Deer Valley® Music Festival 2023

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WELCOME TO THE DEER VALLEY® MUSIC FESTIVAL

Thank you for joining us for this concert of the 19th Deer Valley® Music Festival, which we hope is but one of many performances that you will enjoy with us this summer. Music in the mountains with the Utah Symphony and exceptional guest artists truly delivers Life Elevated.

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

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

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

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PATRIOTIC POPS WITH GERSHWIN’S RHAPSODY IN BLUE

SPANISH NIGHTS WITH PABLO SÁINZ VILLEGAS

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

DISNEY PRINCESS: THE CONCERT

LEANN RIMES “THE STORY… SO FAR” TOUR

BIZET’S SYMPHONY NO. 1

THE MUSIC OF JOHN WILLIAMS

BROADWAY & SOUL: JOSHUA HENRY

A NIGHT OF FUNK: LETTUCE

BEETHOVEN’S SYMPHONY NO. 2

THE BEACH BOYS

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

THE MUSIC OF QUEEN

BEN FOLDS

ON THE HILL CONCERTS

ST. MARY’S CHURCH CONCERTS

SHE’S GOT SOUL: CAPATHIA JENKINS

Thierry Fischer, Music Director

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

Benjamin Manis

Associate Conductor

VIOLIN*

Madeline Adkins

Concertmaster

The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton

Kathryn Eberle

Associate Concertmaster

The Richard K. & Shirley S. Hemingway Chair

Laura Ha

Second Associate Concertmaster

Claude Halter Principal Second

Wen Yuan Gu#

Associate Principal Second

Evgenia Zharzhavskaya

Assistant Principal Second

Karen Wyatt••

Erin David

Joseph Evans

Lun Jiang

Rebekah Johnson••

Tina Johnson~

Amanda Kofoed~

Jennifer Kozbial Posadas~

Veronica Kulig

David Langr

Shengnan Li

Hannah Linz••

Yuki MacQueen

Alexander Martin

Rebecca Moench

Hugh Palmer•

David Porter

Lynn Maxine Rosen

Barbara Ann Scowcroft

Ju Hyung Shin•

Bonnie Terry

Julie Wunderle

VIOLA*

Brant Bayless Principal

The Sue & Walker

Wallace Chair

Yuan Qi

Associate Principal

Julie Edwards

Joel Gibbs

Carl Johansen#

Scott Lewis

John Posadas

Whittney Sjogren

Leslie Richards~

CELLO*

Matthew Johnson Acting Principal

The J. Ryan Selberg Memorial Chair

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

Andrew Keller

Edward Merritt

Jens Tenbroek

Thomas Zera

HARP

Louise Vickerman

Principal

FLUTE

Mercedes Smith

Principal

The Val A. Browning Chair

Lisa Byrnes

Associate Principal

Caitlyn Valovick Moore

PICCOLO

Caitlyn Valovick Moore

OBOE

Zachary Hammond

Principal

The Gerald B. & Barbara F. Stringfellow Chair

James Hall

Associate Principal

Lissa Stolz

ENGLISH HORN

Lissa Stolz

CLARINET

Tad Calcara

Principal

The Norman C. & Barbara Lindquist

Tanner Chair, in memory of Jean Lindquist Pell

Erin Svoboda-Scott Associate Principal

Lee Livengood

BASS CLARINET

Lee Livengood

E-FLAT CLARINET

Erin Svoboda-Scott

BASSOON

Lori Wike Principal

The Edward & Barbara Moreton Chair

Leon Chodos

Associate Principal

Jennifer Rhodes

CONTRABASSOON

Leon Chodos

HORN

Jessica Danz Principal

Edmund Rollett

Associate Principal

Nate Basinger~

Julia Pilant~

Stephen Proser

TRUMPET

Travis Peterson

Principal

Jeff Luke

Associate Principal

Peter Margulies

Paul Torrisi

TROMBONE

Mark Davidson Principal

Sam Elliot

Associate Principal

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

• First Violin

•• Second Violin

* String Seating Rotates

** On Leave

# Sabbatical ~ Substitute Member

ELECTED BOARD

Brian Greeff* Chair

Doyle L. Arnold* Vice Chair

Annette W. Jarvis* Vice Chair & Secretary

Joanne F. Shiebler* Vice Chair

Steven Brosvik* President & CEO

Austin Bankhead*

Dr. Stewart E. Barlow

Judith M. Billings

George Cardon-Bystry

Gary L. Crocker

John D’Arcy

David L. Dee*

Barry L. Eden*

Senator Luz Escamilla

Theresa A. Foxley

Brandon Fugal

Dr. Julie Aiken Hansen

Daniel Hemmert*

Stephen Tanner Irish

Thomas N. Jacobson

Abigail E. Magrane

Brad W. Merrill

Judy Moreton

Dr. Dinesh C. Patel

Frank R. Pignanelli

Gary B. Porter

Shari H. Quinney

Miguel R. Rovira

Stan Sorensen

Dr. Shane D. Stowell

Naoma Tate

Thomas Thatcher

W. James Tozer

David Utrilla

Kelly Ward

Kim R. Wilson

Thomas Wright*

Henry C. Wurts

MUSICIAN REPRESENTATIVES

Edward Merritt*

Hugh Palmer*

EX-OFFICIO REPRESENTATIVE

Jean Vaniman

Onstage Ogden

LIFETIME BOARD

William C. Bailey

Kem C. Gardner*

Jon Huntsman, Jr.

G. Frank Joklik

Clark D. Jones

Herbert C. Livsey, Esq.

Thomas M. Love*

David T. Mortensen

Scott S. Parker

David A. Petersen

Patricia A. Richards*

Harris Simmons

David B. Winder

TRUSTEES EMERITI

Carolyn Abravanel

Dr. J. Richard Baringer

Howard S. Clark

Kristen Fletcher

Richard G. Horne

Ronald W. Jibson

E. Jeffery Smith

HONORARY BOARD

Jesselie B. Anderson

Kathryn Carter

R. Don Cash

Raymond J. Dardano

Geralyn Dreyfous

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

* Executive Committee Member

O to Break the Chains of Formality!

FANTASY

An Epic Romance for Piano and Orchestra

Twenty-two-year-old Nathan Schaumann is the first prize winner of Steinway & Sons Young Artists Competition in both Amsterdam, Netherlands and Midvale, Utah. He placed first in the Emory University Young Artists Competition in Atlanta, Georgia and has performed with symphony orchestras in both the United States and Europe.

