CENTRAL OPERA SERVICE BULLETIN

Transcription

1 CENTRAL OPERA SERVICE BULLETIN VOLUME 22, NUMBER 1 INDEX NEW OPERAS AND PREMIERES 1 NEW EDITIONS AND ADAPTATIONS 7 NEWS FROM OPERA COMPANIES 8 NATIONAL ARTS ORGANIZATIONS 14 CAREER COUNSELING AND MANAGEMENT 16 CAREER OPPORTUNITIES 17 OPERA FORECAST 18 APPOINTMENTS AND RESIGNATIONS 23 NEW THEATRES, NEW LOCATIONS 26 WINNERS 27 COS INSIDE INFORMATION 28 COS SALUTES 30 TO USE OR NOT TO USE 31 ADDENDA TO DIRECTORY OF SETS AND COSTUMES 32 ADDENDA TO DIRECTORY OF ENGLISH TRANSLATIONS 35 NEWS FROM PUBLISHERS 36 OBITUARIES PERFORMANCE LISTING cont. 48 Sponsored by the Metropolitan Opera National Council

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3 CENTRAL OPERA SERVICE COMMITTEE Founder MRS. AUGUST BELMONT Honorary National Chairman ROBERT L B. TOBIN National Chairman ELIHU M. HYNDMAN National Co-Chairmen MRS. NORRIS DARRELL GEORGE HOWERTON Professional Committee KURT HERBERT ADLER San Francisco Opera WILFRED C. BAIN Indiana University GRANT BEGLARIAN University of So. California MORITZ BOMHARD Kentucky Opera Association SARAH CALDWELL Opera Company of Boston TITO CAPOBIANCO San Diego Opera KENNETH CASWELL Memphis Opera Theatre ROBERT J. COLLINGE Baltimore Opera Company JOHN CROSBY Santa Fe Opera WALTER DUCLOUX University of Texas ROBERT GAY Northwestern University DAVID GOCKLEY Houston Grand Opera BORIS GOLDOVSKY Goldovsky Opera Theatre DAVID LLOYD Lake George Opera Festival LOTFI MANSOURI Canadian Opera Company GLADYS MATHEW Community Opera RUSSELL D. PATTERSON Lyric Opera of Kansas City MRS. JOHN DEWITT PELTZ Metropolitan Opera EDWARD PURRINGTON Tulsa Opera GLYNN ROSS Seattle Opera Association JULIUS RUDEL New York City Opera MARK SCHUBART Lincoln Center ROGER L. STEVENS ohn F. Kennedy Center GIDEON VVAIDROP The Juilliard School Central Opera Service Bulletin Vol. 22, No. 1 Spring 1980 Editor, MARIA F. RICH Assistant Editor, JEANNE HANIFEE KEMP The COS Bulletin is published quarterly for its members by Central Opera Service. For membership information see back cover. Permission to quote is not necessary but kindly note source. Please send any news items suitable for mention in the COS Bulletin as well as performance information to The Editor, Central Opera Service Bulletin, Metropolitan Opera, Lincoln Center, New York, NY Copies this issue: $3.00 ISSN

4 NEW OPERAS AND PREMIERES SHADOWS AMONG US by Ezra Laderman, with a libretto by Norman Rosten, is a two-act opera set in a Middle-European refugee camp. It received a first concert reading with piano accompaniment on December 14 at the Studio Theatre cf the Academy of Vocal Arts in Philadelphia. The project was co-produced by the Opera Company of Philadelphia as part of its composer/librettist lab, which, in the summer, is held in conjunction with the O'Neill Theatre Center. Mr. Laderman's opera-oratorio AND DAVID WEPT, orginally conceived and performed as a radio work, is planned for a first live stage production by the Opera at the Y at New York's Kaufmann Auditorium. Joe Darion is the librettist. On March 7, 1979, the Shades Valley Music Club gave the premiere of THE AUDITION at the Birmingham Museum of Art in North Birmingham, Alabama. The one-act folk opera has music and libretto by Mrs. Themos Jebeles. A four-day "Operathon" of seminars, workshops, and lectures held by the Prince George's Civic Opera in Maryland included premiere performances of Thomas Czerny-Hydzik's THE TELL-TALE HEART (12/27/79) and Thomas Cain's THE LESSON (12/30). Avant-garde composer Robert Ashley (In Memoriam - Kit Carson, That Morning Thing) is currently completing a music theatre work entitled PERFECT LIVES (PRIVATE PARTS). It is set in "small town middle America", and will use piano and organ accompaniment with prerecorded tapes of orchestral and electronic music. Two singer/speakers, silent actors, dancers, and a narrator will make up the cast, and video monitors will be used for representational images, replacing the conventional sets. The performance time will be over four hours, reminiscent of the Wilson/Glass music theatre pieces. Excerpts were performed on December 26 by New York's Dance Theatre Workshop; a complete performance is projected for next season at The Kitchen in New York. The Kosciuszko Foundation was host to a preview performance of excerpts of Gary W. Friedman's MORDECAI on November 30, a performance repeated at Temple Israel on December 9. The action is set in Poland during the Nazi occupation. THE DONNER PARTY is a three-act opera by Ron McFarland. The libretto by Maria Woodward is based on an epic poem by George Keithley. The first performance took place on November 14 at Chico State University in California. Tony Schemmer is the composer/librettist of PHAUST, and has placed the old legend into modern times against an operatic background. In his story Phaust is a composer, Mefisto a theatrical producer. The score calls for five soloists and chorus accompanied by a chamber orchestra together with a jazz/rock ensemble. The premiere is scheduled for April 4 at Harvard University's Sanders Theatre in Cambridge; the producing organization is the Chamber Concerts of Newton whose members were part of the former New England Chamber Opera Group. Philip Morehead will conduct. AMERICAN OPERAS

5 NEW OPERAS AND PREMIERES REVISIONS I980-8J Prolific composer Lionel Lackey informs us of two more one-act operas he has completed. MR. PEGOTTY'S DREAM COMES TRUE is based on an episode from Dickens's David Copperfield and was performed with piano at the University of North Carolina in Greensboro. STEPHEN DI SCHENECTADY was conceived as a companion piece to the same composer's Osrella di Poughkeepsie and is under consideration for performance by the Colorado State University in Fort Collins this spring. Larry Smith, a faculty member at both the Juilliard School and the Boston Conservatory, will see his first opera produced on June 11 by the Chamber Opera Theatre in Chicago. ARIA DA CAPO uses the original Millay text. It will be performed with L'Histoire du soldat in English. Three operas are currently undergoing revisions as a result of their presentations at workshop/labs and in preparation for their next productions : STARBIRD, by Henry Mollicone, will next be staged by the Cincinnati Opera Studio, which will also present Jack Beeson's DR. HEIDEGGER'S FOUNTAIN OF YOUTH. The Minnesota Opera plans to stage the revised BLACK RIVER by Conrad Susa. After a premiere production by the Opera at the Y in New York last season, David Schiff's Gimpel the Fool was revised and expanded by one half-hour. It will be remounted in its new version by the same company this season. Another type of revision, this not by the original composer, has also been announced. Working from Marc Blitzstein's original material, John Mauceri is collaborating with Leonard Bernstein on Regina. The premiere of the new version is planned by the Washington Opera for WILLIE STARK is the title of Carlisle Floyd's latest opera, for which Mr. Floyd wrote his own libretto. The work was commissioned by Kennedy Center, and is based on Robert Penn Warren's book, All the King's Men. It will be premiered April 24, 1981, in Texas as a joint production of the Houston Grand Opera and Kennedy Center, and will subsequently be seen in Washington. John de Main will conduct and Harold Prince will direct. William Bergsma's latest opera, THE MURDER OF COMRADE SHARIK, will be mounted in its premiere production by the Seattle Opera. The National Opera Institute will assist with a production grant. Mira Ginsberg is responsible for the libretto. Opera/South has announced yet another first performance of an American opera. COSTASO, by the late William Grant Still, with a libretto by his wife Verna Arvey, carries a copyright date of The three-act, four-scene work is set in the Southwest. The premiere date is April 10, 1981 in Jackson, Mississippi. Leonard de Paur will conduct, Donald Dorr will direct and design the production. The life and writings of Marcel Proust furnished the inspiration for Gregory Sandow's latest opera. It will receive its first reading next season under the composer/librettist lab First Stage First, a part of New York's Encompass Music Theatre. The collaboration of Thomas Pasatieri (music) and Frank Corsaro (libretto) has resulted in the creation of a one-act opera, BEFORE BREAKFAST. The work is based on the O'Neill monodrama, and will receive its first production by the New York City Opera in November, Pasatieri has two other works in progress. THREE SISTERS will have a libretto by Kenward Elmslie, adapted from Chekhov, and ELMER GANTRY, after the 1927 book by Sinclair Lewis, has been commissioned by the Kennedy Center. All three works will be available from Belwin Mills. Belwin has also announced two other operas in progress: SOMETHING NEW FOR THE ZOO, a one-act opera buffa with music by Lee Hoiby 2

6 NEW OPERAS AND PREMIERES and libretto by Dudley Huppler, and THE UNAVOIDABLE CONSE- QUENCES OF GETTING CAUGHT IN A FARCE, a full-length work by Jose Raoul Bernardo. In anticipation of the American Bicentennial, the Tennessee Arts Com mission awarded Kenton Coe a grant in 1974 toward his writing the opera RACHEL. Ann Howard Bailey was fashioning the libretto based on the story of Rachel and Andrew Jackson. The work is now being completed and will be premiered by the Knoxville Civic Opera during the season. The Minnesota State Arts Board has awarded $10,000 fellowships to two of its native composers. Libby Larsen of Saint Paul (The Silver Fox) will complete her first full-length opera, TUMBLE-DOWN DICK, and, in addition, write two libretti and one dance piece. Phillip Rhodes of Northfield will finish two one-act operas, THE GENTLE BOY and FEATHERTOP. The Portland Opera has announced the world premiere of Bernard Herr mann's WUTHERING HEIGHTS for November 6, Composed in 1950, it was recorded by the Pro Arte Orchestra in England for Pye Records and is published by Novello. The company has scheduled three performances. Robert Mitchell's opera, announced as Neighborhood in Volume 21, No. 4 of the COS Bulletin, changed its title just before the premiere by the Golden Fleece Inc. to EXAMINATION, A Theatrical Song Cycle. Making up the double-bill was Thomas Flanagan's / RISE IN FLAME (not Flames), CRIED THE PHOENIX, based on the Tennessee Williams play about the life of D. H. Lawrence. Every singer's unspoken fear is of a memory lapse while on stage. THE MISTAKE, a one-act opera by Jonathan Sheffer with a libretto by Opera News managing editor Stephen Wadsworth, cleverly takes this subject as its theme. Set in a young soprano's dressing room during the intermission of an important concert, we witness first her agony and finally her triumph over the mistake she made during the first half of her concert program. The 35-minute work requires a cast of six (the soprano, two mezzos, a tenor, a baritone, and a bass-baritone) and a chorus. It is scored for full orchestra, but a reduced orchestration for thirty is also available. JONAH, by Murray Schafer, is a musical-dramatic work which was premiered at Christ Evangelical Lutheran Church in Maynooth, Ontario. The date was August 29, Last season (10/78), Kingston, Ontario, saw the first performance of David Keane's THE DEVIL'S CON- STRUCTS, a one-act opera for seven singers and three tape recorders. David Fanstone was the librettist. Ever since its premiere in July of 1978 in Munich, Aribert Reimann's LEAR has taken German audiences by storm. Within this brief time it has been heard in four cities. Its American premiere will take place in San Francisco in Fall '81, when it will be performed in the Ponnelle/ Munich production, sung in English with Thomas Stewart in the title role. The Opera Theatre of St. Louis will not be performing Prokofiev's MADDALENA, previously announced as its American premiere. Instead, the company has scheduled a double-bill of Weill's Seven Deadly Sins, with a book by Brecht, and Emil von Reznicek's Fact or Fiction (Spiel oder Ernst) in its second American production. The work is a comedy which takes place during a rehearsal of Rossini's Otello, and interpolates Rossini's music with the more contemporary style of Reznicek. 3 CORRECT/ON PREMIERE TBA CANADIAN OPERAS AMERICAN PREMIERES

7 NEW OPERAS AND PREMIERES American composer Carolyn Lloyd gave Caracas a present for its 400th birthday; the opera DONA BARBARA was premiered in the Venezuelan city in June It will receive its first performance in the United States when the Florida Opera Repertory Company in Coral Gables mounts it next season. Isaac Chocron is the librettist. GLI EQUIVOCI harbors the unlikely combination of music by 18th century British composer Stephen Storace, libretto by Lorenzo da Ponte based on Shakespeare's Comedy of Errors, and a premiere performance in 1786 in Vienna. Recent revivals have included the Camden Festival in London in 1974 and the Schwetzingen Festival in Arthur Jacobs made an English translation for the London performances, and it is in this version that the University of California in Santa Barbara will mount the first American production in January '80. Carl Zytowski will direct. Next season, Indiana University's Opera Theatre will offer the first U.S. performance of Martinu's THE GREEK PASSION. First produced in Zurich in 1961, posthumously, the opera is scheduled for April 1981 in Bloomington. The last issue of the COS Bulletin gave the historical background of Weill's SILVERLAKE, but there is more information about the American premiere production. The date is March 20, the place the New York City Opera. Hugh Wheeler has written a new English libretto, based on the original story, with Lys Symonette responsible for the English lyrics. She has also selected some of Weill's incidental music and integrated it with the original score. Continuing the opera/musical theatre concept, the work will be staged by Harold Prince, designed by Manuel Lutenhorst, and will feature Joel Gray in his debut with a major American opera company. Marschner's DER VAMPYR is suddenly being discovered in the U.S. It seems that, since its first performance in 1828, the United States showed little or no interest in the work that is, until this year. A company finally found it of sufficient interest to invest in a production, and the Bulletin (Vol. 21, No. 4) reported the premiere at the Encompass Music Theatre on April 17. No sooner was this in print than an announcement from the Boston Conservatory informed us of a production of Der Vampyr on April 9 just one week earlier than the New York performance. This, then, will be the first American production. But before the end of the summer there will be a third production of this work, staged by the Wolf Trap Opera Company on June 27. Could Count Dracula be the cause of it all or is there a Marschner renaissance? Hans Heiling, never performed in the U.S., just had a new production in Zurich. FOREIGN The 1980 Edinburgh Festival will feature the premiere of Peter Maxwell PREMIERES Davies's new chamber opera THE LIGHTHOUSE. Commissioned by BBC Television, Alun Hoddinott's THE RAJAH'S DIAMOND was premiered on November 24. Based on the Stevenson story, the libretto was written by Myfanwy Piper. In October '79, the Charterhouse in Godalming, Surrey, unveiled THE KING OF MACEDON, music by Roger Steptoe, libretto by Ursula Vaughan Williams. Geoffrey Ford was the producer, William Llewellyn conducted. Stockholm will witness two world premieres later this season. May 3 will bring Eberhard Eyser's THE DEEP WATER, and June 8 Lars- Erik Larsson's THE ARREST OF BOHUS. On September 4, 1979, the Helsinki Festival presented the first performance of Kalevi Aho's THE KEY (AVAIN) at Finlandia Hall. In May, the City of Liege will mount a Millenium Festival, coinciding with a celebration for the 150th anniversary of Belgian national independence. The Centre Lyrique de Wallonie's contribution will be the premiere of Paul Danblon's CYRANO DE BERGERAC. Other Belgian

8 NEW OPERAS AND PREMIERES opera companies will present new productions, such as the Young Lyric Theatre of Liege at the Maison de la Culture (Marcel Landowski's L'Opera de Poussiere), the Theatre Royal de la Monnaie in Brussels (the European premiere of Menotti's THE HERO), and the Royal Flemish Opera (Mozart's Idomeneo). In addition to ballet performances, theatre exhibits, and a film festival, there will also be an International Conference of the Lyric Theatre under the guidance of Carlo Alberto Cappelli. Francois-Bernard Mache saw his one-act LES MANGE'URS D'OMB RE premiered in Bordeaux in May '79, and later brought to Toulouse in a joint production with the Atelier Lyrique du Rhin. Ohana's Syllabaire pour Phedre was the second work on the double-bill. LES TRA- VERSES DU TEMPS is the title of a new opera by Jean Prodromides premiered in Nantes on October 23. Here, too, a joint production, this time with the theatre in Rouen, assured subsequent performances in that city. Claude Arrieu is responsible for the French operatic version of Lorca's play, presented this season in Tours as AMOUR DE DON PERLIMPLIN AVEC BELISE DANS SON JARDIN. Other operas based on the same play were mentioned in the Bulletin Volume 21, Number 4. Paul Dessau's LEONCE UND LENA, a "romantic fantasy" after a comedy by Georg Biichner, was posthumously premiered at the Staatsoper in East Berlin on November 25, with Otmar Suitner conducting. The first West German performance will take place later this season in Freiburg. The Hessische Staatstheater in Wiesbaden has announced the first performance of Volker David Kirchner's DIE FUENF MINU- TEN DES ISAAK BABEL for the current season. On February 3, the Hannover Opera will give the first staged production of Detlev Miiller-Siemens GENOVEVA ODER DIE WEISSE HIRSCHKUH together with the premiere of Alfred Korppen's EIN ABENTEUER AUF DEM FRIEDHOF. The former work was commissioned by German television and first broadcast in DAS SPIEL VOM ZUFALL UND TOD is the title of Gerhard Rosenfeld's new opera based on the Romain Rolland story. A first performance is projected for October 1980 in Potsdam, at the New Palais Sanssouci's Hans-Otto-Theater. The Kleines Haus in Minister was the scene of Dieter Schonbach's COME SANTO FRANCESCO (Just as Saint Francis) premiere. The composer combined fragments of music by Scarlatti and writings by St. Francis of Assisi (manuscripts found in the Vatican) with his own new, contemporary-style music, using tone clusters, electronic music, etc. The Stuttgart Opera's small theatre has scheduled Mauricio Kagel's DIE ERSCHOEPFUNG DER WELT [sic] (The Exhaustion of the World) for February Three previously announced premieres had to be postponed: Klebe's DER JUENGSTE TAG in Mannheim to July 12, 1980, and Zimmermann's WUNDERSAME SCHUSTERSFRAU in Hamburg to April 25, Luciano Berio's LA VERA STORIA, planned for a premiere at La Scala, Milan, was postponed due to technical difficulties in producing the electronic tape at the Paris Institute of Musical and Acoustical Research at the Palais Beaubourg. Three foreign composers have recently received commissions from German opera houses. Italian Antonio Bibalo is writing GESPENSTER (Ghosts) after Ibsen's play, for a premiere in Kiel in The production will be in collaboration with opera companies in Bremen, Hamburg, Braunschweig, Hannover, and Liibeck. The Deutsche Oper am Rhein in Diisseldorf has charged British composer Alexander Goehr to write a new opera for the company's 25th anniversary season in , and Liibeck has asked Greek composer Arghyris Kounadis to complete a work for premiere in The title will be LYSISTRATE, Musiktheater nach Aristophanes von Arghyris Kounadis. 5

9 NEW OPERAS AND PREMIERES CHILDREN'S OPERAS On May 18, 1980, the Theater an der Wien in Vienna will present Gottfried von Einem's latest work, JESU HOCHZEIT. The Teatro dell' Opera in Rome has scheduled the first performance of MARILYN by Lorenzo Ferrero for February 15, under the baton of Alessandro Siciliani. On October 10, the Slovak National Theatre in Bratislava gave the premiere of Jan Cikker's seventh opera, THE VERDICT irozsudok > or The Earthquake in Chile. The libretto by the composer is based on a drama by Kleist. The work, in five scenes, includes ballet sequences, a chorus used as in Greek drama, and some electronic effects. The Southern California Conservatory of Music in Sun Valley has a Children's Musical Theatre Workshop, offering its own original children's operas. Composed by Sally Wolf with libretti by Lurrine Burgess, all works are written for child performers between the ages of 6 and 14 and are scored for piano accompaniment. THE EMPEROR'S NIGHT- INGALE (after Andersen) plays 38 minutes, calls for seven solo voices and chorus, and was first heard June 27, 1978; A CHRISTMAS FABLE (after Dickens) plays 25 minutes, calls for eight solo voices and chorus, and was premiered" December 19, 1978; THE THREE FEATHERS (after Grimm) plays 35 minutes, calls for five solo voices and chorus, and was performed June 26, 1979; and SNOW WHITE AND THE SEVEN DWARFS (after Grimm) is scheduled for a premiere on March 24, Interested producers may request tapes and scores from the Conservatory. Wayne Davidson, composer of SCROOGE (after Dickens's A Christmas Carol), is also music director of Southern Opera Theatre, the educational and touring arm of Opera Memphis. The first performance of his Christmas opera took place at the Cook Convention Center Auditorium on November 27, and the work was subsequently taken on tour to schools throughout the state. Blanche Thebom collaborated with composer Carleton Palmer in the creation of CALHOUN'S CHRJSTMAS, based on Phyllis McGimsey's short story. A puppet opera with taped soundtrack and projections, it was performed last December at the University of Arkansas in Little Rock, where Mme. Thebom heads the opera department. A recent meeting of the American Theatre Association in New York was ho3t to a performance of HEIDI, by Ann Pugh and Betty Utter, based on the famous Spyri story. Another favorite, Oscar Wilde's THE HAPPY PRINCE, here in a new operatic version by Jan Bach, recently received a first prize from the Omaha Symphony Association. Scored for chamber orchestra, it will be premiered by the Nebraska Sinfonia this spring. The composer is a professor at Northern Illinois University. Alfege was Archbishop of Canterbury in the year 1000, and is also the Patron Saint of Greenwich. The Greenwich Festival and the Arts Council of Great Britain commissioned British composer Rory Boyle to write an opera about this historic personality to be performed for and by children. ALFEGE will be premiered at St. Alfege's Church in June '80. Peter Foster wrote the libretto. During November and December, Belgian children were treated to Oliver Knussen's MAX ET LES MAXIMONSTRES at the Theatre Royal de la Monnaie in Brussels. A number of favorite German children's stories have recently been turned into German musical theatre pieces for children. Among them are Busch's MAX UND MORITZ by Walter Willip (premiere Freiburg Youth Orchestra and Chorus 12/1/79), Grimm's DER WOLF UND DIE 6

10 NEW OPERAS AND PREMIERES SIEBEN GEISSLEIN by G. Leopold (Landestheatre-Salzburg 12/2/79), Hauff's DER KALIF STORCH by Erwin Amend in a one and one-half hour version with Hindemith/Stravinsky style music (Mainz 9/30/79), and Bonsels's DIE BIENE MAJA by Bruno Bjelinski (Graz 10/31/79). The last IMZ (Internationales Musik Zentrum) Congress held in Finland was devoted to Television-Music Programs for Children, in celebration of the UNESCO Year of the Child. The entries were too numerous to list here (46 contributions entered by 23 TV organizations from 16 countries), but included among them were Katzer's Das Land Bum-Bum, Menotti's Chip and His Dog, Fresco's Martin and the Sun, Mainka's Schneeflocke und Zugvogel, and Guttermeyer's Rumpelstilzchen. Moscow's Children's Opera Company was founded by Natalja Sats in 1965 and currently has a repertory of 20 operas and ballets. Texts sometimes combine Russian with other languages, which makes touring to other countries more attractive. Among its most successful pieces are DOG AND CAP, music by Eduard Chagagortyan, libretto by Vladimir Polyankov and Mme. Sats (to whom Prokofiev's Peter and the Wolf is dedicated), and LITTLE RED RIDING HOOD by Mikhail Rauchwerger. The Jerusalem Opera, Jacobo Kaufmann, Artistic Director, Box 1269, Jerusalem, Israel, is looking for a chamber opera with a Jewish heritage theme. The Martha Baird Rockefeller Fund for Music (at its new address 155 West 68 Street Suite 30E, New York, NY 10023) has added a Composers Grant Program whereby amounts up to $3,500 may be awarded composers for projects which advance the composer's standing. Money may not be requested for commissions, copying, study, or living expenses. The Program is open to citizens and permanent residents of the United States under fifty years of age. Proof of a significant number of performances by professional ensembles is required. Applications may be sent at any time, no deadline. As we go to press, we learn the program is currently in suspension, pending an evaluation. Applications for projects may be submitted, but will be held until a decision on the overall program has been reached. NEW EDITIONS AND ADAPTATIONS THE PLAY OF SAINT NICHOLAS is a liturgical drama in the style of The Play of Daniel and The Play of Herod, and was performed here for the first time last Christmas by the Ensemble for Early Music at the Cathedral of St. John the Divine in New York. It is based on words and music found in the Fleury Playbook of the Beauvais Cathedral. Fredrick Renz, director of the Ensemble and former member of the New York Pro Musica (which traditionally performed the two above mentioned medieval plays), adapted the newly found music drama. When Lully's opera Acis et Galatee is performed by New York Lyric Opera in April, it will be heard in a new edition prepared by H. Wiley Hitchcock. Eberhard Adler and Herbert Peter are responsible for the new music written in the style of Telemann for DER GALAN IN DER KISTE oder DIE AMOUREN DER VESPETTA, performed at Oberhausen Musiktheater on December 20. The opera libretto was found in the state library in Dresden, however, Telemann's music seems lost. The work was written as a sequel to his opera Pimpinone. ATTENTION COMPOSERS The 1862 Urversion of LA FORZA DEL DESTINO will be heard in the complete, uncut score as premiered in St. Petersburg. The score has been prepared by William Holmes from the original manuscript deposited in the Ricordi Archives in Milan. Current performances-use the 1869 version, revised by Verdi for the La Scala performance. The University of California at Irvine has scheduled the opera for April 22, 24, and 26 with a professional cast, and has commissioned Andrew Porter to write a new English translation. The Sixth International Congress for Verdi Studies will convene in Irvine at the same time. Mark Herman and Ronnie Apter have prepared a new performing edition and translation of Gounod's Le Medecin malgre lui under the title, THE DOCTOR IN SPITE OF HIMSELF. The edition is published and available from Mark Herman, 13 Woodside Drive, Madison, NJ The opera house in Graz, Austria, plans to perform an adaptation of Robert Stolz's operetta EINE EINZIGE NACHT on November 22, 1980, in celebration of the centennial of the composer's birth.

