Utah Opera Playbill - Thaïs

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THAÏS

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WELCOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 BOARD OF TRUSTEES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 THAÏS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 MASSENET AND THE MYSTIQUE OF FRENCH OPERA . . . . . 16 SPONSORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 THAÏS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 CAST / ARTISTIC TEAM / CHORUS . . . . . . . . . . . . . . . . . . . 22 COMPOSER AND LIBRETTIST . . . . . . . . . . . . . . . . . . . . . . . 27 STORY OF THE THAÏS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 UTAH SYMPHONY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 DONORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 ADMINISTRATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

@UtahOpera

CRESCENDO AND TANNER SOCIETIES . . . . . . . . . . . . . . . . 47 ACKNOWLEDGMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

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WELCOME On behalf of the board, staff, artists, and musicians of Utah Symphony | Utah Opera, it is our pleasure to welcome you to the Janet Quinney Lawson Capitol Theatre for our 2023–24 opera season finale production of Massenet’s Thaïs.

STEVEN BROSVIK President & CEO

CHRISTOPHER MCBETH Artistic Director

These performances mark the Utah Opera premiere of this opulent work which, you might remember, was originally scheduled for May 2020. We’re thrilled to now bring this French grand opéra spectacle to Utah with exceptional performers in the demanding lead roles, a large complement of our orchestra and chorus members filling out the lush harmonies of the score, and dancers from Repertory Dance Theatre augmenting the visual opulence of the scenery and costumes to create a full feast for the senses!

If you haven’t already, we hope you’ll consider joining our family of subscribers for the 2024-25 season. From the relentless pursuit of vengeance in Sweeney Todd, to the touching bond of sibling love in a family-friendly Hansel and Gretel, to the tragic consequences of unchecked passion in Pagliacci, to a fresh interpretation of the powerfully emotional Madame Butterfly, each production offers a unique lens through which to examine the complexities of human nature. Please visit UtahOpera.org for more information about the productions, artists, and subscription packages.

Thank you for joining us for today’s performance. Your presence matters and we look forward to seeing you again next season in the Janet Quinney Lawson Capitol Theatre.

In the meantime, perhaps we will see you this summer at the Deer Valley® Music Festival or one of USUO’s concerts in outdoor venues throughout the Wasatch Mountains!

BRIAN GREEFF Board of Trustees Chairman

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BOARD OF TRUSTEES ELECTED BOARD Brian Greeff* Chair Annette W. Jarvis* Vice Chair and Secretary Joanne F. Shiebler* Vice Chair Steven Brosvik* President & CEO Austin Bankhead Dr. Stewart E. Barlow Judith M. Billings George Cardon-Bystry Gary L. Crocker John D’Arcy* David L. Dee

Barry L. Eden* 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

Dr. Shane D. Stowell Thomas Thatcher W. James Tozer David Utrilla Don Willie 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* Barbara Ann Scowcroft* EX-OFFICIO 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 UTAHOPERA.ORG

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THAÏS

By Michael Clive

Lyric Opera in Three Acts Music by Jules Massenet Libretto by Louis Gallet Based upon the novel Thaïs

by Anatole France BACKGROUND OF THE OPERA During the period between the death of Georges Bizet in 1875 and the premiere of Claude Debussy’s revolutionary Pelléas et Melisande in 1902, Jules Massenet was the most esteemed composer of French opera. He remains one of the most popular, and from our modern vantage point, it’s easy to think that he was predestined to fulfill that role in music history. But his path to success was far from assured: Born in 1842, he was the last of twelve children, and though his family was solidly bourgeois, the business operated by his father—a foundry—failed.

Fortunately, Jules’s mother was an accomplished musician and gave piano lessons to supplement her household’s income. With young Jules among her pupils, his talents were quickly evident, and he was admitted to the Paris Conservatory at age 11. By then he was already so determined to find a vocation in music that when his family relocated from Paris the following year, he ran away from home to get back there; thanks to an aunt who intercepted him by chance at the railway station in Lyon, he was able to return to his studies at the Conservatory. There his instructors included two of the most illustrious French opera composers of the day, Ambroise Thomas and Charles Gounod.

Like many of France’s leading composers (including Bizet just six years earlier),

Massenet won the Prix du Rome as a new Conservatory graduate. The award, France’s highest honor for young composers, provided a two-year stipend for travel and study, and was specifically intended to nurture future star-quality composers. But his early works for the lyric stage—operas such as La grand’tante, La coupe du roi du Thulé, Esmeralda (based on Victor Hugo’s The Hunchback of NotreDame), and Manfred (based on Byron’s narrative poem), were less than impressive.

Arguably, Massenet’s period of operatic greatness began in 1884, when he was in his early forties, with Manon—although in recent years, the 1881 Herodiade has earned renewed appreciation.

Thaïs, too, has won reconsideration lately. It fell into obscurity after Massenet’s lifetime, in part because the prodigious title role is so difficult to cast, and in part because a casual production can come off as a kitschy costume drama. New York’s Metropolitan Opera mounted it in 1978 as a vehicle for Beverly Sills, and again thirty years later for Renée Fleming. Even then, New York Times critic Anthony Tommasini asserted that “The only reason to produce this ultimate star vehicle today is that a company has a genuine star who wants to sing it.”

