2024 Deer Valley® Music Festival Playbill

P A R K C I T Y, U TA H JULY 5–AUGUST 9, 2024

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WELCOME TO THE DEER VALLEY® MUSIC FESTIVAL Thank you for joining us for this evening’s concert of the 20th Anniversary Season of the Deer Valley® Music Festival, which we hope is but one of many performances that you will enjoy with us this summer.

Steven Brosvik President & CEO

Utah Symphony | Utah Opera

While the Utah Symphony has been performing summer concerts at the Snow Park Outdoor Amphitheater since 1985, it was in 2004 that the newly merged Utah Symphony | Utah Opera, in partnership with Deer Valley Resort, created the Deer Valley® Music Festival as a more extensive summer offering. Over the years, it has developed into a widely anticipated orchestra festival attracting national and international artists. We are profoundly grateful for the local community, donors, and supporters who have welcomed and embraced us over the years.

Utah is an amazing place to live and to visit, and Utah Symphony | Utah Opera is able to attract some of the best musicians, artists, and staff because of the variety of outdoor activities possible and exquisite natural beauty of our state. It’s no wonder that our festival experience combining great live music with a casual mountain atmosphere has become a favorite way for many people to spend their summer evenings. 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 musicians, providing inspiration to repeatedly return and escape into the music.

Brian Greeff Chairman

USUO Board of Trustees

Thank you for presence here tonight. We hope that enjoying exceptional music in these outstanding landscapes demonstrates to you why a thriving performing arts community is an integral part of what makes Utah great.

Sincerely,

P.S. When summer ends, enjoying great live music doesn’t have to—please join us in our indoor venues on the other side of the Wasatch Mountains during our 2024–25 season. Visit https://usuo.org/tickets/subscriptions/ for more information about a wide variety of performances and subscription packages.

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Deer Valley® Music Festival

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

Deer Valley® Music Festival

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CONTENTS PATRIOTIC POPS

23

TCHAIKOVSKY’S 1812 OVERTURE

56

CHRISTMAS IN JULY

25

FUNK LEGENDS TOWER OF POWER

58

SCHUBERT’S SYMPHONY NO. 6

29

HAYDN, MOZART & MORE

61

THE MUSIC OF WHITNEY HOUSTON

34

DISCO HITS WITH BOOGIE WONDER BAND

66

TRAILBLAZING MUSIC OF JONI MITCHELL, CAROLE KING, & CARLY SIMON

37

HAMILTON STAR LESLIE ODOM, JR.

69

MENDELSSOHN’S “SCOTTISH” SYMPHONY

41

THE MUSIC OF JOHN WILLIAMS

75

ROCK ‘N’ ROLL WITH THE RASCALS

46

A NIGHT TO “HEAR A SYMPHONY” WITH CODY FRY

78

DISNEY IN CONCERT: ONCE UPON A TIME

49 ON THE HILL CONCERTS

SCHOENBERG’S TRANSFIGURED NIGHT

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ST. MARY’S CHURCH CONCERTS

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UTAH SYMPHONY Matthew Straw Assistant Conductor

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

OBOE Zachary Hammond Principal The Gerald B. & Barbara F. Stringfellow Chair

David Robertson Creative Partner

Yuan Qi Associate Principal

James Hall Associate Principal

Sharon Bjorndal Lavery Chorus Director & Opera Assistant Conductor

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

Lissa Stolz

Thierry Fischer Music Director Emeritus

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 Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt 2nd 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 * String Seating Rotates ** On Leave

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ENGLISH HORN Lissa Stolz

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

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

Andrew Larson Acting Associate Principal

Erin Svoboda-Scott Associate Principal

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

Lee Livengood# Chris Bosco~

BASS* David Yavornitzky Principal Corbin Johnston Associate Principal Andrew Keller Edward Merritt 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

# Sabbatical ~ Substitute Member

BASS CLARINET Lee Livengood# Chris Bosco~ 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 Vacant Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Claudia Restrepo ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Hannah Thomas-Hollands Orchestra Personnel Manager

THE BOARD OF TRUSTEES ELECTED BOARD Brian Greeff* 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 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 Theresa A. Foxley Brandon Fugal Dr. Julie Aiken Hansen Daniel Hemmert* Dennis H. Hranitzky Stephen Tanner Irish Thomas N. Jacobson Abigail E. Magrane Judy Moreton 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 Don Willie Sharlene Wells Kim R. Wilson Thomas Wright* Henry C. Wurts*

Clark D. Jones 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 Claudia Restrepo* Barbrara Ann Scowcroft* EX-OFFICIO REPRESENTATIVE Jean Vaniman Onstage Ogden

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

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

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KENT & MARTHA DIFIORE AND BEANO SOLOMON OFFICIAL VEHICLE OF THE UTAH SYMPHONY SUMMER FESTIVAL

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Deer Valley® Music Festival

2024 Deer Valley Music Festival SUMMER SYMPHONY SPONSOR

Music gives a soul to the universe, wings to the mind, flight to the imagination, and life to everything.

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Deer Valley® Music Festival

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ON THE HILL

PATRIOTIC POPS JULY 5 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER EVAN ROIDER, conductor LISA HOWARD, vocals

SMITH/KEY JOHN WILLIAMS COPLAND

The Star-Spangled Banner Liberty Fanfare Variations on a Shaker Melody

ARR. JEFF TYZIK

Give My Regards to George

ARR. HOLCOMBE

“Johnny One Note”

ARR. MOONEY

“Somewhere Over the Rainbow”

ARR. MOONEY

“The Wizard and I”

GOULD ARR. HAYMAN/KESSLER

American Salute Armed Forces Medley INTERMISSION

GROFE

Ode to the Star-Spangled Banner

JOHN WILLIAMS

Born on the Fourth of July

JAMES BECKEL

Gardens of Stone

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Mark & Dianne Prothro

“Don’t Rain on My Parade” “Climb Every Mountain” Liberty Bell March “America the Beautiful” The Stars and Stripes Forever

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Deer Valley® Music Festival

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ARTISTS’ PROFILES

Evan Roider Conductor

Equally at home on the symphonic and Broadway stages, Evan Roider is quickly becoming known as a conductor of great versatility. The 2023–2024 season included engagements with Charlotte Symphony, Sarasota Orchestra, Tucson Symphony, Toledo Symphony, and the No Name Pops. In 2024–2025, he makes debuts with San Diego Symphony, Fort Worth Symphony, the Louisiana Philharmonic, and Long Beach Symphony,

Lisa Howard Vocals

Lisa, a native of Akron, Ohio, began her performing career with the ETC All American Youth Show Choir and Firestone High School’s performing arts department before heading to The University of Cincinnati’s College Conservatory of Music where she received a BFA in Musical Theater.

She has worked at prominent regional theaters across the country including the St. Louis MUNY, Kansas City Starlight, The Olney Center, Goodspeed Opera House, Pittsburgh Civic Light Opera and Barrington

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Deer Valley® Music Festival

along with return engagements to Sarasota Orchestra and Tucson Symphony. Other recent highlights include Pacific Symphony w/The Manhattan Transfer, Greensboro Symphony w/Michael Feinstein and Tucson Symphony w/Pink Martini, in addition to assisting at both National Symphony and Dallas Symphony.

Currently, he serves as Music Director/ Conductor on the National Tour of Wicked, having previously toured with Les Misérables and Cats. Evan is a graduate of the College-Conservatory of Music, University of Cincinnati, where he earned a Masters in Orchestral Conducting.

Stage Company. She also performed in the national touring company of Les Miserables and most recently as Madame Morrible in the national tour of Wicked.

On Broadway, Lisa was most recently seen as Tammy in the new musical, Escape to Margaritaville. Other Broadway credits include her Drama Desk Nominated role of Jenny Steinberg in the musical comedy It Shoulda Been You directed by David Hyde Pierce, Diva 1 in Priscilla, Queen of the Desert, Missy Hart in 9 to 5, Head Nurse in Lincoln Center’s revival of South Pacific and Rona Lisa Peretti in The 25th Annual Putnam County Spelling Bee, for which she won a Drama Desk Award for Outstanding Ensemble Performance.

ON THE HILL

CHRISTMAS IN JULY JULY 6 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CONNER GRAY COVINGTON, conductor WILLIAM HAGEN, violin

COLERIDGE-TAYLOR

Christmas Overture

VIVALDI

“Winter” from The Four Seasons

PIAZZOLLA (ARR. DESYATNIKOV)

Verano Porteño (“Summer”) from Four Seasons of Buenos Aires

JEFF TYZIK RIMSKY-KORSAKOV RANDOL BASS

The Skater’s Overture Polonaise from Christmas Eve ‘Twas the Night Before Christmas INTERMISSION

TCHAIKOVSKY ANDERSON

PRESENTING SPONSOR

Selections from The Nutcracker Sleigh Ride

CONCERT SPONSOR

ORCHESTRA SPONSOR

SCOTT & KATHIE AMANN

Deer Valley® Music Festival

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ARTISTS’ PROFILES

Conner Gray Covington Conductor

Conner Gray Covington recently completed a four-year tenure with the Utah Symphony as Associate Conductor and Principal Conductor of the Deer Valley® Music Festival. During his tenure in Utah, he conducted nearly 300 performances of classical subscription, education, film, pops, and family concerts as well as tours throughout the state. In the 2023-2024 season, Covington debuted with the Tucson Symphony and returned to the North Carolina Symphony, Portland

(ME) Symphony, and made several appearances with the Utah Symphony including his return to their Masterworks series. Covington made his Utah Opera debut conducting a production of Mozart’s Le nozze di Figaro and also collaborated on a production of Gounod’s Roméo et Juliette with Washington National Opera at The Kennedy Center. Highlights of recent seasons include appearances with the symphonies of Kansas City, Nashville, Omaha, Rochester, San Diego, Sarasota, St. Louis, and Virginia as well as at the Bellingham Festival of Music, Grand Teton Music Festival, and New England Conservatory Opera.

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ARTISTS’ PROFILES

William Hagen Violin

William Hagen has performed as soloist, recitalist, and chamber musician across the United States, Europe, Asia, and Latin America. Highlights of the 2023–24 season included a return to the Detroit Symphony and a tour of the Netherlands with the Amsterdam Sinfonietta.

As soloist, William has appeared with the Chicago Symphony, Chamber Orchestra of Europe, Detroit Symphony, Frankfurt Radio

Symphony (HR Sinfonieorchester), San Francisco Symphony, Seattle Symphony, Utah Symphony, and many others around the globe.

