CENTRAL OPERA SERVICE BULLETINVOLUME 22, NUMBER 1

I N D E X

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 1979 37

PERFORMANCE LISTING 1979-80 cont. 48

Sponsored by the Metropolitan Opera National Council

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 ADLERSan Francisco OperaWILFRED C. BAINIndiana UniversityGRANT BEGLARIANUniversity of So. CaliforniaMORITZ BOMHARDKentucky Opera AssociationSARAH CALDWELLOpera Company of BostonTITO CAPOBIANCOSan Diego OperaKENNETH CASWELLMemphis Opera TheatreROBERT J. COLLINGEBaltimore Opera CompanyJOHN CROSBYSanta Fe OperaWALTER DUCLOUXUniversity of TexasROBERT GAYNorthwestern UniversityDAVID GOCKLEYHouston Grand Opera

BORIS GOLDOVSKYGoldovsky Opera Theatre

DAVID LLOYDLake George Opera Festival

LOTFI MANSOURICanadian Opera CompanyGLADYS MATHEWCommunity OperaRUSSELL D. PATTERSONLyric Opera of Kansas CityMRS. JOHN DEWITT PELTZMetropolitan OperaEDWARD PURRINGTONTulsa OperaGLYNN ROSSSeattle Opera AssociationJULIUS RUDELNew York City Opera

MARK SCHUBARTLincoln CenterROGER L. STEVENS|ohn F. Kennedy CenterGIDEON VVAIDROPThe 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 OperaService. 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 aswell as performance information to The Editor, Central Opera ServiceBulletin, Metropolitan Opera, Lincoln Center, New York, NY 10023.

Copies this issue: $3.00 ISSN 0008-9508

NEW OPERAS AND PREMIERES

SHADOWS AMONG US by Ezra Laderman, with a libretto by NormanRosten, is a two-act opera set in a Middle-European refugee camp. Itreceived a first concert reading with piano accompaniment on December14 at the Studio Theatre cf the Academy of Vocal Arts in Philadelphia.The project was co-produced by the Opera Company of Philadelphia aspart of its composer/librettist lab, which, in the summer, is held in con-junction with the O'Neill Theatre Center.

Mr. Laderman's opera-oratorio AND DAVID WEPT, orginally conceivedand performed as a radio work, is planned for a first live stage produc-tion by the Opera at the Y at New York's Kaufmann Auditorium. JoeDarion is the librettist.

On March 7, 1979, the Shades Valley Music Club gave the premiere ofTHE AUDITION at the Birmingham Museum of Art in North Birming-ham, Alabama. The one-act folk opera has music and libretto by Mrs.Themos Jebeles.

A four-day "Operathon" of seminars, workshops, and lectures held bythe Prince George's Civic Opera in Maryland included premiere per-formances 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, ThatMorning Thing) is currently completing a music theatre work entitledPERFECT LIVES (PRIVATE PARTS). It is set in "small town middleAmerica", and will use piano and organ accompaniment with pre-recorded tapes of orchestral and electronic music. Two singer/speakers,silent actors, dancers, and a narrator will make up the cast, and videomonitors will be used for representational images, replacing the con-ventional sets. The performance time will be over four hours, reminiscentof the Wilson/Glass music theatre pieces. Excerpts were performed onDecember 26 by New York's Dance Theatre Workshop; a complete per-formance is projected for next season at The Kitchen in New York.

The Kosciuszko Foundation was host to a preview performance of ex-cerpts of Gary W. Friedman's MORDECAI on November 30, a perform-ance repeated at Temple Israel on December 9. The action is set inPoland during the Nazi occupation.

THE DONNER PARTY is a three-act opera by Ron McFarland. Thelibretto by Maria Woodward is based on an epic poem by George Keith-ley. The first performance took place on November 14 at Chico StateUniversity in California.

Tony Schemmer is the composer/librettist of PHAUST, and has placedthe old legend into modern times against an operatic background. In hisstory Phaust is a composer, Mefisto a theatrical producer. The score callsfor five soloists and chorus accompanied by a chamber orchestra togetherwith a jazz/rock ensemble. The premiere is scheduled for April 4 atHarvard University's Sanders Theatre in Cambridge; the producingorganization is the Chamber Concerts of Newton whose members werepart of the former New England Chamber Opera Group. Philip More-head will conduct.

AMERICANOPERAS1979-80

— 1 —

NEW OPERAS AND PREMIERES

Prolific composer Lionel Lackey informs us of two more one-act operashe has completed. MR. PEGOTTY'S DREAM COMES TRUE is basedon an episode from Dickens's David Copperfield and was performed withpiano at the University of North Carolina in Greensboro. STEPHENDI SCHENECTADY was conceived as a companion piece to the samecomposer's Osrella di Poughkeepsie and is under consideration for per-formance by the Colorado State University in Fort Collins this spring.Larry Smith, a faculty member at both the Juilliard School and theBoston Conservatory, will see his first opera produced on June 11 by theChamber Opera Theatre in Chicago. ARIA DA CAPO uses the originalMillay text. It will be performed with L'Histoire du soldat in English.

REVISIONS Three operas are currently undergoing revisions as a result of theirpresentations at workshop/labs and in preparation for their next pro-ductions : STARBIRD, by Henry Mollicone, will next be staged by theCincinnati Opera Studio, which will also present Jack Beeson's DR.HEIDEGGER'S FOUNTAIN OF YOUTH. The Minnesota Opera plansto stage the revised BLACK RIVER by Conrad Susa.After a premiere production by the Opera at the Y in New York lastseason, David Schiff's Gimpel the Fool was revised and expanded by onehalf-hour. It will be remounted in its new version by the same companythis season.Another type of revision, this not by the original composer, has also beenannounced. Working from Marc Blitzstein's original material, JohnMauceri is collaborating with Leonard Bernstein on Regina. The pre-miere of the new version is planned by the Washington Opera for1981-82.

I980-8J WILLIE STARK is the title of Carlisle Floyd's latest opera, for whichMr. Floyd wrote his own libretto. The work was commissioned by Ken-nedy Center, and is based on Robert Penn Warren's book, All the King'sMen. It will be premiered April 24, 1981, in Texas as a joint productionof the Houston Grand Opera and Kennedy Center, and will subsequentlybe seen in Washington. John de Main will conduct and Harold Princewill direct.William Bergsma's latest opera, THE MURDER OF COMRADESHARIK, will be mounted in its premiere production by the SeattleOpera. 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 Amer-ican opera. COSTASO, by the late William Grant Still, with a libretto byhis wife Verna Arvey, carries a copyright date of 1954. 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 Dorrwill direct and design the production.The life and writings of Marcel Proust furnished the inspiration forGregory Sandow's latest opera. It will receive its first reading nextseason under the composer/librettist lab First Stage First, a part ofNew 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, BEFOREBREAKFAST. The work is based on the O'Neill monodrama, and willreceive its first production by the New York City Opera in November,1980. — Pasatieri has two other works in progress. THREE SISTERSwill have a libretto by Kenward Elmslie, adapted from Chekhov, andELMER GANTRY, after the 1927 book by Sinclair Lewis, has beencommissioned by the Kennedy Center. All three works will be availablefrom Belwin Mills.Belwin has also announced two other operas in progress: SOMETHINGNEW FOR THE ZOO, a one-act opera buffa with music by Lee Hoiby

— 2 —

NEW OPERAS AND PREMIERES

and libretto by Dudley Huppler, and THE UNAVOIDABLE CONSE-QUENCES OF GETTING CAUGHT IN A FARCE, a full-length workby Jose Raoul Bernardo.

In anticipation of the American Bicentennial, the Tennessee Arts Com- 7981-82mission awarded Kenton Coe a grant in 1974 toward his writing theopera RACHEL. Ann Howard Bailey was fashioning the libretto basedon the story of Rachel and Andrew Jackson. The work is now beingcompleted and will be premiered by the Knoxville Civic Opera duringthe 1981-82 season.

The Minnesota State Arts Board has awarded $10,000 fellowships totwo of its native composers. Libby Larsen of Saint Paul (The SilverFox) will complete her first full-length opera, TUMBLE-DOWN DICK,and, in addition, write two libretti and one dance piece. — Phillip Rhodesof Northfield will finish two one-act operas, THE GENTLE BOY andFEATHERTOP.

The Portland Opera has announced the world premiere of Bernard Herr- 1982-83mann's WUTHERING HEIGHTS for November 6, 1982. Composed in1950, it was recorded by the Pro Arte Orchestra in England for PyeRecords and is published by Novello. The company has scheduled threeperformances.

Robert Mitchell's opera, announced as Neighborhood in Volume 21, No. 4 CORRECT/ONof the COS Bulletin, changed its title just before the premiere by theGolden Fleece Inc. to EXAMINATION, A Theatrical Song Cycle. Makingup the double-bill was Thomas Flanagan's / RISE IN FLAME (notFlames), CRIED THE PHOENIX, based on the Tennessee Williams playabout the life of D. H. Lawrence.

Every singer's unspoken fear is of a memory lapse while on stage. THE PREMIEREMISTAKE, a one-act opera by Jonathan Sheffer with a libretto by Opera TBANews managing editor Stephen Wadsworth, cleverly takes this subjectas its theme. Set in a young soprano's dressing room during the inter-mission of an important concert, we witness first her agony and finallyher triumph over the mistake she made during the first half of herconcert 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 isscored for full orchestra, but a reduced orchestration for thirty is alsoavailable.

JONAH, by Murray Schafer, is a musical-dramatic work which was pre- CANADIANmiered at Christ Evangelical Lutheran Church in Maynooth, Ontario. OPERASThe date was August 29, 1979. — Last season (10/78), Kingston, On-tario, 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 AMERICANLEAR has taken German audiences by storm. Within this brief time it PREMIEREShas been heard in four cities. Its American premiere will take place inSan Francisco in Fall '81, when it will be performed in the Ponnelle/Munich production, sung in English with Thomas Stewart in the titlerole.

