2023 Deer Valley® Music Festival Playbill

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WELCOME TO THE DEER VALLEY® MUSIC FESTIVAL

Thank you for joining us for this concert of the 19th Deer Valley® Music Festival, which we hope is but one of many performances that you will enjoy with us this summer.

Music in the mountains with the Utah Symphony and exceptional guest artists truly delivers Life Elevated.

Steven Brosvik President & CEO

Utah Symphony | Utah Opera

It is always a pleasure to return to the natural beauty of Park City and invite everyone in our community to join us for unparalleled concert experiences, both in the relaxed atmosphere of Deer Valley Resort’s Snow Park Amphitheater and in the intimate and idyllic setting of St. Mary’s Catholic Church. As you look through this program book, we think you’ll agree we have a varied and exciting group of guest artists joining our renowned Utah Symphony for this year’s festival. We hope to see you at many of our events making treasured memories with friends and family!

We also hope that you will join us later this summer when Utah Symphony | Utah Opera embarks on our Music Elevated: Forever Mighty® State Tour! From August 7–12 we will travel more than 600 miles providing FREE concerts and music education opportunities in six locations across Utah. Associate Conductor Benjamin Manis leads the concerts featuring the Utah Symphony with two internationally acclaimed (and Utah-based) singers, soprano Madison Leonard and baritone Shea Owens. You can learn more about the concert programs and locations and request your free tickets at USUO.org/ Music-Elevated

Brian Greeff Chairman

USUO Board of Trustees

Our thanks go to the many donors who help to make the Deer Valley® Music Festival possible. We are truly appreciative and grateful for your support.

Sincerely,

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Deer Valley® Music Festival

You play in one of America’s best backyards.

What are you doing to protect it?

In Utah, NATURE UNITES US © Adam Elliott

NATURE

UNITES US

Learn more: nature.org/Utah

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4 » Welcome to the Deer Valley® Music Festival 10 » Utah Symphony 12 » The Board of Trustees 16 » Deer Valley® Music Festival Series Sponsors 18 » Deer Valley® Music Festival Stage Sponsors 23 » Deer Valley® Music Festival Concerts

© Copyright 2023

80 » Thank You 86 » Festival Council 87 » Support USUO 88 » Administration 89 » Acknowledgments

Deer Valley® Music Festival

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CONTENTS PATRIOTIC POPS WITH GERSHWIN’S RHAPSODY IN BLUE

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LEANN RIMES “THE STORY… SO FAR” TOUR

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SPANISH NIGHTS WITH PABLO SÁINZ VILLEGAS

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BIZET’S SYMPHONY NO. 1

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MOZART’S SYMPHONY NO. 39 & STRAUSS’ OBOE CONCERTO

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THE MUSIC OF JOHN WILLIAMS

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DISNEY PRINCESS: THE CONCERT

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A NIGHT OF FUNK: LETTUCE

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BROADWAY & SOUL: JOSHUA HENRY

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THE MUSIC OF QUEEN

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BEETHOVEN’S SYMPHONY NO. 2

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BEN FOLDS

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THE BEACH BOYS

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SCHUBERT’S SYMPHONY NO. 5 & MOZART’S VIOLIN CONCERTO NO. 1

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SHE’S GOT SOUL: CAPATHIA JENKINS

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Deer Valley® Music Festival

ON THE HILL CONCERTS ST. MARY’S CHURCH CONCERTS

UTAH SYMPHONY Thierry Fischer, Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Benjamin Manis Associate Conductor VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton

Yuan Qi Associate Principal

PICCOLO Caitlyn Valovick Moore OBOE Zachary Hammond Principal The Gerald B. & Barbara F. Stringfellow Chair

Julie Edwards Joel Gibbs Carl Johansen# Scott Lewis John Posadas Whittney Sjogren Leslie Richards~

James Hall Associate Principal

Claude Halter Principal Second

CELLO* Matthew Johnson Acting Principal The J. Ryan Selberg Memorial Chair

Wen Yuan Gu# Associate Principal Second

Andrew Larson Acting Associate Principal

Evgenia Zharzhavskaya Assistant Principal Second

John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah Thomas-Hollands~ Pegsoon Whang

Erin Svoboda-Scott Associate Principal

BASS* David Yavornitzky Principal

E-FLAT CLARINET Erin Svoboda-Scott

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

Karen Wyatt•• Erin David Joseph Evans Lun Jiang Rebekah Johnson•• Tina Johnson~ Amanda Kofoed~ Jennifer Kozbial Posadas~ Veronica Kulig David Langr Shengnan Li 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

• First Violin •• Second Violin

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VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

Deer Valley® Music Festival

Corbin Johnston Associate Principal Andrew Keller Edward Merritt Jens Tenbroek Thomas Zera HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair

TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Paul Torrisi

Lissa Stolz

TROMBONE Mark Davidson Principal

ENGLISH HORN Lissa Stolz

Sam Elliot Associate Principal

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

BASS TROMBONE Graeme Mutchler

Lee Livengood BASS CLARINET Lee Livengood

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

TUBA Alexander Purdy Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal

Leon Chodos Associate Principal

LIBRARIANS Clovis Lark Principal

Jennifer Rhodes

Claudia Restrepo

CONTRABASSOON Leon Chodos

ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel

HORN Jessica Danz Principal

Lisa Byrnes Associate Principal

Edmund Rollett Associate Principal

Caitlyn Valovick Moore

Nate Basinger~ Julia Pilant~ Stephen Proser

* String Seating Rotates ** On Leave

# Sabbatical ~ Substitute Member

Hannah Thomas-Hollands Orchestra Personnel Manager

THE BOARD OF TRUSTEES ELECTED BOARD Brian Greeff* Chair Doyle L. Arnold* Vice Chair Annette W. Jarvis* Vice Chair & Secretary Joanne F. Shiebler* Vice Chair Steven Brosvik* President & CEO Austin Bankhead* Dr. Stewart E. Barlow Judith M. Billings George Cardon-Bystry Gary L. Crocker

John D’Arcy David L. Dee* Barry L. Eden* Senator Luz Escamilla Theresa A. Foxley Brandon Fugal Dr. Julie Aiken Hansen Daniel Hemmert* Stephen Tanner Irish Thomas N. Jacobson Abigail E. Magrane Brad W. Merrill Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Miguel R. Rovira Stan Sorensen

Dr. Shane D. Stowell Naoma Tate Thomas Thatcher W. James Tozer David Utrilla Kelly Ward Kim R. Wilson Thomas Wright* Henry C. Wurts

Herbert C. Livsey, Esq. Thomas M. Love* 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

Lisa Eccles 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

MUSICIAN REPRESENTATIVES Edward Merritt* Hugh Palmer* EX-OFFICIO REPRESENTATIVE Jean Vaniman Onstage Ogden

LIFETIME BOARD William C. Bailey Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones

TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Howard S. Clark

HONORARY BOARD Jesselie B. Anderson Kathryn Carter R. Don Cash Raymond J. Dardano Geralyn Dreyfous

* Executive Committee Member

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Deer Valley® Music Festival

SHARE YOUR ADVENTURE

#DVMF

THANK YOU

FOR JOINING US FOR MUSIC IN THE MOUNTAINS

Utah Symphony | Utah Opera relies on donations from music lovers like you to fulfill our mission to connect the community through great live music.

Your contribution supports extensive education programs, artistic excellence, and accessible musical experiences for all.

DONATE ONLINE AT USUO.ORG/GIVE OR BY CALLING 801-869-9200

DEER VALLEY® MUSIC FESTIVAL SERIES SPONSORS DEER VALLEY® MUSIC FESTIVAL SEASON SPONSOR

SUMMER ENTERTAINMENT SPONSOR

SUMMER SYMPHONY SPONSOR

SHIEBLER FAMILY FOUNDATION CHAMBER SERIES SPONSOR

OFFICIAL VEHICLE OF THE UTAH SYMPHONY SUMMER FESTIVAL

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Deer Valley® Music Festival

With appreciation to our

SEASON SPONSOR

Music is a language we all understand.

— STEVIE WONDER —

DEER VALLEY® MUSIC FESTIVAL STAGE SPONSORS

JULY 8 SPONSOR

JULY 14 SPONSOR

AUGUST 3 SPONSOR

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Deer Valley® Music Festival

ON THE HILL

PATRIOTIC POPS

WITH GERSHWIN’S RHAPSODY IN BLUE JUNE 30 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER BENJAMIN MANIS, conductor JEFFREY BIEGEL, piano

PRESENTING SPONSOR

GUEST ARTIST SPONSOR

JOHN & JEAN YABLONSKI

CONCERT SPONSOR

IN HONOR OF THE CHRISTIAN CENTER

LODGING SPONSOR

Deer Valley® Music Festival

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PROGRAM / ARTISTS’ PROFILES SMITH/KEY

The Star-Spangled Banner

PETER BOYER

Celebration Overture

LOWDEN

Armed Forces Salute

PETER BOYER

Rhapsody in Red, White, and Blue (World Premiere)

QUINN MASON

Toast of the Town Overture

GERSHWIN/R.R. BENNETT

Suite from Porgy and Bess

GERSHWIN SOUSA

Rhapsody in Blue The Stars and Stripes Forever

Benjamin Manis Conductor

American conductor, Benjamin Manis, joined the Utah Symphony as Associate Conductor in September 2022, leading the orchestra at Abravanel Hall, at the Deer Valley® Music Festival, and on its upcoming statewide tour. Before moving to Salt Lake City, Manis spent three seasons as Resident Conductor of the Houston Grand Opera, making his debut with Verdi’s Rigoletto. Other highlights of his time in Houston include performances of Carmen, Roméo et Juliette and The

Jeffrey Biegel Piano

The life and legacy of Jeffrey Biegel reflects an unprecedented journey as a pianist having created the most diverse commissioning projects, premieres, and recordings of his generation, building bridges to break divides through music.