Many of Massenet’s contemporaries—and many of ours—would disagree. Massenet’s source for his opera, the Anatole France novel Thaïs (1890), is far from naïve; Continued on page 15…

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THAÏS it is a blistering parable of religious hypocrisy. (In fact, France won the Nobel Prize for literature in 1921.) Massenet’s adaptation presents us with a compellingly stageworthy study of two strong, complex individuals who are destined to shape each other’s fate. Each is on a spiritual journey, but they are headed in opposite directions, and Thaïs’s redemption ultimately becomes the monk Athanaël’s undoing. The opera is replete with Massenet’s long, flowing melodic lines, often with his characteristic 9/8 and 12/8 time signatures.

We find the forebears of the courtesan Thaïs throughout literature as “convertites,” prostitutes who undergo religious conversion and withdraw into a “house of convertites,” finishing their lives in seclusion and extreme piety. We meet Thaïs in fourth-century Alexandria at the height of her fame and success as a courtesan, but also at a moment when she foresees the eventual decline of her powers. Despite all manner of vocal splendor in her singing,

the most famous music in Thaïs is not sung; it is the ravishing Meditation, a violin solo in which we hear her contemplation of her life’s meaning along with hints of Athanaël’s conflict between religious devotion and carnal desire. As we listen to the Meditation, we, like Thaïs herself, look back on her past, and we know that she will probably change her ways.

We can trace the story of Thaïs and Athanaël as far back as the Gospel of John and the parable of Jesus’s meeting with the Samaritan woman at the well.

More recently, Somerset Maugham’s 1921 treatment of the story, set on a Pacific island, gave us the notorious Sadie Thompson, who made her way to the screen in 1932, portrayed by Joan Crawford. In this bitingly ironic retelling, Walter Huston plays Alfred Davidson, the preacher who converts her—and assaults her; Davidson commits suicide, and Thompson reverts to her former ways.

Join hosts Jeff Counts and Carol Anderson as they look behind the curtain into the world of classical music and the artists who make it.

LISTEN AND SUBSCRIBE ON THE USUO APP OR WHEREVER YOU GET YOUR PODCASTS

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MASSENET AND THE MYSTIQUE OF FRENCH OPERA

By Michael Clive

Evolving operatic tastes in Massenet’s day left French opera composers in a kind of limbo. No venue for opera was grander than Paris, but the conventions of grand opera ran counter to French musical traditions, which exalted elegance, restraint and orchestral expressiveness achieved without bombast. Meanwhile, Wagner’s operas had taken hold, giving German opera a new emphasis in the world’s opera houses, while the shockingly explicit Verismo school was changing the face of Italian opera.

In the U.S., New York was the center of operatic influence and taste, and the Metropolitan Opera opened its doors in 1883, just nine years after the Paris premiere of Thaïs. Attendance at “the Met” was a must for A-list New Yorkers. But it was not merely a matter of seeing and being seen; repertory was hotly contended along nationalistic lines—German versus Italian— with French operas caught in the middle.

“The sauerkraut opera cannot last,” declared Col. J.H. Mapleson, an influential impresario, in a New York Times interview on April 21, 1885. “Italian opera is the only opera that can depend upon fashionable support.” A response the next day from “A Born American of German Descent” calls the Italian works “ash barrel operas.”

“It cannot be said that either of these rival epithets is accurate or exhaustive,” notes the Times editor. “The word ‘sauerkraut’ does not convey a vivid sense of the dignity and grandeur of Wagner’s music-dramas; neither does the word ‘ash barrel’ convey in its fullness the tunefulness, the vocal art, and the sensual charm that belong to the works of Verdi and Donizetti. Perhaps it would be better to refer to the rival schools of dramatic music simply as ‘German’ and ‘Italian’ opera respectively.”

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Perhaps, but not much. A contemporary cartoon by Thomas Nast depicts ferocious opera patrons squaring off on two sides: the Germanic, with their Wagnerian horned helmets and breastplates, ready to do battle with the Italian partisans wielding the spears and royal trappings of a Verdian historical drama. Devotees of French opera cowered on the sidelines under the protection of their exquisite sensibilities.

During this period, Gounod’s utterly French Faust was presented far more frequently than any other opera in New York, and the Metropolitan Opera became known as the ‘Faustspielhaus‘—a pun on the ‘Festspielhaus’ where German opera festivals are traditionally performed. Bizet’s 1875 Carmen, too was gaining popularity, making sex and violence less taboo in French operas. But at the Met during its early years, even Faust was performed in Italian, rather than the original French.

Small wonder that the full appreciation of French opera became something akin to a secret society. Yes, masterworks by composers such as Gounod, Massenet, and Ambroise Thomas—not to mention Bizet—eventually gained their place in America’s standard opera repertory, sung in the original French. But their most devoted admirers insisted that elusive qualities set these operas apart: elegance, delicacy, lightness of touch, economy of musical gesture, shimmering orchestral color.

