Thank you for joining us for this remarkable month of performances. November brings five unique events across three of Ogden’s great venues—the Austad Auditorium at Weber State University, The Monarch, and Peery’s Egyptian Theater. It’s a month that captures what we do best: connecting tradition and innovation, celebrating community, and presenting performances that bring people together in meaningful ways.
This month, legacy takes many forms. Eternamente: A Día de los Muertos Spectacular and Grupo Bella honor cultural heritage and the power of music and dance to celebrate life. Tchaikovsky’s “Pathétique” Symphony and Fauré’s Requiem mark an exciting new beginning as we welcome the Utah Symphony’s new maestro, Markus Poschner, to Ogden for the first time. Performances like Cirque Kalabanté and National Geographic Live: The Rise of T-Rex remind us that wonder, creativity, and discovery are at the core of every live experience.
This month, we’re also proud to celebrate the living legacy of Marlene Barnett, known to many as “The Symphony Lady.” Through the Marlene Barnett Music Excellence Endowment, established in partnership with Weber State University, Marlene’s lifelong passion for music and education will continue to open doors for future generations of students. A QR code later in this program will link you to more information about the endowment and how you can help sustain this vision.
Whether you’re attending one performance this month or five, we’re grateful you’ve chosen to spend this time with us. Thank you for carrying forward a legacy of live performance in Ogden.
Utah Symphony | The Music of Phil Collins & Genesis
Thursday, September 25, 2025 at 7:30PM
Rakish
Thursday, October 9, 2025 at 7:30PM
The Doo Wop Project Friday, October 17, 2025 at 7:30PM
Eternamente: A Día de los Muertos Spectacular
Saturday, November 1, 2025 at 7:30PM
Cirque Kalabanté
Wednesday, November 5, 2025 at 7:30PM
Utah Symphony | Tchaikovsky: Symphony No. 6
Thursday, November 6, 2025 at 7:30PM
National Geographic Live: The Rise of T-Rex Friday, November 7, 2025 at 7:30PM
Grupo Bella Thursday, November 13, 2025 at 7:30PM
Ballet West’s The Nutcracker Friday, November 28, 2025 at 2:00PM & 7:00PM Saturday, November 29, 2025 at 2:00PM & 7:00PM Sunday, November 30, 2025 at 12:00PM
Mariachi Herencia de México Saturday, December 13, 2025 at 7:30PM
Utah Symphony | Holiday Pops Extravaganza
Thursday, December 18, 2025 at 7:30PM
The Second City Friday, January 16, 2026 at 7:30PM
BYU Young Ambassadors Thursday, February 5, 2026 at 7:30PM
Peppa Pig: My First Concert Wednesday, February 25, at 6:00PM
LP And The Vinyl Friday, February 27, 2026 at 7:30PM
International Guitar Night
Thursday, March 5, 2026 at 7:30PM
Voctave
Monday, March 9, 2026 at 7:30PM
Barron Ryan
Thursday, March 12, 2026 at 7:30PM
Candlelight Celtic
Thursday, March 26, 2026 at 7:30PM
Women of Americana Saturday, April 4, 2026 at 7:30PM
Tonality
Wednesday, April 8, 2026 at 7:30PM
Utah Symphony | The Music of Harry Potter
Tuesday, April 14, 2026 at 7:00PM
Utah Symphony | La Vida Loca Thursday, April 16, 2026 at 7:30PM
Prokofiev Piano Concerto #3
Thursday, April 23, 2026 at 7:30PM
Sybarite5
Thursday, May 7, 2026 at 7:30PM
Val A. Browning Charitable Foundation
The Onstage Ogden’s 2025–2026 season is funded in part by grants from the National Endowment for the Arts, the Utah Division of Arts and Museums, Weber County Recreation, Arts, Museums, Stewart Education Foundation, and Parks (RAMP) program, and Val A. Browning Charitable Foundation.
Board & Staff
ONSTAGE OGDEN BOARD OF DIRECTORS
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President
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President-Elect
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Secretary
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Treasurer
FOUNDATION
Russel King Chair
Meg Naisbitt Vice Chair
Marti M. Clayson Secretary
STAFF
James Fredrick Executive Director
Andrew Barrett Watson Outreach & Events Manager
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Mills Publishing, Inc.
Franco Cirillo
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Flor López
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ETERNAMENTE: DÍA DE LOS MUERTOS SPECTACULAR!
A Journey Through Memory, Music, and Spirit
Mariachi Garibaldi de Jaime Cuéllar & Ballet Folklórico del Río Grande
SATURDAY, NOVEMBER 1, 2025 AT 7:30PM
PERRY’S EGYPTIAN THEATER
Eternamente
ACT I — Prehispánico
A tribute to ancient roots
A pre-Hispanic Aztec dance invokes ancient rituals and the deep connection between the Aztec people and their gods. Dancers, adorned in feathers and traditional attire, move to the rhythm of drums and conch shells, embodying nature, life, and death. For Día de Muertos, this dance serves as a powerful homage to the Aztec view of death as part of the natural cycle, blending spirituality with vibrant movement. The dance honors the ancestors and the connection between the past and present, creating a mystical celebration of life’s eternal journey.
Choreography: Miguel Peña & Jennifer Lozano
Music by: Jorge Reyes
● The Flight of the Bird Children
● Corazón Del Sol
● De Ushuaia a la Quiaca
ACT II — La Llamada
The Call to Remember Songs commonly performed at funerals and in remembrance of loved ones often reflect deep emotions of loss, love, and farewell. In Mexican culture, traditional songs like La Vida Es Un Sueño and Te Vas Ángel Mío convey profound sorrow and longing, serving as tributes to those who have passed. These songs offer comfort and a sense of connection, celebrating the memory of the departed while expressing heartfelt grief and eternal love.