11 NEWS FROM OPERA COMPANIES NBW COMPANIES TOURS NEW SUBSIDIARY COMPANIES The ATLANTA CIVIC OPERA ASSOCIATION is the result of a merger of the two local companies that have vied for attention and audiences in the last two years. It combines representatives from both boards, the Atlanta Lyric and the Georgia Opera, and artistic and administrative duties are also shared by the former professional heads of the companies, Patricia Heuermann and William Noll. The new company will perform at the 4,000-seat Fox Theatre, and plans a two-production four-performance season in March, plus an operatic concert (see Performance Listing). The BOSTON LYRIC OPERA COMPANY has been revived after a three-year hiatus, under a new General Director. John Balme, former associate conductor in San Diego, will be in charge of the first production, Verdi's Un Giorno di regno, scheduled for March. The Jacksonville Opera and its subsidiary, OPERA A LA CARTE, have parted ways. The latter, originally founded as a touring and educational group, has become an independent organization under Amelia Smith, founder, and former music director/general manager of the Jacksonville Opera since See Performance Listing for the new Florida company's repertory. Beginning in January '81, the SAN FRANCISCO OPERA will return to Los Angeles after an absence of what will then be twelve years. It will give a total of 18 performances at the Shrine Auditorium, bringing six different productions. The overall dates have been announced as January 15 to February 1, the operas will be Simon Boccanegra, Tristan vnd Isolde, Madama Butterfly, Die Fran ohne Schatten, Cavalieria rusticana and Pagliacci, and Die Zauberflote. The company's first visit to its southern neighbor was in 1924, and between 1937 and 1964 there were annual performances at the Shrine. In 1965, the company gave its only performances at the Music Center Pavilion, where the New York City Opera has visited annually since The San Francisco announcement specifically stated that the projected guest engagement is the result of cooperative negotiations between Kurt Herbert Adler and representatives of the Music Center Opera Association and has the sanction of the latter organization. As mentioned in the last issue of the Bulletin, the NEW YORK CITY OPERA'S visit to the Washington area will, this year, take place at Wolf Trap Farm Park in Vienna, Virginia. The dates are July and the operas to be presented include The Barber of Seville, Don Giovanni, and Weill's Silverlake. The company also just announced its first appearances in Guanojuato and Mexico City in May (five performances of The Barber of Seville), and at Philadelphia's Robin Hood Dell, June Another company to be presented at Wolf Trap, also for the first time, will be the OPERA COMPANY OF BOSTON, which will bring Aida, Der fliegende Hollander, and Madama Butterfly between June 12 and 15. After its successful guest appearance with Don Pasquale in Mexico last year, the LYRIC OPERA OF CHICAGO will travel to California with the same production, again featuring Geraint Evans. The Palm Springs Opera Guild of the Desert will host the single performance on March 14, using the Los Angeles Chamber Orchestra. New York City Opera's NATIONAL OPERA TOURING COMPANY (see Volume 21, Number 4) is planning a five-week fall and a three-week spring tour. During the former, the company will go to up-state New York, and through the Middle West to Southern California; during the latter, it will travel through the Southeast. The first production of the 8

12 NEWS FROM COMPANIES 63-member company (including 27 orchestra members and 36 singers) will be La Traviata as staged by Frank Corsaro. The initial budget is projected at $500,000. Booking is effected through Royal Artists Management. The Cincinnati Opera Ensemble is being replaced by the Cincinnati Opera's RESIDENT COMPANY. The new organization will no longer offer formal training, but will give six young singers with professional experience the rare opportunity of a 44-week contract. Beginning in October '80, the Resident Company will tour with one opera and special programs to schools, community centers, etc. The artists will also participate in all major productions staged by the parent company. This is yet another step in the development of the Cincinnati Opera's plan towards a year-round season. While the number of annual productions will not be increased, or at least not yet, the company will perform one opera each in the spring and fall. The Young American Artists Program (see Career Guide) will continue during the summer, offering training and performance participation, including its own productions of short American operas. This year, Mollicone's Starbird and Beeson's Dr. Heidegger's Fountain of Youth are planned as studio productions. The MIDWEST OPERA THEATRE of the Minnesota Opera will both tour and be in residence in the twin cities of Minneapolis-St. Paul. Assisted by a grant from the Affiliated State Arts Agencies of the Upper Midwest using NEA funds, the new company will offer The Threepenny Opera and The Marriage of Figaro, both in English with two pianos, to schools and community programs, in addition to various specially devised programs. Complete opera performances will be available to sponsors for $3,525, with federal support guarantees of $1,175 making up the difference of the total cost of $4,700. Opera/South announced that, due to demand, its touring company, the MISSISSIPPI SHOWBOAT, will add a six-week tour in January and February The company has been performing at schools and community centers for the past two summers. A truly innovative program has been set up between the San Diego Opera, the Minnesota Opera, and the two universities in the respective cities. Called the COOPERATIVE OPERA PROJECT FOR ACTORS/ SINGERS, it represents an accredited exchange program for prospective professional singers who will be offered operatic studies at the university and professional performing experience with the company in each city. After one year of the two-year program, students will exchange residency and thus benefit from study and performances with both faculties and both companies. Students who have satisfactorily completed the training will receive a Master of Arts degree from the University of Minnesota. The program will be initiated in fall '81. In spring 1980, the MICHIANA OPERA GUILD in South Bend, Indiana, will take its first educational program and a marionette opera to neighboring schools. The ANNAPOLIS OPERA in Maryland is undertaking its first Operain-the-Schools program, offering six performances on three days to area schools. The proper training of the future opera performer is not only a problem in the United States. European producers and educators seem equally concerned with the preparation of the professional artist and have called an INTERNATIONAL SEMINAR ON LYRIC ARTS EDUCATION in Aix-en-Provence. It will be held under the aegis of UNESCO A NATIONAL OPERA WORKSHOP, sponsored by the Arts Council of Great Britain, was held last October in Sheffield. Four participating companies, the English National Opera, English National Opera North, Scottish Opera, and the Welsh National Opera all run educational workshops, which will be further examined. EDUCATIONAL PROGRAMS 9

13 NEWS FROM COMPANIES NEW PROGRAMS The MICHIGAN OPERA THEATRE has joined the companies of Seattle, Houston, and Miami in offering its productions in two series with double casts. One will be in the original language, the other in an English translation with American singers in the leading roles. The MINNESOTA OPERA, which usually performs in English, will give two of the five performances of La Boheme in March in the original Italian. While some opera companies have changed their schedules from productions scattered throughout the season into a consolidated program, THE LYRIC OPERA OF KANSAS CITY just announced that it will split its customary fall season. Three operas will be played in repertory in the fall, two will be presented in the spring as festival productions. The PORTLAND OPERA and its director, Stefan Minde, have embarked on a new artistic plan called "The Unified Production Concept". Three out of the four operas in its annual repertory will be designed, directed, and conducted by the same team. Modular groups of scenic pieces will be created for use in various productions, with changes, different combinations, additional pieces, and special set dressing and costumes for each opera. This will afford the company more artistic control and the possibility of long range planning, while, as stated by Mo. Minde, freeing the choice of repertoire from financial restrictions. The company also hopes that other opera houses in the vicinity will benefit through a less costly set rental. The new concept will commence in the season, with Ghita Hager as stage director, Carey Wong as designer, and Mo. Minde as conductor. Schedules for the next four seasons have been announced (see Forecast), with the season presenting five productions for the first time. The Fifty-Fifth Street Dance Theatre Foundation, which operates CITY CENTER OF MUSIC AND DRAMA in New York, is planning to bring back musicals to the mosque theatre. In addition to weeks of visiting dance companies, revivals of three musicals may fill up to 26 weeks of future seasons. A cautious beginning will offer one musical during the summer months. Meanwhile, the reorganization, which will result in independent organizations for the New York City Opera, the New York City Ballet, and the City Center for Music and Drama, will be completed this summer. Each company has formed its own board of directors and will administer independent funds. John S. Samuels III, who now serves as chairman of the board of all three organizations, has announced his resignation from the opera and ballet companies, effective this summer. Los Angeles, which is still without one major opera producing company, but which currently supports eleven smaller semi-professional groups, has recently added the TABLE TOP OPERA. Its first production will be Hansel and Gretel in February. FOR THE One of the OPERA COMPANY OF PHILADELPHIA'S performances HANDiCAPPtD of Rumpelstiltskin last Christmas was played before some 600 deaf or hearing-impaired children. In preparing the production, the Company had the guidance of the Project Director of the Annenberg Center Hearing Theater for the Deaf. Two dramatic interpreters used sign language, while, for those with impaired hearing, special amplification by means of an induction loop was provided by Telephone Pioneers of America. Prior to the performance, an educational preview program featuring singers, costumes, and production slides was presented at the schools, including the Pennsylvania School for the Deaf, from whence 400 attended the performance. Two Broadway theatres and a few not-for-profit theatres in the country have started to serve deaf or hearing impaired audiences. For the former, one or more narrators translating the dialogue into sign language is the most usual solution. It is least costly and easy to arrange, making certain, pre-designated performances accessible to the deaf. Its only drawback is that it distracts from the action. Experi- 10

14 NEWS FROM COMPANIES ments have shown narrators are most effective when stage center. For the hearing impaired, an electronic system called the Sennheiser Infrared Listening System has been installed by Sound Associates of Xew York in two Broadway theatres. Listeners may rent a lightweight headset (which has no wires), sit anywhere in the theatre, and receive the audio, which is beamed by means of infrared light. The total cost of installation is $12,000 to $13,000. The CLEVELAND OPERA COMPANY was instrumental in calling a meeting of the city's performing arts institutions, representatives of service organizations for the handicapped, and some individuals representing handicapped persons. The company has performed for handicapped children and has encouraged their participation in non-singing roles; other specific programs for the handicapped are under consideration, as a result of the meeting. (See also announcement under Opera America.) For the first time, the American Guild of Musical Artists negotiated a basic agreement for operatic artists with a consortium of major regional opera companies, rather than holding negotiations with each separate organization. Uniform minimum wages and working conditions for solo artists were agreed upon; those for members of opera choruses and corps de ballet will be negotiated with the individual companies. The minimum fees will begin August 1 of each year, and have been set as follows: SINGLE PERFORMANCE: Leading & feature roles $ $ $ Supporting- roles Solo bit roles Choreographer/Solo dancer Stage director/stage manager Asst. stage director/stage manager Per diem on tour WEEKLY RATES: Max. no. week 3 Leading roles Featured roles Supporting/Solo bit roles Stage director/stage manager Choreographer/Solo dancer Asst. stage director/stage manager Per diem (beyond 55 miles) Major companies still negotiate their own agreements. That with the NEW YORK CITY OPERA has been published as follows: WEEKLY RATES (for maximum seniority artists): Leading singers Comprimario singers Choristers (fall season) Choristers (spring season) Asst. stage directors Dancers SINGLE PERFORMANCE: "A" roles "B" roles "C" roles Assoc. choristers/dancers (fall) Assoc. choristers/dancers (spring) Per diem on tour (for weekly and single performance artists) AGMA CONTRACTS 11

15 NEWS FROM COMPANIES PROMOTIONAL IDEAS CHANGES OF NAME Using the theme or the setting of the opera to be performed as a promotional tool, has often paid off handsomely. It offers the opportunity of involving other segments of the community, often quite removed from the opera itself. Thus, when Thea Musgrave's A Christmas Carol was performed in Norfolk, the Virginia Opera transformed a block of its city into a "corner of Dickens' London" over the Thanksgiving weekend. The Dickens House, a Victorian styled home, served as a boutique where gifts and decorations were sold for the benefit of the company, and its opening festivities commanded a $50 admission price. Street vendors, puppeteers, etc. in period costume further enhanced the atmosphere, and all served to draw attention to the forthcoming premiere of the opera. A symposium on Dickens at the university, and a special show at the museum addressed yet another audience. Transportation is another area in which various ideas for promotion of and services to opera companies have succeeded. The Whitewater Opera in Richmond, Indiana, was given the use of antique carriages by the local historical society to transport opera patrons to a benefit gala ball after a performance of Die Fledermavs. The same company stimulated an East Asian Studies Project at its local college on the occasion of its performances of Madama Butterfly and, with an Indiana Committee for the Humanities grant, arranged a "West meets East" Japanese festival, including lecture demonstrations on cultures and customs in Japan, utilizing costumes and props from the opera production. A true incentive for attendance in dense urban areas has been the example of the New Jersey State Opera. The company provides buses to pick up and return home some of its suburban subscribers. The Virginia Opera Guild organized a Transportation Committee to ferry artists to and from rehearsals and performances. These in-kind services allow a tax deduction of 8(2 per mile and the pleasure of some private chats with the artists. The Newport Opera Festival has joined the many companies who offer original posters designed by famous artists for the benefit of the company. The Rhode Island festival offers a Robert Motherwell '79 Festival poster for $25 for the first copy, $15 per additional copy. Internationally renowned scenic artist Giinther Schneider-Siemssen has designed a poster for the Greater Miami Opera production of Les Contes d'hoffmann. Copies are available framed or unframed with a limited number of signed and framed posters. The "Franco B" clothing store of Coral Gables donated more than $10,000 worth of clothing to the Greater Miami Opera. In addition, it hosted a fashion show and reception where the merchandise was turned into cash, to be used by the opera company as part of its matching funds requirement for its NEA challenge grant. The project netted both donor and donee well deserved publicity. San Francisco's SPRING OPERA THEATER will henceforth be known as WESTERN SPRING OPERA, and with this change moves to a new, old theatre. Performances in April and May will, for the first time, be mounted at the Palace of Fine Arts Theatre (see New Halls). The company had performed at the Curran Theatre for several years. After four years of successful operation as the New Cleveland Opera Company, Artistic Director David Bamberger announced that his company will drop the "New" and will be known as the CLEVELAND OPERA COMPANY. This is not to be confused with a more recently formed group, the Cleveland Opera Theatre, which concentrates on inschool performances. The Cleveland Opera Company's touring and educational arm will greatly expand its activities this year, performing under the name Opera-on-Tour.

16 NEWS FROM COMPANIES The former Minnesota Opera Touring Ensemble has been renamed MIDWEST OPERA THEATRE. As such, it will travel not only within its own state, but also to Wisconsin, Iowa, and North and South Dakota. (See also Subsidiary Companies.) THE OPERA ENSEMBLE OF NEW YORK, under the directorship of Ruth Bierhoff, was originally called the Opera-in-Progress Workshop. The Ensemble gave four performances of L'Elisir d'amore at the Church of the Holy Trinity in December, and has scheduled six performances of The Marriage of Figaro in February and The Rape of Lucretia in May. All operas are sung in English. WEST BAY OPERA in Palo Alto is not the same group as the recently formed Scholar Opera (see Volume 21, Number 4). The former company, founded by the late Henry Holt (uncle of Seattle Opera's music director), and now headed by Maria Holt, will celebrate its silver anniversary season in To mark the occasion, Henry Holt (II) will guest conduct one of the three annual productions, The Barber of Seville, in October '80. SCHOLAR OPERA is a new company under the direction of Donald Straka, primarily performing abridged versions of operas at schools. With the assistance of the provincial government, Quebec City will again have a major opera company. The first season of L'OPERA DE QUEBEC is being planned for For the last two years, a choral group, La Societe Lyrique d'aubigny, has provided opera performances in collaboration with the Symphony Orchestra of Quebec; in 1978 it opened with Faust brought Carmen and The Land of Smiles, and Romeo et Juliette is scheduled for the current season. With the previously announced formation of the OPERA DE MONTREAL, offering Tosca (not La Boheme). Cosl fan tutte, and Traviata for its inaugural season, opera is again firmly established in the Quebec Province. FESTITALIA is the name of the new producing organization in Hamilton, Ontario, and Steven Thomas is artistic director. La Boheme was the opening performance on September 13 at the Hamilton Place Auditorium, with the Hamilton Philharmonic under the direction of Boris Brott. In Victoria, British Columbia, the PACIFIC OPERA ASSOCIATION also uses the services of its local symphony orchestra for its opera performances. Succeeding the Vancouver Island Opera, the new company is under the directorship of Catherine Lowther. Here, too, La Boheme was chosen as the inaugural production. The local community school has been charged with designing and building the sets. A new touring company was founded by the British Arts Council, OPERA 80. The new group will present fully staged operas with a 25 member orchestra in communities that do not have any opera performances. Two operas will be toured during the first season beginning in January, with sets designed to fit small proscenium stages as well as open stages. Stewart Trotter is the producer director and Nicholas Kraemer conductor for The Barber of Seville and Le Nozze di Figaro. The Royal Opera Covent Garden had to cancel this season's scheduled Der Rosenkavalier and Andrea Chenier. m AND ONE NO CHANGE NEW CANADIAN COMPANIES...AND IN ENGLAND 13

17 NATIONAL ARTS ORGANIZATIONS FEDERAL PROGRAMS DEPARTMENT OF LABOR DEPARTMENT OF ENERGY STATEWIDE FUND RAISING MUNICIPAL PROGRAMS The Opera-Musical Theatre Program announced 90 company grants totalling $4,325,000 for Fiscal '80. In addition, it disbursed $435,000 under the "New Work" category, with money being awarded to 15 individuals, 10 workshops, and three organizations for new production assistance. NEA Challenge Grants made to five city or area arts consortia have benefitted the opera companies who are members of the respective organizations. Meanwhile, NEA and NEH reauthorization is being debated by congressional committees and a five-year plan suggests the following authorization levels (maximum amounts that may be appropriated in each year) for the National Endowment for the Arts: $175 million in Fiscal '81; $201 million in Fiscal '82; $231 million in Fiscal '83; $266 million in Fiscal '84; and $306 million in Fiscal '85. In his recent budget message, President Carter requested $167.9 million for NEA in This would be $7 million less than the authorized figure, but $13.5 million above the 1980 level of $154.4 million. Deadlines for applications for support from the Opera-Musical Theater Program have been set for May 24 for professional companies, regional touring, and services to the arts, and for June 20 for new American works and special opera-musical theatre projects. The new program, "The Employment and Training of Professional Performing Artists and Supporting Craft Personnel" administered by the Labor Institute for Human Enrichment, (see Volume 21, Number 4) is supported and assisted by the AFL-CIO. The following national labor organizations have been named as advisory groups: Actors' Equity, American Federation of Musicians, American Federation of Television and Radio Artists, American Guild of Musical Artists, International Alliance of Theatrical Stage Employees, and the Screen Actors' Guild. The purpose of the new program has been defined as 1) to encourage creation of new job opportunities, 2) to develop and promote training standards for five industry related occupations, and 3) for career counseling within AFL-CIO affiliated performing arts unions. Funding and technical assistance to support development and demonstration of small-scale, energy-efficient concepts and projects by individuals and organizations is being provided by the U.S. Department of Energy. Most of the assistance is channeled through the state energy offices and, more recently, through special regional offices. The Energy Information Clearing House for the Cultural Community, supported by NEA and corporate funding, will make available names and addresses of state and regional energy representatives. The organization can also supply information on application deadlines wherever they have been established. Write Box 1032, Flushing, New York The latest program to raise money for the arts has been initiated in Massachusetts through the Massachusetts Arts Lottery. The lowest price ticket is $5, and drawings are held weekly. Minnesota has joined various other states in forming a 5<^ Club. Eligible for membership are corporations who contribute to tax-exempt organizations the full 57r of pre-tax earnings that can be claimed as a federal income tax deduction. The Minnesota 57r Club has been initiated by the Minneapolis Chamber of Commerce. A new branch club has been added, open to 2% givers, which is still double the amount of the national average of 1% for corporate contributions. Last year's nationwide corporate support to the arts totalled $250 million. New York's Mayor Ed Koch announced the necessity for drastic cuts in the budget of the city's Cultural Affairs Office. Last year's total of $1.6 million is to be reduced to $150,000, which threatens some city-supported events, such as the free park concerts of the Met and the New York 14