Societies such as the Friends of French Opera, led by the conductor and scholar Robert Lawrence, discreetly promoted this belief among those already converted. They were especially active from the 1950s into the 1970s, advocating for French opera in the face of a public that they felt had adopted French repertory without truly appreciating its special beauty.

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SPONSORS HEADER

OPERA SEASON SPONSOR

PRODUCTION SPONSOR

CAROL FRANC BUCK FOUNDATION OPERA ARTISTIC DIRECTOR SPONSOR

EMMA ECCLES JONES FOUNDATION LEADING LADY SPONSOR

SCOTT & JENNIFER HUNTSMAN UTAH OPERA ENHANCEMENT FUND RESIDENT MEZZO SPONSOR

CHARLES BOYNTON

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PHOTO CREDIT: Dana Sohm for Utah Opera

MASSENET’S

THAÏS

MAY 4 (7:30PM), 6 (7:00PM), 8 (7:00PM), 10 (7:30PM), 12 (2:00PM) JANET QUINNEY LAWSON CAPITOL THEATRE Opera in Three Acts Music by Jules Massenet Libretto by Louis Gallet Based on the novel by Anatole France

Premiere – March 16, 1894, Paris Opera Utah Opera Premiere Performed in French with English Supertitles (Captions) [This is an accessibility choice]

CAST

Palémon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Seth Keeton Athanaël . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Troy Cook A Servant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tshilidzi Ndou* Crobyle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jasmine Rodriguez* Myrtale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sarah Scofield* Nicias . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dominick Valdés-Chenes** Thaïs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nicole Heaston La Charmeuse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Katrina Galka Albine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aubrey Adams-McMillan ARTISTIC TEAM

Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steven White Stage Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrea Cigni Chorus Director & Assistant Conductor . . . . . . . . . . . . . . . . . . . . . . Sharon Bjorndal Lavery Scenic & Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lorenzo Cutùli Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marcus Dilliard Choreographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Heidi Spesard-Noble Wig & Makeup Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kate Casalino Assistant Wig & Makeup Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Juliette Lewis Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Guest Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Willem van Schalkwyk** Chorus Pianist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Laura Bleakley* Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Toro Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kathleen Edwards Assistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Úna Rafferty 2nd Assistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ben Kulwanoski Supertitle Musician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mitchell Atencio Original Production & Staging by Andrea Cigni Scenery and Costumes designed by Lorenzo Cutùli Scenery, properties, and costumes for the production were constructed by Minnesota Opera Shops and are owned by Minnesota Opera.

Supertitle Translation by Christopher Bergen Production is 3 hours with two intermissions *Current Resident Artist **Former Resident Artist UTAHOPERA.ORG

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CAST / ARTISTIC TEAM Kate Casalino (New York)

Wig & Makeup Designer Most Recently at Utah Opera, The Little Prince Recently: The Rape of Lucretia, Academy of Vocal Arts A Comedy of Tenors, Florida Repertory Theatre

Andrea Cigni (Italy)

Stage Director Utah Opera Debut Recently: Nabucco, Teatro Massimo di Palermo Macbeth, Teatro Municipale di Sassari Upcoming: Andrea Chénier, OperaLombardia Troy Cook (Kentucky)

Athanaël Most Recently at Utah Opera, Silent Night Recently: The Pirates of Penzance, Kentucky Opera La traviata, Florida Grand Opera Upcoming: The Pirates of Penzance, Glimmerglass Festival Pagliacci, Glimmerglass Festival Lorenzo Cutùli (Italy)

Scenic & Costume Designer Utah Opera Debut Recently: L’Orfeo, Festival Claudio Monteverdi 2021 Upcoming: Marco Polo, Teatro La Fenice Marcus Dilliard (Minnesota)

Lighting Designer Most Recently at Utah Opera, Moby-Dick Recently: La traviata, Pittsburgh Opera Man of La Mancha, Asolo Theater Upcoming: Don Giovanni, Opera Omaha

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CAST / ARTISTIC TEAM Katrina Galka (Wisconsin) La Charmeuse Utah Opera Debut Recently: Die Entführung aus dem Serail, Bayerische Staatsoper, Opernhaus Zürich, Staatsoper Hamburg Die Fledermaus, Staatsoper Hamburg Lucia di Lammermoor, New Orleans Opera Upcoming: Les contes d’Hoffmann, Opernhaus Zürich The Handmaid’s Tale, San Francisco Opera La fille du régiment, Opera Colorado Peter Grimes, Teatro alla Scala Nicole Heaston (Texas)

Thaïs Most Recently at Utah Opera, The Marriage of Figaro, 2016 Recently: Highway 1, USA, Los Angeles Opera Falstaff, Houston Grand Opera Upcoming: The Listeners, Opera Philadelphia, Lyric Opera of Chicago Seth Keeton (Utah)

Palémon Most Recently at Utah Opera, Flight Recently: Die Zauberflöte, Utah Opera Roméo et Juliette, Utah Opera

Sharon Bjorndal Lavery (New Jersey)

Chorus Director Most Recently at Utah Opera, The Marriage of Figaro Recently: La bohème, Utah Opera Beethoven’s 9th Symphony, Utah Symphony Upcoming: Utah Symphony | Utah Opera 2024-2025 Season