Scan here to view and listen! Complete performance includes piano, winds, strings, and percussion.

williamcall.net/fantasy

#DVMF

DEER VALLEY® MUSIC FESTIVAL SERIES SPONSORS

DEER VALLEY® MUSIC FESTIVAL SEASON SPONSOR

SUMMER ENTERTAINMENT SPONSOR

SUMMER SYMPHONY SPONSOR

SHIEBLER FAMILY FOUNDATION

CHAMBER SERIES SPONSOR

OFFICIAL VEHICLE OF THE UTAH SYMPHONY SUMMER FESTIVAL

With appreciation to our SEASON SPONSOR

Music is a language we all understand.

— STEVIE WONDER —

DEER VALLEY® MUSIC FESTIVAL STAGE SPONSORS

JULY 8 SPONSOR

JULY 14 SPONSOR

AUGUST 3 SPONSOR

PATRIOTIC POPS

WITH GERSHWIN’S RHAPSODY IN BLUE

JUNE 30 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

BENJAMIN MANIS, conductor JEFFREY BIEGEL, piano

PRESENTING SPONSOR

GUEST ARTIST SPONSOR

JOHN & JEAN YABLONSKI

CONCERT SPONSOR

LODGING SPONSOR

SMITH/KEY

PETER BOYER LOWDEN PETER BOYER

QUINN MASON

GERSHWIN/R.R. BENNETT

GERSHWIN SOUSA

The Star-Spangled Banner

Celebration Overture

Armed Forces Salute

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

Toast of the Town Overture

Suite from Porgy and Bess

Rhapsody in Blue

The Stars and Stripes Forever

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

Snowy Day. He led four world premieres, among them the 2020 world premiere of Marian’s Song with the subsequent HGO Digital filmed version and Miller Outdoor Theatre performances of the same work. Manis returned to HGO in the 2022–23 season to lead productions of Tosca and El Milagro del Recuerdo.

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

The life and legacy of Jeffrey Biegel reflects an unprecedented journey as a pianist having created the most diverse commissioning projects, premieres, and recordings of his generation, building bridges to break divides through music. His life takes its roots from age three, barely able to hear nor speak, until corrected by surgery. The “reverse Beethoven” phenomenon explains his lifelong commitment to music, having heard only vibrations in his formative years.

The pandemic year of 2020 focused on composing Waltzes of Hope, Sonatina, and Three Reflections: JFK, RBG, and MLK for solo piano, and for piano and orchestra, with orchestrations by Harrison Sheckler. The year 2021 saw the world premieres of his Reflection of Justice: An Ode to Ruth Bader Ginsburg with the Dallas Symphony Orchestra. For 2023, world premieres of Peter Boyer’s Rhapsody in Red, White & Blue and Grammy Award-winning singer/songwriter Melissa Manchester’s AWAKE for piano and orchestra will take the stages across America. The 2024–25 season foresees a new work for piano and orchestra by Adolphus Hailstork with the Pacific Symphony, Carl St. Clair conducting.

SPANISH NIGHTS

WITH PABLO SÁINZ VILLEGAS

JULY 1 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

BENJAMIN MANIS, conductor

PABLO SÁINZ-VILLEGAS, guitar

CHABRIER

BOCCHERINI

ANONYMOUS

ALBÉNIZ

BIZET DE FALLA

HERNÁDEZ

PIAZZOLLA

ZEQUINHA

TÁRREGA

RIMSKY-KORSAKOV

ANONYMOUS

GIMÉNEZ

GUEST ARTIST SPONSOR

España

Introduction & Fandango

Spanish Romance

Asturias

Selections from Carmen

Danza No. 1 from La vida breve

El cumbanchero

Libertango

Tico-Tico no Fubá

Gran Jota

Selections from Capriccio Espagnol

Fandango Asturiano

Intermedio from La Boda de Luis Alonso

A.

CONCERT SPONSOR

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ARTIST’S PROFILE

See Page 24 for Benjamin Manis’ profile.

Pablo Sáinz-Villegas

Guitar

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

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

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

RENÉE ELISE GOLDSBERRY

Star of Girls5eva on Peacock and Hamilton on Broadway

COMPLEXIONS

CONTEMPORARY BALLET

Innovative and Diverse Dance Troupe

KALANI PE’A

CHRISTMAS CONCERT

Grammy Award-winning Hawaiian singer/songwriter

VOCTAVE

Crowd-Pleasing A Capella Group

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

JULY 5 / 2023 / 8 PM

ST. MARY’S CHURCH

BENJAMIN MANIS, conductor

ZAC HAMMOND, oboe

MOZART

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

Allegro Andante

Presto

R. STRAUSS

Concerto in D Major for Oboe and Small Orchestra

I. Allegro moderato

II. Andante

III. Vivace INTERMISSION

DVOŘÁK

MOZART

Nocturne in B Major for String Orchestra, Op. 40

Symphony No. 39 in E-flat Major

I. Adagio - Allegro

II. Andante con moto

III. Menuetto: Allegretto

IV. Allegro

See Page 24 for Benjamin Manis’ profile.

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

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

THE CHRISTIAN CENTER OF PARK CITY

Meeting people at their point of need as an expression of God’s love for over 20 years

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

Wolfgang Amadeus Mozart (1756–1791)

Duration: 10 minutes in three movements

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

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

Duration: 26 minutes in three movements

Imagine the scene. It is May 1945, the first moments of peace in Europe, and an American GI is temporarily at loose ends in the Bavarian town of Garmisch. He, like others who left lives of music to serve their country, has heard that none other than Richard Strauss lives nearby and, through a mutual friend, pays the old master a visit. That soldier was John de Lancie, former Principal Oboe of the Pittsburgh Symphony Orchestra and eventual Director of the Curtis Institute of Music. De Lancie brought a young man’s courage to that fateful meeting and suggested that Strauss consider a concerto for his instrument, given how beautifully the composer wrote for it in his tone poems and operas. Strauss said no without hesitation but was not able to shake the notion. He began sketching out a concerto within weeks and had a score ready the following September. The American premiere was, of course, offered to de Lancie but the first performance on our shores was actually given by Mitch Miller (yes, the man from Sing Along with Mitch) in 1948. De Lancie wouldn’t get his chance until 1964 and, by then, he likely wondered if oboists the world over were cursing his name. They all loved the lyrical, unapologetically romantic music but also greatly feared the concerto’s opening, with its 57 measures of uninterrupted playing that tested their lungs like never before. The Oboe Concerto is standard repertoire now, despite its demands, and it provides yet another postwar proof point (like Metamorphosen and the Four Last Songs) that Strauss, in his 80s, was still very much in his compositional prime.