18 NATIONAL ARTS ORGANIZATIONS Philharmonic. The Department of Cultural Affairs will move this spring to new offices in the former Huntington Hartford Gallery on Columbus Circle. The building will also house a public information center operated by the New York Convention and Visitors Bureau. Gulf & Western Foundation contributed the building, and has agreed to pay $900,000 over a four-year period for maintenance. The CHEBOYGAN AREA ARTS COUNCIL may be the one serving the smallest population (5,500). It was established with financial assistance from the Michigan Council on the Arts and from local residents. Among its programs is the restoration of a 600-seat opera house built in 1888, which was host to international stars after its opening, but later fell into disrepair. Another Council project is the bringing of visiting artists to Cheboygan, and among these was Piccolo Opera from Detroit, performing in the newly renovated house. Rather disquieting news comes from the Canadian government agency, which has had a commendable history of support for the arts. While this year's appropriation has not yet been confirmed by Parliament, the amount the Canada Council is supposed to receive is $44.5 million, and cutbacks are proposed in the following areas: 1; restrictions on operating grants to performing arts organizations, e.g. no new recipients in music and theatre categories, 2) exploration programs and touring grants frozen at the 1978 level, and 3) suspension of senior grants to individuals in the performing arts. The Council also announced that orchestras which show a 30% or higher accumulated deficit in 1981 will no longer be supported. At present, 15 major Canadian orchestras carry some accumulated deficit. In the hope of alleviating such conditions in the future, the Council plans to initiate a training program for orchestra managers. At its last annual meeting held in Miami in December, OPERA America resolved to change its young singers auditions from an annual to a biennial schedule. Following the recommendations of its artistic directors and its auditions committees, alternate years will bring a Composer/ Librettist Showcase, offering scenes and excerpts from new operas, to be presented for the members at the annual conference. The next meeting is scheduled for January 1981 in New Orleans. With the requirement of NEA's 504 Regulations (Accessibility for the handicapped to performances by organizations receiving federal funds) and the need to complete a self-evaluation plan and make architectural changes, OPERA America has set up a consultant and advisory service for its members. Bobbi Wedlan is the 504 Consultant. The Business Committee for the Arts awards program, recognizing those corporations that have shown the greatest and'or most imaginative commitment to the arts each year, has been in existence for 14 years. Now BCA is adding a project honoring the American arts organization that has made an outstanding contribution to the development of interest, involvement, and support of American business in the arts. Eligible are non-profit, tax-exempt arts organizations operating on a yearly budget of less than $1 million. The new awards program, which will commence with honors for 1979, has been made possible by a $5,000 grant from Time, Inc. Recommendations should be addressed to Douglas Morrison, Awards Administrator, BCA, 1501 Broadway, New York, NY In order to give playwrights more visibility and give producers an opportunity to get acquainted with good new plays, Theatre Communications Group has founded the "Plays in Progress" program. New plays produced by its member companies of professional non-profit theatres may be recommended as Plays in Progress. A selection committee will review the nominated pieces and chose a number of scripts found most promising. These will be duplicated and distributed to TCG members CANADA COUNCIL OPERA AMERICA BCA TCG 15-

19 NATIONAL ARTS ORGANIZATIONS AMC who have signed-up for the service. As TCG states, this is not a substitute for publication, does not necessarily represent the final form of the play, which may be altered during the first or subsequent productions, and copyrights remain with the playwright. An annual anthology is also planned, which may prove useful for college drama courses. James Leverett is director of the new program. TCG's study of computers used by performing arts organizations, announced here in Volume 21, Number 4, has yielded some interesting results. Two-hundred fifty-nine organizations, including 40 opera companies, with budgets over $250,000 responded, and of these, 209 use computerization in one or more administrative departments. Ninety-one percent utilize a service bureau for one or more functions, 12 percent have an on-premise computer terminal, and 11 percent actually have an in-house computer. Fourteen percent of the 209 institutions use more than one type of system. Fifteen management application categories were identified in the TCG questionnaires as possible areas for computerization, and they are listed below in the order of popularity of computer usage, as evidenced by the replies: Customer Mailing List, General Accounting, Payroll, Subscription Renewal Invoice, Record of Donor History, Printing Single Tickets, Processing Incoming Donations, Subscription Payment Processing, Printing Solicitation Materials, Printing Subscription Tickets, Subscription Seat Selection, Pledge Invoices, Single Ticket Seat Selection, Acknowledgements, and Process Telephone Orders. However, even in the more heavily computerized areas, the tabulation showed that of the 209 organizations, 33 percent use manual systems for Customer Mailing Lists and 52 percent for Payroll. Future plans indicate that 52 percent of the total associations intend to remain with manual operations, 29 percent are investigating new or wider computer usage, and 13 percent are in the process of converting one or more of the above categories to computerization. All areas related to fund raising seem to have the highest priority for conversion. The American Music Center will establish two West Coast offices as pilot projects. They will be located in San Francisco and in Los Angeles. Its main office has moved to 250 West 54 Street, New York, NY CAREER COUNSELING AND MANAGEMENT Three new organizations have been founded to assist the young performing artist as career counselors, intended primarily for that period prior to professional management. JUDITH FINELL MUSIC SERV- ICES, at 155 West 68 Street, New York, NY 10023, which recently added an opera division under Irene Kessler, offers a wide range of services to singers, conductors, and stage directors. PACE, INC., which stands for Performing Artists Career Education, 164 West 79 Street, New York, NY 10024, is headed by Dr. Annajean Brown and offers evaluation and consultation with subsequent specific follow-through services. EUROPEAN AUDITION SERVICE, with Dorothy Setian as head, at 160 West End Avenue, New York, NY 10023, specializes in advising on and arranging participation in auditions for singers held by European artists agents. CARID: Personalized Management for the Arts, Inc., deals exclusively in management of professional opera and ballet production personnel. The list includes stage directors and assistant stage directors, technical directors, stage managers, set, costume, and lighting designers, wig makers, make-up artists, costumers, and production consultants. David and Carol Hatfield are the directors of the organization located at 2790 Broadway, New York, NY

20 CAREER OPPORTUNITIES SINGERS The NATIONAL FEDERATION OF MUSIC CLUBS' auditions, now in their 65th year, will, for the first time, also serve the New York City Opera. District winners in the vocal category will be heard by representatives of the company, and those found worthy will audition for the City Opera in New York. These auditioners will not necessarily be the winners of NFMC prizes, however, the national winner will receive a contract with the company. The $1,000 Merle Montgomery Prize will be awarded after the final New York City Opera auditions. The program will go into effect in February Ruth Hider will be the coordinator for City Opera, Ruth McDonald for NFMC. Open to students in the Washington, DC, metropolitan area who are presently enrolled in a degree program at a college, university, or conservatory, the YOUNG SOLOIST COMPETITION of the National Symphony Orchestra will offer as its first prize a concert appearance with the orchestra at Kennedy Center. The age limit for singers is 30, and the registration fee $3. The competition will be held in May, and a specific repertoire is required. For information write Mrs. Donald C. May, Jr., Competition Chairman, 5931 Oakdale Rd., McLean, VA The annual ARAM KHACHATURIAN MUSIC COMPETITION (Armenian General Benevolent Union of America, 628 Second Ave., New York, NY 10016) is open to singers of Armenian descent who are not under professional management. They must have been born after 1/31/45, and must fulfill certain repertoire requirements. The STATE ARTS COUNCIL OF OKLA- HOMA has developed an Artist in Residence (AIR) program whereby it plans to arrange for residencies of 242 performing and creative artists with schools and community organizations. The program is open to Oklahoma residents, and contracts will be of a one week to one year duration. Write AIR Program, State Arts Council of Oklahoma, Jim Thorpe Bldg. #640, Oklahoma City, OK The INTERNATIONAL ENRICO CARUSO SINGING CONTEST is open to tenors between the ages of 18 and 25. There will be a total of six cash prizes, the first approximately $2,000, and participation in a concert presented by the opera school of La Scala. For further information write Associazione Musico Enrico Caruso, Centro Studi Carusiani, Via degli Omenoni 2, Milan, Italy. For the first time, the 1980 INTERNA- TIONAL COMPETITION FOR MUSICAL PERFORMERS in Geneva is open to vocal quartets only, not to solo voices. CONDUCTORS The Baltimore Symphony Orchestra has announced its fourth biennial YOUNG CON- DUCTORS COMPETITION for May 12-15, Open to U.S. citizens or permanent residents whose birthdate is on or after 12/31/45, the competition requires applicants to have had symphonic conducting experience. Two letters of reference, a photograph, a resume, and reviews must accompany the application form. The first prize is $2,000 and an opportunity to conduct the orchestra; second and third prizes are cash awards of $1,000 and $500, respectively. Address inquiries to 1313 St. Paul St., Baltimore, MD The next KARL BOEHM CONDUCTORS COMPETITION will be held in Salzburg in 1981, following the summer festival. DIRECTORS, DESIGNERS, ADMINISTRATORS The CINCINNATI OPERA will offer internships during its summer season in the following categories: assistant director, production coordinator, assistant stage manager, designers of sets, costumes, and lighting, accompanist, and in the general field of administration. The SANTA FE ADMINISTRATIVE TRAINING program offers salaried assistantships in various administrative departments. Apprenticeships as assistant to stage manager, stage director, rehearsal coordinator, orchestra manager, chorus master, technical director, designers, costumer, and wardrobe mistress are also available. The NORTH CAROLINA ARTS COUNCIL offers an annual 12-week summer program for three apprentices in arts administration. Each apprentice will rotate among various community arts councils, and receive a stipend of $600 for the duration. Should positions become vacant in the fall, apprentices will have priority. Requirements include a four-year college degree, some work experience, and knowledge and skill pertinent to the arts. ARTS ADMINISTRATION COURSE Beginning next September, Columbia University will establish a Master of Fine Arts program in Arts Administration. The newdegree program will be part of the University's School of the Arts, and is designed as a two-year, 60-credit course with an initial enrollment of fifteen students. The second year of the course will provide some internships with arts organizations. Schuyler Chapin, dean of the Arts School, announced the appointment of Stephen Benedict as director of the new program, which will also draw on courses at Columbia's Graduate Schools of Business and Journalism, and Law School. (See also News From Companies for other programs.) 17

21 OPERA FORECAST SUMMER '80 conf SEASON conf. WOLF TRAP FARM PARK in Vienna, Virginia, under its general director Craig Hankenson and its new artistic director Sarah Caldwell, will offer three productions by the Opera Company of Boston next June. The dates are June 12-15, the operas Aida, Der fliegende Hollander and Madama Butterfly. July will see a week of guest engagements by the New York City Opera (see Tour News from Companies), and August will offer Die Fledermaus in the Greater Miami Opera production, and John Philip Sousa's The Free Lance as staged in Philadelphia. The Wolf Trap Opera Company will stage Marschner's The Vampire in its third production in the U.S. within four months. Also included in the season is Brigadoon, under the guidance of Agnes de Mille. July 3 through 27 are the dates of the FESTIVAL OTTAWA OPERA at the National Arts Centre. The opening production of Pelleas et Melisande will feature Maria Ewing and Alan Titus, conducted by Mario Bernardi and staged by Frank Corsaro, in a total of four performances. La Boheme will be heard five times (Soviero, Pellegrini; Shicoff, Monk; conductor Bernardi; director Frisell), as will La Fille du regiment (Welting, Forrester; Blake, Corbeil; conductor Paolo Peloso; director Mansouri). Two operas in concert will be offered on July 15 and 27: L'Enfant et les sortileges with the Swingle Singers, and Massenet's Therese with Ewing, Vanzo and Quilico. The COLORADO OPERA FESTIVAL in Colorado Springs, celebrating its tenth anniversary, is resuming its three-production schedule. Performing at the Armstrong Theatre of Colorado College, but no longer affiliated with the College, the company has scheduled Die Fledermaus, Regina, and La Boheme during June and July. As always, all performances will be sung in English. During July, the GLIMMERGLASS OPERA THEATRE in Cooperstown, New York, will give five performances each of The Marriage of Figaro and The Gypsy Baron (not The Chocolate Soldier). The company plans to expand its season to three operas during the following summer. Glimmerglass invites singers to submit applications by September 1980 for participation in auditions for the 1981 season. The Opera Theatre of the ASPEN MUSIC FESTIVAL plans full productions of Les Mamelles de Tiresias and The Medium, and concert versions of L'Enfant et les sortileges and Le Rossignol. The nine-week Opera Theatre training program is under the guidance of Richard Pearlman, and a four-week Choral Institute will be led by Fiora Contino. Between July 26 and August 10, visitors to the MUSIC FROM BEAR VALLEY FESTIVAL in California can hear The Barber of Seville conducted by the Festival's director John Gosling, and H.M.S. Pinafore and The Mikado as presented by the visiting Opera-a-la-Carte. La Traviata will be performed five times this July at the VERMONT CENTER FOR THE PERFORMING ARTS in Burlington. The SANTA FE OPERA schedule announced in Volume 21, Number 4 has been changed, with The Magic Flute replacing The Abduction from the Seraglio. This summer, the MAINE OPERA will perform Tosca and L'Elisir d'amore at the Deertrees Theatre in Harrison. As first announced in the COS Bulletin Vol. 21, No. 1, the METROPOLI- TAN OPERA will offer four new productions next season. February will bring the company's premieres of Poulenc's Les Mamelles de Tiresias, Ravel's L'Enfant et les sortileges, and Satie's ballet Parade in a triplebill. Manuel Rosenthal will conduct, John Dexter direct, British painter David Hockney design, and Rudolf Nureyev choreograph. The first new production of the season will be unveiled on October 20, 1980, when, with 18

22 OPERA FORECAST James Levine and John Dexter in charge, La Traviata will appear with Ileana Cotrubas, Neil Shicoff, and Sherrill Milnes in the major roles. November will see a new Cosl fan tutte, with Pilar Lorengar, Tatiana Troyanos, Maria Ewing, David Rendall, Bernd Weikl, and Donald Gramm, led by Mo. Levine and directed by William Gaskill. The final new production, to be mounted in March, will be Pique Dame, sung in Russian. Anna Tomowa-Simtow, Mignon Dunn, Placido Domingo, and Mr. Weikl will take the leading roles, and Neeme Jarvi will conduct. The season will also introduce New York audiences to the three-act, complete Lulu in the 1977 designs, and bring back four Wagner operas: Das Rheingold, Gotterdammerung, Tristan und Isolde and Parsifal, the latter featuring Jon Vickers, Leonie Rysanek, Bernd Weikl, and Martti Talvela. Operas carried over from the current season will include L'EHsir d'amore, Hansel and Gretel, Cavalleria rusticana and PagUacci, La Gioconda, Manon Lescaut, Tosca, Vn Ballo in maschera, and The Rise and Fall of the City of Mahagonny. Works being brought back after an absence of one or more seasons are Die Zauberflote, Dialogues des Carmelites (in French), L'ltaliana in Algeri, Samson et Dalila, and The Bartered Bride. Turandot, with Caballe and Pavarotti, promises a festive September 22 opening night, the first opera of the season's 24 productions. The previously announced Moses und Aron, projected for , has been postponed for at least four years and is being replaced by another triple-bill, this of Stravinsky works: Le Rossignol, Le Sacre du printemps, and Oedipus Rex will feature Mascagni's II piccolo Marat with Mirella Freni, Placido Domingo, and Nicolai Ghiaurov in its American premiere that is, if no other company decides to produce it first. The season will see a rise in ticket prices and a variance in prices on Fridays and Saturdays. Center orchestra and grand tier tickets will sell for $42.50 during the week (up from $40) and for $50 on Fridays and Saturdays. The lowest priced standing room, Family Circle, will change from $3 to $4. Only parterre box seats, solidly subscribed on weekdays, will remain at $55 Monday through Thursday, but the seats will be available on Friday and Saturday at a lower rate of $50. The SAN FRANCISCO OPERA will open September 5 with a new production of Samson et Dalila with Shirley Verrett, Placido Domingo, Wolfgang Brendel, and Julius Rudel conducting. The Magic Flute, in English, designed by Ponnelle, and Arabella, as designed for the Houston Grand Opera, will both be in productions new to the city. The latter will feature Kiri Te Kanawa and Ingvar Wixell under the baton of Wolfgang Rennert; John Cox will be stage director. Simon Boccanegra will return in a production first seen in Chicago, with Margaret Price, Renato Bruson, Cesare Siepi, and Giorgio Lamberti in the cast and Lamberto Gardelli conducting, and La Traviata will be seen with Valerie Masterson and Beniamino Prior. The Ponnelle productions of Cavalleria rusticana and PagUacci will star Leonie Rysanek and Michail Svetlev in the former, and Emily Rawlins and James King in the latter. Tristan und Isolde (Jones, Baldani; Wenkoff, Estes, Stewart; conductor Adler) and Die Frau ohne Schatten (Rysanek, Nilsson, Hesse; King, Feldhoff; conductor Klobucar; director Lehnhoff), both previously announced, complete the season, the longest in the company's history (13 weeks, 74 performances). With the statement, "The effects of inflation and recession are being felt just as strongly here at the LYRIC OPERA OF CHICAGO as they are throughout our economy," general manager Carol Fox announced a reduction of the repertoire to five operas next fall. However, this was accompanied by the positive statement that the company will return to seven productions in The 1980 season will consist of Boris Godunov with Ghiaurov, Petkov, Sotin, Ochman, and Baldani, Lohengrin with Marton, Martin, Johns, Roar, Sotin, and Monk, Attila with Cruz-Romo, Luchetti, Ghiaurov and Carrolli, Don Giovanni with Tomowa-Sintow, Neblett, Buchanan, Stilwell, Winkler, and Dean, and Un Ballo in mas- 19

23 OPERA FORECAST chera with Scotto, Payne, Putnam, Pavarotti, Nucci, and Voketaitis. Conductors will be Bruno Bartoletti (first and third productions), Ferdinand Leitner, and John Pritchard (fourth and fifth productions). As we go to press we learn of a contract agreement between the LYRIC OPERA OF CHICAGO and the Orchestra Committee, which will guarantee 52 weeks of work within a three-year contract. This agreement was made possible by an offer from Chicago's Mayor Byrne to help in underwriting spring performances of light opera, operetta, and prom concerts with funds made available from the Hotel and Motel Tax. Spring '81 will give New Yorkers the opportunity to hear Thea Musgrave's Mary, Queen of Scots, when the NEW YORK CITY OPERA will present it in the Virginia Opera production, with Ashley Putnam again in the title role. Boris Godunov in English was chosen by the TULSA OPERA to open its next season in November. The cast will include James Morris, William Wilderman, Harry Theyard, George Shirley, Spiro Malas, and Joy Davidson, with Emerson Buckley conducting and Bliss Hebert directing. La Boheme will bring Diana Soviero, Rita Shane, Raymond Gibbs, and William Parker to Oklahoma in March, joined by conductor Judith Somogi and director Adelaide Bishop. The final production of the season will be mounted in May. The Daughter of the Regiment will present Erie Mills, Elaine Bonazzi, and Ara Berberian in leading roles; Chris Nance and Lou Galterio will be conductor and stage director, respectively. (For future seasons, see below.) The GREATER MIAMI OPERA'S '81 spring season will consist of Nabucco, The Merry Widow, Carmen, and Turandot. The MICHIGAN OPERA THEATRE in Detroit will perform Don Giovanni, Rigoletto, Die Fledermaus, and Of Mice and Men. The latter will replace an originally planned American premiere of Shostakovich's Lady Macbeth of Mtsensk. Three performances each of the following operas will be staged by the PORTLAND OPERA: Don Giovanni, Tosca, Die Walkiire, and Don Pasquale (in the Seattle production). They will be produced in September, November, March, and May, respectively. (For future seasons, see below.) The fifth work on SEATTLE OPERA'S program for next season is Tristan und Isolde with Johanna Meier and Edward Sooter (see also Vol.21, No. 4). Un Ballo in maschera will be the opening production of the WASHING- TON OPERA at the opera house of the Kennedy Center in September, to be followed in March by Madama Butterfly and a new production of L'Amore dei tre re (Corsaro, Montresor). During the winter months, the company will also mount four operas in the smaller Terrace Theater: Semele, II Barbiere di Siviglia, Wiener Blut, and Postcard from Morocco. The HOUSTON GRAND OPERA will celebrate its silver anniversary during the season, and has scheduled several new productions in honor of that event. II Trovatore has been underwritten jointly with the San Diego Opera (conductor Miguel Gomez Martinez; director Giancarlo Del Monaco; designer Ming Cho Lee), and will be seen in October, and The Magic Flute in a new translation by Andrew Porter (conductor Kenneth Montgomery; director Frank Corsaro; designer Neil Jampolis) will appear in November. In addition, there will be performances of Carmen in the opera-comique version, in an English translation by Sheldon Harnick (conductor John De Main), Adriana Lecouvreur in the Met production, and in March-April, Un ballo in maschera. The last opera of the season will be the world premiere of Carlisle Floyd's Willie Stark (see New Operas and Premieres). For the Spring Festival in the Park, Die Fledermaus, Hansel and Gretel, and The Student Prince are under consideration. 20

24 OPERA FORECAST In addition to the previously announced Sills/Sutherland Fledermaus in October, the SAN DIEGO OPERA has scheduled Elektra in September, with Pauline Tinsley, Anne Evans, Regina Resnik, and John Brocheler singing their roles in English; Mme. Resnik will stage, Theo Alcantara will conduct. Werther will complete the fall season (Katherine Ciesinski and John Brecknock). During May and June, the company will mount Tosca with Martina Arroyo, Carlo Bini, and Richard Fredricks, staged by Tito Capobianco, Lucia di Lammermoor with Gianna Rolandi, and The Love for Three Oranges conducted by Calvin Simmons and directed by Mr. Capobianco. The CANADIAN OPERA COMPANY'S season will consist of six productions in 37 performances evenly spaced between September and April. Opening at the O'Keefe Centre will be a new production of Otello, with James McCracken in the title role and Mariana Niculescu and Ruth Falcon alternating as Desdemona, conducted by Reynald Giovaninetti and directed by Lotfi Mansouri. October will bring the Canadian premiere of the complete three-act Lulu, performed in English by Carole Farley, Evelyn Lear, and Victor Braun; Kenneth Montgomery conductor, Lotfi Mansouri director. The Abduction from the Seraglio and The Merry Widow are mid-winter offerings, to be followed by Der fliegende Hollander, with Marita Napier, Lief Roar, and Don Garrard. The final opera of the season will present Joan Sutherland and Tatiana Troyanos in Norma. The five operas making up the NEW ORLEANS OPERA season between October and April are Carmen, La Traviata in a new production designed by David Gano, Adriana Lecouvreur in the Greater Miami Opera production, Fidelio starring Ute Vinzing and Siegfried Jerusalem, and La Fanciulla del West, on loan from the New York City Opera. Each work will be performed twice. Carmen, Tosca, Macbeth and one of the following three American works, Susannah, Porgy and Bess, or Showboat will be staged by the CON- NECTICUT OPERA in Hartford next season. For its silver anniversary, OPERA MEMPHIS promises its subscribers "the season of the prima donna". Joan Sutherland will star in the closing production of La Traviata opposite tenor Giuliano Ciannella, and Renata Scotto will be featured as Adriana Lecouvreur in March. The season will open October 18 with Ashley Putnam in the title role of Lucia di Lammermoor and Ruben Domingues as Edgardo. The fourth production will present Brenda Boozer in La Perichole. Celebrating the 100th anniversary of the birth of Bela Bartok on March 25, 1981, the NEW YORK PHILHARMONIC has scheduled a concert performance of Bluebeard's Castle with Julia Hamari and Siegmund Nimsgern under the baton of Rafael Kubelik. Wisconsin's SKYLIGHT OPERA will celebrate its 20th anniversary in , and has scheduled five performances of Offenbach's Orpheus in the Underworld in October, followed by eight performances of Weill's Happy End in November. The Pirates of Penzance will be mounted in December, including a performance on New Year's Eve, Blitzstein's Regina in February, and Johann Strauss's One Night in Venice, in a new adaptation and translation by John Lehmeyer, in March. The closing production, scheduled for May, will be the Milwaukee premiere of Stravinsky's The Rake's Progress. A double-bill of Pagliacci and Gianni Schicchi will be the fall offering of the MICHIANA OPERA GUILD in South Bend, Indiana, and Tosca has been scheduled for May. Each opera will be given four performances. The WEST BAY OPERA in Palo Alto, California, will also be celebrating its 25th anniversary next season. The Barber of Seville in October, The Magic Flute in February, and The Gypsy Baron in May are planned for the festival season. 21