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CAST / ARTISTIC TEAM Aubrey Adams-McMillan (Utah) Albine Most Recently at Utah Opera, Lucia di Lammermoor Recently: A.L.I.C.E., University of Utah Santa Fe Songs, NOVA Chamber Music Upcoming: Duruflé’s Requiem commemorating the 80th anniversary of D-Day, Paris Tshilidzi Ndou (South Africa)

Servant Most Recently at Utah Opera, The Marriage of Figaro Recently: The Little Prince, Utah Opera La bohème, Utah Opera Upcoming: The Pirates of Penzance, Glimmerglass Festival Heidi Spesard-Noble (Minnesota)

Choreographer Most Recently at Utah Opera, The Grapes of Wrath Recently: The Elixir of Love, Minnesota Opera Edward Tulane, Minnesota Opera Upcoming: The Adventures of Tom Sawyer, Cedar Summerstock Theater Scrooge In Rouge, Open Eye Theater Jasmine Rodriguez (California)

Crobyle Most Recently at Utah Opera, The Marriage of Figaro Recently: The Little Prince, Utah Opera Madama Butterfly, Grand Teton Music Festival

Sarah Scofield (France)

Myrtale Most Recently at Utah Opera, The Little Prince Recently: Messiah, Utah Symphony Robeson in Moscow, Cincinnati Opera Fusion New Works Upcoming: Hansel and Gretel, Utah Opera 24

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CAST / ARTISTIC TEAM / CHORUS Dominick Valdés-Chenes (Nevada)

Nicias Most Recently at Utah Opera, Carmen Recently: Les contes d’Hoffmann, Palm Beach Opera Norma, Boston Youth Symphony Madama Butterfly, Boston Lyric Opera La traviata, Seattle Opera Tosca (cover), The Metropolitan Opera Pagliacci, Sacramento Opera Don Carlos (cover), Chicago Lyric Opera Upcoming: Tosca, Opera New Orleans Norma, Oper Leipzig Steven White (Virginia)

Conductor Most Recently at Utah Opera, Tosca Recently: Ariadne auf Naxos, Arizona Opera Britten’s War Requiem, Opera Roanoke Le nozze di Figaro, Opera Roanoke Upcoming: The Rake’s Progress, Opera Omaha CHORUS Soprano Lauren Cartwright Bohannan* Anadine Burrell* Karllen Johnson Alyssa Liu* April Meservy Heather Perry Emma-Claire Polich Jennifer Riley Carolyn TalboysKlassen* Kathryn Thompson

Alto Paula Fowler* Kyra Furman Genevieve Gannon Jennifer Hancock Melissa James Becca Keel* Angela Keeton* Julie McBeth* Dawn Veree* Lindsay Whitney

Tenor George Burdick Dyson Ford+ Ryan Francis Orion Gray Brynnen Green Marcus Lee+ Edward Lopez Lucas Henry Proctor+ Esteban Senzig Carl Wadsworth

Bass Buddy Eyre+ Charles Hamilton Thomas Klassen+ Jordon LeBaron+ Nelson LeDuc Carson Smith+ Mark Sorensen Scott Tarbet+ Daniel Tuutau+ Chase White * Nun + Cenobite

SUPERNUMERARIES HeidiLyn Butterfly, stilt walker UTAHOPERA.ORG

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REPERTORY DANCE THEATRE REPERTORY DANCE THEATRE Executive/Artistic Director: Linda C. Smith Artistic Associates: Nicholas Cendese, Lynne Larson RDT Dancers Caleb Daly, Trung “Daniel” Do, Lindsey Faber, Jonathan Kim, Jacob Lewis, Megan O’Brien, Ursula Perry, Caitlyn Richter

About Repertory Dance Theatre REPERTORY DANCE THEATRE (RDT), founded in 1966 in Salt Lake City, Utah, is a professional modem dance repertory company dedicated to the creation, performance, perpetuation and appreciation of dance.

The first successful modern dance repertory company in the nation, RDT is both a museum and contemporary gallery representing the scope and diversity of modem dance, past and present. From the early pioneers of the art form to today’s cutting edge choreographers, the company maintains one of the largest collections of modem dance classics in the world.

As a repository for this rich heritage, RDT 26

Photo credit: Izzy Arrieta

is a resource center and laboratory for contemporary dancers, choreographers, visual artists, writers and composers.

In addition to public performances, RDT produces a variety of community-based programs and has a long-standing commitment to arts-in-education. Outreach activities include lectures, informal performances, teachers’ workshops, open rehearsals, annual summer workshops and year-round classes which all serve to train and ignite the creative voice in people of all ages. At its home in the Rose Wagner Performing Arts Center, the company contributes to the cultural, social and economic vitality of the community.

