USUO-DVMF-2026-ISUUU by Utah Symphony

UPDATE Incoming TABLE of CONTENTS

July 17 – August 15, 2026

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WELCOME

T Steven Brosvik

USUO President & CEO, The O.C. Tanner Chair

Annette W. Jarvis

Chair, USUO Board of Trustees

hank you for joining us for the Deer Valley® Music Festival! This summer, we invite you to immerse yourself in a bold new era of great live music in the mountains with the exceptional musicians of YOUR Utah Symphony | Utah Opera.

We are elated that Utah Symphony Music Director Designate Markus Poschner makes his DVMF debut by launching the festival with two weeks of engaging orchestral music—truly showcasing the outstanding musicians of Utah Symphony at the Snow Park Outdoor Amphitheater in addition to the cherished chamber series at St. Mary’s Catholic Church. Superstar musicians Idina Menzel, Lyle Lovett, and Chris Botti headline concerts with the orchestra featuring hits that made them household names. And, in an innovative first for our festival, the orchestra is joined by Broadway singers for a concert performance of the musical Chicago. Our goal is to reinvigorate the artistic programming of DVMF while sustaining all that you have loved about enjoying live music with friends and family in the incomparable setting of Utah’s Wasatch Mountains! As we look toward the horizon (and our 25th Anniversary Season in 2029), we recognize that growing this world-class artistic endeavor requires cultivation of the deep roots established by the Deer Valley® Music Festival Founders Trust, generously funded by the Prothro Family, the Shiebler Family, and Jim and Susan Swartz. That is why we are thrilled to highlight USUO’s Park City Enhancement Fund, an initiative dedicated to sustaining and expanding the organization’s long-term summer presence in Park City since 1985. The fund helps ensure the continued growth of the Deer Valley® Music Festival through supporting future artistic programming and community engagement. (See page 86 for more information.) Thank you, again, for joining us. Whether you are lounging under the stars savoring great food and music with friends and family at Deer Valley Resort or enjoying a glorious evening of chamber orchestra music in the stunning acoustics of St. Mary’s Catholic Church, we know these are experiences you will remember and treasure for years to come.

Jim Tozer

Co-Chair, DVMF Council

Larry Brownstein

Co-Chair, DVMF Council

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Park City Gallery Stroll

Look for our flags and join us from 6pm – 9pm on the last Friday of every month. The Park City Gallery Association invites you to our monthly Gallery Art Stroll along Historic Main Street and beyond. Held on the last Friday of each month, participating galleries extend a warm welcome, offering captivating exhibitions, refreshments, occasional live music, and the opportunity to connect with fellow art enthusiasts.

— PARK CITY GALLERY ASSOCIATION — parkcitygalleryassociation.com

Create PC • Bret Webster Images • David Beavis Fine Art Gallery MAR • LIK Fine Art • Mangelsen - Images of Nature Gallery • Meyer Gallery Montgomery-Lee Fine Art • Mountain Trails Gallery • Relévant Gallery • Summit Gallery Susan Swartz Studios • Trove Gallery • William Kranstover Fine Art

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MUSICAL MOMENTS AT UTAH SYMPHONY | UTAH OPERA

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Mills Publishing, Inc. 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.

SECURING THE FUTURE OF SUMMER MUSIC IN PARK CITY 86 THANK YOU

MEMORIALS & TRIBUTES

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ACKNOWLEDGMENTS

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CONTENTS

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BEETHOVEN’S NINTH

MOZART’S “JUPITER”

STRAVINSKY’S FIREBIRD SUITE & STRING TRIO “TIME FOR THREE”

MOZART, PROKOFIEV, & MORE

LYLE LOVETT

CHRIS BOTTI

CONTENTS

HAYDN, MENDELSSOHN, & A VIOLA CONCERTO 59

CHICAGO THE MUSICAL IN CONCERT

IDINA MENZEL

BEETHOVEN’S SYMPHONY NO. 7

FAMOUS FILM MUSIC

THE MUSIC OF CELINE DION

82 USUO.ORG | 801-533-NOTE (6683)

TICKETING & PATRON 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), in-person at Abravanel Hall during regular business hours, and through authorized ArtTix sellers. Discounts are available for subscribers, youth (age 18 and younger), groups of 10 or more, educators, and military (with valid ID). Contact Patron Services for assistance. Some exclusions apply.

BOX OFFICE HOURS Maurice Abravanel Hall (Salt Lake City) Monday–Friday (12–6 PM), Saturday* (2–6 PM) *The Utah Symphony box office is only open on Saturdays with a scheduled performance.

Snow Park Outdoor Amphitheater (Park City) Day of show from 5:30 PM through intermission St. Mary’s Catholic Church (Park City) Day of show from 6:30 PM through intermission

ACCESSIBILITY Utah Symphony | Utah Opera is committed to making all of our programs accessible to people with disabilities. Some accommodations include: •

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ASL-interpreted performances upon request

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Braille or large-print programs available by advance request

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Flexible payment options *Signature performances are not eligible for discounts. Deer Valley® Music Festival subscriber benefits are effective through August 15, 2026.

GROUP TICKETS Bring a group of 10 or more to any Utah Symphony | Utah Opera performance and save 20%! Benefits include: •

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We understand that accessibility needs shift. If we should implement or change something, please let us know! Contact our Front of House Director and Accessibility Coordinator Melissa Robison at mrobison@usuo.org or 801-869-9067.

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ST. GEORGE

BLINDS

DRAPES

PARK CITY

SHADES

SHUTTERS

SALT LAKE CITY

MOTORIZATION

THE BOARD OF TRUSTEES ELECTED BOARD Annette W. Jarvis* Chair Judy Moreton* Vice Chair Joanne F. Shiebler* Vice Chair Thomas Wright* Vice Chair Jason Englund* Secretary Steven Brosvik* President & CEO The O.C. Tanner Chair Dr. Stewart E. Barlow Larry Brownstein Paul E. Burdiss

George Cardon-Bystry Gary L. Crocker John D’Arcy* David L. Dee Barry L. Eden* Senator Luz Escamilla Jonathan Freedman Brandon Fugal Marie Gochnour Gardner Dennis H. Hranitzky Stephen Tanner Irish* Thomas N. Jacobson Abigail E. Lowder Derek B. Miller Dr. Dinesh C. Patel Frank R. Pignanelli* Gary B. Porter Jennifer Price-Wallin Shari H. Quinney Miguel R. Rovira Stan Sorensen Aaron Starks

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

Thomas M. Love* David T. Mortensen Scott S. Parker David A. Petersen

Patricia A. Richards* Harris Simmons

Kristen Fletcher Julie Aiken Hansen Richard G. Horne Ronald W. Jibson Dr. Anthony W. Middleton, Jr. Edward Moreton

Marilyn H. Neilson Stanley B. Parrish Marcia Price Jeffrey W. Shields, Esq. E. Jeffery Smith

MUSICIAN REPRESENTATIVES Andrew Keller* Lissa Stolz* EX-OFFICIO REPRESENTATIVES Christina Myers Onstage Ogden Curtis Woodbury Associate Board

LIFETIME BOARD Kem C. Gardner Brian Greeff* Jon Huntsman, Jr. G. Frank Joklik

HONORARY AND TRUSTEES EMERITI Carolyn Abravanel Jesselie B. Anderson Howard S. Clark Geralyn Dreyfous Lisa Eccles Spencer F. Eccles

* Executive Committee Member

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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

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

Hugh Palmer Assistant Concertmaster

BASS* David Yavornitzky Principal

Claude Halter Principal Second

Corbin Johnston** Associate Principal

Evgenia Zharzhavskaya Acting Associate Principal Second

Andrew Keller Edward Merritt Masaru Podgorny~ James Stroup~ Jens Tenbroek Thomas Zera

Karen Wyatt Acting Assistant Principal Second Sara Bauman~ 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~ David Porter Lynn Maxine Rosen# Elina Rubio Barbara Ann Scowcroft Ju Hyung Shin Bonnie Terry Julie Wunderle

VIOLA* Brant Bayless Principal The John C. Kish Chair

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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

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

E-FLAT CLARINET Erin Svoboda-Scott

TIMPANI Micah Harrow~ Acting Principal

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

Eric Hopkins Associate Principal The Theodore & Elizabeth Schmidt Family Foundation Chair

Leon Chodos# Associate Principal

PERCUSSION Keith Carrick Principal

Jennifer Rhodes Acting Associate Principal 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

Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Anna Thompson~ Acting Associate Principal Librarian ORCHESTRA PERSONNEL Ebner Sobalvarro Director of Orchestra Personnel Eric Reichelt Orchestra Personnel Manager

* String Seating Rotates ** On Leave # Sabbatical ~ Substitute Member

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UTAH SYMPHONY | UTAH OPERA STAFF 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 Manager

Farrah Valdez Executive Assistant to the Senior VP & COO SYMPHONY ARTISTIC Kerry Smith Vice President of Artistic Planning Ebner Sobalvarro Director of Orchestra Personnel Eric Reichelt Orchestra Personnel Manager Morgan Moulton Artistic Planning Manager Jessica Rivero Altarriba Assistant Conductor

Guillermo Sanchez Artistic Planning Coordinator & Assistant to the Music Director OPERA ARTISTIC Christopher McBeth Opera Artistic Director

Austin McWilliams Chorus Director & Opera Assistant Conductor Deborah Robertson Principal Coach

Michelle Peterson Director of Production

Ashley Tingey Production Coordinator SYMPHONY OPERATIONS Jen Shark Director of Orchestra Operations Melissa Robison Front of House Director Chip Dance Director of Production Fiona McGowan Operations Manager Sarah Madany Stage Manager

Garrett Vargo Assistant Stage Manager

OPERA TECHNICAL Jason Barroncini Technical Director Kelly Nickle Properties Master

Dusty Terrell Scenic Charge Artist

JR Orr Head Carpenter/Shop Foreman COSTUMES Carol Wood Costume Director

Marcos Ambriz Cutter/Draper & Costume Manager Abby Gehring First Hand

Mallory Goodman Costume Rentals & Collection Manager

Spencer Smith Costume Rentals & Collection Assistant Manager Milivoj Poletan Master Tailor

Kathryn Wieland Assistant Tailor

Julie Porter Crafts Artisan/Milliner Amy Fernelius Lee Sego Stitchers

DEVELOPMENT David Hodges Director of Development Operations & Institutional Giving Garrett Murphy Director of Development

Calli Forsyth Assistant Director of Institutional Sponsorships & Engagement

Katie Swainston Assistant Director of Individual Giving Lisa Poppleton Grants Manager

Ellesse Hargreaves VIP & Sponsorship Benefits Manager Chloe Toyn Development Coordinator

MARKETING & COMMUNICATIONS Meredith Kimball Laing Vice President of Marketing & Communications Amelia England Director of Marketing

Camila Baltazar Communications Manager Emmalee Chastain Marketing Manager

Emma Price Email Marketing Strategist Billy Clouse Graphic Designer

PATRON SERVICES Caitlin Marshall Director of Patron Services Toby Simmons Patron Services Manager

Bev Storrs Sales & Patron Loyalty Manager

Michael Gibson Patron Services Assistant Manager Genevieve Gannon Group Sales Associate

True Moore Annabelle Daniels-Rosenberg Patron Services Specialists Ananda Spike Val Tholen Kjelbi Elassali Tanush Saran Thia Harris Alex Porter Cynthia Jensen Patron Services Associates

ACCOUNTING & INFORMATION TECHNOLOGY Jeffrey Andreasen CFO

Mike Lund Director of Information Technologies Melanie Giles Controller

Dallin Mills Database Manager

Paige LeFay Accounts Payable Specialist EDUCATION & COMMUNITY ENGAGEMENT Ben Kipp Vice President of Education & Community Engagement Kevin Nakatani Opera Education Manager

James Wesson Symphony Education Manager Beth Foley Education Coordinator

Nina Starling Website Manager

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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DEER VALLEY® MUSIC FESTIVAL SERIES SPONSORS

DEER VALLEY® MUSIC FESTIVAL SEASON SPONSOR

SUMMER SYMPHONY SPONSOR

SHIEBLER FAMILY FOUNDATION

SUMMER ENTERTAINMENT SPONSOR

OFFICIAL VEHICLE OF THE UTAH SYMPHONY SUMMER FESTIVAL

CHAMBER SERIES SPONSOR

KENT & MARTHA DIFIORE AND BEANO SOLOMON

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2026 DEER VALLEY ®

MUSIC FESTIVAL

U TA H S Y M P H O N Y | U TA H O P E R A S E A S O N S P O N S O R

MUSICAL MOMENTS AT UTAH SYMPHONY | UTAH OPERA

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MUSICAL MOMENTS AT UTAH SYMPHONY | UTAH OPERA

Blast off! During our Carmina Burana Innovation in Concert: Aerospace Night, guests step into the future with immersive VR astronaut training from Uplift Aerospace.

Oliver the dog takes his rehearsal duties seriously, keeping the fetch game going while his owner, David Robertson, conducts the orchestra nearby.

Gretchen Menn commands the stage during Steven Mackey’s guitar concerto, Aluminum Flowers, in a powerful performance with the Utah Symphony led by David Robertson.

Striking movement and powerful storytelling collide in La traviata as six Utah-based dancers join the cast alongside lead soprano Lydia Katarina and the Utah Opera Chorus for Utah Opera’s visually stunning production.

The audience brings the party to Maurice Abravanel Hall, filling the room with nonstop energy as they dance the Macarena during La Vida Loca: Latin Pop Hits.

Seretta Hart, Alex Mayon, Paul Torrisi, and Jeff Luke take center court to perform the national anthem on their trumpets at a Utah Jazz game.

Andrew Maxfield (piano), Nathan Royal (guitar), and Curtis Woodbury (violin/USUO board of trustees) perform “I Don’t Want to Set the World on Fire” during our Engagement Series for Early to Mid-Career Professionals ahead of Ben Folds’ performance.

Utah Symphony musicians and talented high school students from across the state join forces for an unforgettable Side-by-Side performance led by Markus Poschner at Abravanel Hall.

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MUSIC IN THE MOUNTAINS WITH MARKUS By Julia Lyon

WHEN MARKUS POSCHNER RAISES HIS BATON ON THE STAGE of

Snow Park Outdoor Amphitheater this July, he will be the first Utah Symphony music director in nearly 20 years to conduct at the Deer Valley® Music Festival. Poschner, who will take over full duties as music director in the 2027–28 season, grew up in the Alps—spending time in both Austria and Germany. To him, leading the symphony in the mountains is ideal. “It’s the perfect environment to perform the great masterworks—there’s so much inspiration,” said Poschner. But it’s also the ideal setting for new audiences to discover him. “The Deer Valley® Music Festival gives us a perfect opportunity to get in touch with new audiences, with young audiences, with every part of our society,” he explained. “This aligns with my personal philosophy of what a symphony orchestra should be.” The European conductor will lead three Utah Symphony performances on the Deer Valley stage and one chamber concert at St. Mary’s Catholic Church this summer. At St. Mary’s, light streams through the windows revealing the nature just beyond. Poschner calls it a “magic place.” “You can feel it immediately, these open windows and the view to the mountains,” he said. The excellent acoustics and intimate space provide a unique opportunity for audiences to hear members of the Utah Symphony up close. The audience will also see

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Poschner’s close connection with the musicians as he conducts an evening of Mozart on July 22. After July, Poschner will return to Europe and audiences will have to wait until 2027 to see him again. He returns to Utah to lead the orchestra and Utah Symphony Chorus in Brahms’ Requiem next spring.