His life takes its roots from age three, barely able to hear nor speak, until corrected by surgery. The “reverse Beethoven” phenomenon explains his lifelong commitment to music, having heard only vibrations in his formative years.

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Deer Valley® Music Festival

Snowy Day. He led four world premieres, among them the 2020 world premiere of Marian’s Song with the subsequent HGO Digital filmed version and Miller Outdoor Theatre performances of the same work.

Manis returned to HGO in the 2022–23 season to lead productions of Tosca and El Milagro del Recuerdo.

Winner of the 2023, 2022, and 2019 Solti Foundation US Career Assistance Awards, Manis has served as cover conductor for the St. Louis, Dallas, and National Symphonies, working with conductors Gianandrea Noseda, David Robertson, and Stéphane Denève.

The pandemic year of 2020 focused on composing Waltzes of Hope, Sonatina, and Three Reflections: JFK, RBG, and MLK for solo piano, and for piano and orchestra, with orchestrations by Harrison Sheckler.

The year 2021 saw the world premieres of his Reflection of Justice: An Ode to Ruth Bader Ginsburg with the Dallas Symphony Orchestra. For 2023, world premieres of Peter Boyer’s Rhapsody in Red, White & Blue and Grammy Award-winning singer/songwriter Melissa Manchester’s AWAKE for piano and orchestra will take the stages across America. The 2024–25 season foresees a new work for piano and orchestra by Adolphus Hailstork with the Pacific Symphony, Carl St. Clair conducting.

ON THE HILL

SPANISH NIGHTS

WITH PABLO SÁINZ VILLEGAS JULY 1 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER BENJAMIN MANIS, conductor PABLO SÁINZ-VILLEGAS, guitar

CHABRIER

España

BOCCHERINI

Introduction & Fandango

ANONYMOUS

Spanish Romance

ALBÉNIZ BIZET DE FALLA

Asturias Selections from Carmen Danza No. 1 from La vida breve

HERNÁDEZ

El cumbanchero

PIAZZOLLA

Libertango

ZEQUINHA

Tico-Tico no Fubá

TÁRREGA

Gran Jota

RIMSKY-KORSAKOV ANONYMOUS GIMÉNEZ

Selections from Capriccio Espagnol Fandango Asturiano Intermedio from La Boda de Luis Alonso

GUEST ARTIST SPONSOR

PATRICIA A. RICHARDS & WILLIAM K. NICHOLS

CONCERT SPONSOR

TOM & JUDY BILLINGS

Deer Valley® Music Festival

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FOR THE BANKING EQUIVALENT OF BEETHOVEN’S NINTH, Zions Bank is for you.

A division of Zions Bancorporation, N.A. Member FDIC

ARTIST’S PROFILE See Page 24 for Benjamin Manis’ profile.

Pablo Sáinz-Villegas Guitar

Pablo Sáinz-Villegas has been acclaimed by the international press as the successor of Andrés Segovia and an ambassador of Spanish culture in the world. Since his debut with the New York Philharmonic under the baton of Rafael Frühbeck de Burgos at the Lincoln Center, he has played in more than 40 countries and has been invited to play with orchestras such as the Berlin Philharmonic, Chicago Symphony

Orchestra, Philharmonic of Israel, Los Angeles Philharmonic, and National Orchestra of Spain, making him a benchmark for the symphonic guitar.

Plácido Domingo has described him as “the master of the guitar” and with him he has had the privilege of recording his new duo album, as well as participating in the tribute held in his honor at the Santiago Bernabéu stadium in Madrid to an audience of over 85,000 and also in a concert on a floating stage on the Amazon River, televised for millions of people.

Scan here for season tickets or visit uvu.edu/thenoorda.

RENÉE ELISE GOLDSBERRY

Star of Girls5eva on Peacock and Hamilton on Broadway COMPLEXIONS CONTEMPORARY BALLET

Innovative and Diverse Dance Troupe KALANI PE’A CHRISTMAS CONCERT

Grammy Award-winning Hawaiian singer/songwriter VOCTAVE

Crowd-Pleasing A Capella Group

SEASON SPONSOR:

ST. MARY’S CHURCH

MOZART’S SYMPHONY NO. 39 & STRAUSS’ OBOE CONCERTO JULY 5 / 2023 / 8 PM ST. MARY’S CHURCH

BENJAMIN MANIS, conductor ZAC HAMMOND, oboe

MOZART

Divertimento for String Orchestra in F, “Salzburg Symphony No. 3” Allegro Andante Presto

R. STRAUSS

Concerto in D Major for Oboe and Small Orchestra I. II. III.

Allegro moderato Andante Vivace

INTERMISSION

DVOŘÁK

Nocturne in B Major for String Orchestra, Op. 40

MOZART

Symphony No. 39 in E-flat Major I. II. III. IV.

Adagio - Allegro Andante con moto Menuetto: Allegretto Allegro

Please stay after the concert to join us for a Q&A with the guest artists.

Deer Valley® Music Festival

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ARTIST’S PROFILE See Page 24 for Benjamin Manis’ profile.

Zac Hammond Oboe

Zachary Hammond joined the Utah Symphony as Principal Oboe in 2022. Prior to coming to Utah, Hammond served as Principal Oboe of the Charleston Symphony in South Carolina for seven years and he currently holds the position of Assistant Principal Oboe and English Horn with the Colorado Music Festival in

Boulder, CO. He has been invited to perform as guest principal oboe with top orchestras across the country, including the Los Angeles Philharmonic, Minnesota Orchestra, Charlotte Symphony, and New World Symphony. He also has toured and recorded with the National Arts Centre Orchestra in Ottawa. Hammond has been frequently featured as a soloist, including premiering a concerto written specifically for him by Yiorgos Vassilandonakis with the Charleston Symphony in 2019.

THE CHRISTIAN CENTER OF PARK CITY Meeting people at their point of need as an expression of God’s love for over 20 years

Donate · Shop · Volunteer www.ccofpc.org

HISTORY OF THE MUSIC Divertimento for String Orchestra in F, “Salzburg Symphony No. 3” Wolfgang Amadeus Mozart (1756–1791)

Concerto in D Major for Oboe and Small Orchestra Richard Strauss (1864–1949)

Mozart completed the trio of divertimenti known as the “Salzburg Symphonies” in 1772 while he was in the employ of the Prince Archbishop of his native city.

Mozart was only 16 then (his life almost half complete!) and nearing the end of his decade of performance tours with his father, Leopold. They made two visits to Italy near the end of this period and his musical experiences there clearly influenced these slightly uncharacteristic works. In fact, it is likely he wrote them in hopes of winning favor on a future, third trip to “the beautiful country.” The three pieces in the set straddle the fence between two important compositional forms of the day—the five (or more)-movement “divertimento” and the three-movement Italian style “symphony”— but, as one might expect with Mozart, they are not rote examples of either. As with K. 136 and 137, the music of K. 138 is light, charming, and relatively simple by the standards of Mozart’s genuine symphonies and much shorter than his later, grander forays into the divertimento form. With just three short movements, cast in an attractive fast-slow-faster fashion, the “Salzburg Symphonies” each dispense with the minuet, a dance form almost always present (often twice!) in Mozart’s other divertimenti and de rigueur in general for the time. The fourpart writing of the three 1772 divertimenti can be performed by a string quartet but there are indications in the manuscripts (a notation indicating “violas” rather than “viola,” for example) that suggest Mozart fully intended the works for string orchestra.

Imagine the scene. It is May 1945, the first moments of peace in Europe, and an American GI is temporarily at loose ends in the Bavarian town of Garmisch. He, like others who left lives of music to serve their country, has heard that none other than Richard Strauss lives nearby and, through a mutual friend, pays the old master a visit.

That soldier was John de Lancie, former Principal Oboe of the Pittsburgh Symphony Orchestra and eventual Director of the Curtis Institute of Music. De Lancie brought a young man’s courage to that fateful meeting and suggested that Strauss consider a concerto for his instrument, given how beautifully the composer wrote for it in his tone poems and operas. Strauss said no without hesitation but was not able to shake the notion. He began sketching out a concerto within weeks and had a score ready the following September.

The American premiere was, of course, offered to de Lancie but the first performance on our shores was actually given by Mitch Miller (yes, the man from Sing Along with Mitch) in 1948. De Lancie wouldn’t get his chance until 1964 and, by then, he likely wondered if oboists the world over were cursing his name. They all loved the lyrical, unapologetically romantic music but also greatly feared the concerto’s opening, with its 57 measures of uninterrupted playing that tested their lungs like never before. The Oboe Concerto is standard repertoire now, despite its demands, and it provides yet another postwar proof point (like Metamorphosen and the Four Last Songs) that Strauss, in his 80s, was still very much in his compositional prime.

Duration: 10 minutes in three movements

Duration: 26 minutes in three movements

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HISTORY OF THE MUSIC Nocturne in B Major for String Orchestra, Op. 40 Antonin Dvořák (1841–1904)

Symphony No. 39 in E-flat Major Wolfgang Amadeus Mozart (1756–1791) Duration: 25 minutes in four movements

Duration: 9 minutes

Artists who do not consign their secrets to the fire are doomed to have them resurrected by heirs or well-intentioned executors. The attic is no place for abandoned projects, it turns out, not if you are famous enough. Dvořák, ever practical, saved many of his orphans himself, but not for posterity. He wanted to be responsible for their new lives if he could and sought ways to repurpose some of them into fresh works. One such piece was an E-minor string quartet from 1870 that, for all its flaws, had a lovely slow movement that Dvořák just couldn’t give up on. The quartet was never published during his lifetime, but it came to light later in 1960 (see what I mean?!).