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THE STORY OF THAÏS ACT I In fourth-century Egypt, a group of Cenobite monks attend to their daily rituals. Athanaël, an especially observant member of the monastic community, confesses to brother Palémon his recent visions of the famous courtesan Thaïs, who has consecrated her life to Venus and worldly pleasure. Believing his visions to be divinely inspired, he resolves—despite Palémon’s warnings—to return to Alexandria, where he had known Thaïs in his youth. He resolves to convert her to Christianity and persuade her to enter a convent. In Alexandria, Athanaël visits an old friend, the wealthy and hedonistic Nicias, who welcomes him. Nicias is Thaïs’s current lover, and he has planned a feast in tribute to her that very evening; once he learns of Athanaël’s plan, his hospitality becomes mixed with skepticism and mockery. As the feast begins, Thaïs makes her entrance in sensual splendor and joins Nicias in a bittersweet duet; it will be their final night together. Athanaël confronts her, saying he will teach her to reject the pleasures of the flesh, but she rebuffs him with a song of seduction. As the act ends, she taunts him and defiantly begins to disrobe.

ACT II Alone after the feast, Thaïs is more contemplative. Feeling the emptiness of her existence, she reflects on the fact that age will eventually sap her beauty. Then, fatefully, Athanaël enters, praying that God will conceal her allure from him. He challenges her to accept his kind of love, a love of the spirit that lasts not for one night, but forever. Both Thaïs and Athanaël struggle with temptation, and then—in a moment reminiscent of Violetta’s renunciation of Alfredo in Act I of La traviata (1853)—she sends him away, rejecting his entreaties in favor of her nihilistic lifestyle. But once alone, she reconsiders. We hear her change of heart in the strains of the Meditation.

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Thaïs has now resolved to follow Athanaël into the desert. He orders her to burn her house and its contents to eradicate all vestiges of her past life. She asks to keep a single artifact, a statuette of Eros, explaining that she sinned against love, not through it.

But Athanaël, upon hearing that the keepsake was a gift from Nicias, angrily insists that she destroy it as well. Reveling Alexandrians are enraged when they see Athanaël leading the legendary Thaïs away, and attack him; Nicias, despite his astonishment at his friends’ course, defends them by tossing handfuls of money into the crowd as a diversion. Thaïs and Athanaël escape together.

ACT III In a final act setting similar to that of Puccini’s Manon Lescaut (composed one year earlier), Thaïs and Athanaël make their way through the desert on foot. Though Thaïs is nearly collapsing from exhaustion, Athanaël forces her to continue as a religious mortification. As they rest by a spring, his attitude begins to soften and they speak as friends. Then they continue their journey, eventually reaching the convent where Athanaël entrusts Thaïs to Mother Albine. Taking his leave, he realizes that he will never see Thaïs again. Having rejoined the Cenobite community, Athanaël is taciturn and withdrawn, causing worry among his brother monks. He confesses to his friend Palémon that he is tormented by sexual longing for Thaïs. Palémon rebukes him, and even in sleep, Athanaël finds no relief. Instead, he sees Thaïs—first in an erotic dream, and then in a vision that reveals she is dying. Distraught, Athanaël repudiates his holy vows and sets off to find Thaïs. At the convent, he finds her on her deathbed and confesses his feelings, insisting that “Nothing is true but life and the love of human beings.”

But Thaïs, near death and in the grip of religious ecstasy, is oblivious to words. She dies in bliss, describing the heavens opening to her, as Athanaël collapses in despair.

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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

Emily Brown~ 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

•• Second Violin * String Seating Rotates

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Andrew Larson Acting Associate Principal John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah Thomas-Hollands~ Pegsoon Whang BASS* David Yavornitzky Principal Corbin Johnston Associate Principal

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

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

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

ENGLISH HORN Lissa Stolz CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell Erin Svoboda-Scott Associate Principal Lee Livengood# Chris Bosco~ 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

PICCOLO Caitlyn Valovick Moore

** On Leave # Sabbatical

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TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Seretta Hart~ Peter Margulies# Paul Torrisi TROMBONE Mark Davidson** Principal Sam Elliot Acting Principal Andrew Zaharis~ Acting Second Trombone BASS TROMBONE Graeme Mutchler TUBA Alexander Purdy Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Claudia Restrepo ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Hannah Thomas-Hollands Orchestra Personnel Manager * String Seating Rotates ** On Leave # Sabbatical ~ Substitute Member

~ Substitute Member

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INDIVIDUAL DONORS Utah Symphony | Utah Opera is grateful to our generous donors who, through annual cash gifts and multi-year commitments, help us bring great live music to our community.

Gifts as of March 3, 2024 * in-kind donation

** in-kind & cash donations

† deceased

Kem & Carolyn Gardner

Jacquelyn Wentz

MILLENNIUM ($250,000+) Anonymous

ENCORE ($100,000 TO $249,999) Scott & Jennifer Huntsman Anthony & Renee Marlon

John & Marcia Price Family Foundation

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Harris H. & Amanda Simmons Elizabeth Solomon George Speciale

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OVERTURE ($25,000 TO $49,999) Frances Akita & Christine Sulser Thomas Billings & Judge Judith Billings Mr. & Mrs. Jim Blair Bloomfield Family Foundation Suzanne Weaver† & Charles Boynton Berenice J. Bradshaw Trust Judy & Larry Brownstein Michael & Vickie Callen John & Flora D’Arcy 32

