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UTAH SYMPHONY | UTAH OPERA

2024-25 SEASON USUO Main Content Cover Issue #1

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CONTENTS Welcome 6

About Utah Symphony | Utah Opera 8

REVOLUTION

Ticketing Services 9

Mills Publishing, Inc. Publisher

The Board of Trustees 10

Dan Miller President

Utah Symphony 12

Cynthia Bell Snow Office Administrator

USUO Season Sponsors 14

WILD SYMPHONY

Patrick Witmer Publication Designer/ Web Development

Join us at USUO 16 Administration 18 Feature Igniting Young Imaginations 27

Ken Magleby Patrick Witmer Graphic Designers

29 REQUIEM

UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106.

Feature Orchestra Conference 51

VIDEO GAMES LIVE

Phone: 801.467.8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities.

Musician Spotlight Meet Jie Fang Goh 52 Feature The Evelyn Rosenblatt Young Artist Award 54

Paula Bell Dan Miller Advertising Representatives Megs Vincent Editor

Musician Spotlight Meet Sarah Schofield 38 Feature Releasing Butterfly 48

Jackie Medina Art Director/ Production Manager

41 MADAME BUTTERFLY

Individual Donors 69 Legacy Giving 75

Memorials & Tributes 76

PIANO CONCERTO NO. 2

Institutional Donors 77 Tanner & Crescendo Societies 79

Acknowledgments 82

SYMPHONIE FANTASTIQUE

Please scan the QR code if you’d like to view a digital version of the publication.

63 VIOLIN CONCERTO

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WELCOME

Steven Brosvik President & CEO

The O.C. Tanner Chair

Brian Greeff

n behalf of the board, musicians, artists, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to today’s performance. We conclude this exceptional season of great live music with four classical orchestral programs, a beloved opera presented from a new perspective, and several non-traditional performances that invite a broader audience to experience the thrill of live music performed by a renowned professional orchestra–Utah’s other major league team.

In May, we present a bold new production of Puccini’s Madame Butterfly at the Janet Quinney Lawson Capitol Theatre. This production, created by a talented team of Japanese and Japanese American designers, offers a modern-day reimagining of this well-known opera that frames the story through the lens of a lonely gamer entering a virtual, vibrant, Japanese fantasy world. This innovative approach acknowledges the cultural misconceptions inherent in the original plot by providing the context that they are playing out in an imagined realm, while preserving the opera’s brilliant music and emotional depth that have made it a cherished masterpiece.

The final four Masterworks concerts of the season in Maurice Abravanel

The second week of June, we are honored to host the League of

Chairman, Board of Trustees

Hall include audience-favorite works led by world-class conductors and feature extraordinary soloists with the outstanding musicians of our orchestra. Whether it is the Classical era perfection of Mozart; evocative orchestration by Berlioz, Bartok, Saint-Saëns, and Korngold; or exciting contemporary music from living composers, you will hear the musicians of our orchestra demonstrate their remarkable expertise as they deliver moments that will live long in your memory. These months also include special Utah Symphony concerts that will allow you to connect through great live music with cherished friends and family who have a variety of musical tastes—from classic rockers (Revolution: the Music of The Beatles), to children of all ages (Wild Symphony), to gamers (Video Games Live), to movie fans (Pirates of the Caribbean), to those who cherish the modern acoustic songwriting and vocals of Amos Lee.

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American Orchestras 80th National Conference right here in Salt Lake City. We know that our musical colleagues will be surprised in the best possible ways by our vibrant and beautiful home in the Intermountain West. We can’t wait to share the exceptional musicianship of our orchestra, sincere hospitality of our community, and stunning natural setting of our state with our colleagues from throughout North America. This summer we hope you will “Escape into the Music” with USUO for our annual Deer Valley® Music Festival. The six-week summer concert series, which runs from July 3 through August 9, features a broad musical lineup of performances featuring the musicians of our orchestra in the cool mountain air of Park City. Also watch for concerts featuring the Utah Symphony at outdoor community venues throughout the Wasatch Front. We thank you for the energy you bring to our performances, inspiring our artists to create the best symphonic and operatic experiences with and for you. Your presence matters and we look forward to seeing you outdoors this summer and once again in the marvelous settings of Maurice Abravanel Hall and the Janet Quinney Lawson Capitol Theatre for our 2025–26 season! Please visit USUO.org for more information about upcoming performances.

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ABOUT UTAH SYMPHONY | UTAH OPERA

Our Mission More than 80 years ago, a miracle was set into motion. A miracle for its ability to inspire and astound through music, yes; but also a miracle for its capacity to gain momentum through the decades rather than stand still.

“

Our mission is to connect the community through great live music. To perform. To engage. To inspire.

Education & Community Engagement

130,000

students and teachers served

614

schools served

316

concerts, classes & programs

school districts visited

40+

symphony performances

This infographic has been designed using resources from Flaticon.com

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sold out Family Series concerts

TICKETING SERVICES

Tickets for Utah Symphony | Utah Opera events can be purchased online at usuo.org, by calling USUO Patron Services at 801-533-NOTE (6683), and through authorized ArtTix sellers. Discounts may be available for subscribers, students and under-30s, and groups of 10 (or more).

Utah Symphony | Utah Opera Patron Services Abravanel Hall Ticket Office 123 W South Temple Salt Lake City, UT 84101 801-533-NOTE (6683)

Utah Symphony | Utah Opera Box Office Hours Monday through Friday: 12:00 PM – 6:00 PM Saturday WITH a scheduled performance: 2:00 PM – Showtime* Sunday (Opera matinee): 2 hours prior to Showtime*

Box Office Hours • • •

Monday through Friday: 12:00 PM–6:00 PM CLOSED Saturdays and Sundays without a scheduled performance. USUO Patron Services will remain open 30 minutes after a performance begins for in-person assistance.

For hours of operation during weekends, holidays, and Special events, please visit us online or contact USUO Patron Services for more information.

Accessibility

Group Tickets

Bring a group of ten or more to any Utah Symphony | Utah Opera performance, and save up to 20%! Benefits include: · · · · · ·

Personalized service from a dedicated Group Sales Representative Priority seating – groups have access to the best available seats before they go on sale to the general public Save up to 20%* off single-concert ticket prices with groups of 10 or more Flexible payment options Waived ticket service fees – save up to $3 per ticket Recommendations on local attractions and restaurants

Utah Symphony | Utah Opera is committed to making all of our programs accessible to people with disabilities. It is our goal to integrate accessibility in all we do, including:

*There must be a minimum of 10 persons/students per performance. No discounts are available for Signature performances.

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Subscriber Benefits

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Website Accessibility Interface Assisted hearing devices, available by request at Guest Services. ASL-Interpreted performances Closed-captioned or supertitled performances Braille or Large Print Programs available by advance request Wheelchair, limited mobility, and Bariatric seating available Weighted lap pads, earplugs, and other sensory aids available by request at guest services.