WANT TO SEE MARKUS POSCHNER ON THE PODIUM THIS SUMMER? CATCH HIM AT ONE OF THESE FOUR PERFORMANCES:

BEETHOVEN’S NINTH JULY 17 | 8 PM & JULY 18 | 7:30 PM Snow Park Outdoor Amphitheater MOZART’S “JUPITER” & VIOLIN CONCERTO NO. 2 WITH MADELINE ADKINS JULY 22 | 8 PM St. Mary’s Catholic Church STRAVINSKY’S FIREBIRD SUITE & STRING TRIO “TIME FOR THREE” JULY 25 | 7:30 PM Snow Park Outdoor Amphitheater

DEER VALLEY® MUSIC FESTIVAL TRIVIA • The last time a USUO music director conducted at Deer Valley was in 2008 when Keith Lockhart led the orchestra. Lockhart was music director from 1998 to 2009. • He returned to conduct at the festival in 2011 and 2013 as music director emeritus.

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MASTERWORKS EXPLORE MUSIC THAT MOVES YOU

A NIGHT IN ANCIENT GREECE:

RAVEL’S DAPHNIS AND CHLOÉ

SEPT. 25 & 26, 2026 ABRAVANEL HALL

STRAVINSKY’S

FIREBIRD SUITE

NOV. 13 & 14, 2026 ABRAVANEL HALL

DVOŘÁK’S

“NEW WORLD” SYMPHONY FEB. 19 & 20, 2027 ABRAVANEL HALL

MARKUS POSCHNER CONDUCTS

GET YOUR SEASON PACKAGE TODAY Single Tickets on Sale August 3

Season Sponsor

SYMPHONIC DANCES FROM WEST SIDE STORY

JUNE 4 & 5, 2027 ABRAVANEL HALL

...AND MUCH MORE

Masterworks Series Sponsor Utah Symphony | Utah Opera is supported in part by Salt Lake County Arts & Culture as a resident of Maurice Abravanel Hall and the Janet Quinney Lawson Capitol Theatre.

DEER VALLEY RESORT

BEETHOVEN’S NINTH FRIDAY, JULY 17, 2026 / 8:00 PM / SNOW PARK OUTDOOR AMPHITHEATER SATURDAY, JULY 18, 2026 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER

MARKUS POSCHNER, conductor JACQUELYN WAGNER, soprano* CAMILLE SHERMAN, mezzo-soprano* ROBERT STAHLEY, tenor* ZACHARY NELSON, baritone UTAH SYMPHONY CHORUS AUSTIN MCWILLIAMS, chorus director UTAH SYMPHONY

BEETHOVEN

Symphony No. 9 in D minor, Op. 125 “Choral” (60′) I.

Allegro ma non troppo, un poco maestoso

II.

Scherzo: Molto vivace

III.

Adagio molto e cantabile

IV.

Finale: Presto - Allegro assai

PRESENTING SPONSOR

TOM BILLINGS IN LOVING MEMORY OF JUDY BILLINGS

CONCERT SPONSOR

JIM & SUSAN BLAIR

ORCHESTRA SPONSOR

RESTRUCTURE GROUP

*Utah Symphony debut

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ABOUT THE ARTISTS — BEETHOVEN’S NINTH Markus Poschner Conductor

Markus Poschner is Music Director Designate of the Utah Symphony, assuming full duties in the 2027–28 season. In 2025–26, Poschner began 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 previously Chief Conductor of the Orchestra della Svizzera italiana from 2015–2025. Poschner led the orchestra in two International Classical Music Award-winning recordings: the complete Brahms symphonies and a Hindemith/Schnittke recording. 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. After receiving the German Conducting Award and German Record Critics’ Award 2021, Poschner has made regular guest appearances with top orchestras and opera houses around the world. Next season he will make his debut with the Berliner Philharmoniker.

Jacquelyn Wagner Soprano

AMERICAN SOPRANO JACQUELYN WAGNER STUDIED IN NEW YORK AND MICHIGAN. She

began her career as a scholarship holder, then as a member of the ensemble at the Deutsche Oper Berlin. The artist now performs internationally at all major opera houses and concert venues. She has performed in roles such as Leonore in Fidelio, Elsa in Lohengrin, Contessa in Le nozze di Figaro, Marschallin in Der Rosenkavalier, Agathe in Der Freischütz, Donna Anna in Don Giovanni, Elettra in Idomeneo, and the title roles in Arabella, Salome, Norma and Jenůfa, working with conductors such as Myung-whun Chung, Daniele Gatti, Philippe Jordan, Josep Pons, Riccardo Muti, Fabio Luisi, Christian Thielemann and, in future, Tarmo Peltokoski and Kiril Petrenko in Zurich, at La Scala in Milan, the Semperoper in Dresden, the Hamburg State Opera, the Deutsche Oper Berlin, the Liceu in Barcelona, the Teatro Real in Madrid, in Bordeaux, Amsterdam, the Opéra de Paris Bastille, the Zurich Opera House and the Bavarian State Opera, as well as at the Salzburg Easter Festival, the Festival d’Aix en Provence, and the Festival Martina Franca. GUEST ARTISTS SPONSOR

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ABOUT THE ARTISTS — BEETHOVEN’S NINTH Camille Sherman Mezzo-Soprano

THIS SEASON, CAMILLE SHERMAN MAKES HER DEBUT with Opéra de Québec as

Angelina in La Cenerentola and returns to Hessisches Staatstheater Wiesbaden for her second season as an Ensemble Artist, singing Dorabella in Così fan tutte, Hansel in Hänsel und Gretel, Flora in La traviata, and Mother Spring in The Snow Maiden. She also reprises the roles of Mercédès in Carmen and Rosina in Il barbiere di Siviglia. Next season will bring her debut with Utah Opera, as well as a return to Hessisches Staatstheater Wiesbaden. In the 2024–25 season, she joined Hessisches Staatstheater Wiesbaden as an Ensemble Artist, where her assignments included the title role in Offenbach’s Fantasio, Rosina in Il barbiere di Siviglia, Mercédès in Carmen, Marcellina in Le nozze di Figaro, and their Salon Strozzi.

Robert Stahley Tenor

RISING TENOR ROBERT STAHLEY, DESCRIBED AS “A PRODIGIOUSLY TALENTED PERFORMER”

(ReviewSTL), continues to thrill audiences with “his impassioned, soaring tenor” (BroadwayWorld) and bring roles vividly to life on stage where “he tirelessly exudes gravitas and individuality” (parterre box). Highlights of the 2025-26 season include Stahley’s reprisal of the role of Erik in Der fliegende Holländer with the Buffalo Philharmonic, his debut in the role of Don José in Carmen with Dayton Opera, as the tenor soloist in Verdi’s Requiem with the Oakland Symphony, as Sam in Susannah with Opera Omaha, as Cavaradossi in Tosca with the Jacksonville Symphony, and will join the Glyndebourne Festival for the first time to cover the same role. Stahley was awarded second place in the 2024 Pasadena Vocal Competition, first prize in the 2019 Wagner Society of New York Competition, third prize in the 2018 Gerda Lissner Vocal Competition, and first prize in the 2017 Piccolo Vocal Competition

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ABOUT THE ARTISTS — BEETHOVEN’S NINTH Zachary Nelson Baritone

ZACHARY NELSON, A NATIVE OF ANNAPOLIS, MARYLAND, STUDIED VOCAL performance

at The Catholic University of America, subsequently attending the prestigious Academy of Vocal Arts in Philadelphia. The 2025–26 season featured an exciting mix of role debuts and favorites for Nelson. He continues his relationship with the Lyric Opera of Chicago, singing Sharpless in Madama Butterfly, and Pittsburgh Opera as Marcello in La bohème. Nelson also made an anticipated role and house debut as Don Pizarro in Fidelio with Utah Opera. Next season will feature his house and role debut with The Dallas Opera as the Forester in The Cunning Little Vixen, and return to the Lyric Opera of Chicago. Last season, Nelson returned to Lyric Opera of Chicago as Paul in The Listeners and made his debut as the titular Bluebeard in Bluebeard’s Castle with Opera San José.

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 non-denominational, noncreedal 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.

Utah Symphony Chorus

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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 the annual Messiah Sing-In. Singers have performed under the baton of Utah Symphony Music Director Designate Markus Poschner as well as former Music Directors Maurice Abravanel, Varujan Kojian, Joseph Silverstein, Keith Lockhart, and Thierry Fischer. 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.

ABOUT THE ARTISTS — BEETHOVEN’S NINTH

Soprano Cydnee Barnum Farmer Christina Brandt Caitie Bryner A. Elizabeth Davis Julie Fleming Cassie Glazier Kiera Gray Andrea Hale Kaily Jacobs Macy Kelson Rachel Kibler Isabelle Knowles Kate Olsen Natalie Sandberg Sarah Singer Carolyn Talboys-Klassen Hannah VonHatten Jennifer Way Zemp

Alto Caite Beck Emma Chambers Chelsea Cummins Jennifer Dearinger Sylvia Fisk Kate Fitzgerald Kate Garney Dickerman Erika Gray Jennifer Hancock Annette Jarvis Joan Jensen Bowles Raenell Jones Inhye Kang Samantha Lange Jessica Morgan Claire Phillips Belinda Purdum Ruth Rogers Anastasia Romanovskaya Kim Smith Jennifer Taylor Maizie Toland Sammie Tollestrup Margaret Toney Katrina VanTassell Melissa Virgin Kathy Wight

Tenor Drake Bennion Geordie Burdick Holden Deitsch Dyson Ford Garv Gianchetta Orion Gray Samuel Hancock Timothy Hanna Hayden Höglund Nathaniel Kemp Jeanne Leigh-Goldstein Layton Loucks Daniel McDonnall Ken McKell Dale C. Nielsen Zachary Payne Alan Robertson Scott Tarbet Carl Wadsworth John Woeste Edgar Zúñiga

Bass Aaron Asay Olivier Bauer Simon Bruce Boyes Richard Butler Jim Hardwick Derek Hayashi Michael Hurst David O. Johnson Thomas Klassen Ben Lobrot Tom McFarland Trevor McFarland Steven McGregor Richard Olsen Chris Patch Michael Rasmussen Bryce Robinson Bryan Romney Carlos Salazar Kaden Smith Jay Sweet David Wells Phil Wilson Kevin Wolford Bradley Woods

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FILMS IN CONCERT

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ST. MARY’S CATHOLIC CHURCH Mozart’s

“JUPITER” & VIOLIN CONCERTO NO. 2 WITH MADELINE ADKINS WEDNESDAY, JULY 22, 2026 / 8:00 PM / ST. MARY’S CATHOLIC CHURCH MARKUS POSCHNER, conductor MADELINE ADKINS, violin UTAH SYMPHONY

MOZART

Symphony No. 40 in G minor, K. 550 (30′) I.

Molto allegro

II.

Andante

III.

Menuetto: Allegretto - Trio

IV.

Allegro assai

Violin Concerto No. 2 in D Major, K. 211 (23′) I.

Allegro moderato

II.

Andante

III.

Rondeau: Allegro

INTERMISSION

MOZART

Symphony No. 41 in C Major, K. 551 “Jupiter” (33′) I.

Allegro vivace

II.

Andante cantabile

III.

Menuetto: Allegretto - Trio

IV.

Molto allegro

CONCERT SPONSOR

PAT RICHARDS & BILL NICHOLS

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ABOUT THE ARTISTS — “JUPITER” Markus Poschner Conductor

PLEASE SEE MARKUS POSCHNER’S BIO ON PAGE 28.

Madeline Adkins Violin

MADELINE ADKINS JOINED UTAH SYMPHONY | UTAH OPERA AS CONCERTMASTER in 2016.

She served as Associate Concertmaster of the Baltimore Symphony Orchestra from 2005–2016. She performs on the “ex-Chardon” Guadagnini of 1782, graciously loaned by Gabrielle Israelievitch to perpetuate the legacy of her late husband, former Toronto Symphony Concertmaster Jacques Israelievitch. Adkins is Concertmaster of the Grand Teton Music Festival and has served as Guest Concertmaster with the orchestras of Pittsburgh, Cincinnati, São Paulo, Houston, and Hong Kong, among many others. A sought-after soloist, she has appeared with orchestras throughout Europe, Asia, Africa, and 26 U.S. states. Her recording of the complete works for violin and piano by Felix Mendelssohn was released to critical acclaim in 2016. As an educator, Adkins has coached the National Youth Orchestra at Carnegie Hall, the National Orchestral Institute, and the Haitian Orchestra Institute. She completed her studies at the New England Conservatory and the University of North Texas. When not on stage, Adkins is passionate about animal rescue and has fostered over 100 kittens!

65 season

2026 july 2 - august 15

Music Director Sir Donald Runnicles

Renowned maestro. World-class musicians. Unforgettable music in the mountains. 34

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explore season 65

HISTORY OF THE MUSIC — “JUPITER” BY NOEL MORRIS

“[W]e can pore over him, dissect him, marvel or carp at him. But in the end, there remains something that will not be seized. That is why, each time a Mozart work begins… we composers listen with a certain awe and wonder, not unmixed with despair. The wonder we share with everyone; the despair comes from the realization that only this one man at this one moment in musical history could have created works that seem so effortless and so close to perfection.” —Aaron Copland

Key Notes Of his 41 canonical symphonies, Wolfgang Mozart wrote only two in a minor key. The same is true of his 27 piano concertos and his 18 piano sonatas. Symphony No. 40 is a rarity for its intensity and drama, leading early 19th-century listeners to call it “Romantic” music. Mozart wrote all five of his violin concertos as a teenager. The nickname “Jupiter” was not Mozart’s choice. Mozart’s son, Franz Xaver, credited the London promoter Peter Salomon with linking the symphony to the king of the gods. WOLFGANG AMADEUS MOZART

born January 27, 1745, in Salzburg, Austria died December 5, 1791, in Vienna

Symphony No. 40 in G minor

composed in 1788 last performed in full by the Utah Symphony in July 2021 with conductor Conner Gray Covington

The Backstory

When Mozart’s father died on May 28, 1787, one of our links to the past fell silent. The letters between father and son—tortured as they were—provided precious insight into the movements, cares, and work of one of music’s greatest minds. Mozart outlived his father by 4.5 years. During that time, he produced one masterpiece after another, including his last three symphonies (Nos. 39-41), the Clarinet Concerto, “Ave

verum corpus,” Don Giovanni, Così fan tutte, The Magic Flute, and his unfinished Requiem. However, historians fret over gaps in the story without the letters between father and son. 1788 was a trying year. Austria went to war with the Turks, which led to heavy taxes and soaring food prices. The Vienna premiere of Don Giovanni underwhelmed the audience. Mozart’s infant daughter died in June. His wife, Constanze, suffered complications from multiple pregnancies, and they had money problems. “I am at the moment so destitute that I must beg you...to assist me with whatever you can spare,” Mozart wrote to a friend. More than 20 such letters paint a bleak picture, leading some scholars to conclude that the composer was in decline. But the facts tell a different story. In December of 1787, the emperor appointed him Imperial Chamber Composer. In the coming years, Mozart sent Constanze to Baden for extended spa treatments. Their son attended boarding school, and the family kept domestic servants. In September of 1791—weeks before his death— Mozart premiered two operas. One honored the emperor’s coronation in Prague, and the other became an overnight sensation in Vienna (The Magic Flute). In truth, Mozart’s career was not in decline; he was a freelance musician who weathered ups and downs, spent lots of money, and died suddenly at 35.

