laguna Beach, CA.
In the 23/24 season, Ms. Breiwick returned to The Dallas Opera for the world premiere of Gene Scheer and Jody Talbot’s The Diving Bell and the Butterfly, singing the role of Claude. In concert, she performed Lisette in La rondine with Washington Concert Opera, Messiah with the Oregon Symphony, VaughanWilliams’ Dona Nobis Pacem with the Venice and Owensboro Symphonies, and held a residency with the Moab Music Festival. In recital, she will return to the Laguna Art Museum to present a solo recital.
Cecelia Hall
Mezzo-soprano
Hailed by the Financial Times for her “easy flexibility, arresting poise and enveloping warmth,” mezzo-soprano Cecelia Hall is a member of Oper Frankfurt’s prestigious ensemble and appears regularly as a guest artist on many of the world’s finest stages. For her recent debut as Carmen at Austin Opera, Cat McCarrey of the Austin Chronicle wrote “Hall’s sultry mezzo conveyed strength with a current of madness in each fluidly sensual move.”
Highlights of Hall’s 2024-25 season include Der Komponist in Strauss’ Ariadne auf Naxos at Seville’s Teatro de la Maestranza conducted by Guillermo García Calvo and directed by Joan Antón Rechi, and four new productions at Oper Frankfurt: Henze’s Der Prinz von Homburg conducted by Takeshi Moriuchi and directed by Jens-Daniel Herzog, Berg’s Lulu conducted by Thomas Guggeis and directed by Nadja Loschky, Magnard’s Guercoeur conducted by Marie Jacquot and directed by David Hermann, and Reimann’s Melusine conducted by Karsten Januschke and directed by Aileen Schneider. In concert, she sings Mozart’s Requiem with Utah Symphony conducted by Christopher Allen, and Mendelssohn’s Lobgesang at the Alte Oper Frankfurt conducted by Thomas Guggeis.
Matthew Newhouse
Tenor
Tenor Matthew Newhouse is a powerful storyteller in concert and historical performance. He has performed across North America, the United Kingdom, and Germany with esteemed conductors Masaaki Suzuki, Grete Pedersen, Nic McGegan, David Hill, and Christopher Allen. Alongside his wellanticipated Utah Symphony debut, Newhouse debuted with the Tucson Symphony Orchestra in Handel’s Messiah. Recent soloist highlights include Evangelist in Schütz’s Weihnachtshistorie with Harmonia Stellarum, Monteverdi’s Vespers of 1610 with Bach Akademie Charlotte, Evangelist in J.S. Bach’s Weihnnachtsoratorium with Yale Schola Cantorum, and Mendelssohn’s Lobgesang at the Norfolk Chamber Music Festival.
An equally skilled ensemble singer, Newhouse is a core member of Fourth Wall Ensemble and The Leonids. Additional professional collaborations include TENET Vocal Artists, Apollo’s Fire, Clarion Music Society, and more. Newhouse champions Icelandic vocal repertoire and strives for its inclusion in the classical canon. He holds a Master of Music degree in Early Music Voice from Yale University.
Levi Hernandez Baritone
With a velvety tone and a stage presence which exudes confidence and charm, Levi Hernandez has made a name for himself in a wide variety of baritone repertoire. Opera News has praised him for his “voice with natural power,” and “warm, inviting baritone.” The El Paso native has joined the rosters of leading opera companies including The Metropolitan Opera, San Francisco Opera, and Houston Grand Opera where he débuted as Sharpless in Madama Butterfly
Most recently he joined El Paso Opera for their Mozart by Moonlight concert, Opera San Antonio as the Father in Hansel and Gretel, appeared as Dandini in La cenerentola with Boston Lyric Opera, performed Tonio in Pagliacci with Hawaii Opera Theatre, returned to Opera Omaha as Diego Rivera in El último sueño de Frida y Diego, and appeared with the Virginia and Oregon Symphonies in Handel’s Messiah
CHORUS
Sopranos
Zoe Allen
Jenny Andrus
Rebekah Barton Stockton
Abigail Bendixsen
Julia Bigelow
Caitlyn Bramble
Erin Bramscher
Christina Brandt
Isabella Carlton
Lauren Cartwright
Bohannan
A. Elizabeth Davis
Alexis Dazley
Cydnee Barnum Farmer
Julie Fleming
Kaylynne Fox
Olivia Fryer
Emelia Hartford
Kaily Jacobs
Macy Kelson
Rachel Kibler
Jeanne Lancaster
Audrey Meservy
Abby Payne-Peterson
Claire Phillips
Erin Rubin
Natalie Sandberg
Michaela Shelton
Austin McWilliams
Chorus Director
Austin McWilliams is a conductor and countertenor who specializes in contemporary vocal music. He strives to present compelling, intriguing art that is directly relevant to the communities in which it is performed. He began his tenure as Chorus Director & Opera Assistant Conductor at Utah Symphony | Utah Opera with the 2024/25 season.
Previously Austin was Associate Conductor and Chorus Master at Opera Grand Rapids, Head of Music at West Michigan Opera Project, and Co-Artistic Director at Ad Astra Music Festival. In Grand Rapids he was the choir director at his beloved Fountain Street Church, a non-denominational, non-creedal institution that serves as a venue for heterodox speakers and ideologies. Content in both the rehearsal hall and classroom, Austin has served as the Director of Choral Activities at Aquinas College and as adjunct faculty and opera conductor at Western Michigan University, where he studied with Kimberly Dunn Adams. He is also a faculty member at Missouri Scholars Academy, a governor’s school for gifted high school juniors in his native state.
Cherry Lynn Stewart
Margaret Straw
Carolyn Talboys-Klassen
Shichun Wang
Cassie Weintz
Lindsay Whitney
Altos
Maya Allred
Christine Anderson
MJ Ashton
Naomi Bawden
Sara Bayler
Caite Beck
Joan Jensen Bowles
Katherine Filipescu
Kate Fitzgerald
Carrie Froyd
Kyra Furman
Gabriella Gonzales
Erika Gray
Jennifer Hancock
Annette Jarvis
Catherine Jeppsen
Angela Keeton
Samantha Lange
Sylvia Miera-Fisk
Camila Ogden-Castro
Kate Olsen
Brittany Rogers
Anastasia Romanovskaya
Jenica Sedgwick
Sue Sohm
Matthew Tang
Jennifer Taylor
Maizie Toland
Sammie Tollestrup
Valerie Wadsworth
Ruth Wortley
Tenors
Stephen Anderson
Drake Bennion
Geordie Burdick
Dyson Ford
Orion Gray
Brynnen Green
Samuel Hancock
Timothy Hanna
Hayden Höglund
Matthew Koster
Camden Lawrence
Isaac Lee
Jeanne Leigh-Goldstein
David McMurray
David Mitchell
Lehi Moran
Dale C. Nielsen
John Pearce
Elijah Powell
Jesse Skeen
John P. Snow
Scott Tarbet
Carl Wadsworth
John Woeste
Edgar Zuniga
Bass
Bruce Boyes
Colton Butler
Richard Butler
Kevin DeFord
Paul Dixon
Jim Hardwick
Michael Hurst
Stephen Jackson
Seth Jensen
Thomas Klassen
Andrew Luker
Tom McFarland
Steven McGregor
Michael Moyes
Vincent Nguyen
Ryan Oldroyd
Richard Olsen
Chris Patch
Say-Eow Quah
Bryce Robinson
Jude Ruelas
Jaxson Skeen
Carson Smith
Philip Snow
By Jeff Counts
Overture to Die Zauberflöte, K. 620 (
The Magic Flute)
Duration: 7 minutes.
THE COMPOSER – WOLFGANG AMADEUS MOZART (1756-1791) – Mozart was working simultaneously on the Requiem, the clarinet concerto, his final string quartet and two operas during the incredibly prolific year of 1791, his last on Earth. The drama of these final creations was matched only by that of his actual life and the ill health and mysterious visits of 1791 leant an air of urgency to everything Mozart produced. It was a furious dash to the finish, the finish of an existence cut far too short after 35 brief years. Theories about the cause of Mozart’s demise have varied over the years (rheumatic fever? acute miliary fever or the ridiculous but persistent typo of “military” fever?), but his wife Constanze believed he had simply worked himself to death. She would know.
THE HISTORY – Though he started it before La clemenza di Tito, Die Zauberflöte (The Magic Flute) was the last opera Mozart completed. It was an example of the popular dramatic style known as Singspiel (a blend of singing and spoken text) and a crafty intellectual allegory on Mozart’s own Masonic associations and beliefs. The highly unusual plot is essentially the story of a prince and a bird catcher, who must complete a series of magical tests to rescue a princess and banish evil from the world. Mozart would live to see it successfully staged and conducted the premiere performances, but his death just months later would deprive him of knowing how lasting and important the work was meant to become. Three chords begin the overture in direct tribute to the Masonic themes of the opera (three being an important symbolic number). After the mysterious but inexorable introduction, it is a fleet-footed five minutes until the end. Mozart treats us right away to fugue, transformation, delightful instrumental playfulness and an invigorating sense that something special is in store. Right in the middle of this infectious activity are the famous three times three chords, the “dreimalige Akkord,” which not only echo the overture’s opening but clear the air for a brief moment with spectacular effect. It is important to view The Magic Flute not as Mozart’s benediction or farewell to opera but rather as the excited, forward-looking declaration of a young genius in his prime. This is the hopeful music of a man with plans for the future, not the last rites of someone
who felt time slipping and assumed he had said enough. From this perspective, the Overture to The Magic Flute may well be the most rewarding six minutes in music.
THE WORLD – Elsewhere in 1791, Methodist Church founder John Wesley died, the element Titanium was discovered, the Brandenburg Gate was completed in Berlin and Thomas Paine’s “Rights of Man” was published in London.
THE CONNECTION – The Utah Symphony has performed The Magic Flute Overture countless times. The most recent performances took place in 2018 under the baton of Conner Gray Covington.
Symphony No. 25 in G minor, K. 183
Duration: 24 minutes in four movements.
THE COMPOSER – WOLFGANG AMADEUS MOZART (1756-1791) – Fortunes shifted for the Mozart family in 1771 when their devoted benefactor Archbishop Schrattenbach died. His replacement instituted significant changes to Salzburg’s court music scene in 1772. The new Archbishop Colloredo was a bull in the China shop of the Mozarts’ world. Concerts and masses were shortened, and purely instrumental music was restricted so punitively, Leopold and young Wolfgang traveled to Vienna in search of a better court to serve. Though they were initially unsuccessful, they both knew their days in Salzburg were numbered. The end of an era approaching fitfully for the Mozarts, but Wolfgang did what he always did. He worked.
THE HISTORY – Hieronymous von Colloredo had distinct ideas on how masses and other liturgical pieces were to be administered and his new regulations had hard and fast time limits attached to each of them. Mozart was not thrilled with the stopwatch mentality of his new employer, but he did not allow these and other restrictive frustrations to impact his other work, not in terms of quality or quantity. The 1773 trip to Vienna might not have yielded a new job, but there were other benefits to the change of scenery. Perhaps to throw Colloredo off the scent, the Mozarts first visited an old family friend, one Franz Anton Mesmer
(yes, the one from whose name the term “mesmerize” is derived) and heard the physician play a recently acquired glass harmonica. “Wolfgang too has played upon it,” his father wrote in a letter, “how I should like to have one!” Also, while in Vienna, and decidedly more germane to this topic, Mozart heard performances of several important works by Haydn. With the sounds of his idol fresh in his ear, Mozart returned home inspired to move fully beyond the elegant, confectionary quality of his early music and into a more serious compositional phase. Mozart was only 17 at the time, but maturity is the thing that shines through most brightly in the two symphonies he wrote back in Salzburg during 1773 and 1774. These sibling creations, Symphony No. 25 and Symphony No. 29, signaled a new interest in drama and emotional complexity for Mozart. This clearly came from Haydn, but the growing formal mastery and creative instrumental choices that underpinned the theatricality were all Wolfgang. Symphony No. 25, known affectionately as the “Little G minor,” was one of only two he would ever write in that dark key. The other was the “Great” No. 40, of course, and No. 25 predicts that work’s fierce emotional forthrightness.
THE WORLD – Elsewhere in 1773, the Boston Tea Party occurred in America, the first ship crossing of the Antarctic Circle by James Cook took place and the later-named “Whirlpool Galaxy” was discovered by French astronomer Charles Messier.
THE CONNECTION – Symphony No. 25 was last performed by the Utah Symphony in 2018 under the baton of Conner Gray Covington.
Requiem, K. 626
Duration: 47 minutes in fifteen sections.
THE COMPOSER – WOLFGANG AMADEUS MOZART (1756-1791) – Mozart was not able to complete his greatest work. His progress on the Requiem was undermined by the busy commission schedule and failing health that marked his final year of life. Other pieces that took up his attention in 1791 were the operas La clemenza di Tito and Die Zauberflöte, the Piano Concerto No. 27, a handful of orchestra dances and couple of organ works. The Requiem was left for last and, by all accounts, Mozart labored unsuccessfully to finish it from his deathbed, often in great agony. That sad image calls up the most provocative
questions of his biography. Was this suffering really due to illness or was Mozart poisoned? If so, by whom? A bitter rival? The secret commissioner himself?