Musical Arrangement: Jimmy K. Cuéllar
● Jugando con la Muerte – Taunting the Afterlife
● Amor y Más Amor – Love and More Love
ACT III — Juquila: Fe y Fiesta
Inspired by the devotion to Nuestra Señora de Juquila in Oaxaca, this piece begins with a solemn procession in honor of the Virgin, a symbol of faith and protection for the people of the region. The ceremony then gives way to the spirited rhythms of sones and chilenas, dances filled with energy, playfulness, and community pride.
Presented within our Día de Muertos celebration, Juquila reflects the way Mexicans weave together reverence and festivity—where prayers to the Virgin and dances for the living also become offerings for those who have passed, uniting devotion, memory, and joy.
Spoken word: “We come from the Chatino region, where faith is lived and displayed. Where the miracle of clay is offered, together with the crafts of palm and Yolotepec. Joy and mysticism surround you as you arrive in Manialtepec, and you complete your visit by walking beneath the sacred mantle, along this route of faith. Oaxaca, my beautiful state, today I come to greet you, with my graceful Juquileñas who have come to dance for you. With elegance and pride, the men stamp their heels, turning with the handkerchief, we present ourselves before you. Let La India, El Palomo, and La Malagueña be heard, in this spectacular celebration, in this festival of brotherhood, my friends. Santa Catarina Juquila has arrived to dance.”
Choreography: Miguel Peña
Musical adaptation: Jimmy K. Cuéllar
ACT IV — El Silencio
In Quiet Memory
These songs are heartfelt tributes that blend tenderness and reflection, offering moments of peace, remembrance, and celebration of life through music.
Musical Arrangement: Jimmy K. Cuéllar
● Me Haces Falta – I Miss You
● A los Cuatro Vientos – Cry to the Four Winds
ACT V — CuahuPanco: Amor y Huapango
From the shores and heartlands of Tamaulipas rises the huapango, a dance of pride, rivalry, and celebration. CuahuPanco evokes the spirit of its people—where love is contested with fiery steps, traditions are displayed in vibrant dress, and joy unites the community in festivity. Within our Día de Muertos celebration, this dance becomes an offering of life’s passions—love, struggle, and togetherness—reminding us that even in death, the spirit of community and joy endures.
Choreography: Jacqueline Rubalcaba and Rolando García
Musical Arrangement: Jimmy K. Cuéllar
● La Orquídea – The Orchid
● Derecho y al Revés – Upright and Reversed
● El Gustito – The Small Delight
INTERMISSION
ACT VI — La Fiesta
Lively and joyful songs filled with vibrant rhythms and playful melodies, perfect for bringing people together at a fiesta. It captures the spirit of
celebration, inviting everyone to dance, sing, and share in the festive energy.
Musical Arrangement: Jimmy K. Cuéllar
● Golpe Traidor – The Deceptive Strike
● Cielito Lindo – Beautiful Darling
ACT VII — Corridos Mexicanos
Corridos are narrative ballads that tell stories of Mexican history, culture, and heroism. These songs chronicle events from the Mexican Revolution to modern tales of bravery and defiance. During Día de Muertos, corridos take on a deeper meaning, recounting the lives of those who have passed. Through dance and storytelling, performers bring to life the courage and spirit of those honored during this sacred time.
Choreography: Rafael Zamarripa
Music: Traditional
● Tecolote – Owl
● El Corrido de Polino Guerrero – The Ballad of Polino Guerrero
ACT VIII — El Portal
Stepping outside the realm of mariachi, we honor acclaimed Mexican composer Arturo Márquez with his celebrated classical work Danzón No. 2. Inspired by the rhythms and elegance of the traditional Cuban-Mexican danzón, this piece has become a symbol of Mexico’s contribution to the world of orchestral music. With its sweeping melodies, infectious rhythms, and dramatic contrasts, Danzón No. 2 embodies both sophistication and joy, making it one of the most beloved Mexican compositions performed on international stages.
“La Llorona” is a traditional Mexican folk song with deep cultural roots and a haunting, melancholy tone. The music is inspired by the legend of La Llorona, a weeping woman who mourns the loss of her children. With its soulful melody and poetic lyrics, La Llorona expresses themes of sorrow, longing, and love, often interpreted as a lament for lost love or past regrets.
Choreography: Miguel Peña
Musical Arrangement: Jimmy K. Cuéllar
● La Llorona – The Crying Woman
● Perfume de Gardenias – Scent of Gardenias
ACT X — La Ofrenda
An ofrenda is a traditional altar created to honor and remember deceased loved ones, especially during Día de los Muertos celebrations. It is a deeply meaningful and symbolic display that invites the spirits of the departed to return and be reunited with their families.
Musical Arrangement: Jimmy K. Cuéllar
● Amor Eterno – Eternal Love
● Yo Sin Ti – Me Without You
ACT XI — La Vera-Cruz
The rhythms of the son jarocho echo from the port of Veracruz, where the sea meets the land and cultures converge. With elegant white costumes, the dancers embody grace and vitality, their steps weaving tradition, flirtation, and joy. The music of the harp, jarana, and requinto lifts the spirit into celebration.
Within our Día de Muertos offering, Veracruz shines as a reminder of life’s brightness—where the dance itself becomes a bridge between memory and festivity, carrying the laughter of the living to honor the souls who remain eternal.
Choreography: Miguel Peña
Music: Traditional
● El Zapateado – The Stomping Dance
● La Bruja – The Witch
● La Bamba – Traditional Song
ACT XII — México Eterno
Mariachi and Ballet Folklórico from Jalisco represent two vibrant pillars of Mexican culture, blending music, dance, and tradition. With powerful melodies by violins, trumpets, and guitars, mariachi brings to life the spirit of Jalisco through songs that tell stories of love, pride, and celebration. Paired with the colorful and energetic performances of Ballet Folklórico, this combination creates a dynamic and captivating display of Jalisco’s cultural heritage.
