What to Pack in Your Deer Valley Music Festival Picnic Basket

People enjoying a picnicThis summer will be filled with sun, songs, and snacks for us! One of the best parts of the Deer Valley Music Festival is enjoying tasty snacks while listening to live music. Do you know what you’re going to put in your picnic basket? If not, we’ve got you covered. Here are our top picks for local purveyors who pack some punch to whet your festival foodie appetite.

Cremenelli Fine Meats

Creminelli family legend alleges that they’ve been crafting meats in Italy since before the 1800s, but it was Master Artisan owner and founder Cristiano Creminelli who brought that age-old tradition to Utah. With that kind of history and dedication to their craft, you’d better believe that their artisanal charcuterie products are good! They have great on-the-go options which will fit perfectly in your DVMF picnic basket.

Beehive Cheese Co.

If you’re looking for the perfect thing to pair with your meat plate, Beehive Cheese Co. has just the thing for you. Since 2005, brothers-in-law Tim Welsh and Pat Ford have perfected unique, award-winning offerings like the Barely Buzzed which is hand rubbed with espresso and lavender, and the Hatch Chile with a sweet spicy kick, all made in their Northern Utah facility.

Red Bicycle Breadworks

You can’t have a meat and cheese plate without good bread to go with it. Since you’re already in Park City for the Deer Valley Music Festival, stop by The Market for their “crack bread” that has a buttered popcorn flavor from olive oil and sea salt.

The Chocolate Conspiracy

Top your basket off with a little dessert! The Chocolate Conspiracy offers sweet treats for the true chocolate enthusiast. Load up on candy bars, truffles and more.

Garwood’s Ginger Beer

If you’re feeling adventurous, wash down your concert snacks with local Salt Lake-produced Garwood’s Ginger Beer. They are a “symphony in a bottle” according to the owners, so it’s a perfect pairing for your concert experience. You can buy these tart, non-alcoholic drinks at places all over the valley like Liberty Heights Fresh, The Hive Winery, and Harmons.

Now that you have your snacks planned, which concerts are you going to?

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A Budding Conductor’s Insights on the National Youth Orchestra of the USA

When I tell anyone that I want to become a conductor-composer (along the lines of Salonen/Pintscher/Adès), I receive a variety of mixed reactions that range from enthusiasm and pleasant surprise to blatant cynicism, standoffishness, distaste, or general confusion.  Even blanker are the stares when I try to explain a student conductor’s study and audition process, such as the one which I undertook to apply for one of the two conducting apprenticeships offered by the National Youth Orchestra of the USA, a position for which I ended up being selected.  So, when Beverly asked me to write an article about receiving the “appointment”, I jumped at the chance to enlighten the readers of the Youth Guild Newsletter about the profession with which some of them may someday be intimately connected as professional musicians and which so inspires (and intimidates!) me.

NYO-USA is unique in many ways.  The idea was taken from Leopold Stokowski’s original, ill-fated attempt to bring together an All-American Youth Orchestra (1940-42) in order to foster and inculcate the exponential growth of America’s output of talented young professionals with which to fill the concert halls of the world.  Though the original NYO only lasted a few years, it has become increasingly clear that the re-vamped version, launched in 2013, is here to stay.  The admirable goal of the organization – which is formed yearly by audition to rehearse and tour for five weeks every summer with a different guest conductor and guest artist – is to create and simulate the experience of a professional orchestra, a goal which has been exceeded and expanded by the addition in recent years of non-instrumental roles for six students selected from around the country: an Apprentice Librarian, an Apprentice Orchestra Manager, two Apprentice Conductors (that’s me!), and two Apprentice Composers.

This summer, not only will I be able to represent Salt Lake City, USUO, and my teachers in New York and at Carnegie Hall, but also abroad in Latin America, sharing glorious music with the extremely talented student musicians of the entire “New World”, and being an ambassador for the creative, problem-solving, cooperative, and musical capabilities of the young people of the United States.   The orchestra is led this year by BSO Music Director and all-around genius/hero/role model Marin Alsop, conductor and professor James Ross, and contemporary composer Gabriela Lena Frank.  I will also be assisting and learning from Giancarlo Guerrero of the Nashville Symphony in the NYO2, an offshoot orchestra designed to provide opportunities for kids underrepresented in the world of classical music.  The repertoire is extensive, exciting, and crucial for developing one’s career, including Mahler’s 1st, Adams’ Short Ride in a Fast Machine, Stravinsky’s Firebird Suite (1919), Copland’s Billy the Kid Suite, and of course a commission by Frank.