In 1875, the Andante religioso movement found a new, if temporary, home as part of the G Major String Quintet. That idea didn’t stick either, however, and it wasn’t until 1883 that Dvořák set aside the idea of placing this music into a muti-movement context and presented it instead as a stand-alone piece for string orchestra. The Nocturne is a hypnotic, nearly static hymn that lazily uncoils itself over the course of its brief minutes and, though clearly the effort of an idealistic young man, it is every inch a thing worth saving. Dvořák conducted the premiere in London on March 22, 1885, and subsequently arranged it for solo violin and piano, and again for piano four hands. Both are quite nice, but they can’t compete with the original, full-ensemble version.

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Deer Valley® Music Festival

The final three symphonies of Mozart (Nos. 39, 40, and 41) are almost always spoken of as a set. Many elements make this possible, even necessary. First is the remarkably quick succession of their completions on June 26, July 25, and August 10, 1788.

Next is the desperate hoped he pinned on them to reverse his recent bad fortune. Not least, then, is the staggering innovation and profound maturity they contained, as if even Mozart knew he would not write another.

But, of course, he didn’t know that. He had no idea he was living his last three years on Earth. Mozart, in fact, was planning to premiere his latest symphonies at a series of concerts in a new venue called the “Casino,” but the performances didn’t happen for lack of sales. No wonder. War with the Ottoman Empire was sapping the strength and draining the wallets of Austria, true, but Mozart’s star had fallen steadily on its own in Vienna over the previous few years. Tastes were changing and it’s hard to imagine the audience enjoying the new pieces much if they had heard them that year. This was the case of a composer having simply outgrown his listeners, which is what makes it so tempting to imagine him writing Nos. 39, 40, and 41 for us, not them. The E-flat major Symphony distinguishes itself in interesting ways. It employs no oboes, a rarity in late Mozart. It begins with a slow introduction.

And it has a finale built around a single theme with no coda. We don’t know if Mozart heard this dramatic, dissonant symphony live before he died (it is possible, though unprovable), but we have been listening closely ever since.

COMMUNITY EVENTS

2023 DEER VALLEY® MUSIC FESTIVAL

Q&A’S AFTER CONCERTS AT ST. MARY’S Gather in the back section of the performance space to meet and ask questions of featured performers following concerts on July 5, 12, 19, and 26.

INSTRUMENT PETTING ZOO Two opportunities to bring your kids early for an instrument petting zoo hosted by Utah Symphony | Utah Opera and Summerhays Music. Zoo Hours: 6-7pm.

July 7 prior to DISNEY PRINCESS: THE CONCERT July 28 prior to THE MUSIC OF JOHN WILLIAMS

FREE “POP-UP” PERFORMANCES Experience the arts out in the “wild” at Art on the Trails, a leisurely guided hike along McLeod Creek Trail peppered with musical offerings amidst the natural beauty of Utah. Art Pianos provide casual opportunities to experience masterful music throughout Summit County.

For more information and full schedules of these and other opportunities visit DeerValleyMusicFestival.org/community or scan the QR code below.

ON THE HILL

DISNEY PRINCESS: THE CONCERT

JULY 7 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER BENJAMIN MANIS, conductor

See Page 24 for Benjamin Manis’ profile.

Overture Legend of the Fairy GodFairy For The First Time In Forever When Will My Life Begin Reflection Touch The Sky Classic Princess Medley Part of Your World I Won’t Say (I’m in Love) These Palace Walls/Speechless A Whole New World Shadowland All Is Found/Into the Unknown Quartet [INTERMISSION] Entr’acte That’s How You Know Love Is An Open Door How Far I’ll Go Mother Knows Best Healing Incantation/I See The Light In Summer Colors of the Wind Journey to the Past Almost There The Best of ‘Belle’ Let It Go When You Wish Upon A Star

Deer Valley® Music Festival

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WELCOME TO THE DEER VALLEY® MUSIC FESTIVAL

BROADWAY & SOUL: JOSHUA HENRY JULY 8 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER BENJAMIN MANIS, conductor JOSHUA HENRY, vocals

PRESENTING SPONSOR

SCOTT & KATHIE AMANN

CONCERT SPONSOR

LODGING SPONSOR

CONDUCTOR SPONSOR

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Deer Valley® Music Festival

ARTIST’S PROFILE See Page 24 for Benjamin Manis’ profile.

Joshua Henry Vocals

Joshua Henry is a Grammynominated performer and recording artist best known for his Tony-nominated leading roles in Carousel, The Scottsboro Boys, and Violet, as well as for his show-stopping performance as Aaron Burr in the cultural phenomenon Hamilton (Chicago/San Francisco/Los Angeles). Henry’s debut album Grow is available worldwide on all

streaming platforms. He is a BMG recording artist and his original symphony show Get Up, Stand Up premieres this fall with The Philly Pops. On screen, he starred as Roger Bart in the Academy Award-nominated film tick, tick… BOOM! directed by Lin-Manuel Miranda. He also starred as Jerlamarel opposite Jason Momoa in two seasons of Apple TV+’s show See. Other Broadway shows include In the Heights, Shuffle Along, American Idiot, Porgy and Bess, and Bring It On: The Musical. Off-Broadway credits include: In the Heights, The Wrong Man.

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GET YOUR TICKETS TODAY AT TUACAHN.ORG

VC)LlJNTEEf{INC; I

WITH UTAH SYMPHONY UTAH OPERA Volunteers are the backbone of Utah Symphony I Utah Opera. Besides being an official part of the company and helping to bring world-class music to your community, you receive tickets to upcoming performances, make new friends, and explore networking possibilites. As a part of our team you may assist with any of the following areas: VIP events, guest artists, boutique and gitt shops, greeting, and more!

FOR MORE INFORM ATION ON VOLUNTEERING WITH USUO VISIT UTAHSYMPHONY.ORG/SUPPORTNOLUNTEER, CONTACT VOLUNTEERS@USUO.ORG OR CALL 801.869.9067 UTAH SYMPHONY THIERRY FISCHER, MUSIC DIRECTOR:

ST. MARY’S CHURCH

BEETHOVEN’S SYMPHONY NO. 2 JULY 12 / 2023 / 8 PM ST. MARY’S CHURCH

ELIAS GRANDY, conductor

RAVEL

STRAVINSKY

Le tombeau de Couperin

I. II. III. IV.

Prélude Forlane Menuet Rigaudon

Suite from Pulcinella (1949 revision)

I. Sinfonia II. Serenata III. Scherzino IV. Tarantella V. Toccata IV. Gavotta VII. Duetto VIII. Minuetto - Finale INTERMISSION

BEETHOVEN

Symphony No. 2 in D major, Op. 36 I. II. III. IV.

Adagio Molto - Allegro con brio Larghetto Scherzo: Allegro Allegro Molto

Please stay after the concert to join us for a Q&A with the guest artists.

Deer Valley® Music Festival

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ARTIST’S PROFILE Elias Grandy Conductor

German conductor Elias Grandy has been praised for his “passionate, spirited” interpretations of operatic and orchestral repertoire, ability to grasp “psychological subtleties” that enrich his music-making, and his extraordinary “precision” and musical depth.

Since his appointment in 2015 as General Music Director of Heidelberg’s Opera and Philharmonic Orchestra, Grandy

has significantly raised the caliber of both, providing thoughtful, innovative programming and burnishing the city’s fastgrowing reputation as a vital musical hub.

Over the past several years, Grandy has appeared more frequently as a guest conductor, making highly successful debuts at well-known orchestras and opera houses, including the Frankfurt Radio Symphony, Yomiuri Nippon Symphony Orchestra in Tokyo, Minnesota Opera, Svetlanov Orchestra in Moscow, and the Frankfurt Opera, all of which led to immediate re-engagements.

Experience The Summer Life Elevated Elevated 7452 feet high lies limitless experiences, bespoke luxury, exquisite dining, revitalizing spa and unparalleled views.

Join us at the Fire Garden for live music, St. Regis classic menu items, and an Asian twist for an outdoor dining concept that will take your breath away.

Fire Garden

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HISTORY OF THE MUSIC Le tombeau de Couperin Maurice Ravel (1875–1937)

Suite from Pulcinella (1949 revision) Igor Stravinsky (1882–1971)

The French word tombeau translates as “tomb” or “grave” but in a musical setting it is occasionally used as an alternative to the more familiar term homage. Ravel’s Tombeau was written between 1914 and 1917, ostensibly as a tribute to the great French Baroque master François Couperin, but Ravel later wrote that it was “directed less in fact to Couperin himself than to French music of the 18th century.” Originally scored for solo piano, the piece was made up of six characteristic dance forms, each viewed through the prism of Ravel’s own unique voice. An even deeper measure of remembrance existed as Ravel dedicated each movement to a friend who lost his life in (or was greatly affected by) the Great War. Ravel, too short, too slight, and too sickly to serve as a soldier, had done his noble part as an ambulance driver at the front.

Some early listeners assumed irreverence in the light touch and occasional wit of the music, but a subtle tinge of wistfulness can be heard beneath the more obvious charms of the work’s outer layer. Ravel responded to the notion that his commemoration lacked adequate solemnity by stating, “The dead are sad enough, in their eternal silence.”

Four of the movements were orchestrated in 1919 and premiered one year later. Ravel’s genius with instrumentation—always staggering in its clarity and inventiveness— was on full display with this newer Tombeau and, though others have since attempted to arrange the other two dances from the piano suite, nobody got close enough to Ravel’s high standard to have their work regularly performed.

We continue on the subject of homage.