As recitalist and chamber musician, William has performed at venues such as Wigmore Hall and the Louvre, and collaborated with artists such as Steven Isserlis, Gidon Kremer, Edgar Meyer, and Tabea Zimmermann, among others. He maintains an active schedule on both sides of the Atlantic, making frequent trips to Europe and cities around the US to play a wide range of repertoire.

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SCHUBERT’S SYMPHONY NO. 6 JULY 10 / 2024 / 8 PM

ST. MARY’S CATHOLIC CHURCH CHELSEA GALLO, conductor KATHRYN EBERLE, violin

HAYDN

Symphony No. 61 in D Major I. II. III. IV:

Vivace Adagio Allegretto Finale: Prestissimo

BEETHOVEN

Romance No. 1 in G Major, Op. 40

SAINT-SAËNS

Havanaise INTERMISSION

SCHUBERT

Symphony No. 6 in C Major I. II. III. IV.

Adagio Andante Scherzo Moderator

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Deer Valley® Music Festival

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ARTISTS’ PROFILES Chelsea Gallo Conductor

Labeled a “rising star” within the conducting world (Anwar Nasir, Associated Press), Conductor Chelsea Gallo has been praised for her ability to “lead the orchestra with grace and fiery command” (Schubring, Michigan Daily.) Her conducting style has been described as “fully in control… stylish, skillful and attentive” (Scott Cantrell, Dallas News.)

For the 2023–25 seasons, Gallo will be Resident Conductor of The Florida Orchestra, Principal Guest Conductor of the Orlando Philharmonic Orchestra, and a Cover Conductor with the New York Philharmonic. Past positions include

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 Concertmaster of the Hollywood Bowl Orchestra in Los Angeles.

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

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Deer Valley® Music Festival

Assistant Conductor of the Louisiana Philharmonic, Conducting Fellow with the Dallas Opera, and Conducting Staff for the Detroit Symphony Orchestra. As a guest conductor, Gallo has conducted the Virginia Symphony Orchestra, North Carolina Symphony Orchestra, Sarasota Orchestra, Missouri Symphony, Bridgeport Symphony, Jackson Symphony Orchestra, Lancaster Symphony, Youngstown Symphony Orchestra, Toledo Symphony, the Hartford Opera, Opera Orlando, Marigny Opera, Opera Orlando, Slovak Sinfonietta, amongst others. 2023–24 debuts included the Bozeman Symphony Orchestra, Sewanee Music Festival, and Catapult Opera (NYC). She is a 2022 Award Recipient of the prestigious George Solti Foundation USA Career Fellowship.

Eberle performs annually as soloist with the Utah Symphony with whom she’s performed over 10 works as a featured soloist. She made her subscription series debut with the USO in April 2014 performing Leonard Bernstein’s Serenade. Other solo appearances include performances with the Los Angeles Philharmonic, the Nashville Symphony, the Louisville Orchestra, the National Academy Orchestra of Canada, and the Bahia Symphony in Brazil.

HISTORY OF THE MUSIC

By Jeff Counts

Symphony No. 61 in D Major Franz Joseph Haydn (1732-1809)

Romance No. 1 in G Major, Op. 40 Ludwig van Beethoven (1770-1827)

When you look at a list of Haydn’s 104 symphonies, the first thing you notice about the stretch of numbers between the late 50s and the “Paris” set (82-87) is that there are very few nicknames.

Monikers in Haydn must be considered with caution since he almost never applied them himself. But the fact that most of these middle symphonies weren’t given titles by anybody means that they likely didn’t, and still don’t, get performed with great frequency. His dramatic sturm and drang period (again, not a thing he would have identified himself) was over in 1776 when he wrote the energetic and breezy Symphony No. 61. What it lacks in minor-keyed theatrics, No. 61 more than makes up for with breakneck pacing and courtly elegance. There is plenty of humor too, a feature that can be found with little effort in every Haydn symphony, even the ones that live in the shadow of their famous “named” siblings. For proof of this, just listen for the abrupt wrong-footed silences in the Menuetto. Then witness the puckish virtuosity of the finale and imagine being the bassoonist who had to play this premiere in 1776! It is funny as well as fun, this music, and yet another example of Haydn’s brilliant, idiosyncratic craftsmanship. Even when nobody was looking, he remained true to his ideals.

Which is why even the forgotten, or never really known, corners of his catalogue contain such invaluable treasures.

Drawing comparisons between Mozart and Beethoven is a popular pastime for scholars and annotators. This was true even while Beethoven was alive. And why not? It’s great fun and an interesting way to contextualize their achievements, and I hereby give myself permission to do the same thing. As instrumentalists, Mozart and Beethoven are remembered primarily as virtuoso pianists but both were also very capable string players. One can hear proof of this in their chamber music and the concerti they wrote for the violin. They challenge the instrument, yes, but they adore it too, and it all comes from a place of deep, personal experience. Beethoven’s two Romances for violin and orchestra were written in one order but published in another. So, like the first two piano concerti, No. “2” became No. 1. Written sometime in the first years of the 19th century, the G Major Romance came out in 1803 and is often cited (speculatively, to be fair) as a proof of concept for the concerto that was already forming in his mind. That monument was still hidden in the marble at the time, however, so the lyrical Romance No. 1 should be allowed to stand apart from it. This music is grace personified and an effective feature piece for sensitive soloists from Beethoven’s time to ours. It also exemplifies his easy mastery of the Classical style he was set to abandon in due course. We don’t know when the Romance No. 1 was premiered, or by whom, but this only confirms its timeless nature.

Duration: 26 minutes in four movements.

Duration: 8 minutes

Deer Valley® Music Festival

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HISTORY OF THE MUSIC Havanaise, op. 83 Camille Saint-Saëns (1835-1921)

Symphony No. 6 in C Major, D. 589 Franz Schubert (1797-1828)

Saint-Saëns was a frequent and devoted traveler. He visited fascinating locations in Europe, South America, Southeast Asia and Africa and the various cultures he encountered abroad inevitably found their way into his personal musical language.

“Havanaise” is French for “habanera,” a Cuban dance form that became popular in Spain during the 19th century. It was characterized by a two-beat pattern, based on a repeated four-note rhythm, that was derived from the African cultural influence on Cuba. The most notable “high art” example is, of course, from Bizet’s Carmen but Ravel later wrote a two-piano Habanera that was incorporated into the symphonic Rapsodie Espagnol. The telltale habanera pattern is present in the music of SaintSaëns’ Havanaise as well, but sometimes as no more than an accompanying whisper behind the solo violin’s more reflective moments. The first version of the piece was for solo violin and piano, but the composer created an orchestration shortly after. The story of Saint-Saens’ initial inspiration for the music is very strange one. While on tour with the violinist Raphael Diaz Albertini (the eventual dedicatee of the Havanaise), SaintSaëns built a fire in his cold hotel room and the popping sound of the burning logs began to form a melody in his imagination.

Though chilly Northern European nights are a far cry from tropical Cuba, that melody somehow grew into the Havanaise two years later. It was a highly unusual muse, to be sure, and not likely one that has ever been repeated.

We’ve already broached the subject of nicknames with Haydn, so it is only fair to introduce Schubert’s Symphony No. 6 by the one it earned for itself. To distinguish it from that other “Great” work in the same key, No. 6 was given the title of “Little C Major”. This was after Schubert’s death, of course, which seems a thing hardly worth saying given how quickly that tragedy came.

When he passed from this world in 1828 at the age of 31, none of his many symphonies had been published or performed in public.

No. 6 got the latter honor first on a concert in Vienna less than a month after Schubert died but wouldn’t be heard again for another 20 years. Some of the others had to wait even longer than that! Schubert wrote his Little C Major between in 1817 and 1818 while he was teaching with his father in Rossau. It was the second time the two would work as educators together, but the son was never happy in an academic setting. He managed to stay productive despite his classroom duties, penning songs in great bunches as well as symphonies and various chamber music pieces. Symphony No. 6 was among the prolific lot. The divergent influences of Beethoven and Rossini are evident throughout the score, but the mature, independent Schubert of his last symphonies is not. Not yet. Still, we are fortunate that the world around him was taking notice of his talents and that his many friends and admirers were ready to bring his compositions, like this cheerful “Little” gem, to life after he lost his so young.

Duration: 11 minutes.

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Deer Valley® Music Festival

Duration: 32 minutes in four movements

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ON THE HILL

THE MUSIC OF WHITNEY HOUSTON JULY 11 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER RICHARD CARSEY, conductor RASHIDRA SCOTT, vocals

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Deer Valley® Music Festival

ARTISTS’ PROFILES

Richard Carsey Conductor

Richard Carsey is a conductor, pianist, and actor.

He is a Conductor for the longest-running musical in history, The Phantom of the Opera on Broadway, as well as the current revival of Carousel featuring Joshua Henry, Jessie Mueller, and Renee Fleming. National tours include Cameron Mackintosh’s new production of Phantom, and the revival of La Cage Aux Folles with George Hamilton. Also on Broadway, he was Music Supervisor of The House of Blue Leaves starring Ben Stiller and Edie Falco, and Musical Director for Joshua Schmidt’s musical A Minister’s Wife at Lincoln Center Theater.

Rashidra Scott Vocals

Rashidra is absolutely ecstatic that her musical voyage has led to this opportunity. At four-years-old, “The Greatest Love of All” was the first song she sang. From an early age Rashidra was known around town as “the little girl with the big voice.” From community musical theatre to church music ministry, she was constantly in demand for civic and social performances at local and national events.

Throughout the years, that little girl singing

Internationally, he has performed as pianist and conductor in such exotic locales as Lima, Athens, Barcelona, Islamabad, and Kuwait. Richard enjoyed a long association with the Skylight Opera Theatre in Milwaukee, WI as Principal Conductor, and for nine seasons was Artistic Director.

Highlights include the world premiere and television broadcast of Richard Wargo’s opera Ballymore; a PBS broadcast of The Mikado; and the world premiere of the opera The Rivals by Kirke Mechem. He has provided musical direction for regional productions throughout the U.S. including the Marriott Theater, Utah Shakespeare Festival, Florida State Opera, and the Guthrie in Minneapolis.

along with the radio was still ever so alive inside, leading her to a Bachelor’s Degree in Music with a concentration in Music Business/Management from Boston’s Berklee College of Music. After graduating, Rashidra spent four years singing for Walt Disney Entertainment as a featured vocalist on Disney Cruise Line (Disney Wonder) and Tarzan Rocks! at Disney’s Animal Kingdom.