But the age-old saying about how one gets to Carnegie Hall is not wrong; this incredible opportunity was afforded me by hard work, lots of practicing, much coaching from my teachers Rei Hotoda, Yuki MacQueen, and Devin Maxwell, almost 200 audition takes, and a bit of luck (now is a good time to be a young woman interested a conducting career).  The recorded audition itself was intensive and exhaustive, but rewarding and positive in that it did not require unrealistic previous experience or extensive podium time.  In fact, it encouraged applicants without any experience, tabulae rasae, if you will.  The whole point of the program is to provide an extremely rare conducting opportunity for an underserved age group.  So instead of requiring 10-20 minutes of recorded performances with professional orchestras demonstrating a wide repertoire, as many programs for young conductors do, the audition tapes were just me and my unlovely voice, as well as an invisible and only slightly imaginary hundred-piece orchestra crammed into my living room, which my parents helped me convert into a makeshift studio for the month of December.  In addition to simultaneously conducting and singing (!) three excerpts from Mahler 1, the audition also required a short solo and orchestral excerpt on my instrument (violin), two video essays and a written biography, and multiple recommendations.  Once I was notified of my position as a finalist in late January, I then had a phone interview with the two directors of Artist Training Programs at Carnegie Hall.  The ten or so days before my notification were tense and seemed much longer than their 240 hours!

As I will be in the youngest age group permitted into the orchestra this year, and have actually very little if no conducting experience, I can honestly say that I did not expect anything to come of my application.  I took it as mere motivation to actually just knuckle down and start conducting, as a process from which to discover my weaknesses and strengths more than anything else.  And even though I have gained the best possible outcome from the experience, I know that even if I had not won the apprenticeship, I still would have learned so much in such a short period of time.  The audition process itself was a much-needed boost of confidence and knowledge; I am extremely excited to study, learn, grow, and bring back to Utah the knowledge and experience I gain this summer.

 

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Utah Symphony | Utah Opera: Making world-class music accessible to all children in Utah regardless of distance or demographic

Julie Edwards, the Utah Symphony’s violist said, “you never know who you will touch in one of our performances. I was also once a student hearing a string quartet in a school concert for the first time.” Those first interactions, especially for talented musicians waiting to be exposed to the right instrument or right sounds, can be the inspiration that creates some of the greatest musicians of our time and is what helps continue the valuable appreciation for the classical arts. Utah Symphony | Utah Opera’s outreach to K-12 schools across the state—a program which constitute nearly a third of all programming for USUO, continues that tradition through live orchestra and opera performances for students.

Utah Symphony Associate Conductor Rei Hotoda sits with students following a concert

What is a unique achievement from the part of the Utah Symphony | Utah Opera is the outreach not only to urban schools but to every school across Utah, even in the most rural areas. Ongoing funding for this education program from the state legislature is “critical,” according to teacher Michael McDonald, from Eureka, Utah: “We have a really small community with high poverty rates and minimal access to fine arts and so it’s really amazing that the symphony can make it out here for a concert and have personal time with the kids.” In 2016, there were also many free symphony and opera performances for community members in areas including Richfield, Ephraim, Randolph, Moab and Monticello.

Regardless of distance or demographic, USUO’s arts outreach to schools provides opportunities for Utahns to be exposed to world-class music without having to pay or travel. “These kids would never otherwise have these opportunities in these areas. It just isn’t going to happen,” McDonald said. The USUO education program also provides many unique opportunities for students to learn more about music and to grow as artists themselves, including personal instruction before or after school concerts through “Musicians in the Classroom,” “Masterclasses” with visiting world-class guest artists, and many other programs. For budding musicians, opportunities to perform in Abravanel Hall with the Utah Symphony are also available through “Salute to Youth” and “All-Star Evening” annual concerts.

USUO’s history of arts outreach to schools goes back to the days before Utah Symphony’s merger with Utah Opera when Music Director Maurice Abravanel inaugurated the first dedicated arts outreach to schools, performing as many school concerts as possible across the intermountain west. Abravanel later became the principal advocate for the Professional Outreach Programs in the Schools (POPS) funding from the Utah State Legislature. Because of this program, Utah Symphony still gives school performances but now they are able to reach every school district in the state (on 3 year cycles) including rural communities, performing more than 40 in-school concerts and 10 5th grade concerts in Abravanel Hall, serving more than 60,000 students per year, including those in small communities. Utah Opera’s five resident artists also travel to school districts on a yearly basis with opera programs. Sara Coit, Utah Opera Resident Artist said, “A couple months ago we went to this school where there were only five kids but they were so enthusiastic and fun! And knowing they may never have this experience otherwise is special for us too.”