In the years just after the first World War, Igor Stravinsky was poised for one of the two great shifts of his compositional life. Frequent collaborator and sometime friend, the famed ballet impresario Sergei Diaghilev had suggested he write a new piece using the music of the 18th-Century Italian composer Pergolesi, and Stravinsky found the idea absurd at first. That the composer of The Rite of Spring should be asked to create such a “forgery” was even mildly insulting. But something in the idea did catch hold in him, despite his initial reluctance, and when Stravinsky began to study Pergolesi in earnest, he “fell in love.”

Pulcinella was born of this unexpected pairing of old and new, and marks the beginning of the longest and most fertile period for Stravinsky: his Neoclassical phase. “Pulcinella was my discovery of the past,” he wrote, “the epiphany through which the whole of my late work became possible.” Rather than simply and respectfully arrange the antique music of Pergolesi, Stravinsky knew he must instead “repeat him in my own accent.” The result is a delightful and perfectly constructed blend of both voices, one which preserves the 18th-century melodic and harmonic content while showcasing elements of Stravinsky’s own quirky rhythmic language and colorful instrumentation. The story itself reaches even further back in time and is a classic commedia dell’arte romp with all of the usual 16th-century social difficulties and resolutions, including a kiss, some jealousy, a little false magic, and few

Duration: 17 minutes in four movements

Duration: 20 minutes in 8 movements

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happy concluding marriages. Stravinsky extracted an instrumental suite from the ballet in 1922 and revised it later in 1949.

Symphony No. 2 in D major, Op. 36 Ludwig van Beethoven (1770-1827) Duration: 32 minutes in four movements

Beethoven spent the summer months of 1802 in the village of Heiligenstadt.

The hope was that an extended break from the bustle of Vienna might improve his health in general and his hearing in particular. As we now know, his deafness would not be curable by any amount of rest. We also know that two very different personal utterances date from the following October—a new symphony and a desperate letter. The famous Heiligenstadt Testament, not discovered until after Beethoven’s death, speaks of “blighted hope” and “courage disappeared” and is a tragically acute description of his depression. Especially heartbreaking is his recounting of a moment when “someone heard the shepherd singing and again I

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heard nothing.” How then do we reconcile the light-hearted, often humorous 2nd Symphony that was completed in tandem with this scream into the void? It could be that Beethoven did most of the finish work on the piece while he was still optimistic about the healing effects of the countryside. It could also be that his visit to “rock-bottom” uncovered a hidden well of fortitude. Whatever the case may be, the 2nd Symphony marked the beginning of a paradoxically productive period for Beethoven, a man who so often fell into inactivity when fate betrayed him. The music is playful, witty, and energetic. It lacks the stormy, furrowed-brow qualities of the 3rd and 5th symphonies but has plenty of its own ingenuity to offer.

Beethoven replaced the traditional minuet movement with a scherzo and crafted a finale so quirky it elicited one of greatest critic comments in music history, about a “wounded dragon that refuses to die and, though bleeding in the finale, furiously thrashes about with its stiffened tail.”

Hilarious…and wrong.

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WELCOME TO THE DEER VALLEY® MUSIC FESTIVAL

THE BEACH BOYS JULY 14 & 15 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER BENJAMIN MANIS, conductor THE BEACH BOYS, guest artists

PRESENTING SPONSOR

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ARTISTS’ PROFILE See Page 24 for Benjamin Manis’ profile.

The Beach Boys—who have become synonymous with the California lifestyle and an American icon, are bringing their shows to fans around the world.

Since the band’s co-founder, lead-singer and chief lyricist Mike Love penned the lyrics to The Beach Boys’ first hit, “Surfin’” (1961), dozens of the bands chart toppers have become eternal anthems of American youth: “Surfin’ USA,” “Surfer Girl,” “Fun, Fun, Fun,” “I Get Around,” “California Girls,” “Help Me Rhonda,” “Barbara Ann,” “Good Vibrations,” “Wouldn’t It Be Nice,” “Rock and Roll Music,” and “Kokomo.”

The Beach Boys Guest Artists

As The Beach Boys mark more than a half-century of making music, the group continues to ride the crest of a wave unequaled in America’s musical history.

The Beach Boys are led by Mike Love, who, along with longtime member Bruce Johnston, musical director Scott Totten, Brian Eichenberger, Christian Love, Tim Bonhomme, John Cowsill, Keith Hubacher, and Randy Leago continue the legacy of the iconic band.

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ST. MARY’S CHURCH

SCHUBERT’S SYMPHONY NO. 5 & MOZART’S VIOLIN CONCERTO NO. 1 JULY 19 / 2023 / 8 PM ST. MARY’S CHURCH

KATHARINA WINCOR, conductor KATHRYN EBERLE, violin

SCHUBERT

MOZART

Symphony No. 5 in B-flat Major I. II. III. IV.

Allegro Andante con moto Menuetto: Allegro molto Allegro vivace

Concerto No. 1 in B-flat Major for Violin and Orchestra I. II. III.

Allegro moderato Adagio Presto

INTERMISSION

HAYDN

Symphony No. 70 in D Major I. II.

III. IV.

Vivace con brio Andante: Specie d’un canone in contrapunto doppio Menuet: Allegretto Allegro con brio

Please stay after the concert to join us for a Q&A with the guest artists.

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ARTISTS’ PROFILES Katharina Wincor Conductor

Austrian conductor Katharina Wincor is a rising, charismatic talent.

She made a critically acclaimed Dallas Symphony Orchestra subscription debut in 2021, performing works by Mendelssohn, Schubert, and Anna Clyne, followed by appearances at the Grafenegg and Gstaad festivals. Recent and upcoming highlights include debuts and return invitations with the Bruckner Orchestra Linz, Dresden Philharmonic, Cincinnati Symphony

Kathryn Eberle Violin

Acclaimed by The Salt Lake Tribune as “marrying unimpeachable technical skill with a persuasive and perceptive voice,” violinist Kathryn Eberle is the Associate Concertmaster of the Utah Symphony and the newly-appointed Concertmaster of the Hollywood Bowl Orchestra in Los Angeles.

Eberle has also served as Guest Concertmaster with the Kansas City, Omaha, and Richmond.

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Orchestra at the May Festival in 2022 performing Bernstein’s Candide, Salzburg Festival, where she leads 10 performances of the children’s opera Der Teufel mit den drei goldenen Haaren, Brevard Music Center Summer Festival, Deutsches Symphony Orchestra Berlin, Graz Symphony Orchestra, Seattle Symphony, Vancouver Symphony Orchestra, Detroit Symphony Orchestra, The Phoenix Symphony, Naples Philharmonic, and OFUNAM Mexico. At conductor Laurence Equilbey’s invitation, Wincor served as the chorus master for two performances of Beethoven’s Missa Solemnis with the orchestra of the Opéra de Rouen Normandie in March 2022.

For more than 10 years, Eberle has performed annually as a featured soloist with the Utah Symphony. She made her subscription series debut with the Utah Symphony in April 2014 performing Leonard Bernstein’s Serenade. In the 2019–20 season, she will perform Edgar Meyer’s Violin Concerto. Other solo appearances include performances with the Los Angeles Philharmonic, Nashville Symphony, Louisville Orchestra, National Academy Orchestra of Canada, and Bahia Symphony in Brazil.

HISTORY OF THE MUSIC Symphony No. 70 in D Major Franz Joseph Haydn (1732–1809)

Duration: 18 minutes in four movements

Haydn wrote his unnamed Symphony No. 70 in 1779, immediately following the great November fire that ravaged the estate of his employer Nicholas Esterházy.

Among the buildings that were a total loss was the opera house, which was very near the ballroom stoves that started the blaze. This came as a dramatic shock for everyone at Esterháza and Haydn was personally aggrieved over the destruction of his harpsichord and several important manuscripts. Undaunted, the Prince announced the construction of a new (much grander) opera house before the end of the year and Haydn, equal to the enthusiasm of the gesture, presented his freshly minted Symphony No. 70 at the ceremony. We know the exact date of the building dedication (December 18, 1779) so we also know the premiere date of the piece, a very rare thing for a Haydn symphony. With respect to its place in Haydn’s instrumental oeuvre, No. 70 represented an important return to form for the composer after his previous few symphonies had been heavily scrutinized and often dismissed as lacking. It included several novel elements to mark its important occasion like the addition of trumpets and timpani, a fugue and a clever juxtaposition of major and minor modes, just to name a few. Unlike many of Haydn’s more famous symphonies, No. 70 has no nickname and should not be confused with No. 59. That much earlier work was called (by others) the “Fire” but it had nothing

to do with the real-life conflagration that inspired Haydn to get serious about symphony writing again.

Concerto No. 1 in B-flat Major for Violin and Orchestra Wolfgang Amadeus Mozart (1756–1792) Duration: 20 minutes in three movements

Mozart was either 17 years old in 1773 or 19 in 1775 when his 1st Violin Concerto was composed. History recalls Mozart so fondly as a pianist that we often forget he was also a suburb violinist. He began his string studies at the age of six and performed a concerto just one year later for the Archbishop of Salzburg. It clearly must have been his precocious violin playing (rather than his keyboard skills) that earned him employment as concertmaster in the court of a later Salzburg Archbishop, one Count Hieronymus Colloredo. Theirs was not an easy relationship, but Mozart was able to stay productive as a composer despite it, and the five violin concerti Mozart wrote during that tough period (four of them, at least, within a single year) show none of the professional discomfort he endured.

We are, however, left to assume that the end of his job in the Salzburg court occasioned the end of his association with the violin as a professional performer, since he left the genre untouched after No. 5. Records of his possessions at the time of his death show that he no longer even owned a violin. We can’t definitively place Concerto No. 1 in 1775 with the others, but the evidence that it was written two years prior is just as

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HISTORY OF THE MUSIC unreliable. For example, an anecdote that recalls Mozart borrowing a violin to perform the concerto in 1773 when his organ recital was put off due to technical problems is intriguing, but ultimately inconclusive. Less spurious perhaps is the K. 269 Rondo in B-flat that was reportedly written to replace the finale of the concerto, but most performers choose to present the score as originally written.