THE HISTORY – If the mystery surrounding the Requiem sounds like grand fiction, it is because most of it is. First things first: Antonio Salieri did not poison Mozart. No one did. The most credible diagnosis of his fatal sickness was rheumatic inflammatory fever, a condition with symptoms very similar to those mentioned in Mozart’s medical history. Another popular myth concerns the shadowy “gray messenger” who called on Mozart to offer the secret Requiem commission. This man was likely no more “sinister” than a lawyer’s clerk under the employ of Count Franz von Walsegg. The name Walsegg, at last, offers us some certainty. He did commission the Requiem in honor of the recently departed Countess and though he did forbid Mozart to attempt to learn his identity, it was not for the reasons popular history would have us assume. It wasn’t about murder. It was about larceny. Walsegg evidently had a penchant for commissioning works in secret so he could present them later as his own. It was a relatively harmless habit, when compared to a poisoning, and his name came to light soon after Mozart’s death anyhow. Still, Mozart’s wife Constanze had to work on Walsegg for nearly a decade to get him to officially credit Mozart. The incomplete score left the Count and Constanze with a dilemma. Who should complete the Requiem? Mozart’s student Süssmayr had specific instructions from the composer about his musical intentions should the worst come to pass, so he took an early stab at fleshing it out. He was certainly not the last. Many scholars have since tried to improve upon that original effort, including Robert Levin (in 1994), who made changes to the orchestration and added the then recently discovered Amen fugue. Interestingly, the shared and sometimes murky authorship of the complete Requiem did not bother Beethoven, who stated “If Mozart did not write the music, then the man who wrote it was a Mozart.”
THE WORLD – Elsewhere in 1791, the United States ratified the Bill of Rights, the element Titanium by English mineralogist William Gregor, the London Observer was founded and the Champs de Mars Massacre occurred in Paris.
THE CONNECTION – The Mozart Requiem is a popular work. The last Utah Symphony Masterworks presentation came in 2017 under the direction of Thierry Fischer.
VIDEO GAMES LIVE
TUESDAY, APRIL 22, 2025 / 7:30 PM / MAURICE ABRAVANEL HALL
Emmanuel Fratianni , conductor
Emmanuel Fratianni Conductor
Emmanuel Fratianni is a conductor, composer and pianist based in Santa Barbara, California. He is highly regarded as an invaluable team member in music direction for large symphonic multimedia productions and is known for his ability to manage the demands of film sync, musicians, choir, guest artists and audience rapport while never compromising the musical and artistic integrity of the orchestra or production.
Emmanuel Fratianni has conducted many prestigious American ensembles including the San Francisco Symphony, Boston Pops, National Symphony Orchestra at the Kennedy Center, Baltimore Symphony, Dallas Symphony, and Utah Symphony among others, including multi-platinum producer “David Foster and Friends” pops/symphonic program.
Internationally, Emmanuel has guest conducted the Spanish National Symphony, Royal Scottish National Symphony, Czech National Symphony, Malaysian Symphony Orchestra, National Symphony Orchestra of Chile, and the Beijing Opera and Performing Art Orchestra.
Utah Opera mezzo-soprano Resident Artist
Utah Opera’s Resident mezzo-soprano sponsored by Charles Boynton
ABOUT THE MUSICIAN
What first inspired you to become an opera singer? I was in the children’s chorus of Carmen when I was nine or ten, and I remember sitting in the back of the hall during dress rehearsals in complete awe. The way operatic voices work felt like sheer magic to me. I couldn’t believe I could hear the singers as clearly as if they were right next to me— all the way from the top balcony!
How did you choose your instrument, or did it choose you? Vocalists don’t really get to pick our instruments. If I could, I’d be a tenor—no question. But in a way, I did choose to be a performer. My grandfather was an incredible violinist, and I remember listening to him practice the same two measures over and over until they were just right. That kind of meditative diligence—learning to love the process—definitely shaped how I approach my performance practice.
What’s your favorite memory of being a Resident Artist? Each year, the Resident Artists perform in Access to Music, a concert for specifically for people with disabilities who might not otherwise experience live opera and their families. Without a doubt, performing for that audience as a soloist with the Utah Symphony has been one of the most moving
experiences of my career. The sheer joy and connection in that room is something I’ll carry with me forever.
Do you have a pre-performance ritual or tradition? Nothing too elaborate—I just make sure I’ve eaten a bit, I’m well-hydrated, and I’ve gotten 8–9 hours of sleep. I do always have gummy bears in my dressing room—ideally Albanese! They give me a quick energy boost, aren’t messy, and help keep performance anxiety dry mouth at bay.
If you could perform anywhere in the world, where would it be and why?
The Palais Garnier in Paris. It’s one of the most breathtaking opera houses in the world, and it’s where my love of opera truly blossomed as a young person. Performing there would be a dream—not just for its beauty and history, but because it would finally give my extended family, many of whom have never heard me sing live, the chance to be in the audience!
ABOUT HER VOICE
What’s something unique about your voice that most people wouldn’t know?
When I started my undergraduate degree, I was actually a very high coloratura soprano! I still have an unusually high extension—rivaling some sopranos—but that range isn’t comfortable or sustainable for me. Thankfully, I’ve had brilliant teachers who recognized that just because I had those notes didn’t mean my voice was meant to live there.
How long have you been singing, and what drew you to it initially?
I’ve been singing my whole life and have always been drawn to music and storytelling. I joined my first choir around age eight—technically too young for the ensemble, but my mom convinced them to let me in… mostly so she could finally have some peace and quiet at home!
Do you have a favorite piece of music that really showcases your voice/instrument?
One of my favorites for my voice type is “Non più mesta” from Rossini’s La cenerentola. It has everything I love about bel canto—long, lyrical lines, dazzling coloratura—and is sung by my favorite versions of Cinderella in the operatic canon.
Can you describe the relationship between you and your voice/instrument in three words?
Playful. Cathartic. Occasionally oppositional. (Sorry I know that’s four words)
FUN AND PERSONAL
If you weren’t an artist, what do you think you’d be doing instead?
Marine biology, without a doubt! Both of my parents are plant molecular biologists, and I even worked in an entomology lab when I was younger. I’ve always loved tide pooling and am fascinated by marine bioacoustics—so in another life, I’d probably be studying the sounds of the ocean.
What’s a piece of music on your playlist that would surprise people?
The entire How to Train Your Dragon soundtrack. If you want to feel extra heroic on your next run, I highly recommend “Test Flight.”
technically demanding but never frustrating to learn, because it gives me the flexibility to make choices that suit my instrument and my interpretation of the character. It’s always a joy to sing.
What’s your go-to comfort food after a long day of rehearsals or performances?
In-N-Out, no contest. I always order a Double-Double, protein style. Burgers are probably my favorite food, and after hours under hot stage lights, there’s nothing better than cold, crunchy lettuce and something hearty to refuel.
If you could collaborate with any artist (living or not), who would it be and why?
Arturo Toscanini. He actually conducted the premiere of La in 1896, and his recordings are some of my favorites. I’d be elated to learn under his baton—and very curious to hear what he’d have to say about my singing.
OPERA SEASON SPONSOR
PRESENTING SPONSOR
USUO is deeply grateful to the AHE/CI Trust for providing a significant challenge grant in support of this production and to the donors who rose to the challenge with generous matching funds.
PRODUCTION SPONSORS
THE S.J. AND JESSIE E. QUINNEY FOUNDATION & THE JANET QUINNEY LAWSON FOUNDATION
PERFORMANCE SPONSORS
FRAN AKITA & CHRISTINE AKITA SULSER HARRIS & AMANDA SIMMONS
GEORGE SPECIALE
Alan & Carol Agle
Drew Browning
Kent & Martha DiFiore
Barry Eden
Joan Firmage
David & Sherrie Gee
(MAY 9) (MAY 7)
CHORUS SPONSOR
ADDITIONAL SUPPORT PROVIDED BY:
Jarvis Family Trust
Duncan & Irene Lee
Terry & Leah Nagata
Stan & Joyce Parrish
Diana Peterson
Jim & Anna Romano
Dr. Sharon H. Seiner
Joanne Shiebler
JoAnne L. Shrontz Family Foundation
Betty & Steve Suellentrop
Jaelee Watanabe
The creation of this production was made possible in part by the generous donation of Lead Sponsors, Sheila and Christopher Cole
CAROLYN TALBOYS-KLASSEN & TOM KLASSEN
Puccini’s
MADAME BUTTERFLY
MAY 3 (7:30PM), MAY 5 (7:00PM), MAY 7 (7:00PM), MAY 9 (7:30PM), MAY 11 (2:00PM)
JANET QUINNEY LAWSON CAPITOL THEATRE
Composed by Giacomo Puccini with Libretto by Giuseppe Giacosa & Luigi Illica Premiere – February 17, 1904, Milan, La Scala
Previously at Utah Opera – 2014, 2008, 2001, 1993, 1986, 1979 Performed in Italian with English Supertitles (Captions)
CAST
(in order of vocal appearance)
Lt. Pinkerton Eric Taylor
Goro Martin Bakari
Suzuki ........................................... Nina Yoshida Nelsen
Sharpless Nmon Ford
Cio-Cio-San, Madame Butterfly Hiromi Omura
The Imperial Commissioner ............................. Rodney Sharp II*
The Official Registrar Aaron McKone*
The Bonze Zaikuan Song
Prince Yamadori ........................................ Kevin Nakatani
Kate Pinkerton Sarah Scofield*
Trouble please see insert
ARTISTIC TEAM
Conductor Benjamin Manis
Stage Director Matthew Ozawa
Associate Stage Director Anderson Nunnelley
Chorus Director & Assistant Conductor Austin McWilliams
Scenic Designer dots
Costume Designer .................................. Maiko Matsushima
Lighting Designer Yuki Nakase Link
Assistant Lighting Designer Ari Jamieson
Wig & Makeup Designer ...................................Kate Casalino
Principal Coach Carol Anderson
Rehearsal Pianist Jie Fang Goh*
Fight Director ....................................... Christopher DuVal
Stage Manager Kathleen Edwards
Assistant Stage Managers Mickey Acton & Ben Kulwanoski
Supertitle Musician ..................................... Mitchell Atencio
A Co-Production of Utah Opera, Cincinnati Opera, Detroit Opera, and Pittsburgh Opera
Directed by Matthew Ozawa
Scenery Designed by Kimie Nishikawa and dots
Costumes Designed by Maiko Matsushima
Lighting Designed by Yuki Nakase Link
Supertitle Translation created for Cincinnati Opera
The performance run time is approximately 2 hours 50 minutes with 1 intermission
*Current Resident Artist
Martin Bakari (Washington)
Goro
Most Recently at Utah Opera, The Long Walk
Recently:
La traviata, Seiji Ozawa Music Festival
Jubilee, Seattle Opera
Upcoming:
Steele Roots, The Atlanta Opera
The Shining, Nashville Opera
dots (New York City)
Set Design Collective
Utah Opera Debut
Recently:
An Enemy of the People, Floyd Collins, Romeo + Juliet, Oh, Mary!, Appropriate, and The Sign in Sidney Brustein’s Window, Circle in the Square Theatre on Broadway
Kate, Pasadena Playhouse
Kate Casalino (New York)
Wig & Makeup Designer
Most Recently at Utah Opera, Pagliacci
Recently:
Beautiful: The Carole King Musical, Pioneer Theatre Company
Hansel and Gretel, Utah Opera
Upcoming:
Beautiful: The Carole King Musical, Geva Theatre
The Shining, Utah Opera
Nmon Ford (California)
Sharpless
Most Recently at Utah Opera, Florencia en el Amazonas
Recently:
Carmen, English National Opera, Opera Colorado, and Calgary Opera
Madame Butterfly, Cincinnati Opera, Detroit Opera, and Pittsburgh Opera
Pagliacci, Opera North Carolina
Samson and Dalila, Opera Colorado
Yuki Nakase Link (New York)
Lighting Designer
Utah Opera Debut
Recently:
Dialogues des Carmélites, The Juilliard School
Rainbird, Mabou Mines
Così fan tutte, Detroit Opera
Upcoming:
Parsifal, San Francisco Opera
Maiko Matsushima (New York)
Costume Designer
Utah Opera Debut
Recently:
Madame Butterfly, Detroit Opera and Cincinnati Opera
Blood Moon, Prototype Festival/Beth Morrison Projects
Benjamin Manis (Illinois)
Conductor
Most Recently at Utah Opera, The Little Prince
Recently:
The Ghosts of Versailles, Rice University
Carmen, San Francisco Opera
Upcoming:
Of Mice and Men, Houston Grand Opera
The Barber of Seville, San Francisco Opera
Aaron McKone (South Carolina)
The Official Registrar
Most Recently at Utah Opera, Pagliacci
Recently:
Utah Opera Resident Artist
Hamlet, Cincinnati Symphony Orchestra
Madama Butterfly, Opera Naples
Upcoming:
Apprentice Artist, The Santa Fe Opera
The Shining, Utah Opera
Austin McWilliams (Missouri)
Chorus Director
Most Recently at Utah Opera, Pagliacci
Recently:
Associate Conductor & Chorus Master, Opera Grand Rapids
Director of Choral Activities, Aquinas College
Upcoming:
Faculty, Missouri Scholars Academy
Utah Symphony | Utah Opera 2025–2026 Season
Nina Yoshida Nelsen (Indiana)
Suzuki
Most Recently at Utah Opera, The Marriage of Figaro
Recently:
An American Soldier, Perelman Performing Arts Center
Madama Butterfly, Anchorage Opera
Upcoming:
Madama Butterfly, Calgary Opera
Kevin Nakatani (Utah)
Prince Yamadori
Most Recently at Utah Opera, Sweeney Todd
Recently:
The Daughter of the Regiment, Utah Opera
The Pirates of Penzance, Utah Opera
Hiromi Omura (Japan)
Cio-Cio-San, Madame Butterfly
Utah Opera Debut
Recently:
Madama Butterfly, Tokyo Nikikai Opera
Madama Butterfly, Pittsburgh Opera
Upcoming:
Madama Butterfly, Polish National Opera
Matthew Ozawa (Illinois)
Stage Director
Utah Opera Debut
Recently:
Madame Butterfly, Pittsburgh Opera
Romeo and Juliet, Minnesota Opera
Fidelio, Lyric Opera of Chicago
Sarah Scofield (France)
Kate Pinkerton
Most Recently at Utah Opera, Hansel and Gretel
Recently:
Utah Opera Resident Artist
Thaïs, Utah Opera
The Little Prince, Utah Opera
Eric Taylor (Utah) Lt. Pinkerton
Utah Opera Debut
Recently:
Carmen, Jacksonville Symphony
Roméo et Juliette, Palm Beach Opera
Madama Butterfly, Pittsburgh Opera
Rodney Sharp II (Texas)
The Imperial Commissioner
Utah Opera Debut
Recently:
Utah Opera Resident Artist
Messiah, Utah Symphony | Utah Opera
Gianni Schicchi, Miami Music Festival
Upcoming:
The Shining, Utah Opera
Fidelio, Utah Opera
The Charles Boynton Resident Mezzo-Soprano
Zaikuan Song (China)
The Bonze
Utah Opera Debut
Recently:
The Big Swim, Asia Society Texas Center
Verdi’s Requiem, National Philharmonic, Opera Orlando
Turandot, Opera Delaware
Lucia di Lammermoor, Opera Orlando
UTAH OPERA CHORUS
Sopranos
Lauren Cartwright Bohannan
Anadine Burrell
Genevieve Gannon
Karllen Johnson
April Meservy
Heather Perry
Katie Sullivan
Altos
Natalie Easter
Paula Fowler
Melissa James
Rebecca Keel
Julie McBeth
Dawn Veree
Valerie Wadsworth
Tenors
Dyson Ford
Ryan Francis
Samuel Lorenzo Gilbert
Elijah Hancock
Lucas Henry Proctor
Carson Smith
Carl Wadsworth
SUPERNUMERARIES (See Insert)
UTAH’S WEEKLY POLITICAL ROUNDUP
RELEASING BUTTERFLY
By Matthew Ozawa Stage Director of Madame Butterfly
As we allow ourselves to become immersed in the fantasy of Japan portrayed in Puccini’s Madame Butterfly, it’s illuminating to consider through whose lens we are viewing this opera. What experiences, perspectives, histories, and biases do we bring with us as we engage with Butterfly’s story?