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Maurice Abravanel’s Legacy: Passion for access to the arts and Utah Symphony’s outreach to local and rural schools

The fascinating life and remarkable legacy of Maurice Abravanel has left a permanent mark on the music community in Utah. After an immensely successful early career conducting around the world and becoming the youngest conductor ever hired by New York’s Metropolitan Opera at the age of 33, Abravanel, offered the opportunity to “have his own symphony,” took the position as Music Director of the very little known Utah Symphony, a group of part-time local musicians. But he saw the potential and turned his 1 year contract into more than 30 years of impassioned service from 1947 to 1979.

Abravanel said, “I feel that some of my greatest musical experiences with the symphony were in high school gymnasiums.”

During his tenure with the Utah Symphony, Abravanel created a world-renowned, professional orchestra—one of only 15 in the United States that presently sustain a full-time symphony. What is less known about his service was that he was also a champion for the greater community of the arts in Utah, particularly for schoolchildren. Maurice Abravanel cared deeply for his adopted home in Utah and “he got to know the community beautifully,” according to symphony violinist, Frances Darger. Abravanel inaugurated Utah’s first dedicated arts outreach to schools, performing as many school concerts as possible across the intermountain west, garnering enough interest to be featured in the New York Times for his education outreach. This love for the community and belief in the inspiration that music can bring to children motivated him to become the principal advocate for the Professional Outreach Programs in the Schools (POPS) funding from the Utah State Legislature in 1975, with assistance from Senator Haven Barlow—the longest serving legislator in Utah history. Overtime, POPS grew to include funding for the Utah Opera, Ballet West, Utah Shakespeare Festival and others to provide outreach to Utah schools.  Currently, because of these efforts, up to 400,000 K-12 students each year, have access to world-class performing arts to enrich their lives and education. Because of this program, Utah Symphony still gives school performances but now they are able to reach every school district in the state (on 3 year cycles), performing more than 40 in-school concerts per year as well as 10 concerts for 5th graders in Abravanel Hall each spring.

Michael McDonald, theatre teacher and district arts coordinator in Eureka, Utah, expressed great appreciation and need for the program: “We have a really small community with high poverty rates and minimal access to fine arts and so it’s amazing that they can make it out here for a concert and have time with the kids.” Symphony concerts in rural areas will often also welcome the community to attend the performance at the school, or do an additional evening performance to include all community members.

The many advocates for the POPS outreach program and Utah Symphony | Utah Opera over the years include Senator Margaret Dayton who has tirelessly advocated for the arts, Utah Symphony and the POPS program; Senator Haven Barlow’s son, Representative Stewart Barlow, who has continued his father’s passion for service and making the arts accessible; as well as Representative Patrice Arent.

Arent recalls her experiences with Abravanel, who was part of her Jewish community growing up: “He loved to talk to younger people, like me, about music and what the symphony was doing—his enthusiasm was incredibly contagious.” Abravanel’s insistence that “every concert was the most important concert,” according to cellist Bonnie Mangold, was what created that accessibility for children that he loved providing in concerts. A lot of the students found it difficult to understand his accent, but he enjoyed the performances immensely. He once said to symphony flutist Ralph Gochnour: “I feel that some of my greatest musical experiences with the symphony were in high school gymnasiums.” Current Utah Symphony trumpeter Jeff Luke comments after 13 years performing concerts in schools: “I think these performances were significant to Maestro Abravanel, as they are to me, because the kids are so appreciative. Many of them literally have never heard classical music before. They are happy to participate with us when it comes to clapping rhythms, or even dancing with the music, and they always give us an enthusiastic standing ovation at the end of the concert. We know we have made a difference and that feels good.”

Representative Arent has also visited schools as a legislator for a variety of POPS concerts: “I can watch them become quiet and attentive when the program starts and they start to get excited about Shakespeare or Mozart for the first time. It’s just thrilling to be there.” Likewise Senator Margaret Dayton shares her experience living in rural Carbon County: “It was a highlight for the community to have the Symphony perform at Carbon High School on a regular basis.  [It] created culturally enhancing opportunities that many rural citizens would not otherwise have. Truly the citizens of our state are blessed and benefitted by the Utah Symphony.”