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Quinn Family Charitable Foundation Brooks & Lenna Quinn Mitch & Shannon Rice Marcia JS Richards Nathan & Shannon Savage Daniel & Sari Schachtel Barbara & Paul Schwartz Mary & Doug Sinclair Gibbs† & Catherine W. Smith Sheryl & James Snarr Sidney Stern Memorial Trust Craig Stuart Paul Taylor Tim & Judy Terrell Jaelee Watanabe Mark & Debbie Weinstein David & Jerre Winder Douglas Wood

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Lisa & Joel Shine Christine St. Andre & Cliff Hardesty Roberta Stanley Ray & Ann Steben Lauraine Stephen Eddie Stone Briant Summerhays David O. Tanner Douglas & Susan Terry Sal & Denise Torrisi Richard Valliere Susan & David† Wagstaff John & Susan Walker Grant Lippincott & Donna Walsh Gerard & Sheila Walsh Susan Warshaw Renee & Dale Waters M. Terri Poli & J. Craig Weakley Betsey & Scott Wertheimer Kelly Whitcomb Cindy Williams Barry & Fran Wilson E. Woolston† & Connie Jo Hepworth-Woolston Caroline & Thomas Wright Peter Zutty

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INDIVIDUAL DONORS FRIEND ($1,000 TO $2,499) Anonymous [4] Christine A. Allred Margaret Anderson Joe Arnold Mr. Gaylen Atkinson Fred & Linda Babcock Graham Baker Sue Barsamian Lowell Bennion Vicki & Bill Bennion C. Kim & Jane Blair Diane Banks Bromberg & Dr. Mark Bromberg Paula Bronson Lindsay† & Carla Carlisle Dana Carroll & Jeannine Marlowe Carroll Linda Jo Carron Mr. & Mrs. Fred L. Carter, Jr. Paul & Ruth Cherecwich George & Katie Coleman Phillip & Gail Coleman Kenneth Colen Dr. & Mrs. David Coppin Jason & Kristin Covili Kathia Dang & Sam Sleiman Darrell & Sharon Child Margarita Donnelly Dr. Paul Dorgan Eric & Shellie Eide Matthew Follett Aileen Freckleton Dr. Robert Fudge & Sylvia Newman Sheila Gardner Heidi Gardner Bob & Mary Gilchrist Ralph & Rose† Gochnour Andrea Golding Legacy Foundation Mr. & Mrs. Richard R. Graham

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INDIVIDUAL DONORS ANDANTE ($500 TO $999) Anonymous Drew J. Adams Sara Jane Andersen Joe Arnold John & Liz Bennion Cal & Laura Boardman Dr. & Mrs. Hal S. Cole Martin & Elinor Colman Nathanael T. Davenport Silvia l. Davis Ashby & Anne Cullimore Decker Carleton Detar & Laurel Casjens Ruth Duenser Jack & Leslie Edwards Joseph Ferriter & Jennifer Trauscht-Van Horn Norman & Carol Foster Drs. Norman L. & Carol M. Foster Purjes Foundation Dave Garside Dr. Martin I. & Sheila G. Gelman Mr. & Mrs. Theodore Gurney, Jr. Sarah Stevens Hammond

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Shauna Bona Vicki & Robert Bourns Terry & Lee Box Mr. & Mrs. Steven R. Brosvik John Burger & Mary Lou Jones-Burger Marianne Burgoyne John & Kathryn Burnham Fred & Debbie Burr Mr. Carlos Cardon Victoria & Sheldon Chaplin Mr. & Mrs. Don M. Christensen Clark & Gwen Christian Zack Clark Allison H. Cook Dr. Thomas D. & Joanne A. Coppin

J. Alan Crittenden Coleen Cronin Lynn David John W. Deford Klancy & Noel† DeNevers Mary Dillon Natalie Divino Larry Dunning Joan Dye Alan & Vicki Eastman David Erhart Robert P.† & Mary H. Evans Michael Evertsen James P. Felt Elizabeth Frank & Steve Achelis Carolyn C. Fredin

CHORALE ($150 TO $499) Anonymous [10] Karen Acker Dennis & Louise Ahern George & Frances Alderson Zana U. Anderson Marco & Christine Andrei Dennis & Karen Ardin Ms. Kathryn Atwood Elena James & David Bailey Mr. & Mrs. Lawrence R. Barusch William Bearden Michael Behring & Debra Marin Katherine Benedict Stephanie Bertin Patter & Thomas Birsic Brent Bogden UTAHOPERA.ORG

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INDIVIDUAL DONORS CHORALE ($150 TO $499) CONTINUED Joshua & Alisha Garrett Maria Godina Warren Gorrell Dr. & Mrs. William R. Gray The James S. Gulbrandsen, Sr. Family Blake D. Hamilton, M.D. Mr. David Hampshire Peter & Beth Hanlon Doug Hattery Frank Heyman Mr. John P. Hill, Esq. Preston G. Hughes Foundation Virginia A. Hughes Albert Imesch Eric & Becky Jacobson Dr. Brent James Kenneth & Penny Jameson James & Jeanne Jardine Lennard C. Jensen Jonathan Jensen Elaine Jepesen Gunhild Jones Jay Jorgensen Robert S. Campbell Jr Zara H. Juillerat Roger Ladle Bruce & Margaret Landesman Lloyd & Christina Larsen Steven & Kimberlee Lewis John Lindell Martha Lyons Mira Blue & Mark Machlis Michael Manfull Dr. & Mrs. Ned L. Mangelson Russell Martin Penelope Mathews & David Horner