The Opera Theatre of St. Louis will not be performing Prokofiev'sMADDALENA, previously announced as its American premiere. In-stead, the company has scheduled a double-bill of Weill's Seven DeadlySins, with a book by Brecht, and Emil von Reznicek's Fact or Fiction(Spiel oder Ernst) in its second American production. The work is acomedy which takes place during a rehearsal of Rossini's Otello, andinterpolates Rossini's music with the more contemporary style of Rez-nicek.

— 3 —

NEW OPERAS AND PREMIERES

American composer Carolyn Lloyd gave Caracas a present for its 400thbirthday; the opera DONA BARBARA was premiered in the Venezuelancity in June 1967. It will receive its first performance in the UnitedStates when the Florida Opera Repertory Company in Coral Gablesmounts it next season. Isaac Chocron is the librettist.GLI EQUIVOCI harbors the unlikely combination of music by 18thcentury British composer Stephen Storace, libretto by Lorenzo da Pontebased on Shakespeare's Comedy of Errors, and a premiere performancein 1786 in Vienna. Recent revivals have included the Camden Festivalin London in 1974 and the Schwetzingen Festival in 1977. Arthur Jacobsmade an English translation for the London performances, and it is inthis version that the University of California in Santa Barbara willmount the first American production in January '80. Carl Zytowski willdirect.

Next season, Indiana University's Opera Theatre will offer the first U.S.performance of Martinu's THE GREEK PASSION. First produced inZurich in 1961, posthumously, the opera is scheduled for April 1981 inBloomington.The last issue of the COS Bulletin gave the historical background ofWeill's SILVERLAKE, but there is more information about the Ameri-can premiere production. The date is March 20, the place the New YorkCity Opera. Hugh Wheeler has written a new English libretto, based onthe original story, with Lys Symonette responsible for the English lyrics.She has also selected some of Weill's incidental music and integrated itwith the original score. Continuing the opera/musical theatre concept,the work will be staged by Harold Prince, designed by Manuel Luten-horst, and will feature Joel Gray in his debut with a major Americanopera company.Marschner's DER VAMPYR is suddenly being discovered in the U.S. Itseems that, since its first performance in 1828, the United States showedlittle or no interest in the work — that is, until this year. A companyfinally found it of sufficient interest to invest in a production, and theBulletin (Vol. 21, No. 4) reported the premiere at the Encompass MusicTheatre on April 17. No sooner was this in print than an announcementfrom the Boston Conservatory informed us of a production of DerVampyr on April 9 — just one week earlier than the New York per-formance. This, then, will be the first American production. But beforethe end of the summer there will be a third production of this work,staged by the Wolf Trap Opera Company on June 27. Could CountDracula be the cause of it all — or is there a Marschner renaissance?Hans Heiling, never performed in the U.S., just had a new productionin Zurich.

FOREIGN The 1980 Edinburgh Festival will feature the premiere of Peter MaxwellPREMIERES Davies's new chamber opera THE LIGHTHOUSE. — Commissioned

by BBC Television, Alun Hoddinott's THE RAJAH'S DIAMOND waspremiered on November 24. Based on the Stevenson story, the librettowas written by Myfanwy Piper. — In October '79, the Charterhouse inGodalming, Surrey, unveiled THE KING OF MACEDON, music byRoger Steptoe, libretto by Ursula Vaughan Williams. Geoffrey Ford wasthe producer, William Llewellyn conducted.Stockholm will witness two world premieres later this season. May 3will 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'sTHE KEY (AVAIN) at Finlandia Hall.In May, the City of Liege will mount a Millenium Festival, coincidingwith a celebration for the 150th anniversary of Belgian national inde-pendence. The Centre Lyrique de Wallonie's contribution will be thepremiere of Paul Danblon's CYRANO DE BERGERAC. Other Belgian

NEW OPERAS AND PREMIERES

opera companies will present new productions, such as the Young LyricTheatre of Liege at the Maison de la Culture (Marcel Landowski'sL'Opera de Poussiere), the Theatre Royal de la Monnaie in Brussels(the European premiere of Menotti's THE HERO), and the RoyalFlemish Opera (Mozart's Idomeneo). In addition to ballet performances,theatre exhibits, and a film festival, there will also be an InternationalConference of the Lyric Theatre under the guidance of Carlo AlbertoCappelli.Francois-Bernard Mache saw his one-act LES MANGE'URS D'OMB REpremiered in Bordeaux in May '79, and later brought to Toulouse in ajoint production with the Atelier Lyrique du Rhin. Ohana's Syllabairepour Phedre was the second work on the double-bill. — LES TRA-VERSES DU TEMPS is the title of a new opera by Jean Prodromidespremiered in Nantes on October 23. Here, too, a joint production, thistime with the theatre in Rouen, assured subsequent performances in thatcity. — Claude Arrieu is responsible for the French operatic version ofLorca's play, presented this season in Tours as AMOUR DE DONPERLIMPLIN AVEC BELISE DANS SON JARDIN. Other operasbased on the same play were mentioned in the Bulletin Volume 21,Number 4.Paul Dessau's LEONCE UND LENA, a "romantic fantasy" after acomedy by Georg Biichner, was posthumously premiered at the Staats-oper in East Berlin on November 25, with Otmar Suitner conducting.The first West German performance will take place later this seasonin Freiburg. — The Hessische Staatstheater in Wiesbaden has announcedthe 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 DetlevMiiller-Siemens GENOVEVA ODER DIE WEISSE HIRSCHKUH to-gether with the premiere of Alfred Korppen's EIN ABENTEUER AUFDEM FRIEDHOF. The former work was commissioned by Germantelevision and first broadcast in 1977. — DAS SPIEL VOM ZUFALLUND TOD is the title of Gerhard Rosenfeld's new opera based on theRomain Rolland story. A first performance is projected for October 1980in Potsdam, at the New Palais Sanssouci's Hans-Otto-Theater. — TheKleines Haus in Minister was the scene of Dieter Schonbach's COMESANTO FRANCESCO (Just as Saint Francis) premiere. The composercombined fragments of music by Scarlatti and writings by St. Francis ofAssisi (manuscripts found in the Vatican) with his own new, contempo-rary-style music, using tone clusters, electronic music, etc. — TheStuttgart Opera's small theatre has scheduled Mauricio Kagel's DIEERSCHOEPFUNG DER WELT [sic] (The Exhaustion of the World)for February 1980.Three previously announced premieres had to be postponed: Klebe'sDER JUENGSTE TAG in Mannheim to July 12, 1980, and Zimmer-mann's WUNDERSAME SCHUSTERSFRAU in Hamburg to April 25,1982. — Luciano Berio's LA VERA STORIA, planned for a premiere atLa Scala, Milan, was postponed due to technical difficulties in producingthe electronic tape at the Paris Institute of Musical and Acoustical Re-search at the Palais Beaubourg.Three foreign composers have recently received commissions from Ger-man opera houses. Italian Antonio Bibalo is writing GESPENSTER(Ghosts) after Ibsen's play, for a premiere in Kiel in 1981. The produc-tion will be in collaboration with opera companies in Bremen, Hamburg,Braunschweig, Hannover, and Liibeck. — The Deutsche Oper am Rheinin Diisseldorf has charged British composer Alexander Goehr to writea new opera for the company's 25th anniversary season in 1981-82, andLiibeck has asked Greek composer Arghyris Kounadis to complete a workfor premiere in 1982. The title will be LYSISTRATE, Musiktheater nachAristophanes von Arghyris Kounadis.

— 5 —

NEW OPERAS AND PREMIERES

On May 18, 1980, the Theater an der Wien in Vienna will presentGottfried von Einem's latest work, JESU HOCHZEIT.The Teatro dell' Opera in Rome has scheduled the first performance ofMARILYN by Lorenzo Ferrero for February 15, under the baton ofAlessandro Siciliani.On October 10, the Slovak National Theatre in Bratislava gave thepremiere of Jan Cikker's seventh opera, THE VERDICT iRozsudok > orThe Earthquake in Chile. The libretto by the composer is based on adrama by Kleist. The work, in five scenes, includes ballet sequences, achorus used as in Greek drama, and some electronic effects.

CHILDREN'S The Southern California Conservatory of Music in Sun Valley has aOPERAS Children's Musical Theatre Workshop, offering its own original chil-

dren's operas. Composed by Sally Wolf with libretti by Lurrine Burgess,all works are written for child performers between the ages of 6 and 14and are scored for piano accompaniment. THE EMPEROR'S NIGHT-INGALE (after Andersen) plays 38 minutes, calls for seven solo voicesand 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 THESEVEN DWARFS (after Grimm) is scheduled for a premiere on March24, 1980. Interested producers may request tapes and scores from theConservatory.Wayne Davidson, composer of SCROOGE (after Dickens's A ChristmasCarol), is also music director of Southern Opera Theatre, the educationaland touring arm of Opera Memphis. The first performance of his Christ-mas opera took place at the Cook Convention Center Auditorium onNovember 27, and the work was subsequently taken on tour to schoolsthroughout the state.Blanche Thebom collaborated with composer Carleton Palmer in thecreation of CALHOUN'S CHRJSTMAS, based on Phyllis McGimsey'sshort story. A puppet opera with taped soundtrack and projections, itwas performed last December at the University of Arkansas in LittleRock, where Mme. Thebom heads the opera department.A recent meeting of the American Theatre Association in New York washo3t to a performance of HEIDI, by Ann Pugh and Betty Utter, basedon the famous Spyri story.Another favorite, Oscar Wilde's THE HAPPY PRINCE, here in a newoperatic version by Jan Bach, recently received a first prize from theOmaha Symphony Association. Scored for chamber orchestra, it will bepremiered by the Nebraska Sinfonia this spring. The composer is aprofessor at Northern Illinois University.Alfege was Archbishop of Canterbury in the year 1000, and is also thePatron Saint of Greenwich. The Greenwich Festival and the Arts Councilof Great Britain commissioned British composer Rory Boyle to writean opera about this historic personality to be performed for and bychildren. 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 OliverKnussen's MAX ET LES MAXIMONSTRES at the Theatre Royal de laMonnaie in Brussels.A number of favorite German children's stories have recently beenturned into German musical theatre pieces for children. Among them areBusch's MAX UND MORITZ by Walter Willip (premiere FreiburgYouth Orchestra and Chorus 12/1/79), Grimm's DER WOLF UND DIE