The highlight was being a proud member of the opening team of Hong Kong Disneyland as Nala in “The Festival of The Lion King.” After living in Hong Kong for nine months Rashidra was led to move to New York, and that turned out to be the best “nudge” she could have followed.

Deer Valley® Music Festival

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ON THE HILL

TRAILBLAZING MUSIC OF JONI MITCHELL, CAROLE KING, & CARLY SIMON JULY 12 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER TED SPERLING, conductor MORGAN JAMES, vocals CAPATHIA JENKINS, vocals SHAYNA STEELE, vocals

PRESENTING SPONSOR

CONCERT SPONSOR

JIM & ZIBBY TOZER

CONDUCTOR SPONSOR

GUEST ARTIST SPONSOR

DOUGLAS & CONSTANCE HAYES

JIM & SUSAN BLAIR

Deer Valley® Music Festival

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ARTISTS’ PROFILES Ted Sperling Conductor

Ted Sperling is a multifaceted artist; director, music director, conductor, orchestrator, singer, pianist, violinist and violist. He is the Artistic Director of MasterVoices and Music Director of the recent Broadway productions of My Fair Lady, Fiddler on the Roof and The King and I. He has directed the premiere productions of The Other Josh Cohen, Red Eye of Love, Striking 12 and See What I Wanna See, all off-Broadway.

Morgan James Vocals

Let’s start with the voice, an instrument through which she can communicate anything.

A gift bestowed upon her that she has expertly trained, meticulously nurtured, and passionately galvanized into action by an urgency to make real music. Next, the stories, and she has them in spades. They are full of truth and beauty, heartache and thoughtfulness. They reveal colors we weren’t expecting to see. They make us close our eyes and relate. And finally, the soul—the emotional and intellectual energy through which these parts are fueled. That special something that prompted The Wall Street Journal to herald her as “the most promising young vocalist to come along so far this century.” That young vocalist is Morgan James. And Morgan James is a soul singer.

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A Tony Award winner for his orchestrations of The Light in the Piazza, Mr. Sperling is known for his work across many genres, including opera, oratorio, musical theater, symphony and pops. His video interpretation of Adam Guettel’s Myths and Hymns can be viewed on the PBS channel, AllArts, where you can also view his concert of Carole King songs. He earned rapturous reviews for his production of Stephen Sondheim’s The Frogs at Lincoln Center, Lady in the Dark with MasterVoices at NY City Center as well as for recent performances of Let ‘Em Eat Cake and Anyone Can Whistle at Carnegie Hall.

Morgan grew up listening to everyone from Joni Mitchell to Paul Simon to Prince to Aretha Franklin, cultivating an insatiable love for strong songwriters. After graduating from The Juilliard School with a classical music degree, and performing in the original companies of five Broadway productions, James began writing and recording her own music. Meeting her mentor Berry Gordy, Jr. led to a record deal at Epic Records, where she recorded and released her solo album “Hunter” in 2014. In addition to her five studio albums, James recorded and released a full album cover of Joni Mitchell’s seminal “Blue” as well as The Beatles’ “White Album” to celebrate the 50th anniversary.

After her tenure with Epic Records, she took charge of her career from the business and musical side. She cultivated a new world of fans with her viral YouTube videos, and while connecting with them on social media and at her live shows,

ARTISTS’ PROFILES she found the support and strength to go out on her own as an independent artist. With viral sensation postmodern jukebox, and her own channel, Morgan has amassed more than 250 million views on YouTube, (and climbing). Over the last several years, James has built her own empire and established herself as a touring powerhouse, allowing her to raise the funds to create her albums and make every decision from the ground up.

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

“I feel like I am a part of the lineage of soul music. My guiding force throughout my creative process is ‘What would Aretha say? What would Otis say?’ It’s not a retro or throwback by any means. This music is me: classic elements, timeless melodies, and lyrics from my soul and experience. We need that right now. We need real music now more than ever.”

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.

Shayna Steele

or the hundreds of Symphony Orchestras throughout North America.

This dynamic vocalist puts new meaning to diversity and grass-roots talent. Her natural ability to traverse musical genres be it in the studio, on the stage, or the screen, has kept her on the A list of in-demand singers in the industry.

Shayna’s effortless execution of both soul and jazz has grabbed the attention of audiences globally, be it the upcoming Monterey Jazz Festival in September, North Sea Jazz Festival with Snarky Puppy

She released her fourth studio album, Gold Dust, in 2023 on Ropeadope Records.

Shayna’s creative abilities explode in multiple genres and her original signature sound. Her mature songwriting abilities are dynamically evident as heard through her infusion of soul, jazz and blues.

Produced by David Cook (Billboard #1 Jazz album, Spectrum by Shoshana Bean) Gold Dust embodies a sound that has taken Shayna 20 years to perfect.

Vocals

Deer Valley® Music Festival

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ST. MARY’S CHURCH

MENDELSSOHN’S “SCOTTISH” SYMPHONY JULY 17 / 2024 / 8 PM

ST. MARY’S CATHOLIC CHURCH ARAM DEMIRJIAN, conductor DAVID YAVORNITZKY, double bass

ANNA CLYNE KOUSSEVITZKY

PIVOT Concerto for Double Bass I. II. III.

Allegro Andante Allegro

INTERMISSION

MENDELSSOHN

Symphony No.3 in A minor, Op. 56, “Scottish” I. II. III. IV.

Andante con moto - Allegro agitato Vivace non troppo Adagio Allegro vivacissimo — Allegro maestoso assai

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

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ARTISTS’ PROFILES Aram Demirjian Conductor

Recipient of The Sir Georg Solti Conducting Award from The Solti Foundation U.S., conductor Aram Demirjian has built a reputation as an insightful interpreter of the symphonic repertoire and an engaging, “enthusiastic, even electric” (San Francisco Classical Voice) presence on the podium. Widely acclaimed for his transformative work as Music Director of the Knoxville Symphony Orchestra (KSO), he is sought after for his “graceful, energetic direction” (Sarasota Herald Tribune) and dynamic programs that both excite audiences and broaden the idea of

David Yavornitzky Double Bass

Principal Bassist of the Utah Symphony since 1988, David Yavornitzky has performed as concerto soloist, participated in U.S. and International tours, and has collaborated with many of the world’s finest conductors and guest artists. David also holds the position of Professor of Double Bass at the University of Utah, where he maintains an active teaching studio. Several of his students have won statewide and national

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what one can expect to see on the symphonic stage.

As the eighth Music Director of the KSO, Aram has led the orchestra to new artistic heights and national distinction for its achievements. A devoted champion of American music, Aram’s programming has grown the ensemble’s repertoire, particularly by emphasizing music by living composers, artists from underrepresented groups, and cross-disciplinary collaboration. Under his leadership, the KSO was selected in 2020 as one of four orchestras to be featured at SHIFT: A Festival of American Orchestras, presented

by The Kennedy Center and Washington Performing Arts.

solo double bass competitions. He is a tireless proponent of contemporary music, having had compositions written for him, as well as having given important premieres of contemporary works. As a conductor, David has led many diverse ensembles, including area youth, collegiate and professional orchestras, and he has conducted several Utah premieres of contemporary works with the Nova Chamber Music Series. In 2007 David was appointed to the position of Cover Conductor for the Utah Symphony’s educational programs.

HISTORY OF THE MUSIC

By Jeff Counts

Pivot Anna Clyne (b. 1980)

Concerto for Double Bass, Op. 3 Serge Koussevitzky (1874-1951)

London-born composer Anna Clyne began composing at the tender age of 7 but didn’t receive any formal training until she was 20. It was an early start and then kind of a late one. But her path, once identified, took her from the University of Edinburgh to the Manhattan School of Music and eventually into just about every important concert hall in the world. Clyne is among the most performed living composers now and her frequent collaborations with dancers, visual artists, filmmakers and electronic music specialists provides her with ample opportunity to explore what she refers to as the “physicality of sound.”

About her work Pivot, Clyne writes that it “is inspired by my experiences at the Edinburgh Festival where I enjoyed an array of fantastic performances across the arts. It is this variety that I have tried to capture in Pivot which, as the title suggests, pivots from one experience to another. The Pivot is also a former name of the 200-year-old folk music venue and pub in Edinburgh, The Royal Oak. Pivot quotes fragments of The Flowers of Edinburgh, a traditional fiddle tune of eighteenth-century Scottish lineage that is also prominent in American fiddle music and thus bridges between Edinburgh and St. Louis, where this music was premiered. Thank you to Aidan O’Rourke for his guidance on folk fiddle bowings and ornaments, which are incorporated into Pivot.” Pivot premiered in Edinburgh in 2021.

Never has there been a more devoted champion of composers than Serge Koussevitzky. Sure, history is full of benefactors who funded the creation of new music with their time and their coin, but none approach the magnitude of the legendary Boston Symphony Music Director.

His list of commissions and world premieres over 25 years included works by Gershwin, Stravinsky, Copland, Barber, Hindemith, Schoenberg and, not to be forgotten, the Ravel orchestration of Mussorgsky’s Pictures at an Exhibition. Koussevitzky had left Russia for Berlin and Paris in 1920. His reputation as a virtuoso bassist (not to mention the deep pockets of his heiress wife Natalya Ushkov) enabled him to pursue conducting at his leisure in Europe. It wasn’t long before American orchestras began to take notice of his growing podium skills but, well before any of that, Koussevitzky composed a concerto for his instrument. This would have been in 1902, though he didn’t perform it until 1905.

He dedicated it to his second wife, Natalya, but it was his third bride, Olga, who would be called upon to defend the work’s honor when doubts about its authorship began to circulate. Provenance conspiracies might still be fun for some, but this music is his. And for all his contemporary music advocacy with the baton, the concerto Koussevitzky wrote for himself looks backward to Dvorak, Tchaikovsky and Glinka. It is a fully Romantic remembrance of the distant place and time from before he came to America and made the new place his home as one its most celebrated maestros.

Duration: 5 minutes.

Duration: 20 minutes in three movements

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HISTORY OF THE MUSIC Symphony No. 3, Op. 56 “Scottish” Felix Mendelssohn (1809-1847) Duration: 40 minutes in four movements.

In 1842, Mendelssohn completed his 3rd Symphony while in Berlin but conducted the premiere later that year in the city he still very much preferred, Leipzig.