HISTORY OF THE MUSIC

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

Duration: 9 minutes

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

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

Symphony No. 39 in E-flat Major Wolfgang Amadeus Mozart (1756–1791)

Duration: 25 minutes in four movements

The final three symphonies of Mozart (Nos. 39, 40, and 41) are almost always spoken of as a set. Many elements make this possible, even necessary. First is the remarkably quick succession of their completions on June 26, July 25, and August 10, 1788. Next is the desperate hoped he pinned on them to reverse his recent bad fortune. Not least, then, is the staggering innovation and profound maturity they contained, as if even Mozart knew he would not write another. But, of course, he didn’t know that. He had no idea he was living his last three years on Earth. Mozart, in fact, was planning to premiere his latest symphonies at a series of concerts in a new venue called the “Casino,” but the performances didn’t happen for lack of sales. No wonder. War with the Ottoman Empire was sapping the strength and draining the wallets of Austria, true, but Mozart’s star had fallen steadily on its own in Vienna over the previous few years. Tastes were changing and it’s hard to imagine the audience enjoying the new pieces much if they had heard them that year. This was the case of a composer having simply outgrown his listeners, which is what makes it so tempting to imagine him writing Nos. 39, 40, and 41 for us, not them. The E-flat major Symphony distinguishes itself in interesting ways. It employs no oboes, a rarity in late Mozart. It begins with a slow introduction. And it has a finale built around a single theme with no coda. We don’t know if Mozart heard this dramatic, dissonant symphony live before he died (it is possible, though unprovable), but we have been listening closely ever since.

COMMUNITY EVENTS

2023 DEER VALLEY® MUSIC FESTIVAL

Q&A’S AFTER CONCERTS AT ST. MARY’S

Gather in the back section of the performance space to meet and ask questions of featured performers following concerts on July 5, 12, 19, and 26.

INSTRUMENT PETTING ZOO

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

July 7 prior to DISNEY PRINCESS: THE CONCERT

July 28 prior to THE MUSIC OF JOHN WILLIAMS

F REE “POP-UP” PE RFORMANCES

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

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

JULY 7 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

BENJAMIN MANIS, conductor

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WELCOME TO THE DEER VALLEY® MUSIC FESTIVAL

BROADWAY & SOUL: JOSHUA HENRY

JULY 8 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

BENJAMIN MANIS, conductor

JOSHUA HENRY, vocals

PRESENTING SPONSOR

SCOTT & KATHIE AMANN

CONCERT SPONSOR

LODGING SPONSOR

CONDUCTOR SPONSOR

ARTIST’S PROFILE

See Page 24 for Benjamin Manis’ profile.

Joshua Henry Vocals

Joshua Henry is a Grammynominated performer and recording artist best known for his Tony-nominated leading roles in Carousel, The Scottsboro Boys, and Violet, as well as for his show-stopping performance as Aaron Burr in the cultural phenomenon Hamilton (Chicago/San

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

VC)LlJNTEEf{INC;

WITH UTAH SYMPHONY I UTAH OPERA

Volunteers are the backbone of Utah Symphony I Utah Opera. Besides being an official part of the company and helping to bring world-class music to your community, you receive tickets to upcoming performances, make new friends, and explore networking possibilites. As a part of our team you may assist with any of the following areas:

VIP events, guest artists, boutique and gitt shops, greeting, and more!

FOR MORE INFORM ATION ON VOLUNTEERING WITH USUO VISIT UTAHSY MPHONY.ORG/SUPPORTNOLUNTEER, CONTACT VOLUNTEERS@USUO.ORG OR CALL 801.869.9067

BEETHOVEN’S SYMPHONY NO.

2

JULY 12 / 2023 / 8 PM

ST. MARY’S CHURCH

ELIAS GRANDY, conductor

RAVEL

Le tombeau de Couperin

I. Prélude

II. Forlane

III. Menuet

IV. Rigaudon

STRAVINSKY

Suite from Pulcinella (1949 revision)

I. Sinfonia

II. Serenata

III. Scherzino

IV. Tarantella

V. Toccata

IV. Gavotta

VII. Duetto

VIII. Minuetto - Finale

INTERMISSION

BEETHOVEN

Symphony No. 2 in D major, Op. 36

I. Adagio Molto - Allegro con brio

II. Larghetto

III. Scherzo: Allegro

IV. Allegro Molto

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

ARTIST’S PROFILE

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

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

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

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

Le

tombeau de Couperin

Maurice Ravel (1875–1937)

Duration: 17 minutes in four movements

The French word tombeau translates as “tomb” or “grave” but in a musical setting it is occasionally used as an alternative to the more familiar term homage. Ravel’s Tombeau was written between 1914 and 1917, ostensibly as a tribute to the great French Baroque master François Couperin, but Ravel later wrote that it was “directed less in fact to Couperin himself than to French music of the 18th century.” Originally scored for solo piano, the piece was made up of six characteristic dance forms, each viewed through the prism of Ravel’s own unique voice. An even deeper measure of remembrance existed as Ravel dedicated each movement to a friend who lost his life in (or was greatly affected by) the Great War. Ravel, too short, too slight, and too sickly to serve as a soldier, had done his noble part as an ambulance driver at the front. Some early listeners assumed irreverence in the light touch and occasional wit of the music, but a subtle tinge of wistfulness can be heard beneath the more obvious charms of the work’s outer layer. Ravel responded to the notion that his commemoration lacked adequate solemnity by stating, “The dead are sad enough, in their eternal silence.” Four of the movements were orchestrated in 1919 and premiered one year later. Ravel’s genius with instrumentation—always staggering in its clarity and inventiveness— was on full display with this newer Tombeau and, though others have since attempted to arrange the other two dances from the piano suite, nobody got close enough to Ravel’s high standard to have their work regularly performed.

Suite from Pulcinella (1949 revision)

Igor Stravinsky (1882–1971)

Duration: 20 minutes in 8 movements

We continue on the subject of homage. In the years just after the first World War, Igor Stravinsky was poised for one of the two great shifts of his compositional life. Frequent collaborator and sometime friend, the famed ballet impresario Sergei Diaghilev had suggested he write a new piece using the music of the 18th-Century Italian composer Pergolesi, and Stravinsky found the idea absurd at first. That the composer of The Rite of Spring should be asked to create such a “forgery” was even mildly insulting. But something in the idea did catch hold in him, despite his initial reluctance, and when Stravinsky began to study Pergolesi in earnest, he “fell in love.” Pulcinella was born of this unexpected pairing of old and new, and marks the beginning of the longest and most fertile period for Stravinsky: his Neoclassical phase. “Pulcinella was my discovery of the past,” he wrote, “the epiphany through which the whole of my late work became possible.” Rather than simply and respectfully arrange the antique music of Pergolesi, Stravinsky knew he must instead “repeat him in my own accent.” The result is a delightful and perfectly constructed blend of both voices, one which preserves the 18th-century melodic and harmonic content while showcasing elements of Stravinsky’s own quirky rhythmic language and colorful instrumentation. The story itself reaches even further back in time and is a classic commedia dell’arte romp with all of the usual 16th-century social difficulties and resolutions, including a kiss, some jealousy, a little false magic, and few