— 6 —

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-halfhour 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 Finlandwas devoted to Television-Music Programs for Children, in celebrationof the UNESCO Year of the Child. The entries were too numerous tolist here (46 contributions entered by 23 TV organizations from 16countries), but included among them were Katzer's Das Land Bum-Bum,Menotti's Chip and His Dog, Fresco's Martin and the Sun, Mainka'sSchneeflocke und Zugvogel, and Guttermeyer's Rumpelstilzchen.Moscow's Children's Opera Company was founded by Natalja Sats in1965 and currently has a repertory of 20 operas and ballets. Texts some-times combine Russian with other languages, which makes touring toother countries more attractive. Among its most successful pieces areDOG AND CAP, music by Eduard Chagagortyan, libretto by VladimirPolyankov and Mme. Sats (to whom Prokofiev's Peter and the Wolf isdedicated), 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 heritagetheme.The Martha Baird Rockefeller Fund for Music (at its new address 155West 68 Street Suite 30E, New York, NY 10023) has added a ComposersGrant Program whereby amounts up to $3,500 may be awarded com-posers for projects which advance the composer's standing. Money maynot be requested for commissions, copying, study, or living expenses.The Program is open to citizens and permanent residents of the UnitedStates under fifty years of age. Proof of a significant number of per-formances by professional ensembles is required. Applications may besent at any time, no deadline. As we go to press, we learn the programis currently in suspension, pending an evaluation. Applications for pro-jects may be submitted, but will be held until a decision on the overallprogram has been reached.

NEW EDITIONS AND ADAPTATIONS

ATTENTIONCOMPOSERS

THE PLAY OF SAINT NICHOLAS is aliturgical drama in the style of The Play ofDaniel and The Play of Herod, and was per-formed here for the first time last Christ-mas by the Ensemble for Early Music at theCathedral of St. John the Divine in NewYork. It is based on words and music foundin the Fleury Playbook of the BeauvaisCathedral. Fredrick Renz, director of theEnsemble and former member of the NewYork Pro Musica (which traditionally per-formed the two above mentioned medievalplays), adapted the newly found musicdrama.When Lully's opera Acis et Galatee is per-formed by New York Lyric Opera in April,it will be heard in a new edition prepared byH. Wiley Hitchcock.Eberhard Adler and Herbert Peter are re-sponsible for the new music written in thestyle of Telemann for DER GALAN INDER KISTE oder DIE AMOUREN DERVESPETTA, performed at OberhausenMusiktheater on December 20. The operalibretto was found in the state library inDresden, however, Telemann's music seemslost. The work was written as a sequel tohis opera Pimpinone.

The 1862 Urversion of LA FORZA DELDESTINO will be heard in the complete, un-cut score as premiered in St. Petersburg.The score has been prepared by WilliamHolmes from the original manuscript de-posited in the Ricordi Archives in Milan.Current performances-use the 1869 version,revised by Verdi for the La Scala perform-ance. The University of California at Irvinehas scheduled the opera for April 22, 24,and 26 with a professional cast, and hascommissioned Andrew Porter to write a newEnglish translation. The Sixth InternationalCongress for Verdi Studies will convene inIrvine at the same time.Mark Herman and Ronnie Apter have pre-pared a new performing edition and trans-lation of Gounod's Le Medecin malgre luiunder the title, THE DOCTOR IN SPITEOF HIMSELF. The edition is published andavailable from Mark Herman, 13 WoodsideDrive, Madison, NJ 07940.The opera house in Graz, Austria, plans toperform an adaptation of Robert Stolz'soperetta EINE EINZIGE NACHT on No-vember 22, 1980, in celebration of the cen-tennial of the composer's birth. •

NEWS FROM OPERA COMPANIES

NBW The ATLANTA CIVIC OPERA ASSOCIATION is the result of a mer-COMPANIES ger of the two local companies that have vied for attention and audiences

in the last two years. It combines representatives from both boards, theAtlanta Lyric and the Georgia Opera, and artistic and administrativeduties are also shared by the former professional heads of the companies,Patricia Heuermann and William Noll. The new company will perform atthe 4,000-seat Fox Theatre, and plans a two-production four-perform-ance season in March, plus an operatic concert (see Performance List-ing).

The BOSTON LYRIC OPERA COMPANY has been revived after athree-year hiatus, under a new General Director. John Balme, formerassociate conductor in San Diego, will be in charge of the first produc-tion, Verdi's Un Giorno di regno, scheduled for March.

The Jacksonville Opera and its subsidiary, OPERA A LA CARTE, haveparted ways. The latter, originally founded as a touring and educationalgroup, has become an independent organization under Amelia Smith,founder, and former music director/general manager of the JacksonvilleOpera since 1961. See Performance Listing for the new Florida com-pany's repertory.

TOURS Beginning in January '81, the SAN FRANCISCO OPERA will return toLos Angeles after an absence of what will then be twelve years. It willgive a total of 18 performances at the Shrine Auditorium, bringing sixdifferent productions. The overall dates have been announced as January15 to February 1, the operas will be Simon Boccanegra, Tristan vndIsolde, Madama Butterfly, Die Fran ohne Schatten, Cavalieria rusticanaand Pagliacci, and Die Zauberflote. The company's first visit to its south-ern neighbor was in 1924, and between 1937 and 1964 there were annualperformances at the Shrine. In 1965, the company gave its only perform-ances at the Music Center Pavilion, where the New York City Opera hasvisited annually since 1967. The San Francisco announcement specificallystated that the projected guest engagement is the result of cooperativenegotiations between Kurt Herbert Adler and representatives of theMusic Center Opera Association and has the sanction of the latter organ-ization.

As mentioned in the last issue of the Bulletin, the NEW YORK CITYOPERA'S visit to the Washington area will, this year, take place at WolfTrap Farm Park in Vienna, Virginia. The dates are July 23-27 and theoperas to be presented include The Barber of Seville, Don Giovanni, andWeill's Silverlake. The company also just announced its first appearancesin Guanojuato and Mexico City in May (five performances of The Barberof Seville), and at Philadelphia's Robin Hood Dell, June 9-11.

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 lastyear, the LYRIC OPERA OF CHICAGO will travel to California withthe same production, again featuring Geraint Evans. The Palm SpringsOpera Guild of the Desert will host the single performance on March 14,using the Los Angeles Chamber Orchestra.

NEW New York City Opera's NATIONAL OPERA TOURING COMPANYSUBSIDIARY (see Volume 21, Number 4) is planning a five-week fall and a three-weekCOMPANIES spring tour. During the former, the company will go to up-state New

York, and through the Middle West to Southern California; during thelatter, it will travel through the Southeast. The first production of the

— 8 —

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 isprojected at $500,000. Booking is effected through Royal Artists Manage-ment.The Cincinnati Opera Ensemble is being replaced by the CincinnatiOpera's RESIDENT COMPANY. The new organization will no longeroffer formal training, but will give six young singers with professionalexperience the rare opportunity of a 44-week contract. Beginning inOctober '80, the Resident Company will tour with one opera and specialprograms to schools, community centers, etc. The artists will also par-ticipate in all major productions staged by the parent company. This isyet another step in the development of the Cincinnati Opera's plan to-wards a year-round season. While the number of annual productions willnot be increased, or at least not yet, the company will perform one operaeach in the spring and fall. The Young American Artists Program (seeCareer Guide) will continue during the summer, offering training andperformance participation, including its own productions of short Amer-ican operas. This year, Mollicone's Starbird and Beeson's Dr. Heidegger'sFountain of Youth are planned as studio productions.The MIDWEST OPERA THEATRE of the Minnesota Opera will bothtour and be in residence in the twin cities of Minneapolis-St. Paul. As-sisted by a grant from the Affiliated State Arts Agencies of the UpperMidwest using NEA funds, the new company will offer The ThreepennyOpera and The Marriage of Figaro, both in English with two pianos, toschools and community programs, in addition to various specially devisedprograms. Complete opera performances will be available to sponsors for$3,525, with federal support guarantees of $1,175 making up the differ-ence of the total cost of $4,700.Opera/South announced that, due to demand, its touring company, theMISSISSIPPI SHOWBOAT, will add a six-week tour in January andFebruary 1981. The company has been performing at schools and com-munity centers for the past two summers.A truly innovative program has been set up between the San Diego EDUCATIONALOpera, the Minnesota Opera, and the two universities in the respective PROGRAMScities. Called the COOPERATIVE OPERA PROJECT FOR ACTORS/SINGERS, it represents an accredited exchange program for prospectiveprofessional singers who will be offered operatic studies at the universityand professional performing experience with the company in each city.After one year of the two-year program, students will exchange resi-dency and thus benefit from study and performances with both facultiesand both companies. Students who have satisfactorily completed thetraining will receive a Master of Arts degree from the University ofMinnesota. 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 neigh-boring schools.The ANNAPOLIS OPERA in Maryland is undertaking its first Opera-in-the-Schools program, offering six performances on three days to areaschools.The proper training of the future opera performer is not only a problemin the United States. European producers and educators seem equallyconcerned with the preparation of the professional artist and have calledan INTERNATIONAL SEMINAR ON LYRIC ARTS EDUCATION inAix-en-Provence. It will be held under the aegis of UNESCO — ANATIONAL OPERA WORKSHOP, sponsored by the Arts Council ofGreat Britain, was held last October in Sheffield. Four participatingcompanies, the English National Opera, English National Opera North,Scottish Opera, and the Welsh National Opera all run educational work-shops, which will be further examined.