25 OPERA FORECAST Two performances each of Aida, The Barber of Seville, and Faust will be produced by the INDIANAPOLIS OPERA COMPANY next season. All performances will be staged at the Murat Theatre. The Kossini opera will be sung in English in December, the other productions are scheduled for September and February, respectively. Rigoletto will be the opening production of the CLEVELAND OPERA COMPANY (formerly New Cleveland Opera) in The Medium, Madama Butterfly, and Naughty Marietta complete the program of the company's fifth season, the first one offering four productions. In September, the CHAMBER OPERA THEATRE in Chicago will mount Pasatieri's Washington Square in its revised version, first performed by the New York Lyric Opera in Tosca, Rigoletto and Otello will be performed by the VANCOUVER OPERA ASSOCIATION next season. After this, the company anticipates expansion into a five-production schedule (see "Beyond '81 Forecast"). The Barber of Seville and Madama Butterfly comprise the KNOXVILLE CIVIC OPERA'S next season's schedule will bring a world premiere to the Tennessee company (see New Operas). Lucia di Lammermoor will be staged by OPERA SOUTH in Jackson, Mississippi, in November. The March production will be the world premiere of William Grant Still's Costaso (see New Operas*). The company's subsidiary group, MISSISSIPPI SHOWBOAT, will tour with Pergolesi's Music Master, Carissimi's Job, and one contemporary opera still to be chosen. The WHITEWATER OPERA in Richmond, Indiana, announced La Cenerentola, Cavalleria rusticana and Pagliacci, and La Boheme as its repertory. The company also contracts these operas for out-oftown performances. January to May 1981 will find the WESTERN OPERA THEATER of the San Francisco Opera touring with L'Elisir d'amore, Romeo and Juliette, and one short opera to be announced. In summer '81, the WELSH NATIONAL OPERA plans a tour of the U.S. with performances in New York at the City Center. BEYOND Two opera companies have announced plans for more than one season '981 at this time. The TULSA OPERA will offer Andrea Chenier (Cruz-Romo and Mauro), Salome (Knie), and The Barber of Seville (Blegen) in , and 11 Trovatore (Mitchell and Milnes),'Hamlet (Putnam and Milnes) and one more work in The PORTLAND OPERA's Unified Production Program project provides for the following repertoire: in Rigoletto, Eugene Onegin, Die Entfilhrung aus dem Serail (shared with the Seattle Opera), and Manon Lescaut; in La Traviata, the world premiere of Bernard Herrmann's Wnthering Heights, La Fanchdla del West, and Die Flederrnaus; and finally in five productions, Tristan und Isolde, Cosl fan tutte, Un Ballo in maschera, Manon and La Perichole. THE VANCOUVER OPERA COMPANY is taking a bold step in , increasing its schedule from three to five productions. The following operas and musicals are planned: Turandot, La Cenerentola, Lucia di Lammermoor, Romeo et Juliette, and Man of La Mancha. In local fundraising, the company stresses its past record of employment of Canadian artists, specifically those from Vancouver. Including its touring production, the VIRGINIA OPERA ASSOCIA- TION will mount four productions in (Die Fledermaus, Manon Lescaut, Macbeth, and Hansel and Gretel). The following five operas, The Rake's Progress, Eugene Onegin, Salome, La Cenerentola, and La Traviata, are planned for

26 APPOINTMENTS AND RESIGNATIONS FEDERAL/STATE PROGRAMS SHIRLEY M. HUFSTEDLER was appointed by President Carter as the first U.S. Secretary of Education. This Cabinetlevel post was created following the formation of a separate Department of Education. In addition to all education related activities, the new Department will administer the Museum Services, but not either of the National Endowments (NEA and NEH). The former Health, Education and Welfare Department (HEW) has been renamed the Department of Health and Human Services. EDWARD CORN has been named Director of the National Endowment for the Arts Opera-Musical Theatre Program, succeeding James Ireland. Mr. Corn, currently manager of the Opera Company of Philadelphia, a post he will relinquish in April, brings extensive first-hand experience in opera management to his new position. Prior to his move to Philadelphia three years ago, he was a member of the Metropolitan Opera's administration for two years and, before that, of the San Francisco and Western Opera companies for seven years. His first professional affiliation was with the St. Louis Municipal Opera in his home town. He also served on the advisory panel of NEA's Music Program while opera was part of that division. EZRA LADERMAN, composer and former President of the American Music Center, is the new Director of the NEA Music Program, a position formerly held by Walter Anderson. AIDA CHAPMAN was chosen Director of the same program in charge of jazz, choral, and career development sections. Former NEA Chairman of Intergovernmental Activities, JIM EDGY, accepted the job of Manager of the Cincinnati Ballet. Some previously announced NEA regions (see Volume 19, Number 4) are being redefined, with new ones added and new coordinating directors named. EDUARDO GARCIA is in charge of the Mid-Atlantic Region, now encompassing New Jersey, Pennsylvania, Delaware, and Maryland. The former New York State Region has been expanded to include the Virgin Islands and Puerto Rico and has been renamed New York-Caribbean. It is headed by JOHN WESSEL. A Southwest area has been split off the Pacific Region, consisting of Southern California and Nevada under the direction of VIRGINIA TORRES of Los Angeles. The Pacific Region remains under DALE KOBLER of San Francisco, representing Northern California and the Pacific Islands. This brings the total of NEA regions to twelve. SAM GRABARSKI is the new Executive Director of the Iowa Arts Council. NATIONAL/REGIONAL ARTS ORGANIZATIONS Opera America has elected DAVID DI CHIERA President. He is the third person to occupy this office since the organization was formed, with John 0. Crosby and Robert Collinge his predecessors. KURT HER- BERT ADLER, MICHAEL BRONSON, and EDWARD PURRINGTON are Vice Presidents, ROBERT HERMAN is Treasurer, and ROBERT DRIVER Secretary. Elected to the board of directors were RICHARD GADDES, PLATO KARAYANIS, and BEVERLY SILLS. Continuing on the board are CAROL FOX, CHARLES FULLMER, LOTFI MANSOURI, and GLYNN ROSS. Past presidents are ex-officio board members. Opera America has a new Executive Director in the person of MARTIN KAGAN. Mr. Kagan has been General Manager of the Jacob's Pillow Dance Festival and other dance and theater groups. NATALIE LIMONICK, head of the opera department at the University of Southern California, was elected President of the National Opera Association. She succeeds Clifton Ware of Minnesota. The National Assembly of Community Arts Agencies (NACAA) has named LEE HOW- ARD of New York President, and GEOF- FREY PLATT, JR. of New Orleans Vice President. After eight years with Cemrel, BENNETT TARLTON has been engaged as Director of the Alliance of Arts Education network. ROMAN BABIAK has assumed the duties of Director of Educational Services with the American Music Conference. BILL DAWSON is the first full-time Executive Director of the Association of College, University and Community Arts Administrators (ACUCAA). RITA RODIN, formerly with ACA, joined Chamber Music America as Director of Communications and Editor of CMA's newsletter, American Ensemble. ROBERT HUFFMAN, Chairman of the Tennessee Arts Commission, was also elected Chairman of the Southern Arts Federation. RICK GEORGE will assume his duties as its Executive Director in February. The Denver-based Western States Arts Foundation named BILL JAMISON, former NEA regional representative, as its Chief Executive Officer. OPERA COMPANIES JOHN MAUCERI was appointed Music Director of the Washington Opera by Executive Director Martin Feinstein. The Michigan Opera Theatre has chosen STEFANIE OTT-0'TOOLE as its first fulltime Director of Development. 23

27 As a result of Edward Corn's appointment to NEA's Opera-Musical Theatre Program (see above), the Opera Company of Philadelphia named MARGARET ANNE EVER- ITT Acting Manager. She had been in charge of educational and community services since she joined the company in 1977, developing many new programs. Earlier, she had been with the Metropolitan Opera. Other new appointments at the Philadelphia company include JUDITH R. HYMAN, Development Director, EDWARD P. CUNNINGHAM, Public Relations Director, and BARBARA COHEN, Public Relations Assistant. The Tulsa Opera has a new Business Manager in the person of JOHN AUSTON BRIDGES, formerly Program Director of the Tennessee Arts Commission. THEODORE S. CHAPIN is the new producer of the Music Theatre Lab at the Kennedy Center in Washington. He is also in charge of a new program at the ANTA Theatre Studio in New York called The Lab Reviews and of a seminar workshop. LEON C. PETRUS resigned as General Manager of the Society for the Performing Arts in Houston, in order to join the administrative staff of the Seattle Opera. The Opera Theatre of St. Louis engaged ROBERT A. JONES as head of its musical staff and as music consultant to the general manager. New engagements and promotions have resulted in the following appointments with the Cleveland Opera Company: JUDITH RYDER Music Coordinator and Director of Touring, and DEBORAH KAUFMAN Tour Manager and assistant to Ms. Ryder. BRUCE MAZA has resigned his position as Assistant Director of Development at the New York City Opera. He will move to San Diego to become Director of Development of the Old Globe Theatre. ARTS CENTER MARTA CASALS ISTOMIN has been appointed Artistic Director of Kennedy Center for the Performing Arts. She will head its programming in the performing arts, except for theatrical presentations. SYMPHONY ORCHESTRAS After fifty years under the guidance of the late Arthur Fiedler, the Boston Pops Orchestra has awarded the contract for Music Director to JOHN WILLIAMS. Best known as a composer of film scores, he studied piano at Juilliard for one year with Rosina Lhevine. He intends to play more American music, including music from films, both in the Pops concerts in Boston and on tour, and continue recordings with the orchestra. The new Music Director of the "Philly Pops Orchestra" is pianist/composer PETER NERO. Beginning with the season, JOEL LAZAR will become the Music Director of the Tulsa Philharmonic, succeeding MURRY SIDLIN, who will take over the Long Beach Symphony in California. DINO ANA- GNOST, who was associate conductor of the Little Orchestra Society in New York, has been signed as its new Music Director, following the death of its founder/director Thomas Scherman. JAMES CONLON has signed a four-year contract as Music Director of the Cincinnati May Festival, succeeding James Levine who will appear as guest conductor for the Verdi Requiem this year. SEMYON BYCHKOV of Leningrad, presently Music Director of the Mannes College Orchestra, will become Associate Conductor with the Buffalo Philharmonic and Music Director of the Grand Rapids Symphony. Changes in artistic heads of Canadian orchestras include VICTOR FELDBRILL, Acting Music Director of the London (Ont.) Symphony for the current season, PAUL FREEMAN, succeeding Laszlo Gati as Music Director of the Victoria Symphony, and Mo. GATI, in the same capacity, to the Windsor Symphony. Following his resignation as Music Director, PIERRE HETU remained with the Edmonton Symphony as Principal Guest Conductor for the present season. L'Orchestre Symphonique de Montreal named ROGER LAROSE, former Vice Rector of Montreal University, President and Managing Director. MARTIN FEINSTEIN, who became General Director of the Washington Opera after leaving the post of Executive Director of Kennedy Center (see Volume 21, Number 4), was also named President and Chief Operating Officer of the National Symphony Orchestra. This may bring a closer cooperation between the orchestra and opera company. However, due to previous commitments, the earliest this could occur would be in the season. The post of the orchestra's managing director, occupied by Oleg Lobanov, is being discontinued; AUSTIN KIP- LINGER, President of the Orchestra, was named Chairman of the Board. RUSSELL STANGER, Music Director of the Norfolk Symphony in Virginia, has announced his resignation, effective the end of this season. The Norfolk Symphony, Virginia Beach Pops, and Peninsula Symphony Orchestra have joined together under one management to form the Virginia Orchestra Group. JULIEN BERESFORD, formerly with the Binghamton (NY) Symphony, is Manager of the new organization. MICHAEL WOOLCOCK, formerly of Decca/London Records, was promoted to Executive Director of the Houston Symphony; DOLORES JOHNSON, formerly of the St. Paul Chamber Orchestra, is the new Orchestra Manager. NICHOLAS CASSIZZI has become General Manager of the Tucson Symphony, DARRELL EDWARDS of the Columbus (OH) Symphony, ELEANOR SHOPIRO of the Syracuse Symphony, and RUSSELL P. ALLEN of the Shreveport Symphony, which includes the Louisiana Opera Theatre. 24

28 PUBLISHERS AND MANAGERS Boosey and Hawkes announced the appointment of CLINTON J. EVERETT III as Manager of its opera and symphony departments; he has been orchestra manager of the Spoleto Festival in Italy. WILLIAM GIANNONE also joined the publishing house in New York as Manager of its education department. Affiliated with G. Schirmer/AMP since 1974, BARRY O'NEIL is now Manager of Associated Music Publishers. WILLIAM H. ALEXANDER has assumed the duties of Southern Sales Manager for Herbert Barrett Management. His previous experience was with Columbia Artists Management. ACADIMIA EDWARD ZAMBARA, professor of voice and chairman of the voice department at the University of Tennessee in Knoxville, has accepted an appointment to the Endowed Chair in Voice at the St. Louis Conservatory of Music. He will begin in his new position in fall 1980, when he will move to Missouri. Last year, he founded the Knoxville Civic Opera, of which he is general manager and artistic director. The Saint Louis Conservatory and School for the Arts named JAMES N. CAIN Vice President for Performance Activities. His previous experience includes managing the St. Louis Symphony for the last twelve years and, prior to that, administrative work for the Aspen Music School and Festival. The Conservatory offers bachelor's and master's degrees in performance. ALLEN P. BRITTON, former Dean of the School of Music at the University of Michigan, is presently Acting Dean of the Manhattan School of Music. CHARLES G. BOYER has become Director of the School of Music at Illinois Wesleyan University of Bloomington, Illinois. Last fall CHARLES SPOHN assumed the duties of Dean of the School of Fine Arts at Miami University in Oxford. Ohio. He is also Chairman of the Art Education Subcommittee of Kennedy Center in Washington. Stage director IAN STRASFOGEL is visiting professor at the University of Michigan Opera Theatre this season. Following the resignation, due to ill health, of Dorothy Maynor as director of the Harlem School of the Arts, it was announced that concert singer BETTY ALLEN will assume the post. A number of opera departments engaged new directors at the start of the school year. MIKE BLUM is the Director of the Marjorie Lawrence Opera Theatre of Southern Illinois University in Carbondale, succeeding Mary Elaine Wallace; TERRY FLATT, Director of the opera/musical theater program, succeeding Edward Craft at the University of Nebraska at Lincoln; RAPHAEL METZGER, Director of opera and symphony at Dominican College in San Rafael; JERRY DANIELS, Director of the opera workshop at Washington State University in Pullman; and DAVID STOFFEL, head of the opera/musical theatre department at the University of Georgia at Athens, where RALPH VERRASTRO has become Director of the music department. A new conducting program at the Peabody Conservatory of Music in Baltimore, under Conductor Emeritus FREDERIK PRAUS- NITZ signed SERGIU COMISSIONA, WIL- LIAM HENRY CURRY, and EDWARD POLOCHICK as members of the faculty, with the latter in charge of choral activities. The Conservatory's Prep Department has KENNETH KIESLER and PETER BAY, conductor and assistant conductor, respectively, of the Prince George's Philharmonic in Maryland, in charge of the orchestra and chorus. CORNELIUS EBERHARDT, Music Director of the Corpus Christi Symphony, faculty member and conductor at the American Institute for Musical Studies in Graz, and former Professor at the Munich Academy, is Visiting Professor and Conductor of the symphony at the University of Texas at Austin this winter. Former Met assistant conductor and more recently, Conductor of the Portland (OR) Symphony LAWRENCE SMITH has taken over the duties of Conductor at the Music Academy of the West in Santa Barbara. Maurice Abravanel continues as Artistic Director, Martial Singher as stage director. New members of academic vocal departments include former Met mezzo-soprano HERTA GLAZ as Adjunct Professor at the University of Southern California in Los Angeles, where THOMAS CLEVELAND and CHARLES ROE were recently named Associate Professors; JEROLD SIENA as Visiting Professor at the University of Arizona in Tucson; DENNIS MONK as Chairman of the department and CORA ENMAN and DOUGLAS STARR as faculty members of Central Michigan University in Mount Pleasant; and PHYLLIS TILTON HURT as Assistant Professor at Michigan State University in East Lansing. FESTIVALS AND OPERA ABROAD MASSIMO BOGIANCKINO was chosen Vice President of the European Association of Music Festivals. ROLF LIEBER- MANN was elected President of the Salzburg Festival, commencing next summer. The Spoleto Festival of Two Worlds in Italy has a new Artistic Director in RAF- AELLO DE BANFIELD, who is also General Director of the Teatro Verdi in Trieste. LOUIS ERLO, Director of the Opera de Lyon, will assume the position of Director of the Festival at Aix-en-Provence vacated by Bernard Lefort's move to the National Opera in Paris. MARTTI TALVELA re- 25

29 signed as Artistic Director of the Savonlinna Opera Festival in Finland, which he founded, in order to devote his time exclusively to singing. FRANCESCO SICILIANI is the successor to Claudio Abbado as Artistic Director of the Teatro alia Scala, following the latter's resignation. However, Mo. Abbado will continue with the Milan company as chief conductor. Mo. Siciliani held that position once before, Due to ill health, Sir CHARLES GROVES resigned as Music Director of the English National Opera, and MARK ELDER, formerly of the Australian Opera, has assumed the duties of Music Director. The Australian Opera and its General Director PETER HEMMINGS will be parting at the conclusion of their contract at the end of this season. MYER FRED- MAN, Music Director of the State Opera of South Australia, will not renew his contract when it expires next December. Beginning with the season, GOETZ FRIED- RICH will be the new Generalintendant of the Deutsche Oper Berlin. At the same time, JEAN CLAUDE RIBER, currently General Director of the Grand Opera in Geneva, will assume his new duties as Intendant of the Theater der Stadt Bonn in Germany, where he succeeds Hans Joachim Heyse. General Director Jiri Pauer of Prague's National Theatre named ZDENEK KOSLER Music Director of the opera company, beginning this January. NEW THEATRES, NEW LOCATIONS Denver's Performing Arts Center, which attracted great attention upon the opening of Boettcher Hall (Hardy Holzman Pfeiffer Associates, architects), has now added the HELEN G. BONFILS THEATRE COM- PLEX. The new building, designed by Kevin Roche John Dinkeloo & Associates, was constructed at a cost of $13 million. It houses a 250-seat cinema and two theatres, The Stage with a thrust stage and seating capacity of 640, and The Space an experimental theatre which can accommodate between 150 and 600 spectators. The Arts Center also includes two old halls, the 1908 Auditorium Theatre and the 1940 Arena. A glass covered Galleria connects the buildings to the aboveground garage. The EL PASO COUNTY THEATRE/AUDITORIUM in Colorado Springs, estimated to cost $12.2 million, is in its planning stages with construction to begin next spring and completion projected for fall Under the guidance of Clifford Nakata, architect, and Russell Johnson/ Artec Consultants, the 2,100-seat auditorium will be fitted with 18 movable towers, which can be used for side seating (box-like) on stage, as wall panels, or as stage lighting towers. In each case they will serve to enhance the acoustical and visual aspects of the hall. Russell Johnson is also acoustician for the new KITCHENER CENTRE in Ontario. Following a Louis Harris study which revealed a large, potential audience for the performing arts in the Borough of Queens, New York, which currently is not served due to the lack of a facility, another study is underway to determine the site and type of facility for maximum use. A booking house of approximately 1,000 capacity is being recommended. Meanwhile, the C. W. Post Center of Long Island University has announced plans for the construction of a 2,200-seat theatre/concert hall, replacing the domed auditorium which collapsed two years ago as a result of a snow storm. The new theatre is to open in fall '81 with a gala concert by the New York Philharmonic. The San Francisco Palace of Fine Arts, built in 1915 for the Pan-Pacific Exhibition, will host the Western Spring Opera's season in April and May for the first time. The theatre, which was renovated in 1970, will receive further technical improvements prior to the spring opening. 26

30 WINNERS SINGERS The Metropolitan Opera National Council presented eleven finalists in its auditions concert at the Met on March 23. Each of them won the $3,000 finals prize, in addition to the regional first place which sent them to New York. There were a total of 26 regional winners who participated in the semi-finals, each brought to New York at the expense of the MONC, where they received free coaching with Met staff members in preparation for the last round of the competition. The winners were sopranos MARJO CARROLL (28, from Hot Springs, AR), LOUISE DEAL-PLUYMEN (25, from Seattle, WA), LANI NORSKOG (29, from Plattsburgh, NY), MARGARET VAZQUEZ (27, from Hartford, CT), and LAUREN WAGNER (26, from Brooklyn, NY); mezzosoprano LESLIE RICHARDS (30, from San Mateo, CA); tenors JOHN H. FOWLER Jr. (27, from Rock Hill, SC), and ROBIN REED (28, from Pasadena, CA); baritones DAR- REN NIMNICHT (27, from South Pasadena, CA), and THOMAS WOODMAN (22, from Cos Cob, CT); and bass KEVIN LANGAN (24, from Monmouth, NJ). The other semi-finalists were sopranos CAROLE ADRIAN, DAWN DICKINSON, JOAN GIBBONS, DELENE W. HAYS, MARY JANE JOHNSON, ROBERTA LAWS, RITA ORONA, and NOVA THOMAS; mezzosopranos JOLANTA NAGAJEK and BRENDA WARREN; tenors CHRISTO- PHER LEO KING, GARY LAKES and WILLIAM MITCHELL; baritone WILLIAM TULLIS; and bass-baritone STEPHEN WEST. At its third annual Awards Evening on January 28, the National Opera Institute chose the following four singers as recipients of Career Support Grants, carrying a maximum cash award of $5,000: tenor CARROLL FREEMAN from Hattiesburg, baritone ROBERT S. GALBRAITH from Milwaukee, soprano LINDA KELM from Salt Lake City, and soprano STEPHANIE SUDINE from Moline. Six Career Study Grants (maximum $1,500) were awarded to mezzo-soprano CLAUDIA CATANIA, baritone DAVID KLINE, soprano MYRA MER- RITT, bass Z. EDMUND TOLIVER, baritone JAMES TYESKA, and soprano DEBRA VANDERLINDE. The latest Baltimore Opera competition was won by bass-baritone STEVEN A. WIL- LIAMS, who received the first prize. Soprano MARTHA HARTMAN WHIT- MORE won the Concert Artists Guild award, a January recital at Carnegie Recital Hall in New York. The Dayton Philharmonic Orchestra Competition, open in 1979 to vocalists, gave its first prize to soprano ALESSAN- DRA ALTHOFF. ANNE BILL, a graduate of the Cleveland Institute of Music, won the National Association of Teachers of Music state collegiate competition. Baritone HOWARD BENDER was chosen as Artist in Residence by the Virginia Opera Association, and tenor PAUL SPENCER ADKINS of Affiliate Artists joined the Opera Company of Philadelphia for one month to give "informances" at schools, hospitals, and for civic groups. Canadian tenor BEN HEPPNER from Vancouver won the first prize in the '79 CBC Talent Competition in Quebec City. Other winners were instrumentalists. The next CBC Competition will be held in The sixth International Competition of Musical Performance in Vina del Mar in Chile awarded its first prize of $3,000 to American soprano LINDA WALL. Other winners included Canadian MICHELE BOUCHER and Israeli RONIT KALISKY, who currently studies in the United States. CONDUCTORS First place at the International Conductor's Contest, sponsored by the Herbert von Karajan Foundation and held in Berlin in October, was won by American RONALD BRAUNSTEIN. He is a 24-year old graduate of Juilliard. Second prize went to German BRUNO WEIL and third prize to CHRISTIAN EHWALD, also from Germany. First place at the Karl Bohm Conductors Competition in Salzburg was won by Viennese conductor HANS GRAF, currently assistant conductor at the Vienna State Opera. Second place was won by HANS URBANEK of Freiburg and third place by MANFRED MAYRHOFER of Gelsenkirchen. The contest, which occurs every two years at the end of the Salzburg Festival, will next be held in