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Heather McMaster Jack & Patsy McNamara Frank McNeil Sanford & Lynn Meek Marla Melamud Elizabeth Miller Robert L. Miller Robert & Dianne Miner James Moyer David Murphy President Russell M. & Wendy Nelson Jeff Nielsen Mr. & Mrs. Benjamin Nitka Wayne & Iris Nixdorf James & Janette Orton David R. Osborn Kathy Pachucki Adrian S. Palmer Don Parkin & Jill Trewhella Helen C. Patterson Don & Carolyn Petersen Joseph C. & Deborah R. Pienezza Jerry & Nancy Pitstick Nelly Poe Kerry Pollard Matt Poulson Laszlo & Sandra Preysz Matthew N. Proser Sallie K. Rinderknecht Irene Terry & Robert Roemer Lousje & Keith Rooker Kyle Rose Robert Rosenberg Patricia Curtis Rothwell Ellen K. Losch-Rowe Ralph & Gwen Schamel John Schumacher Michael Scolamiero James Sherwood

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ENDOWMENT DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being and stability of USUO, and through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9015.

Anonymous Edward R. Ashwood & Candice A. Johnson Gael Benson C. Comstock Clayton Foundation Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation Thomas D. Dee III & Dr. Candace Dee Hearst Foundation Estate of John Henkels Roger & Susan Horn Carolyn T. Irish Revocable Trust

Estate of Marilyn Lindsay The Right Reverend Carolyn Tanner Irish† and Mr. Frederick Quinn Loretta M. Kearns† Vicki McGregor Edward Moreton Estate of Pauline C. Pace The Linda & Don Price Guest Artist Fund Perkins-Prothro Foundation Kenneth† & Jerrie Randall The Evelyn Rosenblatt Young Artist Award Bill & Joanne Shiebler Steven P. Sondrop Family Trust James R. & Susan Swartz

Clark L. Tanner Foundation Norman C. & Barbara L. Tanner Charitable Trust Norman C. & Barbara L. Tanner Second Charitable Trust O.C. Tanner Company Estate of Frederic & Marilyn Wagner M. Walker† & Sue Wallace Jack & Mary Lois Wheatley Family Trust Edward & Marelynn† Zipser

GIFTS MADE IN HONOR Nancy & Eric Garen Carol Zimmerman

Georgia Gates Alan. W. Stout

GIFTS MADE IN MEMORY Fred Andersen Jay T. Ball John Bates Janice Ione Berghout Earle Robert Bevins III Danny Boy Mariah Bradfield Judy Watts Brady Carol Browning Robert H. Burgoyne, M.D. Orson Clay UTAHOPERA.ORG

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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 Polly Lehwalder

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INSTITUTIONAL DONORS We thank our generous donors for their annual support of Utah Symphony | Utah Opera. * in-kind donation

** in-kind & cash donation

$100,000 OR MORE The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation Marriner S. Eccles Foundation

George S. & Dolores Doré Eccles Foundation Emma Eccles Jones Foundation Frederick Q. Lawson Foundation LOVE Communications** Marriott Residence Inn*

Miller Family Philanthropy O.C. Tanner Company Sorenson Legacy Foundation Stowell Leadership Group, LLC* Zions Bank

The Grand America Hotel & Little America Hotel* Janet Q. Lawson Foundation

Moreton & Company

Goldman Sachs & Co. LLC Richard K. & Shirley S. Hemingway Foundation The John C. Kish Foundation Moreton Family Foundation Charles Maxfield & Gloria F. Parrish Foundation Joanne L. Shrontz Family Foundation

Simmons Family Foundation Summit Sotheby’s Nora Eccles Treadwell Foundation

Joseph & Kathleen Sorenson Legacy Foundation McCarthey Family Foundation Perkins-Prothro Foundation S.J. & Jessie E. Quinney Foundation Raymond James & Associates

Regence Blue Cross Blue Shield The Joseph & Evelyn Rosenblatt Charitable Fund St. Regis / Deer Crest Club** Stay Park City W. Mack and Julia S. Watkins Foundation

$50,000 TO $99,999 Anonymous The Florence J. Gillmor Foundation

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$10,000 TO $24,999 Altabank HJ & BR Barlow Foundation B.W. Bastian Foundation Brent & Bonnie Jean Beesley Foundation Bertin Family Foundation R. Harold Burton Foundation Marie Eccles Caine FoundationRussell Family 44

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INSTITUTIONAL DONORS $1,000 TO $9,999 Anonymous Black Physicians of Utah Rodney H. & Carolyn Hansen Brady Charitable Foundation Caffé Molise* Spencer F. & Cleone P. Eccles Family Foundation The Fanwood Foundation Western Office Grandeur Peak Global Advisors Holland & Hart**

Homewood Suites

by Hilton* Intermountain Healthcare J. Wong’s Thai & Chinese Bistro* Kennecott Utah Copper LLC KKC Foundation Kum & Go Charitable Fund Lee’s Marketplace Merit Medical Systems, Inc.