The Music

Little is known about the symphonies Nos. 39-41. Written in just over two months, they’re dated June 26, July 25, and August 10, 1788. At age 32, Mozart had just three years to live. The early performance history of the last symphonies is uncertain. Because Symphony No. 40 exists in two versions, one with clarinets and one without, he likely added clarinets for a specific performance, possibly TonkünstlerSocietät concerts conducted by Salieri in April of 1791. During his 1973 Norton Lecture Series, Leonard Bernstein described Mozart’s G minor Symphony as “a work of utmost passion, utterly controlled, and of free chromaticism elegantly contained.” With our 21st-century ears, it’s hard to appreciate the radicalism of this music. Mozart is the paragon of classicism; keys and harmonies have specific, inviolable relationships to one another that trigger our perception of tension and resolution. In the G minor Symphony, Mozart pushed that

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HISTORY OF THE MUSIC — “JUPITER” construct to its outer limits without ever compromising its cohesion. In the finale, for example, there’s an eight-bar passage in which he uses every note of the chromatic scale except G, the tonic of the home key of G minor. It’s as though Mozart wanted to show he could do it without going off the rails. And, of course, he did it—marvelously. WOLFGANG AMADEUS MOZART

Violin Concerto No. 2

composed in 1775 last performed in full by the Utah Symphony in March 2002 with conductor Pavel Kogan and violinist Vladimir Spivakov

The Backstory

At one time, Leopold Mozart was among the most respected violinists around. His book on violin technique became the bible for generations of players. He served as deputy Kapellmeister for the Prince-Archbishop of Salzburg and was the father of two famous prodigies including Wolfgang Amadeus Mozart. Serving as dad, teacher, and tour manager, Leopold started both children on keyboard instruments and also taught Wolfgang the violin. Leopold took them on the road, raking in the money, as the kids dazzled nobles and royals across Europe. Wolfgang wrote his first violin piece at age 6; it was published the following year. As he matured, so did his violin writing. He wrote more violin sonatas, and at 13, became concertmaster of the PrinceArchbishop’s chapel orchestra. (The other Mozart prodigy, a daughter named Maria Anna or Nannerl, stepped back from performing, as it was considered improper for ladies.) As the family coffers grew, Leopold guided his child-star’s development, introducing him to the finest composers in Europe. The Mozarts made three Italian tours, including a stay in Milan, so that the 16-year-old Wolfgang could produce his opera, Lucio Silla. When the family returned to Salzburg in 1773, a new Archbishop put an end to the touring, forcing Wolfgang to settle into the life of his hometown, where his friends ranged from high nobility to working class. He wrote his First Violin Concerto later that year.

The Music

In the summertime, Salzburg had a longstanding tradition of roaming bands that performed serenades at different outdoor stops around the city. Salzburg serenades typically consisted of seven or eight movements of light

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entertainment. After his last trip to Milan, the teenage Mozart embedded three-movement violin concertos into his Serenades K. 185 and 203, a nod to the concerto’s ancestral home (Italy). At 19, in 1775, Mozart wrote four violin concertos in short succession. Already, the Violin Concerto No. 2 shows a hallmark of Mozart’s mature instrumental writing. Notice the singing, almost operatic, style of the solo lines in the slow movement. For the violinist, the Concerto No. 2 isn’t technically difficult. But it is terribly tricky to play beautifully. The solo lines are exposed, and it is incumbent upon the player to capture the singing, carefree style in which it was written. Mozart dated the Violin Concerto No. 2 June 14, 1775. Little is known about his motivation for writing his five violin concertos, but he may well have served as concertmaster in the orchestra that premiered them. WOLFGANG AMADEUS MOZART

Symphony No. 41 in C Major “Jupiter” composed in 1788 last performed by the Utah Symphony in April 2021 with conductor Domingo Hindoyan

What to Listen for

Mozart crafted the “Jupiter” Symphony’s finale out of five distinct themes that leap from section to section, until they all converge as a miraculous quintuple fugue at the end.

The Backstory

More than any other composer, Mozart’s music inspires thoughts of the divine. There are many quotes to this effect. Albert Einstein put it this way: “Mozart is the greatest composer of all. Beethoven created his music, but the music of Mozart is of such purity and beauty that one feels he merely found it—that it has always existed as part of the inner beauty of the universe waiting to be revealed.” The “Jupiter” Symphony is a marvel: an expansive and majestic rock of perfection that seems to occupy a realm beyond the messy and tormented mass of humanity. Put this symphony side-by-side with portraits of Mozart wearing powdered wigs, “beautiful clothing, lace, and watch chains,” as George Nissen wrote, one wonders if his feet ever touched the ground.

HISTORY OF THE MUSIC — “JUPITER” In reality, Mozart had a potty mouth. He loved cards, billiards, wine, and women. He spent too much money yet remained devoted to God and family. And this is partly what makes the music so imponderable—this paragon of balance, beauty, and order came from a thoroughly disordered and earthly existence.

The Music

Mozart wrote his last three symphonies in the summer of 1788, but left little information about their genesis. The “Jupiter” Symphony has a curious connection to an earlier work. In the first movement, he inserted a jocular tune from his song “A kiss on her hand.” The text goes: “You are a little dull, my dear Pompeo. Go study the ways of the world.” In this way, the first movement comes together like a scene in an opera. Mozart weaves together two different

characters. The first sounds regal, like a royal, perhaps. The second sounds coarse, like a commoner. The commoner’s music is simple, with a narrow melodic range that cleaves to repeated notes in a taunting fashion. Broadly speaking, the stylistic contrasts point to Mozart’s innate theatricality. The composer of Don Giovanni and The Marriage of Figaro wrote copious amounts of instrumental music that deftly expresses the human condition, much in the style of his operas. With “Jupiter’s” finale, he threw down the gauntlet for all future composers—think of the popular Broadway trick of having two different characters singing simultaneously, each with his own melody. Mozart builds “Jupiter’s” finale using five different melodies, and at the end, piles them on top of one another in a wondrous, rotating heap of counterpoint.

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UTAH OPERA

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ROSSINI’S

CINDERELLA

JANUARY 16–24, 2027 CAPITOL THEATRE

MOZART’S

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MARCH 6–14, 2027 CAPITOL THEATRE

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MASON BATES & MARK CAMPELL’S

THE (R)EVOLUTION OF STEVE JOBS MAY 8–16, 2027 CAPITOL THEATRE

Season Sponsor Utah Symphony | Utah Opera is supported in part by Salt Lake County Arts & Culture as a resident of Maurice Abravanel Hall and the Janet Quinney Lawson Capitol Theatre.

DEER VALLEY RESORT Stravinsky’s

FIREBIRD SUITE & STRING TRIO “TIME FOR THREE” SATURDAY, JULY 25, 2026 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER MARKUS POSCHNER, conductor TIME FOR THREE, string trio UTAH SYMPHONY

KEVIN PUTS

Contact (30′) I.

The Call

II.

Codes (scherzo)

III.

Contact

INTERMISSION

STRAVINSKY

The Firebird Suite (1945 revision) (53′) I.

Introduction and Dance of the Firebird

Pantomime 1 Pas de deux Pantomime 2 Pantomime 3

PRESENTING SPONSOR

II.

Dance of the Princesses

III.

Infernal Dance of King Kastchei

IV.

Berceuse (Lullaby)

Finale

CONCERT SPONSOR

JOHN & JEAN YABLONSKI

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ABOUT THE ARTISTS — FIREBIRD SUITE Markus Poschner Conductor

PLEASE SEE MARKUS POSCHNER’S BIO ON PAGE 28.

Time for Three String Trio

GRAMMY AND EMMY-WINNING ENSEMBLE TIME FOR THREE (TF3) DEFIES CONVENTION and

boundaries, merging classical, Americana, and singer-songwriter traditions into a singular, remarkable sound. Consisting of Ranaan Meyer (double bass, vocals), Nicolas “Nick” Kendall (violin, vocals), and Charles Yang (violin, vocals), TF3 captivates audiences worldwide with their virtuosic playing and insatiable appetite for creativity that expands typical perceptions of a string trio.

GUEST ARTIST SPONSOR

TF3 appears this season with the Philadelphia Orchestra and Marin Alsop, Louisville Orchestra and Teddy Abrams, and St. Louis Symphony and Stéphane Denève. Their repertoire includes their newest commissioned concerto by composer Mason Bates, which received its premiere at Arizona Musicfest, with subsequent performances with San Francisco Symphony and Philadelphia Orchestra at SPAC (Saratoga Performing Arts Center). Time for Three also embarks with mezzo-soprano Joyce DiDonato on a project titled Emily–No Prisoner Be. Written by Kevin Puts and inspired by the vivid and introspective poetry of Emily Dickinson, the project received its world premiere at the Bregenzer Festspiele and will visit Carnegie Hall and other top venues across the U.S. this season. TF3 won a Grammy Award for their album Letters for the Future, released by Deutsche Grammophon and featuring works by Kevin Puts and Jennifer Higdon, both recorded with the Philadelphia Orchestra. Time for Three has enjoyed additional collaborations with Ben Folds, Natasha Bedingfield, Branford Marsalis, Joshua Bell, Jennifer Higdon, Chris Brubeck, William Bolcom, and Arlo Guthrie. Time for Three’s solo shows have been praised for their “joy, mastery, creativity and supreme artistry” (The Strad). Their concert special, Time for Three In Concert, was produced by PBS and earned the trio an Emmy Award. Time for Three’s affinity for creative boundary pushing, commitment to encouraging the next generation of musicians, and relentless pursuit of musical excellence has solidified them as one of the most exceptional groups on the scene today.

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ST. MARY’S CATHOLIC CHURCH

MOZART, PROKOFIEV, & MORE WEDNESDAY, JULY 29, 2026 / 8:00 PM / ST. MARY’S CATHOLIC CHURCH MICAH GLEASON, conductor* UTAH SYMPHONY

MOZART PROKOFIEV

Overture to Don Giovanni (7′) Sinfonietta in A Major, Op. 5 (21′) I.

Allegro giocoso

II.

Andante

III.

Intermezzo: Vivace

IV.

Scherzo: Allegro risoluto

Allegro giocoso

INTERMISSION

LOUISE FARRENC

Symphony No. 3 in G minor, Op. 36 (32′) I.

Adagio – Allegro

II.

Adagio cantabile

III.

Scherzo: Vivace

IV.

Finale: Allegro

*Utah Symphony debut

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ABOUT THE ARTISTS — MOZART, PROKOFIEV, & MORE Micah Gleason Conductor

MICAH GLEASON, AN “EASYGOING YET FIERCELY SKILLED CONDUCTOR AND SINGER” (The

New York Times), graduated from the Curtis Institute of Music as a mentee of Yannick Nézet-Séguin. Gleason was chosen by the Dallas Opera for its renowned Hart Institute for Women Conductors, is a recipient of the 2024 Taki Alsop Conducting Award, and winner of the 2025 American Prize in Conducting. Interdisciplinary collaboration and community building are at the core of Gleason’s music-making. She is curious about the most effective ways to disrupt the stasis and comfort of the modern concert hall; and how artists across disciplines, activists, and researchers can most effectively collaborate. An active symphonic and opera conductor, Gleason has collaborated with notable ensembles including the Iceland Symphony, Symphony of the Americas, San Diego Symphony, Fort Worth Symphony, The Spoleto Festival Orchestra, The Orchestra Now, Carnegie Hall’s National Youth Orchestra, the Dallas Opera Orchestra, and the Curtis Symphony Orchestra; and served as cover conductor for opera productions with Washington National Opera, Opera Philadelphia, and The Glimmerglass Festival.

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HISTORY OF THE MUSIC — MOZART, PROKOFIEV, & MORE BY NOEL MORRIS

Key Notes Sergei Prokofiev wrote his Sinfonietta during his summer vacation at age 18. Louise Farrenc grew up among five generations of sculptors. Against social norms, they encouraged their gifted female relation to pursue a music career. Farrenc’s private teacher, Anton Reicha, was a childhood friend of Beethoven’s, and also taught Hector Berlioz, Franz Liszt, and César Franck.

What to Listen for

Don Giovanni is a masterpiece dramedy telling the story of Don Juan’s last day. The Overture opens with Hellfire, foreshadowing the Don’s final descent. WOLFGANG AMADEUS MOZART

born January 27, 1745, in Salzburg, Austria died December 5, 1791 in Vienna

Overture to Don Giovanni

composed in 1787 premiered in Vienna, in 1787 Last performed by the Utah Symphony in September 2023 with conductor Eduardo Strausser (the opera will be performed in full by the Utah Symphony in March 2027 as part of the Utah Opera season)

The Backstory

As a creature of the theater, Mozart knew how to hit the sweet spot between shock and charm—with the added benefit of knowing his audience. He and Constanze were “central figures in the Viennese beau monde,” according to Maynard Solomon. “Glittering all-night parties were held in their apartment; they were to be seen at the masked balls and carnival festivities.” No doubt, the idea of goosing sensibilities with the tale of a society sex fiend seemed a delicious topic for opera. Mozart’s librettist, Lorenzo Da Ponte, was a notorious libertine. Banished from Venice for “public concubinage” and “abduction of a respectable woman,” the former priest settled in Vienna as imperial court poet. In December of 1786, he and Mozart scored a hit together in Prague with The Marriage of Figaro, which led to a commission for a new opera—Don Giovanni—in the fall.

Mozart’s father died in May of 1787, which must have stirred an avalanche of grief and unresolved feelings. Nevertheless, the composer worked on Don Giovanni throughout the summer and returned to Prague, where he connected with Da Ponte’s friend, Giacomo Casanova (yes, that Casanova), meaning Mozart had plenty of material to work with.

The Music

From the first scene, this “dramma giocoso” or “humorous drama,” as Da Ponte called it, offers an unlikely take on a familiar tale. (Mozart and Da Ponte must have laughed when they decided their Don Juan would have no luck with women over the course of this opera). While the paragon of carnality occupies himself with hopeless pursuits, other characters sing heartrending arias, giving testimony to the thousands of lives ruined. Against this backdrop, the audience enjoys a laugh a minute. In the end, the Don meets an ominous stranger, who opens the gates of Hell—a moment Friedrich Nietzsche described as a “leap out of the wall…shak[ing] the listener to his very intestines.” The orchestra conjures tongues of fire and a yawning crevasse—the same music that kicks off the Overture. Mozart wrote the Overture to Don Giovanni at the last minute, although it’s likely he’d been carrying it around in his head. According to biographer George Nissen (Constanze’s second husband), Mozart pulled an all-nighter. Constanze told him stories to keep him awake, and he finished it in time to hand it to the copyists on the day of the premiere. Mozart’s personal catalog disputes Nissen’s date, suggesting the composer completed the Overture the day before. SERGEI PROKOFIEV

born April 23, 1891, in Sontsovka, Ukraine died March 5, 1953, in Moscow

Sinfonietta

composed in 1909, 1915, and 1929 premiered in Basel, Switzerland, in 1935 Utah Symphony premiere

The Backstory

On the northwestern shore of the Sea of Azov sits the Donetsk region of Ukraine, famous for its resorts, botanical gardens, and parks. Today, it’s a war zone, highly coveted by Vladimir Putin. It’s also the birthplace of Sergei Prokofiev.

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HISTORY OF THE MUSIC — MOZART, PROKOFIEV, & MORE “Seryozha” was 13 when he entered the St. Petersburg Conservatory, but continued to return to his hometown of Sontsovka (now Sontsivka). Emboldened by his exceptional gifts, young Prokofiev proved to be a difficult student; he was independent, irreverent, and determined to ignore rules he didn’t like. He wrote many works for his own instrument, the piano, as well as two symphonies and four operas. Later, he dismissed these works as juvenilia and published nothing written before 1909 (sort of). “Only beginning with some works of late 1909 did he start awarding opus numbers,” wrote biographer Harlow Robinson. “But he did use a good deal of material from these early pieces later in reworked form.”

LOUISE FARRENC

born May 31, 1804, in Paris, France died September 15, 1875, in Paris

Symphony No. 3 composed in 1847 premiered in Paris, in 1849 Utah Symphony premiere

At 18, Prokofiev went home for the summer for the last time in 1909 and found himself at loose ends. Both his parents were away. His childhood friends had scattered, so he filled his time with practicing the piano, composing, and playing chess. According to Harlow, he had nearly 20 games running via correspondence. He also composed the first version of the Sinfonietta, Op. 5.