— 9 —

NEWS FROM COMPANIES

NEW The MICHIGAN OPERA THEATRE has joined the companies of Seattle,PROGRAMS 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 trans-lation with American singers in the leading roles. — The MINNESOTAOPERA, which usually performs in English, will give two of the five per-formances of La Boheme in March in the original Italian.While some opera companies have changed their schedules from produc-tions scattered throughout the season into a consolidated program, THELYRIC OPERA OF KANSAS CITY just announced that it will split itscustomary fall season. Three operas will be played in repertory in thefall, two will be presented in the spring as festival productions.The PORTLAND OPERA and its director, Stefan Minde, have em-barked 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 scenicpieces will be created for use in various productions, with changes, dif-ferent combinations, additional pieces, and special set dressing and cos-tumes for each opera. This will afford the company more artistic controland the possibility of long range planning, while, as stated by Mo. Minde,freeing the choice of repertoire from financial restrictions. The companyalso hopes that other opera houses in the vicinity will benefit through aless costly set rental. The new concept will commence in the 1981-82season, with Ghita Hager as stage director, Carey Wong as designer,and Mo. Minde as conductor. Schedules for the next four seasons havebeen announced (see Forecast), with the 1983-84 season presenting fiveproductions for the first time.

The Fifty-Fifth Street Dance Theatre Foundation, which operates CITYCENTER OF MUSIC AND DRAMA in New York, is planning to bringback musicals to the mosque theatre. In addition to 20-26 weeks of visitingdance companies, revivals of three musicals may fill up to 26 weeks offuture seasons. A cautious beginning will offer one musical during thesummer months. Meanwhile, the reorganization, which will result inindependent organizations for the New York City Opera, the New YorkCity Ballet, and the City Center for Music and Drama, will be completedthis summer. Each company has formed its own board of directors andwill administer independent funds. John S. Samuels III, who now servesas chairman of the board of all three organizations, has announced hisresignation 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 willbe Hansel and Gretel in February.

FOR THE One of the OPERA COMPANY OF PHILADELPHIA'S performancesHANDiCAPPtD of Rumpelstiltskin last Christmas was played before some 600 deaf or

hearing-impaired children. In preparing the production, the Companyhad the guidance of the Project Director of the Annenberg Center Hear-ing Theater for the Deaf. Two dramatic interpreters used sign language,while, for those with impaired hearing, special amplification by meansof an induction loop was provided by Telephone Pioneers of America.Prior to the performance, an educational preview program featuringsingers, costumes, and production slides was presented at the schools,including the Pennsylvania School for the Deaf, from whence 400 at-tended the performance.Two Broadway theatres and a few not-for-profit theatres in the countryhave started to serve deaf or hearing impaired audiences. For theformer, one or more narrators translating the dialogue into sign lan-guage 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 —

NEWS FROM COMPANIES

ments have shown narrators are most effective when stage center. Forthe hearing impaired, an electronic system called the Sennheiser InfraredListening System has been installed by Sound Associates of Xew York intwo Broadway theatres. Listeners may rent a lightweight headset (whichhas no wires), sit anywhere in the theatre, and receive the audio, whichis 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 ameeting of the city's performing arts institutions, representatives ofservice organizations for the handicapped, and some individuals repre-senting handicapped persons. The company has performed for handi-capped children and has encouraged their participation in non-singingroles; other specific programs for the handicapped are under considera-tion, as a result of the meeting. (See also announcement under OperaAmerica.)

For the first time, the American Guild of Musical Artists negotiated a AGMAbasic agreement for operatic artists with a consortium of major regional CONTRACTSopera companies, rather than holding negotiations with each separateorganization. Uniform minimum wages and working conditions for soloartists were agreed upon; those for members of opera choruses andcorps de ballet will be negotiated with the individual companies. Theminimum fees will begin August 1 of each year, and have been set asfollows:

1979 1980 1981SINGLE PERFORMANCE:

Leading & feature roles $220.00 $237.00 $256.00Supporting- roles 150.00 162.00 175.00Solo bit roles 65.00 70.00 75.00Choreographer/Solo dancer 150.00 162.00 175.00Stage director/Stage manager 220.00 237.00 256.00Asst. stage director/Stage manager.... 150.00 162.00 175.00Per diem on tour 37.50 40.00 42.50

WEEKLY RATES:Max. no. pfs.

@ week3 Leading roles 321.00 343.50 367.504 Featured roles 321.00 343.50 367.506 Supporting/Solo bit roles 267.50 286.25 306.257 Stage director/Stage manager 321.00 343.50 367.507 Choreographer/Solo dancer 267.50 286.25 306.257 Asst. stage director/Stage manager .... 235.40 251.90 269.50

Per diem (beyond 55 miles) 25.00 27.50 30.00

Major companies still negotiate their own agreements. That with theNEW YORK CITY OPERA has been published as follows:

WEEKLY RATES(for maximum seniority artists):Leading singers 400.00 450.00 500.00Comprimario singers 350.00 375.00 400.00Choristers (fall season) 356.00 367.00 390.00Choristers (spring season) 356.00 378.00 400.00Asst. stage directors 401.00 401.00 401.00Dancers 280.00 295.00 315.00

SINGLE PERFORMANCE:"A" roles 200.00 200.00 200.00"B" roles 150.00 150.00 150.00"C" roles 125.00 125.00 125.00Assoc. choristers/dancers (fall) 56.00 57.50 61.25Assoc. choristers/dancers (spring) 56.00 59.50 63.00Per diem on tour (for weekly and

single performance artists) 40.00 44.00 44.00

— 11 —

NEWS FROM COMPANIES

PROMOTIONAL

IDEAS

CHANGESOFNAME

Using the theme or the setting of the opera to be performed as a pro-motional tool, has often paid off handsomely. It offers the oppor-tunity of involving other segments of the community, often quite re-moved from the opera itself. Thus, when Thea Musgrave's A ChristmasCarol was performed in Norfolk, the Virginia Opera transformed a blockof its city into a "corner of Dickens' London" over the Thanksgivingweekend. The Dickens House, a Victorian styled home, served as a bou-tique where gifts and decorations were sold for the benefit of the com-pany, and its opening festivities commanded a $50 admission price. Streetvendors, puppeteers, etc. in period costume further enhanced the atmos-phere, and all served to draw attention to the forthcoming premiere ofthe opera. A symposium on Dickens at the university, and a special showat the museum addressed yet another audience.Transportation is another area in which various ideas for promotionof and services to opera companies have succeeded. The WhitewaterOpera in Richmond, Indiana, was given the use of antique carriages bythe local historical society to transport opera patrons to a benefit galaball after a performance of Die Fledermavs. The same company stimu-lated an East Asian Studies Project at its local college on the occasion ofits performances of Madama Butterfly and, with an Indiana Committeefor the Humanities grant, arranged a "West meets East" Japanese festi-val, 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 theexample of the New Jersey State Opera. The company provides busesto pick up and return home some of its suburban subscribers. — TheVirginia Opera Guild organized a Transportation Committee to ferryartists to and from rehearsals and performances. These in-kind servicesallow a tax deduction of 8(2 per mile and the pleasure of some privatechats with the artists.

The Newport Opera Festival has joined the many companies who offeroriginal posters designed by famous artists for the benefit of the com-pany. The Rhode Island festival offers a Robert Motherwell '79 Festivalposter for $25 for the first copy, $15 per additional copy.Internationally renowned scenic artist Giinther Schneider-Siemssen hasdesigned a poster for the Greater Miami Opera production of Les Contesd'Hoffmann. Copies are available framed or unframed with a limitednumber of signed and framed posters.The "Franco B" clothing store of Coral Gables donated more than $10,000worth of clothing to the Greater Miami Opera. In addition, it hosted afashion show and reception where the merchandise was turned into cash,to be used by the opera company as part of its matching funds require-ment for its NEA challenge grant. The project netted both donor anddonee well deserved publicity.San Francisco's SPRING OPERA THEATER will henceforth be knownas WESTERN SPRING OPERA, and with this change moves to a new,old theatre. Performances in April and May will, for the first time, bemounted at the Palace of Fine Arts Theatre (see New Halls). The com-pany had performed at the Curran Theatre for several years.After four years of successful operation as the New Cleveland OperaCompany, Artistic Director David Bamberger announced that his com-pany will drop the "New" and will be known as the CLEVELANDOPERA COMPANY. This is not to be confused with a more recentlyformed group, the Cleveland Opera Theatre, which concentrates on in-school performances. The Cleveland Opera Company's touring and educa-tional arm will greatly expand its activities this year, performing underthe name Opera-on-Tour.

NEWS FROM COMPANIES

The former Minnesota Opera Touring Ensemble has been renamedMIDWEST OPERA THEATRE. As such, it will travel not only withinits 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 ofRuth Bierhoff, was originally called the Opera-in-Progress Workshop.The Ensemble gave four performances of L'Elisir d'amore at the Churchof the Holy Trinity in December, and has scheduled six performances ofThe 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 recentlyformed Scholar Opera (see Volume 21, Number 4). The former company,founded by the late Henry Holt (uncle of Seattle Opera's music di-rector), and now headed by Maria Holt, will celebrate its silver anni-versary season in 1980-81. To mark the occasion, Henry Holt (II) willguest conduct one of the three annual productions, The Barber of Seville,in October '80. — SCHOLAR OPERA is a new company under the direc-tion of Donald Straka, primarily performing abridged versions of operasat schools.