Symphony No. 5 in B-flat Major Franz Schubert (1797–1828) Duration: 27 minutes in four movements.

It is sobering to look back on the life of a 19-year-old with the knowledge that his years on Earth were more than half complete. The terminology most historians use to define a compositional career do not accurately apply in the case of such a man and, in a timeframe as compressed as Schubert’s, descriptive phrases like “early period” and “late period” mean almost nothing. Though technically still a teen in 1816, Schubert was beginning to grow weary of his assistant-level position at this father’s school and the friction

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between his ambition and his reality resulted in a frenzy of productivity. He wrote almost 200 pieces that year, which included a little bit of everything from sonatas to songs to string quartets to symphonies. With his “Tragic” Symphony (No. 4), Schubert was attempting to embrace the romanticism he felt growing around him by writing a piece that was unapologetically Beethovian in design.

Even at 19, though, Schubert was mature enough to realize that he had stepped too soon toward the avant garde. He seemed to realize that he was not yet ready to fully absorb (let alone match) Beethoven’s growing legacy and that he first needed to explore his own voice more conscientiously. In that particular year, this meant looking backwards.

His next symphony, No. 5 (also written in 1816), was constructed on the safer Haydn/Mozart model. Highly refined rather than stormy like No. 4, No. 5 is a sparklingly clean piece of chamber music by comparison, with a high-stepping optimism that makes a listener wonder how the previous symphony, completed only four months earlier, could possibly have come from the same person.

ON THE HILL

SHE’S GOT SOUL: CAPATHIA JENKINS JULY 21 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER LUCAS WALDIN, conductor CAPATHIA JENKINS, vocals

GUEST ARTIST SPONSOR

JOANNE SHIEBLER GUEST ARTIST FUND

CONCERT SPONSOR

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ARTISTS’ PROFILES Lucas Waldin Conductor

Lucas Waldin is a dynamic and versatile conductor whose performances have delighted audiences across North America.

He has collaborated with some of today’s most exciting artists including Carly Rae Jepsen, Ben Folds, The Canadian Brass, and Buffy Sainte-Marie, in addition to conducting presentations such as Disney in Concert, Blue Planet Live, Cirque de la Symphonie, and the groundbreaking symphonic debut of R&B duo Dvsn as part of the global Red Bull Music Festival.

Capathia Jenkins Vocals

Capathia Jenkins can definitely act but all those who know her also know that this diva can blow and blow and blow you right off this planet. She has two dueling passions, each with a strong grip—acting and music— yet, she refuses to pick just one because they both represent her soul. Jenkins approaches a song the same way she approaches a script, like an artist. She looks

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Waldin has been a guest conductor for numerous orchestras in the U.S. and Canada, including the Houston Symphony, Dallas Symphony Orchestra, Grant Park Festival Orchestra, Modesto Symphony Orchestra, Louisiana Philharmonic, Vancouver, Calgary Philharmonic, and Toronto Symphony Orchestra.

Having joined the Edmonton Symphony Orchestra as Resident Conductor in 2009, Lucas Waldin was subsequently appointed Artist in Residence and Community Ambassador—the first position of its kind in North America.

for the nuances, the secret hidden within the notes or text. She seeks the melody, harmony and rhythm. She asks herself: What am I trying to say? What do I want my audience to experience with me? She wants to take her audience on a journey.

This Brooklyn-born-and-raised actress most recently starred as Medda in the hit Disney production of Newsies on Broadway. She made her Broadway debut in The Civil War, where she created the role of Harriet Jackson.

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WELCOME TO THE DEER VALLEY® MUSIC FESTIVAL

LEANN RIMES

“THE STORY… SO FAR” TOUR JULY 22 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER BENJAMIN MANIS, conductor LEANN RIMES, vocals

PRESENTING SPONSOR

JIM & ZIBBY TOZER

GUEST ARTIST SPONSOR

CONCERT SPONSOR

CONDUCTOR SPONSOR

ORCHESTRA SPONSOR BEN & PEGGY SCHAPIRO

Deer Valley® Music Festival

ARTIST’S PROFILE See Page 24 for Benjamin Manis’ profile.

LeAnn Rimes Vocals

LeAnn Rimes is an international multi-platinumselling acclaimed singer and ASCAP Award-winning songwriter who has sold more than 48 million units globally, won ten Grammy® Awards; 12 Billboard Music Awards; two World Music Awards; three Academy of Country Music Awards; two Country Music Association Awards, and one Dove Award. At 14, Rimes won “Best New Artist” making her the youngest recipient to take home a Grammy® Award. Rimes has been honored with the Ally of Equality Award

by the Human Rights Campaign for over 20 years of equal rights support, the 2019 HOPE Award for Depression Advocacy, and 2009 ACM Humanitarian Award, among other recognitions, solidifying her dedication to making the world a better place.

The powerhouse vocalist lit up television screens throughout the 2018 holiday season as she starred and served as an Executive Producer in Hallmark’s It’s Christmas, Eve, which earned the highest TV original movie debut, premiering to more than 4.3 million viewers. In 2020, Rimes shined the brightest and won season four of FOX’s The Masked Singer.

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ST. MARY’S CHURCH

BIZET’S SYMPHONY NO. 1 JULY 26 / 2023 / 8 PM ST. MARY’S CHURCH

CONNER GRAY COVINGTON, conductor GRACE KAHL, soprano

NATHAN LINCOLN DE CUSATIS BARBER

A Collection of Sand Knoxville: Summer of 1915, Op. 24 INTERMISSION

MOZART

Overture to The Marriage of Figaro

MOZART

“Dove Sono i bei momenti” from The Marriage of Figaro

BIZET

Symphony No. 1 in C Major I. II. III. IV.

Allegro vivo Adagio Allegro vivace Allegro vivace

Please stay after the concert to join us for a Q&A with the guest artists.

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ARTISTS’ PROFILES

Conner Gray Covington Conductor

Described as “a musician who lives the music” by Yannick Nézet-Séguin, Conner Gray Covington is one of the most versatile conductors of his generation.

Covington recently completed a fouryear tenure with the Utah Symphony as Associate Conductor and as Principal Conductor of the Deer Valley® Music Festival. During his tenure in Utah, Covington conducted nearly 300 performances of classical subscription,

Grace Kahl Soprano

New York City native Grace Kahl is an artist hailed for her “poised, gleaming soprano” in a wide array of repertoire.

Kahl recently finished her tenure as Resident Artist with Utah Opera from 2018 to 2020, where notable performances included The Rose (The Little Prince), Papagena (Die Zauberflöte), and Annina (La traviata).

A frequent interpreter of contemporary music, Kahl sang in three world premieres in 2022, including A Thousand Acres (Des

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education, film, pops, and family concerts as well as tours throughout the state. In the 2022–23 season, he returns to the North Carolina Symphony, San Diego Symphony, and Utah Symphony; and makes debuts with the Bellingham Festival of Music, Grand Teton Music Festival, Rochester Philharmonic Orchestra, and the Sarasota Orchestra, while also serving as visiting faculty at the Longy School of Music.

A four-time recipient of a Career Assistance Award from the Solti Foundation U.S., Covington was featured in the 2016 Bruno Walter National Conductor Preview with the Nashville Symphony.

Moines Metro Opera), Finding Wright (Dayton Opera), and Expressions (Dayton Philharmonic Orchestra).

In addition to opera, Kahl is often found performing musical theatre roles. Kahl has sung the roles of Johanna in Sweeney Todd (Des Moines Metro Opera), and both Mrs. Anderssen and Mrs. Nordstrom in A Little Night Music (Des Moines Metro Opera/Arizona Opera respectively). Kahl has won awards and distinctions from the Metropolitan Opera National Council Auditions, National Opera Association Competition, Palm Springs Opera Guild Competition, and the International Czech and Slovak Competition.

HISTORY OF THE MUSIC

A Collection of Sand Nathan Lincoln de Cusatis

Duration: 12 minutes in three movements

The biography of American composer Nathan Lincoln de Cusatis identifies his eclectic suite of cultural influences as “past musical traditions, communal improvisation, cult films, iconic works of art, and the ambient sounds of the urban landscape.” It is the last item on that partial list that forms the molecular heart of his 2021 work for small orchestra A Collection of Sand. “The common thread,” he writes about the work’s three movements, “is a preoccupation with the pervasive noises of the modern world where foreground and background merge into a single chaotic sonic experience.”

In this “sandbox,” Lincoln de Cusatis riffs on the idea of collecting as he assembles “tiny grains” of music into “movements of contrasting sound, form, and attitude that still seem to complement each other.

A secondary collection opportunity then occurs for the listener, who the composer hopes will “sort…through the grains of sound in order to extract the ones they want to keep.” Continuing with Lincoln de Cusatis’ own note on the piece, the first movement, Ocean of Words, “begins and ends with a chattering montage of independent lines forming a whirling cloud of sound like the murmuring of an anxious crowd. The abrupt ending represents a kind of Information Age

apocalypse where the hyperactive pace of human communication accelerates of a cliff.” The second movement, Herd Mentality, “is a raucous hive of sound that I begrudgingly dedicate to all the time I spend sitting in traffic. You can hear spewing exhaust, clanging engines and a general subservience to the migratory patterns of the herd.” The last movement, Melodic Abyss, “takes a quasi-operatic aria and places it into a contradictory auditory environment of sporadic popping and squeaking.” It is as if we are “hearing a piece within a piece…through staticprone speakers.”