We understand that accessibility needs and standards are shifting daily so if you see something you would like us to implement or change, please contact USUO Patron Services.

PROTECT YOUR WALLET Utah Symphony | Utah Opera and ArtTix are the only official ticket outlets.

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Best available seats at the best available price! Save up to 25% off the standard ticket price (and up to 20% on additional purchases) FREE ticket exchanges Waived service fees Exclusive access to special presales for newly announced performances Affordable payment plan options

STAY IN TOUCH Share your symphony or opera experience—tag us in your photos and memories! @utahsymphony #utahsymphony @utahopera #utahopera USUO.ORG | (801) 533-NOTE

THE BOARD OF TRUSTEES

ELECTED BOARD Brian Greeff* Chair Annette W. Jarvis* Vice Chair & Secretary Judy Moreton* Vice Chair Joanne F. Shiebler* Vice Chair

Thomas Wright* Vice Chair Steven Brosvik* President & CEO The O.C. Tanner Chair Dr. Stewart E. Barlow Judith M. Billings

Larry Brownstein Paul E. Burdiss George Cardon-Bystry Gary L. Crocker John D’Arcy* David L. Dee Barry L. Eden* Jason Englund* Senator Luz Escamilla Jonathan Freedman Brandon Fugal Dr. Julie Aiken Hansen Daniel Hemmert* Dennis H. Hranitzky Stephen Tanner Irish* Thomas N. Jacobson Abigail E. Lowder Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney

Miguel R. Rovira Stan Sorensen Clint Stone Dr. Shane D. Stowell Thomas Thatcher W. James Tozer David Utrilla Sharlene Wells Don Willie Kim R. Wilson Henry C. Wurts*

David T. Mortensen Scott S. Parker David A. Petersen Patricia A. Richards*

Harris Simmons David B. Winder

Kristen Fletcher Richard G. Horne Ronald W. Jibson

E. Jeffery Smith

Spencer F. Eccles Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson Stanley B. Parrish

Marcia Price Jeffrey W. Shields, Esq. Diana Ellis Smith

MUSICIAN REPRESENTATIVES Barbara Scowcroft* Travis Peterson* EX-OFFICIO REPRESENTATIVE Jean Vaniman Onstage Ogden

LIFETIME BOARD Kem C. Gardner Jon Huntsman, Jr. G. Frank Joklik Thomas M. Love*

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

HONORARY BOARD Jesselie B. Anderson Kathryn Carter Raymond J. Dardano Geralyn Dreyfous Lisa Eccles * Executive Committee Member

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S AL T L AK E C IT Y' S B EST G A RDEN P A TIO

OP ENING M AY 4T H DI N E AT L AUREL BRAS SERIE & B A R

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 Sara Bauman~ Erin David Joseph Evans Lun Jiang Rebekah Johnson Tina Johnson~ Alison Kim Amanda Kofoed~ Jennifer Kozbial Posadas~ Veronica Kulig David Langr Hannah Linz Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer David Porter Lynn Maxine Rosen Barbara Ann Scowcroft Ju Hyung Shin Bonnie Terry Julie Wunderle Wen Yuan Gu

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 Ian Jones~ 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

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

TROMBONE Mark Davidson Principal

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

Sam Elliot Associate Principal/Second Trombone BASS TROMBONE Graeme Mutchler

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

Edmund Rollett Associate Principal Jonathan Chiou Julia Pilant~ Stephen Proser

Jeff Luke Associate Principal Seretta Hart~ Paul Torrisi

Lissa Stolz

HORN Jessica Danz Principal

TRUMPET Travis Peterson Principal

TUBA Alexander Purdy Principal TIMPANI Micah Harrow Acting Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Anna Thompson~ Acting Librarian ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Hannah Thomas-Hollands Orchestra Personnel Manager * String Seating Rotates

Caitlyn Valovick Moore

** On Leave

PICCOLO Caitlyn Valovick Moore

~ Substitute Member

# Sabbatical

The Utah Symphony Chorus is an audition-only group composed of volunteer and professional singers from the Salt Lake City area. The Chorus typically performs a concert each season with the Utah Symphony, along with offering vocal development opportunities such as Alexander Technique classes, vocal masterclasses exploring technique and repertoire, and live Q

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& A sessions with local and international vocal stars.

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UTAH SYMPHONY | UTAH OPERA SEASON SPONSORS UTAH SYMPHONY | UTAH OPERA SEASON SPONSOR

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Once upon a time, a princess discovered the magic of music! Raise your hands (and a mic) as the ultimate showtunes were brought to life with Bravo Broadway! Did someone say mood lighting? Abravanel Hall is aglow for our incredible pops series performances. Smiles all around—and a healthy dose of applause— this is what our concerts are all about. Every maestro starts somewhere... today, it’s with a mighty first note! Music Director Emeritus Thierry Fischer leads with expert skill and enthusiasm! (Did you catch his performances of Mahler’s Symphony 5 and 6?)

Music and theater students from Taylorsville High School tour the Janet Quinney Lawson Capitol Theatre during our production of Pagliacci to get peek behind the curtain and below the seats. 8. Not all heroes wear capes—some wield triangles with unmatched enthusiasm! 9. Our performances bring incredible music to life—and sometimes, the characters step right off the screen and into your photos! 10. Students attending the Opera-tunities final dress rehearsal for Pagliacci learn about the International Phonetic Alphabet that singers use to prepare for performances in a foreign language.

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ADMINISTRATION ADMINISTRATION Steven Brosvik President & CEO The O.C. Tanner Chair David Green Senior Vice President & COO Micah Luce Director of Human Resources & Organizational Culture Julie McBeth Executive Assistant to the CEO Natty Taylor Human Resources Generalist Madison Wilde Thunhorst Executive Assistant to the Senior VP & COO

Operations Manager Sarah Madany Stage Manager Morgane Walton Assistant Stage Manager

SYMPHONY ARTISTIC Kerry Smith Vice President of Artistic Planning Anthony Tolokan Artistic Consultant Cassandra Dozet 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 Jessica Rivero Altarriba Assistant Conductor

COSTUMES Carol Wood Costume Director Marcos Ambriz Costume Rentals & Collections Manager Mallory Goodman Costume Rentals & Collections Assistant Manager Milivoj Poletan Master Tailor Aries Limon Assistant Tailor Molly Hartvigsen Cutter/Draper Julie Porter Crafts Artisan/Milliner Amy Fernelius Kathryn Wieland Stitchers

OPERA ARTISTIC Christopher McBeth Opera Artistic Director Austin McWilliams Chorus Director & Opera Assistant Conductor Carol Anderson Principal Coach Michelle Peterson Director of Production Ashley Tingey Production Coordinator Stephanie Chee, Soprano Sarah Scofield, Mezzo-Soprano Aaron McKone, Tenor Rodney Sharp II, Baritone Jie Fang Goh, Pianist Resident Artists SYMPHONY OPERATIONS Jen Shark Director of Orchestra Operations Melissa Robison Front of House Director Chip Dance Director of Production Marcus Lee