With the assistance of the provincial government, Quebec City will againhave a major opera company. The first season of L'OPERA DE QUEBECis being planned for 1981-82. For the last two years, a choral group, LaSociete Lyrique d'Aubigny, has provided opera performances in col-laboration with the Symphony Orchestra of Quebec; in 1978 it openedwith Faust. 1979 brought Carmen and The Land of Smiles, and Romeo etJuliette is scheduled for the current season. With the previously an-nounced formation of the OPERA DE MONTREAL, offering Tosca (notLa Boheme). Cosl fan tutte, and Traviata for its inaugural 1980-81season, opera is again firmly established in the Quebec Province.

FESTITALIA is the name of the new producing organization in Hamil-ton, Ontario, and Steven Thomas is artistic director. La Boheme was theopening performance on September 13 at the Hamilton Place Auditor-ium, with the Hamilton Philharmonic under the direction of Boris Brott.

In Victoria, British Columbia, the PACIFIC OPERA ASSOCIATIONalso uses the services of its local symphony orchestra for its opera per-formances. Succeeding the Vancouver Island Opera, the new company isunder the directorship of Catherine Lowther. Here, too, La Boheme waschosen as the inaugural production. The local community school has beencharged with designing and building the sets.

A new touring company was founded by the British Arts Council, OPERA80. The new group will present fully staged operas with a 25 memberorchestra in communities that do not have any opera performances. Twooperas will be toured during the first season beginning in January, withsets designed to fit small proscenium stages as well as open stages.Stewart Trotter is the producer director and Nicholas Kraemer con-ductor for The Barber of Seville and Le Nozze di Figaro.

The Royal Opera Covent Garden had to cancel this season's scheduledDer Rosenkavalier and Andrea Chenier. m

AND ONENO CHANGE

NEWCANADIAN

COMPANIES

. . . A N DIN

ENGLAND

13 —

NATIONAL ARTS ORGANIZATIONS

FEDERALPROGRAMS

DEPARTMENTOFLABOR

DEPARTMENTOFENERGY

STATEWIDEFUNDRAISING

MUNICIPALPROGRAMS

The Opera-Musical Theatre Program announced 90 company grants to-talling $4,325,000 for Fiscal '80. In addition, it disbursed $435,000 underthe "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 havebenefitted the opera companies who are members of the respective or-ganizations.Meanwhile, NEA and NEH reauthorization is being debated by congres-sional committees and a five-year plan suggests the following authoriza-tion 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 inFiscal '84; and $306 million in Fiscal '85. — In his recent budget mes-sage, President Carter requested $167.9 million for NEA in 1981. Thiswould be $7 million less than the authorized figure, but $13.5 millionabove the 1980 level of $154.4 million.Deadlines for applications for support from the Opera-Musical TheaterProgram have been set for May 24 for professional companies, regionaltouring, and services to the arts, and for June 20 for new Americanworks and special opera-musical theatre projects.The new program, "The Employment and Training of Professional Per-forming Artists and Supporting Craft Personnel" administered by theLabor Institute for Human Enrichment, (see Volume 21, Number 4)is supported and assisted by the AFL-CIO. The following national labororganizations have been named as advisory groups: Actors' Equity,American Federation of Musicians, American Federation of Televisionand Radio Artists, American Guild of Musical Artists, InternationalAlliance of Theatrical Stage Employees, and the Screen Actors' Guild.The purpose of the new program has been defined as 1) to encouragecreation of new job opportunities, 2) to develop and promote trainingstandards for five industry related occupations, and 3) for career coun-seling within AFL-CIO affiliated performing arts unions.Funding and technical assistance to support development and demon-stration of small-scale, energy-efficient concepts and projects by individ-uals and organizations is being provided by the U.S. Department ofEnergy. Most of the assistance is channeled through the state energyoffices and, more recently, through special regional offices. The EnergyInformation Clearing House for the Cultural Community, supported byNEA and corporate funding, will make available names and addressesof state and regional energy representatives. The organization can alsosupply information on application deadlines wherever they have beenestablished. Write Box 1032, Flushing, New York 11352.The latest program to raise money for the arts has been initiated inMassachusetts through the Massachusetts Arts Lottery. The lowest priceticket is $5, and drawings are held weekly.Minnesota has joined various other states in forming a 5<̂ Club. Eligiblefor membership are corporations who contribute to tax-exempt organ-izations the full 57r of pre-tax earnings that can be claimed as a federalincome tax deduction. The Minnesota 57r Club has been initiated by theMinneapolis Chamber of Commerce. A new branch club has been added,open to 2% givers, which is still double the amount of the national aver-age of 1% for corporate contributions. Last year's nationwide corporatesupport to the arts totalled $250 million.New York's Mayor Ed Koch announced the necessity for drastic cuts inthe budget of the city's Cultural Affairs Office. Last year's total of $1.6million is to be reduced to $150,000, which threatens some city-supportedevents, such as the free park concerts of the Met and the New York

— 14 —

NATIONAL ARTS ORGANIZATIONS

Philharmonic. — The Department of Cultural Affairs will move thisspring to new offices in the former Huntington Hartford Gallery onColumbus Circle. The building will also house a public information centeroperated 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 thesmallest population (5,500). It was established with financial assistancefrom the Michigan Council on the Arts and from local residents. Amongits 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 intodisrepair. Another Council project is the bringing of visiting artists toCheboygan, and among these was Piccolo Opera from Detroit, perform-ing 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 thisyear's appropriation has not yet been confirmed by Parliament, theamount the Canada Council is supposed to receive is $44.5 million,and cutbacks are proposed in the following areas: 1; restrictions onoperating grants to performing arts organizations, e.g. no new recipientsin music and theatre categories, 2) exploration programs and touringgrants frozen at the 1978 level, and 3) suspension of senior grants toindividuals in the performing arts. The Council also announced thatorchestras which show a 30% or higher accumulated deficit in 1981 willno longer be supported. At present, 15 major Canadian orchestras carrysome accumulated deficit. In the hope of alleviating such conditions in thefuture, the Council plans to initiate a training program for orchestramanagers.At its last annual meeting held in Miami in December, OPERA Americaresolved to change its young singers auditions from an annual to a bi-ennial schedule. Following the recommendations of its artistic directorsand its auditions committees, alternate years will bring a Composer/Librettist Showcase, offering scenes and excerpts from new operas, tobe presented for the members at the annual conference. The next meet-ing is scheduled for January 1981 in New Orleans.With the requirement of NEA's 504 Regulations (Accessibility for thehandicapped to performances by organizations receiving federal funds)and the need to complete a self-evaluation plan and make architecturalchanges, OPERA America has set up a consultant and advisory servicefor its members. Bobbi Wedlan is the 504 Consultant.The Business Committee for the Arts awards program, recognizing thosecorporations that have shown the greatest and'or most imaginativecommitment to the arts each year, has been in existence for 14 years.Now BCA is adding a project honoring the American arts organizationthat has made an outstanding contribution to the development of interest,involvement, and support of American business in the arts. Eligible arenon-profit, tax-exempt arts organizations operating on a yearly budgetof less than $1 million. The new awards program, which will commencewith honors for 1979, has been made possible by a $5,000 grant fromTime, Inc. Recommendations should be addressed to Douglas Morrison,Awards Administrator, BCA, 1501 Broadway, New York, NY 10036.

In order to give playwrights more visibility and give producers an op-portunity to get acquainted with good new plays, Theatre Communica-tions Group has founded the "Plays in Progress" program. New playsproduced by its member companies of professional non-profit theatresmay be recommended as Plays in Progress. A selection committee willreview the nominated pieces and chose a number of scripts found mostpromising. These will be duplicated and distributed to TCG members

CANADACOUNCIL

OPERAAMERICA

BCA

TCG

— 15-

NATIONAL ARTS ORGANIZATIONS

AMC

who have signed-up for the service. As TCG states, this is not a sub-stitute for publication, does not necessarily represent the final form ofthe play, which may be altered during the first or subsequent productions,and copyrights remain with the playwright. An annual anthology is alsoplanned, which may prove useful for college drama courses. James Lever-ett is director of the new program.

TCG's study of computers used by performing arts organizations, an-nounced here in Volume 21, Number 4, has yielded some interestingresults. Two-hundred fifty-nine organizations, including 40 opera com-panies, with budgets over $250,000 responded, and of these, 209 usecomputerization in one or more administrative departments. Ninety-onepercent utilize a service bureau for one or more functions, 12 percenthave an on-premise computer terminal, and 11 percent actually have anin-house computer. Fourteen percent of the 209 institutions use morethan one type of system. Fifteen management application categorieswere identified in the TCG questionnaires as possible areas for computer-ization, and they are listed below in the order of popularity of computerusage, as evidenced by the replies: Customer Mailing List, General Ac-counting, Payroll, Subscription Renewal Invoice, Record of Donor His-tory, Printing Single Tickets, Processing Incoming Donations, Subscrip-tion Payment Processing, Printing Solicitation Materials, PrintingSubscription Tickets, Subscription Seat Selection, Pledge Invoices, SingleTicket Seat Selection, Acknowledgements, and Process Telephone Orders.However, even in the more heavily computerized areas, the tabulationshowed that of the 209 organizations, 33 percent use manual systems forCustomer Mailing Lists and 52 percent for Payroll. Future plans indicatethat 52 percent of the total associations intend to remain with manualoperations, 29 percent are investigating new or wider computer usage,and 13 percent are in the process of converting one or more of the abovecategories to computerization. All areas related to fund raising seem tohave the highest priority for conversion.