When I investigate my own lens, I see that mine represents the East-West conflict that is core to Madame Butterfly I am biracial – the son of a Caucasian mother and a Japanese father. I am an American whose family was interned during World War II. I grew up in Asia but spent holidays in California. I have spent most of my professional life devoted to the Western art form of opera, though I am often one of the only artists of color in the spaces where I work. I have loved Western classical music as much as I have loved Eastern art forms. Like Butterfly, I have yearned for acceptance but never felt truly at home in any single culture or place.
Butterfly has spent most of her existence seen through the lens of Western white men. Her story was first told by French novelist Pierre Loti, and it then passed successively to American writer John Luther Long, American playwright
David Belasco, and Italian composer Giacomo Puccini. Likewise, so many of the Butterfly productions we have enjoyed throughout history have presented her story primarily through a white male lens. This fantasy of Japan has been created not by those whose culture is meant to be represented in the opera—namely, Japanese people and, in particular, Japanese women—but by those who, in many cases, have had no direct connection to Japan. Has this tradition had an impact on those whose story Madame Butterfly has actually meant to represent? I believe it has.
This new production of Madame Butterfly reclaims the opera’s narrative through the lens of an entirely Japanese and Japanese American creative team and amplifies the voices of an entirely female Japanese design collective. Together, we have grappled with the challenges of presenting this work for diverse American audiences. Just as Butterfly is trapped with little agency in the opera, we as Asian Americans have been trapped by many of the traditional depictions of Butterfly’s story. We seek now to release this opera’s wings for all to experience anew. To do this, we own that the fantasy of Butterfly that we have come to love is a Western fantasy. Instead of pretending that Butterfly is representative of our Japanese American identity, our production aims to amplify that her story has been seen through the lens of a white man, Pinkerton.
For me, Madame Butterfly is an opera I have spent 20 years studying and directing. I have deep love for this work, but it has simultaneously made me, as an Asian American, feel ostracized, and I have felt a duty to reclaim its narrative. With this new production, we aim to acknowledge that there are many ways to view this opera. Our hope is that this journey enables our empathy to be open to the impact we have on each other, and the need for a more compassionate understanding of perspectives outside our own. May the voyage into this production’s fantasy capture your senses, sweep you up in the music’s emotional power, and awaken your own lens.
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.
Do you have any questions or comments about tonight which you would like to ask or share?
Please join Artist Director, Christopher McBeth and special guests in the Capitol Room after each performance for a Q & A session.
STORY OF THE OPERA
ACT I
In the present day, B.F. Pinkerton enters his apartment and dons a VR headset to escape into a fantasy. Within moments, he rejoins a game which transports him to Nagasaki, where he embodies his avatar as a U.S. Navy lieutenant. He inspects a house that he will occupy with his young bride, Cio-Cio- San (a.k.a. Madame Butterfly). Sharpless, the U.S. Consul, arrives, and Pinkerton shares his vision of a sailor in search of pleasure and the beautiful Japanese girl who has captivated him. Sharpless tries to warn him of this view, but Pinkerton laughs, toasting the American girl who will someday be his “real” wife.
Butterfly, her colleagues, and family arrive for the wedding. She tells Pinkerton that since her father’s death, she now earns her living as a geisha. She also has secretly converted to Christianity. The Imperial Commissioner performs the marriage ceremony. Then, Cio-Cio-San’s uncle, the Bonze, bursts in. He curses her, inciting the crowd. Protecting Butterfly, Pinkerton orders the guests away. Butterfly weeps and her new husband consoles her. As night falls in this pleasure fantasy, the lovers share a moonlit duet.
ACT II
Three years later, modern-day Pinkerton and his American wife have grown distant. His only means of escape is through gaming, where he can manipulate his Japanese bride’s future. In the virtual world, Cio-Cio-San patiently waits for him. Her servant Suzuki implores the gods for aid,
but Butterfly bids her to have faith—one day, Pinkerton will return and embrace his wife again.
Sharpless enters with a letter telling of Pinkerton’s marriage to an American. Before he can tell Butterfly, Goro interrupts along with a suitor, Prince Yamadori. Cio-Cio-San refuses his marriage proposal. She brings forth her young son, Trouble, and insists that as soon as Pinkerton knows of him, he will return. If not, she would rather die.
A cannon roars from the harbor, and Butterfly discovers Pinkerton’s ship coming into port. She and Suzuki strew the house with blossoms. As evening falls, she prepares to keep vigil through the night.
ACT III
Modern-day Pinkerton turns off the game and goes to bed. In the middle of the night, the game turns on, luring him back to play the next level, where he chooses how he will impact Butterfly’s destiny. Pinkerton chooses an American wife avatar, Kate. As the level continues, Butterfly still waits, though Suzuki persuades her to rest. Soon, Sharpless, Pinkerton and Kate arrive. Suzuki realizes who the woman is and reluctantly agrees to inform Butterfly. Pinkerton, now aware of Butterfly’s devotion, bids an anguished farewell and rushes away. Cio-Cio-San hurries in expecting to find her husband, and instead finds Kate. She instantly guesses the truth and touchingly wishes Kate happiness. She says that Pinkerton may have his son if he will return for him.
Butterfly orders Suzuki and Trouble away. She has no choice but to escape this nightmare, and she pulls out the dagger with which her father committed suicide. As she raises the blade to her throat, Trouble appears. Cio-Cio-San drops the knife and embraces him. She then blindfolds him, takes the dagger, and stabs herself. As the fantasy dies, Pinkerton desperately tries to hold onto his creation, Butterfly.
SYMPHONY | UTAH OPERA WELCOMES THE LEAGUE OF AMERICAN ORCHESTRAS TO SALT LAKE CITY
By Megs Vincent
Utah Symphony | Utah Opera (USUO) is thrilled to announce that Salt Lake City will host the League of American Orchestras 2025 National Conference from June 11–13, 2025. This prestigious event brings together orchestra professionals from across the country for three days of collaboration, innovation, and artistic inspiration. For the first time in its history, USUO will welcome hundreds of industry leaders to experience firsthand what makes Utah’s musical landscape and cultural scene so extraordinary.
The Premier Status of Our Orchestra
Hosting the League of American Orchestras National Conference is not just an opportunity to showcase our organization—it is a recognition of the Utah Symphony’s status as a premier orchestra of the nation. As one of only 17 full-time, 52-week orchestras in the United States, the Utah Symphony holds a rare and distinguished position in the industry. This ensures that we’re able to attract the top talent of the classical music industry and enable our musicians to perform at the highest level year-round, delivering artistic excellence to audiences across Utah and beyond.
“We are excited to welcome our colleagues from across the country to Salt Lake City for the 2025 League of American Orchestras’ National Conference,” said Utah Symphony | Utah Opera President and CEO Steve Brosvik. “This city, nestled in the heart of the Intermountain West, is one of the fastest-growing in the United States and offers an extraordinary blend of natural beauty and urban charm. We can’t wait to showcase the exceptional musicianship of our orchestra, the warmth and hospitality of our community, and the stunning landscapes of our state—elements that make Utah’s arts scene truly one-of-a-kind.”
Showcasing Utah’s Musical Excellence
USUO’s legacy is built on a commitment to artistic excellence, innovation, and accessibility. Under the baton of newly appointed Music Director Designate Markus Poscher, the
orchestra continues to push boundaries while maintaining its deep-rooted tradition of symphonic mastery. The Utah Symphony’s ambitious programming spans from timeless masterworks to groundbreaking contemporary compositions, ensuring a dynamic and engaging experience for all audiences.
In addition to Utah Symphony’s performances, Utah Opera plays a crucial role in elevating the region’s cultural offerings. With a season that blends beloved classics with innovative new productions, Utah Opera remains a pillar of artistic excellence and a vital part of the local and national opera scene.
At the Heart of SLC
Beyond the concert hall, Salt Lake City provides a stunning backdrop for the League of American Orchestras’ National Conference. Nestled between the Wasatch Mountains and the Great Salt Lake, the city offers a unique blend of natural beauty and urban sophistication. Visitors will have the opportunity to explore world-class museums, vibrant dining scenes, and historic landmarks, all within walking distance of USUO’s home at Maurice Abravanel Hall.
Salt Lake City’s thriving arts scene extends far beyond the symphony and opera. The city is home to numerous performing arts organizations, galleries, and cultural festivals, making it a premier destination for music lovers and creative minds alike. With its renowned hospitality and breathtaking surroundings, Salt Lake City provides the perfect setting for orchestra professionals to gather, allowing them to not only exchange ideas, but to also be inspired by the stunning location.
The 2025 National Conference
The 2025 National Conference will feature a diverse lineup of discussions, workshops, and performances, all designed to address the evolving needs of orchestras today. From artistic innovation to building strong sustainable organizations that serve their communities, this conference will help shape the future of the orchestral industry.
One of the most anticipated highlights of the conference is the chance for attendees to experience the Utah Symphony in live performance. Under the direction of Music Director Emeritus Thierry Fischer, the orchestra will weave a rich tapestry of sound, blending works by composers from diverse backgrounds. This thoughtfully curated program not only reflects the symphony’s commitment to inclusivity and innovation but also broadens the scope of orchestral music by showcasing lesser-known yet globally significant compositions. For visitors, it is a rare opportunity to witness firsthand the depth of talent, passion, and artistry that define the Utah Symphony.
As Salt Lake City prepares to welcome the League of American Orchestras, Utah Symphony | Utah Opera looks forward to sharing the best of our organization, our city, and our music. This conference is not just about celebrating orchestras—it’s about envisioning their future, and there’s no better place to do that than here in Utah.
ABOUT THE MUSICIAN
What first inspired you to become a pianist?
I was introduced to the whole new world of collaborative music-making back in 2018 when I was hired as a pianist for the Baylor Theater Department and did an international piano duo tour with my best friend the same year. It was then that I discovered that making music with others can be such a fun, powerful, and gratifying experience and started to explore the possibilities of a career in collaborative piano.