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OPERA TECHNICAL Sam Miller Technical Director Kelly Nickle Properties Master Dusty Terrell Scenic Charge Artist JR Orr Head Carpenter/Shop Foreman

Abby Gehring First Hand

DEVELOPMENT Leslie Peterson Vice President of Development Garrett Murphy Director of Development David Hodges Director of Development, Institutional Giving Calli Forsyth Assistant Director of Institutional Sponsorships and Engagement Katie Swainston Assistant Director of Individual Giving Lisa Poppleton Grants Manager Dallin Mills Development Database Manager Maren Holmes Manager of Special Events Ellesse Hargreaves Corporate Engagement Manager MARKETING & COMMUNICATIONS Meredith Kimball Laing

Vice President of Marketing & Communications Adia Thornton Director of Marketing Julia Lyon Communications Manager Nina Starling Website Content Coordinator Emma Price Marketing & Communications Coordinator PATRON SERVICES Faith Myers Director of Patron Engagement Jaron Hatch Patron Services Manager Toby Simmons Patron Services Assistant Manager Caitlin Marshall Sales & Engagement Manager Genevieve Gannon Group Sales Associate True Moore Salem Rogers Patron Services Specialists Lorraine Fry Michael Gibson Ian Painter Ananda Spike Val Tholen Chloe Toyn Leah Medley 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 EDUCATION & COMMUNITY ENGAGEMENT Ben Kipp Vice President of Education & Community Engagement Jessica Wiley Symphony Education Manager Kevin Nakatani Opera Education Manager Beth Foley Education Coordinator We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of Utah Symphony | Utah Opera.

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POPS

REVOLUTION:

THE MUSIC OF THE BEATLES FRIDAY, APRIL 11, 2025 / 7:30 PM / MAURICE ABRAVANEL HALL SATURDAY, APRIL 12, 2025 / 7:30 PM / MAURICE ABRAVANEL HALL

LAWRENCE LOH, conductor

REVOLUTION: THE MUSIC OF THE BEATLES. A SYMPHONIC EXPERIENCE. a Schirmer Theatrical/Greenberg Artists co-production Arrangements by Jeff Tyzik “Get Back” originally released on Let It Be (1970) “Ticket to Ride” originally released on Help! (1965) “Drive My Car” originally released on Rubber Soul (1965) “Yesterday” originally released on Help! (1965) “Penny Lane” originally released on Magical Mystery Tour (1967) “If I Needed Someone” originally released on Rubber Soul (1965) “Lady Madonna” originally released on Past Masters: Volume Two (1988) “Blackbird” originally released on The Beatles (1968) “In My Life” originally released on Rubber Soul (1965) “Paperback Writer” originally released as a single (1966) “Eleanor Rigby” originally released on Revolver (1966) “Hello, Goodbye” originally released on Magical Mystery Tour (1967) “Here Comes the Sun” originally released on Abbey Road (1969) “Hey Jude” originally released on Past Masters: Volume Two (1988) INTERMISSION

“Got to Get You into My Life” originally released on Revolver (1966) “The Fool on the Hill” originally released on Magical Mystery Tour (1967) “Maxwell’s Silver Hammer” originally released on Abbey Road (1969) “With a Little Help From My Friends” originally released on Sgt. Pepper’s Lonely Hearts Club Band (1967) “Come Together” originally released on Abbey Road (1969) “Something” originally released on Abbey Road (1969) “She’s Leaving Home” originally released on Sgt. Pepper’s Lonely Hearts Club Band (1967) “I Am the Walrus” originally released on Magical Mystery Tour (1967) “Let it Be” originally released on Let It Be (1970) “Golden Slumbers/Carry That Weight/The End” originally released on Abbey Road (1969) “Twist and Shout” originally released on Please Please Me (1963)

ALL MUSIC AND IMAGERY UNDER EXCLUSIVE LICENSE FROM SONY MUSIC PUBLISHING, HARRISONGS LTD, & THE BEATLES BOOK PHOTO LIBRARY TO SCHIRMER THEATRICAL, LLC THE SHOW IS NOT ENDORSED BY OR CONNECTED TO APPLE CORPS OR THE BEATLES.

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ARTIST’S PROFILE — REVOLUTION

Lawrence Loh Conductor

escribed as bringing an “artisan storyteller’s sensitivity… shaping passages with clarity and power via beautifully sculpted dynamics… revealing orchestral character not seen or heard before” (Arts Knoxville) Lawrence Loh enjoys a dynamic career as a conductor of orchestras all over the world. After an extensive two year search, Lawrence Loh was recently named Music Director of the Waco Symphony Orchestra beginning in the Spring of 2024. Since 2015, he has served as Music Director of The Syracuse Orchestra (formerly called Symphoria), the successor to the Syracuse Symphony Orchestra. Loh will hold this position until the end of the 2024–2025 season. “The connection between the organization and its audience is one of the qualities that’s come to define Syracuse’s symphony as it wraps up its 10th season, a milestone that might have seemed impossible at the beginning,” (Syracuse.com). The Syracuse Orchestra and Lawrence Loh show that it is possible to create a “new, more sustainable artistic institution from the ground up.”

CONCERT SPONSOR

ORCHESTRA SPONSOR

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Go beyond the stage and gain insights into the music with our Pre-Concert Talks featuring expert commentary as well as informal conversations with staﬀ and artists. 45 minutes before each performance in the First Tier Room.

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FAMILY

WILD SYMPHONY SATURDAY, APRIL 12, 2025 / 11:00 AM & 12:30 PM / MAURICE ABRAVANEL HALL JESSICA RIVERO ALTARRIBA, conductor LATOYA CAMERON, narrator BEN YOUNG, narrator

Join us early for an Instrument Petting Zoo hosted by Summerhays Music, visit with Hogle Zoo, complete a craft hosted by UMOCA and purchase Dan Brown’s WILD SYMPHONY book in the gift shop with other animal merchandise.

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ARTISTS’ PROFILES — WILD SYMPHONY

Jessica Rivero Altarriba

Conductor Utah Symphony Assistant Conductor

atin American conductor Jessica Rivero Altarriba is known for her charismatic stage presence, dynamic energy, and communicative skills. Recently announced as a Taki Alsop Fellowship Award Recipient from 2024–26 and named the New Jersey Symphony’s first-ever Colton Conducting Fellow for the 2023–24 season, she is also a Freeman Conducting Fellow with Chicago Sinfonietta. Altarriba is concurrently pursuing her master’s degree in conducting at the Peabody Institute of Johns Hopkins University. Upcoming engagements this season include performances with the Mozarteumorchester Salzburg, New Jersey Symphony, Peabody Symphony Orchestra, and the NOI Institute and National Seminario Orchestra at the Ravinia Festival. During the 2022-23 season she worked with the Baltimore Symphony Orchestra, Peabody Symphony Orchestra, and Lüneburg Symphoniker in Germany as a guest conductor.