Choreography: Miguel Peña
Musical Arrangement: Jimmy K. Cuéllar
● Amo Esta Tierra – I Love My Homeland
● Homenaje a Vicente Fernández – A medley honoring Mexico’s legendary singer (Aca Entre Nos, Los Mandados, Volver Volver)
● Popurrí Jalisco – Popular songs and dances from the State of Jalisco (La Negra, Las Indias, El Perico Loro, El Jabalí, La Madrugada, El Jarabe Tapatío)
CIRQUE KALABANTÉ
WEDNESDAY, NOVEMBER 5, 2025 AT 7:30PM
BROWNING CENTER AT WSU, AUSTAD AUDITORIUM
Afrique en Cirque is a show by Yamoussa Bangoura, inspired by daily life in Guinea. This performance shares the beauty, youth and artistry of African culture. A colorful show beyond its scenery, costumes and staging, it makes any theatre vibrate with energy and represents the strength, agility and life’s joys of young Africans. The audience will see acrobats execute gravity-defying moves and human pyramids, accompanied by the contemporary sounds of live Afro-Jazz, percussion, and kora. Welcome to the universe of Kalabanté Productions, and prepare for an unforgettable journey.
CONCERT SPONSOR
About Kalabanté
Kalabanté Productions was created by Yamoussa Bangoura, a multidisciplinary artist of Guinean origin. Yamoussa’s dream was the founding of a school of circus arts, and to direct his own multidisciplinary company specializing in the African arts.
Yamoussa first became interested in the Circus Arts as a young man growing up in Conakry Guinea in the 1990’s. He studied the circus performers he saw on European TV and practiced on the beach and dirt around his home. He also studied the Nyamakala tradition of circus, practiced by the Fula people of West Africa. He eventually joined Guinea’s original circus company, Circus Baobob, with whom he toured Africa and Europe.
In the early 2000’s, Yamoussa was recruited to come to Canada with Cirque Eloize, a Montreal based Canadian cirque company. While in Can-
Cirque Kalabanté
ada he also performed with Cirque du Soleil and Cavalia (cirque with horses). In 2007 Yamoussa realized his dream and opened his own company, Kalabanté Productions in Montreal Canada. He recruited many of his extended family members to join the company, including his twin sisters, brothers, and cousins.
The company began doing shows in Quebec, and over the years expanded to all of Canada, the USA and now performs all over the world. In 2018, Kalabante opened their own studio and school in Montreal, where they offer classes in African dance, cirque, and drumming.
Kalabante Productions is proud to be able to share their work, achievements and skills to inspire others and to assist with the humanitarian mission to help the Guinean community from which Yamoussa and many of his company members come.
Markus Poschner conducts Tchaikovsky’s “PATHÉTIQUE” SYMPHONY
THURSDAY, NOVEMBER 6, 2025 AT 7:30 PM
BROWNING CENTER AT WSU, AUSTAD AUDITORIUM
MARKUS POSCHNER, conductor
SHEA OWENS, baritone
CHORISTER FROM THE MADELEINE CHOIR SCHOOL
AUSTIN MCWILLIAMS, chorus director
UTAH SYMPHONY
UTAH SYMPHONY CHORUS
This performance is dedicated to the memory of Connie Higgins
FAURÉ Requiem, Op. 48 (36’)
I. Introit and Kyrie
II. Offertorium
III. Sanctus
IV. Pie Jesu
V. Agnus Dei
VI. Libera me
VII. In paradisum
INTERMISSION
Symphony No. 6 in B minor, Op. 74, “Pathétique” (45’)
I. Adagio - Allegro non troppo
II. Allegro con grazia
III. Allegro molto vivace
IV. Finale: Adagio lamentoso
CONCERT SPONSOR
Val A. Browning Charitable Foundation
MARKUS POSCHNER conductor
Markus Poschner is Music Director Designate of the Utah Symphony, assuming full duties as Music Director beginning in the 2027-28 season. This season, Poschner begins his tenure as Chief Conductor of Sinfonieorchester Basel and, in 2026-27, he becomes Chief Conductor of the ORF Vienna Radio Symphony Orchestra.
He was Chief Conductor of the Orchestra della Svizzera Italiana from 2015 to 2025, leading the orchestra in two International Classical Music Award-winning recordings: the complete Brahms symphonies in 2018 and a Hindemith/Schnittke recording in 2025. His recording of Offenbach’s Maître Péronilla with the Orchestre National de France was honored with the German Record Critics’ Award 2021. In 2024, Poschner received the Special Achievement Award from the ICMA jury for the complete recording of all Bruckner symphonies with the Bruckner Orchestra Linz, of which he has been Chief Conductor since 2017, and the ORF Vienna Radio Symphony Orchestra. Together with Bruckner Orchestra Linz, he was given the Orchestra of the Year and Conductor of the Year prizes at the Austrian Music Theatre Awards 2020.
Hailed for his “beguilingly sounding” (Opernwelt) voice and his “irrepressible playfulness” (Luzerner Zeitung) on stage, baritone Shea Owens continues to be recognized for his exceptional artistry and vocal versatility. At Utah Opera he was last seen performing the role of The Pilot in The Little Prince, and he was a featured soloist on the Utah Symphony’s “Music
Elevated: Forever Mighty® State Tour. Owens is a former ensemble member and soloist of Theater St. Gallen in Switzerland, where roles performed included Prince Ivan in RimskyKorsakov’s Kashchey the Deathless, Ottone in Monteverdi’s L’incoronazione di Poppea, Belcore in Donizetti’s L’elisir d’amore, and Valentin in Gounod’s Faust. He has also performed with Switzerland’s Grand Théâtre de Genève, France’s Théâtre du Chátelet, and the Metropolitan Opera in New York. Along with maintaining an active performing career, Owens currently serves as the Director of Opera at Brigham Young University.
AUSTIN
MCWILLIAMS
chorus director
Austin McWilliams is a conductor and countertenor who specializes in contemporary vocal music. He strives to present compelling, intriguing art that is directly relevant to the communities in which it is performed. This season marks his second as Chorus Director & Opera Assistant Conductor at Utah Symphony | Utah Opera.