Through the years, I find myself gravitating towards vocal collaboration and enjoy my time working with singers. I was drawn to opera not only because of the passion and drama that lives in the music and text, but also the way it is able to bring together diverse creative forces and art forms to build worlds and tell stories.
How did you choose your instrument, or did it choose you?
I had never touched a grand piano my entire life until I began my studies abroad in the United States when I was nineteen. There was this Baldwin concert grand in the school’s choir room that I had an immediate connection with after playing on it for the first time. I loved how sensitive the keys felt under my fingers and the variety of beautiful tones that I was able to summon from it. I would
practice on it obsessively almost every day until the janitor kicked me out late at night. That fateful encounter more or less planted the idea of majoring in music in my mind back then.
What’s your favorite memory of being a Resident Artist?
I really enjoy touring around Utah with my colleagues to bring opera and classical music to students and communities around the state. A late bloomer as a musician, I find great joy and meaning sharing the beauty of classical music and opera outside of the concert hall with people who might be experiencing these art forms for the very first time.
Do you have a pre-performance ritual or tradition?
Not really. Just doing one at a time and try to be wellprepared enough to free myself up to be in the moment and enjoy the ride as much as I can.
If you could perform anywhere in the world, where would it be and why?
I would love to perform with the Utah Symphony someday in a solo, piano duo, or orchestral piano capacity. The people of Utah are fortunate to have a world-class orchestra in residence that performs an incredible range of repertoire to a very high-level week-in, week-out. The acoustics in Abravanel Hall are incredible and it would be a once in a lifetime experience to be making music with the orchestra in there.
ABOUT YOUR INSTRUMENT
What’s something unique about your instrument that most people wouldn’t know?
Every piano is different in terms of build, touch, and sound. As we perform at various places around the state, I play on different instruments with their own unique characteristics that I need to get acquainted with on the fly, even if they all have the same 88 keys.
Do you have a favorite piece of music that really shows off your instrument?
I had a great time studying the music for the two upcoming Utah Opera productions of Pagliacci and Madame Butterfly Both are incredible masterworks that showcase the kaleidoscopic range of colors and expressive possibilities of a large orchestra. To be able to successfully emulate these orchestral effects on the keyboard alone with just ten fingers showcases the ingenuity of the opera pianist and the versatility of the piano as an instrument.
Can you describe the relationship between you and your voice/instrument in three words? Life, love, liberty
FUN AND PERSONAL
If you weren’t a musician, what do you think you’d be doing instead?
Probably something related to science and technology since I was into that before making the switch to music after coming to this country. However, music is my life now and it is hard to imagine doing anything else.
Do you have a favorite composer or musical era?
I feel it would be unfair to pick one among many that I admire, and they are all so different from each other. So,
I would say anything that I am performing or working on at the moment is my favorite.
What’s your go-to comfort food after a long day of rehearsals or performances?
Hotpot is my number one comfort food. I am delighted to discover that Salt Lake City actually has a vibrant hotpot scene.
If you could collaborate with any artist (living or not), who would it be and why?
My best friend and pianist, Alexander Kostadinov. I believe we offer something unique as a duo since we trust each other fully and have a special connection while playing together. Life happens and we live at different places now, but I hope we will be able to bring LexGoh Piano Duo back to life again in the near future.
THE NEXT 25 YEARS
How We Get From Here to There
By Jeff Counts
As the last notes of Randall Goosby’s 25th Anniversary performance fade into the growing collective memory of the Evelyn Rosenblatt Young Artist Award, we can now begin to dream about the future of this extraordinary gift and imagine all the spectacular concerts to come. Ponder this, if you dare—it is entirely possible that the person who will be honored during the 50th Anniversary Season has not even been born yet! It is a humbling responsibility, and honor, to be entrusted with making sure this celebration of youth and genius is still going strong in the year 2050. And if 50 years seems like a daunting span of time to sustain something so contingent upon visionary constancy, remember that we are already halfway there, and that the seeds for the next 25 have been planted.
In the earlier article about the “Ripple Effect” of legacy philanthropy, I invoked the idea of a pond and how a stone of generosity sends waves not only outward but inward back to the hand of the thrower. It’s a simple idea. What started with Jospeh and Evelyn Rosenblatt was continued by their children Norman, Stephen, Toby and Mindy, and will be sustained by their grandchildren in due course. If the theory holds beyond them, future generations will take it up with pride and the history this incredible family has built with Utah Symphony will flourish indefinitely. You see? Simple, and effective. But don’t just take my word for it. Let’s hear from the Rosenblatts themselves…
“The connections with the Utah Symphony run through decades with our family. I remember growing up with my mother Evelyn playing piano at our home, she and my father Joseph attending the concerts and taking me along; I remember their engagement with the Utah Symphony Board and the Guild; their close friendship with Lucy and Maurice Abravanel; the post-concert soirées at home entertaining the renowned soloists. For us endowing the Evelyn Rosenblatt Young Artist Award has brought wonderful memories and, as well, joy in support of the Utah Symphony and its contribution to cultural excellence in Utah.”
~ Toby Rosenblatt (son of Evelyn and Joseph and manager of the Rosenblatt Charitable Foundation)
FEATURE – THE EVELYN ROSENBLATT YOUNG ARTIST AWARD
“Some of my earliest memories include being taken to hear the Utah Symphony perform Peter and the Wolf It felt like a little magic that Maurice Abravanel and this group of people were able to bring the story and the animals alive. This was just the first of countless performances I attended growing up. I didn’t realize until I was older how lucky I was to have music be such an important part of my life. My grandmother, Evelyn, and my dad, Norman made music the background to living our daily lives. Having their love of music and the Symphony, in particular, live on in the legacy of the Evelyn Rosenblatt prize is something we revisit with pride when we are able to hear the young musicians play every year.”
~ Darcey Rosenblatt
(oldest grandchild of Evelyn and Joseph Rosenblatt)
“Music, especially from the Utah Symphony, was an allencompassing part of my grandparent’s lives. It helped shape the way they, and eventually the rest of the family, viewed the world. Art and music are an imperative part of life and people’s well-being; without them, we’d live in a world of transactions instead of one with limitless potential joy. Every year, the Evelyn Rosenblatt Young Artists Award performance reminds me of that important fact and helps me continue to find the right balance in life.”
~ Adam Rosenblatt (youngest grandchild of Evelyn and Joseph Rosenblatt)
It is clear from these sentiments that the path forward to the next 25 years is not only clearly identified, it is cherished. The fundraising world is full of technical words like “INSTITUTIONAL” and “STEWARDSHIP” and “LYBUNTS” (look that one up for a laugh). I’ve used them many times myself. They help us keep track of highly complex webs of activity. But these terms can, if we are not careful, dull our senses to the brightness of the PEOPLE involved by sorting them into useful data sets. Utah Symphony understands this fully, and with gratitude. The Rosenblatts were and are PEOPLE, reallife humans who chose to not only respond to the art in their community but to help provide ways to guarantee it.
They did this with their money, of course, but that’s only part of this 25th Anniversary story. Read those three quotes again and you will understand that the truest measure of benevolence is belief. I’m talking about deep and sincere belief, born of direct, meaningful experience and the courage to think in very long arcs. That’s how we will get from 25 to 50. With people. Generous, thoughtful, indomitable people.
So, Rosenblatt Family, we must say it again today. It won’t be the last time. Thank you, thank you, thank you, for the Evelyn Rosenblatt Young Artist Award. May it live forever.
Saint-Saëns’
PIANO CONCERTO NO. 2
CIRQUE CINEMA
& Mozart’s “Haffner” Symphony
FRIDAY, MAY 16, 2025 / 10:00 AM / MAURICE ABRAVANEL HALL (FINISHING TOUCHES)
CONCERT SPONSOR
FRIDAY, MAY 16, 2025 / 7:30 PM / MAURICE ABRAVANEL HALL
Featuring Troupe Vertigo
SATURDAY, MAY 17, 2025 / 5:30 PM / MAURICE ABRAVANEL HALLL
JULY 31 / 2024 / 8 PM
CHRISTOPH KONCZ , conductor
COSETTE JUSTO VALDÉS , conductor
MOZART
ALESSIO BAX , piano
SAINT-SAËNS
BARTÓK
JESSICA DANZ , horn
UTAH SYMPHONY
Symphony No. 35 in D, K. 385 (Haffner) (17’)
I. Allegro con spirito
II. Andante
III. Menuetto - Trio
IV. Presto
Piano Concerto No. 2 in G minor, Op. 22 (23’)
I. Andante sostenuto
II. Allegro scherzando
III. Presto
INTERMISSION
Concerto for Orchestra (35’)
I. Introduzione: Andante non troppo - Allegro vivace
II. Giuocco delle coppie: Allegretto scherzando
III. Elegia: Andante non troppo
IV. Intermezzo interrotto: Alletretto
V. Finale: Pesante - Presto
ORCHESTRA SPONSOR
FINISHING TOUCHES SPONSOR
Christoph Koncz Conductor
Austrian conductor Christoph Koncz is highly acclaimed, and this season marks his second as Music Director of Orchestre Symphonique de Mulhouse, while he continues his tenure as Principal Conductor of Deutsche Kammerakademie Neuss am Rhein. His highlights thus far have included collaborations with Swedish Radio Symphony Orchestra, Orchestre de la Suisse Romande, Dresden Staatskapelle, Orchestre de Paris, Mahler Chamber Orchestra, hr-Sinfonieorchester Frankfurt, London Symphony Orchestra, Philharmonia Orchestra, and City of Birmingham Symphony Orchestra. This upcoming season, he returns to the Hong Kong Philharmonic Orchestra and the Orchestre Métropolitain de Montréal. He will also conduct the Symfonieorkest Vlaanderen with Johannes Moser, Orchestra Sinfonica di Milano, and make his debut with Israel Philharmonic Orchestra. He is passionate about expanding the classical music repertoire, often championing works by lesser-known composers.
Combining exceptional lyricism and insight with consummate technique, Alessio Bax is without a doubt “among the most remarkable young pianists now before the public” (Gramophone). He catapulted to prominence with First Prize wins at both the 2000 Leeds International Piano Competition and the 1997 Hamamatsu International Piano Competition and is now a familiar face on five continents as a recitalist, chamber musician, and concerto soloist. He has appeared with over 150 orchestras, including the New York, London, Royal, and St. Petersburg Philharmonic Orchestras, the Boston, Baltimore, Dallas, Cincinnati, Seattle, Sydney, and City of Birmingham Symphony Orchestras, and the Tokyo and NHK Symphony in Japan, collaborating with such eminent conductors as Marin Alsop, Vladimir Ashkenazy, Sir Andrew Davis, Hannu Lintu, Fabio Luisi, Sir Simon Rattle, Ruth Reinhardt, Yuri Temirkanov, and Jaap van Zweden.
GUEST ARTIST SPONSOR
Alessio Bax Piano
By Jeff Counts
Symphony No. 35 in D Major, K. 385 (“Haffner”)
Duration: 17 minutes in four movements.
THE
COMPOSER
– WOLFGANG AMADEUS MOZART
(1756–1791) – Mozart’s departure from Salzburg in the early 1780s created a troubling rift with his father, one young Wolfgang was too busy to mitigate with more than some alternately deferential and frustrated letters. Wolfgang’s squabbles with his employers had led to his firing in 1781, a situation he might have enjoyed more if it hadn’t made his father so anxious and angry. A dutiful and sometimes practical son, Wolfgang wanted to be back in Leopold’s good graces, if only to deflect his intense scrutiny. But with the huge success of The Abduction from the Seraglio, other pressing commissions and an impending wedding to Constanze, the composer was burning the candle even more quickly than usual.
THE HISTORY – Mozart Sr. broke the ice a bit in 1782 with word of a request from home for a celebratory composition. Salzburg’s Mayor Sigmund Haffner was to be granted nobility, and he wanted new music by his city’s favorite son to be performed at the ceremony. Though overwhelmed by his numerous existing commitments, Mozart agreed to take on the project, due in no small part to the prospect of detente with his father. The turn-around time was quick, but Mozart promised to work as briskly as possible without allowing haste to affect the result. He kept his word, but just barely. It took him up to the last moment to complete the score and the music he sent home to honor Haffner was not the symphony we know today. In fact, it wasn’t a symphony at all. The Serenade (as it was originally constructed) was performed that August and Mozart didn’t give it much thought again until the following February. With an impending Vienna concert series set to feature his own works, Mozart was in need of a new symphony. Like so many of his projects during this period, it would have to be done quickly, so he wrote to his father and asked that the Serenade score be returned in hopes that he might renovate it for the purpose. This the composer did with relative ease (by removing two of the original movements and expanding the orchestra) and great success, though once again he had to work with supernatural speed since Leopold took his huffily sweet time sending the materials to Vienna. No harm done, in the end. Or at least no new harm. For all the thorny familial tiptoeing and compressed timelines, the dazzling “Haffner” Symphony bears no scars. Mozart himself was quite pleased with the piece, and a little surprised by it. “My new Haffner symphony has positively amazed me,” he
wrote to Papa, “for I had forgotten every single note of it.”