CONDUCTOR SPONSOR

Altarriba’s guest engagements include performances with the Málaga Camerata in Spain, Virtuós Mediterrani Orchestra, Lüneburg Symphoniker in Germany, and professional orchestras in Cuba such as the Holguín Symphony Orchestra, Camagüey Symphony Orchestra, Esteban Salas Symphony Orchestra, Chamber Orchestra of the National School of Art, Eastern Symphony Orchestra, Amadeo Roldán Orchestra, Lyceum Mozartiano Orchestra, and the Philharmonic and Chamber Orchestra of the University of Arts of Cuba. She also conducted incidental music with the Havana-Martin Camerata for the national premiere of The Phantom of the Opera. Festival credits include Cuba’s A Tempo Con Caturla Festival, Jazz Plaza Festival, Contemporary Music Festival, Mozart Havana Festival, and the Arts Festival, where she was awarded first prize for young conductors. Born in Cuba, Altarriba is equally vested in both established and well-known repertoire and contemporary compositions. Her devotion to her craft is evident in her prior posts, which include serving as guest conductor of the Esteban Salas Symphony Orchestra in Cuba and Music Director of the University of Arts Band and the Eastern Symphony Orchestra in Santiago de Cuba, Cuba. She received her bachelor’s degree in conducting from the Arts University in Havana in 2018. During her time at the University of Arts, Altarriba gave world premieres of contemporary pieces including “Calabi’’ by Nathalie Hidalgo Reyes, and “The Creation’’ by Dania Suarez Piorno—in collaboration with the university’s composition faculty. Altarriba is the recipient of an Excellence in Music Leadership Fellowship at The Peabody Institute of Johns Hopkins University, where she is currently pursuing her master’s in orchestral conducting under Marin Alsop.

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ARTISTS’ PROFILES — WILD SYMPHONY

Latoya Cameron Narrator

atoya Cameron (she/her) is an actor, singer, writer, and director. She is an Equity, Diversity, and Inclusion Dramaturg at Salt Lake Acting Company. As an actor, you may have seen her on the local stages at Pioneer Theatre Company, Utah Shakespeare Festival, Salt Lake Acting Company, and Plan-B Theatre Company. She made her Off-Broadway debut as the lead in Shelter, the musical, at the formally known New York Musical Theater Festival in New York City. In 2022, she was part of the production, The Clean-Up Project, which was named the Utah Review’s Top Moment of the Utah Enlightenment by Les Roka. In 2022, she made her directing debut with the production of RENT. Since then, she has directed Sankofa, This Journey: Go Back and Get It (a collaboration with Utah Black Artists Collective (UBLAC) and Salt Lake Acting Company), Title of Show (The Grand), and Town Hall (University of Utah). As a Change Leader, she raises her voice for Black, Indigenous, People of Color, and other marginalized groups within her community. She’s part of the 2022-23 National Leaders of Color Fellows, representing the WESTAF region, and is one of the 2023 Mayor’s Artist Award recipients. She continues to be an advocate and activist for inclusion, representation, and equity in the arts.

Ben Young Narrator

en Young is a graduate of the University of Utah’s Actor Training Program. Previous credits include Climbing With Tigers (Algernon) and You Will Get Sick (1) with Salt Lake Acting Company; Gruesome Playground Injuries (Doug) with Wasatch Theatre Company; Big Love (Constantine), Our Country’s Good (Phillip/Wisehammer), The Odyssey (Odysseus) with the University of Utah’s Theatre Department; My Brother Was a Vampire (Callum), RIVER.SWAMP.CAVE.MOUNTAIN (JJ), Alli and #3 (#3) with Plan-B Theatre Company.

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FEATURE – IGNITING YOUNG IMAGINATIONS

IGNITING YOUNG IMAGINATIONS ONE CONCERT AT A TIME By Megs Vincent

he lights dim, and the rustling of over two thousand eager fifth graders—their sneakers swinging above the concert hall floor—settles into an expectant hush. A single baton rises above the sea of instruments, and with one sweeping motion, the silence is shattered by a cascade of sound—bold brass fanfares, shimmering strings, the deep pulse of percussion. In that moment, young minds spark with possibility. This is not just a concert. For many, this is a first encounter with a symphony—an introduction to a world where music tells stories, evokes emotions, and opens doors to imagination. For more than 40 years, Utah Symphony’s fifth grade concerts have served as an electrifying introduction to the power of live orchestral music. More than 16,000 students from 250 schools were in the audience this school year, hearing classical masterpieces and modern works come alive. As one teacher shared, “Thank you so much for putting together this program. It was the first time almost all of my 33 students have been to a symphony!” Another teacher echoed this sentiment, “Thank you for providing our students with an experience that most of them will never have outside of this performance. The music is always enjoyable and engaging.” Each concert is carefully curated to transport students through soundscapes rich with adventure. Whether it’s

the rushing wings of the phoenix in Stravinsky’s Firebird, the swirling chaos of Beethoven’s Symphony No. 6, or the wonder of Hisaishi’s Princess Mononoke and Howl’s Moving Castle, the program is designed to engage young ears and minds. Students not only hear music—they feel it. One young listener marveled, “I liked how calm some of the music was and then it would get really loud!” Another shared their enthusiasm for specific instruments, “The French horns were my favorite.” Among the most popular pieces? “The most liked pieces from my class were Clair de Lune and The Firebird.” But these concerts are more than just performances—they are conversations. Guided by a charismatic conductor, the students learn not only to hear but to listen. They discover how music can tell stories without words, how a simple shift from major to minor can change an entire mood, how composers weave emotion into sound. Teachers also receive pre-concert materials to help students explore musical concepts before they ever set foot in the concert hall, ensuring that when the downbeat falls, they are active listeners, ready to engage. Beyond the music, there is something almost magical about the setting. Abravanel Hall itself—its golden chandeliers glittering like frozen raindrops, its pristine acoustics allowing even the softest flute solo to reach every corner—adds to the sense of occasion. As one teacher remarked, “Congratulations for this concert. This is an incredible experience for our students. They have enjoyed being in Abravanel Hall, the concert, and the projections. The music has been amazing. Thank you!” Long after the final note fades, the experience lingers—in the chatter of students filing back onto school buses, in the excited recounting of favorite moments to parents that evening, and in the newfound appreciation for the way music can shape emotion and imagination. And perhaps the most telling of all is the question heard over and over: “Can we go again?”