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

Symphony No. 2 in D major, Op. 36

Ludwig van Beethoven (1770-1827)

Duration: 32 minutes in four movements

Beethoven spent the summer months of 1802 in the village of Heiligenstadt. The hope was that an extended break from the bustle of Vienna might improve his health in general and his hearing in particular. As we now know, his deafness would not be curable by any amount of rest. We also know that two very different personal utterances date from the following October—a new symphony and a desperate letter. The famous Heiligenstadt Testament, not discovered until after Beethoven’s death, speaks of “blighted hope” and “courage disappeared” and is a tragically acute description of his depression. Especially heartbreaking is his recounting of a moment when “someone heard the shepherd singing and again I

heard nothing.” How then do we reconcile the light-hearted, often humorous 2nd Symphony that was completed in tandem with this scream into the void? It could be that Beethoven did most of the finish work on the piece while he was still optimistic about the healing effects of the countryside. It could also be that his visit to “rock-bottom” uncovered a hidden well of fortitude. Whatever the case may be, the 2nd Symphony marked the beginning of a paradoxically productive period for Beethoven, a man who so often fell into inactivity when fate betrayed him. The music is playful, witty, and energetic. It lacks the stormy, furrowed-brow qualities of the 3rd and 5th symphonies but has plenty of its own ingenuity to offer. Beethoven replaced the traditional minuet movement with a scherzo and crafted a finale so quirky it elicited one of greatest critic comments in music history, about a “wounded dragon that refuses to die and, though bleeding in the finale, furiously thrashes about with its stiffened tail.” Hilarious…and wrong.

TO THE DEER VALLEY® MUSIC FESTIVAL

THE BEACH BOYS

JULY 14 & 15 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

BENJAMIN MANIS, conductor

THE BEACH BOYS, guest artists

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LAW OFFICES OF THOMAS N. JACOBSON

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The Beach Boys Guest Artists

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

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

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

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

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

JULY 19 / 2023 / 8 PM

ST. MARY’S CHURCH

KATHARINA WINCOR, conductor

KATHRYN EBERLE, violin

SCHUBERT

Symphony No. 5 in B-flat Major

I. Allegro

II. Andante con moto

III. Menuetto: Allegro molto

IV. Allegro vivace

MOZART

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

I. Allegro moderato

II. Adagio

III. Presto

INTERMISSION

HAYDN

Symphony No. 70 in D Major

I. Vivace con brio

II. Andante: Specie d’un canone in contrapunto doppio

III. Menuet: Allegretto

IV. Allegro con brio

ARTISTS’ PROFILES

Austrian conductor Katharina Wincor is a rising, charismatic talent.

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

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

Violin

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

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

Symphony No. 70 in D Major

(1732–1809)

Duration: 18 minutes in four movements

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

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

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

Wolfgang Amadeus Mozart (1756–1792)

Duration: 20 minutes in three movements

Mozart was either 17 years old in 1773 or 19 in 1775 when his 1st Violin Concerto was composed. History recalls Mozart so fondly as a pianist that we often forget he was also a suburb violinist. He began his string studies at the age of six and performed a concerto just one year later for the Archbishop of Salzburg. It clearly must have been his precocious violin playing (rather than his keyboard skills) that earned him employment as concertmaster in the court of a later Salzburg Archbishop, one Count Hieronymus Colloredo. Theirs was not an easy relationship, but Mozart was able to stay productive as a composer despite it, and the five violin concerti Mozart wrote during that tough period (four of them, at least, within a single year) show none of the professional discomfort he endured. We are, however, left to assume that the end of his job in the Salzburg court occasioned the end of his association with the violin as a professional performer, since he left the genre untouched after No. 5. Records of his possessions at the time of his death show that he no longer even owned a violin. We can’t definitively place Concerto No. 1 in 1775 with the others, but the evidence that it was written two years prior is just as

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

Symphony No. 5 in B-flat Major

Franz Schubert (1797–1828)

Duration: 27 minutes in four movements.

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

between his ambition and his reality resulted in a frenzy of productivity. He wrote almost 200 pieces that year, which included a little bit of everything from sonatas to songs to string quartets to symphonies. With his “Tragic” Symphony (No. 4), Schubert was attempting to embrace the romanticism he felt growing around him by writing a piece that was unapologetically Beethovian in design. Even at 19, though, Schubert was mature enough to realize that he had stepped too soon toward the avant garde. He seemed to realize that he was not yet ready to fully absorb (let alone match) Beethoven’s growing legacy and that he first needed to explore his own voice more conscientiously. In that particular year, this meant looking backwards. His next symphony, No. 5 (also written in 1816), was constructed on the safer Haydn/Mozart model. Highly refined rather than stormy like No. 4, No. 5 is a sparklingly clean piece of chamber music by comparison, with a high-stepping optimism that makes a listener wonder how the previous symphony, completed only four months earlier, could possibly have come from the same person.

SHE’S GOT SOUL: CAPATHIA JENKINS

JULY 21 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

LUCAS WALDIN, conductor

CAPATHIA JENKINS, vocals

GUEST ARTIST SPONSOR

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ARTISTS’ PROFILES

Lucas Waldin is a dynamic and versatile conductor whose performances have delighted audiences across North America. He has collaborated with some of today’s most exciting artists including Carly Rae Jepsen, Ben Folds, The Canadian Brass, and Buffy Sainte-Marie, in addition to conducting presentations such as Disney in Concert, Blue Planet Live, Cirque de la Symphonie, and the groundbreaking symphonic debut of R&B duo Dvsn as part of the global Red Bull Music Festival.

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

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

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

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.

LEANN RIMES

“THE STORY… SO FAR” TOUR

JULY 22 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

BENJAMIN MANIS, conductor

LEANN RIMES, vocals

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BEN & PEGGY

SCHAPIRO

Deer Valley® Music Festival

LeAnn Rimes

Vocals

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

See Page 24 for Benjamin Manis’ profile. Proud

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

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

EXPERIENCE THE LEGACY

With 3,400 vertical feet of sensational skiing on two mountains, 86 years of history, and world-class amenities, discover what’s drawn Olympians and families to this area for decades.