31 COS INSIDE INFORMATION NEW OFFICERS cos PUBLICATIONS SAN DIEGO CONFERENCE PROGRAM REGIONAL CONFERENCES ADDRESS CHANGES After eight years of dedicated service as President of the Metropolitan Opera National Council, ALEXANDER SAUNDERSON is relinquishing the office. His interest in and constant support of the Central Opera Service have earned him the deep gratitude of COS officers and staff, and all best wishes accompany him and Mrs. Saunderson in their future endeavors. MRS. GILBERT (LOUISE) HUMPHREY has been elected to succeed him, and COS extends a hearty welcome to her. As we head into a new decade, we greatly look forward to a long and fruitful association. LOUIS F. WILLIAMS has been appointed COS Director for the New England Region. Responding to the greatly increased interest in new operas, both Ameri C an and foreign, the 1980 COS Directory will be devoted to CONTEM- PORARY AMERICAN AND FOREIGN OPERAS, up-dating the three earlier directories on this subject and including an addenda of American Premieres As always, the directory will be arranged in alphabetical order by composer with an index by opera, and will include such information as length of work, number of acts and/or scenes, cast and orchestration wherever available, publisher, subject matter or source of story, and premiere place and date. All COS members will receive a copy of the Directory as part of their COS Bulletin subscription. The COS Listing of Opera Producing Organizations is now available in its 1980 edition. In accordance with new trends, it includes, for the first time, non-profit theatre groups which present musical theatre pieces. Arranged by state and city (in the case of Canada by province and city), it lists the name of the organization, its address, and the name of the head administrator and/or artistic director. In addition, it includes many telephone numbers and information on the company's performing facility, wherever available. Also for the first time, the list is coded to indicate type of organization: opera companies by budget category, festivals, touring companies, academic workshops, and choral groups, symphony orchestras, and theatres with opera-musical theatre productions. Listing some 1,000 organizations, "Opera/Musical Theatre Companies and Workshops in the United States and Canada" is available for $8 (add $1 for first-class postage) prepaid, from Central Opera Service, Metropolitan Opera, Lincoln Center, New York, NY Amendments to the Career Guide for the Young American Singer, published in 1978, are available free of charge. Send a self-addressed, stamped envelope and a note requesting the amendment. Amendments are revised every two or three months. They must be used in conjunction with the original publication which is available from COS for $7 including postage. The final program for the National Conference in San Diego will be mailed to COS and MONC members at the end of April. Extra copies with registration forms are available from the New York office. An Upper Midwest COS Regional Conference will again be held this year (May 21) in conjunction with the Met tour to Minneapolis. For further information write Mrs. Roy Hollander, 255 County Rd. 6, Wayzata, MN. The next Eastern COS Regional Conference will take place in Philadelphia November 20 to 23, hosted by the Opera Company of Philadelphia. It will coincide with the company's successful production of Rumpelstiltskin. Please be sure to notify the rffice of any change of address. The post office does not forward magazines, nor does it return them to sender, hence we do NOT know if mail does not reach you. 28

32 COS INSIDE INFORMATION June 26 (Thurs.) 10:00 AM 12:00 M 1:00 PM 1:30 PM 3:00 PM 5:00 PM June 27 (Fri.) 8:30 AM 9:30 AM 11:00 AM 12:00 M 2:00 PM 5:00 PM 8:00 PM June 28 (Sat.) 9:30 AM Central Opera Service National Conference Little America Westgate Hotel, San Diego June 26-28,1980 Registration Luncheon Welcome Session ACADEMIA AND OPERA COMPANIES What training programs are offered what training programs are needed. A candid discussion between educators and artistic directors of opera companies evaluating academic workshops and company apprentice programs. Concurrent sessions: A) workshops and major companies; B) opportunities with semi-professional companies Concurrent sessions: A) the singer/actor turning professional; B) San Diego Opera Young American Opera Conductors Program Buses leave hotel for Wild Animal Park Evening Safari Tour; cocktails, dinner and entertainment at Nairobi Village Registration continues OPERA COMPANIES AND ACADEMIA The Development of Joint Programs (e.g. San Diego Opera & San Diego State University with Minnesota Opera and University of Minnesota). Evaluation and conclusion Luncheon TOURISM AND FESTIVALS Exploring the opportunities of marketing a festival (increasing its earned income and audiences) through organized tourism. Speakers will include airline, bus, and tour representatives, as well as those from chambers of commerce and the U.S. Travel Service. Louise Wiener, Special Assistant for Cultural Resources of the U.S. Economic Development Administration, will head this session. There will be ample time for questions and answers and discussion to familiarize the festival administrator with the various available sources committed to the promotion of tourism through the arts. Buses depart for Harbor Cruise, cocktails and buffet. Return to Theatre. II Trovatore San Diego Verdi Festival production at Civic Theatre FESTIVALS AND TOURISM Directors of different opera festivals will speak on their programs, plans, and aspirations for the future. Problems such as establishing, promoting or marketing a festival will be examined and solutions sought through active cooperation between government agencies and the commercial and artistic sectors. SUMMATION Luncheon 11:30 AM 12:30 PM 2:30 PM Giovanna d'arco San Diego Opera Verdi Festival production at Civic Theatre 6:00 PM Reception Rooms for COS Conference delegates held at special rate ($64/$69); make reservations directly: Little America-Westgate, 1055 Second Ave., San Diego, CA (714) Limited number of rooms ($26/$32) at: U.S. Grant Hotel, 326 Broadway, San Diego OTHER EVENTS AVAILABLE Verdi Festival continues June 30 - July 6 Gala Verdi Concert July 3 National Shakespeare Festival June 29 - July 6, Balboa Park San Diego Zoo lunch and tour June 29 (subject to reservations) Historic San Diego lunch and tour - June 29 (subject to reservations) Tijuana, Mexico, lunch and shopping tour - June 30 (subject to reservations) Sea World - open daily Prominent expert, distinguished speakers will be announced in the final program (see preceding page.) 29

33 COS SALUTES... Licia Albanese, who was honored by Mayor Koch of New York City on the occasion of the fortieth anniversary of her Met debut.... Francis Robinson, nationally recognized and beloved as Mr. Opera, USA, in his thirty-second year with the Met in various capacities such as press chief, ticket office director, tour director, television personality, writer, and most recently author of "Celebration, The Metropolitan Opera", who was acclaimed and honored at the Met's patron dinner on stage in December and at the annual Metropolitan Opera Guild luncheon in January.... Robert Herman, general manager of the Greater Miami Opera since 1973 and, earlier, assistant manager of the Metropolitan Opera for fourteen years, on being awarded the Officer's Cross of the Order of Merit bestowed by the Federal Republic of Germany "in recognition of his long experience in opera management and his endeavors to promote cultural cooperation between Germany and the United States".... Erich Leinsdorf, on the occasion of the forty-second anniversary of his Met debut (Die Walkiire 1 21 '38'), which he celebrated by conducting a performance of Fidelia with the company.... Danny Newman, director of public relations at the Lyric Opera of Chicago, renowned for establishing subscription series for opera and theatre companies, orchestras, etc., and author of "Subscribe Now", on the occasion of receiving the 1979 Career Service Award from Arts Management.... Ming Cho Lee, internationally famous scenic designer, who was among the five recipients of the National Opera Institute Awards for Service to American Opera, for "maintaining the highest artistic standards".... David Griffiths, television producer, who received the same NOI honor, for "disseminating a varied opera and musical theatre repertoire to a wide public, in productions of the highest quality," as head of WNET Opera Theatre.... The Martha Baird Rockefeller Fund for Music, which was awarded the same NOI honor, for "its generous support of young American singers and in memory of its former director, Maude Brogan".... The Merola Fund of San Francisco, another Awards for Service to American Opera winner, for "maintaining an exemplary career training program for young professionals".... Southern Opera Theatre, the touring subsidiary of Opera Memphis, which was also awarded the NOI honor for "its commitment to opera for young audiences".... The Children's Free Opera of New York, which was selected for the 1979 Arts and Business Council Encore Award.... Rudolf Kruger, on the occasion of his twenty-fifth anniversary as general manager and music director of the Fort Worth Opera.... Sir John Tooley, general administrator of the Royal Opera, Covent Garden, who was made Knight Bachelor on the Queen's Birthday Honours List last June, and Sir Colin Davis, music director of the same company, whose Knighthood was announced in Queen Elizabeth II's 1980 New Year's Honours List.... Leonie Rysanek, on becoming the first recipient of the Lotte Lehmann Ring, bestowed for life on an outstanding singer by the Vienna State Opera. She, in turn, is to designate the next owner. 30

34 DIRECTORY OF SETS AND COSTUMES (1979) ADDENDA The COS Directory of Sets and Costumes for Rent, Volume 21, Number 2, is available for $8. The listing below is to be used in conjunction with that Directory. ARGENTO, DOMINICK Postcard from Morocco (c) Brooks-Van Horn (Ivey-Long 79) BARAB, SEYMOUR Little Red Riding Hood delete Arkansas Opera Theatre BARBER, SAMUEL Vanessa (s) Lyric Opera of Kansas City 72 BERLIOZ, HECTOR Beatrice et Benedict (s) Indianapolis Opera Co. BIZET, GEORGES Carmen (s) Merrill Stone (Stone '80) 1/24 (c) Indianapolis Opera Co. delete costumes from Tri-Cities Docteur Miracle (s,c) Texas Opera Theatre 78 BOCK, JERRY Fiddler on the Roof (c) Theatre by the Sea BOITO, ARRIGO Mefistofele (c) Malabar, Ltd. (Businger '80) BRITTEN, BENJAMIN Curlew River (s,c) Birmingham Civic Opera Noye's Fludde delete Arkansas Opera Theatre CAVALLI, PIER FRANCESCO L'Ormindo (s) Pennsylvania Opera Theatre 79 COPLAND, AARON The Tender Land (c) Florida State University Opera Wksp. 79 DE FALLA, MANUEL La Vida breve (s) Opera Company of Boston DONIZETTI, GAETANO Don Pasquale (s,c) Birmingham Civic Opera (s) Greater Miami Opera (s) Virginia Opera Ass'n GIANNINI, VITTORIO The Taming of the Shrew (c) Brooks-Van Horn (Ivey-Long 79) delete costumes from Wolf Trap GOUNOD, CHARLES Faust (s) Merrill Stone (Stone 79) 1/40 (s) Nevada Opera Guild 79 HARBESON, JOHN Full Moon in March (s,c) Boston Musica Viva 79 HERBERT, VICTOR Naughty Marietta (s) Merrill Stone (Stone '80) 1/43 The Red Mill (c) Eaves Costume Co. 79 HERMAN, JERRY Mame (s) Music Theatre of Wichita HONEGGER, ARTHUR Jeanne d'arc au bucher (c) Opera Sacra, Inc. HUMPERDINCK, ENGELBERT Hansel und Gretel (s,c) University of Illinois Opera Theatre, Urbana (s) Southern Alberta Opera (Laxton '80) 60x40x20 (c) Spokane Symphony Society 77 delete Arkansas Opera Theatre ISRAEL, BRIAN Winnie the Pooh (s,c) Opera Theatre of Syracuse 79 LEHAR, FRANZ Die lustige Witwe (s) Stivanello (s) Tri-Cities Opera (Mayman 79) LOESSER, FRANK How to Succeed in Business Without Really Trying (s) Schell Scenic Studios LOEWE, FREDERIC Brigadoon (c) Theatre by the Sea My Fair Lady (c) Eaves Costume Co. 79 (available for small chorus only) MASSENET, JULES Cendrillon (s) Ottawa Festival Opera (Bardon 79) (c) Malabar, Ltd. (Mess 79) 32

35 Errors which once appear in print have a habit of multiplying, and we have noticed recent press releases and announcements include the wrong titles more frequently than ever before. A number of inquiries prompt us to publish our findings below. Readers are invited to comment and to send us further examples. TO USE OR NOT TO USE The most common errors in (mistaken) use of articles occur in the following operatic titles: Pagliacci (not "/" Pagliacci), Tosca (not "La" Tosca), Gotterdammerung or Goetterdaemmerung (not "Die" Gotterdammerung), and Dialogues des Carmelites (not "Les 1 ' Dialogues de Carmelites). But it is Die Fledermaus. We were made vividly aware of the perpetuation of such errors while researching this piece. Both Kobbe and the Opern-Lexikon write "I" Pagliacci, Loewenberg and Groves do not. We feel the original Sonzogno score, approved by the composer, is the definitive form no article. Even a German music magazine recently printed Der Ring der Nibelungen, instead of the correct Der Ring des Nibelungen. The latter signifies single ownership by Alberich. ARTICLES The English usage of capitalizing each word in a title other than articles CAPITALIZATION has swept over titles in foreign languages and, in response to some inquiries, we are happy to give you the following guidelines based on the common usage of the major languages. Italian, French, Spanish, Czechoslovakian: only the first word of the title, proper names of people and places, and degrees or honorary titles are capitalized, e.g. Cost fan tutte, Cavalleria rusticana, L'ltaliana in Algeri, Docteur Miracle, Prodana nevesta. However, customs vary as to the capitalization of a noun following an article as the first word of the title. You will find both La Traviata and La traviata, Un Ballo in masckera and Un hallo in maschera, Les Pecheurs de perles and Les pecheurs de perles, Le Postilion de Lonjumeau and Le postilion de Lonjumeau (but never Le Postilion de Longjumeau). German: Capitalize the first word, all proper names of people and places, degrees or honorary titles, and all nouns: Die lustige Witwe, Der fliegende Hollander, Von heute auf morgen, Hin und zuriick, Die tote Stadt. In all cases, the name of a country, being a noun, would be capitalized. However, when the geographic or language reference becomes an adjective it is not capitalized (/ Vespri siciliani, L'Heure espagnole, La Vie parisienne). Of course, there is always the question of policy, and some publications adhere to their own style. The English magazine Opera changed to listing titles according to original language rules about five years ago; Opera Neivs maintains its policy of using English rules for all titles. Finally, before laying down our Beckmesser gavel, we would like to share with you some errors that you, too, may find delightful: Les Mamelles by Tiresias and The Abduction from Mozart's The Seraglio. 31

36 MENOTTI, GIAN CARLO Amahl and the Night Visitors (s,c) Birmingham Civic Opera (s,c) University of Illinois Opera Theatre, Urbana (s) Chattanooga Opera Co. (built f or touring) delete Arkansas Opera Theatre The Death of the Bishop of Brindisi (c) Opera Sacra, Inc. Help, Help, the Globolinks! (c) Louisiana Tech University Opera Wksp. delete Vermont Opera Theatre The Medium (s) Merrill Stone (Stone '80) 1/24; replaces 79 listing MOLLICONE, HENRY The Face on the Barroom Floor (s,c) Opera/Omaha (built for touring) MONTEVERDI, CLAUDIO Ballo delle ingrate (s,c) Brooklyn Opera Society L'Incoronazione di Poppea (s,c) University of Illinois Opera Theatre, Urbana II Ritorno d'ulysse in patria (s,c) Birmingham Civic Opera MOZART, WOLFGANG AMADEUS Don Giovanni (s,c) University of Illinois Opera Theatre, Urbana (s) Lyric Opera of Kansas City 79 Die Entfiihrung aus dem Serai] (s) University of Colorado, Boulder 79 Le Nozze di Figaro (s,c) Birmingham Civic Opera (s,c) Project Opera (Stenson/Overholtzer 79) (s) Brooklyn Opera Society Der Schauspieldirektor (s,c) Stivanello Die Zauberflote (s) Princeton University Opera Wksp. 78 MUSGRAVE, THEA A Christmas Carol (s) Virginia Opera Ass'n OFFENBACH, JACQUES Les Contes d'hoffmann (s) Tri-Cities Opera (Woodbridge '80) (s) Virginia Opera Ass'n (c) Malabar, Ltd. '80 PERGOLESI, GIOVANNI BATTISTA La Serva padrona (s,c) Stivanello PORTER, COLE Kiss Me Kate (s) Artpark/National Heritage Trust 79 PROKOFIEV, SERGEI Love for Three Oranges (s) Minnesota Opera Co. 78 PUCCINI, GIACOMO La Boheme (s) Virginia Opera Ass'n (s) University of California at Los Angeles Opera Theatre (c) Eaves Costume Co. 79 Gianni Schicchi (s) Opera Theatre of St. Louis (Klein/Sullivan 79) Madama Butterfly (s,c) University of Illinois Opera Theatre, Urbana (s) Merrill Stone (Stone '80) 1/40 (s) Thunder Bay Symphony FOR SALE (c) Eaves Costume Co. 79 (available for small chorus only) Snor Angelica (c) Opera Sacra, Inc. Tosca (s) Manhasset Bay Opera (Martin) [30x24] 1/22 PURCELL, HENRY Dido and Aeneas (s,c) Birmingham Civic Opera (s,c) Brooklyn Opera Society RAVEL, MAURICE L'Enfant et les sortileges (c) Opera Sacra, Inc. RESPIGHI, OTTORINO Lucrezia (s,c) Caramoor Festival (Pallavicini 79) RODGERS, MARY Once Upon a Mattress (c) Producers Associates RODGERS, RICHARD Carousel (c) Producers Associates The King and I (c) Illinois Wesleyan University 79 Oklahoma! (c) Producers Associates The Sound of Music (c) Spokane Symphony Society 78 South Pacific (s) San Bernardino Civic Light Opera ROMBERG, SIGMUND The Student Prince (c) Producers Associates ROSSINI, GIOACCHINO II Barbiere di Siviglia (s,c) Birmingham Civic Opera (s,c) Florida State University 79 (s,c) Indianapolis Opera Co. (s,c) Scholar Opera 78 (s) Brooklyn Opera Society (s) University of Cincinnati College-Conservatory (c) Northern Indiana Opera 33

37 La Cenerentola (s) Canadian Opera Co. (Strike 79) (s) Nevada Opera Guild (Sormani '68) Le Comte Ory (c) Brooks-Van Horn (Steinberg 79) SANDOW, GREGORY A Christmas Carol (s,c) Opera Theatre of Syracuse SONDHEIM, STEPHEN change Gypsy listings; insert under STYNE STRAUSS, JOHANN Die Fledennaus (s,c) Opera Theatre of Syracuse (s) Michiana Opera Guild 79 (c) Eaves Costume Co. 79 STRAVINSKY, IGOR L'Histoire du soldat (s) Boston Musica Viva 79 STYNE, JULE The Bells Are Ringing (s,c) California Civic Light Opera 79 Insert Gypsy listings (not Sondheim) SULLIVAN, ARTHUR H.M.S. Pinafore (s,c) Columbia College Opera Wksp. (s,c) Oswego Opera Theatre 79 (s,c) University of Central Florida Opera Wksp. (c) Cleveland Opera Theatre (c) North County Community Theatre 77 delete Arkansas Opera Theatre The Gondoliers (c) North County Community Theatre 79 Iolanthe delete Arkansas Opera Theatre The Mikado (c) North County Community Theatre 79 delete Arkansas Opera Theatre The Pirates of Penzance (s) Merrill Stone (Stone '80) 1/24 (c) North County Community Theatre 77 Utopia, Ltd. (s,c) Lamplighters /Opera West 79 The Yeomen of the Guard (c) North County Community Theatre 79 VERDI, GIUSEPPE Rigoletto (s) Hinsdale Opera Theatre 79 (s) Merrill Stone (Stone '80) 1/43; replaces 78 listing (c) Eaves Costume Co. 79 Simon Boccanegra (c) Malabar, Ltd. (Skalicki 79) La Traviata (s,c) Opera Theatre of St. Louis (Conklin 79) (s,c) University of Illinois Opera Theatre, Urbana (s) Robert Howery Studios (s) Indiana University Opera Theatre 78 (s) University of California at Los Angeles Opera Wksp. (c) Indianapolis Opera Co. WAGNER, RICHARD Der fliegende Hollander (s) New Orleans Opera (Darling) SALE OR RENT WEBBER, ANDREW LLOYD Jesus Christ Superstar (c) Topeka Civic Theatre 78 WEBER, CARL MARIA VON/MAHLER, GUSTAV Die drei Pintos (s) Opera Theatre of St. Louis (Scheffler/Sullivan 79) WEILL, KURT Street Scene (c) Brooks-Van Horn (Potts 79) WILDER, ALEC The Lowland Sea (s) Los Angeles Valley College Opera 79 WOLF-FERRARI, ERMANNO II Segreto di Susanna (s) Stivanello YOUMANS, VINCENT No! No! Nannette! (s) San Bernardino Civic Light Opera CHANGES AND ADDITIONS TO ADDRESS LIST OF SOURCES Brooks-Van Horn (212) Colorado Costume Co Broadway Greater Miami Opera Robert Heuer replaces Guy Comtois Orlando Opera (305) ; delete Joyce Parker Vermont Opera Theatre delete * * * * Birmingham Civic Opera, th Street N. Birmingham. AL f205) California Civic Light Opera, 135 N. Grand Ave.. Los Angeles, CA North County Community Theatre, 1226 Via del Cerro. Vista. CA Opera Sacra. Inc Auburn Ave., Buffalo. NY Oswego Opera Theatre, 10 Draper St.. Oswego. NY Producers Associates Joaquin Miller Rd.. Oakland, CA Scholar Opera. 877 Moana Court, Palo Alto. CA Theatre by the Sea. Bow Street, Portsmouth. NH Thunder Bay Symphony, Box 2004 Station P, Thunder Bay, Ont. Canada P7B 5E7 34