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SEASON

2024–25 Sept. 11

BEN FOLDS PAPER AIRPLANE REQUEST TOUR

Sept. 21

JESSICA VOSK CALIFORNIA DREAMIN’

Oct. 12

AN EVENING WITH MARIACHI DIVAS

DE CINDY SHEA

Nov. 1

CHARLY LOWRY

Nov. 9

NOBUNTU

Jan. 16

GANGSTAGRASS

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

Jan. 27

HONOLULU THEATRE FOR YOUTH PRESENTS: THE PA’AKAI WE BRING

Jan. 31

THE PEKING ACROBATS®

Feb. 13

NEW ORLEANS SONGBOOK A JAZZ AT LINCOLN CENTER PRESENTS PRODUCTION

Feb. 18

BALLET FOLKLÓRICO DE MÉXICO

Feb. 25

HUBBARD STREET DANCE CHICAGO

April 4

THE QUEEN’S CARTOONISTS

For sponsorship information please contact: Asst. Dean Danielle Shipley at dshipley@uvu.edu or Asst. AD/Development Matt Potts at mpotts@uvu.edu.

MASTERWORKS Mozart’s

REQUIEM THURSDAY, APRIL 17, 2025 / 7:30 PM / BROWNING CENTER, WEBER STATE, OGDEN FRIDAY, APRIL 18, 2025 / 7:30 PM / MAURICE ABRAVANEL HALL SATURDAY, APRIL 19, 2025 / 5:30 PM / MAURICE ABRAVANEL HALL CHRISTOPHER ALLEN, conductor DEANNA BREIWICK, soprano CECELIA HALL, mezzo-soprano MATTHEW NEWHOUSE, tenor LEVI HERNANDEZ, baritone UTAH SYMPHONY CHORUS | AUSTIN MCWILLIAMS, director UTAH SYMPHONY

CONCERT SPONSOR

MOZART

Overture to The Magic Flute (7’)

MOZART

Symphony No. 25 in G minor (24’)

GUEST ARTISTS SPONSOR

Allegro con brio

II.

Andante

III.

Menuetto

IV.

Allegro

INTERMISSION

MOZART

Requiem - completed by Robert Levin (47’) I.

Introitus

Requiem aeternam Kyrie ORCHESTRA SPONSOR

II.

Sequentia Dies irae Tuba mirum Rex tremendae Recordare Confutatis Lacrimosa - Amen

III.

Offertorium Domine Jesu Hostias

IV.

Sanctus Sanctus Benedictus

Agnus Dei Agnus Dei

VI.

Communio Lux aeterna Cum sanctis tuis USUO.ORG | (801) 533-NOTE

ARTISTS’ PROFILES — REQUIEM

Christopher Allen Conductor

ecipient of The Sir Georg Solti Conducting Award, Christopher Allen is featured in Opera News as “one of the fastest-rising podium stars in North America.” He has led acclaimed operatic and symphonic performances with the Atlanta Symphony Orchestra, Cincinnati Symphony Orchestra, National Symphony Orchestra, Kansas City Symphony, Oregon Symphony, Virginia Symphony, North Carolina Symphony, Orquestra Sinfônica do Estado de São Paulo, George Enescu Philharmonic, West Los Angeles Symphony, Cincinnati Opera, Los Angeles Opera, Opera Philadelphia, Opera Omaha, Opéra de Montréal, English National Opera, Lyric Opera of Chicago, Opera Theatre of Saint Louis, Lyric Opera of Kansas City, Washington National Opera, Detroit Opera, North Carolina Opera, Florida Grand Opera, Atlanta Opera, Des Moines Metro Opera, Daegu Opera House in South Korea, Korean Symphony Orchestra, and China National Opera Orchestra and Chorus.

Deanna Breiwick Soprano

merican soprano Deanna Breiwick, hailed by The New York Times for her “sweet sound and floating high notes” and for being a “vocal trapeze artist,” is enjoying an exciting and diverse career. In the 24/25 season, Deanna Breiwick will sing Lisette in La rondine at Opéra de Monte Carlo, Adele in Die Fledermaus at Opera Theatre of St. Louis, and join the Utah Symphony for Mozart’s Requiem, the Allentown Symphony for VaughanWilliams’ Dona Nobis Pacem, as well as present recitals under the auspices of The Florentine Opera and the Pacific Vocal Series in Laguna Beach, CA. In the 23/24 season, Ms. Breiwick returned to The Dallas Opera for the world premiere of Gene Scheer and Jody Talbot’s The Diving Bell and the Butterfly, singing the role of Claude. In concert, she performed Lisette in La rondine with Washington Concert Opera, Messiah with the Oregon Symphony, VaughanWilliams’ Dona Nobis Pacem with the Venice and Owensboro Symphonies, and held a residency with the Moab Music Festival. In recital, she will return to the Laguna Art Museum to present a solo recital.

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ARTISTS’ PROFILES — REQUIEM

Cecelia Hall Mezzo-soprano

ailed by the Financial Times for her “easy flexibility, arresting poise and enveloping warmth,” mezzo-soprano Cecelia Hall is a member of Oper Frankfurt’s prestigious ensemble and appears regularly as a guest artist on many of the world’s finest stages. For her recent debut as Carmen at Austin Opera, Cat McCarrey of the Austin Chronicle wrote “Hall’s sultry mezzo conveyed strength with a current of madness in each fluidly sensual move.” Highlights of Hall’s 2024-25 season include Der Komponist in Strauss’ Ariadne auf Naxos at Seville’s Teatro de la Maestranza conducted by Guillermo García Calvo and directed by Joan Antón Rechi, and four new productions at Oper Frankfurt: Henze’s Der Prinz von Homburg conducted by Takeshi Moriuchi and directed by Jens-Daniel Herzog, Berg’s Lulu conducted by Thomas Guggeis and directed by Nadja Loschky, Magnard’s Guercoeur conducted by Marie Jacquot and directed by David Hermann, and Reimann’s Melusine conducted by Karsten Januschke and directed by Aileen Schneider. In concert, she sings Mozart’s Requiem with Utah Symphony conducted by Christopher Allen, and Mendelssohn’s Lobgesang at the Alte Oper Frankfurt conducted by Thomas Guggeis.

Matthew Newhouse Tenor

enor Matthew Newhouse is a powerful storyteller in concert and historical performance. He has performed across North America, the United Kingdom, and Germany with esteemed conductors Masaaki Suzuki, Grete Pedersen, Nic McGegan, David Hill, and Christopher Allen. Alongside his wellanticipated Utah Symphony debut, Newhouse debuted with the Tucson Symphony Orchestra in Handel’s Messiah. Recent soloist highlights include Evangelist in Schütz’s Weihnachtshistorie with Harmonia Stellarum, Monteverdi’s Vespers of 1610 with Bach Akademie Charlotte, Evangelist in J.S. Bach’s Weihnnachtsoratorium with Yale Schola Cantorum, and Mendelssohn’s Lobgesang at the Norfolk Chamber Music Festival. An equally skilled ensemble singer, Newhouse is a core member of Fourth Wall Ensemble and The Leonids. Additional professional collaborations include TENET Vocal Artists, Apollo’s Fire, Clarion Music Society, and more. Newhouse champions Icelandic vocal repertoire and strives for its inclusion in the classical canon. He holds a Master of Music degree in Early Music Voice from Yale University.