Previously, McWilliams was Associate Conductor and Chorus Master at Opera Grand Rapids, Head of Music at West Michigan Opera Project, and Co-Artistic Director at Ad Astra Music Festival. In Grand Rapids he was the choir director at Fountain Street Church, a nondenominational, non-creedal institution that serves as a venue for heterodox speakers and ideologies.
A dedicated conductor and educator, McWilliams has served as Director of Choral Activities at Aquinas College and as adjunct faculty at Western Michigan University. He is also a faculty member at Missouri Scholars Academy, a governor’s school for gifted high school juniors in his native state.
SHEA OWENS baritone
Artists’ Profile
THE MADELEINE CHOIR SCHOOL
The Madeleine Choir School, founded in 1996 as a mission of the Roman Catholic Bishop of Salt Lake City, serves students from Pre-K through Grade Eight in downtown Salt Lake City. Inspired by historic European cathedral schools, it forms engaged scholars, effective communicators, dedicated liturgical musicians, and responsible world citizens. Its unmatched music curriculum includes vocal training, music theory and history, and violin
UTAH SYMPHONY CHORUS
The Utah Symphony Chorus is composed of volunteer singers from the Salt Lake City area who come from all walks of life. The chorus typically performs three concerts each season with the Utah Symphony in Abravanel Hall, which may include choral masterworks, pops concerts, and our annual audience-participation Messiah Sing-In. Singers have performed under the baton of Utah Symphony Music Directors Maurice Abravanel, Varujan Kojian, Joseph Silverstein, Keith Lockhart, and Thierry Fischer, as well as numerous guest conductors including Robert Shaw, Margaret Hillis, Roger Wagner,
study. Students also receive exceptional instruction in the humanities, sciences, math, languages, visual arts, theology, and athletics, with a strong emphasis on character formation.
Choristers in Grades 5–8 assist in Cathedral liturgies and concerts, including Monday–Thursday evening Masses and Sunday morning services at the Cathedral of the Madeleine. They tour annually, recently performing in Italy and singing at a Papal Mass in St. Peter’s Basilica. The school regularly collaborates with Utah Symphony | Utah Opera, Ballet West, and Grand Teton Music Festival.
Visit utmcs.org or contact admissions@utmcs. org for more information.
Peter Eros, Bernard Labadie, Andrew Litton, Stanisław Skrowaczewski, and many others.
The Utah Symphony Chorus rehearses Tuesday evenings for several weeks before each concert and most evenings the week of a performance. Visit usuo.org/choruses to learn more about joining the chorus.
Utah Symphony Chorus / History of the Music
UTAH SYMPHONY CHORUS
Soprano
Jenny Andrus
Cydnee Barnum Farmer
Abigail Bendixsen
Julia Bigelow
Caitlyn Bramble
Christina Brandt
Anadine Burrell
Isabella Carlton
Jana Conrad
A. Elizabeth Davis
Julie Fleming
Emelia Hartford
Kaily Jacobs
Elliott Jeppsen
Macy Kelson
Rachel Kibler
Kate Olsen
Abby Payne-Peterson
Anna Roelofs
Anna Roussel
Natalie Sandberg
Michaela Shelton
Erin Stocks
Margaret Straw
Carolyn TalboysKlassen
Hannah VonHatten
Jennifer Way Zemp
Cassie Weintz
Breanne White
Lindsay Whitney
Alto
Christine Anderson
Joanna Armstrong
MJ Ashton
Sara Bayler
Caite Beck
Joan Jensen Bowles
Chelsea Cummins
Sylvia Fisk
Kate Fitzgerald
Paula Fowler
Gabriella Gonzales
Jennifer Hancock
Annette W. Jarvis
Catherine Jeppsen
Raenell Jones
Samantha Lange
Heather Perry
Ruth Rogers
Anastasia
Romanovskaya
Jenica Sedgwick
Sue Sohm
Jennifer Taylor
Maizie Toland
Sammie Tollestrup
Dawn Veree
Valerie Wadsworth
Kathy Wight
Ruth Wortley
Tenor
Stephen Anderson
Drake Bennion
Geordie Burdick
Mosiah Cipriani
Holden Deitsch
Dyson Ford
HISTORY OF THE MUSIC
By Noel Morris KEY NOTES TO
KNOW
• Paris, France is renowned for its church organs. Many great French composers have had church jobs and have written music for choir and organ.
• Formal music training came late to Russia. Tchaikovsky was a member of the first graduating class at Russia’s first conservatory (St. Petersburg Conservatory) in 1865.
• Gabriel Fauré’s Requiem is one of the most often performed requiems in the world. It’s not only heard in the concert hall but is designed to work liturgically,
Elijah Hancock
Samuel Hancock
Tim Hanna
Nate Kemp
Matthew Koster
Isaac Lee
Jeanne LeighGoldstein
Dale C. Nielsen
John Pearce
Alan Robertson
Kevin Rowe
Ben Schneider
Jesse Skeen
Jared Swift
Scott Tarbet
Carl Wadsworth
Edgar Zuniga
Bass
Olivier Bauer Simon Colton Butler
Richard Butler
Paul Dixon
meaning its sections function within the structure of a liturgical church service (Catholic, Episcopal, Lutheran, Methodist, Presbyterian, etc.). It’s most often sung on November 2, All Souls Day.
GABRIEL FAURÉ
born Apr 12, 1845 in, Pamiers, Ariège, France
died Nov. 4, 1924 in Paris
Requiem composed 1877-1900
premiered in Paris, France, in 1900
Jarren Hancock
Michael Hurst
Stephen Jackson
Thomas Klassen
Andrew Luker
Tom McFarland
Steven McGregor
Lyman Moulton
Michael Moyes
Vincent Nguyen
Richard Olsen
Chris Patch
Dwight Perry
Gabriel Poulson
Say-Eow Quah
Bryce Robinson
Nathan Scott
Mark Sorensen
Marc Titcomb
Matthew Toone
What’s a Requiem?