38 ADDITIONS TO DIRECTORY OF ENGLISH TRANSLATIONS See also Addenda I published in Volume 21, Number 2 ( ). BERG, ALBAN Lulu Arthur Jacobs (The Polytechnic, Music Dept., Huddersfield, HD13DH, England) BIZET, GEORGES Carmen James Goolsby & B. Silverstein, Mississippi Opera Richard Brothers, Univ. of Arkansas, Fayetteville Djamileh Deborah Bershatsky & Joshua Greene, Theatre Opera Music Institute. New York, NY Docteur Miracle Rudolph Picardi, San Francisco Talent Bank Don Procopio Roger Savage & Deborah Bershatsky, Theatre Opera Music Institute Les Pecheurs de perles Joan Bernick (795 Vernon Ave., Glencoe, IL 60022) BUSONI, FERRUCCIO BENVENUTO Turandot Ross Halper, Chamber Opera Ensemble, San Francisco CHABRIER, EMMANUEL L'Education manquee Ross Halper, Chamber Opera Ensemble, San Francisco DE FALLA, MANUEL El Retablo de Maese Pedro Ross Halper, Chamber Opera Ensemble, San Francisco DONIZETTI, GAETANO L'Ajo nell'irabarazzo Donald Pippin, Pocket Opera, San Francisco Belisario Donald Dorr, Opera/South. Jackson, MS II Campanello Richard Brothers, Univ. of Arkansas. Fayetteville Don Pasquale Donald Pippin, Pocket Opera, San Francisco Gimi Beni (now c/o J. Scovotti, 185 West End Ave., New York 10023) L'Elisir d'amore Vern Sutton, Univ. of Minnesota. Minneapolis Lucia di Lammermoor Vincent Liotta (CARID, 2790 Broadway, New York, NY 10025) Carole Boelter, Five Penny Opera, Costa Mesa, CA GOUNOD, CHARLES Le Medecin malgre lui Mark Herman & Ronnie Apter (13 Woodside Dr., Madison, NJ 07940) incl. new performing edition JANACEK, LEOS Excursions of Mr. Brucek Ross Halper. Chamber Opera Ensemble, San Francisco KALMAN. EMMERICH Grafin Mariza Marianne Weltman ( th Ave. NE, Seattle, WA 98115) LEHAR, FRANZ Die Iustige Witwe Charles Kondek (Belwin Mills) LEONCAVALLO, RUGGIERO Zaza Veronica Reed (Belwin Mills) MARSCHNER, HEINRICH AUGUST Der Vampyr John Moriarty, Boston Conservatory MARTIN Y SOLER, VICENTE Una cosa rara Vern Sutton, Univ. of Minnesota, Minneapolis MASCAGNI, PIETRO Cavalleria nisticana Jane May (Belwin Mills) MONTEVERDI, CLAUDIO II Ritorno d'ulysse in patria Ross Halper, Chamber Opera Ensemble. San Francisco MOZART, WOLFGANG AMADEUS Bastien und Basrienne (More Than Meets the Eye) Donald Dorr, Opera/South, Jackson, MS Cosi fan tutte Donald Pippin, Pocket Opera, San Francisco Don Giovanni Carole Boelter, Five Penny Opera, Costa Mesa, CA Peter Westergaard, Princeton University Die Entfiihrung aus dem Serail Wesley Balk (Belwin Mills) Le Nozze di Figaro Csonka & Theslof (Belwin Mills) Earl Snow, SUNY-Stony Brook Basil Swift (Belwin Mills) Die Zauberflote Basil Swift, Valley Opera, Van Nuys, CA Mel Zellman, Grant Park Concerts, Chicago, IL Andrew Porter (9 Pembroke Walk, London, W87PQ England) OFFENBACH, JACQUES La belle Helene Barbara Silverstein, Pennsylvania Opera Theatre Les Contes d'hoffmann Ruth & Thomas Martin (Oeser-Felsenstein edition) L'lle de Tulipatan Marijean Marvin, Univ. of N.C., Chapel Hill Un Man a la porte (Rejected Bridegroom) Arthur Roberts, NY Light Opera Orphee aux enfers Daniel Jordan, Bronx Opera, NY La Perichole R. Lert, National Opera, Raleigh, NC Olga Loveland, Phoenix Opera, Atlanta, GA 35

39 PERGOLESI, GIOVANNI BATTISTA Livietta e Tracollo Eugene Cook, Yale University (for Opera Company of Philadelphia) La Serva padrona Donald Pippin, Pocket Opera, San Francisco PUCCINI, GIACOMO La Boheme Csonka & Theslof (Belwin-Mills) Le Villi Barrymore Lawrence Scherer (660 Rugby Rd., Brooklyn, NY 11530) RAMEAU, JEAN PHILIPPE Nai's Joseph Mattivi, Bloomsburg State College, PA ROSSINI, GIOACCHINO II Barbiere di Siviglia Csonka & Theslof (Belwin Mills) Lata. Scholar Opera, Palo Alto, CA La Cenerentola Gimi Beni (now c/o J. Scovotti, 185 West End Ave., New York 10023) II Turco in Italia Andrew Porter (now Pendragon Press) SCHOENBERG. ARNOLD Von heute auf morgen Bliss Hebert, Santa Fe Opera STRAUS, OSCAR Der tapfere Soldat (The Chocolate Soldier) Marianne Weltman ( th Ave. N.E. Seattle. WA 98115) STRAUSS, JOHANN Eine Nacht in Venedig John Lehmeyer (incl. adaptation). Skylight Opera, Milwaukee Die Fledermaus Anthony Addison. Cleveland Institute of Music Wiener Blut Washington Opera, DC Der Zigeunerbaron Vein Stilton, Univ. of Minnesota, Minneapolis STRAUSS, RICHARD Ariadne auf Naxos Robert Carson (Boosey & Hawkes) SZOKOLAY, SANDOR Blood Wedding Ross Halper. Chamber Opera Ensemble. San Francisco TCHAIKOVSKY, PETER ILYC H Pique Dame Tony Blatt, Seattle Opera THOMAS, AMBROISE Mignon J. Jones & Vern Sutton, Univ. of Minnesota. Minneapolis ULLMANN, VIKTOR Der Kaiser von Atlantis Ross Halper, Chamber Opera Ensemble, San Francisco VERDI, GIUSEPPE Aroldo Ross Halper, Chamber Opera Ensemble. San Francisco Falstaff Andrew Porter (now Pendragon Press) La Forza del destino Andrew Porter (original 1862 complete score) II Giorno di regno Wilder/Witherspoon. National Opera. Raleigh, NC Rigoletto Csonka & Theslof (Belwin Mills) Stiffelio Donald Pippin, Pocket Opera, San Francisco La Traviata John DeMain, Houston Grand Opera Edmond Tracey (Boosey & Hawkes) WAGNER. RICHARD Die Meistersinger von Niirnberg Norman Feasey, revised K. Pogue & S. Tinsley, Houston Grand Opera WEBER, CARL MARIA von Abu Hassan Walter Ducloux, Univ. of Texas, Austin Richard Crittenden, Yale University Die Freischiitz Lessinger, New York Lyric Opera WEINBERGER. JAROMIR Schwanda, der Dudelsackpfeifer Kingsley Lark, Opera in Concert, Toronto, Canada The Translation Center has been reactivated under the auspices of the American Musicological Society and the Music Library Association of Brooklyn College Music Department, Dee Bailey, Head. Copies of translations are available and may be borrowed by music scholars. NEWS FROM PUBLISHERS Anna Karenina, Iain Hamilton's latest Belwin-Mills, NY, is publishing The Colopera, commissioned by the English Na- lected Works of Sergei Prokofiev. The 87 tional Opera, will be published by Theodore volumes will include the composer's operas Presser Co. Don Locklair's Good Tidings in a reprint based primarily on the definifrom the Holy Beast will be available from tive Russian edition. The complete collection Seesaw Music. Novello Publications an- is priced at $1, nounced publication of Thea Musgrave's A Christmas Carol, premiered in Norfolk last December. 36

40 IN 1979 OPERA/MUSICAL THEATRE LOST Baritone MATHIEU AHLERSMEYER, German, 83 years old, in Garmisch-Partenkirchen He made his debut in 1929 and sang leading roles at major German opera houses until his retirement from the Hamburg Opera in Among the world premieres in which he participated were Egk's Peer Gynt (title role >, Strauss's Die sehweigsame Frau (Barber), Haas's Hochzeit des Jobs (title role;, von Einem's Dantons Tod (title role), and Klebe's Figaro lasst sich scheiden (Count Almaviva). Scenic and lighting designer and designer of theatres RALPH AL- SWANG, American, 62 years old, in New York He was an eminently successful scenic designer for many hit shows on Broadway (a total of over 100), often also designing the lighting and sometimes the costumes as well. For the last ten years he designed theatres (among others, the Uris in New York), and brought many innovative ideas to this new career. Composer, pianist, baritone DENNIS ARLAN (HIRSCHBEIN), American, 33 years old, in New York 4/2/79. He wrote two children's operas, The Ballad of the Bremen Band and The Daughter of the Double Duke of Dingle, premiered at the Caramoor Festival in 1977 and 1978, respectively. Designer, photographer, author Sir CECIL BEATON, British, 76 years old, in London 1/18/79. Internationally famous for his designs of sets and costumes as well as for his portrait photographs of prominent figures. His designs for the films Gigi and My Fair Lady brought him two Academy Awards. In 1956, he designed the decor for Soiree, a ballet presented by the Metropolitan Opera as a curtain raiser to Don Pasquale. His next Met commission was the sets and costumes for the world premiere of Barber's Vanessa in January 1958, and his final designs for the company were unveiled in February 1961, the opera Turandot. He wrote a number of books, some of them autobiographical, and was knighted in Actress, benefactor, Grande Dame of the Metropolitan Opera ELEANOR ROBSON BELMONT (Mrs. August Belmont), British/American, 100 years old, in New York 10/24/79. She started her theatre career in San Francisco when she was 17 years old and soon rose to stardom, playing leading roles on Broadway and on tour for the next 13 years. George Bernard Shaw wrote Major Barbara for her, although she never did play the role. In 1910 she married banker and horseman August Belmont, and devoted her efforts to social and charitable causes. During the First World War she joined the Red Cross; she also visited General Pershing in France with an introductory letter from President Theodore Roosevelt. In 1933 she was the first woman to be elected to the Met's board and in 1935 founded the Metropolitan Opera Guild, becoming its president and, later, president emeritus. In 1954, she founded the Metropolitan Opera National Council, and it was her idea and inspiration to create a Central Opera Service within the National Council to assist opera companies and workshops throughout the country, and to promote the cause of opera in the United States. Her dedication, interest and support of the COS, MONC, MOG, and MOA never faltered and, even in her last years when she was not able to actively participate, she remained interested in all activities and gave generously of advice and support. Her infectious enthusiasm will always be an inspiration to us all, and the growth and success of opera in the United States is a living and fitting memorial to her. Baritone, teacher PIERRE BERNAC (ne Bertin), French, 80 years old, in Villeneuve-les-Avignon, France, 10/17/79. He was most famous for his interpretation of French art songs, particularly those by his friend Francis Poulenc, who often accompanied the singer in his concerts. 37

41 OBITUARIES 1979 (Poulenc died in 1963.) Bernac made his American concert debut in 1948, and concertized in France and on tour until He never performed in opera. He was in great demand as a teacher of the French vocal literature and frequently visited the United States to hold masterclasses at universities and conservatories. Tenor, director EINAR BEYRON, Swedish, 78 years old, in Stockholm 3/29/79. He made his debut at the Royal Opera in Stockholm in 1924 and continued singing there until He also appeared in leading roles with various opera houses in Europe including La Scala. After he retired as a singer, he staged operas in Stockholm and Oslo. He was the father of Catarina Ligendza. Conductor RICHARD BLAREAU, French, in Paris 2/79. For 27 years a conductor at the Paris Opera, he started his career as a conductor of the Opera de Monte Carlo and appeared as guest conductor in various opera houses throughout Europe. He also composed three ballets. Music publisher LESLIE A. BOOSEY, British, 92 years old, in England 9/5/79. In 1919 he became managing director of the British music publishing house and instrument makers Boosey and Company and remained in this position after it merged with Hawkes and Sons, forming Boosey & Hawkes Ltd. In 1951 he assumed the position of president of Boosey & Hawkes, Inc. in New York and later was named chairman of the parent company. He retired in For many years he was also president of the Performing Right Society Ltd. of Great Britain. Teacher, conductor, pianist NADIA BOULANGER, French, 92 years old, in Paris 10/22/79. She may well be the most famous teacher of American composers of this century. Among her pupils were Aaron Copland, Leonard Bernstein, Virgil Thomson, Roy Harris, Douglas Moore, Elliot Carter, Roger Sessions, Elie Siegmeister, David Diamond, and, more recently, Philip Glass. She taught at the Paris Conservatoire and privately, and made extended lecture tours including some to the U.S. She started as a composer, winning second place in the Prix de Rome competition, but abruptly stopped composing after the death of her sister Lili (in 1918), who had won the first prize in the same competition in She conducted symphony orchestras and was the first woman to lead the New York Philharmonic and the Boston Symphony in the 20's and 30's. Author, librettist GUY BOLTON, British/American, 96 years old, in London 9/5/79. His first play was produced on Broadway in 1911, however, shortly after this he changed to writing musicals and collaborated on twelve shows with Jerome Kern, seven with George Gershwin, and one with Cole Porter, many co-authored by P. G. Wodehouse. Among them are Lady be Good, Tip-Toes, Oh, Kay!, Girl Crazy, Anything Goes, Follow the Girls, Five 0'Clock Girl, Very Good Eddie, Leave it to Jane, etc. Business executive Dr. LEE HASTINGS BRISTOL, American, 56 years old, in Syracuse, NY He was an executive of Bristol-Myers Company between 1951 and 1962, a president of Westminster Choir College, composer of choral and organ pieces, author of several books, and an Episcopal minister. As a result of his interest in and support of opera he was made an advisory director of the Metropolitan Opera and vice president of the Metropolitan Opera National Council, which he served with great dedication. Soprano MARIA CANIGLIA, Italian, 72 years old, in Rome 4'16/79. She made her debut in 1930 in Turin and was soon engaged by La Scala in Milan, where she sang until She sang major roles throughout Italy, and also at Covent Garden, the Teatro Colon, and at the Salzburg Festival under Toscanini in the 30's. During the season, she 38

42 OBITUARIES 1979 sang leading roles of the Italian repertory at the Metropolitan Opera. She was married to composer and opera administrator Pino Donati. Painter BORIS CHALIAPIN, Russian/American, 72 years old, in New York 5/18/79. Well known painter and portraitist who was responsible for some 400 cover designs for Time magazine, he was the son of the world famous Russian bass, Feodor Chaliapin. Record executive JOHN COVENEY, American, 62 years old, in New York 8/6/79. He joined Capitol Records in 1945 and, at the time of his death, was director of artist relations for Angel Records. A personal friend of many world famous singers, his special interest was opera and he was considered an authority on that subject. He frequently appeared on the Metropolitan Opera broadcast intermission quiz, and wrote the liner notes for many records. Tenor ALAN PAUL CROFOOT, Canadian, 49 years old, in Dayton, Ohio 3/5/79. A leading singer with the Canadian Opera Company in Toronto, where he made his debut in 1956, he sang with many companies in the U.S. and Canada as well as with the English National Opera in London and the Glyndebourne Festival. He made his debut at the Metropolitan Opera in The Bartered Bride in fall '78 and was to sing Herod in Salome in Dayton. He had been married to and divorced from Canadian soprano Dodi Protero. Soprano, teacher ELVIRA DE HIDALGO, Spanish, 87 years old, in Milan 1/21/80. She made her debut in Naples and sang one performance of Rosina in The Barber of Seville at the Metropolitan Opera in 1910, at the age of 17. She returned to the company for the 1924 through 1926 seasons, singing Rosina, Gilda, and Lucia, and also appeared in Chicago. She was the teacher of Maria Callas, who began studying with her in Athens when she was 13 years old. Countertenor ALFRED DELLER, British, 67 years old, in Bologna 7/16/79. He was primarily responsible for the revival of the art of countertenor, or male alto, singing. He began concertizing in the 1940's, and in 1960 Benjamin Britten wrote the part of Oberon in A Midsummer Night's Dream for him. He formed the Deller Consort, which specialized in Elizabethan music. In 1970, he was awarded the Order of the British Empire by Queen Elizabeth II. Composer PAUL DESSAU, German, 84 years old, in East Berlin 6/28/79. He started his career as conductor in Germany, left during the Nazi era, and lived in New York from 1939 to Upon his return to Europe, he settled in East Berlin, composed songs for various Brecht plays, and wrote a total of nine operas. The most succesful ones are Herr Puntila, Lanzelot, Die Verurteilvng des Lvcullus, and Einstein. His last opera, Leonce vnd Lena, was premiered posthumously last November (see Foreign Premieres). He was married to Ruth Berghaus, a stage director at the opera in East Berlin. Tenor GINO DEL SIGNORE, Italian, 72 years old, in Nice 12'30/78. After a debut in Rome in 1930, he joined the ensemble of La Scala Milan, where he sang numerous character roles for twenty years. Guest engagements included the festivals in Glyndebourne and Salzburg. Conductor RENATO FASAXO, Italian, 76 years old, in Rome 8'3'79. In the 1940's, ho was artistic director of Santa Cecilia in Rome, and in 1947 founded the Collegium Musicum Italicum and the Virtuosi di Roma. He was also artistic director of the Teatro dell'opera Camera, an ensemble that toured the U.S. several times, most recently in 1978, when it included performances of Vivaldi's Juditha triumphans. Conductor ARTHUR FIEDLER, American, 84 years old, in Brookline, MA, Music director of the Boston Pops Orchestra for 50 years, he had become an American institution, beloved by his audiences. He conducted his first concert at the age of 17, and became a member of the 39

43 OBITUARIES 1979 Boston Symphony's violin section when he was 20. He also played viola, piano, celesta, and organ. In 1924, he founded the Fiedler Sinfonietta, and five years later the Esplanade Concerts in Boston. In 1930 he was given his first contract to conduct the Boston Pops Orchestra. Over those 50 years he may have done more for music in the United States than any other single individual, attracting new audiences and giving performance opportunities to promising young soloists. Music publisher ANNA FISHER BERRENS, American, 82 years old, in New York 4/23/79. After the death of her first husband, Fred Fisher in 1942, she became president of the Fisher Music Corporation, founded by Mr. Fisher in The company specializes in copyright works, and is not to be confused with Carl Fischer, Inc. The 1949 movie Oh You Beautiful Doll was based on the Fishers' lives. Attorney, businessman, benefactor ALFRED JOHNSTON FLETCHER, American, 91 years old, in Ashe County, NC, 4/1/79. In 1948 he founded the Grass Roots Opera Company in Raleigh, NC, to bring opera in English to school children. In the 1950's the company was renamed the National Opera Company, engaging young singers full-time, and touring expanded to over 30 states. Many artists who received their start with this group went on to build professional careers. As president, he often underwrote the losses of the organization. In recognition of his achievements he received a number of awards. Violinist STEFAN FRENKEL, Polish/American, 73 years old, in New York 3/1/79. He was concert master of the Metropolitan Opera orchestra between 1936 and 1940, and also made a career as a soloist, taught at Princeton University, and, during summers, was concert master at the Santa Fe Opera. Conductor, coach ROLAND GAGNON, American, 42 years old, in New York 8/4/79. He began his career as chorusmaster of the Opera Company of Boston, where he also conducted some performances. Other conducting engagements included Broadway musicals and operas at the Mini-Met and the American Opera Society. He was on the faculty of Juilliard and, last fall, was engaged as associate music administrator by the New York City Opera. Among the singers who coached with him are Beverly Sills, Eileen Farrell, and Mignon Dunn. Soprano DORA GATTA, Italian, 58 years old, in Milan 7/25/79. She sang with La Scala from 1948 to 1954, and appeared as guest artist in major opera houses throughout Europe. Tenor WALTER GEISLER, German, 66 years old, in Berlin 6/9/79. He started his career singing baritone roles, but later changed to tenor, and in the 1950's sang dramatic tenor roles in Germany, including Bayreuth, and in France, Italy, and Holland. During the last decade he taught singing in Berlin. Administrator ANTONIO GHIRINGHELLI, Italian, 77 years old, in Courmayeur, Italy 7/11/79. He was instrumental in the renovation of La Scala after it was badly damaged during the War, and became its Sopraintendente when it reopened under Toscanini in He held the post until he retired due to ill health in 1972, serving without pay. During his administration, stellar casts including Callas, Tebaldi, Sutherland, Del Monaco, and Corelli appeared at La Scala. Soprano, teacher EUPHEMIA GIANNINI GREGORY, American, 83 years old, in Philadelphia Born into a musical family her father was the tenor Ferruccio Giannini, her mother a violinist, her brother the composer Vittorio, and her sister the soprano Dusolina she made her debut in Turin in and sang with the Philadelphia Opera in the 1920's and 30's. In 1927 she joined the faculty of the Curtis Institute, where she became one of America's most distinguished voice 40

44 OBITUARIES 1979 teachers. A number of internationally famous singers were among her pupils. Bass-baritone FRIEDRICH GINROD (Frederick Gynrod), German, 74 years old, in Monchengladbach 4/22/78. He made his debut in 1929, and was a member of the Vienna State Opera from 1935 to 1939, when he moved to the United States and anglicized his name. He sang major roles at the Metropolitan Opera for two seasons beginning in 1944, and resumed his European career in Conductor, educator, composer, writer RICHARD FRANCO GOLDMAN, American, 69 years old, in Baltimore 1 '19 '80. He was the son of Edwin Franko Goldman, who founded the Goldman Band in New York, and became the band's associate conductor in 1937 and its music director in The ensemble's final free summer concerts were given last year in city parks, when ill health forced him to disband the orchestra. In 1947 he joined the faculty of the Juilliard School and was chairman of the Department of Literature and Materials of Music at his retirement in He wrote a number of books, primarily relating to band music, and was the author of the libretto for Weisgall's opera Athaliah. He was the editor of the "Juilliard Review", and contributed reviews and articles to many music publications. The collected reviews are soon to be published by the Institute for Studies of American Music at Brooklyn College. He was also the recipient of a number of prestigious awards. Composer, teacher ROY HARRIS, American, 81 years old, in Santa Monica 9/29/79. He was one of America's most renowned contemporary composers, a prolific creator with fifteen symphonies and numerous chamber music and piano pieces to his credit. Although he wrote several compositions for chorus and for solo voice, he did not write any opera. He studied for four years in Paris with Nadia Boulanger in the 1920's, aided by two Guggenheim Fellowships, and received various honors during his career. He began his academic affiliations in 1934 at Westminster Choir College and from then on was never without a teaching post. For the last ten years he was composer-in-residence at California State University in Los Angeles, and professor emeritus at UCLA. He was married to pianist Johana Harris. Business executive, benefactor GILBERT WATTS HUMPHREY, American, 62 years old, in Carmel, CA 6/17/79. He was chairman of Hanna Mining Company, headquartered in Cleveland, and on the boards of various other national corporations. Together with his wife, the former Louise Ireland, he was a benefactor patron of the Metropolitan Opera. Mrs. Humphrey is also president-elect of the Metropolitan Opera National Council; their daughter, Margaret Dunlap of Ontario, is MONC Regional Director. Artist, stage designer LESLIE HURRY, British, 69 years old, in London 11/20/78. This celebrated artist was responsible for several scenic designs for ballet, the English theatre (notably Shakespearean productions), and opera. Designs for the latter included Pique Dame, La Forza del destino for Glyndebourne, and for the Royal Opera House, Turandot, Tristan vnd Isolde, and the Ring cycle. He had just completed the sketches for Tchaikovsky's Mazeppa, a commission by the Opera Company of Boston. Bass-baritone ZOLTAN KELEMEN, Hungarian, 53 years old, in Zurich 5/9/79. He made his debut as Kecal (The Bartered Bride) in Augsburg in 1959 and soon sang the major comic as well as dramatic roles of his Fach. A regular member of the Cologne Opera since 1961, he performed with many leading companies in Europe, including the Bayreuth and Salzburg festivals. At the Metropolitan Opera, he sang Alberich during the season. 41