He performed it again in England a few months later and dedicated it to Queen Victoria. Numbers notwithstanding, this was actually the last symphony Mendelssohn ever composed. His inspiration for it dated back to a previous trip to Britain in 1829 and a particular visit to the Holyrood Chapel in Edinburgh. “[T] he chapel below is now roofless,” he wrote in a letter, “Everything is ruined, decayed, and the clear heavens pour in. I think I have found here the beginning of my ‘Scottish’ symphony.” Mendelssohn made some sketches at the time but set the music

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aside until 1841, a long enough delay that the “Scottishness” of the symphony would have been difficult to identify had he not repeatedly referred to it himself. Without a single quoted folk melody, the symphony was sufficiently devoid of reference to Scotland that it elicited one of the most embarrassing moments in the history of music criticism when Robert Schumann (on bad information) wrote glowingly of the symphony’s beautiful “Italian” portraiture.

Mendelssohn, for his part, was never confused about his motivation, but he did comment once in the 1830s about having trouble finding “his way back into the Scottish fog mood” when trying to complete the score. The unifying theme that opens the symphony is a solemn utterance, suggesting that Mendelssohn did eventually recall that misty scene in the ruins of Holyrood, a place where “grass and ivy thrive” at “the broken alter where Mary was crowned.”

H

/ H E R• I T• A G E / N O U N History and practices of a company that exist from the past and continue to impact and be influential today.

Heritage – a word, while simple, embodies the notion of depth, consistency and history. You see, heritage transcends today's trends and the world's buzz because it denotes a level of tenure, sophistication and longevity at the core of its definition.

To us, our heritage, one that dates back to 1744, places a level of responsibility upon our shoulders, a responsibility that we welcome and step up to the plate for each and every day.

Whether it's navigating the storms of polarizing real estate markets, adopting and innovating new technologies or facing challenges our industry and clients have yet to see – we deliver on our heritage, arriving with strength, a clear vision and a plan of action rooted in experience and principle.

Our heritage drives our purpose, requiring each of us to treat every day as an opportunity to redefine the real estate experience and lead our industry by example. We live by the understanding that our words have power and our brand, a reputation. The Summit Sotheby's International Realty name places us amongst the most elite brands in the world – an ode to our heritage and the work and trust behind every blue sign from Utah to New York, Italy to Taiwan. But it isn't just lip service because this is our passion, our purpose, our mission.

So what is our chapter, our mark, of this iconic heritage?

A demand of ourselves to deliver a quality of real estate services that others won't, leading to a client experience that others can't – and doing so with never wavering integrity.

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ON THE HILL

ROCK ‘N’ ROLL WITH

THE RASCALS

JULY 19 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER BRENT HAVENS, conductor THE RASCALS, guest artists

PRESENTING SPONSOR

CONCERT SPONSOR

REBECCA MARRIOTT CHAMPION

GUEST ARTIST SPONSOR

JIM & ANN NEAL

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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 over 150,000 fans.

He has worked with some of the world’s greatest orchestras including the Royal Philharmonic and the BBC Concert Orchestra in London, the CBSO in Birmingham, England, the Malaysian

The Rascals Guest Artists

Two legendary founders of The Rascals are together again. Felix Cavaliere and Gene Cornish cite the fans and love of their timeless songs as reasons for collaboration. Rock & Roll Hall of Fame Inductees, Grammy Hall of Fame, Vocal Group Hall of Fame and Songwriter Hall of Fame members, The Rascals are widely considered the best ‘blue-eyed soul’ group

Philharmonic, the Cincinnati Symphony Orchestra, the Minnesota Orchestra, the Pittsburgh Symphony, the Indianapolis Symphony Orchestra, the Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, the Fort Worth Symphony, the Nashville Symphony, Orchestra of Opera North in Leeds, England and countless others.

Havens recently completed the score for the film “Quo Vadis,” a Premier Pictures remake of the 1956 gladiator film. In 2013 he worked with the Baltimore Symphony and the NFL’s Baltimore Ravens to arrange and produce the music for the Thanksgiving Day halftime show between the Ravens and Pittsburgh Steelers, adapting both classical music and rock songs into a single four minute show. Havens is Arranger/Guest Conductor for all of the symphonic rock programs for Windborne Music.

to come out of the 1960s and their music is the soundtrack of a generation. The Rascals have 17 Top 20 hits, seven Top 10 hits, and three No.1 hits that include “Groovin’, “People Got To Be Free” and “Good Lovin’.”

“We’re so grateful for the fans, this is for them,” Felix Cavaliere said.

“This gives us another chance to play together and do it for the fans,” Gene Cornish said.

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ON THE HILL

DISNEY IN CONCERT: ONCE UPON A TIME JULY 20 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER JERRY HOU, conductor

ORCHESTRA SPONSOR

STAGE SPONSOR

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ARTISTS’ PROFILES Jerry Hou Conductor

Born in Taiwan and raised in a small town in Arkansas, Taiwanese-American conductor Jerry Hou had a late start in music.

Beginning on trombone in middle school band, Hou went on to work professionally as a trombonist in American and European orchestras before his playing career was ended by injury. Turning to conducting studies with Jorma Panula in Finland, he is now recognized for his dynamic presence, insightful interpretations, versatility and commanding technique on the podium.

In 2021, Hou began working with the New York Philharmonic and their music director Jaap van Zweden, and conducted the orchestra in the tuning of the newly renovated David Geffen Hall. While continuing his role as a cover conductor, he made his NY Phil debut leading a Young People’s Concert (YPC) in 2023.

Hou also served as resident conductor of the Grand Teton Music Festival for seven summers. He is on the faculty of Rice University’s Shepherd School of Music, where he is artist teacher of orchestras and ensembles.

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ST. MARY’S CHURCH

SCHOENBERG’S TRANSFIGURED NIGHT JULY 24 / 2024 / 8 PM

ST. MARY’S CATHOLIC CHURCH MATTHEW STRAW, conductor BRANT BAYLESS, viola

R. STRAUSS HOLST HINDEMITH

Serenade Lyric Movement Kammermusik No. 5

I. Schnelle Halbe II. Langsam III. Mäßig schnell IV. Variante eines Militärmarsches INTERMISSION

SCHOENBERG

Transfigured Night

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

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ARTISTS’ PROFILES Matthew Straw Conductor

Matthew Straw is the newly appointed Assistant Conductor of Opéra National du Rhin (French National Opera in Strasbourg) as a member of their Opera Studio. Currently, he is Assistant Conductor of the Utah Symphony, where he conducted over 60 concerts during the 2023–24 season. A three-time winner of the Career Assistance Award from the Solti Foundation US, Straw became the youngest awardee in the history of the foundation in 2022. In addition, he received the Helen F. Whitaker Conducting Fellowship at the 2019 Aspen Conducting Academy.

Brant Bayless Viola

Born in Kansas and raised in Ponca City, Oklahoma, Brant Bayless came to Utah after completing his studies in New York City.

After early piano lessons and singing in his father’s various church choirs, Brant started the viola at age 12. Winning the Governor’s Scholarship to Interlochen Arts Camp in 1992 gave him his first glimpse of the musical world outside Oklahoma. After two years at the University of Kansas studying with Michael Kimber, Brant found his way to New York. Invited to study on scholarship with Pinchas Zukerman and Patinka Kopec at the Manhattan School of Music, Brant

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As assistant conductor he has worked with Kazushi Ono and the Brussels Philharmonic, and Ilan Volkov and the ORF Vienna Radio Symphony Orchestra at the Salzburg Festival. He has conducted the Des Moines Metro Opera, New World Symphony, and Rochester Philharmonic Orchestra, and has participated in masterclasses with Stéphane Denève, Cristian Măcelaru, Yannick Nézet-Séguin, Neeme and Paavo Järvi, Michael Tilson-Thomas, and Robert Spano. He is a graduate of the Eastman School of Music where he received an MM in conducting and holds degrees in music and philosophy from the Oberlin College and Conservatory of Music.

finished his bachelor’s degree in 1997.

Brant joined the Utah Symphony in 2001. With the Utah Symphony he has made regular concerto and concertante appearances: in February 2019 in Bach’s Sixth Brandenburg concerto with Roberta Zalkind; in May 2018 with Music Director Thierry Fischer and cellist Rainer Eudeikis in Strauss’s “Don Quixote”; in March 2012 with conductor Jun Märkl in Takemitsu’s “A String Around Autumn”; in August 2010 with conductor David Lockington in Bruch’s “Romance” and von Weber’s “Andante and Rondo Ungarese”; and multiple performances of Mozart’s Sinfonia Concertante with violinists Viviane Hagner, Kathryn Eberle, and Ralph Matson.

HISTORY OF THE MUSIC

By Jeff Counts

Serenade in E-flat Major, Op. 7 Richard Strauss (1864-1949)

Lyric Movement Gustav Holst (1874-1934)

Franz Strauss was a classicist, through and through. He loathed Wagner and his progressive ideals and worked hard to instill the same respect for the old masters in Richard. It worked, at first. Teenaged Richard initially shared his father’s distaste for Wagner’s experimental approach to harmony and form, but when he went to the Bayreuth Festival for the first time in 1882, he fell under Wagner’s spell. The link to his father’s monkish traditionalism was broken, and Strauss began to chart his own path towards the 20th century. But one year prior to that paradigm-shifting Bayreuth visit, Strauss wrote a delightful Serenade for Winds that harkened back to similar works by Mozart. That he could write so well, so early, for wind and brass instruments was no surprise, given how much incredible horn playing he heard at home from Franz. Dazzling, virtuosic parts for winds and brass would be a feature of Strauss’ compositions throughout his career and it is exciting to consider that it all began here, with the Serenade. Beyond the obvious instrumental expertise, there is nothing else in this anachronistic gem to prepare us for the Salomes and Heldenlebens to come, but that is how it is with composers who live into their 80s (imagine what Mozart would have done with 50 additional years!). Thanks to Wagner, Strauss was already looking to the future by the time the Serenade premiered in Dresden in November of 1882, but it remains a beguiling artifact of his obedient youth.

One would have thought, quite reasonably, that Holst’s career was meant for sustained public greatness after the success of The Planets in the early 1920s. But the man himself appeared to care not one bit about that and, by refusing to give audiences what they wanted most (another Planets of some sort), he began to lose them.

Despite this fading fame and chronically poor health, Holst remained productive.