THE WORLD – Elsewhere in 1783, the American Revolutionary War ended with the Treaty of Paris, the country of Georgia became a protectorate of Russia and The Great Meteor cut its historic path across the Northern European sky.
THE CONNECTION – The “Haffner” Symphony was most recently performed by Utah Symphony in 2016. Rei Hotoda conducted.
Concerto No. 2 in G Minor for Piano and Orchestra, op. 22
Duration: 23 minutes in three movements.
THE COMPOSER – CAMILLE SAINT-SAËNS (1835–1921) – Life was proceeding nicely for Saint-Saëns in the 1860s. He was comfortable financially and enjoyed a position of prominence in the artistic circles of Paris thanks to his handful of prize-winning compositions and widely respected skills as a pianist and organist. Saint-Saëns also held a teaching position at the Ecole Niedermeyer (he replaced the school’s namesake in 1861) and was reportedly a great source of intellectual inspiration for his students. In fact, those who knew him much later in his life might have been surprised to learn that he often courted scorn at work by exposing his pupils to the “modern” excesses of Liszt and Wagner.
THE HISTORY – Russian pianist Anton Rubenstein was performing on a series of concerto concerts in Paris in 1868 (under the baton of Saint-Saëns) when he mentioned a desire to reverse roles and conduct a program with Saint-Saëns as soloist. The novel idea of changing stage positions was very appealing to the Frenchman, and it offered a “two birds one stone” opportunity. The hall was not available again for a few weeks, so Saint-Saëns seized the chance to suggest the composition of a new work. Rubenstein was game, so Saint-Saëns hurriedly put together the 2nd Concerto. The premiere did not go very well, partly because Saint-Saëns had not budgeted much time for practice in his rush to complete the score but also due to unpredictable swings of mood in the music that left the audience a bit baffled. One famous critical quote from the evening came from fellow pianist and composer Sigmond Stojowski, who claimed that the
concerto “began with Bach and ended with Offenbach.” A pithy remark to be sure, intended to call out something inconsistent about the music, but perhaps not such a damning indictment on closer inspection. There is a Bach-like atmosphere as the work opens and there is an abrupt shift of temperament into the scherzo, but it feels more like the other side of the same coin than any crime of disconnection. The fleet and frantic finale only serves to confirm a certain delightful totality despite the concerto’s quick-change antics. Saint-Saëns was never shy in his opinions, and he would become quite the conservative killjoy in his later years, when music by Debussy and Stravinsky regularly ruffled his traditionalist feathers. In 1868, however, he was still the good-spirited man of the hour, his hour, and the 2nd Concerto reflects his active and effortlessly witty mind. It remains one of his most popular works and is certainly the most adored of his five concertos. Saint-Saëns loved it too and continued to perform it throughout his long life on stage.
THE WORLD – Elsewhere in 1868, Liechtenstein disbanded her army and declared permanent neutrality, Siam’s King Rama IV died, Cuba’s ten-year war with Spain began and Fyodor Dostoyevsky published The Idiot
THE CONNECTION – The 2nd Concerto of Saint-Saëns was performed most recently by the Utah Symphony in 2017. Thierry Fischer was on the podium and Louis Lortie was soloist.
Concerto for Orchestra
Duration: 35 minutes in five movements.
THE COMPOSER – BELA BARTOK (1881-1945) – With the situation in Europe worsening by the day, Béla Bartók sent many of his most important scores abroad and then reluctantly emigrated to the United States in 1940. As an outspoken critic of fascism, the freedom in his perceived circle of safety had disappeared as Hungary’s nationalistic government attempted to silence him. Once settled in New York, Bartok began to suffer the first symptoms of his long undiagnosed leukemia that would take him so quickly. He was never fully at home in America (he felt just as underappreciated there as he had in Hungary), but it would
be here that he received the 1943 commission that would forever define his place as a 20th century orchestral titan.
THE HISTORY – The new work, a Concerto for Orchestra (commissioned by Serge Koussevitsky in memory of his recently deceased wife Nathalie), premiered in Boston the following season and would become Bartók’s most popular and important masterpiece. Sadly, it was one of the last pieces he would complete before succumbing to his illness in 1945. In the end, it was a monument not just to Nathalie Koussevitsy, but to himself, and it is a pity Bartók never experienced the Concerto’s ascendance to the first rank of 20th century compositions. He didn’t necessarily break new ground with his version of the non-symphony since Hindemith and Kodaly had each already written a Concerto for Orchestra in the previous two decades. It was Bartók, however, who brought a level of perfection to the form and whose masterwork still serves as its finest example. The piece is structured as a large palindrome and Bartók himself often spoke to his Concerto’s “tendency to treat the single instruments and instrument groups” in a “soloistic manner.” Indeed, the writing is highly virtuosic, and every section of orchestra is featured expertly at a time when American orchestral talent was burgeoning under the leadership of many imposing European maestros. “The general mood of the work represents,” he wrote in a brief program note for the premiere, “apart from the jesting second movement, a gradual transition from the sternness of the first movement and the lugubrious death-song of the third, to the life-assertion of the last one…” With all the Bartók hallmarks on display – the depthless well of melodic ingenuity, the rhythmic vitality, the formal creativity, the scathing wit (refer here to the “jesting” Bartok mentions in his note and the Shostakovich parody that “interrupts” the Intermezzo movement) – this is the work of a genius who was in total, effortless possession of his skills. Not one note is out of place.
THE WORLD – Elsewhere in 1944, Mount Vesuvius erupted, the “Great Escape” from Stalag Luft III occured, the United Negro College Fund was founded in America and Iceland’s issued its final declaration of independence from Denmark.
THE CONNECTION – The Concerto for Orchestra has been a favorite of Music Directors and Guest Conductors alike at Abravanel Hall. Maestro Ilan Volkov conducted it most recently in 2014.
Berlioz’s
SYMPHONIE FANTASTIQUE
FRIDAY, MAY 23, 2025 / 7:30 PM / MAURICE ABRAVANEL HALL
SATURDAY, MAY 24, 2025 / 7:30 PM / MAURICE ABRAVANEL HALL
MARKUS POSCHNER, conductor (Utah Symphony’s Music Director Designate)
CHARLES YANG, violin
UTAH SYMPHONY
KRIS BOWERS
Violin Concerto - For a Younger Self (27’)
I. Moderato ma non troppo
II. Larghetto (gently)
III. Presto (with ease and confidence)
INTERMISSION
BERLIOZ
Symphonie fantastique (49’)
I. Reveries and Passions: Largo - Allegro agitato e appassionato assai
II. A Ball: Waltz - Allegro non troppo
III. In the Country: Adagio
IV. March to the Scaffold: Allegretto non troppo
V. Dream of the Witches’ Sabbath: Larghetto - Allegro
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This evening we are honored to recognize musicians who’ve reached specific milestones with USUO during this 2024-25 season. We are grateful to the O. C. Tanner Company for providing tangible mementos of these milestones which express the sincere appreciation we have for our wonderful musicians and their service to our community.
Markus Poschner Conductor
Utah Symphony Music Director Designate
Since taking over as principal conductor of the Bruckner Orchestra Linz in 2017, Markus Poschner and the top Austrian ensemble have been delighting audiences and the international press alike. His vision is to find new Bruckner interpretations. 2020 Bruckner Orchestra Linz was named “Orchestra of the Year” and himself “Conductor of the Year” in Austria.
Since winning the German Conductors Award, Markus Poschner has made guest appearances at many internationally renowned orchestras and opera houses, including Staatskapelle Dresden, Bamberger Symphoniker, Munich Philharmonic Orchestra, Dresden Philharmonic, The Konzerthausorchester Berlin, RSB Berlin, Radio Symphony Orchestra Vienna, The Wiener Symphoniker, Orchestre National de France, Orchestre Philharmonique de Radio France, Netherlands Philharmonic, Antwerp Symphony Orchestra, NHK Tokio, Utah Symphony Orchestra, Dallas Symphony Orchestra as well as being present at Opera houses in Berlin, Hamburg, Frankfurt, Stuttgart and Zurich.
GUEST ARTIST SPONSOR
Charles Yang
Violin
Grammy Award-winning violinist Charles Yang is the recipient of the 2018 Leonard Bernstein Award and has been described by the Boston Globe as a musician who “plays classical violin with the charisma of a rock star.”
A compelling vocalist, crossover artist, and improviser, he is a member of Time for Three, an eclectic, freewheeling string trio that locates itself at the busy intersection of Americana, modern pop, and classical music. In 2023, the group received a Grammy Award in the category of Best Classical Instrumental Solo for its recording of Letters for the Future, featuring the music of Kevin Puts and Jennifer Higdon with the Philadelphia Orchestra and conductor Xian Zhang.
A Juilliard graduate, he began his violin studies with his mother, Sha Zhu, in Austin, Texas, before working with Kurt Sassmannshaus, Paul Kantor, Brian Lewis, and Glenn Dicterow.
Charles performs on the 1852 “ex-Soil” J.B. Vuillaume.
By Jeff Counts
For A Younger Self (Violin Concerto)
Duration: 27 minutes in three movements.
THE COMPOSER – KRIS BOWERS (b. 1989) – Known primarily for his film and prestige television scores, Kris Bowers has written award-winning music for titles like Green Book, King Richard, The Color Purple, Bridgerton and The Wild Robot. Bowers’ parents, both veterans of the entertainment business, began exposing him to music at a very early age. He studied jazz at the Colburn School and got two degrees from Juilliard before launching a genre-breaking career that included performances with everyone from Jay Z to the Alvin Ailey American Dance Theater. A few years ago, Bowers was selected to participate in a unique project that commissioned film composers to write concert works.
THE HISTORY – In the wonderfully personal note he wrote for the Los Angeles Philharmonic premiere of For A Younger Self, Bowers lays out the programmatic architecture of the music: “This being my first concert work for orchestra, the shape and sound of the piece began to unravel throughout the composition process. Having learned so much about storytelling as a film composer, I wanted to see if I could convey a narrative through the shape and pacing of this piece. Using Charles [Yang, the work’s dedicatee] and his violin as the protagonist, I wondered if there was a way for me to follow the format of The Hero’s Journey while at the same time adhering to the rules and traditions of the violin concerto. When we meet our hero at the beginning of the piece, he is somewhat melancholic and timid, and pretty soon we feel he is almost being pushed around by the orchestra. The orchestra represents life in this way, and can be both the bully and the mentor. So we go back and forth between these moments of chaos and anxiety, to these gentler sections that represent the pining for tranquility, nostalgia, love, etc. The second movement is a moment for our protagonist to finally have that moment of peace and reflection. It’s in this movement that we hit our ‘Mid-Point,’ and our hero finally takes control of the narrative. He is now driving the orchestra, flowing through with much more ease and acting from a place of love rather than fear. Lastly, we reach the climactic final movement in which the hero and what he’s learned is put to the test, and the ease in which he exhibits his self-confidence and assuredness amidst the chaos is on full display.” Bowers closes his essay with the heartfelt sentiment, “On some level, writing this piece became a way to send a message to the younger version of myself, in terms of finding a way to maintain balance and inner peace in this chaotic and troubling world, and also as a way to
encourage and celebrate my curiosity and love for so many types of music.”
THE WORLD – Elsewhere (everywhere) in 2020, we went inside and stayed there, but also…Harry and Meghan quit the royal family in Great Britain, historic brushfires raged across Australia and a foreign language film (“Parasite” –South Korea) won the Oscar for Best Picture.
THE CONNECTION – These concerts represent the Utah Symphony premiere of Kris Bowers’ For A Younger Self
Symphonie fantastique, op. 14
Duration: 49 minutes in five movements.
THE COMPOSER – HECTOR BERLIOZ (1803-1869) – Berlioz won the Prix de Rome in 1830, and the honor did much to confirm him in Paris as a composer of considerable merit and ingenuity. The Prix, mentioned often in music biographies, was a prestigious French scholarship for artists with winners like Debussy, Lili Boulanger, Gounod, Bizet and Massenet. A central requirement of the award was an extended relocation to Italy and for Berlioz, this meant departing from France just as he was gaining significant momentum in his professional life. His personal life was also flourishing, and a passionate relationship with a 19-year-old named Camille Moke took up a lot of his attention at the time.
THE HISTORY – Their betrothal would not survive the Italian sojourn as their courtship proved much less solid than Berlioz thought. He hadn’t been gone long when he discovered that Camille had left him for another. Berlioz was so instantly and completely enraged that he set immediately to planning their murder and his own suicide. Though initially quite serious about the matter (he traveled back as far as Nice), he did not ultimately carry out the plot. The emotional temperature displayed in the reaction to Camille’s betrayal is illustrative of the wild imagination that made the Berlioz’ music so startling at times. Symphonie fantastique, for example, was among the rush of Paris premieres Berlioz gave in 1830 just before he left for Rome and, to some in the audience, it must have sounded every bit as lurid and outrageous as a double homicide. Fittingly, it might have been the product of another, pre-Camille infatuation. Harriet Smithson was an Irish actor and theater manager and, after seeing her as Juliet in Romeo and Juliet and as Ophelia in Hamlet, Berlioz was smitten beyond
HISTORY OF THE MUSIC —
hope. The two would eventually marry in 1833 but, at the time of Symphonie fantastique, Berlioz’ love for Harriet was decidedly unrequited. This is a big part of why he turned his ardent attention to Camille. Harriet and Hector would not last as a couple either, sadly, but he continued to support her after they split up. Symphonie fantastique, such an on-the-nose product of Berlioz’s emotional tumult in 1830, takes the listener on a fictional journey through sumptuous reveries and drug-induced dreams that lead ultimately to a death by beheading and a monstrous gathering of ghosts and witches. The “Hero” and the “Beloved” of the tale are alternately credible as stand-ins for Berlioz and Smithson or Berlioz and Camille Moke, and the jaw-dropping musical creativity that lights their way (whoever’s way it truly was)
places the composer in a class with very few peers. And several decades ahead of his time.