Levi Hernandez Baritone

ith a velvety tone and a stage presence which exudes confidence and charm, Levi Hernandez has made a name for himself in a wide variety of baritone repertoire. Opera News has praised him for his “voice with natural power,” and “warm, inviting baritone.” The El Paso native has joined the rosters of leading opera companies including The Metropolitan Opera, San Francisco Opera, and Houston Grand Opera where he débuted as Sharpless in Madama Butterfly. Most recently he joined El Paso Opera for their Mozart by Moonlight concert, Opera San Antonio as the Father in Hansel and Gretel, appeared as Dandini in La cenerentola with Boston Lyric Opera, performed Tonio in Pagliacci with Hawaii Opera Theatre, returned to Opera Omaha as Diego Rivera in El último sueño de Frida y Diego, and appeared with the Virginia and Oregon Symphonies in Handel’s Messiah. USUO.ORG | (801) 533-NOTE

ARTISTS’ PROFILES — REQUIEM

Austin McWilliams Chorus Director

ustin 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. He began his tenure as Chorus Director & Opera Assistant Conductor at Utah Symphony | Utah Opera with the 2024/25 season. Previously Austin 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 his beloved Fountain Street Church, a non-denominational, non-creedal institution that serves as a venue for heterodox speakers and ideologies. Content in both the rehearsal hall and classroom, Austin has served as the Director of Choral Activities at Aquinas College and as adjunct faculty and opera conductor at Western Michigan University, where he studied with Kimberly Dunn Adams. He is also a faculty member at Missouri Scholars Academy, a governor’s school for gifted high school juniors in his native state.

CHORUS Sopranos Zoe Allen Jenny Andrus Rebekah Barton Stockton Abigail Bendixsen Julia Bigelow Caitlyn Bramble Erin Bramscher Christina Brandt Isabella Carlton Lauren Cartwright Bohannan A. Elizabeth Davis Alexis Dazley Cydnee Barnum Farmer Julie Fleming Kaylynne Fox Olivia Fryer Emelia Hartford Kaily Jacobs Macy Kelson Rachel Kibler Jeanne Lancaster Audrey Meservy Abby Payne-Peterson Claire Phillips Erin Rubin Natalie Sandberg Michaela Shelton

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Cherry Lynn Stewart Margaret Straw Carolyn Talboys-Klassen Shichun Wang Cassie Weintz Lindsay Whitney Altos Maya Allred Christine Anderson MJ Ashton Naomi Bawden Sara Bayler Caite Beck Joan Jensen Bowles Katherine Filipescu Kate Fitzgerald Carrie Froyd Kyra Furman Gabriella Gonzales Erika Gray Jennifer Hancock Annette Jarvis Catherine Jeppsen Angela Keeton Samantha Lange Sylvia Miera-Fisk Camila Ogden-Castro Kate Olsen Brittany Rogers Anastasia Romanovskaya

Jenica Sedgwick Sue Sohm Matthew Tang Jennifer Taylor Maizie Toland Sammie Tollestrup Valerie Wadsworth Ruth Wortley Tenors Stephen Anderson Drake Bennion Geordie Burdick Dyson Ford Orion Gray Brynnen Green Samuel Hancock Timothy Hanna Hayden Höglund Matthew Koster Camden Lawrence Isaac Lee Jeanne Leigh-Goldstein David McMurray David Mitchell Lehi Moran Dale C. Nielsen John Pearce Elijah Powell Jesse Skeen John P. Snow

Scott Tarbet Carl Wadsworth John Woeste Edgar Zuniga Bass Bruce Boyes Colton Butler Richard Butler Kevin DeFord Paul Dixon Jim Hardwick Michael Hurst Stephen Jackson Seth Jensen Thomas Klassen Andrew Luker Tom McFarland Steven McGregor Michael Moyes Vincent Nguyen Ryan Oldroyd Richard Olsen Chris Patch Say-Eow Quah Bryce Robinson Jude Ruelas Jaxson Skeen Carson Smith Philip Snow

HISTORY OF THE MUSIC — REQUIEM

By Jeff Counts

Overture to Die Zauberflöte, K. 620 (The Magic Flute) Duration: 7 minutes.

THE COMPOSER – WOLFGANG AMADEUS MOZART (1756-1791) – Mozart was working simultaneously on the Requiem, the clarinet concerto, his final string quartet and two operas during the incredibly prolific year of 1791, his last on Earth. The drama of these final creations was matched only by that of his actual life and the ill health and mysterious visits of 1791 leant an air of urgency to everything Mozart produced. It was a furious dash to the finish, the finish of an existence cut far too short after 35 brief years. Theories about the cause of Mozart’s demise have varied over the years (rheumatic fever? acute miliary fever or the ridiculous but persistent typo of “military” fever?), but his wife Constanze believed he had simply worked himself to death. She would know. THE HISTORY – Though he started it before La clemenza di Tito, Die Zauberflöte (The Magic Flute) was the last opera Mozart completed. It was an example of the popular dramatic style known as Singspiel (a blend of singing and spoken text) and a crafty intellectual allegory on Mozart’s own Masonic associations and beliefs. The highly unusual plot is essentially the story of a prince and a bird catcher, who must complete a series of magical tests to rescue a princess and banish evil from the world. Mozart would live to see it successfully staged and conducted the premiere performances, but his death just months later would deprive him of knowing how lasting and important the work was meant to become. Three chords begin the overture in direct tribute to the Masonic themes of the opera (three being an important symbolic number). After the mysterious but inexorable introduction, it is a fleet-footed five minutes until the end. Mozart treats us right away to fugue, transformation, delightful instrumental playfulness and an invigorating sense that something special is in store. Right in the middle of this infectious activity are the famous three times three chords, the “dreimalige Akkord,” which not only echo the overture’s opening but clear the air for a brief moment with spectacular effect. It is important to view The Magic Flute not as Mozart’s benediction or farewell to opera but rather as the excited, forward-looking declaration of a young genius in his prime. This is the hopeful music of a man with plans for the future, not the last rites of someone

who felt time slipping and assumed he had said enough. From this perspective, the Overture to The Magic Flute may well be the most rewarding six minutes in music. THE WORLD – Elsewhere in 1791, Methodist Church founder John Wesley died, the element Titanium was discovered, the Brandenburg Gate was completed in Berlin and Thomas Paine’s “Rights of Man” was published in London. THE CONNECTION – The Utah Symphony has performed The Magic Flute Overture countless times. The most recent performances took place in 2018 under the baton of Conner Gray Covington.

Symphony No. 25 in G minor, K. 183 Duration: 24 minutes in four movements.