Utah Symphony Associate Conductor Rei Hotoda sits with students following a concert

Abravanel’s goals for his symphony and for music included that not only should music be performed in an emotional and connective way but also that it has the capacity to change lives. Craig Fineshriber, the principal percussionist in the orchestra for nine years during Abravanel’s tenure, recalled working with Abravanel on a difficult piece when the Maestro said “’We need to work harder on this part. Let’s make it beautiful. Not because you are musicians, but because you are human beings.’ And that’s the way he looked at it,” Fineshriber remarked, “Being a great musician or being a great anything makes you a better human being, and that’s what it’s about. That’s what art is about.” The tradition of sharing the life-changing power of music continues for generations of school children who have benefited not only from the beauty of music but of the personal development that it can nurture. Michael McDonald comments on his school’s recent visit from the Symphony and the individual time symphony members spent in the classroom:  “This year was the best time we’ve ever had with the symphony. It was so personal. It gave the kids a view into the path of person who has become a successful person, not just as a musician but as a member of society.”

While the prestige that Maestro Abravanel almost single-handedly created for the Utah Symphony would have been more than enough to create a prominent legacy, his passion for music and the arts brought him to desire that all people could access it and be inspired by it as he was. The breadth and depth of arts outreach provided by the POPS program, which also funds ongoing Utah Symphony outreach, stretches this legendary conductor’s legacy for generations beyond his own time.

You can learn more about Utah Symphony | Utah Opera educational opportunities and resources available by visiting usuoeducation.org.

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USUO Family Spotlight: The Lyon Family

Kara and Blair Lyon pose with their son Jarrett at Abravanel Hall

The Lyon family is being recognized for their years of service and participation in Utah Symphony | Utah Opera (USUO) education programs and concerts. In this remarkable family of six, the love for their children and their connection with music as a source of healing in their lives is so apparent. Paula  Fowler, USUO’s Director of Education and Community Outreach has said, “They are just an indispensable, joyful part of our Utah Opera extended family. They are a family where everyone is born with music in their veins.”

The Lyon family is unlike most families you may ever meet. They are a very musical family and have two sons with autism. But what is most remarkable about them is their outlook on life and the perspective they carry with them in their unique family dynamic, caretaking for their 16-year-old son Jarrett, who is nonverbal and requires full-time care. Blair and Kara Lyon have four sons in total who have all been involved in music, including Jarrett who is very “musically sensitive,” as Blair describes him. Their oldest son Allyn, runs the music department at Beaver High School, teaching orchestra, choir, band and guitar; Treyson is currently serving an LDS mission in Mexico and has participated in musical theatre; Andrew is a trained singer with an associate degree in media music; and Jarrett is their youngest.

The Lyon Family poses with Utah Opera Resident Artists following the performance

The highlight of their participation with USUO has been the annual Access to Music concerts for families with children with special needs, of any age. They have been involved with the Access to Music concerts since they started in 2001 and they have performed as a family string group which has provided pre-concert music for the concerts for many years. “We are so grateful for the Access concerts. These kids can bounce around in their chairs, be loud and enjoy music in this free, uninhibited way and it makes me think this box of normalcy that the rest of us are stuck in can be really constraining. Jarrett sees the world and hears music in a different way and I think that is really special,” Kara says.

Kara was the one who first started the three oldest boys on the piano and is very musical and loves to sing. She uses what Blair calls her “music therapy skills” as she teaches young children to swim, including many with special needs. Blair, Kara’s husband, is a music specialist in the Salt Lake City School District and has taught for over 25 years. He said, “Music has always been a part of my life and we wanted that for our children.”

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Musical Curiosity: Ives Style

ives-photoThis season, Utah Symphony Music Director Thierry Fischer has programmed four symphonies by American composer Charles Ives.  Symphony No. 1 fits solidly into the late Romantic style.  In his other symphonies he exhibits his interest in experimental approaches, often applied to his trademark use of hymn tunes and traditional songs.

Charles Ives was fortunate to have a father who not only encouraged his son’s musical education, but believed in encouraging his son’s curiosity to explore and experiment with his musical voice.  George Ives explored music outside the “normal” bounds of music theory and composition, and his experiments had a deep influence on Charles’ thoughts about composition.

Contine reading

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“I can’t imagine where I would be now if I hadn’t seen that performance.”

Our Utah Opera in-the-schools programs are offered to every school in the state on a 3-5 year rotation plan. Our presentations are general assembly programs in which Utah’s students get to hear and see professional opera artists in action. We want our events to be inspiring, and we hope that teachers and students return to class and continue exploring their opera experience (we provide post-assembly suggestions in the teacher materials in that hope). Our artists get a lot of fan mail throughout the year, and they write back to all the classes who write to them. One young Park City student, for instance, recently wrote in his letter, “That was a great show! I want to see that show again. I like music just as much as you do. I am learning how to play the piano until I can play it just like Timothy [the pianist in our performing troupe].”