The American Music Center will establish two West Coast offices as pilotprojects. They will be located in San Francisco and in Los Angeles. Itsmain office has moved to 250 West 54 Street, New York, NY 10019. •

CAREER COUNSELING AND MANAGEMENT

Three new organizations have been foundedto assist the young performing artist ascareer counselors, intended primarily forthat period prior to professional manage-ment. JUDITH FINELL MUSIC SERV-ICES, at 155 West 68 Street, New York,NY 10023, which recently added an operadivision under Irene Kessler, offers awide range of services to singers, conductors,and stage directors. — PACE, INC., whichstands for Performing Artists Career Edu-cation, 164 West 79 Street, New York, NY10024, is headed by Dr. Annajean Brownand offers evaluation and consultation withsubsequent specific follow-through services.— EUROPEAN AUDITION SERVICE,with Dorothy Setian as head, at 160 West

End Avenue, New York, NY 10023, special-izes in advising on and arranging participa-tion in auditions for singers held by Euro-pean artists agents.

CARID: Personalized Management for theArts, Inc., deals exclusively in managementof professional opera and ballet productionpersonnel. The list includes stage directorsand assistant stage directors, technicaldirectors, stage managers, set, costume, andlighting designers, wig makers, make-upartists, costumers, and production consul-tants. David and Carol Hatfield are thedirectors of the organization located at 2790Broadway, New York, NY 10025. •

— 16 —

CAREER OPPORTUNITIES

SINGERS

The NATIONAL FEDERATION OFMUSIC CLUBS' auditions, now in their65th year, will, for the first time, also servethe New York City Opera. District winnersin the vocal category will be heard by repre-sentatives of the company, and those foundworthy will audition for the City Opera inNew York. These auditioners will not neces-sarily be the winners of NFMC prizes,however, the national winner will receive acontract with the company. The $1,000Merle Montgomery Prize will be awardedafter the final New York City Opera audi-tions. The program will go into effect inFebruary 1981. Ruth Hider will be thecoordinator for City Opera, Ruth McDonaldfor NFMC.

Open to students in the Washington, DC,metropolitan area who are presently enrolledin a degree program at a college, university,or conservatory, the YOUNG SOLOISTCOMPETITION of the National SymphonyOrchestra will offer as its first prize aconcert appearance with the orchestra atKennedy Center. The age limit for singersis 30, and the registration fee $3. The com-petition will be held in May, and a specificrepertoire is required. For information writeMrs. Donald C. May, Jr., Competition Chair-man, 5931 Oakdale Rd., McLean, VA 22101.The annual ARAM KHACHATURIANMUSIC COMPETITION (Armenian GeneralBenevolent Union of America, 628 SecondAve., New York, NY 10016) is open to singersof Armenian descent who are not underprofessional management. They must havebeen born after 1/31/45, and must fulfillcertain repertoire requirements.The STATE ARTS COUNCIL OF OKLA-HOMA has developed an Artist in Residence(AIR) program whereby it plans to arrangefor residencies of 242 performing and crea-tive artists with schools and communityorganizations. The program is open toOklahoma residents, and contracts will beof a one week to one year duration. WriteAIR Program, State Arts Council of Okla-homa, Jim Thorpe Bldg. #640, OklahomaCity, OK 73105The INTERNATIONAL ENRICO CARUSOSINGING CONTEST is open to tenors be-tween the ages of 18 and 25. There will be atotal of six cash prizes, the first approxi-mately $2,000, and participation in a con-cert presented by the opera school of LaScala. For further information write Asso-ciazione Musico Enrico Caruso, Centro StudiCarusiani, Via degli Omenoni 2, 20121 Milan,Italy.For the first time, the 1980 INTERNA-TIONAL COMPETITION FOR MUSICALPERFORMERS in Geneva is open to vocalquartets only, not to solo voices.

CONDUCTORS

The Baltimore Symphony Orchestra has an-nounced its fourth biennial YOUNG CON-DUCTORS COMPETITION for May 12-15,1980. Open to U.S. citizens or permanentresidents whose birthdate is on or after12/31/45, the competition requires appli-cants to have had symphonic conductingexperience. Two letters of reference, aphotograph, a resume, and reviews mustaccompany the application form. The firstprize is $2,000 and an opportunity to con-duct the orchestra; second and third prizesare cash awards of $1,000 and $500, respec-tively. Address inquiries to 1313 St. PaulSt., Baltimore, MD 21202.The next KARL BOEHM CONDUCTORSCOMPETITION will be held in Salzburg in1981, following the summer festival.DIRECTORS, DESIGNERS,ADMINISTRATORS

The CINCINNATI OPERA will offer intern-ships during its summer season in the fol-lowing categories: assistant director, pro-duction coordinator, assistant stage man-ager, designers of sets, costumes, and light-ing, accompanist, and in the general field ofadministration.The SANTA FE ADMINISTRATIVETRAINING program offers salaried assis-tantships in various administrative depart-ments. Apprenticeships as assistant to stagemanager, stage director, rehearsal coordin-ator, orchestra manager, chorus master,technical director, designers, costumer, andwardrobe mistress are also available.The NORTH CAROLINA ARTS COUNCILoffers an annual 12-week summer programfor three apprentices in arts administration.Each apprentice will rotate among variouscommunity arts councils, and receive astipend of $600 for the duration. Shouldpositions become vacant in the fall, appren-tices will have priority. Requirements in-clude a four-year college degree, some workexperience, and knowledge and skill per-tinent to the arts.ARTS ADMINISTRATION COURSEBeginning next September, Columbia Uni-versity will establish a Master of Fine Artsprogram in Arts Administration. The new-degree program will be part of the Uni-versity's School of the Arts, and is designedas a two-year, 60-credit course with aninitial enrollment of fifteen students. Thesecond year of the course will providesome internships with arts organizations.Schuyler Chapin, dean of the Arts School,announced the appointment of StephenBenedict as director of the new program,which will also draw on courses at Col-umbia's Graduate Schools of Business andJournalism, and Law School.(See also News From Companies for otherprograms.) •

— 17 —

OPERA FORECAST

SUMMER '80conf.

1980-81SEASONconf.

WOLF TRAP FARM PARK in Vienna, Virginia, under its general di-rector 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 andMadama Butterfly. July will see a week of guest engagements by theNew York City Opera (see Tour News from Companies), and Augustwill offer Die Fledermaus in the Greater Miami Opera production, andJohn Philip Sousa's The Free Lance as staged in Philadelphia. The WolfTrap Opera Company will stage Marschner's The Vampire in its thirdproduction in the U.S. within four months. Also included in the seasonis Brigadoon, under the guidance of Agnes de Mille.July 3 through 27 are the dates of the FESTIVAL OTTAWA OPERAat the National Arts Centre. The opening production of Pelleas et Me-lisande will feature Maria Ewing and Alan Titus, conducted by MarioBernardi 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; directorMansouri). Two operas in concert will be offered on July 15 and 27:L'Enfant et les sortileges with the Swingle Singers, and Massenet'sTherese with Ewing, Vanzo and Quilico.The COLORADO OPERA FESTIVAL in Colorado Springs, celebratingits tenth anniversary, is resuming its three-production schedule. Per-forming at the Armstrong Theatre of Colorado College, but no longeraffiliated with the College, the company has scheduled Die Fledermaus,Regina, and La Boheme during June and July. As always, all perform-ances will be sung in English.During July, the GLIMMERGLASS OPERA THEATRE in Coopers-town, New York, will give five performances each of The Marriage ofFigaro and The Gypsy Baron (not The Chocolate Soldier). The companyplans to expand its season to three operas during the following summer.Glimmerglass invites singers to submit applications by September 1980for participation in auditions for the 1981 season.The Opera Theatre of the ASPEN MUSIC FESTIVAL plans full pro-ductions of Les Mamelles de Tiresias and The Medium, and concert ver-sions of L'Enfant et les sortileges and Le Rossignol. The nine-weekOpera Theatre training program is under the guidance of Richard Pearl-man, and a four-week Choral Institute will be led by Fiora Contino.Between July 26 and August 10, visitors to the MUSIC FROM BEARVALLEY FESTIVAL in California can hear The Barber of Seville con-ducted by the Festival's director John Gosling, and H.M.S. Pinafore andThe Mikado as presented by the visiting Opera-a-la-Carte.La Traviata will be performed five times this July at the VERMONTCENTER FOR THE PERFORMING ARTS in Burlington.The SANTA FE OPERA schedule announced in Volume 21, Number 4has been changed, with The Magic Flute replacing The Abduction fromthe Seraglio.This summer, the MAINE OPERA will perform Tosca and L'Elisird'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 willbring 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 triple-bill. Manuel Rosenthal will conduct, John Dexter direct, British painterDavid Hockney design, and Rudolf Nureyev choreograph. The first newproduction of the season will be unveiled on October 20, 1980, when, with