THE COMPOSER – WOLFGANG AMADEUS MOZART (1756-1791) – Fortunes shifted for the Mozart family in 1771 when their devoted benefactor Archbishop Schrattenbach died. His replacement instituted significant changes to Salzburg’s court music scene in 1772. The new Archbishop Colloredo was a bull in the China shop of the Mozarts’ world. Concerts and masses were shortened, and purely instrumental music was restricted so punitively, Leopold and young Wolfgang traveled to Vienna in search of a better court to serve. Though they were initially unsuccessful, they both knew their days in Salzburg were numbered. The end of an era approaching fitfully for the Mozarts, but Wolfgang did what he always did. He worked. THE HISTORY – Hieronymous von Colloredo had distinct ideas on how masses and other liturgical pieces were to be administered and his new regulations had hard and fast time limits attached to each of them. Mozart was not thrilled with the stopwatch mentality of his new employer, but he did not allow these and other restrictive frustrations to impact his other work, not in terms of quality or quantity. The 1773 trip to Vienna might not have yielded a new job, but there were other benefits to the change of scenery. Perhaps to throw Colloredo off the scent, the Mozarts first visited an old family friend, one Franz Anton Mesmer

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HISTORY OF THE MUSIC — REQUIEM

(yes, the one from whose name the term “mesmerize” is derived) and heard the physician play a recently acquired glass harmonica. “Wolfgang too has played upon it,” his father wrote in a letter, “how I should like to have one!” Also, while in Vienna, and decidedly more germane to this topic, Mozart heard performances of several important works by Haydn. With the sounds of his idol fresh in his ear, Mozart returned home inspired to move fully beyond the elegant, confectionary quality of his early music and into a more serious compositional phase. Mozart was only 17 at the time, but maturity is the thing that shines through most brightly in the two symphonies he wrote back in Salzburg during 1773 and 1774. These sibling creations, Symphony No. 25 and Symphony No. 29, signaled a new interest in drama and emotional complexity for Mozart. This clearly came from Haydn, but the growing formal mastery and creative instrumental choices that underpinned the theatricality were all Wolfgang. Symphony No. 25, known affectionately as the “Little G minor,” was one of only two he would ever write in that dark key. The other was the “Great” No. 40, of course, and No. 25 predicts that work’s fierce emotional forthrightness. THE WORLD – Elsewhere in 1773, the Boston Tea Party occurred in America, the first ship crossing of the Antarctic Circle by James Cook took place and the later-named “Whirlpool Galaxy” was discovered by French astronomer Charles Messier. THE CONNECTION – Symphony No. 25 was last performed by the Utah Symphony in 2018 under the baton of Conner Gray Covington.

Requiem, K. 626 Duration: 47 minutes in fifteen sections. THE COMPOSER – WOLFGANG AMADEUS MOZART (1756-1791) – Mozart was not able to complete his greatest work. His progress on the Requiem was undermined by the busy commission schedule and failing health that marked his final year of life. Other pieces that took up his attention in 1791 were the operas La clemenza di Tito and Die Zauberflöte, the Piano Concerto No. 27, a handful of orchestra dances and couple of organ works. The Requiem was left for last and, by all accounts, Mozart labored unsuccessfully to finish it from his deathbed, often in great agony. That sad image calls up the most provocative

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questions of his biography. Was this suffering really due to illness or was Mozart poisoned? If so, by whom? A bitter rival? The secret commissioner himself? THE HISTORY – If the mystery surrounding the Requiem sounds like grand fiction, it is because most of it is. First things first: Antonio Salieri did not poison Mozart. No one did. The most credible diagnosis of his fatal sickness was rheumatic inflammatory fever, a condition with symptoms very similar to those mentioned in Mozart’s medical history. Another popular myth concerns the shadowy “gray messenger” who called on Mozart to offer the secret Requiem commission. This man was likely no more “sinister” than a lawyer’s clerk under the employ of Count Franz von Walsegg. The name Walsegg, at last, offers us some certainty. He did commission the Requiem in honor of the recently departed Countess and though he did forbid Mozart to attempt to learn his identity, it was not for the reasons popular history would have us assume. It wasn’t about murder. It was about larceny. Walsegg evidently had a penchant for commissioning works in secret so he could present them later as his own. It was a relatively harmless habit, when compared to a poisoning, and his name came to light soon after Mozart’s death anyhow. Still, Mozart’s wife Constanze had to work on Walsegg for nearly a decade to get him to officially credit Mozart. The incomplete score left the Count and Constanze with a dilemma. Who should complete the Requiem? Mozart’s student Süssmayr had specific instructions from the composer about his musical intentions should the worst come to pass, so he took an early stab at fleshing it out. He was certainly not the last. Many scholars have since tried to improve upon that original effort, including Robert Levin (in 1994), who made changes to the orchestration and added the then recently discovered Amen fugue. Interestingly, the shared and sometimes murky authorship of the complete Requiem did not bother Beethoven, who stated “If Mozart did not write the music, then the man who wrote it was a Mozart.” THE WORLD – Elsewhere in 1791, the United States ratified the Bill of Rights, the element Titanium by English mineralogist William Gregor, the London Observer was founded and the Champs de Mars Massacre occurred in Paris. THE CONNECTION – The Mozart Requiem is a popular work. The last Utah Symphony Masterworks presentation came in 2017 under the direction of Thierry Fischer.

SPECIAL EVENT

VIDEO GAMES LIVE TUESDAY, APRIL 22, 2025 / 7:30 PM / MAURICE ABRAVANEL HALL Emmanuel Fratianni, conductor

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ARTIST’S PROFILE — VIDEO GAMES LIVE

Emmanuel Fratianni Conductor

mmanuel Fratianni is a conductor, composer and pianist based in Santa Barbara, California. He is highly regarded as an invaluable team member in music direction for large symphonic multimedia productions and is known for his ability to manage the demands of film sync, musicians, choir, guest artists and audience rapport while never compromising the musical and artistic integrity of the orchestra or production. Emmanuel Fratianni has conducted many prestigious American ensembles including the San Francisco Symphony, Boston Pops, National Symphony Orchestra at the Kennedy Center, Baltimore Symphony, Dallas Symphony, and Utah Symphony among others, including multi-platinum producer “David Foster and Friends” pops/symphonic program. Internationally, Emmanuel has guest conducted the Spanish National Symphony, Royal Scottish National Symphony, Czech National Symphony, Malaysian Symphony Orchestra, National Symphony Orchestra of Chile, and the Beijing Opera and Performing Art Orchestra.