Knoxville: Summer of 1915, Op. 24 Samuel Barber (1910–1981) Duration: 14 minutes

There is no shortage of music written about nostalgia and reminiscence. You could fill multiple playlists with these works, but few composers have captured the wistfully discursive path of memory like Samuel Barber. When he was approached by soprano Eleanor Steber to write a brief voice and orchestra work for premiere in 1947, Barber turned to a prose poem by James Agee. Agee later incorporated the poem into the prologue of his novel A Death in the Family, but when Barber first read it, it was included in an issue of the New York-based literary anthology Partisan Review as a gorgeously self-contained expression of

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HISTORY OF THE MUSIC

youthful recollection. Though he grew up in Pennsylvania, Barber found much to relate to in Agee’s poem about a boy lying in his backyard grass on a languid Knoxville evening. When he met the writer sometime later, in fact, the two men uncovered a few literal parallels in their separate childhood experiences.

They both had a musically inclined aunt.

They could both hear a streetcar from their porch. This instant relatability is perhaps Barber’s greatest gift to Agee’s prose. The music he created to transport the text sounds as if he borrowed it from a collective well of innocent recall, as if the experiences of folks lucky enough to have had peaceful childhoods were already mixed and manifested and simply waiting for someone to give them a single voice. Equal to this effortless supernatural aptness is the sense of place Barber creates. Leontyne Price, a longtime champion of the piece, once said “You can smell the South in it.” The original version included a full orchestra, but Barber made the wise choice to reduce the instrumental forces in 1950, and this more intimate setting has been the rightful standard ever since.

Overture and “Dove sono i bei momenti” from The Marriage of Figaro Wolfgang Amadeus Mozart (1756–1791) Duration: 4 minutes each.

The Marriage of Figaro was the first of three successful collaborations

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between librettist Lorenzo da Ponte and Mozart. Based on the second part of the Beaumarchais Figaro trilogy, Mozart’s brilliant opera buffa continues the story begun with The Barber of Seville. As the curtain lifts, we find ourselves among the familiar characters on the day of Figaro’s wedding to Susanna, but the ceremony is delayed by various intrigues, plots, and other flights of aristocratic spoofery.

Figaro shows, as much as anything he ever wrote, Mozart’s effortless genius for the pairing of literary absurdity and stunningly beautiful music. That the opera would become the beloved repertory standard it is today, however, was not immediately apparent. The play was banned at first and it took some effort by da Ponte to get permission for his libretto treatment. Also afoot in Vienna at that time was the ongoing feud between the Italian supporters of Antonio Salieri and his perceived artistic “enemies,” Mozart not least among them.

Salieri and da Ponte had been court colleagues, but professional differences left the poet free to join Mozart. Both men would benefit greatly from the new alliance. Once complete, Figaro enjoyed a successful premiere but only eight more performances in Vienna, where paid hecklers attempted to bring Mozart down.

Mozart soon took the production on the road to Prague, and it was there that the history begins to match our own affection.

The aria “Dove sono i bei momenti” occurs halfway into Act III. Countess Almaviva has paused for a moment to reflect on the

HISTORY OF THE MUSIC

many emotional crosses she must bear, thanks to her philandering husband— loneliness, humiliation, and of course, righteous indignation.

Symphony No. 1 in C Major Georges Bizet (1838–1875)

Duration: 28 minutes in four movements

Posterity bestows its gifts grudgingly, and examples of artists remembered for just that one great thing are all too easy to identify. Take Bizet. If not for Carmen, would we know him? Sure, there was also The Pearl Fishers and L’Arlésienne. Sure.

But let’s be honest, he is known today for composing one of the most beloved (and certainly most performed) operas in history. Without it, his not-quite 36 years on this Earth might have come and gone without any notice at all. Perhaps a side benefit then of “one great thing” status is an eventual scholarly interest in an artist’s other works, as a method of bringing their lives fully into the light long after they are gone. For Bizet, this occurred in

1933 with his “Symphony in C.” He wrote the work in 1855 at the tender age of 17 while studying with Gounod at the Paris Conservatory, but the composer never heard it performed. In fact, he never even seemed interested in hearing it performed, and it stayed on a shelf at the school, unknown and unloved, for 75 years.

Symphony in C is gem of early-Classical charm and construction, but it was written when blood-and-guts romanticism was the voice of the day. It is possible that Bizet, a man who would come to know failure quite well, assumed it would embarrass him. When it was finally dusted off and prepared for its overdue premiere in 1935, listeners immediately recognized the symphony for what it was—a highly polished teenage utterance worthy of Mozart or Mendelssohn. Those two geniuses did much more with their short lives than Bizet, certainly, but in Bizet’s Symphony No. 1 there was at least the promise of something similar, even if bad luck, bad timing, and bad everything else seemed to conspire against him.

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ON THE HILL

THE MUSIC OF JOHN WILLIAMS JULY 28 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER BENJAMIN MANIS, conductor

PRESENTING SPONSOR

JIM & SUSAN BLAIR

CONCERT SPONSOR

CONDUCTOR SPONSOR

ORCHESTRA SPONSOR

See Page 24 for Benjamin Manis’ profile.

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ON THE HILL

A NIGHT OF FUNK: LETTUCE JULY 29 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CHRISTOPHER DRAGON, conductor LETTUCE, vocals

PRESENTING SPONSOR TAX

SUMMIT COUNTY

RESTAURANT

CONCERT SPONSOR

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ARTISTS’ PROFILES Christopher Dragon Conductor

Australian conductor Christopher Dragon is the Resident Conductor of the Colorado Symphony and Music Director of the Wyoming Symphony Orchestra. He joined the Colorado Symphony in the 2015–16 Season as Associate Conductor—a position he held for four years. For three years prior, Dragon held the position of Assistant Conductor with the West Australian Symphony Orchestra, which gave him the opportunity to work closely with Principal Conductor Asher Fisch.

Dragon has a versatile portfolio ranging from live-to-picture performances of The Nightmare Before Christmas, Jurassic Park, and Mary Poppins; a wide variety of collaborations with artists such as The Flaming Lips, Cynthia Erivo, and Wynton Marsalis; to standard and contemporary orchestral repertoire such as Danny Elfman’s Violin Concerto, Eleven Eleven, all areas of which he has become highly sought after. Dragon has become known for his charisma, high energy, and affinity for a good costume, consistently delivering unforgettable performances that have made him an audience favorite.

So, here it is, right on time. Unify. The eighth studio album from Lettuce, it’s also a third consecutive record made at Denver’s Colorado Sound Studios, completing a loose trilogy starting with 2019’s Grammy-nominated Elevate, and continuing with 2020’s Resonate.

It’s also a benchmark moment for the sextet: Adam Deitch (drums), Ryan Zoidis (saxophone), Adam Smirnoff (guitar), Erick Coomes (bass), Nigel Hall (keyboards/ vocals), Eric “Benny” Bloom (trumpet).

Lettuce Vocals

“Dealing with the pandemic, being in separate places, trying to survive without our best friends, without touring, not to mention the political divide in this country,” says Lettuce drummer Adam Deitch, “We really needed to unify.”

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Approaching 30 years since its humble Boston beginnings, the relentlessly soulful funk outfit has essentially lived on the road, embodying, night after night, the sly wink of its moniker: Let us play! And now, they are endorsed on Unify by none other than the legendary icon of funk Bootsy Collins, singing and playing bass on “Keep That Funk Alive.”

ON THE HILL

THE MUSIC OF QUEEN AUGUST 3 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER BRENT HAVENS, conductor MIG AYESA, vocals

PRESENTING SPONSOR

CONCERT SPONSOR

CONDUCTOR SPONSOR

DOUG & CONNIE HAYES

ORCHESTRA SPONSOR SCOTT & KAREN SMITH IN HONOR OF 5 FOR THE FIGHT

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ARTISTS’ PROFILES

Brent Havens Conductor

Berklee-trained arranger/ conductor Brent Havens has written music for orchestras, feature films, and virtually every kind of television. His TV work includes movies for networks such as ABC, CBS, and ABC Family Channel Network; commercials; sports music for networks such as ESPN; and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale, attended by more than

MiG Ayesa Vocals

“The spelling of ‘MiG’ with a capital ‘G’ is taken from the Soviet aircraft manufacturer Mikoyan Gurevich, the maker of the MiG jets.” – MiG “I attribute my success to three elements: hard work, passion, and a little bit of luck.

When I first heard about Rockstar INXS, a new reality show on CBS, I decided to audition. I didn’t win the competition to be the singer for INXS…I did one better and got my very own deal with Universal Classics.

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150,000 fans. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic and BBC Concert Orchestra in London, City of Birmingham Symphony Orchestra in Birmingham, England, Malaysian Philharmonic, Cincinnati Symphony Orchestra, Minnesota Orchestra, Pittsburgh Symphony Orchestra, Indianapolis Symphony Orchestra, Houston Symphony, Atlanta Symphony Orchestra, Baltimore Symphony Orchestra, Dallas Symphony Orchestra, Fort Worth Symphony Orchestra, Nashville Symphony, Orchestra of Opera North, England and countless others.

Another dream came true when I got to work with two of the most incredible producers, Matthew Wilder (No Doubt, Christina Aguilera) and Rob Mathes, with string arrangements by the renowned Paul Buckmaster (Elton John, Train). It has some of the world’s greatest songs coupled with amazing arrangements and a superb sound, and was even able to include original songs to stand side by side with these classics. In fact, ‘She Loved’ and ‘Could It Be’ have been the most celebrated tracks on the CD.”

WELCOME TO THE DEER VALLEY® MUSIC FESTIVAL

BEN FOLDS AUGUST 4 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER BEN FOLDS, vocals & piano

PRESENTING SPONSOR

MARLON FAMILY FOUNDATION

CONCERT SPONSOR

CONDUCTOR SPONSOR

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ORCHESTRA SPONSOR

ARTISTS’ PROFILES Ben Folds

Advisor to the National Symphony Orchestra at the Kennedy Center.