BIZET’S SYMPHONY NO. 1

JULY 26 / 2023 / 8 PM

ST. MARY’S CHURCH

CONNER GRAY COVINGTON, conductor

GRACE KAHL, soprano

NATHAN LINCOLN DE CUSATIS

BARBER

A Collection of Sand

Knoxville: Summer of 1915, Op. 24

INTERMISSION

MOZART

MOZART

BIZET

Overture to The Marriage of Figaro

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

Symphony No. 1 in C Major

I. Allegro vivo

II. Adagio

III. Allegro vivace

IV. Allegro vivace

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

ARTISTS’ PROFILES

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

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

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

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

New York City native Grace

Kahl is an artist hailed for her “poised, gleaming soprano” in a wide array of repertoire. Kahl recently finished her tenure as Resident Artist with Utah Opera from 2018 to 2020, where notable performances included The Rose (The Little Prince), Papagena (Die Zauberflöte), and Annina (La traviata).

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

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

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

A Collection of

Sand

Nathan Lincoln de Cusatis

Duration: 12 minutes in three movements

The biography of American composer

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

In this “sandbox,” Lincoln de Cusatis riffs on the idea of collecting as he assembles “tiny grains” of music into “movements of contrasting sound, form, and attitude that still seem to complement each other. A secondary collection opportunity then occurs for the listener, who the composer hopes will “sort…through the grains of sound in order to extract the ones they want to keep.”

Continuing with Lincoln de Cusatis’ own note on the piece, the first movement, Ocean of Words, “begins and ends with a chattering montage of independent lines forming a whirling cloud of sound like the murmuring of an anxious crowd. The abrupt ending represents a kind of Information Age

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

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

Duration: 14 minutes

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

youthful recollection. Though he grew up in Pennsylvania, Barber found much to relate to in Agee’s poem about a boy lying in his backyard grass on a languid Knoxville evening. When he met the writer sometime later, in fact, the two men uncovered a few literal parallels in their separate childhood experiences. They both had a musically inclined aunt. They could both hear a streetcar from their porch. This instant relatability is perhaps Barber’s greatest gift to Agee’s prose. The music he created to transport the text sounds as if he borrowed it from a collective well of innocent recall, as if the experiences of folks lucky enough to have had peaceful childhoods were already mixed and manifested and simply waiting for someone to give them a single voice. Equal to this effortless supernatural aptness is the sense of place Barber creates. Leontyne Price, a longtime champion of the piece, once said “You can smell the South in it.” The original version included a full orchestra, but Barber made the wise choice to reduce the instrumental forces in 1950, and this more intimate setting has been the rightful standard ever since.

Overture and “Dove sono i bei momenti” from The Marriage of Figaro

Wolfgang Amadeus Mozart (1756–1791)

Duration: 4 minutes each.

The Marriage of Figaro was the first of three successful collaborations

between librettist Lorenzo da Ponte and Mozart. Based on the second part of the Beaumarchais Figaro trilogy, Mozart’s brilliant opera buffa continues the story begun with The Barber of Seville. As the curtain lifts, we find ourselves among the familiar characters on the day of Figaro’s wedding to Susanna, but the ceremony is delayed by various intrigues, plots, and other flights of aristocratic spoofery. Figaro shows, as much as anything he ever wrote, Mozart’s effortless genius for the pairing of literary absurdity and stunningly beautiful music. That the opera would become the beloved repertory standard it is today, however, was not immediately apparent. The play was banned at first and it took some effort by da Ponte to get permission for his libretto treatment. Also afoot in Vienna at that time was the ongoing feud between the Italian supporters of Antonio Salieri and his perceived artistic “enemies,” Mozart not least among them. Salieri and da Ponte had been court colleagues, but professional differences left the poet free to join Mozart. Both men would benefit greatly from the new alliance. Once complete, Figaro enjoyed a successful premiere but only eight more performances in Vienna, where paid hecklers attempted to bring Mozart down. Mozart soon took the production on the road to Prague, and it was there that the history begins to match our own affection. The aria “Dove sono i bei momenti” occurs halfway into Act III. Countess Almaviva has paused for a moment to reflect on the

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

Symphony No. 1 in C Major

Georges Bizet (1838–1875)

Duration: 28 minutes in four movements

Posterity bestows its gifts grudgingly, and examples of artists remembered for just that one great thing are all too easy to identify. Take Bizet. If not for Carmen, would we know him? Sure, there was also The Pearl Fishers and L’Arlésienne. Sure. But let’s be honest, he is known today for composing one of the most beloved (and certainly most performed) operas in history. Without it, his not-quite 36 years on this Earth might have come and gone without any notice at all. Perhaps a side benefit then of “one great thing” status is an eventual scholarly interest in an artist’s other works, as a method of bringing their lives fully into the light long after they are gone. For Bizet, this occurred in

1933 with his “Symphony in C.” He wrote the work in 1855 at the tender age of 17 while studying with Gounod at the Paris Conservatory, but the composer never heard it performed. In fact, he never even seemed interested in hearing it performed, and it stayed on a shelf at the school, unknown and unloved, for 75 years. Symphony in C is gem of early-Classical charm and construction, but it was written when blood-and-guts romanticism was the voice of the day. It is possible that Bizet, a man who would come to know failure quite well, assumed it would embarrass him. When it was finally dusted off and prepared for its overdue premiere in 1935, listeners immediately recognized the symphony for what it was—a highly polished teenage utterance worthy of Mozart or Mendelssohn. Those two geniuses did much more with their short lives than Bizet, certainly, but in Bizet’s Symphony No. 1 there was at least the promise of something similar, even if bad luck, bad timing, and bad everything else seemed to conspire against him.

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THE MUSIC OF JOHN WILLIAMS

JULY 28 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

BENJAMIN MANIS, conductor

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JIM & SUSAN BLAIR

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See Page 24 for Benjamin Manis’ profile.

A NIGHT OF FUNK: LETTUCE

JULY 29 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

CHRISTOPHER DRAGON, conductor LETTUCE, vocals

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JIM & SUSAN NEAL

ARTISTS’ PROFILES

Australian conductor

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

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

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

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

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

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

THE MUSIC OF QUEEN

AUGUST 3 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

BRENT HAVENS, conductor MIG AYESA, vocals

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DOUG & CONNIE HAYES

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SCOTT & KAREN SMITH IN HONOR OF 5 FOR THE FIGHT

ARTISTS’ PROFILES

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

MiG Ayesa Vocals

“The spelling of ‘MiG’ with a capital ‘G’ is taken from the Soviet aircraft manufacturer Mikoyan Gurevich, the maker of the MiG jets.” – MiG

“I attribute my success to three elements: hard work, passion, and a little bit of luck. When I first heard about Rockstar INXS, a new reality show on CBS, I decided to audition. I didn’t win the competition to be the singer for INXS…I did one better and got my very own deal with Universal Classics.