THE WORLD – Elsewhere in 1830, William IV became King of England, revolution began in Belgium, Greece became an independent state as part of the London Protocol and the United States enacted the Indian Removal Act.
THE CONNECTION – The very popular Symphonie fantastique was performed most recently on a Utah Symphony concert in 2019. Thierry Fischer conducted.
Korngold’s
VIOLIN CONCERTO
& An Evening of Cross-Cultural Connections
THURSDAY, JUNE 12, 2025 / 7:30 PM / MAURICE ABRAVANEL HALL | LEAGUE CONFERENCE CONCERT
FRIDAY JUNE 13, 2025 / 7:30 PM / MAURICE ABRAVANEL HALL
THIERRY FISCHER, conductor (Utah Symphony’s Music Director Emeritus)
CLARA-JUMI KANG, violin
UTAH SYMPHONY
REVUELTAS
VARÈSE
KORNGOLD
Noche de encantamiento (Night of Enchantment) (10’) (4th movement from La noche de los Mayas)
Amériques (22’)
INTERMISSION
Violin Concerto (24’)
I. Moderato nobile
II. Romanze
III. Allegro assai vivace
GABRIELA ORTIZ
Téenek – Invenciones de Territorio (16’)
CONCERT SPONSOR ORCHESTRA SPONSOR
QUINN EMANUEL
Thierry Fischer
Conductor
Utah Symphony Music Director Emeritus
Thierry Fischer has been Music Director of the São Paulo Symphony since January 2020 and of the Orquesta Sinfónica de Castilla y León since September 2022. He is also Music Director Emeritus of the Utah Symphony (where he was Music Director 2009-2023).
Fischer has conducted orchestras across the globe, notably the Cleveland Orchestra, the Boston, Atlanta and Cincinnati Symphonies, London Philharmonic, Royal Philharmonic, Oslo Philharmonic, Rotterdam Philharmonic, Maggio Musicale Firenze among others. He has performed and commissioned many world premieres, and works with the London Sinfonietta, Ensemble Intercontemporain but also other leading chamber orchestras such as the Chamber Orchestra of Europe, Orchestra of the Age of Enlightenment and Swedish Chamber.
April 2024 saw the launch of Frank Martin: Odyssey, of which Fischer is Artistic Director. To celebrate the 50th anniversary of his compatriot’s death Fischer has curated a series of concerts running through to the end of 2026 in which every note of Martin’s oeuvre will be performed in Geneva. As part of the festival he conducts the world premiere of a newly commissioned orchestration of the ballet Die Blaue Blume with the Orchestre de Chambre de Lausanne in their main season and at the Amsterdam Concertgebouw.
Clara-Jumi Kang Violin
Born to Korean parents and raised in Germany, Clara-Jumi Kang is internationally renowned for her musicality and virtuosity. Throughout her career she has received many awards and accolades including 1st prize at the Indianapolis International Violin Competition, Sendai Violin Competition and the Seoul Violin Competition.
Recent and upcoming highlights include festival appearances at the BBC Proms, the Hollywood Bowl alongside the Los Angeles Philharmonic, and her debut at the Salzburg Festival. Later in the 24/25 season, she made her debut with the Accademia Nazionale di Santa Cecilia alongside Music Director Daniel Harding, and returned to the Munich Philharmonic with Chief Conductor Designate Lahav Shani to critical acclaim, jumping in for Lisa Batiashvili and Hilary Hahn respectively. She will also perform with the West-Eastern Divan Orchestra on tour to China and Europe with Zubin Mehta.
She returns to the Israel Philharmonic and Seoul Philharmonic before debuts with the Atlanta Symphony Orchestra, the National Arts Centre Ottawa, the Shanghai Symphony Orchestra and the Netherlands Philharmonic Orchestra among others. She also performs a recital tour across Korea, and makes her recital debuts at the Boulez Saal in Berlin and the Hong Kong City Hall, as well as solo recitals in Rome and Torino.
CONDUCTOR SPONSOR
PATRICIA RICHARDS & WILLIAM NICHOLS
By Jeff Counts
La noche de los mayas: IV. Noche de encantamiento
Duration: 10 minutes.
THE COMPOSER – SILVESTRE REVUELTAS (1899-1940)
– In Mexico during the first decades of the 20th century, the name Revueltas established itself as a formidable cultural brand. We know Silvestre was the composer of the family, but he had one sister and a brother who were painters, another sister who was an actress and dancer and a younger brother who made his fame as a writer. Silvestre spent time in the U.S. as a student and performing violinist but returned home in 1929 to assist Carlos Chávez at the Orquesta Sinfónica de México. Before traveling to Spain in 1937 to involve himself in their civil war, Revueltas made the decision to shift his attention from concert music to film scoring. He died, destitute, sick and far too young, in 1940.
THE HISTORY – Revueltas provided music for nine movies from 1935 to 1940. They were Mexican projects, with Mexican production teams (mostly), Mexican writers, Mexican actors and Mexican themes. A brief cameo of Revueltas himself
can be seen in one of them. It is at close to the one-hour mark in Vámanos con Pancho Villa (1936) where we witness the composer as he turns from his saloon piano to glare at a drunkard who has just shot out the light above him. It’s a great moment, and an interesting artifact of the golden age international filmmaking. Three years later in 1939, Revueltas was hired to score La noche de los mayas (The Night of the Mayas). The film was a tragic period piece, set at a moment of collision between the Mayan culture and the modern world. In addition to the usual disruptions any outsider would bring to such a pristine circumstance, there is a love triangle between members of the tribe and the white explorer that, of course, ends very badly. The film, though initially wellregarded by some, has receded almost completely into history. In fact, if not for music, we might not remember it at all. In 1960, José Yves Limantour created a four-movement suite from the Mayas score. Paul Hindemith arranged a two-movement version as well, but the Limantour iteration has become the standard. In a fabulous scholarly study of this music, Abderrahman Anzaldua notes that the structure of the movements mirrors the filmed narrative appropriately, but that much of the music of the suite never made it into the final cut. A prime example of this is Movement IV –Noche de encantamiento (Night of Enchantment) – which is mostly constructed from themes not heard in the film. Also, Limantour named his movements based on his interpretation
of the plot, not any indication left behind by Revueltas. Here, then, the Night of Enchantment depicts the sacrificial rites of the Mayans and the heavy percussion of their sound world.
THE WORLD – Elsewhere in 1939, Gone with the Wind and The Wizard of Oz had their premieres, Finnegans Wake was published, Siam changed its name to Thailand and, of course, war broke out in Europe.
THE CONNECTION – Music from La noche de los mayas has not been performed by Utah Symphony since 2013. Vladimir Kulenovic conducted.
Amériques
Duration: 22 minutes.
THE COMPOSER – EDGARD VARÈSE (1883-1965) –
Though he showed an early interest in (and a significant aptitude for) music, Edgard Varèse’s father insisted that he pursue engineering when he came of age. It was a constant source of conflict between them, this mandated focus on a “practical” field of expertise, and Varèse eventually left home over it. The intellectual impact of his scientific studies, however, was not as easy to walk away from. Varèse’s understanding of music and its most concrete attributes lead him to coin the phrase “organized sound” to describe his personal aesthetic. He was among the earliest adopters of electronics in music but, though he is still counted among the most influential 20th century artists, his surviving catalogue of works in any genre is vanishingly small.
THE HISTORY – Varèse served in the French Army during World War I but was dismissed after contracting pneumonia. The senseless war and the poor health that kept him from fighting in it convinced Varèse to relocate to America in 1915. In the bustling artistic hothouse of New York City, the composer found many like-minded European expats to associate with. It was through his casual interactions with the Dada movement that Varèse met Louise McCutcheon, who became his second wife in 1921. That same year, Varèse completed the initial version of his monumental orchestral work Amériques. It was the result of an anonymous commission from Gertrude Vanderbilt Whitney and his first major composition after moving to the States. The inaugural performance did not occur until 1926 in Philadelphia, and Varèse revised it the following year, setting up a new French “premiere” in 1929. The European location of the second debut notwithstanding, it was the
chaotic soundscape of New York City that clearly inspirated the music of Amériques. This is evident in the sirens of course, which are too literal to miss, but the overlapping shouts and crashes of the densely urban American city were a fascination that Varèse could not escape. One imagines him at the window of his Greenwich Village apartment just after the move, frozen in joyous shock at the Promethean racket of his new home. For a man as obsessed with the organization of sound as Varèse, early 20th century New York must have felt like blacksmith’s shop, its molten sonic metals awaiting his steady hand. Performances of Amériques have always been rare, given the size and complexity of the orchestral forces, but the raw physicality of the music requires a live hearing. For those not lucky enough to be here tonight, though, the 1966 recording by Utah Symphony and Maurice Abravanel (the very first for the piece!) will just have to do.
THE WORLD – Elsewhere in 1927, Fritz Lang’s Metropolis had its premiere, the Harlem Globetrotters had their road debut, Babe Ruth had his 60-homerun season, the Freedom Bridge opened in Canada and Heisenberg formulated his Uncertainty Principle.
THE CONNECTION – The Utah Symphony last performed Amériques in 2017. Thierry Fischer was on the podium.
Concerto for Violin and Orchestra in D Major, Op. 35
Duration: 24 minutes in three movements.
THE COMPOSER – ERICH KORNGOLD (1897-1957) – As discussed earlier this season regarding his music for The Sea Hawk, we know that Korngold left the simmering mess of Europe for Hollywood in 1934 and immediately immersed himself in symphonic film scoring. In addition to The Sea Hawk, his best titles from that pre-war period also included The Adventures of Robin Hood and Kings Row. Korngold, a former child prodigy of Mozart-like promise, believed he was doing more with his movie work than merely supporting a mostly visual (and to some, lowbrow) entertainment medium. He genuinely felt he was creating music for “operas without singing” and aspired to create music that would stand on its own in a concert setting.
THE HISTORY – Even though he tried to fill his many wonderful film scores with “real” art, Korngold’s focus changed after the war back to music of a more traditionally
“serious” nature. His youthful work had already earned him at least one “genius” comment (from Mahler, no less, and Strauss agreed) and his Hollywood years gained him many new admirers in America. But his productivity as a composer of non-commercial orchestral music had been dormant long enough that he needed to rekindle his reputation with success in a standard genre. The first effort in that regard was a good one. The violin concerto was written in 1945 and exists now as the perfect synthesis of Korngold’s two lives as a musician. The music is unapologetic in both its embrace of late-stage Romanticism and its acknowledgement of Hollywood’s new-age charms. Korngold had clearly learned much during the ‘30s about how to establish and maintain contact with an audience. His concerto displays all the rigorous craftsmanship and masterful instrumental facility of his Viennese training but also the flair for emotional directness he perfected while at Warner Brothers. All three of the concerto’s movements, in fact, include themes from his films. It was common in Korngold’s day (and remains so in ours) to assume that film composers and “legitimate” composers were made of mutually exclusive parts. The error of this thinking is embodied by consummate artists like Erich Korngold, Miklos Rozsa, Bernard Hermann and many of the movie scribes alive and active today. For Korngold, the proof of his worth beyond the screen lies is the fact that the premiere performance of his excellent violin concerto was handled by none other than Jascha Heifetz. Heifetz was an unquestionably “serious” musician who Korngold, no doubt grateful to have such a legend as his muse, referred to as “Caruso and Paganini in one person.”
THE WORLD – Elsewhere in 1945, World War II ended, Ebony Magazine had its beginnings, Korea split into two nations, Colombia joined the United Nations and E.B. White published the children’s book Stuart Little.
THE CONNECTION – The Utah Symphony last performed the Korngold Violin Concerto in 2018 under Thierry Fischer. Madeline Adkins was soloist.
Téenek – Invenciones de Territorio
Duration: 16 minutes.
THE COMPOSER – GABRIELA ORTIZ (b. 1964) – She is the daughter of two founding members of Los Folkloristas, the celebrated Latin American folk music ensemble, so Mexican composer Gabriela Ortiz didn’t really have a choice. She was always going to be a musician. Ortiz cut her teeth on stage with her parents as a charango player
and guitarist, while also devoting herself to the study of “classical” piano. Her European education focused on conventional composition but her professional voice now regularly combines the disparate influences of her life. 2025 has been a landmark year for Ortiz, with a GRAMMYwinning record with the Los Angeles Philharmonic and Gustavo Dudamel to her credit.