The Backstory

The Music

The 19th century was a difficult time for ambitious musicians of a certain gender. In affluent households, girls learned to play the piano and sing and were given ample time to develop musical skills, which were then hidden from public view by protective husbands. In those days, it was a way to enjoy music in the home (think of Pride and Prejudice or Emma). But there were few options for the exceptionally talented.

Russian music scholar Gerard McBurney described the Sinfonietta as having a “champagne-like lightness and sparkle, a neo-classical symphony from before the ‘Classical’ Symphony. The 1st, 3rd, and 5th movements all play with the same idea, a dancing tarantella theme that Prokofieff lures into ever more unexpected transformations.” (Traditionally, a tarantella is a frenzied dance from southern Italy, that is said to counteract the poison of a tarantula bite.) Like his “Classical” Symphony, written between 1916 and 1917, the composer shows an affinity for balanced phrases and leaner textures in his Sinfonietta, setting aside the overgrown orchestra of, say, Richard Strauss or Gustav Mahler, in favor of an ensemble used by the 18th-century Austrian Franz Josef Haydn. Later, Prokofiev was dissatisfied with this youthful work and revised it in 1914, 1915, and 1929. For this reason, the Sinfonietta carries two opus numbers: Op. 5/48. With its sunny spirit, Prokofiev came to love the final version and never understood why orchestras embraced the “Classical” Symphony so fully but not this work.

Postscript

Between October 2024 and February 2025, the Sergei Prokofiev Museum in Sontsivka, Donetsk Oblast, sustained

damage from Russian shells. Russian troops looted the museum last September.

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In 1840, Hector Berlioz heard a piece by Louise Farrenc and noted that it was “well written.” He went on to say that it was orchestrated “with a talent rare among women.” Small wonder. The Paris Conservatory barred women from composition classes.

Into this closed society came Louise Farrenc (née Dumont), born in 1804 to a family of visual artists (her father, JacquesEdme Dumont, was a sculptor). She was a gifted child, so her father hired the best instructors available, including the prominent composer-pianist Johann Nepomuk Hummel. At 15, Louise enrolled as a piano student at the Paris Conservatory and took private lessons with the composition professor Anton Reicha. With great determination, Louise Farrenc became a formidable musician. Meanwhile, she fell in love with another student, the flutist Aristide Farrenc, and married him at 17. As recital partners, they toured Europe and returned to Paris to start a music publishing house. Louise continued to perform and, in 1842, won a faculty position at the Conservatory—their only female professor of the entire 19th century. For all her fortitude, Louise Farrenc was humble about her

HISTORY OF THE MUSIC — MOZART, PROKOFIEV, & MORE own compositions, but Aristide pushed her to publish her works. In 1849, her Nonet earned broad acclaim after a premiere headed by the famous violinist Josef Joachim. With the wind in her sails, she presented the Conservatory management with an accounting of faculty compensation and demanded equal pay, which they granted. Gender wasn’t her only uphill battle. During the 1840s, French composers focused on writing music for the theater and for intimate salon concerts. Parisians considered symphonies a German art form. And as such, the Conservatory orchestra devoted itself to Beethoven. When Farrenc produced her First Symphony in 1841, they wouldn’t play it. Persistence paid off when a friend conducted the premiere in Brussels, two years later. Initially skeptical about the piece, he later confessed, “after having

produced such a work, Madame Farrenc has won the right to be placed among the most distinguished composers of the present day.”

The Music

Farrenc wrote her Third Symphony in 1847. After two years, the conservatory orchestra put it on a program alongside Beethoven’s Fifth Symphony. Given the French taste for the German master, Farrenc’s piece follows suit. Her woodwind writing is especially striking. Opening with a plaintive solo oboe, the symphony alternates weighty orchestral textures with a wind ensemble, making for an appealing contrast. Farrenc taught female pianists at the Paris Conservatory for 30 years. The hallowed institution continued to bar women from the composition class until 1870.

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CONTENTS

BEHIND THE SCENES AT DEER VALLEY® MUSIC FESTIVAL By Julia Lyon

“He looked at me and I looked at him and said, ‘You’ve got to take it home,’” Robison recalled. Another patron came carrying a tarantula. Someone else brought two rabbits in a purse. The rabbits, snake, and spider left and the show went on. But most people never realize who—and what—it takes to make music in the mountains happen without a hitch.

Helping Hands

Each DVMF concert relies on 100 volunteers. It’s an extraordinary number, but perhaps not so surprising in Utah, which is known for its culture of volunteering. Those volunteers hail from all over the nation. Some call Park City their summer home. Others live in Utah yearround. They may have discovered the festival as a patron and started to volunteer—only to find volunteering for a few concerts just wasn’t enough. “Most do over 60 hours, because they’re coming to every single show,” Robison explained. Strike Fongeallaz, a retired airline pilot, has been volunteering with DVMF since it began more than 20 years ago. “When they first put out a call for volunteers, I had been a patron of Utah Symphony concerts they occasionally did at Snow Park,” she recalled. “I thought it was a wonderful idea.”

EVERY UTAH SYMPHONY CONCERT HAD A SPECIAL GUEST LAST SUMMER.

No matter who was headlining or what the weather, Thumper showed up. The speckled grey rabbit appeared around 7 PM to greet staff and volunteers working the Deer Valley shows. “He always got backstage passes,” joked Front of House Director Melissa Robison. Bringing the Deer Valley® Music Festival to life for more than two decades has meant more than a few surprises for the people behind the scenes. Robison has helped 10 people propose. She’s witnessed extraordinary kindness during medical emergencies. And she’s seen everything from mattresses to full-size tables show up on the hill.

Now in her 60s, the Park City resident typically volunteers in the reserved section. “I believe all the volunteers are significant,” she said. “The symphony specifically says, ‘We could not do this without volunteer help.’” Depending on the night, volunteers may set up more than 800 chairs—or wipe them down before a concert begins. They may set up signs and answer patron questions. They help in the ticket office, at VIP receptions, with concessions at St. Mary’s Catholic Church, and more. When a patron is in a wheelchair at Snow Park Amphitheater, volunteers are available to help push the individual up the hill.

Not to mention reptiles.

It was, after all, designed for skiing. So Robison designed something for the patrons: a 3D printed wheelchair stop that digs into the ground.

A few years ago, a man brought a nine-foot-long boa constrictor in a pillowcase.

“Wheelchair users can roll right into it,” she said. “We do everything we can to make all our performances accessible.”

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BEHIND THE SCENES AT DEER VALLEY® MUSIC FESTIVAL

Sunshine, Storms, and Oxygen

Another challenge is the weather. Because Deer Valley’s Snow Park is an outdoor venue, any reports of potential storms are taken extremely seriously. “Our biggest concern: is there going to be lighting?” explained Jen Shark, director of orchestra operations. She frequently checks the weather and stays in touch with her Deer Valley colleagues throughout the day. “The weather is always changing quickly up there.” For musicians and artists, a concert day begins in Salt Lake City with a rehearsal at Abravanel Hall. Then, a few hours later, it’s off to Park City where the temperature can fluctuate drastically between mid-day and evening. As the temperature cools, the heaters often go on. The air temperature on stage is checked regularly, but not just to keep musicians comfortable. Some members of the symphony have instruments that are hundreds of years old. “Our job in Operations is to make sure musicians can focus on their job—which is playing,” Shark said. “So they don’t have to worry about anything else.”

“Went to school with her” “Grew up with her” “Knows her brothers” “Went to church with her” “Fed her dog for awhile” “Was her old plastic surgeon” “Knows her cousins” “Saw her in the grocery store once and we chatted” “Grew up with her neighbors” “Listened to her music” “Was their first crush” “Just found out they’re related on Ancestry DNA” The good news? Most fans just bring something for guest artists to sign whether it’s photos, instruments, or old videos. Volunteers and staff create those opportunities whenever they can. After all, many patrons come back summer after summer. As do most of the volunteers, making the Deer Valley® Music Festival something of a reunion—with an incredible soundtrack. “It’s like we’re all part of the symphony family,” Robison said.

The team needs to be ready for any situation, so they carry a bit of everything: safety pins, duct tape, ear plugs, umbrellas, and more. They even have canned oxygen on hand. “Most guest artists have to quickly acclimate to Park City’s 7,000-ft elevation—which definitely takes a toll when you are singing or even just walking around a stage,” Shark said.

Determined Fans

When the guest artist is a Utah celebrity like Marie Osmond, some patrons have surprising reasons why they should be able to go backstage. Symphony staff and volunteers have heard it all.

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Photo Lindsay Salazar

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LYLE LOVETT FRIDAY, JULY 31, 2026 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER JASON SEBER, conductor* LYLE LOVETT, vocalist* UTAH SYMPHONY

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ABOUT THE ARTISTS — LYLE LOVETT Jason Seber Conductor

JASON SEBER IS A CELEBRATED CONDUCTOR KNOWN FOR HIS VERSATILITY LEADING CLASSICAL,

CONDUCTOR SPONSOR

pops, film, and cross-genre programs. He is committed to making orchestral music accessible, relevant, and engaging for diverse audiences nationwide. Seber has conducted many leading American orchestras, including the National, St. Louis, Dallas, Detroit, Houston, San Diego, Baltimore, Kansas City, Colorado, Milwaukee, Nashville, Indianapolis, Oregon, North Carolina, Phoenix, and Fairfax Symphony; the Minnesota and Louisville Orchestra; the Buffalo Philharmonic; and the Cincinnati Pops; among others. He has conducted over 30 full feature films and has had the pleasure of performing with a wide range of artists including Boyz II Men, Melissa Etheridge, Leslie Odom Jr., Trisha Yearwood, Lyle Lovett, Stephen Schwartz, Indigo Girls, Ben Folds, Wynonna Judd, Lindsey Stirling, Violent Femmes, Pink Martini, Natalie Merchant, Renee Elise Goldsberry, Katharine McPhee, Brian Stokes Mitchell, My Morning Jacket, Andrew Bird, Ben Rector, Cody Fry, Patti Austin, Mason Bates, Doc Severinsen, Aoife O’Donovan, Ashley Brown, Susan Egan, and DeVotchKa, among many others. To learn more, please visit www.jasonseber.com.

Lyle Lovett Guest Artist

A SINGER, COMPOSER, AND ACTOR, LYLE LOVETT HAS BROADENED THE DEFINITION of

American music in a career that spans 14 albums. Coupled with his gift for storytelling, the Texas-based musician fuses elements of country, swing, jazz, folk, gospel, and blues in a convention-defying manner that breaks down barriers. Whether touring as a ‘Duo’ or with his ‘Acoustic Group’ or his ‘Large Band,’ Lovett’s live performances show not only the breadth of this Texas legend’s deep talents, but also the diversity of his influences, making him one of the most compelling and captivating musicians in popular music. Since his self-titled debut in 1986, Lyle Lovett has evolved into one of music’s most vibrant and iconic performers. Among his many accolades, besides the four Grammy Awards, he was given the Americana Music Association’s inaugural Trailblazer Award and was named Texas State Musician. GUEST ARTIST SPONSOR

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DEER VALLEY RESORT

CHRIS BOTTI SATURDAY, AUGUST 1, 2026 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER LAWRENCE LOH, conductor CHRIS BOTTI, trumpet UTAH SYMPHONY

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ABOUT THE ARTISTS — CHRIS BOTTI Lawrence Loh Conductor

CONDUCTOR LAWRENCE LOH HAS EARNED A STERLING REPUTATION FOR PERFORMANCES

that engage and thrill audiences throughout the United States. Music Director of the Waco Symphony Orchestra and Conductor Laureate of The Syracuse Orchestra, following his decade-long tenure as its first Music Director (2015– 2025), he has also served as Assistant, Associate, and Resident Conductor of the Pittsburgh Symphony Orchestra, where he remains a regular guest. A passionate advocate for film music, Loh has collaborated frequently with composer John Williams and conducted performances with leading pops artists such as Chris Botti, Ann Hampton Callaway, Jason Alexander, and Idina Menzel. Recent highlights include appearances leading the Atlanta, Baltimore, Buffalo, Calgary, Detroit, Florida, National (D.C.), New Jersey, North Carolina, Rochester, San Francisco, Seattle, and Utah symphonies, as well as performances at Tanglewood, the Bravo! Vail Music Festival, Grant Park Music Festival, Chautauqua Institution, and elsewhere.

Chris Botti Guest Artist

GRAMMY-WINNING TRUMPETER CHRIS BOTTI HAS BEEN ONE OF THE MOST POPULAR

instrumentalists in the world for nearly three decades; he’s collaborated with some of the biggest superstars on the planet, including Sting, Paul Simon, Barbra Streisand, Lady Gaga, Tony Bennett, Frank Sinatra, Aretha Franklin, Bette Midler, Joni Mitchell, Steven Tyler, Andrea Bocelli, Herbie Hancock, Yo-Yo Ma, and others; he’s topped the jazz charts with numerous albums, earned multiple Gold and Platinum records, performed with symphony orchestras and on prestigious stages from Carnegie Hall to the Hollywood Bowl to the Sydney Opera House.

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ST. MARY’S CATHOLIC CHURCH

HAYDN, MENDELSSOHN, & A VIOLA CONCERTO WEDNESDAY, AUGUST 5, 2026 / 8:00 PM / ST. MARY’S CATHOLIC CHURCH MAURICE COHN, conductor BRANT BAYLESS, viola UTAH SYMPHONY

MENDELSSOHN

The Hebrides (11′)

DAI FUJIKURA

Wayfinder (21′) INTERMISSION

HAYDN

Symphony No. 104 in D Major “London” (30′) I.

Adagio – Allegro

II.

Andante

III.

Menuetto and Trio: Allegro

IV.

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ABOUT THE ARTISTS — HAYDN, MENDELSSOHN, & A VIOLA CONCERTO

Maurice Cohn Conductor

ACCLAIMED FOR HIS “DEPTH, MUSICALITY, AND EXPRESSIVE POWER” and for leading

“sensational” performances with “exceptional colours,” Maurice Cohn stands at the forefront of a new generation of American conductors. A three-time recipient of the Solti Foundation U.S. Career Assistance Award, he is currently the 11th Music Director of the West Virginia Symphony Orchestra. Highlights of his 2025–26 season include debuts with the Colorado Symphony Orchestra, New Jersey Symphony Orchestra with TwoSet Violin, Würth Philharmonic with Hélène Grimaud, and Brussels Philharmonic with Alexandra Conunova. He also leads the Dallas Symphony Orchestra in a subscription week featuring Jan Vogler and Chad Hoopes. Recent seasons have seen Cohn in debut engagements with the Filharmonie Bohuslava Martinů, Omaha Symphony, Utah Symphony, and the Syracuse Orchestra. He continues an ongoing relationship with the Colorado Music Festival and maintains a strong presence in contemporary music through collaborations with ensembleNEWSRQ and the Aspen Contemporary Ensemble.

Brant Bayless Viola

BORN IN KANSAS AND RAISED IN PONCA CITY, OKLAHOMA, BRANT BAYLESS came to Utah

after completing his studies in New York City. After early piano lessons and singing in his father’s various church choirs, Bayless started the viola at age 12. Winning the Governor’s Scholarship to Interlochen Arts Camp in 1992 gave him his first glimpse of the musical world outside Oklahoma. After two years at the University of Kansas studying with Michael Kimber, Bayless found his way to New York. Invited to study on scholarship with Pinchas Zukerman and Patinka Kopec at the Manhattan School of Music, Bayless finished his bachelor’s degree in 1997. Bayless joined the Utah Symphony in 2001. With the Utah Symphony he has made regular concerto and concertante appearances, including performances of Bach’s Sixth Brandenburg Concerto, Strauss’ Don Quixote, Takemitsu’s A String Around Autumn, Bruch’s Romance, von Weber’s Andante and Rondo Ungarese, and Mozart’s Sinfonia concertante.