18 —

OPERA FORECAST

James Levine and John Dexter in charge, La Traviata will appear withIleana Cotrubas, Neil Shicoff, and Sherrill Milnes in the major roles.November will see a new Cosl fan tutte, with Pilar Lorengar, TatianaTroyanos, Maria Ewing, David Rendall, Bernd Weikl, and DonaldGramm, led by Mo. Levine and directed by William Gaskill. The finalnew production, to be mounted in March, will be Pique Dame, sung inRussian. Anna Tomowa-Simtow, Mignon Dunn, Placido Domingo, andMr. 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, thelatter featuring Jon Vickers, Leonie Rysanek, Bernd Weikl, and MarttiTalvela. Operas carried over from the current season will includeL'EHsir d'amore, Hansel and Gretel, Cavalleria rusticana and PagUacci,La Gioconda, Manon Lescaut, Tosca, Vn Ballo in maschera, and The Riseand Fall of the City of Mahagonny. Works being brought back after anabsence of one or more seasons are Die Zauberflote, Dialogues des Car-melites (in French), L'ltaliana in Algeri, Samson et Dalila, and TheBartered Bride. Turandot, with Caballe and Pavarotti, promises a festiveSeptember 22 opening night, the first opera of the season's 24 produc-tions. — The previously announced Moses und Aron, projected for 1981-82, has been postponed for at least four years and is being replaced byanother triple-bill, this of Stravinsky works: Le Rossignol, Le Sacre duprintemps, and Oedipus Rex. 1982-83 will feature Mascagni's II piccoloMarat with Mirella Freni, Placido Domingo, and Nicolai Ghiaurov inits American premiere — that is, if no other company decides to produceit first. — The 1980-81 season will see a rise in ticket prices and a vari-ance in prices on Fridays and Saturdays. Center orchestra and grandtier tickets will sell for $42.50 during the week (up from $40) and for$50 on Fridays and Saturdays. The lowest priced standing room, FamilyCircle, will change from $3 to $4. Only parterre box seats, solidly sub-scribed on weekdays, will remain at $55 Monday through Thursday, butthe 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 pro-duction of Samson et Dalila with Shirley Verrett, Placido Domingo,Wolfgang Brendel, and Julius Rudel conducting. The Magic Flute, inEnglish, designed by Ponnelle, and Arabella, as designed for the HoustonGrand Opera, will both be in productions new to the city. The latter willfeature Kiri Te Kanawa and Ingvar Wixell under the baton of WolfgangRennert; John Cox will be stage director. Simon Boccanegra will returnin a production first seen in Chicago, with Margaret Price, Renato Bru-son, Cesare Siepi, and Giorgio Lamberti in the cast and Lamberto Gar-delli conducting, and La Traviata will be seen with Valerie Mastersonand Beniamino Prior. The Ponnelle productions of Cavalleria rusticanaand 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 DieFrau ohne Schatten (Rysanek, Nilsson, Hesse; King, Feldhoff; conductorKlobucar; director Lehnhoff), both previously announced, complete theseason, the longest in the company's history (13 weeks, 74 performances).

With the statement, "The effects of inflation and recession are being feltjust as strongly here at the LYRIC OPERA OF CHICAGO as they arethroughout our economy," general manager Carol Fox announced a re-duction of the repertoire to five operas next fall. However, this wasaccompanied by the positive statement that the company will return toseven productions in 1981. The 1980 season will consist of Boris Godunovwith Ghiaurov, Petkov, Sotin, Ochman, and Baldani, Lohengrin withMarton, 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 —

OPERA FORECAST

chera with Scotto, Payne, Putnam, Pavarotti, Nucci, and Voketaitis.Conductors will be Bruno Bartoletti (first and third productions), Ferdi-nand Leitner, and John Pritchard (fourth and fifth productions).As we go to press we learn of a contract agreement between the LYRICOPERA OF CHICAGO and the Orchestra Committee, which will guar-antee 52 weeks of work within a three-year contract. This agreementwas made possible by an offer from Chicago's Mayor Byrne to help inunderwriting spring performances of light opera, operetta, and promconcerts with funds made available from the Hotel and Motel Tax.Spring '81 will give New Yorkers the opportunity to hear Thea Mus-grave's Mary, Queen of Scots, when the NEW YORK CITY OPERA willpresent it in the Virginia Opera production, with Ashley Putnam againin the title role.Boris Godunov in English was chosen by the TULSA OPERA to open itsnext season in November. The cast will include James Morris, WilliamWilderman, Harry Theyard, George Shirley, Spiro Malas, and Joy David-son, with Emerson Buckley conducting and Bliss Hebert directing. LaBoheme will bring Diana Soviero, Rita Shane, Raymond Gibbs, andWilliam Parker to Oklahoma in March, joined by conductor JudithSomogi and director Adelaide Bishop. The final production of the seasonwill be mounted in May. The Daughter of the Regiment will present ErieMills, Elaine Bonazzi, and Ara Berberian in leading roles; Chris Nanceand Lou Galterio will be conductor and stage director, respectively. (Forfuture seasons, see below.)The GREATER MIAMI OPERA'S '81 spring season will consist ofNabucco, The Merry Widow, Carmen, and Turandot.The MICHIGAN OPERA THEATRE in Detroit will perform Don Gio-vanni, Rigoletto, Die Fledermaus, and Of Mice and Men. The latter willreplace an originally planned American premiere of Shostakovich's LadyMacbeth of Mtsensk.Three performances each of the following operas will be staged by thePORTLAND OPERA: Don Giovanni, Tosca, Die Walkiire, and Don Pas-quale (in the Seattle production). They will be produced in September,November, March, and May, respectively. (For future seasons, seebelow.)The fifth work on SEATTLE OPERA'S program for next season isTristan und Isolde with Johanna Meier and Edward Sooter (see alsoVol.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 ofL'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 anniversaryduring the 1980-81 season, and has scheduled several new productions inhonor of that event. II Trovatore has been underwritten jointly with theSan Diego Opera (conductor Miguel Gomez Martinez; director GiancarloDel Monaco; designer Ming Cho Lee), and will be seen in October, andThe Magic Flute in a new translation by Andrew Porter (conductor Ken-neth Montgomery; director Frank Corsaro; designer Neil Jampolis) willappear in November. In addition, there will be performances of Carmenin the opera-comique version, in an English translation by SheldonHarnick (conductor John De Main), Adriana Lecouvreur in the Metproduction, and in March-April, Un ballo in maschera. The last opera ofthe season will be the world premiere of Carlisle Floyd's Willie Stark (seeNew Operas and Premieres). For the Spring Festival in the Park, DieFledermaus, Hansel and Gretel, and The Student Prince are under con-sideration.

— 20 —

OPERA FORECAST

In addition to the previously announced Sills/Sutherland Fledermaus inOctober, the SAN DIEGO OPERA has scheduled Elektra in September,with Pauline Tinsley, Anne Evans, Regina Resnik, and John Brochelersinging their roles in English; Mme. Resnik will stage, Theo Alcantarawill conduct. Werther will complete the fall season (Katherine Ciesinskiand John Brecknock). During May and June, the company will mountTosca with Martina Arroyo, Carlo Bini, and Richard Fredricks, stagedby Tito Capobianco, Lucia di Lammermoor with Gianna Rolandi, andThe Love for Three Oranges conducted by Calvin Simmons and directedby Mr. Capobianco.The CANADIAN OPERA COMPANY'S season will consist of six pro-ductions in 37 performances evenly spaced between September and April.Opening at the O'Keefe Centre will be a new production of Otello, withJames McCracken in the title role and Mariana Niculescu and RuthFalcon alternating as Desdemona, conducted by Reynald Giovaninettiand directed by Lotfi Mansouri. October will bring the Canadian pre-miere of the complete three-act Lulu, performed in English by CaroleFarley, Evelyn Lear, and Victor Braun; Kenneth Montgomery con-ductor, Lotfi Mansouri director. The Abduction from the Seraglio andThe Merry Widow are mid-winter offerings, to be followed by Derfliegende Hollander, with Marita Napier, Lief Roar, and Don Garrard.The final opera of the season will present Joan Sutherland and TatianaTroyanos in Norma.

The five operas making up the NEW ORLEANS OPERA season betweenOctober and April are Carmen, La Traviata in a new production designedby David Gano, Adriana Lecouvreur in the Greater Miami Opera pro-duction, Fidelio starring Ute Vinzing and Siegfried Jerusalem, and LaFanciulla del West, on loan from the New York City Opera. Each workwill 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 closingproduction of La Traviata opposite tenor Giuliano Ciannella, and RenataScotto will be featured as Adriana Lecouvreur in March. The season willopen October 18 with Ashley Putnam in the title role of Lucia di Lam-mermoor and Ruben Domingues as Edgardo. The fourth production willpresent Brenda Boozer in La Perichole.Celebrating the 100th anniversary of the birth of Bela Bartok on March25, 1981, the NEW YORK PHILHARMONIC has scheduled a concertperformance of Bluebeard's Castle with Julia Hamari and SiegmundNimsgern under the baton of Rafael Kubelik.Wisconsin's SKYLIGHT OPERA will celebrate its 20th anniversary in1980-81, and has scheduled five performances of Offenbach's Orpheus inthe Underworld in October, followed by eight performances of Weill'sHappy End in November. The Pirates of Penzance will be mounted inDecember, including a performance on New Year's Eve, Blitzstein'sRegina in February, and Johann Strauss's One Night in Venice, in anew adaptation and translation by John Lehmeyer, in March. The closingproduction, scheduled for May, will be the Milwaukee premiere of Stra-vinsky's The Rake's Progress.A double-bill of Pagliacci and Gianni Schicchi will be the fall offering ofthe MICHIANA OPERA GUILD in South Bend, Indiana, and Toscahas been scheduled for May. Each opera will be given four performances.The WEST BAY OPERA in Palo Alto, California, will also be celebrat-ing its 25th anniversary next season. The Barber of Seville in October,The Magic Flute in February, and The Gypsy Baron in May are plannedfor the festival season.