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

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

WELCOME TO THE DEER VALLEY® MUSIC FESTIVAL BEN FOLDS

AUGUST 4 / 2023 / 7:30 PM

DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

BEN FOLDS, vocals & piano

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MARLON FAMILY FOUNDATION

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ORCHESTRA SPONSOR

ARTISTS’ PROFILES

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

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

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

Advisor to the National Symphony Orchestra at the Kennedy Center.

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

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

RHAPSODY IN BLUE

ECSTATIC IN PINK

THE WORLD’S finest HIGH RESOLUTION PLAYER PIANO. Where you and yours can cherish it, play it or dance your heart out to it.

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

Contributions as of May 8, 2023

* In-kind Gift

** In-kind & Cash Gift

† Deceased Designates DVMF sponsor and/or VIP package supporter

DEER VALLEY ® MUSIC FESTIVAL FOUNDERS

Mark & Dianne Prothro Bellecorp

Perkins - Prothro Foundation

Bill & Joanne Shiebler Shiebler Family Foundation

Jim & Susan Swartz Swartz Foundation

MILLENNIUM ($250,000 AND ABOVE)

Anonymous

AHE/CI Trust

The Church of Jesus Christ of Latter-day Saints Foundation

C. Comstock Clayton Foundation

George S. & Dolores Doré Eccles Foundation

Kem & Carolyn Gardner

Larry H. & Gail Miller Family Foundation

Stowell Leadership Group, LLC*

O.C. Tanner Company

Jacquelyn Wentz

Zions Bank

ENCORE ($100,000–$249,999)

Scott & Kathie Amann~

HJ & BR Barlow Foundation

Lawrence T. & Janet T. Dee Foundation

Marriner S. Eccles Foundation

BRAVO ($50,000–$99,999)

Anonymous

Doyle Arnold & Anne

Glarner~

Judy Brady† & Drew W.

Browning

Larry Clemmensen~

John & Flora D’Arcy

Dominion Energy~

The Florence J. Gillmor Foundation

Emma Eccles Jones Foundation

Frederick Q. Lawson Foundation

LOVE Communications**

Anthony & Renee Marlon~

John & Marcia Price Family Foundation

S.J. & Jessie E. Quinney Foundation

Shiebler Family Foundation~

Elizabeth Solomon

Sorenson Legacy Foundation~

Grand America Hotel & Little America Hotel*

Brian & Detgen Greeff

Janet Q. Lawson Foundation

Edward Moreton

Estate of Linda & Donald Price

Patricia A. Richards & William K. Nichols~

OVERTURE ($25,000–$49,999)

Fran Akita

Arnold Machinery

Thomas Billings & Judge

Judith Billings~

Mr. & Mrs. Jim Blair~

Bloomfield Family Foundation~

BMW of Murray/BMW of Pleasant Grov~

Cache Valley Electric

Deer Valley Resort~

John H.† & Joan B. Firmage

John H. & Carol Firmage

Kristen Fletcher & Dan McPhun~

David & Angela Glenn

Intuitive Funding~

Tom & Lorie Jacobson~

The Kahlert Foundation

The John C. Kish Foundation~

Thomas M. & Jamie Love~ McCarthey Family Foundation

Mr. & Mrs. Charles McEvoy~

Fred & Lucy Moreton

James & Ann Neal~

Charles Maxfield & Gloria F. Parrish Foundation

Mark & Dianne Prothro~

Perkins-Prothro Foundation~

Peggy & Ben Schapiro~

Harris H. & Amanda Simmons

George Speciale

Naoma Tate & the Family of Hal Tate

Jim & Zibby Tozer~

Wheatley Family Charitable Fund

Theodore & Elizabeth Schmidt Foundation

Dewelynn & J. Ryan† Selberg

Joanne L. Shrontz Family Foundation

Simmons Family Foundation

The Sam† & Diane Stewart

Family Foundation

Summit Sotheby’s~

Taft & Anne Symonds~

Nora Eccles Treadwell Foundation

John & Jean Yablonski~

Edward & Marelynn† Zipser

MAESTRO ($10,000–$24,999)

Anonymous

Altabank

Dr. J.R. Baringer & Dr.

Jeannette J. Townsend

B.W. Bastian Foundation

Dr. & Mrs. Clisto Beaty~

Brent & Bonnie Jean Beesley Foundation

Bertin Family Foundation

Kirk & Sue Bostrom~

Berenice J. Bradshaw Trust

Diane & Hal Brierley

Judy & Larry Brownstein~

R. Harold Burton Foundation

Marie Eccles Caine FoundationRussell Family

Shelly Coburn

Cultural Vision Fund

Dr. Kent C. DiFiore & Dr. Martha

R. Humphrey

Kathleen Digre & Michael

Varner

Pat & Sherry Duncan~

Dr. & Mrs. Ralph Earle

Barry & Traci Eden

Mrs. Sarah Ehrlich

Matthew B. Ellis Foundation

Carolyn & Craig Enenstein~

Midge & Tom Farkas

Tom & Carolyn Fey~

Robert & Elisha Finney~

Brandon & Kristen Fugal

Gardner Company

Goldman Sachs & Co. LLC

Gorjana*

Greenberg Traurig~

Emily & Chauncey Hall

Douglas & Connie Hayes~

Richard K. & Shirley S. Hemingway Foundation~

Susan & Tom Hodgson~

Mary P.† & Jerald H. Jacobs

Family

Annette & Joseph Jarvis

Joseph & Kathleen Sorenson

Legacy Foundation

G. Frank & Pamela Joklik

Jeanne Kimball

Mr. & Mrs. Christopher J.

Lansing~

Bill Ligety & Cyndi Sharp~

Tom & Janet McDougal~

Michal & Maureen Mekjian~

Jed Millburn~

The Millerberg Family Giving Fund

Harold W. & Lois Milner~

Terrell & Leah Nagata~

Metta Nelson Driscoll

Parr Brown Gee & Loveless

Leslie Peterson & Kevin Higgins

Frank R. Pignanelli & D’Arcy

Dixon Pignanelli

Walter J. & Peggy Plumb

Stephen & Cydney Quinn~

Raymond James & Associates~

Regence BlueCross BlueShield of Utah

Albert J. Roberts IV

The Joseph & Evelyn

Rosenblatt Charitable Fund

John F. Foley, M.D. & Dorene

Sambado, M.D.