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HISTORY OF THE MUSIC — HAYDN, MENDELSSOHN, & A VIOLA CONCERTO BY NOEL MORRIS

Key Notes All the works on this concert are connected to the British Isles. Japanese composer Dai Fujikura lives in London, while Felix Mendelssohn and Franz Joseph Haydn were favorites of the British royal family. Haydn wrote 12 “London symphonies”; young Mendelssohn wrote The Hebrides after seeing a famous sea cave off the coast of Scotland. London was the largest city in Europe in 1795. Haydn found the crowds shocking and was surprised to be a big fish in that pond, where people stopped him on the streets for his autograph. Felix Mendelssohn was arguably classical music’s greatest prodigy, writing his first masterpieces as a teenager.

FELIX MENDELSSOHN

born February 3, 1809, in Hamburg, Germany died November 4, 1847, in Leipzig

The Hebrides

composed in 1830, 1832 premiered in London in 1833 last performed by the Utah Symphony in August 2024 with conductor David Alan Miller

The Backstory

Once upon a time, a Grand Tour signaled the coming of age for a young gentleman. Following a course through France, Italy, and Germany, the young traveler visited a list of mustsee sites, antiquities, and works of art. But young Felix Mendelssohn was not the typical young traveler. “The boy was born on a lucky day,” said the poet Johann Wolfgang von Goethe. Mendelssohn was just 16 when he composed his first masterpiece. The son of a banker, Mendelssohn received the best instruction available and excelled in literature, languages, geography, math, and drawing. His parents cultivated a home life that was the envy of Europe, a gathering place for famous poets, scientists, writers, musicians, artists, and thinkers in Berlin. The family welcomed a host of celebrities who came and marveled at the two Mendelssohn prodigies (Felix and his

sister, Fanny). These musical siblings held their prestigious guests in rapt amazement. On quieter evenings, the family read aloud, sometimes acting out favorite adventures by Sir Walter Scott. When the 21-year-old Felix embarked upon his Grand Tour, he was already an authority on many of Europe’s treasures and customized his trip accordingly.

The Music

“Next August, I am going to Scotland, with a rake for folksongs, an ear for lovely fragrant countryside, and a heart for the bare legs of the natives,” he wrote to a friend in March 1829. “Klingemann, you must join me; we may lead a merry life!” And they did. On August 8, they boarded the steamer Ben Lomond to sail around the Hebrides (pron. HEH bri DEEZ), an island chain off the northwest coast known for its striking, cathedral-like rock formations, aquamarine waters, and verdant, wind-swept hills. The boys lucked into calm weather and went ashore at Fingal’s Cave. “We were put out in boats and lifted by the hissing sea up the pillar stumps,” wrote Carl Klingemann. “A greener roar of waves never rushed into a stranger cavern—its many pillars making it look like the inside of an immense organ.” The almost man-made-looking rock formations especially impressed young Mendelssohn, who wrote home to Berlin, “In order to make you understand how extraordinarily the Hebrides affected me, the following came into my mind there.” And he wrote 20 bars of music, the opening of The Hebrides. He left further clues about the roiling, haunting atmosphere of the overture in his artwork, which depicts heavy cloud cover and dramatic landscapes rising from misty waters. DAI FUJIKURA

born April 27, 1977, in Osaka, Japan

Wayfinder

composed in 2020 premiered in Nagoya, Japan, in 2024 Utah Symphony premiere

What to Listen for

Dai Fujikura creates colors with the viola that 18th- and 19th-century composers never imagined. In their aesthetic, such sounds were considered ugly. With Fujikura’s use

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HISTORY OF THE MUSIC — HAYDN, MENDELSSOHN, & A VIOLA CONCERTO

of sul tasto (bowing over the fingerboard), the viola accomplishes an eerie, almost anguished effect.

The Backstory

The London-based composer Dai Fujikura is a native of Tokyo, Japan, and has earned a following for his works that use both Western and traditional Japanese instruments. He’s fresh off an acclaimed run of his new opera, The Great Wave, with Scottish Opera, and is the winner of a Silver Lion from the Venice Biennale. Fujikura is Artistic Director of the Born Creative Festival at Tokyo Metropolitan Theatre and the Music Director of the Izumi Sinfonietta Osaka.

The Music

According to the composer, “Wayfinder is a viola concerto inspired by Polynesian wayfinding/star navigation and other indigenous navigational concepts for orienting oneself: using sea swells, wind, the sun, cloud color and shape, and bird migration. It was written for violist Anne Leilehua Lanzilotti. “Just before writing this concerto,” he wrote, “I asked Leilehua what book she was reading and what kind of things she was into. She told me she recently moved back to Hawaiʻi and mentioned a book about wayfinding. Leilehua is a native Hawaiian, and I was curious to find out more about Hawaiian culture and history. “I immediately got inspired by the idea of wayfinding, and I managed to get the book Leilehua was reading in the UK, where I live, and started reading it. “While I was still living in Japan as a small child, I remember going to Hawaiʻi for a family holiday. At the time, obviously, all I knew about Hawaiʻi was that it was a vacation destination. However, in researching this concerto, I approached this new way of observation and response inherent in wayfinding with joyful curiosity. “In most of my concertos, the soloist initiates the musical idea, and the orchestra amplifies, expands, explores, and then returns to the soloist. “For Wayfinder, I aimed to do the opposite. I imagined that all the sounds and notes played by the orchestra were the stars, sea swells, wind, and the sun. The soloist is the one on the boat, navigating her way, guided by the stars and other elements—wayfinding. “The cadenza of this concerto is at the end of the piece.

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The solo viola plays the lyrical passage with extreme sul tasto—bowing almost in the middle of the fingerboard—to create an unusual, unstable but haunting sound.” FRANZ JOSEPH HAYDN

born March 31, 1732, in Rohrau, Austria died May 31, 1809, in Vienna

Symphony No. 104 in D Major “London”

composed in 1795 premiered in London in 1795 last performed by the Utah Symphony in August 2014 with conductor Vladimir Kulenovic

The Backstory

Encyclopedias refer to Franz Joseph Haydn as the “father of the symphony,” which might elicit blank stares and yawns, but the real-life Haydn was a colorful guy. He clawed his way to the top of a harsh and unforgiving world and developed a new art form. In November 1749, when 16-year-old Haydn aged out of the Vienna Boys’ Choir, he found himself on the street. In 1753, he took a job as valet and accompanist to Niccolò Porpora, a famous composer (and abusive boss). Haydn cleaned the man’s shoes in exchange for a place to sleep and some pointers on writing music. Composers of Porpora’s generation wrote three-movement symphonies (sometimes called overtures) lasting ten or fifteen minutes. In Italy, these works summoned chatty opera audiences to their seats before the main event. They didn’t command much attention. Haydn wrote his Symphony No. 1 in 1759 while working for a Bohemian count. The man was a music lover and kept a sixteen-piece orchestra on staff. When Haydn presented his new symphony, the Count’s friends found it enchanting—especially Prince Paul Anton Esterházy, who hired Haydn in 1761. Haydn remained with the Esterházy family for 30 years. Though a servant, he enjoyed lavish facilities, excellent players, and a small but world-class audience. Year after

HISTORY OF THE MUSIC — HAYDN, MENDELSSOHN, & A VIOLA CONCERTO year, the Esterházys drew Europe’s glitterati to a remote estate, and Haydn’s reputation spread by word of mouth. In time, his symphonies grew from light little trifles into the main event. By 1790, Haydn had had enough country life. The isolation got to him, and he complained incessantly to his friends. As luck would have it, his prince died, sadly, leaving the estate to someone who didn’t like music. The new prince furloughed the musicians, and Haydn became a hot ticket.

The Music

On New Year’s Day, 1791, he crossed the English Channel to a hero’s welcome. Londoners treated him like a rock star and flocked to his concerts—the largest audiences he’d ever seen. Staying there for a year, Haydn received an honorary doctoral degree from Oxford University and produced a half-dozen landmark symphonies. He returned to London in the fall of 1795 and went to work on more compositions. This time, the royals pleaded with him to stay forever. Haydn declined their offers but gave Londoners six more watershed symphonies—each a musical wonder in its own right. Symphony No. 104 is the culmination of his work in the genre, combining weight with gravitas. The so-called “London” Symphony requires nearly three times as many players as his First Symphony from 1759, pointing the way to his student, Beethoven. No. 104 has breadth and majesty, yet it lifts the spirit with infectious tunes, including a rollicking Croatian folk song, “Oj Jelena,” in the finale.

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DEER VALLEY RESORT

CHICAGO THE MUSICAL IN CONCERT FRIDAY, AUGUST 7, 2026 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER ROB FISHER, conductor* LEWIS CLEALE, vocalist* DYLIS CROMAN, vocalist* TARI KELLY, vocalist* JOSEPH LONDON, vocalist* EMILY SKINNER, vocalist* MATT SMALLCOMB, percussion JOSEPH THALKEN, piano UTAH SYMPHONY

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*Utah Symphony debut

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ABOUT THE ARTISTS — CHICAGO THE MUSICAL IN CONCERT

Rob Fisher Conductor

ROB FISHER IS AN INTERNATIONALLY RECOGNIZED MUSIC DIRECTOR, CONDUCTOR, and

pianist, and a leading figure in American music and musical theatre. He has been a guest of every major orchestra in the country as conductor or pianist, and has collaborated many times with the San Diego Symphony. With the New York Philharmonic, he conducted the acclaimed concert versions of Carousel (Emmy nomination for Best Music Director) and My Fair Lady, both starring Kelli O’Hara, as well as Mr. Keillor at 70. At Carnegie Hall with the Orchestra of St. Luke’s, he led gala performances of Candide, Guys and Dolls, and The Sound of Music. Fisher was recently represented on Broadway as the score supervisor and arranger for An American in Paris (Grammy nomination) and Anything Goes (Grammy nomination). Additionally, he remains the music supervisor and arranger for Chicago the musical.

Lewis Cleale Vocalist

Lewis Cleale most recently spent 14 years delighting and offending audiences on Broadway as Joseph Smith/Mission President/Jesus (original cast) in The Book of Mormon. His other Broadway credits include Sondheim on Sondheim, Spamalot, Amour, Once Upon a Mattress, and Swinging on a Star, for which he received a Drama Desk nomination. He played opposite Tyne Daly in Call Me Madam for New York City Center Encores!, and his Off-Broadway credits include Time and Again at Manhattan Theatre Club, A New Brain at Lincoln Center, and The Fantasticks. He has toured nationally as Joe Gillis opposite Petula Clark in Sunset Boulevard and as Lt. Cable with Robert Goulet in South Pacific, and he was Sam in the Las Vegas production of Mamma Mia! His TV credits include Elementary and BrainDead, and he’s the voice of Cliff the troll in Disney’s Frozen. Lewis has appeared as a soloist with the LA Philharmonic, as well as the symphonies of Dallas, Kansas City, San Diego, Pittsburgh, Cincinnati, and North Carolina.

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ABOUT THE ARTISTS — CHICAGO THE MUSICAL IN CONCERT

Dylis Croman Vocalist

Dylis Croman started her professional career at the age of 17 in New York City dancing with The Feld Ballets/NY. She most recently starred as Roxie Hart in the Broadway musical Chicago. Other Broadway credits include A Chorus Line (standby Cassie/Sheila), Sweet Charity (u/s Charity), Thou Shalt Not (u/s Thérèse Raquin), Oklahoma!, Fosse (trumpet solo). National tour credits: Movin’ Out (Brenda), Thoroughly Modern Millie, Applause, Chicago. TV/film credits: Smash on NBC, Andrew Daniels on Guiding Light, Fosse (trumpet solo, filmed for PBS Great Performances), as well as many national commercials. Love and gratitude to family and friends. All of this is possible because of you, Mom and Dad. And Annie...I dedicate this journey to you.

Tari Kelly Vocalist

TARI KELLY IS OVERJOYED TO ONCE AGAIN JOIN ROB FISHER AND COMPANY for Chicago

The Musical in Concert. Currently, she can be seen in the Broadway hit Just in Time (OBC) playing Nina Cassotto and others. She is honored to have been a part of eight Broadway shows in total—Mr. Saturday Night starring Billy Crystal (OBC), Groundhog Day (OBC), Something Rotten!, Anything Goes (OBC Roundabout Revival—Reno Sweeney u.s./replacement), The Boy from Oz starring Hugh Jackman (OBC), How the Grinch Stole Christmas (Mama Who), Show Boat (OBC Revival). National tours include: Clue (Mrs. White), Anastasia (Countess Lily), Little Shop of Horrors (Audrey), Show Boat (Ellie), and Beauty and the Beast (Silly Girl). Selected regional credits are: End of the Rainbow (Judy Garland - Henry Award), Thoroughly Modern Millie (Millie - Jeff Nomination), Anything Goes (Reno Sweeney - Carbonell Award). In addition, she can be heard on the original cast recordings of Groundhog Day, Anything Goes, The Boy from Oz, and How the Grinch Stole Christmas. Visit www.TariKelly.com to view her resume as well as links to her various performances!

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ABOUT THE ARTISTS — CHICAGO THE MUSICAL IN CONCERT

Joseph London Vocalist

JOSEPH LONDON IS ELATED TO JOIN ROB FISHER AND THE UTAH SYMPHONY for Chicago

The Musical in Concert. Joseph made his Broadway debut in 2018 as Mary Sunshine in Chicago. He made history a few months later as the first and only actor to play both Mary Sunshine and Amos Hart in the Broadway production, where he is currently the standby to both roles. London was a guest artist and trained at Juilliard Opera Center, with degrees in classical voice from Manhattan School of Music and Roosevelt University: CCPA. London has performed regionally and toured North America in Chicago, Cats, Avenue Q, and Sweeney Todd. His operatic credits include Oberon in A Midsummer Night’s Dream, La Mort in Stravinsky’s Le rossignol, and leading roles in L’incoronazione di Poppea, Agrippina, and Dido and Aeneas. London teaches voice and maintains a private studio in New York City and recently joined the faculty of The Bloomingdale School of Music. For Mom and Dad: you made everything possible and I love you forever.

Emily Skinner Vocalist

BROADWAY: The Cher Show, Prince of Broadway (Outer Critics Circle Award

nomination), Side Show (Tony nomination, Drama League Award), Jekyll & Hyde, The Full Monty, James Joyce’s The Dead, Dinner at Eight (Outer Critics Circle nomination), Billy Elliot (BroadwayWorld Award). NATIONAL TOURS: Ghost Brothers of Darkland County, Billy Elliot, Disney’s On The Record. OFFBROADWAY: Picnic (Transport Group, Drama Desk nomination), My Life With Albertine (Playwrights Horizons), Jerry Springer: The Opera (Carnegie Hall), Fiorello!, No Strings, Pardon My English, A Tree Grows in Brooklyn (all at City Center Encores!); also originated roles at Roundabout Theatre Company, York Theatre, WPA Theatre, Paramount Theatre at Madison Square Gardens. REGIONAL: multiple roles at The Kennedy Center, Signature Theatre, Alliance Theatre, Theatre Under The Stars, Ford’s Theatre, Virginia Rep, Lyric Theatre of Oklahoma, American Conservatory Theatre, Long Wharf, Old Globe, Goodspeed, Bucks County Playhouse, St. Louis MUNY, and many others. She has sung with symphonies internationally and her numerous CD recordings may be found at iTunes and amazon.com.