His evolving style was highly personal, uncompromisingly so, and it endeared him to many of his English composer peers, but concertgoers just didn’t seem to get it. Most of what he wrote during his last decade was described by critics with dismissive words like “aloof”, “elusive”, “too serious” or some other indication of their puzzlement. Holst had to endure another hospitalization in 1932 that, in his own words, aged him significantly. Weak as he was, though, he got back to business as soon as he could in 1933 by writing the Lyric Movement for his countryman, the celebrated violist Lionel Tertis. It was one of Holst’s last completed scores, and a work of uncommon emotional generosity for him, so much more welcoming than his usual, ascetic fare. Holst’s daughter Imogen, a musical force in her own right, once called the Lyric Movement “one of the best and least known of my father’s works” and praised it for coming closest to his ideal of “a tender austerity”. Those are better words. She was not baffled by his individuality, and we shouldn’t be either.

Holst was more than his Planets.

Duration: 10 minutes.

Duration: 11 minutes.

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HISTORY OF THE MUSIC Kammermusik No. 5 Paul Hindemith (1895-1963)

Duration: 20 minutes in four movements.

Verklärte Nacht (Transfigured Night), Op. 4 Arnold Schoenberg (1874-1951) Duration: 28 minutes.

The Kammermusik cycle of Paul Hindemith comprises seven numbered works across three opus numbers. Apart from No. 1, they are all concertos for solo instruments and large chamber orchestras. Comparisons to Bach’s Brandenburg Concertos are right there for the taking, and most scholars have. Hindemith wrote the Kammermusik works between 1921 and 1927 and there is plenty of neo-Baroque counterpoint and rhythmic athleticism to make the historical connection stick. For his part, Hindemith was almost certainly influenced by the “back to Bach” movement led by his admired friend Igor Stravinsky in Paris, but his personal musical language tended towards order and polyphony anyhow.

After the Great War ended, he was not interested in the extravagances of late-stage Romanticism or the intellectual cunning of Abstract Expressionism. Hindemith had dabbled in both schools, of course—everyone did in those days—but he quickly moved towards the complex but uncomplicated, highly direct communication style for which he is now known. Kammermusik No. 5, a concerto for viola, was the 4th and final piece in the Op. 36 subset. Hindemith dedicated it to his teacher from the Frankfurt academy days, Arnold Mendelssohn (the son of Felix’s cousin). The composer performed as soloist on the premiere in 1927 with the Staatskapelle Berlin under Otto Klemperer. The difficulty of the concerto serves as a great reminder of how good a violist Hindemith was. His contributions to the repertoire of his instrument are duly cherished, but it is good to also recall that he was a performing artist on par with Lionel Tertis and William Primrose.

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Schoenberg’s string sextet Verklärte Nacht was composed in 1899 and, though it was in some ways the perfect embodiment of its evolutionary musical moment, the fingerprints of Brahms, Wagner, Schubert and others are all over the score as well.

This was intrepid music, to be sure, but it was also music fully aware of the many roads that had been leading to it. The piece was based on a poem of the same name by Richard Dehmel. Dehmel was a German writer who was a keen observer of the natural world, something Schoenberg was eager to reflect expertly in sound. But Dehmel had also frequently run afoul of conservative tastemakers (and the courts) with his “obscenities” and “blasphemies”.

In fact, the words of the 1896 poem that inspired Schoenberg tell a story that still could raise a few prudish eyebrows today.

The scenario: Two lovers walk in a moonlit wood. She admits to carrying the child of another man but, after some meditative soul-searching, they decide that their profound love will make the child theirs by magic. The mental arc of the characters from sadness to reflection to forgiveness is as clear in the music as it is in the verse.

Schoenberg later lost his enthusiasm with the poem itself, finding it rather ridiculous to look back upon, but he believed the music stood on its own as a meaningful abstraction on nature and emotional transformation. The string orchestra version was arranged in 1917 and revised in 1943.

ON THE HILL

TCHAIKOVSKY’S 1812 OVERTURE JULY 26 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER STEVEN JARVI, conductor ARISTO SHAM, piano THE CANNONEERS OF THE WASATCH

GLINKA

Overture from “Ruslan and Lyudmila”

TCHAIKOVSKY

Piano Concerto No. 1

TCHAIKOVSKY

Suite from “Swan Lake”

TCHAIKOVSKY

“1812 Overture”

CANNON SPONSOR

LAW OFFICES OF THOMAS N. JACOBSON

GUEST ARTIST SPONSOR

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ARTISTS’ PROFILES Steven Jarvi Conductor

Praised for his “uncommonly expressive and detailed” performances by the Miami Herald and described as an “eloquent and decisive” conductor by The Wall Street Journal, Steven Jarvi is a conductor with an equal passion for the concert hall and the opera house. Mr. Jarvi is the Music Director of the Dearborn Symphony and Principal Pops Conductor of the Toledo

Symphony. He is also the former Resident Conductor of the St. Louis Symphony. He won the Bruno Walter Memorial Foundation Award while the Associate Conductor of the Kansas City Symphony, and previously served as the Conducting Fellow with Michael Tilson Thomas and the New World Symphony in Miami Beach, an Associate Conductor for New York City Opera at Lincoln Center, and the Domingo-Cafritz Young Artist Conductor with the Washington National Opera at the Kennedy Center.

Aristo Sham

was First Prize winner of the Casagrande International Piano Competition.

Aristo Sham first came under international recognition when he won First Prize in the Ettlingen International Piano Competition in Germany in 2006, and First Prize in the Gina Bachauer International Junior Piano Competition in 2008. More recently, he has also won prizes in the Vendome Prize at Verbier Festival, Gina Bachauer, Dublin, Clara Haskil, New York, Saint-Priest and Viotti International Piano Competitions. In 2019, he

Sham has performed for royalty and dignitaries such as King (then Prince) Charles of the United Kingdom, the Queen of Belgium, and ex-President Hu of China, and collaborated with orchestras such as the London Symphony Orchestra under Sir Simon Rattle, Hong Kong Philharmonic Orchestra under Edo de Waart, English Chamber Orchestra under the late Sir Raymond Leppard, Orchestre de Chambre de Lausanne and the Minnesota Orchestra.

Piano

The Cannoneers of the Wasatch The Cannoneers of the Wasatch have traveled the Wasatch Front for more than

40 years blasting self-made cannons while orchestras perform. They formed in 1971 when the University of Utah—Snowbird Summer Arts Institute wanted to perform Tchaikovsky’s 1812 Overture with cannon fire, but lacked cannons. For more than four decades, the Cannoneers have performed in Taylorsville, Layton, Deer Valley, and Sun Valley with more than 18 historical replica cannons, ranging in size from 25 to 1,000 pounds in their arsenal.

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ON THE HILL

FUNK LEGENDS

TOWER OF POWER JULY 27 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER STEVEN JARVI, conductor TOWER OF POWER, guest artists

I Like Your Style Soul With A Capitol S You Ought To Be Having Fun Don’t Change Horses Soul Vaccination Time Will Tell This Time It’s Real James Brown Medley So Very Hard To Go What Is Hip You’re Still A Young Man

PRESENTING SPONSOR

CONCERT SPONSOR

LARRY & JUDY BROWNSTEIN

GUEST ARTIST SPONSOR

ORCHESTRA SPONSOR

MILLBURN & COMPANY

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ARTISTS’ PROFILES Steven Jarvi Conductor

Praised for his “uncommonly expressive and detailed” performances by the Miami Herald and described as an “eloquent and decisive” conductor

by The Wall Street Journal, Steven Jarvi is a conductor with an equal passion for the concert hall and the opera house. Mr. Jarvi is the Music Director of the Dearborn Symphony and Principal Pops Conductor

of the Toledo Symphony. He is also the former Resident Conductor of the St. Louis Symphony. He won the Bruno Walter Memorial Foundation Award while the Associate Conductor of the Kansas City Symphony, and previously served as the Conducting Fellow with Michael Tilson Thomas and the New World Symphony in Miami Beach, an Associate Conductor for New York City Opera at Lincoln Center, and the Domingo-Cafritz Young Artist Conductor with the Washington National Opera at the Kennedy Center.

Motowns, dressed in suits with razor cuts, we knew we’d never get in there. We grew our hair long, and started to be hippies, and changed our name. Doc then suggested that we start writing our own songs.”

For over 55 years, Tower of Power has delivered the best in funk and soul music.“We were a Soul band called The Motowns.” recalls Emilio Castillo. “Rocco was the bass player, I was in there, and my brother was the drummer. I met “Doc” Kupka back in 1968, and gave him an audition. He came in the band, and we eventually changed our name to the Tower of Power.”

The reason for the band name change was that they had a specific goal in mind.

The Fillmore was a major goal, which came along at the right time. “We had been playing nightclubs, and we had gotten busted for being underage. One night, the ABC came in, and caught the trumpet player drinking, and the next thing we knew, a notice was out across the Bay Area that if they hired us again, clubs would lose their liquor license. Then, my parents moved to Detroit, and I was on my own, broke and hungry, and all I did was rehearse. We wrote the songs for East Bay Grease, and by November, we were at the end of our rope.

I told the guys that I was leaving for the holidays, and if nothing happened with this audition, I wasn’t coming back.”

“We wanted to get into the Fillmore Auditorium and with a name like the

Fortunately, he did, and the rest as they say, is history.

Tower of Power Guest Artists

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SPARK CURIOSITY FOSTER BELONGING MAKE MEMORIES

IN THE 2023-24 SEASON, USUO’S EDUCATION AND COMMUNITY ENGAGEMENT PROGRAMS, CONCERTS, AND CLASSES REACHED 113,672 PEOPLE.

For over 40 years, USUO Education & Community Engagement has been uniquely distinguished among its peers nationwide for its broad and significant impact throughout the entire state of Utah.

ST. MARY’S CHURCH

HAYDN, MOZART & MORE JULY 31 / 2024 / 8 PM

ST. MARY’S CATHOLIC CHURCH COSETTE JUSTO VALDÉS, conductor JESSICA DANZ, horn

LUTOSŁAWSKI

Overture

FRANÇAIX

Sérénade

MOZART

ANNA CLYNE

Horn Concerto No. 4 in E-Flat Major, K. 495 I. II. III. IV.

Adagio - Allegro assai Andante Menuet Allegro assai

Restless Oceans INTERMISSION

DUKAS

Villanelle

HAYDN

Symphony No. 90 in C Major I. II. III. IV.