Ben Folds is widely regarded as one of the major music influencers of our generation.

A New York Times Best Selling author and podcast host, Folds frequently guest stars in films and television, and recently earned an Emmy nomination for his composition of a new theme song for a popular TV special.

Vocals & Piano

He’s created an enormous body of genrebending music that includes pop albums with Ben Folds Five, multiple solo albums, and numerous collaborative records.

He tours as a pop artist, while also performing with some of the world’s greatest symphony orchestras, and currently serves as the first-ever Artistic

An advocate for the arts, he serves on the Board of the Arts Action Fund, Planet Word, and the Nashville Symphony, and has launched a music education initiative for kids in his home state of North Carolina.

open 1/2 Mills ad Space

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THANK YOU DEER VALLEY ® MUSIC FESTIVAL FOUNDERS Utah Symphony | Utah Opera is grateful to our generous donors who, through annual cash gifts and multi-year commitments, help us to connect the community through great live music.

Contributions as of May 8, 2023 *

In-kind Gift

**

In-kind & Cash Gift

†

Deceased

Mark & Dianne Prothro Bellecorp Perkins - Prothro Foundation

Bill & Joanne Shiebler

Shiebler Family Foundation

~ Designates DVMF sponsor and/or VIP package supporter

Jim & Susan Swartz Swartz Foundation

MILLENNIUM ($250,000 AND ABOVE)

Anonymous AHE/CI Trust The Church of Jesus Christ of Latter-day Saints Foundation C. Comstock Clayton Foundation George S. & Dolores Doré Eccles Foundation Kem & Carolyn Gardner Larry H. & Gail Miller Family Foundation Stowell Leadership Group, LLC* O.C. Tanner Company Jacquelyn Wentz Zions Bank

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THANK YOU ENCORE ($100,000–$249,999)

Scott & Kathie Amann~ HJ & BR Barlow Foundation Lawrence T. & Janet T. Dee Foundation Marriner S. Eccles Foundation

Emma Eccles Jones Foundation Frederick Q. Lawson Foundation LOVE Communications** Anthony & Renee Marlon~ John & Marcia Price Family Foundation

S.J. & Jessie E. Quinney Foundation Shiebler Family Foundation~ Elizabeth Solomon Sorenson Legacy Foundation~

Grand America Hotel & Little America Hotel* Brian & Detgen Greeff Janet Q. Lawson Foundation Edward Moreton Estate of Linda & Donald Price Patricia A. Richards & William K. Nichols~

Harris H. & Amanda Simmons George Speciale Naoma Tate & the Family of Hal Tate Jim & Zibby Tozer~ Wheatley Family Charitable Fund

BRAVO ($50,000–$99,999)

Anonymous Doyle Arnold & Anne Glarner~ Judy Brady† & Drew W. Browning Larry Clemmensen~ John & Flora D’Arcy Dominion Energy~ The Florence J. Gillmor Foundation

OVERTURE ($25,000–$49,999)

Fran Akita Arnold Machinery Thomas Billings & Judge Judith Billings~ Mr. & Mrs. Jim Blair~ Bloomfield Family Foundation~ BMW of Murray/BMW of Pleasant Grov~ Cache Valley Electric Deer Valley Resort~ John H.† & Joan B. Firmage John H. & Carol Firmage Kristen Fletcher & Dan McPhun~ David & Angela Glenn

Intuitive Funding~ Tom & Lorie Jacobson~ The Kahlert Foundation The John C. Kish Foundation~ Thomas M. & Jamie Love~ McCarthey Family Foundation Mr. & Mrs. Charles McEvoy~ Fred & Lucy Moreton James & Ann Neal~ Charles Maxfield & Gloria F. Parrish Foundation Mark & Dianne Prothro~ Perkins-Prothro Foundation~ Peggy & Ben Schapiro~

Theodore & Elizabeth Schmidt Foundation Dewelynn & J. Ryan† Selberg Joanne L. Shrontz Family Foundation Simmons Family Foundation The Sam† & Diane Stewart Family Foundation Summit Sotheby’s~ Taft & Anne Symonds~ Nora Eccles Treadwell Foundation John & Jean Yablonski~ Edward & Marelynn† Zipser

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THANK YOU MAESTRO ($10,000–$24,999) Anonymous Altabank Dr. J.R. Baringer & Dr. Jeannette J. Townsend B.W. Bastian Foundation Dr. & Mrs. Clisto Beaty~ Brent & Bonnie Jean Beesley Foundation Bertin Family Foundation Kirk & Sue Bostrom~ Berenice J. Bradshaw Trust Diane & Hal Brierley Judy & Larry Brownstein~ R. Harold Burton Foundation Marie Eccles Caine FoundationRussell Family Shelly Coburn Cultural Vision Fund Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Kathleen Digre & Michael Varner Pat & Sherry Duncan~ Dr. & Mrs. Ralph Earle Barry & Traci Eden Mrs. Sarah Ehrlich Matthew B. Ellis Foundation Carolyn & Craig Enenstein~ Midge & Tom Farkas Tom & Carolyn Fey~ Robert & Elisha Finney~

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Brandon & Kristen Fugal Gardner Company Goldman Sachs & Co. LLC Gorjana* Greenberg Traurig~ Emily & Chauncey Hall Douglas & Connie Hayes~ Richard K. & Shirley S. Hemingway Foundation~ Susan & Tom Hodgson~ Mary P.† & Jerald H. Jacobs Family Annette & Joseph Jarvis Joseph & Kathleen Sorenson Legacy Foundation G. Frank & Pamela Joklik Jeanne Kimball Mr. & Mrs. Christopher J. Lansing~ Bill Ligety & Cyndi Sharp~ Tom & Janet McDougal~ Michal & Maureen Mekjian~ Jed Millburn~ The Millerberg Family Giving Fund Harold W. & Lois Milner~ Terrell & Leah Nagata~ Metta Nelson Driscoll Parr Brown Gee & Loveless Leslie Peterson & Kevin Higgins

Frank R. Pignanelli & D’Arcy Dixon Pignanelli Walter J. & Peggy Plumb Stephen & Cydney Quinn~ Raymond James & Associates~ Regence BlueCross BlueShield of Utah Albert J. Roberts IV The Joseph & Evelyn Rosenblatt Charitable Fund John F. Foley, M.D. & Dorene Sambado, M.D. Semnani Family Foundation David & Christine Smith~ St. Regis / Deer Crest Club**~ Stay Park City~ Mr. & Mrs. G. B. Stringfellow Steve & Betty Suellentrop~ Chris Akita Sulser Thomas & Marilyn Sutton~ The Swartz Foundation~ Brad E. & Linda P. Walton~ W. Mack & Julia S. Watkins Foundation WCF Mutual Insurance~ The Christian V. & Lisa D. Young Family Foundation Kathie Zumbro

THANK YOU Utah Symphony | Utah Opera is grateful to the following generous sponsors for supporting our 2023 Deer Valley® Music Festival.

BRONZE ($8,000–$9,999) 4Girls Foundation Anne Daigle & Rich Heyman Howard & Ray Grossman Sunny & Wes Howell

KKC Foundation Mr. & Mrs. James S. Pignatelli Quinn Family Charitable Foundation

AMBASSADOR ($5,000–$7,999) Anonymous Maria & Bill Boyce David & Deborah Brown Ruth & Phil Davidson John D Doppelheuer M.D. & Kirsten A. Hanson M.D. Katie & Frank Dougherty Carol & Greg Easton Karen & Earl Enzer Jack & Marianne Ferraro

Tom & Carolyn Fey Grandeur Peak Global Advisors Holland & Hart Hotel Park City/Ruth’s Chris Restaurant Jill Johnson Brian & Nancy Kennedy In loving memory of Gary B. Kitching M.D. Dan & Deena Lofgren

Brooks & Lenna Quinn Mitch & Shannon Rice Richard & Carmen Rogers Barbara & Paul Schwartz Tim and Judy Terrell W. C. Moeller & Joanne Moeller Sari & Daniel Schachtel Mary & Doug Sinclair Craig Stuart Tim & Judy Terrell Mark Weinstein Douglas & Becky Wood

PATRON ($3,000–$4,999) Marcia Aaron Robert & Cherry Anderson P.J. Aniello Pam & Paul Apel Tina & John Barry Charles & Jennifer Beckham Alice & Bill Bierer Big D Construction Michael & Vickie Callen Dr.† & Mrs. Anthony Carter Charlene Carter Mark & Marcy Casp Blair Childs & Erin Shaffer Dr. Sidney Cole, Sr. Cindy Corbin Rod & Kim Cullum Michael & Sheila Deputy Karey & Phillip Dye Barbara & Melvin Echols Hans & Nanci Fastre James Finch Blake & Linda Fisher Karen & Pat Fletcher

Shawn & Karin Fojtik James & Adele Forman Tom & Darlis Fuller Mr. Joseph F. Furlong III Robert & Annie-Lewis Garda Kenneth & Amy Goodman Shari Gottlieb Sue & Gary Grant Mary Haskins Ken & Nancy Heaps Don Hendricks Michael Huerta & Ann Sowder Howard & Merele Kosowsky Deborah & Gary Lambert Michael Liess Grant Lippincott & Donna Walsh John & Kristine Maclay Steve & Marion Mahas Keith & Vicki Maio Miriam Mason & Greg Glynnis Karen & Mike McMenomy Clayton McNeel Cyrus & Roseann Mirsaidi

Michael E. Montgomery Glenn & Dav Mosby Vincent & Elizabeth Novack Lee & John Rippel Mr. & Mrs. Robert Rollo Rebecca Roof & Gary Smith Nathan & Shannon Savage Dru & Debbie Schmitt Lisa & Joel Shine Christine St. Andre & Cliff Hardesty Roberta Stanley Ray & Ann Steben Briant Summerhays Richard Valliere Gerard & Sheila Walsh Renee & Dale Waters Betsey & Scott Wertheimer Kelly & James Whitcomb Cindy Williams Barry & Fran Wilson Peter Zutty

GRASS PASS ($2,000–$2,999) Sue Barsamian Margarita Donnelly Caroline & David Hundley

Francis Jayne Roth Stephen & Liz Watson Emily & Danny Weingeist

VIP FOR A NIGHT ($1,000–$1,999) George & Katie Coleman Matthew Follett Sheila & David Gardner LeeAnn Havner

Barbara Higgins Mary Koch Patricia & Mark Lucas George & Jan Pilko

Nancy Rossman Lori Turner Robert Young Deer Valley® Music Festival

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THANK YOU

Utah Symphony | Utah Opera expresses deep gratitude to donors who, over the past 19 seasons, through extraordinary generosity have made the Deer Valley® Music Festival a resounding success.