Semnani Family Foundation

David & Christine Smith~

St. Regis / Deer Crest Club**~

Stay Park City~

Mr. & Mrs. G. B. Stringfellow

Steve & Betty Suellentrop~

Chris Akita Sulser

Thomas & Marilyn Sutton~

The Swartz Foundation~

Brad E. & Linda P. Walton~

W. Mack & Julia S. Watkins Foundation

WCF Mutual Insurance~

The Christian V. & Lisa D. Young Family Foundation

Kathie Zumbro

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

BRONZE ($8,000–$9,999)

4Girls Foundation

Anne Daigle & Rich Heyman

Howard & Ray Grossman

Sunny & Wes Howell

KKC Foundation

Mr. & Mrs. James S. Pignatelli

Quinn Family Charitable Foundation

AMBASSADOR ($5,000–$7,999)

Anonymous

Maria & Bill Boyce

David & Deborah Brown

Ruth & Phil Davidson

John D Doppelheuer M.D. & Kirsten A. Hanson M.D.

Katie & Frank Dougherty

Carol & Greg Easton

Karen & Earl Enzer

Jack & Marianne Ferraro

PATRON ($3,000–$4,999)

Marcia Aaron

Robert & Cherry Anderson

P.J. Aniello

Pam & Paul Apel

Tina & John Barry

Charles & Jennifer Beckham

Alice & Bill Bierer

Big D Construction

Michael & Vickie Callen

Dr.† & Mrs. Anthony Carter

Charlene Carter

Mark & Marcy Casp

Blair Childs & Erin Shaffer

Dr. Sidney Cole, Sr.

Cindy Corbin

Rod & Kim Cullum

Michael & Sheila Deputy

Karey & Phillip Dye

Barbara & Melvin Echols

Hans & Nanci Fastre

James Finch

Blake & Linda Fisher

Karen & Pat Fletcher

GRASS PASS ($2,000–$2,999)

Sue Barsamian

Margarita Donnelly

Caroline & David Hundley

Tom & Carolyn Fey

Grandeur Peak Global Advisors

Holland & Hart

Hotel Park City/Ruth’s Chris Restaurant

Jill Johnson

Brian & Nancy Kennedy

In loving memory of Gary B. Kitching M.D.

Dan & Deena Lofgren

Shawn & Karin Fojtik

James & Adele Forman

Tom & Darlis Fuller

Mr. Joseph F. Furlong III

Robert & Annie-Lewis Garda

Kenneth & Amy Goodman

Shari Gottlieb

Sue & Gary Grant

Mary Haskins

Ken & Nancy Heaps

Don Hendricks

Michael Huerta & Ann Sowder

Howard & Merele Kosowsky

Deborah & Gary Lambert

Michael Liess

Grant Lippincott & Donna Walsh

John & Kristine Maclay

Steve & Marion Mahas

Keith & Vicki Maio

Miriam Mason & Greg Glynnis

Karen & Mike McMenomy

Clayton McNeel

Cyrus & Roseann Mirsaidi

Francis Jayne Roth

Stephen & Liz Watson

Emily & Danny Weingeist

VIP FOR A NIGHT ($1,000–$1,999)

George & Katie Coleman

Matthew Follett

Sheila & David Gardner

LeeAnn Havner

Barbara Higgins

Mary Koch

Patricia & Mark Lucas

George & Jan Pilko

Brooks & Lenna Quinn

Mitch & Shannon Rice

Richard & Carmen Rogers

Barbara & Paul Schwartz

W. C. Moeller & Joanne Moeller

Sari & Daniel Schachtel

Mary & Doug Sinclair

Craig Stuart

Tim & Judy Terrell

Mark Weinstein

Douglas & Becky Wood

Michael E. Montgomery

Glenn & Dav Mosby

Vincent & Elizabeth Novack

Lee & John Rippel

Mr. & Mrs. Robert Rollo

Rebecca Roof & Gary Smith

Nathan & Shannon Savage

Dru & Debbie Schmitt

Lisa & Joel Shine

Christine St. Andre & Cliff Hardesty

Roberta Stanley

Ray & Ann Steben

Briant Summerhays

Richard Valliere

Gerard & Sheila Walsh

Renee & Dale Waters

Betsey & Scott Wertheimer

Kelly & James Whitcomb

Cindy Williams

Barry & Fran Wilson

Peter Zutty

Nancy Rossman

Lori Turner

Robert Young

Utah Symphony | Utah Opera expresses deep gratitude to donors who, over the past 19 seasons, through extraordinary generosity have made the Deer Valley® Music Festival a resounding success. We appreciatively acknowledge cumulative giving in support of USUO & the Festival.

$500,000+

Diane & Hal Brierley

Church of Jesus Christ of Latter-day Saints Foundation

Deer Valley Resort**

Dominion Energy

George S. & Dolores Doré Eccles Foundation

Marriner S. Eccles Foundation

Kem & Carolyn Gardner

LOVE Communications**

The Tony & Renee Marlon Charitable Foundation / Anthony & Renee Marlon

O.C. Tanner Company

Perkins-Prothro Foundation / Mark & Dianne Prothro

Patricia A. Richards & William K. Nichols

$250,000 – 499,999

Scott & Kathleen Amann

Marty & Jane† Greenberg

Richard K. & Shirley S. Hemingway Foundation

Holland & Hart

Thomas & Lorie Jacobson

Montage Deer Valley**

Jim† & Marilyn Parke

Alice & Frank Puleo St Regis Deer Valley**

Shiebler Family Foundation / Joanne & Bill Shiebler

Sorenson Legacy Foundation

The Swartz Foundation / James R. & Susan Swartz Zions Bank

Stein Eriksen Lodge** WCF Mutual Insurance Company

Utah Symphony | Utah Opera would like to especially thank our major sources of public funding that help us to fulfill our mission and serve our community.