The name comes from the first words of the Roman Catholic Mass for the Dead, “Requiem aeternum,” or eternal rest. Traditionally, it was an attempt to standardize the funeral service. This is to say the material is really old. Evolving from Medieval prayers, the Mass became standardized at the Council of Trent (15451563). Alongside this liturgical evolution, musically-minded monks (later choirs) sang the prayers instead of speaking them. By 1700, there were several hundred musical settings of the requiem Mass—all from different composers creating music
History of the Music
around the same set of words (more or less).
Artistically speaking, requiems are like gumbo. Each cook brings something unique and individual to their recipe, with differences spanning centuries, musical styles, politics, local conventions, Church dictates, and matters of personal faith. Now, it is a beloved musical tradition. Even with today’s greater artistic freedom, composers continue to set the Latin funeral rite. Others, including Benjamin Britten and Johannes Brahms, dropped the Latin Mass in favor of a text that better aligns with their message.
Gabriel Fauré was a 19thcentury Frenchman, a lifelong church musician, and an independent thinker. He wrote his requiem using the traditional Latin Mass but with less fire and brimstone.
The Backstory
Gabriel Fauré came from a large family in southwestern France. As a kid, he spent hours noodling around on a pump organ and started to draw attention. Gabriel was only nine when his father took him on a three-day journey to Paris and left him at a boarding school. It set young Fauré on an 11-year conveyor belt to become an organist and choirmaster. And he would be exceptionally good at that vocation, though he didn’t like it much.
The school gave him an excellent foundation in church music, including works by J.S. Bach and various Renaissance
composers. Outside the curriculum, his teacher and close friend Camille SaintSäens turned him on to the contemporary music of Schumann, Wagner, and Liszt.
Gabriel Fauré wasn’t especially religious. Nevertheless, he worked his way into some of France’s most prestigious church jobs, where he turned out fabulous organ improvisations without ever writing them down. Each year, composition—his first love—had to wait until summer break. For all the time Fauré spent in the church, he didn’t write much for that world, preferring to focus on the piano, chamber music, and songs.
The Music
The years ticked by, and Gabriel Fauré got only local recognition for his compositions. He wrote the Requiem in stages between 1877 and 1900. First, he made a setting of Libera me, a prayer to be said before burial (not part of the Mass). Two years after losing his father, he penned a piece called a Petit requiem with five of the seven sections (Introit, Kyrie, Sanctus, Pie Jesu, and In paradisum) but denied any connection to his dad’s death.
“My Requiem was not written for anything—for pleasure, if I can call it that,” he said.
He expanded the piece in 1893 and made the orchestral version in 1900.
Structurally, Fauré sidestepped Church orthodoxy. The traditional Mass for the Dead
is terrifying. The Dies irae (Day of Wrath) sequence depicts a massive earthquake yanking people from their graves to face judgment. In other requiems, such as those written by Verdi and Mozart, those gaping jaws of Hell served as a potent drug for music making. Fauré skipped the drama in favor of the Pie Jesu: “Merciful Lord Jesus, grant them rest.”
The Fauré Requiem opens with a shock, like the horrid stillness of a life extinguished. The music sounds spooky—even gothic—in parts, but blooms into an exquisite radiance. This requiem is not about Hellfire but a look toward Heaven.
Fauré quipped, “[I wanted to] stray from the established path after all those years accompanying funerals! I’d had them up to here. I wanted to do something different.”
Fauré’s church, La Madeleine, performed his Requiem at his funeral in 1924. Gradually, the piece began to circulate with the help of advocates, like Aaron Copland. In 1965, almost 90 years after the composer wrote his kinder, gentler Requiem, the Catholic Church concluded Vatican II where it “got rid of texts that smacked of a negative spirituality inherited from the Middle Ages,” including the Dies irae (Day of Wrath).
PYOTR ILYICH TCHAIKOVSKY
born May 7, 1840 in Votkinsk, Russia died Nov 6, 1893 in St. Petersburg Symphony No. 6, “Pathétique” composed 1893 premiered in St. Petersburg, Russia 1893
What to listen for Tchaikovsky revealed to a friend that his Sixth Symphony has a program—it tells a story—but he never revealed what it was. What kind of story do you think it tells?
The Backstory
On November 6th, 1893, Pyotr Tchaikovsky died, succumbing to cholera only nine days after conducting the first performance of his Symphony No. 6. The public’s response to the new piece had been tepid. Who knew, only days later, tens of thousands of mourners would flood the streets of St. Petersburg?
News of the composer’s passing hit Russia like a thunderbolt. Within a week, a second performance of the 6th Symphony was scheduled. Black drapery and a copy of his death mask adorned the hall, and concertgoers marveled at the symphony called “pathetic.”
The Music Today, we’re more likely to associate “pathetic” with
History of the Music
inadequacy or derision. However, the other, less standard definition applies to this piece: marked by sorrow or melancholy and having the capacity to move one to compassionate pity.
In a letter to his nephew Vladimir “Bob” Davidov (the dedicatee), Tchaikovsky confessed that the piece was personal:
“The idea of another symphony visited me, this time programmatic, but with the program [story] that will remain a riddle for everybody—let them guess it who can. . . .Of all my programs, this is the one most imbued with subjectivity. During my journey, while composing it in my mind, I frequently wept.”
In 1893, the 53-year-old composer was a major celebrity. He toured, attended performances, and drew crowds at train stations. He wrote the symphony at white heat between February and June. That same June, he received an honorary doctorate at Cambridge University.
It was the shock and suddenness of his passing that kicked up a flurry of speculation, fueled, in part, by the deathlike finality of his last musical statement (low strings hold a B minor chord until it sinks into the abyss—it’s marked pppp). Given the work’s somber conclusion, some wondered: did he anticipate his death?