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ABOUT THE ARTISTS — CHICAGO THE MUSICAL IN CONCERT

Matt Smallcomb Percussion

MATT SMALLCOMB IS CURRENTLY A DRUMMER AND PERCUSSIONIST WITH ALARM WILL SOUND,

a collaborative ensemble at the forefront of contemporary music and “one of the most vital and original ensembles on the American music scene” (The New York Times). With a career spanning new music to theatre and orchestral, Smallcomb has held chairs on Broadway for Cabaret, West Side Story, The Cher Show, and Stephen Sondheim’s final musical, Here We Are, as well as performing in recent productions of Just in Time, Hell’s Kitchen, Sweeney Todd, The Music Man, Funny Girl, Moulin Rouge, Les Misérables, and Miss Saigon, among others.

Smallcomb has also performed with The Metropolitan Opera, Seattle Symphony, Phoenix Symphony, Malaysian Philharmonic, New World Symphony, American Composers Orchestra, Orchestra of St. Luke’s, as well as with leading artists such as Tyondai Braxton, Rashad Becker, The Knights Chamber Orchestra, Regina Carter, Madeski Martin and Wood, Tyshawn Sorey, Wordless Orchestra, King Britt, Novus NY, Betsy Wolf, and Mario Cantone.

Joseph Thalken Piano

JOSEPH THALKEN IS AN AWARD-WINNING COMPOSER, CONDUCTOR, AND PIANIST

whose theatre and concert works have been performed internationally. His ballet, Chasing Home, was recently released by Albany Records, played by the Dallas Chamber Symphony and available on all streaming platforms. He is the composer of the musicals Was, Harold & Maude, Fall of ’94, Borrowed Dust, and Inventions for Piano; and his concert works encompass chamber, choral, orchestral, wind ensemble, and vocal music. He has served as music director and/or arranger for luminaries of Broadway and classical music, including Julie Andrews, Liza Minnelli, Patti LuPone, Bernadette Peters, Renée Fleming, Rebecca Luker, Marin Mazzie, Liz Callaway, Sierra Boggess, Catherine Malfitano, Elizabeth Futral, B. J. Ward, Kristin Chenoweth, Sally Wilfert, Polly Bergen, Faith Prince, Hugh Panaro, Michael Crawford, Howard McGillin, Jason Danieley, Nathan Gunn, Rodney Gilfry, Brian Stokes Mitchell, and many more. He has taught music theatre composition at Yale and is a proud graduate of Northwestern University.

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25 YEARS OF GRAND.

Celebrate in Style.

Indulge in a $300 hotel credit — yours to spend on spa, dining, and the signature experiences that define The Grand America.

DEER VALLEY RESORT

IDINA MENZEL SATURDAY, AUGUST 8, 2026 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER EDWIN OUTWATER, conductor IDINA MENZEL, vocalist*

SELECTIONS TO BE ANNOUNCED FROM THE STAGE.

PRESENTING SPONSOR

CONCERT SPONSOR

ORCHESTRA SPONSOR

*Utah Symphony debut

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ABOUT THE ARTISTS — IDINA MENZEL Edwin Outwater Conductor

EDWIN OUTWATER IS REDEFINING THE CONCERT EXPERIENCE AS A GROUNDBREAKING

conductor, curator, and producer, known for his dynamic approach and genreblending collaborations. Working with a wide range of artists from Metallica to Wynton Marsalis, Renée Fleming, and Yo-Yo Ma, Outwater’s creative vision and ability to seamlessly navigate between musical worlds has made him one of the most sought-after conductors, with the legendary Michael Tilson Thomas aptly describing him as “ one of the most innovative conductors on the scene today.”

CONDUCTOR SPONSOR

Outwater currently serves as Music Director of the San Francisco Conservatory of Music, where he leads their ensembles and oversees the institution’s bold artistic initiatives. In September 2024, he took on an additional role as Principal Guest Conductor and Curator of BBC Concert Orchestra, working closely with the orchestra’s director to deliver an exciting range of concerts, community, and education work over the next three seasons. His legacy as Music Director Laureate of the Kitchener-Waterloo Symphony, where he served from 2007– 2017, remains influential, marked by global recognition through international tours, collaborations, and the critically-acclaimed recording From Here On Out.

Idina Menzel Vocalist

IDINA MENZEL IS A TONY AWARD-WINNING, POWERHOUSE MULTI-HYPHENATE: a singer,

an actress in film and TV, a songwriter, a Broadway star, and a philanthropist. Menzel was among the recipients of the 2023 National Medal of Arts, the highest award given to artists and arts patrons by the federal government, which was presented by President Joe Biden. She rose to fame for her role as Maureen in the popular Broadway musical Rent, and her career took off when she won a Tony Award for her role as Elphaba, the Wicked Witch of the West, in the smash musical Wicked. Her voice can be heard as Elsa in Disney’s Oscar-winning Frozen.

GUEST ARTIST SPONSOR

STEPHEN & MELINA NICOLATUS

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In 2025, Menzel made her return to Broadway to star in Redwood, which she co-conceived with Tina Landau. In a true full circle moment, the show played the Nederlander Theatre, where Menzel made her Broadway debut in Rent. She received a Distinguished Performance Award from the 2025 Drama League Awards for her performance. Philanthropy is also important to Menzel, who co-founded the A BroaderWay Foundation in 2010. The organization is dedicated to offering girls from underserved communities an outlet for self-expression and creativity through arts-centered programs. In 2014, Menzel was recognized as one of Variety’s Power of Women honorees for her work with the organization.

ST. MARY’S CATHOLIC CHURCH Beethoven’s

SYMPHONY NO. 7 WEDNESDAY, AUGUST 12, 2026 / 8:00 PM / ST. MARY’S CATHOLIC CHURCH LOUIS LOHRASEB, conductor* ERICA PETROCELLI, soprano* UTAH SYMPHONY

WAGNER

Siegfried Idyll, WWV 103 (18′)

MOZART “Come scoglio” from Così fan tutte (5′) MENDELSSOHN

Infelice, Op. 94 (10′) INTERMISSION

BEETHOVEN

Symphony No. 7 in A Major, Op. 92 (40′) I.

Poco sostenuto - Vivace

II.

Allegretto

III.

Presto - Assai meno presto

IV.

Allegro con brio

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ABOUT THE ARTISTS — SYMPHONY NO. 7 Louis Lohraseb Conductor

Since his professional debut at the Teatro dell’Opera di Roma in 2019, Louis Lohraseb has quickly established himself as an exciting young conductor on the international stage, with subsequent appearances at the Semperoper Dresden, Los Angeles Opera, Staatsoper Hamburg, and Komische Oper Berlin. Whether in Rossini “imbued with patter perfection” (SF Classical Voice, LA Opera), or in Mozart that “…sighs more clearly than elsewhere… showing pure emotions” (Klassik begeistert, Staatsoper Hamburg), Lohraseb is charting a career grounded in the joyful sharing of tradition and a sincere commitment to musical storytelling. On the heels of his fall 2024 debut (Alcina), Lohraseb returns to Rice University for Die Zauberflöte, and makes his debut with San Diego Opera in Carmen. In summer 2026, Lohraseb makes debuts with Wolf Trap Opera, leading a new production of La Cenerentola, and with Utah Symphony and North Carolina Symphony.

Erica Petrocelli Soprano

American soprano Erica Petrocelli, whom The New York Times recently exclaimed “the vocal standout” as Jitka in Smetana’s Dalibor with Bard SummerScape, returns to Los Angeles Opera in the 2025-26 season as Musetta in La bohème. Other appearances include Marguerite in Faust, a role debut, at Opera Western Reserve in Ohio; a concert with the Utah Symphony at the Deer Valley Music Festival; and the cover of Micaëla in Carmen at The Metropolitan Opera. Next season, she makes her Metropolitan Opera debut, as Karolka in Jenůfa, and returns to LA Opera as Contessa Almaviva in Le nozze di Figaro. Petrocelli’s recent opera credits include Fiordiligi in Così fan tutte and Donna Clara in Zemlinsky’s Der Zwerg, both at LA Opera with James Conlon; Micaëla in Carmen and Pamina in Die Zauberflöte with Opera Theatre of St. Louis; Pamina with the Boston Youth Symphony Orchestra; Donna Anna in Don Giovanni with Sarasota Opera; the title role in Madama Butterfly with the Colorado Springs Symphony; and the title role in Martinů’s Julietta with Bard SummerScape Festival.

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HISTORY OF THE MUSIC — SYMPHONY NO. 7 BY NOEL MORRIS

Key Notes Richard Wagner was a genius at using leitmotifs (themes) to advance the plot of a music drama. With the opera Siegfried on his writing desk, its themes found their way into Siegfried Idyll, including the music for the woodbird and the love duet. Since its premiere in 1813, the Allegretto movement of Beethoven’s Seventh Symphony has engendered arrangements for a wide range of ensembles, including recorder ensemble, harp, piano, accordion duet, electric violin, 10-string guitar, electric guitar, brass choir, flute duet, harmonica, and MIDI bluegrass band. Beethoven conducted the premiere of his Seventh Symphony in 1813 at a benefit concert for wounded soldiers who fought Napoleon’s army at the Battle of Hanau. RICHARD WAGNER

born May 22, 1813, in Leipzig, Germany died February 13, 1883, in Venice

Siegfried Idyll

composed in 1870 premiered in Tribschen, Switzerland, in 1870 last performed by the Utah Symphony in April/May 2021 with conductor Thierry Fischer

The Backstory

On the morning of April 10, 1865, Cosima von Bülow, the wife of the famous conductor Hans von Bülow, gave birth to a baby girl. Two hours later, Hans conducted the first rehearsal of Wagner’s Tristan und Isolde. Hans was so thrilled about the new opera (Wagner was his best friend, after all) that he named the baby girl Isolde after the opera’s heroine. It wasn’t Hans’ baby. Over the course of her first marriage, Cosima had two children with her husband and three with Richard Wagner— all three named after principal characters in his operas.

In 1869, Wagner began work on Act III of his music drama Siegfried. Meanwhile, Cosima gave birth to a baby boy. She and Hans (and Richard) named the boy Siegfried or “Fidi.” In this way, the scandal smoldered for six years until 1870, when Cosima packed up her children and moved into Wagner’s villa in Tribschen, Switzerland. She and her husband dissolved their union, and Cosima and Richard married in August, no doubt to their immense relief.

The Music

On Christmas morning, the day after her birthday, Cosima dozed in their bedchamber overlooking Lake Lucerne when violins disturbed her sleep. “I could no longer imagine myself in a dream, music was sounding, and what music!” Cosima wrote. “After it had died away, R. came in to me with the five children and put into my hands the score of his ‘Symphonic Birthday Greeting.’ I was in tears, but so, too, was the whole household; R. had set up his orchestra [of around 13 players] on the stairs and thus consecrated our Tribschen forever! The Tribschen Idyll—thus the work is called.” For more than six years, the couple withheld their Tribschen Idyll from the public until they needed the cash. In 1877, Wagner published the piece under the name Siegfried Idyll, and beefed up the orchestra to around 25 players. The dedication reads, “Tribschen Idyll with Fidi’s birdsong and the orange sunrise as symphonic birthday greeting. Presented to his Cosima by her Richard.” Fun fact: the young philosopher Friedrich Nietzsche was a houseguest on that Christmas morning in Tribschen and witnessed the performance on the staircase. WOLFGANG AMADEUS MOZART

born January 27, 1745, in Salzburg, Austria died December 5, 1791, in Vienna

“Come scoglio” from Così fan tutte

composed in 1789 premiered in Vienna, in 1790 last performed by the Utah Symphony in March 2015 with conductor Will Crutchfield

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HISTORY OF THE MUSIC — SYMPHONY NO. 7 The Backstory

When people talk about great songwriting duos, the names John Lennon and Paul McCartney often rise to the top. In opera, many would point to Wolfgang Mozart and Lorenzo Da Ponte. Da Ponte was a poet and linguist who lived a life worthy of any opera character. He was born in the Venetian Jewish ghetto (thus the origin of the word “ghetto”). He was ordained as a priest, banished, left a trail of illegitimate children and gambling debts, and eventually taught at Columbia University. Da Ponte became a U.S. citizen at 79 and is buried in Queens, but reached his high-water mark with Mozart, as the librettist of three singular masterpieces: The Marriage of Figaro, Don Giovanni, and Così fan tutte.

The Music

Così fan tutte befuddles English speakers, because that particular title is impossible to translate. It effectively means “women are like that.” No doubt, many 21st-century people would take issue with the premise of the story—but that’s what makes it great theater. In short, two guys swear that their brides-to-be would never cheat. Along comes Don Alfonso, who wagers against the ladies’ virtue. The two young men (quite despicably) disguise themselves and seduce one another’s girl. In this grand farce, a series of people say one thing and do another. That’s exactly where we meet Fiordiligi in “Come scoglio.” She declares herself fiercely and steadfastly faithful to her beloved Guglielmo. But not so much. FELIX MENDELSSOHN

born February 3, 1809, in Hamburg, Germany died November 4, 1847, in Leipzig

Infelice

composed in 1843 premiered in London, in 1843 Utah Symphony premiere

The Backstory

In November 1832, the Philharmonic Society in London paid Mendelssohn 100 guineas for premiere performances of an overture, a symphony, and a vocal piece. Infelice fulfilled the vocal portion of the deal. But Mendelssohn made it personal; he revealed a secret about the Spanish soprano Maria Malibran, who had been scheduled to sing

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the work. With her in mind, Mendelssohn included a solo violin that caresses the vocal lines—a not-so-subtle allusion to her violinist-lover Charles August de Bériot. As it happened, another singer premiered the piece. Malibran and de Bériot married, but tragically, Malibran died shortly after the wedding. Mendelssohn later wrote the violin part out of the aria. Toward the end of the 20th century, the original version resurfaced and is performed here.

The Music

Musically speaking, Infelice follows a common theme in concert arias: a person laments lost love, cycling through sadness and wistful memories. Written in three parts, the work begins with a recitative that advances the plot in a more conversational style. Mendelssohn followed the recitative with a cavatine, in which the singer shares her feelings, followed by the virtuosic cabaletta. LUDWIG VAN BEETHOVEN

born December 1770, in Bonn, Germany died March 26, 1827, in Vienna

Symphony No. 7 in A Major

composed in 1811–1812 premiered in Vienna, in 1813 last performed by the Utah Symphony in January 2024 with conductor David Danzmayr

The Backstory

Not one for understatement, Richard Wagner wrote, “All tumult, all yearning and storming of the heart, become here the blissful insolence of joy, which carries us away with bacchanalian power through the roomy space of nature, through all the streams and seas of life…” Wagner goes on like that—gushing about Beethoven’s Seventh Symphony. He’s not alone. Beethoven is and has been a colossus among composers. His devotees include Franz Schubert, Hector Berlioz, Felix Mendelssohn, Robert and Clara Schumann, Johannes Brahms, Franz Liszt, Gustav Mahler, George Martin, John Adams, John Corigliano, Billy Joel, Alicia Keys, Jon Batiste, and so on.

HISTORY OF THE MUSIC — SYMPHONY NO. 7 The Music

The Seventh Symphony, a piece Wagner called “the apotheosis of the dance,” is miraculous in its bundling of seemingly unlike things: It sounds rustic yet is filled with grandeur. It has an arresting yet insistent, propulsive quality. It spins a magnificent tapestry out of tiny musical fragments. And its “slow” movement (it’s actually marked “Allegretto,” so it’s not that slow) is a positively haunting piece nestled within an otherwise joyful symphony.

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Beethoven had a raft of problems when he wrote the Seventh Symphony. The Napoleonic Wars spawned runaway inflation. He suffered from financial troubles, hearing loss, fevers, a foot infection, and gastrointestinal distress. He also fell into an affair of the heart, which led to heartbreak. But that isn’t the whole story. A friend at the time wrote: “I made the acquaintance of Beethoven and found this reputedly savage and unsociable man to be the most magnificent artist with a heart of gold, a glorious spirit, and a friendly disposition. What he has refused to princes he granted to us at first sight: he played on the fortepiano.”