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MUSICIAN SPOTLIGHT — MEET SARAH SCOFIELD

experiences of my career. The sheer joy and connection in that room is something I’ll carry with me forever. Do you have a pre-performance ritual or tradition? Nothing too elaborate—I just make sure I’ve eaten a bit, I’m well-hydrated, and I’ve gotten 8–9 hours of sleep. I do always have gummy bears in my dressing room—ideally Albanese! They give me a quick energy boost, aren’t messy, and help keep performance anxiety dry mouth at bay. If you could perform anywhere in the world, where would it be and why? The Palais Garnier in Paris. It’s one of the most breathtaking opera houses in the world, and it’s where my love of opera truly blossomed as a young person. Performing there would be a dream—not just for its beauty and history, but because it would finally give my extended family, many of whom have never heard me sing live, the chance to be in the audience! ABOUT HER VOICE

Utah Opera mezzo-soprano Resident Artist Utah Opera’s Resident mezzo-soprano sponsored by Charles Boynton ABOUT THE MUSICIAN What first inspired you to become an opera singer? I was in the children’s chorus of Carmen when I was nine or ten, and I remember sitting in the back of the hall during dress rehearsals in complete awe. The way operatic voices work felt like sheer magic to me. I couldn’t believe I could hear the singers as clearly as if they were right next to me— all the way from the top balcony! How did you choose your instrument, or did it choose you? Vocalists don’t really get to pick our instruments. If I could, I’d be a tenor—no question. But in a way, I did choose to be a performer. My grandfather was an incredible violinist, and I remember listening to him practice the same two measures over and over until they were just right. That kind of meditative diligence—learning to love the process—definitely shaped how I approach my performance practice. What’s your favorite memory of being a Resident Artist? Each year, the Resident Artists perform in Access to Music, a concert for specifically for people with disabilities who might not otherwise experience live opera and their families. Without a doubt, performing for that audience as a soloist with the Utah Symphony has been one of the most moving

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What’s something unique about your voice that most people wouldn’t know? When I started my undergraduate degree, I was actually a very high coloratura soprano! I still have an unusually high extension—rivaling some sopranos—but that range isn’t comfortable or sustainable for me. Thankfully, I’ve had brilliant teachers who recognized that just because I had those notes didn’t mean my voice was meant to live there. How long have you been singing, and what drew you to it initially? I’ve been singing my whole life and have always been drawn to music and storytelling. I joined my first choir around age eight—technically too young for the ensemble, but my mom convinced them to let me in… mostly so she could finally have some peace and quiet at home! Do you have a favorite piece of music that really showcases your voice/instrument? One of my favorites for my voice type is “Non più mesta” from Rossini’s La cenerentola. It has everything I love about bel canto—long, lyrical lines, dazzling coloratura—and is sung by my favorite versions of Cinderella in the operatic canon. Can you describe the relationship between you and your voice/instrument in three words? Playful. Cathartic. Occasionally oppositional. (Sorry I know that’s four words)

MUSICIAN SPOTLIGHT — MEET SARAH SCOFIELD

FUN AND PERSONAL If you weren’t an artist, what do you think you’d be doing instead? Marine biology, without a doubt! Both of my parents are plant molecular biologists, and I even worked in an entomology lab when I was younger. I’ve always loved tide pooling and am fascinated by marine bioacoustics—so in another life, I’d probably be studying the sounds of the ocean. What’s a piece of music on your playlist that would surprise people? The entire How to Train Your Dragon soundtrack. If you want to feel extra heroic on your next run, I highly recommend “Test Flight.” Do you have a favorite composer or musical era? I love bel canto opera, especially Rossini. His music is

technically demanding but never frustrating to learn, because it gives me the flexibility to make choices that suit my instrument and my interpretation of the character. It’s always a joy to sing. What’s your go-to comfort food after a long day of rehearsals or performances? In-N-Out, no contest. I always order a Double-Double, protein style. Burgers are probably my favorite food, and after hours under hot stage lights, there’s nothing better than cold, crunchy lettuce and something hearty to refuel. If you could collaborate with any artist (living or not), who would it be and why? Arturo Toscanini. He actually conducted the premiere of La bohème in 1896, and his recordings are some of my favorites. I’d be elated to learn under his baton—and very curious to hear what he’d have to say about my singing.

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UTAH OPERA’S MADAME BUTTERFLY SPONSORS OPERA SEASON SPONSOR

PRESENTING SPONSOR

USUO is deeply grateful to the AHE/CI Trust for providing a significant challenge grant in support of this production and to the donors who rose to the challenge with generous matching funds. PRODUCTION SPONSORS

THE S.J. AND JESSIE E. QUINNEY FOUNDATION & THE JANET QUINNEY LAWSON FOUNDATION PERFORMANCE SPONSORS

FRAN AKITA & CHRISTINE AKITA SULSER HARRIS & AMANDA SIMMONS GEORGE SPECIALE

(MAY 7)

(MAY 9)

CHORUS SPONSOR

CAROLYN TALBOYS-KLASSEN & TOM KLASSEN ADDITIONAL SUPPORT PROVIDED BY:

Alan & Carol Agle Drew Browning Kent & Martha DiFiore Barry Eden Joan Firmage David & Sherrie Gee

Jarvis Family Trust Duncan & Irene Lee Terry & Leah Nagata Stan & Joyce Parrish Diana Peterson Jim & Anna Romano

Dr. Sharon H. Seiner Joanne Shiebler JoAnne L. Shrontz Family Foundation Betty & Steve Suellentrop Jaelee Watanabe

The creation of this production was made possible in part by the generous donation of Lead Sponsors, Sheila and Christopher Cole

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UTAH OPERA Puccini’s

MADAME BUTTERFLY MAY 3 (7:30PM), MAY 5 (7:00PM), MAY 7 (7:00PM), MAY 9 (7:30PM), MAY 11 (2:00PM) JANET QUINNEY LAWSON CAPITOL THEATRE

Composed by Giacomo Puccini with Libretto by Giuseppe Giacosa & Luigi Illica Premiere – February 17, 1904, Milan, La Scala Previously at Utah Opera – 2014, 2008, 2001, 1993, 1986, 1979 Performed in Italian with English Supertitles (Captions)

CAST

(in order of vocal appearance) Lt. Pinkerton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eric Taylor Goro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Martin Bakari Suzuki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nina Yoshida Nelsen Sharpless . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nmon Ford Cio-Cio-San, Madame Butterfly . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hiromi Omura The Imperial Commissioner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rodney Sharp II* The Official Registrar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aaron McKone* The Bonze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zaikuan Song Prince Yamadori . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Nakatani Kate Pinkerton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sarah Scofield* Trouble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . please see insert

ARTISTIC TEAM

Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Benjamin Manis Stage Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matthew Ozawa Associate Stage Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anderson Nunnelley Chorus Director & Assistant Conductor . . . . . . . . . . . . . . . . . . Austin McWilliams Scenic Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . dots Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maiko Matsushima Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Yuki Nakase Link Assistant Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ari Jamieson Wig & Makeup Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kate Casalino Principal Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Anderson Rehearsal Pianist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jie Fang Goh* Fight Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher DuVal Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kathleen Edwards Assistant Stage Managers . . . . . . . . . . . . . . . . . Mickey Acton & Ben Kulwanoski Supertitle Musician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mitchell Atencio A Co-Production of Utah Opera, Cincinnati Opera, Detroit Opera, and Pittsburgh Opera Directed by Matthew Ozawa Scenery Designed by Kimie Nishikawa and dots Costumes Designed by Maiko Matsushima Lighting Designed by Yuki Nakase Link Supertitle Translation created for Cincinnati Opera The performance run time is approximately 2 hours 50 minutes with 1 intermission *Current Resident Artist USUO.ORG | (801) 533-NOTE