Indeed, as recently as the 1980s, a writer speculated that a tribunal had ordered Tchaikovsky to commit suicide over a homosexual liaison. This theory was widely circulated but didn’t stand up to scrutiny (for one thing, homosexuality was broadly overlooked among the Russian elite). Exhaustive examination of Tchaikovsky’s death has yielded little more than an unfortunate glass of unboiled water and a man’s stubborn refusal to see a doctor.
Without question, Tchaikovsky had a delicate spirit. His frequent shifts between joy and melancholy are fully displayed in the 6th Symphony. Yet, for all the crushing despair expressed in its closing bars, the composer found it deeply gratifying:
“To me it would be typical and unsurprising if this symphony were torn to pieces or little appreciated, for it wouldn’t be for the first time that had happened. But I absolutely consider it to be the best, and in particular, the most sincere of all my creations. I love it as I have never loved any of my other musical offspring.”
It seems Tchaikovsky did contemplate death in his mysterious program. He even quoted the Orthodox Mass for the Dead in the first movement. But days after the premiere, he also affirmed life: “It will not come to snatch us off just yet,” he said. “I feel I shall live a long time.”
Utah Symphony
Markus Poschner
Music Director Designate
The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
Thierry Fischer Music Director Emeritus
David Robertson Creative Partner
Jessica Rivero Altarriba Assistant Conductor
Austin McWilliams Chorus Director & Opera Assistant Conductor
VIOLIN*
Madeline Adkins
Concertmaster
The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton
Kathryn Eberle Associate Concertmaster
The Richard K. & Shirley S. Hemingway Chair
Laura Ha 2nd Associate Concertmaster
Claude Halter Principal Second
Evgenia Zharzhavskaya Acting Associate Principal Second
Karen Wyatt Acting Assistant Principal Second
Erin David
Emily Day-Shumway~
Joseph Evans
Wen Flatt
Lun Jiang
Rebekah Johnson
Tina Johnson~
Alison Kim
Amanda Kofoed~
Jennifer Kozbial Posadas~
David Langr
Hannah Linz
Yuki MacQueen
Alexander Martin
Rebecca Moench
Suni Norman~
Hugh Palmer
David Porter
Lynn Maxine Rosen#
Elina Rubio
Barbara Ann Scowcroft
Ju Hyung Shin
Bonnie Terry
Julie Wunderle
VIOLA*
Brant Bayless Principal
Yuan Qi
Associate Principal
Julie Edwards
Joel Gibbs
Carl Johansen
Scott Lewis
John Posadas
Leslie Richards~ Whittney Sjogren
CELLO*
Matthew Johnson
Acting Principal
The J. Ryan Selberg Memorial Chair
Andrew Larson
Acting Associate Principal
John Eckstein
Walter Haman
Anne Lee
Louis-Philippe Robillard
Kevin Shumway
Hannah Thomas-Hollands~ Pegsoon Whang
BASS*
David Yavornitzky
Principal
Corbin Johnston** Associate Principal
Andrew Keller
Edward Merritt
Masaru Podgorny~
James Stroup~
Jens Tenbroek
Thomas Zera
HARP
Louise Vickerman** Principal
FLUTE
Mercedes Smith
Principal
The Val A. Browning Chair
Lisa Byrnes
Associate Principal
Caitlyn Valovick Moore
PICCOLO
Caitlyn Valovick Moore
OBOE
Zachary Hammond
Principal
The Gerald B. & Barbara F.
Stringfellow Chair
James Hall
Associate Principal
Lissa Stolz
ENGLISH HORN
Lissa Stolz
CLARINET
Tad Calcara
Principal
The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
Erin Svoboda-Scott
Associate Principal
The Shane & Stacey Stowell Chair
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 Jaquain Sloan~
CONTRABASSOON
Leon Chodos# Jaquain Sloan~
HORN
Jessica Danz
Principal
The Marcia JS Richards Chair
Edmund Rollett** Associate Principal
Lauren Robinson~ Acting Associate Principal
Jonathan Chiou
Julia Pilant~ Stephen Proser
TRUMPET
Travis Peterson** Principal
Alex Mayon~ Acting Principal
Jeff Luke
Associate Principal
Seretta Hart~ Paul Torrisi
TROMBONE
Mark Davidson
Principal
The Nathan & Shannon Savage Chair In Memory of Neal Savage
Sam Elliot
Associate Principal/Second Trombone
BASS TROMBONE Graeme Mutchler
TUBA
Alexander Purdy Principal
TIMPANI
Micah Harrow~ Acting Principal
Eric Hopkins
Associate Principal
The Theodore & Elizabeth Schmidt Family Foundation Chair
Tyrannosaurus rex is the most famous dinosaur out there, but few people know the true story of this species. We go on assignment with paleontologist and National Geographic Explorer Lindsay Zanno to dig sites in the remote deserts of the western U.S. to find out how T. rex evolved. Along the way, uncover the entire landscape—from plants to fish to mammals—where these memorable dinos reigned 66 million years ago.
Bio:
Dr. Lindsay Zanno is Head of Paleontology at the North Carolina Museum of Natural Sciences and an Associate Research Professor in the Department of Biological Sciences at North Carolina State University. She is one of the world’s
leading experts on the evolution of theropod dinosaurs. Zanno has a soft spot for the American West, where she has discovered more than a dozen new species, including Siats, one of the largest meat-eating dinosaurs on the continent, and Moros, North America’s tiniest tyrannosaur.
MARLENE BARNETT MUSIC EXCELLENCE ENDOWMENT FUND
Our dear friend Marlene Barnett—fondly known as the Symphony Lady—has been an extraordinary partner to Onstage Ogden for many years. Please join us in supporting the Marlene Barnett Music Excellence Endowment Fund at Weber State University.