National Endowment for the Arts

Orem City CARE Tax

Salt Lake City Arts Council

Salt Lake County Zoo, Arts & Parks

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

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

FORTISSIMO

|

75 hours or more

Scot Barraclough

Jean Barton

Chip Browne

Yolanda Bunderson

Doyle Clayburn

Andrea Erekson

Arlen Hale

Lincoln Holingshead

Amber Johnson

Karen Jurgens

David Lach

Liz LeFevre

Sandra Marsh

Andrea Measom

Luke Pettit

Anne Polinsky

Gunter Radinger

Carol Radinger

Rick Seven

David Webster

Whit Wirsing

Ken Wilson

SFORZANDO |

50-75 hours

Gary Allen

Jan Baker

Robert Curtis

Strike Fongeallaz

Patrice Gallagher

Alexandra Hurst

Alison Knudson

Jason Lee

Marilyn Paulson

Steffan Perez

Rebecca Roche

Ethan Schapiro

Skye Sieber

Caleb Unwin

FANFARE |

25-50 hours

Doug Allen

Cameron Arave

Anthony Arnason

Maureen Bradley

Andrea Butler

Danielle Castillo

Chris Chan

Jenny Evans

Holly Farnsworth

Olivia Fernelius

Joe Fire

Sylvia Goff

Oscar Gonzales-Mejia

Mackenzie Grover

Jessica Hacking

Lillian Hatch

LeAnn Hedquist

Kathy Holmes

Dale Johnson

Denise Konrad

Martin Kruger

Nancy Laursen

Lindsey Marx

Christy Neel

Ribhu Nirek

Nancy Pitstick

Jeanette M. Ricci

Jill Rindlisbacher

Ricky Rindlisbacher

Mary Ellen Rosen

Beatrix Sieger

Donna Smith

Ron Smith

Pam Snyder

Laural Spenser

Emily Terrell

Phillip Terrell

Daniela Trevino

Nicholas Unsworth

Sally Wakefield

Lisa Williams

Cynthia Witt

Red York

DOLCE |

Less than 25 hours

Reva Anderson

Cynthia Bampi

Andrea Barton

Sibyl Bogardus

Thea Brannon

Rachel Brooks

Rhianna Brunson

Kathy Call

Grant Chang

Maggie Cortsen

Leslie Davis

Shanel Day

Kay Erekson

Dan Erekson

George Erekson

Lauren Erekson

Chad Erekson

Audrey Evans

Cade Gates

Vicki Gilchrist

Janalee Goebel

Mathew Goebel

Oliver Goebel

Rosie Graff

Luana Griffin

Sydney Hawkins

Barbara Anne Hawkins

Charles Hodge

Kathleen Lamborn

Michael Lamborn

Blanca Leodegario

Pam Miller

Alice Miller

Lisa Morris

George Muller

Mary Grace Murray

Lindsay Nebeker

Robin Nelson

Sophia Nielsen

Shirley Noon

Kate Omao

Lucy Ordaz

Sasha Poma

Kathy Pope

Ashley Rackham

Paola Rampton

Elizabeth Ryder

Adam Schechter

Lisa Silbaugh

Viki Snow

Annette Solt

Chris Terrell

Jeanie Ulicny

Roseann Woodward

Jim Tozer Chair

Scott Amann

Beth Armstrong

Judy Billings

Hal Brierley

Judy Brownstein

Larry Brownstein

Carolyn Enenstein

Craig Enenstein

Lynn Fey

Kristen Fletcher

Tom Jacobson

Debra Kasirer

Michael Liess

Bill Ligety

Renee Marlon

Tony Marlon

Pat McEvoy

Dan McPhun

Hal Milner

Lois Milner

Mark Prothro

Ben Schapiro

Joanne Shiebler

Jim Swartz

Susan Swartz

Zibby Tozer

Howard Wallack

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

ADMINISTRATION

ADMINISTRATION

Steven Brosvik

President & CEO

David Green

Senior Vice President & COO

Micah Luce

Director of Human Resources & Organizational Culture

Julie McBeth

Executive Assistant to the CEO

Marcus Lee

Executive Assistant to the Senior VP & COO and Office Manager

SYMPHONY ARTISTIC

Thierry Fischer

Symphony Music Director

Anthony Tolokan

Artistic Consultant

Walt Zeschin

Director of Orchestra Personnel

Hannah Thomas-Hollands

Orchestra Personnel Manager

Morgan Moulton

Artistic Planning Manager

Isabella Zini

Artistic Planning Coordinator & Assistant to the Music Director

SYMPHONY OPERATIONS

Cassandra Dozet

Senior Director of Operations

Melissa Robison

Program Publication & Front of House Director

Chip Dance

Director of Production

Jen Shark

Operations Manager

Sarah Madany

Stage Manager

OPERA ARTISTIC

Christopher McBeth

Opera Artistic Director

Carol Anderson

Principal Coach

Michelle Peterson

Director of Production

Dr. Sharon Lavery

Chorus Director

Ashley Tingey

Production Coordinator

DEVELOPMENT

Leslie Peterson

Vice President of Development

Katie Swainston

Individual Giving Manager

Lisa Poppleton

Grants Manager

Dallin Mills

Development Database Manager

Maren Holmes

Manager of Special Events

Ellesse Hargreaves

Stewardship & Event Coordinator

MARKETING & COMMUNICATIONS

Meredith Kimball Laing

Vice President of Marketing & Communications

Adia Thornton

Director of Marketing

Robert Bedont

Marketing Manager

Megs Vincent

Communications Manager

Nina Starling

Website Content Coordinator

PATRON SERVICES

Faith Myers

Director of Patron Engagement

Jaron Hatch

Patron Services Manager

Caitlin Marshall

Sales & Engagement Manager

Toby Simmons

Patron Services Assistant Manager

Genevieve Gannon

Group Sales Associate

Amber Bartlett

Lorraine Fry

Jodie Gressman

Michael Gibson

Sean Leonard

Naomi Newton

Ian Painter

Ananda Spike

Val Tholen

Patron Services Associates

ACCOUNTING & INFORMATION TECHNOLOGY

Steve Hogan

Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Melanie Giles

Controller

Jared Mollenkopf

Patron Information Systems Manager

Bobby Alger

Accounts Payable Specialist

Karine Mnatsakanyan

Payroll Specialist

EDUCATION

Ben Kipp

Director of Education & Community Engagement

Dr. Jessica Wiley

Symphony Education Manager

Kevin Nakatani

Opera Education Manager

Beth Foley

Education Coordinator

OPERA TECHNICAL

Sam Miller

Technical Director

Kelly Nickle

Properties Master

JR Orr

Head Carpenter & Shop Foreman

Dusty Terrell

Scenic Charge Artist

COSTUMES

Verona Green

Costume Rentals & Stock Manager

Milivoj Poletan

Master Tailor

Maxwell Paris

Wardrobe Supervisor & Rentals

Assistant

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.

UTAH SYMPHONY | UTAH OPERA DEER VALLEY® MUSIC FESTIVAL

123 West South Temple Salt Lake City, UT 84101 801-533-5626

EDITOR

Megs Vincent

HUDSON PRINTING COMPANY

www.hudsonprinting.com

241 West 1700 South Salt Lake City, UT 84115 801-486-4611

AUDITING AND ACCOUNTING SERVICES

PROVIDED BY Tanner, llc

LEGAL REPRESENTATION PROVIDED BY Ballard Spahr Andrews & Ingersoll, llp Jones Waldo

ADVERTISING SERVICES

Provided by Love Communications, Salt Lake City

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

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

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