THE HISTORY – That album was not the first time Ortiz and Dudamel worked together. In 2017, the LA Phil premiered her concert work Téenek – Invenciones de Territorio
The program note provided by the publisher (penned by Alejandro Escuer) states: “Téenek is the language spoken in the Huasteca region, which encompasses the states of Veracruz, Tamaulipas, San Luis Potosí, Hidalgo, Puebla, and Querétaro in Mexico. Its name means ‘local man,’ in reference to all the men and women who belong to a place whose mere existence determines their destinations in time and space: their territories. Indeed, in any region of the world, human beings from any given era determine a way of BEING that transcends time and defines their relationship with their surroundings, no matter what their race, skin color, political borders, or socio-economic condition may be.” Escuer continues: “Téenek is a sonorous metaphor of our transcendence, a strength that alludes to a future where there are no borders, but rather, a recognition of the actual particularities and differences between us that propitiate our development while at the same time enriching and uplifting us. Music thus bears witness to a gradual history of matches and mismatches, of ancient cultures and new symbols, of ways to resist and comprehend the world by imagining sounds and senses, of that vital rhythm that lends meaning to the sense of belonging, and of roots that identify us culturally. Through the plain and simple idea of fitting in, of not dividing but, rather, recognizing otherness, Téenek reflects on the importance of reaffirming identities through fragmentation. It is precisely because of this that Téenek is composed of a series of apparently dissimilar inventions which find their strength in their differences, enrichment, and musical development: these are interwoven and transformed over time in a discourse that demonstrates how the existence of borders may be diluted in pursuit of the powerful idea that our potential future lies in recognizing our differences.”
THE WORLD – Elsewhere in 2017, the Women’s March on Washington occurred in America, as did a total solar eclipse from coast to coast, Robert Mugabe was ousted in Zimbabwe, and Harry and Meghan got engaged.
THE CONNECTION – These concerts represent the Utah Symphony premiere of Téenek by Gabriela Ortiz.
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Steve & Marion Mahas
Keith & Vicki Maio
Heidi & Edward D. Makowski
Kathryn & Jed Marti
Miriam Mason & Greg Glynnis
David & Nickie McDowell
Karen & Mike McMenomy
Clayton McNeel
Pieter & Janice Mensink
John & Bria Mertens
MJZR Charitable Trust
Glenn & Dav Mosby
Metta Nelson Driscoll
Charles & Amy Newhall
Vincent & Elizabeth Novack
Patrick & Charlotte O’Connell
Stanley B. & Joyce M. Parrish
Elodie Payne
Joel & Diana Peterson
Arlene & Stephen Pettise
James S. & Dyan Pignatelli
Lisa Poppleton & Jim Stringfellow
Dr. Susan J. Quaal
Esther Rashkin
Mick Rasmussen
Dr. Barbara S. Reid
Glenn Ricart & Patricia Guenther
Steven K Richards
Lee Rippel
Richard & Carmen Rogers
Kathryn Rommel
Rebecca Roof & Gary Smith
Rachel Sabin
Kazuhiro Saito
Marlin Sandlin Jr
Margaret P. Sargent
Nathan & Shannon Savage
Barbara & Paul Schwartz
Lisa & Joel Shine
Gibbs† & Catherine W. Smith
Ray & Ann Steben
Toni Stein
Tim & Judy Terrell
Douglas & Susan Terry
Dr. Albert & Yvette Ungricht
Richard Valliere
Marvin & Sandra Van Dam
The Victory Foundation
Susan & David† Wagstaff
Sally Wakefield & Anthony Arnason
John & Susan Walker
Grant Lippincott & Donna Walsh
Gerard & Sheila Walsh
Renee & Dale Waters
Cindy Williams
Barry & Fran Wilson
Jennifer Wollin
E.Woolston† & Connie Jo HepworthWoolston
Peter Zutty
Abravanel
Anonymous [4]
Alan, Carol, & Annie Agle
Ryan Aller & Natasja Keys
A.Scott & Jesselie Anderson
Beth & Roger Armstrong
Dr. Ann Berghout & Dennis Austin
Fred & Linda Babcock
Robert & Dagmar Becker
Beckerle-Murrell Family Fund
Lowell Bennion
Vicki & Bill Bennion
Patter & Thomas Birsic
Roger & Karen Blaylock
Diane Banks Bromberg & Dr. Mark
Bromberg
Mary Bush
George & Matthew Cardon-Bystry
Lindsay† & Carla Carlisle
Linda Jo Carron
Mr. & Mrs. Fred L. Carter, Jr.
Phillip I. & Gail Coleman
Kenneth Colen
Dr. & Mrs. David Coppin
David & Carol Coulter
Jason & Kristin Covili
Cecilia Crystal
Nathanael & Jennifer Davenport
Mark B Dean
Margarita Donnelly
Paul Dorgan
Eric & Shellie Eide
Elana Spitzberg Family Foundation
Hans & Nanci Fastre
The Fickling Family Foundation
Craig Fineschriber
Drs. Norman L. & Carol† M. Foster
Mr. & Mrs. Wayne B. Freckleton
Dr. Robert Fudge & Sylvia Newman
Dennis & Sherrie Gardner
Sheila S. Gardner
Bob & Mary Gilchrist
Ralph & Rose† Gochnour
Graf Family Charity Fund
Keith Guernsey & Rebecca Burrage
Dr. Elizabeth Hammond
Robert & Marcia Harris
Virginia & R. Glenn Harris
Lex Hemphill & Nancy Melich
Connie C. Holbrook
Ron & Marsha Houston
Caroline & David Hundley
Eldon Jenkins & Amy Calara
Dr. & Mrs. Ramon E. Johnson
Bryce & Karen† Johnson
Nicholas Johnson
Rebekah & Joseph Johnson
James R. Jones & Family
Kimberli Jones
Hyo J Kim
Steven & Christine Knudson
Mary Denice & George Koch
Michael & Peg Kramer
Stacy Lederer
Patricia L Leikhim
Ms. Susan Loffler
Patricia & Mark Lucas
Shelly Elaine Mair
Neylan McBaine & Elliot Smith
Jerilyn S. McIntyre & David Smith
Julie McKee
Jeffrey McNeal
Warren K.† & Virginia G. McOmber
Mr. & Mrs. Reed W. Merrell
David B. & Colleen A. Merrill
Jim & Nanette Michie
Dr. Nicole L. Mihalopoulos & Joshua
Scoville
Philip Miller
Kenny Mizel
Mower Family Charitable Fund
Dan & Janet Myers
Nebeker Family Foundation
Marilyn H. Neilson
Maura & Serge Olszanskyj
Mr.† & Mrs. James Patterson
Cynthia & George Petrow
Jerry & Nancy Pitstick
Gina Rieke
Kenneth Roach & Cindy Powell
Nancy Rossman
Daniel & Sari Schachtel
August L. Schultz
Ronald Schwarz
Roger & Connie Seegmiller
Bianca Shepard
Mr. Jeffrey W. Shields & Ms. Mary Ross
Jeffrey Simmons
Barbara Slaymaker
Denise & Denis Smith
Jan H. Smith
Stan & Mary Sorensen
Dr. & Mrs. Michael H. Stevens
Emily Stewart
Annie & Cory Strupp
Briant Summerhays
Jay Teevan
Jeff Trocin
Jean Vaniman
William & Donna R. Vogel
Dr. James C. Warenski
Stephen & Elizabeth Watson
Michael D. Weiner
Dan & Amy Wilcox
Michael & Judy Wolfe
Anonymous [4]
Drew J. Adams
George & Frances Alderson
Sara Jane Andersen
Joe Arnold
Gaylen Atkinson
Mr. & Mrs. Steven R. Brosvik
Susan Callahan
Paul & Ruth Cherecwich
Barbara Christensen
James & Elizabeth Cobb
Dr. & Mrs. Hal S. Cole
David & Donna Dalton
Darrell & Sharon Child
Drs. Pilar & Christopher Dechet
Ashby & Anne Cullimore Decker
Carleton Detar & Laurel Casjens
Jack & Leslie Edwards
James P. Felt
James & Barbara T. Gaddis
Dr. Martin I. & Sheila G. Gelman
Maria Godina
Richard & Carolyn Greene
Mr. & Mrs. Theodore Gurney, Jr.
Robert Haddick
Scott & Loree Hagen
Peter & Beth Hanlon
Christina Hemphill
Linda Hertzberg
Shelley Hill-Worthen
Laura Holleman
Dr. & Mrs. John Howarth
Gary & Christine Hunter
Veloria M. Jacobson
Dr. Richard & Helene Jaffe
Matthew & Shirley Kirby
Mr. & Mrs. Bruce M. Lake
Guttorm & Claudia Landro
Abigail Lowder
Brent Lutz
Charles Morrison
Phillip & Alice Newberry
Wayne & Iris Nixdorf
Keith & Linda Poelman
Thomas Quam
Vedran Radojcic
Tom & Karma Ramsey
Delia & Craig Reece
Anonymous [8]
Dennis & Louise Ahern
Bret, Michelle & Tyler Anderson
Dennis & Karen Ardin
Mr. & Mrs. Lawrence R. Barusch
David Bateman
Michael Behring & Debra Marin
Katherine Benedict
Reed & Jeanne Benson
Stephanie Bertin
Richard Blomquist
Jed Boal
Elizabeth Bowman
Terry & Lee Box
Susan Burdett
Marianne Burgoyne
Christopher J. Burke & Diane ForsterBurke
John & Kathryn Burnham
Roger† & Sharon Carrier
Renee Chase
Nathan Royer
Craig Schow
Linda & Rick Smaligo
Benjamin Steinberg
Eddie Stone
Brent & Lissa Thompson
Kenneth Uy
David H. & Barbara S. Viskochil
Lee Walker
Judith Warner
Bruce & Leigh Washburn
Frank & Janell Weinstock
Jody L. Williams
Don & Jennifer Willie
David B.† & Anne Wirthlin
Michael Wolfe
Paul Woodward
Janet Wyatt
Frank & Betty Yanowitz
Dean & Jean† Zobell
Will Cheng
Mr. & Mrs. Don M. Christensen
Clark & Gwen Christian
Zack Clark
Janet Coit
Allison H. Cook
J.Alan Crittenden
Coleen Cronin
Jay Curtis
Kevin Damon & Kathy Calhoun-Damon
John W. Deford
Henry Desai
Mary Dillon
Joan Dye
Alan & Vicki Eastman
Laurie Eastwood
Mr. & Mrs. Steven Ericson
Paula J. Fowler
Elizabeth Frank & Steve Achelis
Thomas & Darlis Fuller
Joshua & Alisha Garrett
David & Ann George
Pete Giacoma
Dr. & Mrs. William R. Gray
Dr. & Mrs. John Greenlee
Shanna Hall
Blake D. Hamilton, M.D.
Jill Nutting & James Harris
Simon Harrison
Doug Hattery
Tony Haws
Rebekah Heath
Mr. John P. Hill, Esq.
Richard & Ruth Ann Hills
Linda Hilton
Mr. & Mrs. William Hindle
Kristen & Kyle Hooker
Heather Housley
Preston G. Hughes Foundation
Virginia A. Hughes
Albert Imesch
Eric & Becky Jacobson
Andante ($500 - $999)
Chorale ($150 - $499)
Kenneth & Penny Jameson
James & Jeanne Jardine
Jonathan Jensen
Raymond & Beverly Karcher
Bradley Katz
Hank & Cynthia Kennedy
Erin Krentz
Steven & Kimberlee Lewis
Lisa & Sean Lindberg
Marilynn Linford
Uri Loewenstein & Elizabeth Tashjian
Martha Lyons
Russell Martin
Penelope Mathews & David Horner
Blake McClary
Kent McDonald
Dan McKnight & Deanna Donaldson
Heather McMaster
Jack & Patsy McNamara
Frank McNeil
Sanford & Lynn Meek
Marla Melamud
Elizabeth Miller
Hal & JeNeal Miller
Robert L. Miller
Robert & Dianne Miner
Roger & Kari Morandi
Stephen R. & Sandra J. Morgan
David Murphy
Susan Nichols
Amanda Norton
Chorale ($150 - $499) Continued
Wilma Odell
James & Janette Orton
William & Elissa Oshinsky
Kathy Pachucki
Brent Palfreyman
Adrian S. Palmer
Mr. & Mrs.† Donald M. Pantone
Stephanie Pappas
Eric Paprocki
Kelvin Peterson & Liqin Qiu
Tera Peterson
Galina Pianykh
Dianne Piccoli
Nelly Poe
Kerry Pollard
Matt Poulson
Laszlo & Sandra Preysz
Matthew N. Proser
Arthur & Susan Ralph
J.D. Ridges
Deanna Rodeghier
Irene Terry & Robert Roemer
Lousje & Keith Rooker
Robert Rosenberg
Walter & Marilyn Rudolph
Paul F. Sacher
Juergen & Cheryl Sass
Steven & Barbara Schamel
Eugene Schupp
Michael Scolamiero
Mark Semmelbeck
Joan Sharp
Kenneth Shelley
Erik Sherwood
James Sherwood
M.Tom & Junko Shimizu
Dr. Bernard J. Simbari
Margaret M. Simmons
Jonathan Smith
Harrison Smithwick
Benjamin Sokolow
Paul & Carol Sonntag
Carol & Frank Stenger
Isabella Tcaciuc & Thomas Bosteels
Lynda Tierney
Ron Tucker
Tom & Madelene Vanderford
Mark E. Vernon
Perry & Margie Walters
Werner & Dorothy Weixler
Jill West
Amanda Wilcox
Brian Wilkin
Gregory & Daphne Williams
Mark Wilson
Frank & Pam Wilson
Carl B. Wolfram
Dave Wood
Hilary Coon & Jim Yehle
Paul Young
Tolford & Mary Young
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 801-869-9015.