Contine reading

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Meet Madeline Adkins – Utah Symphony’s New Concertmaster

madeline-adkins-2015-photo-by-cassidy-duhon-08“From the moment I started working with the orchestra, they were so warm and friendly. There’s a unique spirit to the group and everyone really has such a great attitude and loves to play music. I’m really looking forward to being a part of that.”

~Madeline Adkins

The Utah Symphony is thrilled to welcome Madeline Adkins as she begins her role as concertmaster this 2016–17 season. Originally from the college town of Denton, Texas, Ms. Adkins knew from a young age that she wanted to become a musician. She is the youngest of eight children, six of whom are currently musicians. “My parents were music professors at the University of North Texas,” says Ms. Adkins. “We were encouraged to play starting at the age of five, and many of us continued professionally in orchestras around the country.”

Contine reading

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Paul Meecham Q&A

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Utah Symphony | Utah Opera’s President and CEO Paul Meecham started July 1, 2016 after completing a final 100th anniversary season with Baltimore Symphony Orchestra, where he held the role of their chief executive for 10 years. He shares why he and his family are excited to move to Utah and start a new chapter.

Q: First of all, welcome to Utah. Everyone is thrilled to have someone with your vast industry experience. What factors influenced you to take the role as the President and CEO of Utah Symphony | Utah Opera?

A: Ultimately, it was an easy decision to make because of the people at USUO. In meeting with Thierry Fischer, Christopher McBeth, the board, staff and musicians, as well as several community leaders, I immediately sense a shared vision towards artistic and community excellence. I believe that the synergies created in merging the Symphony and the Opera have yet more potential to be tapped, and the success of the Deer Valley® Music Festival has added a whole new and exciting dimension.

Q: Among other things, Utah is known as a mecca for outdoor recreation, phenomenal geographic landscape and community involvement. Tell us what your family is excited about experiencing.

A: Well, we are certainly looking forward to the world-class skiing! And none in the family has ever visited the fabulous national and state parks in southern Utah. Also, I think my kids have already got their hearts set on Dinosaur National Monument! My wife and I love hiking, so couldn’t be happier in moving to Utah. We’ll have to see whether my thirteen-year old son and eleven-year old daughter will agree with us! Both our kids are keen on sports such as soccer and baseball, and my daughter rides horses, of which I’m told you have a few in the state! We are a close-knit family and have quickly picked up that Utah is a very family-friendly state so we expect to settle in very quickly.

Q: Utah has had a big year in the media, attracting attention as the best place for skiing, mountain biking, as well as earning accolades as the top state for business. What has surprised you most about Utah?

A: I think the biggest surprise has been the quality of all the arts. Obviously I was aware of the world-class symphony, but was less familiar with the equally high level of the opera, ballet, theater and visual arts scene.

Q: Your experience leading top-tier orchestras is widely known and respected in the classical music industry. We feel fortunate to have attracted a leader with such a great track record to help shape what is yet to come. Describe what you see in store for the future of the organization.

A: It’s perhaps too early to speak of an overarching vision yet—after all, I just began July 1! However, I will want to build upon the momentum that has developed during the 75th anniversary including the celebrated Carnegie Hall performance, the commercial recordings, and the artistic partnerships forged with the ballet, theater, and others. And just around the corner is another reason to celebrate—the 40th season of Utah Opera in 2017–18. There’s much to look forward to in the years ahead!

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Ghost Light Podcast Now Available on iTunes

Listen in on conversations related to orchestral music with the Utah Symphony’s new podcast, The Ghost Light. Each episode is 10-15 minutes long (perfect for a commute!) and focuses on topics related to the orchestra and classical music. The podcast is now five episodes in and past episodes have included conversations with Thierry Fischer, Mary Anne Huntsman, Mike Pape, Paul Meecham, and Christopher McBeth. The Utah Symphony’s General Manager and Vice President of Operations, Jeff Counts, hosts each episode.

If you were to walk on the stage in Abravanel Hall or Capitol Theater when the venue was closed and no one was there, you wouldn’t be alone in the dark. A ghost light is a single bulb that is left on and placed on the stage after each performance. There are different explanations for ghost lights, which is a tradition in most venues. Some believe it keeps ghosts away from the stage. Others think it appeases the ghosts and keeps them happy. The pragmatic see it as an important safety measure to keep people from falling over things that have been left on stage (or off the stage itself!). In that spirit, each episode includes a bonus feature – a ghost story!

You can now subscribe to Ghost Light via iTunes, Stitcher, or SoundCloud or search for “Utah Symphony” in your podcast app. New episodes are released each Monday.

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