DOW NTOWN SL C

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hills-kit chen.com

Beethoven worked on the Seventh Symphony between the fall of 1811 and the spring of 1812. Soon after, his inventorfriend Johann Nepomuk Maelzel commissioned music for a gadget called the panharmonicon (a mechanical orchestra/ organ) to celebrate the beginning of the end for Napoleon. The orchestral version of the resulting piece, Wellington’s Victory, premiered alongside the Seventh Symphony during the Congress of Vienna in 1813. The audience went wild. Wellington’s Victory kicked Beethoven to the height of fame, but the searing Allegretto movement of the Seventh Symphony served as runner-up. After what the newspaper described as “a general pleasure that rose to ecstasy,” the orchestra encored the Allegretto. Publishers quickly issued chamber versions of various instruments for home use. During the 1820s, Beethoven’s popularity surged again with a revival of his opera Fidelio. And he remains a defining figure to this day.

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heart h-hil l . co m

same heart. different tables.

25 YEARS OF

Memorable Moments

This summer, it's your turn to celebrate. Enjoy a $300 hotel credit toward the spa, dining, and signature touches that make The Grand America truly grand.

DEER VALLEY RESORT

FAMOUS FILM MUSIC THURSDAY, AUGUST 13, 2026 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER JESSICA RIVERO ALTARRIBA, conductor UTAH SYMPHONY

KLAUS BADELT (ARR. RICKETTS) SCHIFRIN

Suite from Pirates of the Caribbean (6′) Mission Impossible Theme (2′48″)

JOHN WILLIAMS “Across the Stars” from Star Wars: Episode II - Attack of the Clones (5′40″) ALAN MENKEN (ARR. HEALEY)

Orchestral Suite from Hercules (10′)

VANGELIS “Chariots of Fire” (2′15″) LEONARD BERNSTEIN (ARR. PERESS) ELMER BERNSTEIN (ED. RUSS) BRUCE BROUGHTON

Overture to West Side Story (5′) INTERMISSION Suite from The Magnificent Seven (Symphonic Suite) (5′) Themes from Silverado (5′)

JOE HISAISHI “My Neighbor Totoro” (4′) ALAN MENKEN (ARR. TROOB)

Beauty and the Beast Orchestral Suite (8′40″)

PATRICK DOYLE

Harry Potter and the Goblet of Fire Concert Suite (8′30″)

MICHAEL GIACCHINO

Jyn Erso and Hope Suite from Rogue One: A Star Wars Story (5′40″)

JOHN POWELL “Test Drive” from How to Train Your Dragon (3′)

PRESENTING SPONSOR

CONCERT SPONSOR

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ABOUT THE ARTISTS — FAMOUS FILM MUSIC Jessica Rivero Altarriba Conductor

NUANCED INTERPRETATIONS, DYNAMIC ENERGY, AND A CHARISMATIC STAGE PRESENCE are

hallmarks of Cuban conductor Jessica Altarriba. Praised for her communicative skills, impactful performances, and equally vested in both established and wellknown repertoire as well as contemporary compositions, Altarriba currently serves as Assistant Conductor for the Utah Symphony and is a Taki Alsop Fellowship Award Recipient (2024–26). Altarriba is concurrently pursuing her master’s degree in conducting at the Peabody Institute of Johns Hopkins University. Last summer, she participated in the Youth Orchestra Los Angeles National Festival in California, collaborating with LA Philharmonic Artistic Director Gustavo Dudamel, YOLA Artistic Director Gaudy Sanchez, and the YOLA National Team in festival programming and conducting a final concert in collaboration with Dudamel.

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Ruth

A Girl from New York An American Opera in Three Acts

we have no story to tell or song to sing? Watch and listen to the captivating initial scenes that bring this story to life.

Visit williamcall.net/ruth for more info.

DEER VALLEY RESORT

CONTENTS

THE MUSIC OF CELINE DION SATURDAY, AUGUST 15, 2026 / 7:30 PM / SNOW PARK OUTDOOR AMPHITHEATER BRENT HAVENS, conductor OLIVIA VALLI, vocalist* UTAH SYMPHONY

SELECTIONS TO BE ANNOUNCED FROM THE STAGE.

PRESENTING SPONSOR

CONCERT SPONSOR

LODGING SPONSORS

*Utah Symphony debut

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ABOUT THE ARTISTS — THE MUSIC OF CELINE DION Brent Havens Conductor

Berklee-trained arranger/conductor Brent Havens has written music for orchestras, feature films, and virtually every kind of television. His TV work includes movies for networks such as ABC, CBS, and ABC Family Channel Network; commercials; sports music for networks such as ESPN; and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale attended by over 150,000 fans. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic and the BBC Concert Orchestra in London; the CBSO in Birmingham, England; the Malaysian Philharmonic; the Cincinnati Symphony Orchestra; the Minnesota Orchestra; the Pittsburgh Symphony, the Indianapolis Symphony Orchestra; the Houston Symphony; the Atlanta Symphony; the Baltimore Symphony; the Dallas Symphony; the Fort Worth Symphony; the Nashville Symphony; Orchestra of Opera North in Leeds, England; and countless others.

Olivia Valli Vocalist

Olivia Valli grew up singing the songs of Frankie Valli and the Four Seasons. Not only because her family are fans of the chart-topping group, but because her family is Frankie Valli and the Four Seasons. She is honored to be singing songs by one of her biggest musical influences, Celine Dion. A born-and-raised Jersey Girl, Olivia has had the honor of playing Elphaba on the Wicked national tour and standing by for Elphaba on Broadway. Olivia opened the Pretty Woman first national tour alongside Tony Award nominee Adam Pascal, directed by Tony Award winner Jerry Mitchell. Olivia also played her grandmother, Mary Delgado, in Jersey Boys off-Broadway, making her one of the first actors in Broadway history to play a direct relative on stage. Olivia has had numerous sold-out solo concerts at 54 Below in New York City and often participates in concerts to raise money for schools that no longer have funding for the arts across the country.

GUEST ARTIST SPONSOR

JIM & ZIBBY TOZER

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HOW DO WE SUMMER? WITH BEACHES, BERRIES, BABIES, AND MORE! By Julia Lyon

WE ASKED USUO MUSICIANS AND STAFF TO SHARE some of their

summer plans. Did you know they face off in an annual softball game? Last summer, musicians won! Here are other fun plans they shared…

— I’ll be performing with the New Deal Swing Orchestra including a collaboration with the Utah Symphony at Thanksgiving Point June 23—a program of classic Big Band Swing music from the 1930s & 40s. Bring your bobby socks, bow ties, and saddle shoes! My band will also be at the Gallivan Center in downtown Salt Lake City July 28 and September 22, the Covey Center September 4, and the Viridian Center on June 5. I love playing music from this era and seeing everyone get up and dance! Tad Calcara, Principal Clarinet Utah Symphony

— Something we do every summer is go to the Oregon Coast, where we gather with family from Hong Kong, Oregon, Utah, and Washington. It’s the same location that I’ve been going to since I was born. Kevin and I honeymooned there, as did my parents and grandparents! My greatgrandparents were the ones to purchase the original house. As you can imagine, it is rich with history and memories and traditions. It’s a special place. Emily Shumway, Violin (substitute member) and Kevin Shumway, Cello Utah Symphony

— I play with the Mountain West Flute Orchestra, which started in June 2025. We were selected to perform at the National Flute Convention, so this August we’re heading to Portland to represent our state and perform! Then, my husband Jack and I will continue driving down the Oregon Coast until we make it to the Redwoods. Ashley Tingey Production Coordinator Utah Opera

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HOW DO WE SUMMER? WITH BEACHES, BERRIES, BABIES, AND MORE!

— I love to go hiking and try different berries and review them. I do this every summer. These blueberries were on the Cumberland Plateau in southern Tennessee. What do I do with them? I usually just eat the berries by the handful! Deborah Robertson Principal Coach Utah Opera

— With rodeo season kicking off, I am looking forward to another summer working with horses. You would be surprised how much overlap there is between horsemanship and music theory! Toby Simmons Patron Services Manager Utah Symphony | Utah Opera

— I’m spending the summer with my newborn! He loves stroller walks, bath time, and Stravinsky. He’ll be an excellent DVMF volunteer one day. Amelia England Director of Marketing Utah Symphony | Utah Opera

— Every summer, I make a pilgrimage to the Southern California coast, where my biggest decision of the day is whether or not to stay for sunset (hint, it’s always yes!). There’s something about swimming in the ocean and laying out in the sun on the sandy shore afterwards that brings a fullness of joy that I can’t get anywhere else. Even though life took me elsewhere, coming back each year keeps a piece of my childhood alive, and I leave feeling restored. It is also rewarding watching my children discover the same magic I grew up with! Farrah Valdez Executive Assistant to the Senior Vice President & COO Utah Symphony | Utah Opera USUO.ORG | 801-533-NOTE (6683)

SECURING THE FUTURE OF SUMMER MUSIC IN PARK CITY

or more than two decades, the Deer Valley® Music Festival has helped define summer in Park City. What began as a bold vision for a worldclass mountain music festival has become one of Utah’s signature cultural experiences: the Utah Symphony, extraordinary guest artists, and thousands of listeners gathered in one of the most remarkable settings in the American West. That vision did not happen by accident. It was made possible by philanthropic leaders who understood that great cultural institutions are built not only for the present moment, but for generations to come. The Deer Valley® Music Festival Founders Trust, generously funded by the Prothro Family, the Shiebler Family, and Jim and Susan Swartz, established a foundation that has helped sustain the festival and shape its extraordinary growth. Now, as Utah Symphony | Utah Opera looks toward the festival’s 25th Anniversary Season in 2029, we are again standing at a defining moment. Park City is growing. Audiences are growing. The national landscape for summer festivals is more competitive than ever. Major artists and productions are secured years in advance, and expectations surrounding destination cultural experiences continue to rise. For the Deer Valley® Music Festival to remain distinctive, ambitious, and worthy of its extraordinary setting, it must have the permanent financial foundation to match its artistic promise. The Park City Enhancement Fund is designed to meet that moment. This long-term initiative will help sustain and expand USUO’s summer presence in Park City by strengthening support for artistic programming, community engagement, guest artists, production quality, and the overall festival experience. With a permanent endowment, USUO can plan further ahead, act more strategically, and pursue artistic opportunities with confidence. This is more than a fundraising effort. It is an opportunity to ensure that one of Utah’s great cultural traditions becomes a permanent civic legacy. The families who helped establish the festival understood the power of building something that would outlast any single season. The next chapter calls for that same kind of vision: leadership that honors what has been built, recognizes what Park City is becoming, and secures the Deer Valley® Music Festival for the generations who will gather here next. As we look toward 2029, the question before us is not simply how to preserve a beloved summer tradition. It is how boldly we are willing to imagine its future. Garrett Murphy

USUO Director of Development

USUO.ORG | 801-533-NOTE (6683)

THANK YOU DE E R VA LLE Y ® MUS IC FESTI VA L FOUNDE RS

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

Mark & Dianne Prothro Bellecorp Perkins - Prothro Foundation

Bill† & Joanne Shiebler Shiebler Family Foundation

Contributions as of May 6, 2026 * In-kind Gift ** In-kind & Cash Gift † Deceased ~ Designates DVMF sponsor and/ or VIP package supporter

Jim & Susan Swartz Swartz Foundation

MILLE NNIUM ( $ 2 5 0,0 0 0 A ND A BOV E )

Anonymous The Church of Jesus Christ of Latter-day Saints Foundation George S. & Dolores Doré Eccles Foundation Kem & Carolyn Gardner M Charitable Foundation~ Larry H. & Gail Miller Family Foundation O.C. Tanner Company Norman C. & Barbara L. Tanner Second Charitable Trust Jacquelyn Wentz

USUO.ORG | 801-533-NOTE (6683)

THANK YOU E NCORE ( $10 0,0 0 0 – $ 2 4 9, 9 9 9)

Anonymous AHE/CI Trust Estate of Dr. J.R. Baringer Lawrence T. & Janet T. Dee Foundation Marriner S. Eccles Foundation Estate of Eva-Maria Adolphi The Florence J. Gillmor Foundation

Dennis Hranitzky Scott & Jennifer Huntsman Emma Eccles Jones Foundation Frederick Q. Lawson Foundation LOVE Communications** Anthony & Renee Marlon John & Marcia Price Family Foundation

Marcia JS Richards Shiebler Family Foundation~ Beano Solomon Sorenson Legacy Foundation Stowell Leadership Group, LLC* Wheatley Family Charitable Fund Zions Bank Foundation

Kristen Fletcher & Dan McPhun~ The Grand America Hotel & Little America Hotel* Estate of Gordon Irving The John C. Kish Foundation Janet Q. Lawson Foundation Moreton & Company Frederick & Lucy Moreton Charles Maxfield & Gloria F. Parrish Foundation

Mark & Dianne Prothro Patricia A. Richards & William K. Nichols Salt Lake Chamber of Commerce* Harris H. & Amanda P. Simmons Foundation George Speciale Norman C. and Barbara L. Tanner Charitable Trust World Trade Center Utah**

Deer Valley Resort* David & Angela Glenn Goldman Sachs & Co. LLC Brian & Detgen Greeff Ronald and Kaye Gunnell Richard K. & Shirley S. Hemingway Foundation Intermountain Health Intuitive Funding The Kahlert Foundation McCarthey Family Foundation Charles & Pat McEvoy Moreton Family Foundation Jennifer Price-Wallin S.J. & Jessie E. Quinney Foundation

Mr.† and Mrs. Alvin Richer Nathan & Shannon Savage Peggy & Ben Schapiro Theodore and Elizabeth Schmidt Foundation Simmons Family Foundation Diane & Sam Stewart Family Foundation Shane & Stacey Stowell Summit Sotheby’s International Realty The Swartz Foundation~ Taft & Anne Symonds Naoma Tate & the Family of Hal Tate Zibby & Jim Tozer Nora Eccles Treadwell Foundation John & Jean Yablonski~

BR AVO ( $ 5 0,0 0 0 – $ 9 9, 9 9 9)

Anonymous 47G Utah Aerospace & Defense** Doyle Arnold & Anne Glarner Billings Family Fund of Park City Community Foundation~ Judy Brady† & Drew W. Browning Crocker Catalyst Foundation Estate of Dorothy B. Cromer Dr. Kent DiFiore & Dr. Martha Humphrey

OV E RTURE ( $ 2 5 ,0 0 0 – $ 4 9, 9 9 9)

Anonymous (2) Frances Akita & Christine Akita Sulser Scott & Kathie Amann Arnold Machinery Bar & Bar* H. Brent & Bonnie Jean Beesley Jim & Susan Blair~ Bloomfield Family Foundation~ BMW Utah Mr. Charles Boynton Judy & Larry Brownstein Carol Franc Buck Foundation Michael & Vickie Callen Cultural Vision 30 Year Endowment John & Flora D’Arcy

Contributions as of May 6, 2026 * in-kind donation ** in-kind & cash donations † deceased

USUO.ORG | 801-533-NOTE (6683)

THANK YOU M A ESTRO ( $10,0 0 0 – $ 2 4 , 9 9 9)

Anonymous Altabank HJ & BR Barlow Foundation B.W. Bastian Foundation Clisto and Suzanne Beaty Beesley Family Foundation Bertin Family Foundation Steven & Cassandra Brosvik Paul Burdiss R. Harold Burton Foundation The Capital Group Mary Carpenter~ Howard & Betty Clark Larry Clemmensen Mr. & Mrs. Kenneth R. Cutler Marian Davis & David Parker~ Estate of Jeff Drenker Pat & Sherry Duncan Barry L & Traci Eden Sarah Ehrlich Pam & Jonathan Eichner Matthew B. Ellis Foundation Enbridge Gas Carolyn & Craig Enenstein Midge & Tom Farkas The Thomas H & Carolyn L Fey Family Foundation Robert & Elisha Finney~ Brandon & Kristen Fugal

David & Karen Gall Diana George Goldman Sachs Philanthropy Emma Hamilton & Brian Casper Douglas & Connie Hayes Susan & Tom Hodgson Mary P.† & Jerald H. Jacobs Family Stephen C.† and Lynda M. Jacobsen Thomas Jacobson Annette & Joseph Jarvis Joseph & Kathleen Sorenson Legacy Foundation G. Frank & Pamela Joklik KKC Foundation Irene Lee~ Bill Ligety & Cyndi Sharp Matthew Prince & Tatiana Lingos-Webb Prince Millburn Philanthropy Trust Jed Millburn The Millerberg Family Giving Fund Harold W. & Lois Milner Minky Couture** Mountain Living Magazine James & Ann Neal Park City Chamber of Commerce & Visitors Bureau Dr. Dinesh & Kalpana Patel Leslie Peterson & Kevin Higgins

Frank R. Pignanelli & D’Arcy Dixon Pignanelli Walter J. & Peggy Plumb Pura Albert J. Roberts IV James & Anna Romano The Joseph & Evelyn Rosenblatt Charitable Fund Sandefur Schmidt Allison Schuster Jonathan & Marisa Schwartz Gerald† & Sharon Seiner Dewelynn & J. Ryan† Selberg Pamela Slomski Sheryl & James Snarr Mr.† & Mrs. G. B. Stringfellow Thomas & Marilyn Sutton Swire Coca-Cola USA University of Utah Health Utah Valley Chamber of Commerce Brad E. & Linda P. Walton~ WCF Insurance Woodbury Corporation Dr. and Mrs. Harry C. Wong Curtis Woodbury Caroline & Thomas Wright Kathie Zumbro

UTA H SY MPHON Y | UTA H OPE R A I S G R ATE FUL TO THE FOLLOWING G E NE ROUS S PON SORS FOR S UPPORTING THE DE E R VA LLE Y® MUS IC FESTI VA L .