Anonymous
Edward R. Ashwood & Candice A. Johnson
Gael Benson
C.Comstock Clayton Foundation
Estate of Alexander Bodi
The Elizabeth Brown Dee Fund for Music in the Schools
Lawrence T. & Janet T. Dee Foundation
Thomas D. Dee III & Dr. Candace Dee Hearst Foundation
Estate of John Henkels
Roger & Susan Horn
Carolyn T. Irish Revocable Trust
Estate of Marilyn Lindsay
The Right Reverend Carolyn Tanner
Irish† and Mr. Frederick Quinn
Loretta M. Kearns† Vicki McGregor
Edward Moreton
Estate of Pauline C. Pace
The Linda & Don Price Guest Artist Fund
Perkins-Prothro Foundation
Kenneth† & Jerrie Randall
The Evelyn Rosenblatt Young Artist Award
Bill† & Joanne Shiebler
Steven P. Sondrop Family Trust
James R. & Susan Swartz
Clark L. Tanner Foundation
Norman C. & Barbara L.
Tanner Charitable Trust
Norman C. & Barbara L. Tanner
Second Charitable Trust
O.C. Tanner Company
Estate of Frederic & Marilyn Wagner
M.Walker† & Sue Wallace
Jack & Mary Lois Wheatley
Family Trust
Edward & Marelynn† Zipser
Many donors have made gifts to Utah Symphony | Utah Opera in memory or to honor friends and loved ones. Thank you for your generous tributes.
IN MEMORY OF
Amy Shari Fisher
Georgia Bennion
Cynthia & William H Kennedy Jr.
Janice Ione Berghout
Ann Berghout Austin
James O. Clark
Elaine Clark
Norman & Charleen Clark
Melissa Quigley
Frances Darger
Pamela Bobbs
J.W. Cheek
Rolayne Fairclough & John Evans
Fridolyn Hicks
Julianne Johnson
The Bennett Family
Susan Morgan
Eugene England
Charlotte England
Ellen
Samantha Allison
Lynne Farmer
CJ Robinson
Gail Gerlach
Larry Gerlach
Burton & Elaine Gordon
A.Scott & Jesselie Anderson
The JLL Team at WRT
Carolyn Hanks
Matt & Nancy Dorny
IN HONOR OF
Anne & Ashby Decker
Colleen Merrill
Earle R. Bevins
Anonymous
Carl & LeAnn Hoyal
Joan Dye
Karen Johnson
Bryce Johnson
Carita Kenney
Richard & Sarah Blomquist
Gary B Kitching, M.D.
Allison Kitching
Keith Lockhart
June Ragan
Blake McDonald
Rebekah Johnson
Frank & Maxine McIntyre and Willard & Evelyn Smith
Jerilyn McEntyre & David Smith
Warren K. (Sandy) McOmber
Virginia McOmber
Ruzena (Rose) Novak
Eva Novak
Glade & Mardean Peterson
Leslie Peterson & Kevin Higgins
Charles Philbin
Dr. & Mrs. Tom M. McDougal
Dan Ragan
June Ragan
Maria A. Proser
Matthew Proser
Joyce T. Rice & Glenna R. Pizza
Jack & Kathy Newton
Georgia Gates
DeAnn McCune
Carol Steffen Richards
George Alderson
Norm Rosenblatt
Susan Walker
Alexander Schreiner
Julianne Johnson
Joanne Shiebler
Maria S. & Allen Tuttle
Bill Shiebler
Fickling Family Foundation
Kristen Fletcher & Dan McPhun
Veloria M. Jacobson
Allison Kitching
Frank & Alice Puleo
Deanna L Rodeghier
Anne & Taft Symonds
Allison Weiss
Tom & Laurie Eastwood
Jim & Barbara Gaddis
Peggy & Ben Shapiro
Ron & Frances Schwartz
Anne & Taft Symonds
Robert C. Sloan, Jr.
Bruce & Julie Newton
Linda Twitchell
Brenda N. Koga
Sheila M. VanFrank
Jeff Nielsen
Judy Watts Brady
Drew W. Browning
Wayne Welsh
The Arledge Family
Midland National Life Insurance Company
The Pietrzak Family
Carol Zimmerman
Patrick Zimmerman
Ed Zipser
Wilma Odell
We thank our generous donors for their annual support of Utah Symphony | Utah Opera.
*in-kind donation
** in-kind & cash donations
George S. & Dolores Doré Eccles Foundation
O.C. Tanner Company
Zions Bank
The Church of Jesus Christ of Latter-day Saints Foundation
Sorenson Legacy Foundation
Dominion Energy Arts Foundation
Anonymous
Crocker Catalyst Foundation
Cultural Vision Fund
The Grand America Hotel & Little America Hotel*
Anonymous
Arnold Machinery
BMW of Murray/BMW of Pleasant Grove
Bill & Vicki Bennion
John & Carol Firmage
John † & Joan Firmage
Altabank
HJ & BR Barlow Foundation
B.W. Bastian Foundation
Beesley Family Foundation
Bertin Family Foundation
R.Harold Burton Foundation
Caffé Molise*
The Capital Group
$100,000 or more
Larry H. & Gail Miller Family Foundation
AHE/CI Trust
Lawrence T. & Janet T. Dee Foundation
Marriner S. Eccles Foundation
Marie Eccles Caine Foundation-Russell Family
$50,000 - $99,999
47G: Utah Aerospace & Defense*
Janet Q. Lawson Foundation
Marriott Residence Inn*
Moreton & Company
$25,000 - $49,999
Deer Valley Resort*
Goldman Sachs & Co. LLC
Richard K. & Shirley S. Hemingway Foundation
The Kahlert Foundation
McCarthey Family Foundation
Moreton Family Foundation
$10,000 - $24,999
Greenberg Traurig
Joseph & Kathleen Sorenson Legacy Foundation
Merit Medical Systems, Inc.
Microsoft Corporation*
Minky Couture*
The Joseph & Evelyn Rosenblatt Charitable Fund
Emma Eccles Jones Foundation
Frederick Q. Lawson Foundation
The Florence J. Gillmor Foundation
LOVE Communications**
Stowell Leadership Group, LLC*
Salt Lake Chamber*
S.J. & Jessie E. Quinney Foundation
World Trade Center Utah*
Charles Maxfield & Gloria F. Parrish Foundation
Simmons Family Foundation
Summit Sotheby’s
Nora Eccles Treadwell Foundation
Joanne L. Shrontz Family Foundation
Regence BlueCross BlueShield of Utah
Stay Park City
Stewart Education Foundation
University of Utah Health
Utah Valley Chamber of Commerce*
Woodbury Corporation
Anonymous
American Online Giving Fdn
Rodney H. & Carolyn Hansen Brady
Charitable Foundation
Chartway Credit Union
Spencer F. & Cleone P. Eccles Family Foundation
Ecoview Windows & Doors
The Fanwood Foundation Western Office
Grandeur Peak Global Advisors
Holland & Hart
Huntsman International LLC
Intermountain Health
$1,000 - $9,999
J.Wong’s Thai & Chinese Bistro*
Kennecott Utah Copper Llc
KKC Foundation
Millburn & Company
Millcreek Coffee Roasters*
Mountain America Credit Union
Opera America
Osher Lifelong Learning Institute
Park City Chamber & Visitors Bureau
Parr Brown Gee & Loveless
Precision Hermetic Technology
Promontory Foundation
Ray, Quinney & Nebeker Foundation
Red Rock Brewing Company*
Ruth’s Chris Steak House*
Salsa Queen
Serving Table 22*
Spencer Fane Snow Christensen & Martineau Foundation
Squatters Pub Brewery*
St. Regis / Deer Crest Club**
Summerhays Music Center
The Swartz Foundation
Trujillo Acosta Law
Utah Autism Foundation
Utah Food Services*
Vox Marketing Group*
Utah Symphony | Utah Opera would like to especially thank our major sources of public funding that help us to fulfill our mission and serve our community.
Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning.
TANNER SOCIETY OF UTAH SYMPHONY
Beethoven Circle (gifts valued at more than $100,000)
Anonymous (3)
Doyle Arnold & Anne Glarner
Edward R. Ashwood & Candice A. Johnson
Dr. J. Richard Baringer
Haven J. Barlow†
Dr. Melissa J. Bentley
Marcy & Mark Casp
Shelly Coburn
Raymond & Diana Compton
Mahler Circle
Anonymous (3)
Eva-Maria Adolphi
Dr. Robert H.† & Marianne Harding Burgoyne
Richard Clegg
Mr. & Mrs. Kenneth E. Coombs
Paul (Hap) & Ann† Green
Robert & Carolee Harmon
Richard G. & Shauna† Horne
Virginia A. Hughes
Turid V. Lipman
Anne C. Ewers
Larry Gerlach
Annette W. & Joseph Q. Jarvis
Flemming & Lana Jensen
James Read Lether
Daniel & Noemi P. Mattis
Anthony & Carol W. Middleton, Jr., M.D.
Robert & Diane Miner
Glenn Prestwich
Kenneth A.† & Jeraldine S. Randall
Mr.† & Mrs. Alvin Richer
Patricia A. Richards & William K. Nichols
Sharon & David† Richards
Harris H. & Amanda P. Simmons
E.Jeffery & Joyce Smith
G.B. & B.F. Stringfellow
Mr.† & Mrs.† M. Walker Wallace
Anonymous
Mr.† & Mrs. William C. Bailey
Judy Brady† & Drew W. Browning
Dr. Robert H.† & Marianne Harding
Burgoyne
Shelly Coburn
Travis & Jamie Donio
Anne C. Ewers
Joseph & Pat Gartman
Herbert C.† & Wilma Livsey
Dianne May
Jerry & Marcia McClain
Jim & Andrea Naccarato
Stephen H. & Mary Nichols
Craig S. Ogan
Hal Noyce
Mr. & Mrs. Scott Parker
Mr. & Mrs.† Michael A. Pazzi
Richard Q. Perry
Chase† & Grethe† Peterson
CRESCENDO SOCIETY OF UTAH OPERA
Paul (Hap) & Ann† Green
Annette W. & Joseph Q. Jarvis
Edward R. Ashwood & Candice A. Johnson
Clark D. Jones†
Turid V. Lipman
Herbert C.† & Wilma Livsey
Richard W. & Frances P. Muir
Marilyn H. Neilson
Glenn H. & Karen F. Peterson
Thomas A. & Sally† Quinn
Mr. Grant Schettler
Glenda & Robert† Shrader
Mr. Robert C. Steiner & Dr. Jacquelyn
Erbin†
JoLynda Stillman
Joann Svikhart
Edward J. & Marelynn† Zipser
Carol & Ted Newlin
Patricia A. Richards & William K. Nichols
Mr.† & Mrs. Alvin Richer
Jeffrey W. Shields
G.B. & B.F. Stringfellow
Dr. Ralph† & Judith Vander Heide
Edward J. & Marelynn† Zipser
† Deceased
The remaining 2/3 comes from generous supporters like you.
With ticket sales covering roughly 30% of the cost of our performances, your contribution helps complete the experience.
ASSOCIATE BOARD
Current members include
Zach Marquez
Zachary Scott Roemer
A dynamic group of young professionals, the Associate Board partners with Utah Symphony | Utah Opera to shape the future of live music. They bring fresh ideas, cultivate philanthropy, and strengthen connections between USUO and the community.
Curtis Woodbury
Rayanne Riepl ...and more to come!
LEAVE A LEGACY
A PLANNED GIFT
Make a lasting impact while meeting your financial goals today. Including Utah Symphony | Utah Opera
in your will is simple, often taxadvantageous, and helps ensure the power of music touches lives for generations to come.
To learn more, please reach out to your financial advisor or contact us at: 801-869-9200 usuo.org/planned-giving
UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626
EDITOR
Megs Vincent
HUDSON PRINTING COMPANY www.hudsonprinting.com 241 West 1700 South Salt Lake City, UT 84115
801-486-4611
AUDITING AND ACCOUNTING SERVICES PROVIDED BY Tanner, llc
LEGAL REPRESENTATION PROVIDED BY Greenberg Traurig, llp Parsons Behle & Latimer, llp
ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY Love Communications, Salt Lake City
The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief.
Maurice Abravanel Hall and 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.
YOUR NEEDS. OUR SPECIALTY.
Name: Natalie
Company: Zerorez
Legal needs: Intellectual property (IP)
Natalie is general counsel at Zerorez, a carpet and upholstery cleaning business. As Zerorez expands nationally and internationally, she needs help with IP matters. Kirton McConkie’s IP attorneys help Natalie register trademarks and patents, protect IP rights, and navigate the complexities of expansion.