Through the Marlene Barnett Music Excellence Endowment, your generosity will provide scholarships that empower aspiring musicians to follow in her footsteps, enriching their lives and uplifting our shared cultural heritage–reaching students in the Ogden and Weber School Districts as well as at Weber State University. It is a testament to Marlene’s vision and to your commitment that these opportunities will resonate for years to come. Your gift today will help carry that vision and commitment forward. Use the QR code below to make your contribution to the endowment.
Thank you again for your generosity in supporting Ogden’s own Symphony Lady through the Marlene Barnett Music Excellence Endowment Fund. You play a vital role in this shared vision with us, to elevate and connect our community through the transformative power of music.
GRUPO BELLA
THURSDAY, NOVEMBER 13, 2025 AT 7:30PM
THE MONARCH
CONCERT SPONSOR
Grupo Bella
You would be hard-pressed to find another music group that so elegantly expands the styles of traditional Mexican Folk the way that Grupo Bella does. With an ever evolving sound, the quintet brings their own interpretations of Mexican Folk with a depth supported by adept musicianship and sheer passion. Their instrumentation is familiarly Mariachi, which is thrown for a loop with an enticing fusion of Mexican Pop, Boleros, Huasteco, and even an American Classic influence. But don’t take these few styles as a limitation, they’re only the cusp of what Grupo Bella has to offer. The creation of the band’s style seems almost serendipitous, paying homage to music of the past while pushing the boundaries and carrying on the legacy of a sound with a vibrant history.
Formed in 2011, Grupo Bella is fronted by Grammy award winning vocalist and Grammy nominated composer Vanessa Ramirez. As founder of the group, Vanessa serves as lead vocalist, jarana/guitarist, and musical director. Her original compositions distinctly reflect her Mexican heritage and tell the stories of a young
woman living in a modern and diverse Los Angeles. As an independent ethnomusicologist, Vanessa frequently travels throughout Mexico with Grupo Bella harpist and vocalist Michael Tejada, researching folk music and uncovering new influences for original compositions. The life of these compositions is supported by the likes of Diana McConnell (guitarron), and Maria Reyes (vocals/violin/melodica).
The group boasts an often forgotten aspect of musicianship in modern music: being a truly talented live performance and touring group, which is where they shine most. Grupo Bella’s live resume includes numerous shows in the United States and Mexico.
Grupo Bella is currently working on their second album, consisting of all original songs composed by Vanessa Ramirez.
She describes the project as “a unique experience of blending the old Musica De Raiz with new and fresh sounds that are inspired by our daily lives as young multicultural musicians in Los Angeles.”
DONOR ADVISED FUNDS
Onstage Ogden gratefully accepting donations made through a DAF account, or Donor Advised Funds. It’s a great way to accomplish your philanthropic goals and easily manage your charitable giving. Giving through a DAF, which is like a charitable savings account, gives you the flexibility to recommend how much and how often money is granted to Onstage Ogden. You can recommend a grant or recurring grants now to make an immediate impact or use your fund as a tool for future charitable gifts.
You can also create a lasting legacy by naming Onstage Ogden the beneficiary of the entire account or a percentage of the fund. With a percentage, you can create a family legacy of giving by naming your loved ones as your successor to continue recommending grants to charitable organizations. Contact your fund administrator for a beneficiary form.
Friends of Onstage Ogden
Onstage Ogden is grateful for the individuals, corporations, foundations, and government agencies who have made a charitable contribution in support of the performing arts in our community. Donors listed made their contributions between September 1, 2024, and October 1, 2025.
SPONSORS ($10,000+)
Val A. Browning Charitable Foundation
Lawrence T. Dee and Janet T.
Dee Foundation
Marriner S. Eccles Foundation
The Franzen Family
Alan and Jeanne Hall
Robert & Marcia Harris
Richard K. & Shirley S. Hemingway Foundation
PROTECTOR ($5,000–$9,999)
Beaver Creek Foundation
Better Being
George S and Dolores Dore Eccles Foundation
PARTNER ($2,500–$4,999)
Bank of Utah
Marti M. Clayson ● CreativeWest
Bill & Barbara Hughes
BENEFACTOR ($1,000–$2,499)
Diana Allison
Brad & Lisa Bailey
Danielle Bendinelli
Brian & Vicky Boyle
Geraldine and Evan Christensen
Lucio Casillas and Cirilo
Franco ● ●
Dr. Val Johnson
Stewart Education Foundation
Norman C. & Barbara L. Tanner
Charitable Support Trust
Utah Division Of Arts and Museums
Weber County RAMP
Weber State University Browning Presents!