We appreciatively acknowledge cumulative giving in support of USUO & the Festival.

$500,000+

Diane & Hal Brierley Church of Jesus Christ of Latter-day Saints Foundation Deer Valley Resort** Dominion Energy George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation

Kem & Carolyn Gardner LOVE Communications** The Tony & Renee Marlon Charitable Foundation / Anthony & Renee Marlon O.C. Tanner Company Perkins-Prothro Foundation / Mark & Dianne Prothro Patricia A. Richards & William K. Nichols

Shiebler Family Foundation / Joanne & Bill Shiebler Sorenson Legacy Foundation The Swartz Foundation / James R. & Susan Swartz Zions Bank

Thomas & Lorie Jacobson Montage Deer Valley** Jim† & Marilyn Parke Alice & Frank Puleo St Regis Deer Valley**

Stein Eriksen Lodge** WCF Mutual Insurance Company

$250,000 – 499,999

Scott & Kathleen Amann Marty & Jane† Greenberg Richard K. & Shirley S. Hemingway Foundation Holland & Hart

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.

National Endowment for the Arts Orem City CARE Tax Salt Lake City Arts Council Salt Lake County Zoo, Arts & Parks

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Summit County Restaurant Tax / RAP Tax~ Utah Department of Cultural & Community Engagement

Utah Division of Arts & Museums Utah State Legislature Utah State Board of Education Utah Office of Tourism

VOLUNTEER SUPPORT We thank our generous volunteers for their annual support of Utah Symphony | Utah Opera. This list includes volunteers that have given their time from August 20, 2021 to June 20, 2022. For more information or to sign up, email volunteers@usuo.org.

FORTISSIMO |

Rebecca Roche

Scot Barraclough

Skye Sieber

75 hours or more Jean Barton Chip Browne Yolanda Bunderson Doyle Clayburn Andrea Erekson Arlen Hale Lincoln Holingshead Amber Johnson Karen Jurgens David Lach Liz LeFevre Sandra Marsh Andrea Measom Luke Pettit Anne Polinsky Gunter Radinger Carol Radinger Rick Seven David Webster Whit Wirsing

Ethan Schapiro

FANFARE |

Emily Terrell

25-50 hours Doug Allen Cameron Arave Anthony Arnason Maureen Bradley Andrea Butler Danielle Castillo Chris Chan Jenny Evans Holly Farnsworth Olivia Fernelius Joe Fire Sylvia Goff Oscar Gonzales-Mejia Mackenzie Grover Jessica Hacking Lillian Hatch

SFORZANDO |

Dale Johnson

Jan Baker Robert Curtis Strike Fongeallaz Patrice Gallagher Alexandra Hurst Alison Knudson Jason Lee Marilyn Paulson Steffan Perez

Ron Smith Pam Snyder

LeAnn Hedquist

Gary Allen

Donna Smith

Caleb Unwin

Ken Wilson

50-75 hours

Beatrix Sieger

Kathy Holmes Denise Konrad Martin Kruger Nancy Laursen Lindsey Marx Christy Neel Ribhu Nirek Nancy Pitstick Jeanette M. Ricci Jill Rindlisbacher Ricky Rindlisbacher Mary Ellen Rosen

Laural Spenser Phillip Terrell Daniela Trevino Nicholas Unsworth Sally Wakefield Lisa Williams Cynthia Witt

Mathew Goebel Oliver Goebel Rosie Graff Luana Griffin Sydney Hawkins Barbara Anne Hawkins Charles Hodge Kathleen Lamborn Michael Lamborn Blanca Leodegario Pam Miller Alice Miller

Red York

Lisa Morris

DOLCE |

Mary Grace Murray

Less than 25 hours Reva Anderson Cynthia Bampi Andrea Barton Sibyl Bogardus Thea Brannon Rachel Brooks Rhianna Brunson Kathy Call Grant Chang Maggie Cortsen Leslie Davis Shanel Day Kay Erekson Dan Erekson George Erekson Lauren Erekson Chad Erekson

George Muller Lindsay Nebeker Robin Nelson Sophia Nielsen Shirley Noon Kate Omao Lucy Ordaz Sasha Poma Kathy Pope Ashley Rackham Paola Rampton Elizabeth Ryder Adam Schechter Lisa Silbaugh Viki Snow Annette Solt Chris Terrell Jeanie Ulicny Roseann Woodward

Audrey Evans Cade Gates Vicki Gilchrist Janalee Goebel

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Jim Tozer

Chair

Scott Amann Beth Armstrong Judy Billings Hal Brierley Judy Brownstein Larry Brownstein Carolyn Enenstein Craig Enenstein Lynn Fey Kristen Fletcher Tom Jacobson Debra Kasirer Michael Liess Bill Ligety Renee Marlon

Tony Marlon Pat McEvoy Dan McPhun Hal Milner Lois Milner Mark Prothro Ben Schapiro Joanne Shiebler Jim Swartz Susan Swartz Zibby Tozer Howard Wallack

From all of us at USUO, we thank our DVMF Council members for their generous support, insightful guidance, and unwavering dedication.

Inspire the next generation.

SUPPORT ARTS IN YOUR COMMUNITY "Arts and arts education is not a luxury, it’s a necessity for civilization. And that’s why we’re here."

-Ben Folds Utah Symphony | Utah Opera's free and impactful education programs reach students in every county in Utah. This is only possible through the generous support of our community and music lovers like you.

DONATE ONLINE AT USUO.ORG/GIVE OR BY CALLING 801-869-9200 Ben Folds joins the Utah Symphony on August 4

ADMINISTRATION ADMINISTRATION Steven Brosvik President & CEO

David Green

Senior Vice President & COO

Micah Luce

Director of Human Resources & Organizational Culture

Julie McBeth

Executive Assistant to the CEO

Marcus Lee

Executive Assistant to the Senior VP & COO and Office Manager

SYMPHONY ARTISTIC Thierry Fischer

Symphony Music Director

Anthony Tolokan 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

SYMPHONY OPERATIONS

DEVELOPMENT Leslie Peterson

ACCOUNTING & INFORMATION TECHNOLOGY

Vice President of Development

Steve Hogan

Individual Giving Manager

Mike Lund

Grants Manager

Melanie Giles

Development Database Manager

Jared Mollenkopf

Manager of Special Events

Bobby Alger

Stewardship & Event Coordinator

Karine Mnatsakanyan

MARKETING & COMMUNICATIONS

EDUCATION

Katie Swainston

Vice President of Finance & CFO

Lisa Poppleton

Director of Information Technologies

Dallin Mills

Controller

Maren Holmes

Patron Information Systems Manager

Ellesse Hargreaves

Accounts Payable Specialist Payroll Specialist

Meredith Kimball Laing

Ben Kipp

Adia Thornton

Dr. Jessica Wiley

Robert Bedont

Kevin Nakatani

Megs Vincent

Beth Foley

Nina Starling

OPERA TECHNICAL

Vice President of Marketing & Communications Director of Marketing Marketing Manager Communications Manager Website Content Coordinator

PATRON SERVICES

Director of Education & Community Engagement Symphony Education Manager Opera Education Manager Education Coordinator

Sam Miller

Technical Director

Faith Myers

Kelly Nickle

Jaron Hatch

JR Orr

Caitlin Marshall

Dusty Terrell

Director of Production

Toby Simmons

COSTUMES

Operations Manager

Genevieve Gannon

Verona Green

Amber Bartlett Lorraine Fry Jodie Gressman Michael Gibson Sean Leonard Naomi Newton Ian Painter Ananda Spike Val Tholen

Milivoj Poletan

Cassandra Dozet

Senior Director of Operations

Melissa Robison

Program Publication & Front of House Director

Chip Dance Jen Shark

Sarah Madany Stage Manager

OPERA ARTISTIC Christopher McBeth Opera Artistic Director

Carol Anderson Principal Coach

Michelle Peterson

Director of Production

Director of Patron Engagement Patron Services Manager Sales & Engagement Manager Patron Services Assistant Manager Group Sales Associate

Properties Master Head Carpenter & Shop Foreman Scenic Charge Artist

Costume Rentals & Stock Manager Master Tailor

Maxwell Paris

Wardrobe Supervisor & Rentals Assistant

Patron Services Associates

Dr. Sharon Lavery Chorus Director

Ashley Tingey

Production 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.

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ACKNOWLEDGMENTS UTAH SYMPHONY | UTAH OPERA DEER VALLEY® MUSIC FESTIVAL 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

Ballard Spahr Andrews & Ingersoll, llp Jones Waldo ADVERTISING SERVICES

Provided by Love Communications, Salt Lake City

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

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

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

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