Adagio - Allegro assai Andante Menuet Allegro assai

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

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ARTISTS’ PROFILES Cosette Justo Valdés Conductor

With her gorgeous, passionate style and firecracking energy, Cuban-born and raised conductor Cosette Justo Valdés has garnered acclaim on both sides of the Atlantic and is a rising star on the world’s concert stage. She is presently Resident Conductor of the Edmonton Symphony Orchestra (Canada) where she won the hearts of musicians and audience alike with her “unique style, full of flaming energy and human warmth.” Recent highlights include a “mindblowing” (Ottawa Citizen) collaboration with Esperanza Spalding and the National

Jessica Danz Horn

Jessica Danz, from Spanish Fort, Alabama, joined the Utah Symphony as Principal Horn in 2021. She received a Master of Music degree from The Juilliard School in 2020 studying with Jennifer Montone, and she holds a Bachelor of Music degree with a minor in Social and Emotional Development as well as a Performer’s

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Arts Centre Orchestra in Ottawa, and a praised Così fan tutte with the Edmonton Opera, conducted from the harpsichord.

Cosette maintains strong ties to her native Cuba, where she is celebrated as Honorary Director of the prestigious Orquesta Sinfónica de Oriente in Santiago, Cuba’s musical heartland, which she led for 9 years. During that time, she singlehandedly (with a team formed by an administrator and a librarian) managed and directed the 80-musician ensemble, developing an extensive repertoire of classical and contemporary music, jazz and pop, while championing Cuban music both new and traditional.

Certificate from the Eastman School of Music. Jessica has held fellowships with the New World Symphony, National Repertory Orchestra, Music Academy of the West, Texas Music Festival, and Pacific Music Festival. Jessica was selected as a winner of the 2019 National Repertory Orchestra concerto competition, won first prize at the 2016 Northeast Horn Solo Competition, and was the recipient of the 2018 International Horn Society Jon Hawkins award.

HISTORY OF THE MUSIC

By Jeff Counts

Overture for Strings Witold Lutosławski (1913-1994)

Sérénade Jean Françaix (1912-1997)

Poland’s Ministry of Culture and National Heritage describes Witold Lutosławski’s music as a balance of “form and content, intellect and emotion” and asserts that, because he “did not succumb to trends or fashions”, he could be both “avantgarde and traditional”. You don’t earn a reputation of complete independence without searching your soul few times, and Lutosławski certainly did. About his Overture for Strings, he wrote, “After the first performance of my ‘first symphony’ in 1948 I realized that my way of composing up to then and especially my approach to the problems of pitch (harmony, melody, etc.) was not leading to any satisfactory result. So, I decided to start working on a sound language which could better serve my purposes. In fact, I have not finished that work up to now and I think it is good to still keep the imagination in the movement in order to try and find still new procedures and methods of composing music. It has been indeed a long way, on which the first step was my little ‘ouverture’.

In this piece I tried to work on scales (moduses?) containing eight notes. And thus, the first theme has been composed using two-equal-tetrachords-scales, the second- a chromatic scale of eight notes. Later on, I abandoned that procedure and searched solutions elsewhere. The ‘ouverture’ has been composed in a sonata-form with two contrasting themes, the exposition, the development and the recapitulation. The first performance was given in November 1949 by the Prague Radio Symphony Orchestra under Fitelberg in Czechoslovakia.”

The 1934 Sérénade for Small Orchestra of Jean Françaix is a tasting menu of NeoClassical delights, and kindred to much of what Stravinsky and other “back to Bach” composers started writing in Europe during the brief, interwar peace. Françaix, like so many in the history of his profession, started quite young and was sent to the eminent teacher Nadia Boulanger at the age of 10. She noticed his prodigious talent right away and remarked to his mother that he did not need to learn harmony from her or anyone else. “I don’t know how,” Boulanger wrote, “but he knows it.

He was born knowing it.” Françaix would go on to create a fairly robust (if maybe not too widely remembered) catalogue of works, including some 16 ballet scores. It’s worth mentioning the dance music here because that would be the second life of the Sérénade when the famed impresario George Balanchine choreographed it 1951 as “A La Françaix”. In an archived New York Times review of the ballet premiere, the scenario is recounted by John Martin as that of a dashing tennis player who steals a young flirt away from the two boys who vie for her, only to have himself stolen by the charms of an alluring sylph in a cycle that apparently repeats itself ad infinitum. Balanchine’s interpretation of Françaix’s score is appropriately smart, silly and overflowing with charm, and one would be forgiven for imaging the dancers while they listen tonight. Françaix would not have minded.

Duration: 5 minutes.

Duration: 10 minutes.

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HISTORY OF THE MUSIC Concerto No. 4 for Horn in E-flat Major, K. 495 Wolfgang Amadeus Mozart (1756-1791)

Restless Oceans Anna Clyne (b. 1980) Duration: 3 minutes.

Duration: 16 minutes in three movements.

Joseph Leutgeb was an accomplished horn player who spent time in the Salzburg court ensemble while Mozart was there and became close with the composer and his family. In addition to being a loyal friend, Leutgub was a master of the valve-less hand horn and a pretty good sport when it came to jokes made at his expense. We will circle back to the teasing, after a quick consideration of Leutgub’s playing talents. His instrument required a lot of physical manipulation to perform chromatic passages and he was a pioneering expert on the “stopping” technique the best players used. Mozart was aware of this, and it inspired him to push limits. The four concerti he wrote for his comrade over the mid to late 1780s all test the virtuosic fences of the day and remain rites of passage for every horn artist in our time. But back to the jokes. It would seem, from the hilarious inscriptions found in the scores of three of the concerti, that Mozart could be an impishly silly friend indeed. He took “pity on Leutgeb, ass, ox and fool” in the score of the K. 417 concerto and inserted comments like “For you, Mr. Donkey” and “Are you finished?

Thank heavens!” into K. 412. The K. 495 concerto (No. 4) appears to be free of such overt jibes, but the solo part still required a performer of immense skill to pull it off.

In the end, it seems Mozart’s great respect for Leutgub’s abilities was as important as his friend’s thick skin.

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The lack of representation in classical music is one of those issues that gets routinely painted over with statements like: “It’s so much better than it used to be”. That might be true, mathematically, but nobody should consider this problem solved. Good work is being done, though, and longstanding institutions like the Taki Fellowship for women conductors deserve attention and gratitude. Composer Anne Clyne, like so many in the field who care passionately about this topic, knew about Taki and she jumped at the chance to compose for the group. She writes: “I composed Restless Oceans for Marin Alsop and the Taki Concordia Orchestra for performance at the World Economic Forum Annual Meeting in Davos. The piece received its world premiere at the opening ceremony in 2019 where Marin Alsop was presented with the Forum’s prestigious Crystal Award in recognition of her championship of diversity in music. This work draws inspiration and its title from A Woman Speaks - a poem by Audre Lorde and was composed with this particular all-women orchestra in mind. In addition to playing their instruments, the musicians are also called to use their voices in song and strong vocalizations, and their feet to stomp and to bring them to stand united at the end.

My intention was to write a defiant piece that embraces the power of women.” Audre Lord (1934-1992) described herself as a “warrior” and she spent her entire creative life confronting injustice. The “restless oceans” of her verse refer to the immense power hidden in every female heart.

HISTORY OF THE MUSIC Villanelle Paul Dukas (1865-1935)

Symphony No. 90 in C Major Franz Joseph Haydn (1732-1809)

Composer, scholar, educator, critic. These are the ways in which we remember Paul Dukas, though the final title of that set made it rather difficult for him to succeed as the first. Thanks to his work as professional critic, Dukas could never accept inadequacy in his own music and because of this he only approved a very limited number of his compositions for publication. The rest he destroyed. Who can ever know if he was right to do so?

What we do know, since he allowed it to be heard, is that he wrote The Sorcerer’s Apprentice in 1897 and for one brief moment was a celebrity. Nothing like it ever happened again for him and Dukas spent his golden years at the conservatory, teaching students like Rodrigo, Messiaen, Duruflé and Piston. In 1906, he wrote a test-piece for university horn students called Villanelle. The name comes from the Italian villanella, a secular song style from 16th century Naples that was rustic, showy and often humorous. Like Mozart before him, Dukas was eager to put the horn through its paces with the Villanelle.

By his time, the instrument had valves and was capable of technical wizardry nobody in previous eras could have imagined. In addition to some very fast passagework, the full range of the instrument is exploited in Villanelle and Dukas even asks the soloist to play a nostalgic “natural horn” (without valves, like in Mozart’s time) opening section. Passing the “test” of Villanelle could not have been easy in 1906, and still isn’t today.

Though the fullness of the acquaintance between Haydn and Mozart has likely been exaggerated, the two men clearly had significant influence on one another throughout the 1780s. Both composers were active as symphonists in the latter years of the decade and 1788 was particularly productive (between them, six new symphonies were created). Symphony No. 90 was part of a trio of works (Nos. 90-92) that Haydn used to fill two different commission obligations in 1788. One of the requests came from the French Comte d’Ogny, who had given financial support to the earlier set of “Paris” symphonies, and the other commissioner was Haydn’s Bavarian patron Prince Krafft-Ernst von OettingenWallerstein. With the Prince, at least, Haydn was apparently aware of how this “doubledipping” appeared when he offered excuses (not effective ones, according to some) for sending copies of the scores rather the expected autograph originals. No. 90 is among the least frequently performed of the composer’s mature symphonies, a distinction owing in part to its shaded position between the more famous “Paris” and “London” groupings. C Major was almost always a “joy” key for Haydn and the first movement of No. 90 certainly continues that personal tradition. The slow movement, however, shows a higher than usual measure of reserve and the archly dignified character ensuing minuet was clearly designed with the French Capitol in mind (another unintended slight for the Bavarian Prince to endure?). After all is said and done, the finale is a Haydn finale – yet another effortless study in wit and genius.

Duration: 7 minutes.

Duration: 24 minutes in four movements.

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ON THE HILL

DISCO HITS WITH

BOOGIE WONDER BAND AUGUST 2 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER MARTIN HERMAN, conductor BOOGIE WONDER BAND, guest artists

PRESENTING SPONSOR

CONDUCTOR SPONSOR

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ARTISTS’ PROFILES Martin Herman Conductor

Conductor, Martin Herman, has served as guest conductor with symphony orchestras world-wide. Known for his clarity, attention to detail, advocacy of new music by living composers, powerful interpretations of the classics as well as comfort with crossover popular concerts, he is one of today’s versatile and promising conductors.

He has recently conducted Das Sinfonie Orchester Berlin at the Berlin Philharmonie Kammermusiksaal, the Sydney Symphony Orchestra in the Sydney Opera House, the Philadelphia Orchestra, Odense Symphony Orchestra, Seattle Symphony, Detroit

Boogie Wonder Band Guest Artists

After more than 3000 shows around the world the Boogie Wonder Band has become the most celebrated DISCO band of our generation. They have played in Canada, Bahamas, Bermuda, Cuba, China, Macao, Italy, Ecador, Hawaii, Monaco, France, Japan, India and in over a hundred cities in the US, from casinos, to theatres, festivals and clubs like in the famous Cutting Room in New York City, Los Angeles iconic Whisky a Gogo and Brooklyn Bowl in Las Vegas.