45 OBITUARIES 1979 Administrator ARTHUR KERR, American, 53 years old, in New York 8/21/79. From 1967 to 1974 he was acting director and later associate director of the New York State Council on the Arts. For the last five years he held the position of executive director of the New York Foundation for the Arts. Conductor ANDRE KOSTELANETZ, Russian American, 78 years old, in Port-au-Prince, Haiti He studied at the St. Petersburg conservatory and came to the United States when he was 21 years old. In 1930 he was engaged as conductor of the symphony orchestra of the Columbia Broadcasting System, where he frequently accompanied leading opera singers on the "Chesterfield Hour". Over the years he appeared as guest conductor with most major American orchestras, as well as those in Europe, Israel, and Japan. In 1963 he organized the New York Philharmonic "Promenade" concerts, which he led for the last time in May and June of He married soprano Lily Pons in 1938; they were divorced 20 years later. The loss of maestros Kostelanetz and Fiedler, both primarily famous for conducting programs of popular appeal, within so short a period of time seems to leave the American public devoid of a proponent of the classical "pops" idiom. Conductor KARL KRUEGER, American, 85 years old, in Chicago 7/21/79. After five years as an assistant conductor at the Vienna State Opera ( ), he became music director first of the Seattle Symphony then the Kansas City Philharmonic, which he founded, and finally of the Detroit Symphony He guest-conducted a number of other orchestras in the U.S., and was general director of New World Records, Inc. He also wrote a book on conducting. Bass PETER LAGGER, Swiss, 49 years old, in Berlin 9 -'18/79. A resident member of the Deutsche Oper, Berlin, he made his debut in Graz in 1953 and sang with major opera companies throughout Germany, Switzerland, and Italy, as well as other European countries. In the U.S. he performed with the San Francisco Opera, the New York City Opera, and the Washington Opera. Tenor GIACOMO LAURI-VOLPI, Italian, 86 years old, in Valencia, Spain 3/17/79. A leading tenor of the Metropolitan Opera from 1922 to 1933, he commanded an extensive repertoire and was often heard during those seasons. He sang Calaf in the American premiere of Turandot opposite Maria Jeritza in November His first professional performance took place in Rome in He continued to sing in Italian opera houses until he was in his late 60's, when he was still reported as hitting and holding a high C. For the last 50 years he resided in Spain. Recording executive, music expert WALTER LEGGE, British, 72 years old, in St. Jean-Cap Ferrat, France 3/22/79. Founder (1945) and artistic director of the Philharmonia Orchestra of London and of what eventually became Angel Records, he made his fame by his immense talent in finding the best performers, guiding his recording artists, and presenting them in the best possible record productions. He was also responsible for technical innovations for the recording industry. He began his career as music critic for the Manchester Guardian ( ), and was artistic director of Covent Garden In 1953 he married soprano Elizabeth Schwarzkopf, who credits her husband with the international success of her career. Together, they held masterclasses for young singers here and abroad. Mr. Legge also founded the Hugo Wolf and Beethoven Sonata societies. Pianist, teacher RENEE LONGY, French/American, 81 years old, in Bronxville, NY 5/10/79. A pianist in her own right, she became one of the most renowned teachers in the U.S. She and her father founded the Longy School of Music one year after their 1914 arrival in the U.S. from France. At that time she also taught at the New England Conservatory, and later became a member of the faculty of the Curtis Institute of 42

46 OBITUARIES 1979 Music and the Literature and Materials of Music Department of Juilliard, as well as at the Peabody Conservatory and the University of Miami. Among her most famous pupils were Leonard Bernstein, Rose Bampton, and more recently, conductor James Conlon. Soprano GERMAINE LUBIN, French, 89 years old, in Paris 10/79. After two years with the Opera-Comique she was engaged, at the age of 24, by the National Opera of Paris, where she sang for the next 30 years. In the late 1920's she turned to the dramatic repertoire, and in 1938 was the first French singer to appear in Bayreuth (Kundry and Isolde). She sang at Covent Garden in 1937 and again in 1939, and was to have sung at the Metropolitan Opera, however, World War II prevented her from appearing. She participated in several world premieres, among them Repartz's Le Pays, d'olline's Le Retour, Milhaud's Maximilien, and Sauget's La Chartreuse de Parme. Conductor LEOPOLD LUDWIG, Austrian, 71 years old, in Hamburg 4/25/79. He started his career in provincial opera houses in Czechoslovakia, conducted opera in Vienna from 1939 to 1943, and at the Stadttische Oper in Berlin from 1945 to 1951, when he assumed the post of music director in Hamburg where he remained until He guestconducted throughout Europe, and made his American debut with the San Francisco Opera in 1958, returning there for ten consecutive seasons. His first conducting engagement at the Metropolitan Opera was in November 1970 leading Parsifal, and he returned the following year to conduct a new production of Der Freischiitz. Composer, conductor RENZO MARTINI, Italian, 82 years old, in Parma 1/3/79. He conducted in Parma and other Italian opera houses in the provinces. His opera Raggio di sole was premiered in Parma in Mezzo-soprano ANNA MASETTI BASSI, Italian, 86 years old, in Milan 1/12/78. She sang leading roles in major Italian opera houses, as well as those in Switzerland, France and Spain. Musicologist, editor, teacher ARTHUR MENDEL, American, 74 years old, in Newark 10/14/79. A professor of music at Princeton University for 21 years, he studied in his youth with Nadia Boulanger in Paris. For eight years he was literary editor for G. Schirmer, Inc., and from 1938 to 1952 he was a teacher, critic, and the conductor of the Cantata Singers in New York. He also contributed articles to music journals. Soprano, teacher SABINE MEYER-JESSEL, Austrian/British, 82 years old, in Torquay, England 7 '29/79. She made her debut at the Hamburg Opera during the season, and sang major coloratura roles at opera houses in Germany and Vienna. She left Germany at the time of the Nazi rise and settled in England, where she taught singing. Bass RAYMOND CHARLES MICHALSKI, American, 48 years old, in Elizabeth, NJ 12/24 '78. A member of the Metropolitan Opera since 1965, he was a versatile performer whose credits with the company totaled 30 roles in 253 performances. His debut occurred in 1958 with the Philadelphia Grand Opera. He also sang with the companies in Chicago, Houston, San Antonio, New Orleans, and other major cities. He won a number of awards, among them the prestigious prize at the International Competition in Munich. Music publisher JACK MILLS, American, 87 years old, in Hollywood, FL 3/23/79. He was the founder of Mills Music Publishing Co., later known as Mills Music Inc., specializing in popular songs and show tunes. He was also a director of the Music Publishers Association. He sold the publishing house in 1965 when he retired. Conductor, teacher ANTONIO NARDUCCI, Italian, in Montreal 10/ 1/79. He conducted for several Italian opera companies, then, in 1960, moved to Canada, where he joined the music faculty of McGill University. 43

47 OBITUARIES 1979 Music executive RUDOLF NISSIM, Austrian/American, 78 years old, in New York 3/3/79. After completing his studies in music theory and piano at the Vienna Academy, he studied law and was awarded a law degree from the university there. From 1931 to 1938 he was managing director of the Austrian copyright society (ALAKA) and, after establishing residence in New York in 1940, organized the Department of Serious Music at the American Society of Composers, Authors, and Publishers (ASCAP). He remained its director until 1975, when he retired. Scholar, rare book and manuscript dealer SAMUEL ORLINICK, American, 72 years old, in New York 4/30/79. He was the owner of the Scientific Library Service, which he started with his own private collection of rare first editions, manuscripts, and autographs from the fields of music and science 40 years ago. He recently discovered an unknown Mozart manuscript which is now included in the Kochel catalogue. His own music and science catalogues were circulated among scholars and libraries throughout the world. Conductor, composer PAUL PARAY, French, 93 years old, in Monte Carlo 10/10/79. At the age of 25 he was awarded the Prix de Rome for composition, however, he decided on a conducting career and made his debut in Paris in Three years later he was appointed music director of the Lamoureux concerts in that city, and in the 1930's he frequently appeared as conductor at the Paris Opera. His first engagement in New York occurred in 1939, when he led the Philharmonic. He spent the war years in France, returning to the U.S. in 1945 for concerts with the Boston Symphony and subsequent guest engagements with other major American orchestras. After one year as head of the Israel Philharmonic, he became music director of the Detroit Symphony, where he remained from 1952 to He gave his last concerts in the United States in 1968 in New York, but continued to conduct in Europe. Despite his age, he had been engaged to conduct in Paris and Monte Carlo in Author, humorist S. J. (SIDNEY JOSEPH) PERELMAN, American, 75 years old, in New York 10/17/79. Beginning in the early 30's, his stories and poems were published in The Neiv Yorker and appeared there regularly during his lifetime. He wrote several humoristic books, worked for motion picture companies in Hollywood, and co-authored several plays, notably the musical One Touch of Venus, with lyrics by Ogden Nash and music by Kurt Weill. Opera manager ELEANOR PINKHAM, American, 70 years old, in Los Angeles 11/22/79. For 34 years she was general manager of the Los Angeles and San Francisco Light Opera associations, and for an additional year was named general director. She retired from that post in 1974, but remained a member of their boards of directors. She was a member of the Los Angeles Mayor's Committee for the Greek Theater and was the first woman to receive an honorary membership in the International Alliance of Theatrical Stage Employees. Tenor TONY PONCET, French, 58 years old, in Bagneres-de-Bigorre, France, 12/79. He made his debut in Liege in 1955, and two years later appeared with the National Opera and the Opera-Comique in Paris. He sang leading roles primarily with companies in France and Belgium, but in 1964 appeared as Raoul in Les Huguenots, produced by the American Opera Society, at Carnegie Hall. Mezzo-soprano ILKA MAVRODJIEVA POPOVA, Bulgarian, 74 years old, in Sofia 5/28/79. After a debut in Sofia in 1929, she spent one season in Bordeaux, followed by her debut at the Paris Opera, where she sang leading roles until Guest engagements took her to many European capitals including Milan, where she appeared in She returned to the Bulgarian State Opera in 1945, and continued to sing there for 30 years. She displayed great versatility through a large repertoire, and 44

48 OBITUARIES 1979 her great technical facility was proven by her farewell performance as the Countess in Pique Dame at the age of 70. Composer, writer, administrator KAREL REINER, Czech, 69 years old, in Prague 10/17/79. Among his many compositions was the opera The Tale of the Terrible Dragon (1972). He contributed articles and reviews to periodicals and newspapers and held various administrative positions with music organizations in Prague. Bass-baritone DAN RICHARDSON, American, 41 years old, in Heidelberg 10/3/78. His professional debut took place in 1960 in Saarbriicken as Telramund. In 1964 he became a member of the opera company in Essen, but also gave many guest engagements in other German cities and in Spain, Belgium, Italy, and France. He had command of a total of 70 major bass-baritone roles. In 1970 he returned to the United States, singing the Siegfried Alberich and the Falstaff Ford with the San Francisco Opera. A serious car accident interrupted his career in 1974, but he resumed performing on a limited basis in Conductor FRITZ RIEGER, Czech/German, 68 years old, in Bonn 9/29/78. His first conducting engagement was at the German Theatre in Prague in He later became music director at the opera houses in Aussig, Bremen, and Mannheim, and led over 300 performances at the Bayerische Staatsoper in Munich. He was in Bonn preparing a new production of Hindemith's Cardillac. Composer RICHARD RODGERS, American, 77 years old, in New York 12/30/79. A world famous composer of songs and musicals, he wrote his first Broadway show, Poor Little Ritz Girl, in 1920, his last, I Remember Mama, in Between these two is a wealth of unforgettable musical theatre: Babes in Arms, Pal Joey, Oklahoma!, Carousel, A Connecticut Yankee, South Pacific, The Boys from Syracuse, The King and I, and The Sound of Music to name but a few of the total of 42. There were also over 1,000 songs and several scores for movies and television. His most successful collaborations were with Lorenz Hart and Oscar Hammerstein II. After Hammerstein's death he worked with other well known writers such as Sondheim, Harnick, and Lerner, but never achieved quite the success of the earlier works. For No Strings he wrote his own libretto. In 1975 he wrote his autobiography, "Musical Stages". Together with such names as Gershwin, Porter, Kern, and Berlin, Richard Rodgers will always be considered a treasured American institution. Collectively they created and advanced the truest form of American opera''musical theatre, and one may rejoice at the current renewed interst in this medium, which is responsible for the revival of some masterpieces of Americana. The best of them should prove to be immortal. Composer NINO ROTA, Italian, 68 years old, in Rome 4/10/79. He wrote his first opera, // Principe Pnrcarn, when he was 15. Later stage works include Ariodante (Parma 1942), 7 Due timidi (RAI 1950), II Capello di paglia di Firenze (Palermo 1955; Santa Fe 1977), La Nntte di un nevrastenico (Turin 1959; New York 1964), Vista meravigliosa (Venice 1965), La Lampada di Aladino (Naples 1968), Torouemada (Naples 1975), Le Moliere imaginaire, (Milan 1977), and Napoli milionaria (Spoleto 1977). However, his biggest claim to fame and fortune came from film scores, among them the music for Coppola's The Godfather, Zeffirelli's Romeo and Juliet, Visconti's Rocco and his Brothers, and Fellini's The White Sheik, The Clmms, and Amarcnrd. From 1930 to 1932 he studied at the Curtis Institute in Philadelphia. For the last 28 years he was the director of the conservatory of music in Bri in southern Italy. Conductor THOMAS KIELTY SCHERMAN, American. 61 years old, in New York In 1947 he founded The Little Orchestra Society in New York with the primary aim of performing new and rarely heard works. Each season included some operas in concert or semi-staged, and over the years he brought over sixty unusual operatic works before New York audiences. Included were the American premieres of Wolf's Der

49 OBITUARIES 1979 Corregidor, Busoni's Turandot, and Orff's Antigonae, and New York's first performances of Djamileh, Beatrice and Benedict, The Makropoulos Affair, and the first full-length performance of Strauss's Daphne. The conductor was able to engage international stars and underwrite the deficits from his own funds. In 1975, The Little Orchestra Society gave its last performance, but two years later he formed the New Little Orchestra, offering children's concerts in New York and on tour. He was a student of Otto Klemperer. Business executive, philanthropist ARNOLD SCHWARTZ, American, 74 years old, in Greenwich, CT 9/7/79. Founder and former vice president of the Paragon Oil Company, he gave generously to institutions in the fields of health care and education. He and his wife Marie were also benefactor patrons of the Metropolitan Opera, and donated special funds for the construction of the company's new atrium, named the Arnold and Marie Schwartz Atrium. Musicologist CHARLES SEEGER, American, 92 years old, in Bridgewater, CT 2/7/79. While chairman of the music department at the University of California in Berkeley from 1912 to 1919, he introduced the first musicology course in the United States. In the 1930's he founded the American Musicological Society, and later the American Society for Comparative Musicology. In the early 1950's he created the Society for Ethnomusicology. He was the author of numerous articles and several books and, at the time of his death, was working on two books, one an autobiography. He was the father of Pete Seeger, the folk singer. Author VICTOR SEROFF, Russian/American, 76 years old, in New York 5/10/79. He was a biographer of famous composers, and published 16 books in the United States. He also made an English translation of The Love for Three Oranges which was widely used after it was first heard at the New York City Opera in Record and opera executive DARIO SORIA, Italian/American, 67 years old, in New York 3/28/80. In 1939 he left his native Italy and became a resident and later a citizen of the United States, working for the Office of War Information. For five years he was affiliated with CBS. After World War II he started to import Italian Cetra records, and in 1948 founded the Cetra-Soria label which, in the early 50's, featured the largest opera record catalogue in the world. Following the sale of Cetra- Soria to Capital Records in 1953, he was, asked by the British Electric and Musical Industries (EMI) to form an American record company for them. This resulted in the creation of Angel Records, which Mr. Soria headed for five years. In 1958 he joined RCA Victor, devising the special Soria Series, and three years later he became vice president of the company's international division. He left RCA in 1970 and became managing director of the Metropolitan Opera Guild, where he established a number of new programs and greatly expanded both the Guild's functions and its membership. He produced a series of historical broadcast recordings for the Metropolitan Opera and was researching material for next season's recording of a 1940 Met broadcast of Un Ballo in rnaschera when he was stricken. He retired from the Met Guild in 1978, but remained a member of its board of directors. He was also a member of the advisory board of the Metropolitan Opera. He was married to Dorle Soria, the author. Opera has lost a true and dedicated friend, who was always knowledgable, understanding, and supportive, beloved by performers and administrators alike. Tenor GERHARD STOLZE, Austrian, 52 years old, in Garmish-Partenkirchen 3 12 '79. Primarily a singer of character roles, he made his operatic debut at the Dresden State Opera in 1949 after three years as a straight actor. His first appearance at Bayreuth occurred in 1951, and two years later he joined the ensemble of the Berlin State Opera. He appeared as guest with major German, Austrian, and British companies, and made his Metropolitan Opera debut in 1968 as Loge in Rheingold. 46

50 OBITUARIES 1979 He returned for two seasons ( ), portraying Herod in Salome and Mime in Siegfried. He also sang with the Lyric Opera of Chicago. Casts at three world premieres included his name, Orff's Oedipus der Tyrann, Egk's Der Revisor and Klebe's Jakoboiuski und der Oberst. Baritone ALEXANDER SVED, Hungarian, 73 years old, in Budapest 6/79. He made his Metropolitan Opera debut in December 1940 as Renato in Un Ballo in maschera and continued with the company until He sang major baritone roles, especially those of the Italian repertoire, but after World War II, expanded into German opera. During his years at the Met he also appeared with other American companies, notably those in Chicago, Philadelphia, and Cincinnati. His first performance took place in Budapest in 1928 (Count di Luna), and he eventually sang with most leading opera companies throughout Europe ( at La Scala). During the 50's and 60's he continued as the star of the Budapest State Opera. Benefactor, producer GERT VON GONTARD, German, 73 years old, in Zurich 9/29/79. He was a member of the board of the New York City Center and, together with the New York City Opera, he produced seven operas in the last seven years, the most recent Weill's Silverlake. He left Germany in 1933 and settled in California, where his interest was devoted to theatre and where he worked with Max Reinhardt. In 1946 he and the German impresario Felix Gerstman founded the Players from Abroad, a group of German-speaking actors which toured major American cities for five years. Later he was instrumental in bringing German theatre companies to the United States, including the prestigious Vienna Burgtheater. He also arranged European tours for American ensembles. His activities with the New York City Opera were not limited to financing new productions, but included his participation in the planning and execution of new presentations. Composer FRANZ ALFONS WOLPERT, German, 60 years old, in Vienna 6/78. Among his compositions was the recently premiered opera, Der eingebildete Kranke. It was mounted by the Vienna Volksoper in Soprano, teacher ALEXANDRA YACOVLEV, Russian French, 90 years old, in Paris 1/31/79. She made her debut in her home town of St. Petersburg in 1915 with no less a role than Aida. She continued to sing there and in Odessa for ten years. In 1925 she moved to Paris, where she sang at the Grand Opera; she also made guest appearances at other leading opera houses throughout Europe. She retired from the stage in 1941 and began to teach, first at the Salle Pleyel and later at the Conservatoire Serge Rachmaninov in Paris, where she remained on the faculty and was honored by a special concert on the occasion of her 90th birthday. Mezzo-soprano, choral conductor ZILLAH YOUNG, American, 33 years old, in Honolulu 3/29/79. A winner of the Metropolitan Opera Regional Auditions in the Pan Pacific Region and a former member of the San Francisco Opera Chorus, she was named conductor of the recently formed Honolulu Symphony Chorus. She suffered a heart attack during a performance of Elijah given by the Honolulu Symphony and Chorus. Business executive, philanthropist WILLIAM H. ZINSSER, American, 91 years old, in New York 2 '20 '79. He was president of William Zinsser & Company, a business founded by his grandfather, and was always active in civic and cultural affairs. He took an early interest in Lincoln Center, and helped raise funds for its building. He was appointed by Mayor Wagner to serve on the Art Commission of the City of New York. For 16 years he and his wife were members of the Metropolitan Opera National Council. Violinist JOSEPH ZWILICH, American, 53 years old, in New York 6/26/79. He was a member of the Metropolitan Opera orchestra for the last 17 years and was stricken while attending a ballet performance in the opera house. 47

51 PERFORMANCE LISTING, (cont.) All performances are staged with orchestra unless marked "cone, pf." or "w. p." (with piano), * following an opera title indicates new production. Performances and news items once announced will not be relisted at the time of performance. ALABAMA Troy State University Opera Wksp., P. Kelley, Dir., Troy 5/14, 15, 16, 17/80 Orpheus in the Underworld Hng. Park ALASKA Alaska Repertory Theatre, R. Farley, Art. Dir., Anchorage 2/12-29/80 Something's Afoot ARIZONA Arizona Theatre Co., S. Rosenthal, Art. Dir., Tucson 4/1-20/80 The Threepenny Opera ARKANSAS Arkansas Repertory Theatre, C. Baker, Dir., Little Rock 10/1-14/79 Dames at Sea 3/13-30/80 Filumena 6/5-22/80 Something's Afoot University of Arkansas Opera Wksp., B. Thebom, Dir., Little Rock 12/1-9/79 Calhoun's Christmas puppet opera w.p. 2/3-9/80 Cinderella abgd. w.o. CALIFORNIA California State Univ. Opera Wksp., M. Kurjian, Dir., Fullerton 12/10/79 Mussorgsky's The Marriage California State University at Long Beach Opera Theatre, H. Lampl, Dir. 3/14, 15, 16, 19, 20, 21, 22/80 Blow's Venus and Adonis California State Univ. Opera Wksp., Los Angeles 11/9, 10, 11/79 Hansel and Gretel 1/18, 19, 20/80 The Magic Flute California State University Opera Wksp., D. Scott, Dir., Northridge 11/79 The Beggar's Opera 3/80 The Merry Wives of Windsor Casa Italiana Opera Theatre, M. Leonetti, Gen. Dir., Los Angeles 10/21, 22/79 Cavalleria rusticana & Pagliacci 1212, 3/79 Rigoletto Chico State University Opera Dept., Chico 11/14/79 McFarland's The Donner Party prem. East-West Players, M. Iwamatsu, Art. Dir., Los Angeles 10/4-11/11/79 Pacific Overtures Fullerton Civic Light Opera, Fullerton 10/19-11/4/79 Man of La Mancha 6 pfs. 2/15-3/2/80 Song of Norway 9 pfs. Hidden Valley Opera Ensemble /Musical Theatre, P. Meckel, Gen. Dir., Carmel Valley (see also Vol. 21, No. 4) 1/11-5/17/80 The Threepenny Opera 2/22-3/30/80 Don Giovanni Eng. 2/29-5/18/80 Carousel 4/10-5/18/80 La Boheme Eng. Hollywood-Wilshire Symphony, F. Desby, Dir., Wilshire Ebell Theatre, Los Angeles 2/10/80 La Traviata Wald; Wickman, French Jesters Theatrical Society, L. Pope, Dir., Pasadena 9/7-10/7/79 The Pirates of Penzance 15 pfs. La Mirada Civic Light Opera, La Mirada 10/5-20/79 Hello Dolly Long Beach Grand Opera, M. Melinski, Gen. Dir., Terrace Theater, Long Beach 2/27, 29/80 Madama Butterfly Pilou, Vergara; Ciannella, Opthof; c: Guadagno; d: Auerbach; Chicago Lyric prod. 48