Ray, Quinney & Nebeker Foundation Rocky Mountain Power Foundation Snow, Christensen & Martineau Foundation Summerhays Music Center Utah Autism Foundation

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.

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ADMINISTRATION ADMINISTRATION Steven Brosvik President & CEO

David Green

Senior Vice President & COO

Micah Luce

Julie Porter

Robert Bedont

Mallory Goodman Kathryn Wieland

Megs Vincent

Crafts Artisan/Milliner Costume Stitcher

Director of Human Resources & Organizational Culture

SYMPHONY ARTISTIC Anthony Tolokan

Executive Assistant to the CEO

Walt Zeschin

Julie McBeth Natty Taylor

Human Resources Coordinator

OPERA ARTISTIC Christopher McBeth Opera Artistic Director

Sharon Bjorndal Lavery

Chorus Director & Opera Assistant Conductor

Carol Anderson Principal Coach

Artistic Consultant

Director of Orchestra Personnel

Jeremiah Tyson

Resident Artist, Tenor

Tshilidzi Ndou

Resident Artist, Baritone

Jasmine Rodriguez

Resident Artist, Soprano

Laura Bleakley

Resident Artist, Pianist

OPERA TECHNICAL Sam Miller Technical Director

Kelly Nickle

Properties Master

Dusty Terrell

Scenic Charge Artist

JR Orr

Head Carpenter/Shop Foreman

COSTUMES Carol Wood

Isabella Zini

Artistic Planning Coordinator & Assistant to the Music Director

Matthew Straw

Assistant Conductor

Director of Orchestra Operations Front of House Director

Chip Dance

Director of Production

Marcus Lee

Operations Manager

Sarah Madany Stage Manager

Christopher Danz

Assistant Stage Manager

DEVELOPMENT Leslie Peterson

Vice President of Development

Garrett Murphy

Director of Development

David Hodges

Director of Institutional Giving

Master Tailor

Melanie Lamb-Delgado Assistant Tailor

Lisa Poppleton Grants Manager

Development Database Manager

Caitlin Marshall

Sales & Engagement Manager

Genevieve Gannon

Group Sales Associate

Lorraine Fry Michael Gibson Ian Painter Ananda Spike Val Tholen Rocky Porter Salem Rogers Chloe Toyn Crystal Pryor

Patron Services Associates

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Melanie Giles Controller

Jared Mollenkopf Bobby Alger

Karine Mnatsakanyan Payroll Specialist

EDUCATION Ben Kipp

Vice President of Education & Community Engagement

Corporate Engagement Manager

Symphony Education Manager

MARKETING & COMMUNICATIONS Meredith Kimball Laing

Opera Education Manager

Ellesse Hargreaves

Vice President of Marketing & Communications

Molly Hartvigsen

Director of Marketing

First Hand

Patron Services Assistant Manager

Manager of Special Events

Dawnette Dryer Cutter/Draper

Toby Simmons

Accounts Payable Specialist

Individual Giving Manager

Maren Holmes

Milivoj Poletan

Patron Services Manager

Katie Swainston

Costume Rentals & Stock Manager Costume Rentals & Stock Assistant Manager

Director of Patron Engagement

Patron Information Systems Manager

Assistant Director of Institutional Giving

Dallin Mills

Madi Halverstadt

Marketing & Communications Coordinator

Calli Forsyth

Costume Director

Marcos Ambriz

Emma Price

Jaron Hatch

Artistic Planning Manager

Melissa Robison

Resident Artist, Mezzo - soprano, Sponsored by Charles Boynton

Website Content Coordinator

Morgan Moulton

Orchestra Personnel Manager

Production Coordinator

Sarah Scofield

Nina Starling

PATRON SERVICES Faith Myers

Director of Production

Ashley Tingey

Communications Manager

Hannah Thomas-Hollands

SYMPHONY OPERATIONS Jen Shark

Michelle Peterson

Marketing Manager

Jessica Wiley

Kevin Nakatani Beth Foley

Education Coordinator

Adia Thornton

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

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CRESCENDO AND TANNER SOCIETIES “YOU ARE THE MUSIC WHILE THE MUSIC LASTS.”~T.S. Eliot

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

For more information, please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012, or visit usuo.org/ planned-giving.

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

Mahler Circle

Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Richard Clegg Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Virginia A. Hughes Turid V. Lipman

Anne C. Ewers 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

†Deceased

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“We took stock of what gifts we have in our power to grant to future Utahns and concluded that great live classical music will be one of the legacies we will support. We are grateful to the many generous donors who through thoughtful estate planning over the years have made it possible for us to be blessed by performances of the Utah Symphony | Utah Opera today.

We are planning to help make this beautiful music a part of Utah forever.”

-Annette & Joe Jarvis

Find out more:

Annette W. Jarvis Vice Chair and Secretary USUO Board of Trustees Shareholder, Greenberg Traurig, LLP

Joseph Q. Jarvis M.D., M.S.P.H

801-869-9012 | usuo.org/planned-giving

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