With recent stops in Miami Beach at the LIV

Symphony, North Carolina Symphony, Ft. Worth Symphony, Atlanta Symphony, Vancouver Symphony, Long Beach Symphony, and the San Diego Symphony. He also served as music director and conductor with Downtown Opera in Long Beach, California, conducting premieres of new operas in the U.S. and the Czech Republic.

In the fall of 2009, he was conductor and music director at LaMaMa Theatre in New York City where he led performances of his one-act opera, The Doctor, based on Chekhov short stories. He has served as assistant conductor with the San Francisco Contemporary Music Players and conductor of the Berkeley Young Musicians Program Orchestra and U.C. Berkeley Summer Orchestra.

Nightclub for VIP event with Shaquille O’Neal, Disco Symphonic show with the Columbus Symphony, Carnivale du Vin in New Orleans for Emeril Lagasse Foundation, Festival Montagne & Musique in France, Ontario 54 in California, The Big E in Springfield Mass and of course as the sole Canadian band on the unforgettable Ultimate Disco Cruise and Rock & Romance Cruise, they continue to spread the word and raise the bar!

If we didn’t know better, we’d say that the Boogie Wonder Band, arrived via a time machine because this 10-piece band busts out funk-a-licious grooves and disco-strutting jams like they are straight out of the ‘70s. Channeling the era with a full throttle high-octane live show, each member dons eye-popping Las Vegasinspired costumes and flashy personas.

They don’t just hail from another land; they come from another decade—where Disco ruled the dance floors!

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ON THE HILL

HAMILTON STAR

LESLIE ODOM, JR. AUGUST 3 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER ENRICO LOPEZ-YAÑEZ, conductor LESLIE ODOM, Jr., vocals

PRESENTING SPONSOR

ANTHONY & RENEE MARLON

GUEST ARTIST SPONSOR

BEN & PEGGY SCHAPIRO

CONDUCTOR SPONSOR

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ARTISTS’ PROFILES Enrico Lopez-Yañez Conductor

Enrico Lopez-Yañez is the Principal Pops Conductor of the Nashville Symphony and Pacific Symphony as well as the Principal Conductor of the Dallas Symphony Presents. This season Lopez-Yañez has been named Principal Pops Conductor Designate of the Detroit Symphony, a position he will begin in the 24/25 season.

Lopez-Yañez is quickly establishing himself as one of the Nation’s leading

Leslie Odom, Jr. Vocals

Leslie Odom, Jr. is a two-time Academy Award nominated, Tony and Grammy Award-winning, three-time Emmy Award nominated actor, singer, songwriter, and entertainer. With an expansive career that touches many performance genres, Odom has been repeatedly recognized as a unique performer with a serious and distinct dedication to the craft of storytelling. Best known for his breakout

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conductors of popular music and becoming known for his unique style of audience engagement. Also an active composer/arranger, he has been commissioned to write for the Cincinnati Pops Orchestra, Houston Symphony, San Diego Symphony and Omaha Symphony, and has had his works performed by orchestras including the Atlanta Symphony, Baltimore Symphony, Detroit Symphony, Indianapolis Symphony, National Symphony, Phoenix Symphony, Seattle Symphony, and Utah Symphony among others.

role as ‘Aaron Burr’ in the hit musical Hamilton on Broadway as well as his critically acclaimed performance as legendary soul singer Sam Cooke in Regina King’s 2020 film, One Night in Miami. Most recently, Odom made his long-awaited return to Broadway starring in, and co-producing, the new Broadway production of the classic American comedy Purlie Victorious: A NonConfederate Romp Through the Cotton Patch by the legendary Ossie Davis. His fifth studio album, When A Crooner Dies, was released in November 2023.

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ON THE HILL

THE MUSIC OF JOHN WILLIAMS AUGUST 8 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER DAVID NEWMAN, conductor

Selections from Films Including: E.T. the Extra-Terrestrial Harry Potter Hook Jurassic Park Raiders of the Lost Ark Superman Star Wars Jane Eyre The Accidental Tourist Far and Away PRESENTING SPONSORS

CONCERT SPONSOR

CONDUCTOR SPONSOR

TOM & JUDY BILLINGS

LODGING SPONSORS

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ARTIST’S PROFILE

David Newman Conductor

David Newman is one of today’s most accomplished creators of music for film.

In his 25-year career, he has scored over 100 films, ranging from War of the Roses, Matilda, Bowfinger and Heathers, to the more recent The Spirit Serenity, Behaving Badly, and Tarzan. Newman’s music has brought to life the critically acclaimed dramas Brokedown Palace and Hoffa; top-grossing comedies Norbit, Scooby-

Doo, Galaxy Quest, The Nutty Professor, The Flintstones, Throw Mama From the Train; and award- winning animated films Ice Age, The Brave Little Toaster and Anastasia.

The recipient of top honors from the music and motion picture industries, he holds an Academy Award® nomination for his score to the animated feature, Anastasia, and was the first composer to have his piece, 1001 Nights, performed in the Los Angeles Philharmonic’s FILMHARMONIC Series, conducted by Esa-Pekka Salonen.

Defining Dining Destinations The St. Regis Deer Valley The St. Regis Deer Valley, Park City, UT 84060 t. + 435 940 5700 or srdvdining.com

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ON THE HILL

A NIGHT TO “HEAR A SYMPHONY” WITH CODY FRY AUGUST 9 / 2024 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER ENRICO LOPEZ-YAÑEZ, conductor CODY FRY, guest artist

PRESENTING SPONSOR

STAGE SPONSOR

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ARTISTS’ PROFILES

Enrico Lopez-Yañez Conductor

Enrico Lopez-Yañez is the Principal Pops Conductor of the Nashville Symphony and Pacific Symphony as well as the Principal Conductor of the Dallas Symphony Presents. This season Lopez-Yañez has been named Principal Pops Conductor Designate of the Detroit Symphony, a position he will begin in the 24/25 season.

Lopez-Yañez is quickly establishing himself as one of the Nation’s leading

Cody Fry Guest Artist

Cody Fry’s music sounds like the moment in your favorite old flick when the film changes from black-and-white to technicolor in a rush of emotion. As his orchestration booms, you practically expect a Golden Age romance to unfold to the narration of his vocals. It’s warm enough to make you nostalgic, but Cody always looks

conductors of popular music and becoming known for his unique style of audience engagement. Also an active composer/arranger, he has been commissioned to write for the Cincinnati Pops Orchestra, Houston Symphony, San Diego Symphony and Omaha Symphony, and has had his works performed by orchestras including the Atlanta Symphony, Baltimore Symphony, Detroit Symphony, Indianapolis Symphony, National Symphony, Phoenix Symphony, Seattle Symphony, and Utah Symphony among others.

forward as a singer, songwriter, composer, producer, arranger, and multiinstrumentalist. It’s why he’s quietly emerged as a phenomenon with hundreds of millions of streams, hundreds of thousands of TikTok creations, and widespread acclaim. Along the way he’s picked up a GRAMMY® Award nomination, an RIAA Certified Gold record, and sold out countless shows. You can keep up with Cody’s journey at codyfry.com or on social media.

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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 June 17, 2024 *

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 The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation George S. & Dolores Doré Eccles Foundation Kem & Carolyn Gardner Larry H. & Gail Miller Family Foundation O.C. Tanner Company Stowell Leadership Group, LLC** Jacquelyn Wentz

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THANK YOU ENCORE ($100,000–$249,999)

Marriner S. Eccles Foundation Scott & Jennifer Huntsman Emma Eccles Jones Foundation

Frederick Q. Lawson Foundation LOVE Communications** Anthony & Renee Marlon~ Marriott Residence Inn*

John & Marcia Price Family Foundation Shiebler Family Foundation~ Beano Solomon~ Sorenson Legacy Foundation

The Grand America Hotel & Little America Hotel* Janet Q. Lawson Foundation Frederick & Lucy Moreton Moreton & Company Patricia A. Richards & William K. Nichols~ Harris H. & Amanda Simmons

George Speciale Stewart Family Foundation Wheatley Family Charitable Fund World Trade Center Utah*

BRAVO ($50,000–$99,999)

47G* Anonymous Cultural Vision Fund Dennis Hranitzky Dr. Kent C. DiFiore & Dr. Martha R. Humphrey~ Dominion Energy The Florence J. Gillmor Foundation

OVERTURE ($25,000–$49,999)

Frances Akita & Christine Sulser Scott & Kathie Amann~ Arnold Machinery Associated Food Stores, Inc H. Brent & Bonnie Jean Beesley Bill & Vicki Bennion Thomas Billings & Judge Judith Billings~ Jim & Susan Blair~ Bloomfield Family Foundation~ Charles Boynton BMW of Murray/BMW of Pleasant Grove~ Judy Brady† & Drew W. Browning Judy & Larry Brownstein~ Carol Franc Buck Foundation

Cache Valley Electric Michael & Vickie Callen Rebecca Marriott Champion~ John & Flora D’Arcy Deer Valley Resort* John H.† & Joan B. Firmage John H. & Carol Firmage Kristen Fletcher & Dan McPhun~ David & Angela Glenn Richard K. & Shirley S. Hemingway Foundation Tom & Lorie Jacobson~ Intuitive Funding~ The John C. Kish Foundation~ Charles & Pat McEvoy~ Moreton Family Foundation Edward Moreton

James & Ann Neal~ Charles Maxfield & Gloria F. Parrish Foundation Mark & Dianne Prothro~ Peggy & Ben Schapiro~ Theodore and Elizabeth Schmidt Foundation Jonathan & Marisa Schwartz Joanne L. Shrontz Family Foundation Simmons Family Foundation Taft & Anne Symonds~ Naoma Tate & the Family of Hal Tate Jim & Zibby Tozer~ Nora Eccles Treadwell John & Jean Yablonski~

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THANK YOU MAESTRO ($10,000–$24,999) Altabank Dr. J.R. Baringer & Dr. Jeannette J. Townsend HJ & BR Barlow Foundation B.W. Bastian Foundation Beesley Family Foundation Bertin Family Foundation Berenice J. Bradshaw Trust R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine FoundationRussell Family William & Patricia Child Howard & Betty Clark Larry Clemmensen~ Pat & Sherry Duncan~ Barry & Traci Eden Mrs. Sarah Ehrlich Matthew B. Ellis Foundation Carolyn & Craig Enenstein~ Robert & Elisha Finney~ Goldman Sachs & Co. LLC~ Brian & Detgen Greeff