Bronze ($8,000 - $9,999) 4Girls Foundation Diane & Hal Brierley Paula Bronson David Brown Charlotte & Hal Browning Dominion Energy Arts Foundation James Finch Ray & Howard Grossman Rick & Paulette Katzenbach Daniel & Deena Lofgren Alice & Frank Puleo Richard & Carmen Rogers Barbara & Paul Schwartz St. Regis / Deer Crest Club** Mark & Debbie Weinstein

Ambassador ($5,000 – $7,999) Anonymous Marcia Aaron Pam & Paul Apel Anne Daigle & Rich Heyman Michael and Sheila Deputy Susan Dube Karey Dye Carol & Greg Easton Jack & Marianne Ferraro Grandeur Peak Global Advisors Patty Henderson Holland & Hart Sunny & Wes Howell Brian & Nancy Kennedy Jeanne Kimball Allison Kitching

Tom & Janet McDougal Moeller Family Foundation Michael Montgomery Ashton Newhall Promontory Foundation Albert J. Roberts IV Rhett M. Roberts Karyn & Damon Shelly Emily Stewart Barry & Fran Wilson Patron ($3,000 – $4,999) Tina and John Barry Sue Barsamian Nancy Bartmess Alice & Bill Bierer Ann Binder Continued on the next page… USUO.ORG | 801-533-NOTE (6683)

THANK YOU Diane Bok Teresa Bolton Mark & Marcy Casp Blair Childs & Erin Shaffer Dr. Sidney Cole Tracy Collett Sandra & David Cope Cindy Corbin James Cox Rod Cullum Ruth Davidson Lawrence Dickerson & Marcela Donadio Frank & Kathleen Dougherty Karen & Earl Enzer Judith Fader Hans & Nanci Fastre Blake & Linda Fisher Karen Fletcher Shawn & Karin Fojtik Adele & James Forman Dixie & Joseph F. Furlong III Robert & Annie-Lewis Garda Kenneth† & Amy Goodman Sue & Gary Grant Nancy Ann Heaps Whitney & John Higgins William & Michelle Holloway Lisa Jordan Allison D. Keenan Howard & Merele Kosowsky Les Kratter Stan & Susan Levy Robert & Shelly Light Don List Tom & Jamie Love John & Kristine Maclay

Steve & Marion Mahas Keith & Vicki Maio Miriam Mason & Greg Glynnis Karen & Mike McMenomy Clayton McNeel Ellen Mendell MJZR Charitable Trust Glenn & Dav Mosby Thomas & Barbara O’Byrne Arlene and Stephen Pettise James S. & Dyan Pignatelli Lesli Rice & Scott Rice Mitch & Shannon Rice Sandi & Reynold Rice Steven K Richards Lee Rippel Kathryn Rommel Rebecca Roof & Gary Smith Marlin Sandlin Jr Lisa and Joel Shine Roberta Stanley Ray and Ann Steben Marcie & Avy Stein Toni Stein Craig Stuart Gregory Taxin Tim & Judy Terrell Judith & Richard Valliere Grant Lippincott & Donna Walsh Gerard & Sheila Walsh Renee & Dale Waters Stephen & Elizabeth Watson Charles & Ellen Wells Kelly & James Whitcomb Cindy Williams PKW Donor Advised Fund at The Dallas Foundation

Peter and Marilyn Zutty Grass Pass ($2,000 – $2,999) Ryan Aller & Natasja Keys Rebecca Marriott Champion Dave Clark Margarita Donnelly Bruce Woollen VIP for a Night ($1,000 – $1,999) Alan, Carol, and Annie Agle Julietta Bauman-Schreck Charles & Jennifer Beckham Karen Bennett George & Katie Coleman Elana Spitzberg Family Foundation Rick & Patti Fersch Sheila S. Gardner Mauri Hansen Caroline & David Hundley Steven & Christine Knudson Kulynych Family Foundation II, Inc. Stacy Lederer Daniel Loreto Patricia & Mark Lucas Kenny Mizel Natalie & Eric Montague Mountain America Credit Union Nancy Rossman SALTT Daniel and Sari Schachtel Mary & Doug Sinclair Jennifer Stamp Jeff Trocin Vergara Miller Law The Victory Foundation Michael D. Weiner

Utah Symphony | Utah Opera expresses deep gratitude to donors who, since the Deer Valley® Music Festival’s founding, have made it a resounding success through extraordinary generosity. We appreciatively acknowledge cumulative giving in support of USUO and the festival.

$ 5 0 0,0 0 0 +

Diane & Hal Brierley Church of Jesus Christ of Latter-day Saints Foundation Deer Valley Resort** Dominion Energy George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation

USUO.ORG | 801-533-NOTE (6683)

Kem & Carolyn Gardner Marty & Jane† Greenberg LOVE Communications** The Tony & Renee Marlon Charitable Foundation O.C. Tanner Company Perkins-Prothro Foundation / Mark & Dianne Prothro

Patricia A. Richards & William K. Nichols Shiebler Family Foundation / Joanne & Bill Shiebler Sorenson Legacy Foundation The Swartz Foundation / James R. & Susan Swartz The State of Utah Zions Bank Foundation

THANK YOU $ 2 5 0,0 0 0 – $ 4 9 9, 9 9 9

Scott & Kathleen Amann BMW Utah Richard K. & Shirley S. Hemingway Foundation Holland & Hart

Thomas & Lorie Jacobson John C Kish Foundation Montage Deer Valley** Jim† & Marilyn Parke Alice & Frank Puleo

Summit Sotheby’s International Realty Taft & Anne Symonds WCF Mutual Insurance Company

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

Salt Lake County Zoo, Arts & Parks Utah State Board of Education Utah Department of Cultural & Community Engagement

Utah Division of Arts & Museums Utah Office of Tourism Utah State Legislature Summit County RAP Tax

Summit County Restaurant Tax National Endowment for the Arts Salt Lake City Arts Council Orem City CARE Tax

Contributions as of May 6, 2026 * in-kind donation ** in-kind & cash donations † deceased

USUO.ORG | 801-533-NOTE (6683)

MEMORIALS & TRIBUTES Many donors have made gifts to Utah Symphony | Utah Opera in memory or to honor friends and loved ones. Thank you for your generous tributes.

In Memory Of Jack Ashton David Luker Judy Billings Billings Family Fund of Park City Community Foundation Judy Watts Brady Drew W. Browning Gerald Rich (Skip) Daynes James Barthemess Ashby Snow Decker David & Colleen Merrill

Glade & Mardean Peterson Leslie Peterson & Kevin Higgins Wallace Ring, MD. Dr. Harry Wong Gladys Gladstone Rosenberg David Luker Willard & Evelyn Smith Jerilyn McIntyre & W. David Smith Carol Zimmerman Patrick Zimmerman

Dr. Gary F. Larsen The G.F. Larsen Fund

In Honor Of Camila Baltazar Arthur J. Levy

Charles William Huebner James & Elizabeth Cobb

Paige Lowe & Stephen Irish Michelle Robin Stewart

Maxine, Frank & Joel McIntyre Jerilyn McIntyre & W. David Smith

Steve Hogan Barry L. Eden

Ruzena (Rose) Novak Eva Novak

Warren K. (Sandy) McOmber Virginia McOmber

AS SOCI ATE BOA RD

A dynamic group of young professionals, the Associate Board partners with Utah Symphony | Utah Opera to shape the future of live music. They bring fresh ideas, cultivate philanthropy, and strengthen connections between USUO and the community. Contact Katie Swainston at kswainston@usuo.org for more information about becoming involved. Curtis Woodbury, chair Kylee Dickamore Hillary Marquardson Jeff Pickett Rayanne Riepl Stephen Tracy

USUO.ORG | 801-533-NOTE (6683)

LEGACY GIVING Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being and stability of USUO, and through its annual earnings, supports our Annual Fund. For further information, please contact us at 801-869-9001.

Anonymous Edward R. Ashwood & Candice A. Johnson Gael Benson C. Comstock Clayton Foundation Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation Thomas D. Dee III & Dr. Candace Dee Hearst Foundation Estate of John Henkels Roger & Susan Horn Carolyn T. Irish Revocable Trust Estate of Marilyn Lindsay The Right Reverend Carolyn Tanner Irish† and Mr. Frederick Quinn Loretta M. Kearns† Vicki McGregor Edward Moreton Estate of Pauline C. Pace The Linda & Don Price Guest Artist Fund Perkins-Prothro Foundation Kenneth† & Jerrie Randall The Joseph and Evelyn Rosenblatt Charitable Fund Bill† & Joanne Shiebler Steven P. Sondrop Family Trust James R. & Susan Swartz Clark L. Tanner Foundation Norman C. & Barbara L. Tanner Charitable Trust Norman C. & Barbara L. Tanner Second Charitable Trust O.C. Tanner Company Estate of Frederic & Marilyn Wagner Jack & Mary Lois Wheatley Family Trust Edward & Marelynn† Zipser

Contributions as of May 6, 2026 † deceased

USUO.ORG | 801-533-NOTE (6683)

DVMF COUNCIL

Jim Tozer

Larry Brownstein Co-Chairs Scott Amann

Tony Marlon

Beth Armstrong

Robin Marrouche

Hal Brierley

Pat McEvoy

Tom Billings

Judy Brownstein

Charles McEvoy Dan McPhun

Carolyn Enenstein

Michal & Maureen Mekjian

Lynn Fey

Lois Milner

Craig Enenstein

Kristen Fletcher Tom Jacobson

Hal Milner

Mark Prothro

Ben Schapiro

Paulette Katzenbach

Joanne Shiebler

Irene Lee

Susan Swartz

Bill Ligety

Howard Wallack

Duncan Lee

Michael Liess Renee Marlon

Jim Swartz

Zibby Tozer

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

USUO.ORG | 801-533-NOTE (6683)

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

TANNER SOCIETY OF UTAH SYMPHONY Beethoven Circle (gifts valued at more than $100,000) Anonymous [3] Doyle Arnold & Anne Glarner Edward R. Ashwood & Candice A. Johnson Dr. J.R. Baringer† Dr. Melissa J. Bentley Marcy & Mark Casp Shelly Coburn

Raymond & Diana Compton John & Flora D’Arcy Jeff Drenker† Anne C. Ewers Annette W. & Joseph Q. Jarvis Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis

Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane Miner Pieter and Janice Mensink Glenn Prestwich Kenneth A.† & Jeraldine S. Randall Marcia JS Richards

Barbara Hartman† Richard G. & Shauna† Horne Virginia A. Hughes Gordon Irving† Herbert C.† & Wilma Livsey Dianne May Jerry & Marcia McClain

Dr. Louis & Deborah Moench Jim & Andrea Naccarato Stephen H. & Mary Nichols Craig S. Ogan Mr. & Mrs.† Scott Parker Mr. & Mrs.† Michael A. Pazzi

Mahler Circle Anonymous [3] Dr. Robert H.† & Marianne Harding Burgoyne Richard Clegg Mr. & Mrs. Kenneth E. Coombs Dorothy B. Cromer† Robert & Carolee Harmon

CRESCENDO SOCIETY OF UTAH OPERA Anonymous Judy Brady† & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Richard Clegg Shelly Coburn Travis & Jamie Donio Anne C. Ewers Joseph & Pat Gartman

Gordon Irving† Annette W. & Joseph Q. Jarvis Edward R. Ashwood & Candice A. Johnson Herbert C.† & Wilma Livsey Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin

Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Laura Scholl Jeffrey W. Shields G.B.† & B.F. Stringfellow Dr. Ralph & Judith Vander Heide Edward J. & Marelynn† Zipser

USUO.ORG | 801-533-NOTE (6683)

IMAGINE SITTING IN 1/3 OF A SEAT— THAT’S WHAT YOUR TICKET COVERS

The remaining 2/3 comes from generous supporters like you. With ticket sales covering roughly 30% of the cost of our performances, your contribution helps complete the experience. Here’s how you can help:

One-Time Gift

DonorAdvised Fund

Monthly Giving

Qualified Charitable Distribution

USUO.ORG | 801-533-NOTE (6683) 96 FIND OUT MORE | usuo.org/ways-to-give | 801-869-9200

Stock Gift

PARTNER WITH A PLAYER “When I was young, I dreamed about becoming a professional horn player. I attended Eastman School of Music, but realized there was little chance of a female brass player being hired by a major orchestra. Today, I can be part of the Utah Symphony horn section through financial support, adding my name to the principal horn chair. My childhood dream is now realized in a different way.” -Marci Richards Foster a unique connection with the individual behind the music while supporting the Symphony’s commitment to excellence.

LEARN MORE by contacting Garrett Murphy, Director of Development gmurphy@usuo.org

LEAVE A LEGACY

MAKE A PLANNED GIFT Make a lasting impact while meeting your financial goals today. Including Utah Symphony | Utah Opera in your will is simple, often taxadvantageous, and helps ensure the power of music touches lives for generations to come. To learn more, please reach out to your financial advisor or contact us at: 801-869-9200 usuo.org/planned-giving

USUO.ORG | 801-533-NOTE (6683)

ACKNOWLEDGMENTS

UTAH SYMPHONY | UTAH OPERA 123 W. South Temple Salt Lake City, UT 84101 801-533-5626 EDITORS Julia Lyon & Camila Baltazar LIBERTY PRESS libertypress.com 1180 North Mountain Springs Parkway Springville, Utah 801-853-5353 AUDITING AND ACCOUNTING SERVICES PROVIDED BY Tanner, llc LEGAL REPRESENTATION PROVIDED BY Greenberg Traurig, llp Parsons Behle & Latimer, llp ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY Love Communications, Salt Lake City The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief. Maurice Abravanel Hall and and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.

USUO.ORG | 801-533-NOTE (6683)

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