Rosemary & Dave Lesser ● Christina & Shaun Myers ● Ogden City Arts
Anna and Daniel Neumann
Marty and Carolyn Rasmussen ●
Harry and Becky Senekjian
Glenn and Connie Wimer
Catherine Clark ● ●
Dr. Rosemary Conover
Alex Crowley ● ●
Rick and Karen Fairbanks
Doug and Shelly Felt
James & Nicole Fredrick ● ● ●
Dr. Robert Fudge and Sylvia Newman ● William and Deborah Hackett
George and Mary Hall
Pam and Rob Higginson ● ●
Russel R. and Jane T. King ● Chuck Leonhardt
Friends of Onstage Ogden
Beth A. Mannino & Paul E. Schick
Willis McCree
Dr. Judith Mitchell ●
MSL Family Foundation
Robert and Sally Neil
PATRON
($500–$999)
Joan Alf
Raymond and Betty Christian
Brent and Vicki Cox
Tim and Candace Dee
Allan & Kellie Diersman
Diana & Ralph Dunkley
Steven Ewert
Kay Hoogland & James O’Brien
Marlin & Kathleen Jensen
ADVOCATE ($250–$499)
Tom and Carolyn Austad
Jeffry and Linda Burton
Dr. Ann Ellis
Steve & Shellie Ericson
Dennis & Katherine Gladwell
Greg and Caitlin Gochnour
Cliff and Elizabeth Goff in memory of Susan W. Nilson, Jean M. Frischknect & Judith Elertson Wilson
DONOR (100–$249)
Zana Anderson
Clyde Baker
Daniel Bedford ●
Gracemarie Belvedere
Phil and Melanee Berger
Jean Branch
Frank and Laurie Brown
Yaeko Bryner
Edwin Cannon
Brad and Lynn Carroll
Sharon Charley
Allison Chouinard
Dr. Allen and Janis Christensen
LaDawn and Kent Coburn
Scott and Pam Parkinson
Ralph Nye Charitable Foundation
Carolyn Rich-Denson ●
Jonathan and Beverly
Souder
Michelle and Grant Ley ●
Flor Lopez ●
Frank and Sharon Markos
Wayne Miller
Meg and Mark Naisbitt ●
Paul and Sandra Perkin
Laurie & Greg Rives
Wendy and Cary Roberts ●
Eileen & Steve Santella ●
Scott and Deborah Greenwell ●
Becky & Kim Hale
Holly and Stephen Handy
Hayden Hernandez
Gabe and Desiree Johns in memory of Renee L. Rives
James & Deborah Lindstrom
Sandy and Phillip Maxwell
Gary and Marilyn Newman
Keith and Marlys Sorbo
Phillip & Gail Coleman
Deirdre Conway
Ludene Dallimore ●
Lynn and Natalie Dearden
Dr. Douglas Deis
Robert and Verlie Delange
David and Lisa Edwards
Stephen and Judy Farr
Rocky Stone & Judith Faulkner
William and Anita Ford
Pat Fuller
Dixie Funk
Karen Gall
David and Ruth Ann Gladwell
Jennifer & Dr. Michael
Webb ●
Ned and Sheila Stephens
Joyce and Robert Stillwell
Deborah Uman and Michael Sander ●
Jean A. Vaniman & Harry P. Schoen ●
Janice and Sheldon Ward
Kent and Trudy Whiteman
Korryn Wiese
Sandra S. Sowerby
Dr. John and Colleen Starley
Katrina Stoliker in memory of
Carol Warren Daniel
Aloha Whitney
ShaRon Williams
Carl and Helgard Wolfram
Douglas & Karen Yonemura
David and Joan Hadley ●
Terry Hartman-Smith
The Hearn Family
Linda Hearn
Heather Heileson ●
Tina and Robert Herman
Anthony Hirst
Grover and Carol Hoopes
Amy Huntington & Tom Parsons ●
Carol Jackson
Eric & Becky Jacobson
Matthew Janzen
Alisa Jenney
LES NOCES and THE DREAM
ARTISTS OF BALLET WEST | PHOTO BY BEAU PEARSON
Friends of Onstage Ogden
Earl Johnson
Melba and Denis Kirby
Paul Kriekard
Sarah Kunz
Robert Lindquist
Eugene and Pat Low
Lexie Lunt
Rand and Cynthia Mattson
James and Jennifer McGregor
Robert Miller
Sandi Mohr
Roland & Amy Miller
Inga Newton
Claude & Barbara Nix
Cheryl Orme
MEMBER ($50–99)
Olga Alvarado
Jerome Andersen
Marsha Ashby
Grant Baer
Randy and Laura Browne
Arthur & Marian Budge
Cathay Christiansen
Kirk Dexter
Michael and Susan Deyoung
Randy Emery
Dr. Michael & Cindy Palumbo
Donald Pantone
Suzy Patterson
Jeff Paulson
Janet A. Petersen
Bobbie Ramer
Ralph Rowley
Craig Schriber
Shane & Pamela Schvaneveldt
Kathy Sedgwick & Ron Tymcio
Sempre Musical Society in memory of Helen Smith Rabe & Renee Warner
Henry Thomas Sledge
Denise Sly
Carol and Paul Sonntag
Jonathan and Beverly Souder
Dorothy & Dan Steimke in memory of Sherm Smith ●
Edna Stratford
Paula Weick and Carl Stuart
Michael and Janiell Taylor
Janet & Bob Tillotson
Ruth Turner
Patti Van Aarle
Kelly and Shelly Van Noy
Lucinda and Phillip Wagner
Andrew and Suzanne Wall
Linda Watson
Barbara West
Janice Grajek
Mary Hargis
Walter and Karen Kunz
Anne Ladd
Diane Luke
Andy and Susan McCrady
Rex Miller
Alice Mulder & Dan Bedford
Brian & Marsha Namba
Peggy Plyer
JoAn Powell
Cindy Reaveley
Rema Sadak
Jonathan Shurts
Charlene Smith
Korte Wamsley
Marilyn Woodbury
Please contact Onstage Ogden Development Coordinator, Sarah Bailey, at 801.612.0757 or sarah@onstageogden.org, if you would like to make a donation or if your name has inadvertently been left off or is misspelled.
BEVERLY LUND & GINNY MATTHEI LEGACY CIRCLE
75 years ago, Beverly Lund and Ginny Matthei organized a concert by the Utah Symphony at Ogden High School. They did so believing in the power of live performance to elevate and connect a community. Over the decades their vision has evolved into what it is today, Onstage Ogden. To honor their legacy this 75th season, Onstage Ogden established The Beverly Lund & Ginny Matthei Legacy Circle.
Recognizing those individuals and families who have included Onstage Ogden as a beneficiary in their estate plan.
Connie Huggins*
Nancy Pinto-Orton*
Kent & Joann Smith*
Jean Vaniman & Harry Schoen
*indicates donors being recognized posthumously
Glenn & Connie Wimer
If you would like to join the Beverly Lund & Ginny Matthei Legacy Circle or have already included Onstage Ogden in your will, estate plan, or beneficiary arrangement, please let us know by calling Sarah Bailey at 801-399-9214 or by emailing sarah@onstageogden.org. Visit onstageogden.org/give for more information.