Emily & Chauncey Hall Douglas & Connie Hayes~ Susan & Tom Hodgson~ Mary P.† & Jerald H. Jacobs Family Stephen C.† and Lynda M. Jacobsen Annette & Joseph Jarvis Joseph & Kathleen Sorenson Legacy Foundation G. Frank & Pamela Joklik Bill Ligety & Cyndi Sharp~ McCarthey Family Foundation Michal & Maureen Mekjian~ The Millerberg Family Giving Fund Millburn & Company~ Harold W. & Lois Milner~ Perkins-Prothro Foundation~ Leslie Peterson & Kevin Higgins Frank R. Pignanelli & D’Arcy Dixon Pignanelli Walter J. & Peggy Plumb

Alice & Frank Puleo~ S.J. & Jessie E. Quinney Foundation Raymond James & Associates James & Anna Romano The Joseph & Evelyn Rosenblatt Charitable Fund Miguel Rovira Sandefur Schmidt Allison Schuster~ Dewelynn & J. Ryan† Selberg Scott & Karen Smith Stay Park City Shane & Stacey Stowell Mr. & Mrs. G. B. Stringfellow Thomas & Marilyn Sutton~ Norman C. & Barbara L. Tanner Second Charitable Trust Brad E. & Linda P. Walton~ WCF Insurance Kathie Zumbro

Utah Symphony | Utah Opera is grateful to the following generous sponsors for supporting our 2024 Deer Valley® Music Festival.

BRONZE ($8,000–$9,999) 4Girls Foundation Paula Bronson David & Deborah Brown Kathleen & Frank Dougherty Lynn & Tom Fey

Ray & Howard Grossman Wes Howell KKC Foundation Dan Lofgren Mitch Rice

Richard & Carmen Rogers Barbara & Paul Schwartz St. Regis / Deer Crest Club** Kelly Whitcomb

AMBASSADOR ($5,000–$7,999) Anonymous Marcia Aaron Clisto and Suzanne Beaty Maria & Bill Boyce Anne Daigle & Rich Heyman Michael and Sheila Deputy Greg & Carol Easton Karen Enzer

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Jack & Marianne Ferraro Grandeur Peak Global Advisors Michael Huerta and Ann Sowder Brian & Nancy Kennedy Tom & Janet McDougal Moeller Family Foundation Michael Montgomery

Terrell & Leah Nagata Rhett Roberts Marcie Stein Craig & Marcia Stuart Mark & Debbie Weinstein Douglas Wood

THANK YOU PATRON ($3,000–$4,999) Paul & Pam Apel Doyle Arnold & Anne Glarner Tina and John Barry Jennifer Beckham Alice & Bill Bierer Mark & Marcy Casp Blair Childs & Erin Shaffer Dr. Sidney Cole George Coleman Tracy L Collett Cope & Cope Investments Cindy Corbin James Cox Rod & Kim Cullum Ruth and Phil Davidson Larry Dickerson & Marcela Donadio John D. Doppelheuer M.D. & Kirsten A. Hanson M.D. Karey and Phillip Dye Barbara & Melvin Echols Blake & Linda Fisher

Karen Fletcher James Forman Joseph and Dixie Furlong Robert & Annie-Lewis Garda David & Angela Glenn Kenneth† & Amy Goodman Sue & Gary Grant Mary Haskins Nancy Ann Heaps Merele Kosowsky Debbie & Gary Lambert Stan & Susan Levy Michael Liess Don List Kris Maclay Steve and Marion Mahas Keith & Vicki Maio Miriam Mason & Greg Glynis Karen & Mike McMenomy Clayton McNeel MJZR Charitable Trust Glenn & Dav Mosby

Charles & Amy Newhall Vincent & Elizabeth Novack Charlotte & Patrick O’Connell James S. & Dyan Pignatelli Steven K. Richards Lee Rippel Nathan & Shannon Savage Lisa & Joel Shine Marlin Sandlin, Jr Becky Roof & Gary Smith Elana Spitzberg & Avi Markowitz Ray & Ann Steben Alfred Stein Tim & Judy Terrell Richard Valliere Gerard & Sheila Walsh Grant Lippincott & Donna Walsh Cindy Williams Barry & Fran Wilson Peter Zutty

Emily Stewart Madeline Vandever The Victory Foundation

Stephen Watson

GRASS PASS ($2,000–$2,999) Ryan Aller & Natasja Keys Kenneth Colen Margarita Donnelly

VIP FOR A NIGHT ($1,000–$1,999) Alan Agle Nanci Meyer Fastre Sheila Gardner

Caroline & David Hundley Stacy Lederer Mark & Pat Lucas

Nancy Rossman Daniel & Sari Schachtel Jeff Trocin

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THANK YOU Utah Symphony | Utah Opera expresses deep gratitude to donors who, over the past 20 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 Marty & Jane† Greenberg 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 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 and Parks

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

Alan W. Stout

Carol Zimmerman

GIFTS MADE IN HONOR

Georgia Gates

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Deer Valley® Music Festival

THANK YOU GIFTS MADE IN MEMORY Fred Andersen Jay T. Ball John Bates Earle Robert Bevins III Danny Boy Robert H. Burgoyne, M.D. Norman & Charleen Clark Orson Clay Esther Markey Davenport Marlene Dazley

Jack G. Edwards Carolyn Hanks Carl & LeAnn Hoyal Gary B Kitching, M.D. Adrienne W. Larson Lona Mae Stratford Hyde Lauritzen Morris Lee Steven S. McDonald Glade & Mardean Peterson

Nedra S. Robison Rodney Rougelot Robert Sedgewick Linda Twitchell Sheila Van Frank Sheila M. VanFrank Judy Watts Brady James Edward Wright

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

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

Joseph & Pat Gartman 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

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

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

Anne C. Ewers 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

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

Thomas A. & Sally† Quinn Dan† & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart Edward J. & Marelynn† Zipser

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

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Jim Tozer

Chair

Kathie Amann Scott Amann Judy Billings Tom Billings Hal Brierley Judy Brownstein Larry Brownstein Carolyn Enenstein Craig Enenstein Lynn Fey Kristen Fletcher Tom Jacobson Debra Kasirer Michael Liess

Bill Ligety Charles McEvoy 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.

LEAVE A LEGACY ENSURE THE FUTURE MAKE A PLANNED GIFT TODAY By including Utah Symphony | Utah Opera in your estate plans, you’re investing in the cultural vibrancy of our community while meeting your financial goals today. Whether through a bequest, beneficiary designation, or other planned giving option, your gift of any size ensures the beauty and power of music will continue to inspire generations to come.

Find out more: 801-869-9200 | usuo.org/planned-giving

ADMINISTRATION ADMINISTRATION Steven Brosvik

DEVELOPMENT Leslie Peterson

David Green

Garrett Murphy

President & CEO

Senior Vice President & COO

Micah Luce

Director of Human Resources & Organizational Culture

Julie McBeth

Executive Assistant to the CEO

Vice President of Development

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Director of Development

Mike Lund

David Hodges

Director of Development, Institutional Giving

Calli Forsyth

Natty Taylor

Assistant Director of Institutional Sponsorships and Engagement

Madison Wilde Thunhorst

Individual Giving Manager

Human Resources Coordinator Executive Assistant to the Senior VP & COO

SYMPHONY ARTISTIC 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

Katie Swainston Lisa Poppleton Grants Manager

Dallin Mills

Development Database Manager

Maren Holmes

Manager of Special Events

Ellesse Hargreaves

Director of Information Technologies

Melanie Giles Controller

Jared Mollenkopf

Patron Information Systems Manager

Bobby Alger

Accounts Payable Specialist

Karine Mnatsakanyan Payroll Specialist

EDUCATION & COMMUNITY ENGAGEMENT Ben Kipp Vice President of Education & Community Engagement

Corporate Engagement Manager

Jessica Wiley

Development Intern

Kevin Nakatani

Paul Murphy

Symphony Education Manager Opera Education Manager

MARKETING & COMMUNICATIONS Meredith Kimball Laing

Beth Foley

Adia Thornton

Technical Director

Education Coordinator

Abigail Homer

Vice President of Marketing & Communications

OPERA TECHNICAL Sam Miller

Matthew Straw

Director of Marketing

Kelly Nickle

Artist Logistics Intern Assistant Conductor

SYMPHONY OPERATIONS Jen Shark Director of Orchestra Operations

Melissa Robison

Front of House Director

Megan Rasmussen Front of House Intern

Chip Dance

Robert Bedont

Marketing Manager

Megs Vincent

Communications Manager

Nina Starling

Website Content Coordinator

Emma Price

Marketing & Communications Coordinator

Properties Master

Dusty Terrell

Scenic Charge Artist

JR Orr

Head Carpenter/Shop Foreman

COSTUMES Carol Wood

Costume Director

Marcos Ambriz

Costume Rentals & Collections Manager

Marcus Lee

PATRON SERVICES Faith Myers

Sarah Madany

Jaron Hatch

Christopher Danz

Toby Simmons

Milivoj Poletan

Caitlin Marshall

Melanie Lamb-Delgado

Genevieve Gannon

Dawnette Dryer

Lorraine Fry Michael Gibson Ian Painter Ananda Spike Val Tholen Salem Rogers Chloe Toyn Crystal Pryor Thia Harris Leah Medley True Moore

Molly Hartvigsen

Director of Production Operations Manager Stage Manager

Assistant Stage Manager

OPERA ARTISTIC Christopher McBeth Opera Artistic Director

Sharon Bjorndal Lavery

Chorus Director & Opera Assistant Conductor

Carol Anderson Principal Coach

Michelle Peterson

Director of Production

Ashley Tingey

Production Coordinator

Director of Patron Engagement

Deer Valley® Music Festival

Madi Halverstadt

Patron Services Manager

Costume Rentals & Collections Assistant Manager

Patron Services Assistant Manager

Master Tailor

Sales & Engagement Manager Group Sales Associate

Patron Services Associates

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Vice President of Finance & CFO

Assistant Tailor Cutter/Draper First Hand

Julie Porter

Crafts Artisan/Milliner

Líle Casey

Costume Collections Assistant

Emily Jarman Costume Intern

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.

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

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LEGAL REPRESENTATION PROVIDED BY

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Provided by Love Communications, Salt Lake City

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

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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