52 Los Angeles Lyric Ass'n, N. Van Way, Dir., Los Angeles 4/80 The Merry Widow Los Angeles Music Theatre, L. P. White, Dir., Los Angeles 11-12/79 1/12/80 Candidew.p. Los Angeles Opera Repertory Theatre, J. Dordick, Dir., Wilshire Ebell Theatre, Los Angeles 9/79 Benefit Concert 5/7, 9, 11/80 Albert Herring Stuart, Decker, Yarmet; Mack, Immel, Van Dusen; c: D. Scott Los Angeles Solo Repertory Co., J. Swift, Dir., Hall of Liberty, Los Angeles 2/17m/80 Fidelio cone. pf. Mt. San Jacinto College Opera Wksp., A. Ayars, Dir., Gilman Hot Springs 1/11, 13, 18, 20/80 Hansel and Gretel w. 2 ps. Music Academy of the West, M. Abravanel, Art. Dir., Santa Barbara 8/80 Suor Angelica & // Tabarro & Gianni Schicchi c: L. Smith: d: M. Singher Music From Bear Valley, J. Gosling, Art. Dir., Bear Valley 8/8/80 The Barber of Seville New York City Opera, B. Sills, Gen. Mgr., Chandler Pavillion 11/14, 17/79 La Loca 11/15, 18m/79 Lucia di Lammermoor 11/16, 18/79 Rigoletto 11/20,24 12/4/79 Carmen 11/21/79 La Clemenza di Tito 11/23,25/79 Faust 11/25m, 27, 29/79 The Merry Widow 11/28 12/lm/79 The Marriage of Figaro 11/30 12l2ml79Manon 12/1, 9m/79 Faistaff 12/2/79 The Daughter of the Regiment 12/5, 8m/79 Count Ory Mid, 8/79 Dido and Aeneas & Le Bourgeois gentilhomme Mil, 9/79 Tosca Odyssey Theatre Ensemble, R. Sossi, Art. Dir., Los Angeles 9/5-23/79 Little Mary Sunshine Opera a la Carte, R. Sheldon, Dir., Los Angeles 10/13 11Z26/79 2/3/80 The Pirates of Penzance 10/26/79 The Mikado 1/25/80 H.M.S. Pinafore L'Opera Comique, G. Negrini, Mus. Dir., Patriotic Hall, Los Angeles 1/19/80 Madame Butterfly Opera Piccola, E. Evans, Dir., Little Theatre, Palace of the Legion of Honor, San Francisco 2/21, 23 3/1, 2m/80 The Secret of Susanna & Viardot's Cinderella Opera West, N. Domokos, Dir., Fairfax H.S. Auditorium, Los Angeles 1/12, 13/80 La Traviata Palm Springs Opera Guild of the Desert, Palm Springs 3/14/80 Don Pasquale guest engagement Lyric Opera of Chicago, L.A. Chamber Orchestra; G. Evans; c: Schaenen San Diego Opera Center, T. Capobianco, Gen. Dir., San Diego 11/3/79 The Triumph of Honor & Scenes "Street Opera" 40 pfs. (The Telephone; Secret of Susanna) tour to schools: Hansel and Gretel; "Opera: It's Grand!" San Diego Opera Verdi Festival '80, T. Capobianco, Art. Dir., San Diego 6/26, 28m 7/6/80 Giovanna d'arco Maliponte; Lima, Elvira, Chausson; c: Gavazzeni; d: Mansouri; ds: W. Skalicki/A. Skalicki 6/27 7/2, 5m/80 // Trovatore Arroyo; Bini, Pons, Martinovich; c: Simmons; d: Capobianco; ds: Lee 7/3/80 Gala Verdi Concert 6/26-29/80 Central Opera Service National Conference San Jose Opera and Symphony, G. Cleve, Mus. Dir., San Jose 2/80 Madama Butterfly 49

53 Santa Monica Civic Opera, Santa Monica 10/27, 28/79 Die Fledermaus 3/1, 2/80 Rigoletto Southern California Conservatory of Music, Opera/Children's Musical Theatre Wksps., Sun Valley 12/17-22/79 Wolf/Burgess' A Christmas Fable & Amahl and the Night Visitors 3/24-29/80 Wolf/Burgess' Snow-White and the Seven Dwarfs prem. & 1-act opera The Table Top Opera Co., Los Angeles 2/80 Hansel and Gretel University of California at Irvine, School of Fine Arts, C. Garrison, Dean, Irvine 4/22, 24, 26/80 La Forza del destino 1862 version, Eng. Porter; Vaness, Clarey; Howell, Gardner, Carmeli; c: Bradshaw; d: Garrison University of California at Los Angeles, Opera Wksp., J. Hall, Prod., Los Angeles 2/22, 23, 26, 27, 28, 29 3/1, 6, 7, 8/80 "One-Act Opera Festival" Manage aux lanternes; Mavra; Suor Angelica; Rita University of California at Santa Barbara, Opera Theatre, C. Zytowski, Dir. 1/25, 26, 27/80 Storace's Comedy of Errors (Gli Equivoci) Am. prem. University of the Pacific Opera Theatre, G. Buckbee, Dir., Stockton 11/16, 17, 18, 19, 20/79 Suppe's Boccaccio Eng. Barker; w.o. 4/80 Opera Scenes w.p. University of San Diego, Opera Theatre, Alcala Park, San Diego 12/1, 2/79 Gianni Schicchi & Amahl and the Night Visitors Valley Opera, R. Chauls, Dir., Los Angeles Valley College, Van Nuys 1/11, 12, 13m, 13/80 The Magic Flute Eng. B. Swift 3/28, 29, 30m, 30/80 Cavalleria rusticana 6/20, 21, 22m, 22/80 The Bartered Bride West Bay Opera, M. Holt, Exec. Dir., Palo Alto 10/19-21, 25-27/79 The Merry Wives of Windsor Eng.; c: Kanouse 2/8-10, 14-16/80 La Traviata c: Setapen 5/16-18, 22-24/80 Die Fledermaus Eng.; c: Barnes Western Spring Opera, K. H. Adler, Gen. Dir., Palace of Fine Arts Theater, San Francisco 4/15, 18, 20m, 23, 26/80 Weill's Lost in the Stars Winbush, Davis; Cole, Ackridge 4/16, 19, 22, 26m 5/2/80 Kurka's The Good Soldier Schweik Snyder; Green, Raines, Hammons, Hedlund; c: Agler; d: Levine; ds: Israel 4/25, 29 5/4m, 7, 10/80 Susa's Transformations Alexander, Quittmeyer, South; Brandstetter, Duykers, Myers, Tate, Wexler 4/30 5/3, 6, 9, llm/80 Friml's The Vagabond King Cook, Beckstrom; Rice, Lowman; c: Miner; Houston Grand Opera prod. COLORADO University of Colorado Opera Wksp., K. Hata, Dir., Boulder 10/26, 27/79 H.M.S. Pinafore w.p. 3/14-18/80 Die Fledermaus w.o. Western State College of Colorado Opera Wksp., L. Marra, Dir., Gunnison 4/9, 10/80 Hansel and Gretel w.p. DISTRICT OF COLUMBIA Contemporary Music Forum, Washington 11/19/79 Maxwell Davies's Miss Donnithorne's Maggot Handel Society, S. Simon, Dir., Kennedy Center, Washington 2/16/80 Radamisto Wolff, Valente, N. Shade; R. Lewis; cone. pf. 3/15/80 Judas Maccabaeus Garden, Forrester; Burrows, Diaz 4/19/80 Samson Gedda Paul Hill Chorale, T. Duncan, Art. Dir., Kennedy Center 2/24/80 Porgy and Bess cone pf.; D. Jackson; S. Bonds Renton Community Opera, Washington 12/79 Christopher Columbus 4 pfs. FLORIDA Florida Opera Repertory, B. Smith, Pres., Coral Gables (see also Vol. 21, No. 3) 12/79 La Traviata also radio broadcast 50

54 Opera-a-la-Carte, A. Smith, Gen. Dir., Jacksonville tour to schools: The Boor; The Telephone; Rita; Gallantry; The Impresario GEORGIA Alliance Theatre Co., F. Chappell, Art. Dir., Atlanta 11/25-12/23/79 Oliver! Atlanta Civic Opera Ass'n, P. Heuermann & W. Noll, Art. Dirs., Fox Theater 2/25/80 Daughter of the Regiment Augusta Opera prod. 3/14, 16m/80 The Seagull Boozer; Hartman; c: Noll; d: Pasatieri 3/28, 30m/80 La Traviata Ferrer 4/1/80 Sherrill Milnes in Concert HAWAII Opera Players of Hawaii, educational group of Hawaii Opera Theater, Honolulu 1/8, 12, 15, 17, 23 2/7/80 "The Don and His Ladies" preview for Don Giovanni 2/13, 14, 21/80 "Mini Don Pasquale" IDAHO Boise Civic Opera, C. Elliot, Pres., Boise 9/79 La Boheme 4/80 The Ballad of Baby Doe; outreach tour to Horseshoe Bend, Idaho City, Twin Falls, Caldwell. Boise State University Opera Wksp., W. Taylor, Dir., Boise 1/80 Hin und zurtick also tour 4/80 Cos) fan tutte Idaho State University Opera Wksp., T. Flatt, Dir., Pocatello 41 SO Cabaret Northwest Opera Assn., M. Mead, Dir., Twin Falls 10/79 Opera Scenes 2/80 Madame Butterfly Western Opera Theater prod. University of Idaho Opera Wksp., C. Walton, Dir., Moscow 11/79 Opera Scenes 3/80 Noye's Fludde 4/80 The Robber Bridegroom ILLINOIS Chamber Opera Theatre, E. Starkeson, Gen. Mgr., 11th St. Theatre, Chicago 6/11, 13, 14/80 L. Smith's Aria da Capo prem. & L'Histoire du soldat Eng.; c: Larsen; d: Williams Illinois Wesleyan University Opera Theatre, L. Snyder, Dir., Bloomington 10/18-21/79 Candide w.o. 3/80 An Evening of Contemporary Opera w.p. 4/11-13/80 Gianni Schicchi Eng. Grossman; w.o. 4/25-27/80 The Medium w.p. Northwestern University Opera Theatre, R. Gay, Dir., Evanston 12/5/79 3/15 5/21, 28/80 Scenes w.p. 2/15, 17, 22, 24/80 The Rape of Lucretia w.o. IOWA Cornell College Opera Wksp., M. Lee, Dir., Mt. Vernon 5/19, 21/SO The Marriage of Figaro Drake University Opera Theatre, M. Hall, Dir., Des Moines 11/8-12/79 A Funny Thing Happened on the Way to the Forum 2/23, 24/80 Christopher Sly LOUISIANA Louisiana Tech University Opera Wksp., S. Yang, Dir., Ruston 3/13, 14, 15/80 Susannah MARYLAND Prince George's Civic Opera, R. Steeg, Art. Dir.. Riverdale 2/1, 3/80 The Elixir of Love High Point H.S.. Beltsville 3/21, 23/80 Rigoletto Fng.: Prince George's Community College. Largo: c: Tardue: d: Biondi Prince George's Civic Opera's Operathon, The Publick Playhouse, Cheverly 12/27-30/79 Seminars and Workshops 12/27m. 28m, 29m. 30m/79 Hansel and Gretel Ml21, 29/79 Czerny-Hydzik's The Tell-Talc Heart prem. 12/30/79 Cain's The Lesson prem. 51

55 University of Maryland Opera Theatre, G. Tallman, Dir., College Park 9/30-10/7/79 Once Upon a Mattress w.o. 11/14-17/79 Signor Deluso & The Medium w.p.; also 12/1 at NOA Convention 2/28, 29 3/1, 2/80 The Pirates of Penzance w.o. MASSACHUSETTS Boston Conservatory Opera Theater, J. Moriarty, Dir., Boston 1/25-27/80 Les Mamellcs de Tiresias & Incomplete Education 4/9-13/80 Marschner's Der Vampyr Am. prem.; Eng. Moriarty Boston Lyric Opera Co., J. Balme, Gen. Dir., Boston 3/13, 16/80 Vn Giorno di regno Chamber Concerts of Newton, P. Morehead, Mus. Dir., Sanders Theater, Cambridge 4/4, 5/80 Schemmer's Phaust prem., w.o. Opera Company of Boston, S. Caldwell, Art. Dir. (see also Vol. 21, No. 3) 12/79 Hansel and Gretel Opera New England, S. Caldwell, Art. Dir., Boston 2/80 Die Fledermaus Eng.; tour MICHIGAN Opera Company of Greater Lansing, A. Suits, Pres., Lansing 1/11, 12/80 Madama Butterfly University of Michigan Opera Theater, G. Meier, Dir., Ann Arbor 11/15, 16, 17, 18m/79 La Boheme c: Meier: d: Bakman l/26m, 26/80 The Unicorn, the Gorgon and the Manticore University Dance Co. and Cantata Singers 3/13-16/80 Carmina burana & Albright's Seven Deadly Sins (School of Music and Ballet) 3/27-30/80 The Coronation of Poppea Eng.; c: Meier; d: Strasfogel; at Power Center University of Michigan Opera Wksp., J. Van Der Merwe, Mus. Dir., Ann Arbor 11/19/79 Opera Scenes & Rorem's A Childhood Miracle MINNESOTA Carleton College Chamber Singers, W. Wells, Dir., Northfield 5/16, 17, 18 6/7/80 Dido and Aeneas & Trial by Jury Cricket Theatre, L. Salerni, Art. Dir., Minneapolis 1/1-26/80 Shire's Startinq Here, Starting Now MISSISSIPPI Mississippi Opera, J. Goolsby, Art. Dir., Jackson 9/20, 23, 25, 27/79 The Flower and the Hawk w.o. 11/8, 9/79 Carmen Eng. Goolsby/Silverstein; w.o. 2/28, 29 3/1,2/80 Riders to the Sea w.p. 5/1, 2, 3. 4/80 Curlew River w.p. Mississippi Showboat, touring co. of Opera/South, D. Ardoyno, Gen. Mgr., Jackson 1/26, 27/80 More Than Meets the Eye & Savitri 6/23-7/22/80 The Music Master Eng. Radford; Carissimi's Job w.p. MISSOURI Opera Theater of St. Louis. R. Gaddes, Gen. Dir. (see also Vol. 21, No. 4) 6/4, 7, 10, 13, 19, 21m/80 Weill's Seven Deadly Sins & Reznicek's Fact or Fiction Eng. (replacing Maddalena) MONTANA Montana State University, Music Dept., Boseman Four Note Opera: The Pirates of Penzance University of Montana Music Theatre, E. England, Dir., Missoula Amahl and the Night Visitors; Patience; Carousel NEBRASKA Nebraska Sinfonia, T. Bricetti, Cond., Omaha 4/80 Bach's The Happy Prince prem. NEW HAMPSHIRE Theatre by the Sea, D. Souerwine, Mng. Dir., Portsmouth 10/26-12/2/79 Godspell 4/25-5/18/80 Weill: Berlin to Broadway 52

56 NEW JERSEY Rutgers University Opera Wksp., V. Goodall & J. Connell, Dirs., New Brunswick 12/79 Amahl and the Night Visitors w.p. 4/80 Opera Scenes w.p. NEW YORK Cornell Savoyards, S. Bronfenbrenner, Dir., Ithaca 11/9-11, 16-18/79 H.M.S. Pinafore 3/7-9/80 Ruddigore SUNY at Purchase, Opera Wksp., P. Brooks, Dir., Purchase 2/22-25/80 Little Mahagonny 4/23, 25, 26/80 Dialogues of the Carmelites Eng. Machlis; e: Wyner; d: Owens NEW YORK CITY Apollo Opera Inc., N. Moraitis, Art. Dir., Wagner H.S. 5/31 6/lm/80 La Muette de Portici c: Martin; d: J. Bookspan Brooklyn College, School of Performing Arts 12/16m/79/ep/f/a SO Sounds of the American Musical Theatre Brooklyn Lyric Opera, N. Myrvick, Art. Dir., Holy Name Aud., Brooklyn 9/9, 15, 16, 22/79 Romeo et Juliette 10/14, 20, 21/79 // Trovatore 10/21/79 La Traviata 11/25 12/1, 2/79 Un Ballo in maschera 1/20, 27 2/3, 10/80 La Fi/le du regiment 2/23, 24/80 L'Elisir d'amore Chamber Opera Theatre, T. Motyka, Prod., Brooklyn Academy of Music 3/21, 22, 23m/8O The Bear & Angelique c: Cox; d: Motyka; ds: Giampa/Kellard; choreog: Reams Composers' Showcase Program, Whitney Museum of American Art 1/4/80 "Kurt Weill Songs" Stratas. Mercer. Lenya: Gregg Smith Singers The Dance Theater Workshop, West 19 Street 12/26-29/79 Ashley's Perfect Lives (Private Parts) prem. of 4 parts; Kroesen; Van Tiegham; narr: R. Ashley; ace: Tyranny; d: M. Ashley & H. Borkin Eastern Opera Theatre of New York, D. Westwood, Gen. Mgr. (see also Vol. 21, No. 4) 2/23, 24/80 Madama Butterfly Eng. Goldovsky; at Hunter College Playhouse Ensemble for Early Music, F. Renz, Mus. Dir., Cathedral of St. John the Divine 12/79 The Play of St. Nicholas a medieval church play First All Children's Theatre Co., M. Stein, Art. Dir. 10/21-12/2/79 Namanworth's Alice Through the Looking Glass 10/31-12/1/79 Thomas & Forster's Clever Jack and the Magic Beanstalk 12/8/79-2/24/80 Swados's Incredible Feeling Show 3/80 Strouse's The Emperor's Nightingale 4/80 Forster's Grownups Inwood Chamber Opera Players, S. Edelman, Dir., Brooklyn 10/79 The Magic Flute abgd. w.p. 11/79 Cost fan tutte abgd. w.p. 12/79 An Evening of Renaissance Music Kosciuszko Foundation, East 65 Street 11/30/79 Friedman's Mordecai prem.: c: Kozinski; 12/9 at Temple Israel Live From the Met, M. Bronson, Exec. Prod., PBS 5/17/80 Don Pasquale Sills: Kraus. Bacquier. Hapegard (taped 1/11/79) Manhattan Opera Theatre, A. Charlet, Art. Dir., St. Jean-Baptiste Church (see also Vol. 21, No. 4) 10/26 11/1/79 Linda di Chamounix 11/30 12/1/79 Herbert's Natoma 12/18/79 Samson et Dalila 1/14/80 Le Roid'Ys Manhattan School of Music, J. Crosby, Pres. (see also Vol. 23, No. 1) 2/28 3/1, 2m/8O Betrothal in a Monastery Eng. Karsavina; c: Ferden; d: Galterio 53

57 Metropolitan Opera Spring Tour, A. A. Bliss, Exec. Dir., Kennedy Center, Cleveland, Atlanta, Memphis, Dallas, Minneapolis, Detroit, Boston 4/21 5/1,8,22,31 6/11/80 L'Elisir d'amore 4/22, 25/80 Otello 4/23, 30 5/7, 21, 28 6/12/80 Eugene Onegin 4/24, 28 5/5, 12, 15, 19, 26 6/14/80 Un Balln in maschcra 4/26m 5/3m, 10m, 17m. 24m, 31m 6/ 14m/80 Hansel and Gretel 4/26 5/3, 10, 24, 27 6/13/80 Billy Budd 4/29 5/6, 14, 20, 29 6/10/80 Carmen 5/2, 9, 13, 16, 23, 30 6/9/80 Aida New Princess Theater Co., G. Bordman, B. Schuchat, E. Watt, Dirs., Park Royal Theater 12/16/79 Kern's Oh, Boy! New York City Opera, B. Sills, Gen. Dir., State Theatre, Lincoln Center 2/11, 23, 26/80 Count Ury I:ng. Hammond 2/22, 24m. 27 3/2/80 La Traviata 2/23m, 24, 28 3/1/80 Die Iledermuus Fng. Martin 2/29 3/9m, 11/80 Madama Butterfly 3/lm, 7, 9/80 The Marriage of Figaro Rng. Martin 3/2m, 5, 8m, 12, 15m/80 Fal.ttafl 3/6, 8, 14, 16, /80 Don Giovanni'-- Vaness. Kshanv. Blake. Ramey. Rippon; c: Rudel; d: Cox; ds: Annals 3/15, 18, 21/80 Manan 3/16m, 23, 29 4/19m. 26m/80 Carmen 3/20, 23m, 25, 27, 29m 4/4/80 Weill's Silverlake* Am. prem.. Eng. Wheeler: Hynes, Bonazzi; Gray, Neill; c: Rudel: d: Prince: ds: Lutgenhorst 3/22m, 30 4/5/80 The Barber of Seville Eng. Martin 3/28, 30m 4/3, 5m/8O Meftstofele 4/6m, 8, 10, 12m/80 The Love for Three Oranges* Eng. Ducloux; Gutknecht, Costa-Greenspon, Curry; Evans, D. Hall, McKee; c: Keene: d: Capobianco; ds: Vanarelli; San Diego Opera prod. 4/6, 12, 23, 27m/80 La Boheme 4/11, 13m, 16/80 La Cenerentola Eng. Beni 4/13, 17, 19,22, 24/80 Faust 4/18, 20, 26/80 lev Contes a"hoffmann 4/20m, 25, 27/80 The Daughter of the Regiment Eng. Martin Spring Roster: sopranos: Anderson, Bouleyn, Christos, Dickison-Rhodes, Esham, Falcon, Fowles, Gutknecht, Hall, Hynds, James, Little, Myers, Nielsen, Niska, Orloff, Robinson, Rolandi % Shell, Soviero, Sundine, Thigpen, Thompson, Vaness, Verdejo, Zannoth, ZschauV mezzos: Bonazzi, Costa-Greenspon, Curry, Davidson, R. Freni, Harris, Hegierski, Hill, Krueger, Marsee, Pelle, Shaulis, Simon, Terzian, Toro; tenors: Bartolini, Blake, Calleo, Clark, DiGiuseppe, Evans, Grahame, Green, Hadley, Hall, Kays, Lankston, Large, McCauley, McDonald, Molese, Neill, Perry, Price, Reed, Serbo, Trussel; baritones/basses: Albert, Arnold, Bassett, Billings, Brown, Chausson, Cossa, Densen, Diaz, Ellis, Embree, Foss, Gramm, Harrold, Hale, Hartman, Holloway, Jamerson, Ledbetter, Long, McFarland. McKee. Ramey, Rippon, Roe, Sergi, Smith, Titus, Yule; conds: Caldwell, Crosby, Dufallo, Harwood, Keene, Mauceri, Meltzer, Pallo, Rudel, Salesky, Scott, Wendelken-Wilson New York Gilbert & Sullivan Players, Symphony Space 11/1-4/79 H.M.S. Pinafore & Trial by Jury 12/30, 31/79 1/3-5/80 The Pirates of Penzance Opera at the Y, Kaufmann Concert Hall, Lexington Ave. 3/6, 8, 9m/80 Schiff/Singer's Gimpel the Fool c: Kaiser; d: Bredemann Opera Camarata, Good Shephard Presbyterian Church 9/13, 15/79 Don Giovanni Opera Ensemble of N.Y., R. Bierhoff, Mus. Dir. (see also Vol. 21, No. 4) 2/21, 22, 24m, 28, 29 3/2m/80 The Marriage of Figaro Eng. 5/80 The Rape of Lucretia Queens College Opera Wksp., H. Weisgall, Dir., Flushing 10/4-6/79 Jesus Christ Superstar Regina Opera, Regina Church 11/30 12/2/79 Pagliacci & Gianni Schicchi 54