— 21 —

OPERA FORECAST

Two performances each of Aida, The Barber of Seville, and Faust willbe produced by the INDIANAPOLIS OPERA COMPANY next season.All performances will be staged at the Murat Theatre. The Kossini operawill be sung in English in December, the other productions are scheduledfor September and February, respectively.Rigoletto will be the opening production of the CLEVELAND OPERACOMPANY (formerly New Cleveland Opera) in 1980-81. The Medium,Madama Butterfly, and Naughty Marietta complete the program of thecompany's fifth season, the first one offering four productions.In September, the CHAMBER OPERA THEATRE in Chicago willmount Pasatieri's Washington Square in its revised version, first per-formed by the New York Lyric Opera in 1977.Tosca, Rigoletto and Otello will be performed by the VANCOUVEROPERA ASSOCIATION next season. After this, the company antici-pates expansion into a five-production schedule (see "Beyond '81 Fore-cast").The Barber of Seville and Madama Butterfly comprise the KNOXVILLECIVIC OPERA'S next season's schedule. 1981 will bring a world premiereto 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 pre-miere of William Grant Still's Costaso (see New Operas*). — The com-pany's subsidiary group, MISSISSIPPI SHOWBOAT, will tour withPergolesi's Music Master, Carissimi's Job, and one contemporary operastill to be chosen.The WHITEWATER OPERA in Richmond, Indiana, announced LaCenerentola, Cavalleria rusticana and Pagliacci, and La Boheme as its1980-81 repertory. The company also contracts these operas for out-of-town performances.January to May 1981 will find the WESTERN OPERA THEATER of theSan 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 theU.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) in1981-82, and 11 Trovatore (Mitchell and Milnes),'Hamlet (Putnam andMilnes) and one more work in 1982-83. — The PORTLAND OPERA'sUnified Production Program project provides for the following reper-toire: in 1981-82 Rigoletto, Eugene Onegin, Die Entfilhrung aus demSerail (shared with the Seattle Opera), and Manon Lescaut; in 1982-83La Traviata, the world premiere of Bernard Herrmann's WntheringHeights, La Fanchdla del West, and Die Flederrnaus; and finally in 1983-84 five productions, Tristan und Isolde, Cosl fan tutte, Un Ballo inmaschera, Manon and La Perichole.THE VANCOUVER OPERA COMPANY is taking a bold step in 1981-82, increasing its schedule from three to five productions. The followingoperas and musicals are planned: Turandot, La Cenerentola, Lucia diLammermoor, Romeo et Juliette, and Man of La Mancha. In local fund-raising, the company stresses its past record of employment of Canadianartists, specifically those from Vancouver.Including its touring production, the VIRGINIA OPERA ASSOCIA-TION will mount four productions in 1981-82 (Die Fledermaus, ManonLescaut, Macbeth, and Hansel and Gretel). The following five operas,The Rake's Progress, Eugene Onegin, Salome, La Cenerentola, and LaTraviata, are planned for 1982-83. •

— 22 —

APPOINTMENTS AND RESIGNATIONSFEDERAL/STATE PROGRAMS

SHIRLEY M. HUFSTEDLER was ap-pointed by President Carter as the firstU.S. Secretary of Education. This Cabinet-level post was created following the forma-tion of a separate Department of Educa-tion. In addition to all education relatedactivities, the new Department will ad-minister the Museum Services, but not eitherof the National Endowments (NEA andNEH). The former Health, Education andWelfare Department (HEW) has been re-named the Department of Health andHuman Services.

EDWARD CORN has been named Directorof the National Endowment for the ArtsOpera-Musical Theatre Program, succeed-ing James Ireland. Mr. Corn, currentlymanager of the Opera Company of Phila-delphia, a post he will relinquish in April,brings extensive first-hand experience inopera management to his new position.Prior to his move to Philadelphia threeyears ago, he was a member of the Metro-politan Opera's administration for twoyears and, before that, of the San Franciscoand Western Opera companies for sevenyears. His first professional affiliation waswith the St. Louis Municipal Opera in hishome town. He also served on the advisorypanel of NEA's Music Program while operawas part of that division.

EZRA LADERMAN, composer and formerPresident of the American Music Center, isthe new Director of the NEA Music Pro-gram, a position formerly held by WalterAnderson. AIDA CHAPMAN was chosenDirector of the same program in charge ofjazz, choral, and career development sections.Former NEA Chairman of Intergovern-mental Activities, JIM EDGY, accepted thejob of Manager of the Cincinnati Ballet.

Some previously announced NEA regions(see Volume 19, Number 4) are being re-defined, with new ones added and new co-ordinating directors named. EDUARDOGARCIA is in charge of the Mid-AtlanticRegion, now encompassing New Jersey,Pennsylvania, Delaware, and Maryland.The former New York State Region hasbeen expanded to include the Virgin Islandsand Puerto Rico and has been renamed NewYork-Caribbean. It is headed by JOHNWESSEL. A Southwest area has been splitoff the Pacific Region, consisting of South-ern California and Nevada under the direc-tion of VIRGINIA TORRES of Los An-geles. The Pacific Region remains underDALE KOBLER of San Francisco, repre-senting Northern California and the PacificIslands. This brings the total of NEAregions to twelve.

SAM GRABARSKI is the new ExecutiveDirector of the Iowa Arts Council.

NATIONAL/REGIONAL ARTS ORGANIZATIONS

Opera America has elected DAVID DICHIERA President. He is the third personto occupy this office since the organizationwas formed, with John 0. Crosby and Rob-ert Collinge his predecessors. KURT HER-BERT ADLER, MICHAEL BRONSON, andEDWARD PURRINGTON are Vice Presi-dents, ROBERT HERMAN is Treasurer, andROBERT DRIVER Secretary. Elected tothe board of directors were RICHARDGADDES, PLATO KARAYANIS, andBEVERLY SILLS. Continuing on the boardare CAROL FOX, CHARLES FULLMER,LOTFI MANSOURI, and GLYNN ROSS.Past presidents are ex-officio board members.Opera America has a new Executive Direc-tor in the person of MARTIN KAGAN.Mr. Kagan has been General Manager ofthe Jacob's Pillow Dance Festival and otherdance and theater groups.

NATALIE LIMONICK, head of the operadepartment at the University of SouthernCalifornia, was elected President of theNational Opera Association. She succeedsClifton Ware of Minnesota.The National Assembly of Community ArtsAgencies (NACAA) has named LEE HOW-ARD of New York President, and GEOF-FREY PLATT, JR. of New Orleans VicePresident.After eight years with Cemrel, BENNETTTARLTON has been engaged as Director ofthe Alliance of Arts Education network. —ROMAN BABIAK has assumed the dutiesof Director of Educational Services with theAmerican Music Conference.BILL DAWSON is the first full-time Execu-tive Director of the Association of College,University and Community Arts Adminis-trators (ACUCAA).RITA RODIN, formerly with ACA, joinedChamber Music America as Director ofCommunications and Editor of CMA's news-letter, American Ensemble.ROBERT HUFFMAN, Chairman of theTennessee Arts Commission, was also electedChairman of the Southern Arts Federation.RICK GEORGE will assume his duties asits Executive Director in February.The Denver-based Western States ArtsFoundation named BILL JAMISON, formerNEA regional representative, as its ChiefExecutive Officer.

OPERA COMPANIES

JOHN MAUCERI was appointed MusicDirector of the Washington Opera byExecutive Director Martin Feinstein.The Michigan Opera Theatre has chosenSTEFANIE OTT-0'TOOLE as its first full-time Director of Development.

— 23 —

As a result of Edward Corn's appointmentto NEA's Opera-Musical Theatre Program(see above), the Opera Company of Phila-delphia named MARGARET ANNE EVER-ITT Acting Manager. She had been in chargeof educational and community services sinceshe joined the company in 1977, developingmany new programs. Earlier, she had beenwith the Metropolitan Opera. — Other newappointments at the Philadelphia companyinclude JUDITH R. HYMAN, DevelopmentDirector, EDWARD P. CUNNINGHAM,Public Relations Director, and BARBARACOHEN, Public Relations Assistant.The Tulsa Opera has a new Business Man-ager in the person of JOHN AUSTONBRIDGES, formerly Program Director ofthe Tennessee Arts Commission.THEODORE S. CHAPIN is the new pro-ducer of the Music Theatre Lab at the Ken-nedy Center in Washington. He is also incharge of a new program at the ANTATheatre Studio in New York called The LabReviews and of a seminar workshop.LEON C. PETRUS resigned as GeneralManager of the Society for the PerformingArts in Houston, in order to join the admin-istrative staff of the Seattle Opera.The Opera Theatre of St. Louis engagedROBERT A. JONES as head of its musicalstaff and as music consultant to the generalmanager.

New engagements and promotions have re-sulted in the following appointments withthe Cleveland Opera Company: JUDITHRYDER — Music Coordinator and Directorof Touring, and DEBORAH KAUFMAN —Tour Manager and assistant to Ms. Ryder.BRUCE MAZA has resigned his positionas Assistant Director of Development at theNew York City Opera. He will move to SanDiego to become Director of Developmentof the Old Globe Theatre.ARTS CENTERMARTA CASALS ISTOMIN has been ap-pointed Artistic Director of Kennedy Centerfor the Performing Arts. She will head itsprogramming in the performing arts, exceptfor theatrical presentations.SYMPHONY ORCHESTRAS

After fifty years under the guidance of thelate Arthur Fiedler, the Boston Pops Or-chestra has awarded the contract for MusicDirector to JOHN WILLIAMS. Best knownas a composer of film scores, he studiedpiano at Juilliard for one year with RosinaLhevine. He intends to play more Americanmusic, including music from films, both inthe Pops concerts in Boston and on tour,and continue recordings with the orchestra.— The new Music Director of the "PhillyPops Orchestra" is pianist/composer PETERNERO.Beginning with the 1980-81 season, JOELLAZAR will become the Music Director ofthe Tulsa Philharmonic, succeeding MURRYSIDLIN, who will take over the Long BeachSymphony in California. — DINO ANA-

GNOST, who was associate conductor of theLittle Orchestra Society in New York, hasbeen signed as its new Music Director, fol-lowing the death of its founder/directorThomas Scherman.JAMES CONLON has signed a four-yearcontract as Music Director of the CincinnatiMay Festival, succeeding James Levine whowill appear as guest conductor for the VerdiRequiem this year. — SEMYON BYCHKOVof Leningrad, presently Music Director ofthe Mannes College Orchestra, will becomeAssociate Conductor with the Buffalo Phil-harmonic and Music Director of the GrandRapids Symphony.Changes in artistic heads of Canadian or-chestras include VICTOR FELDBRILL,Acting Music Director of the London (Ont.)Symphony for the current season, PAULFREEMAN, succeeding Laszlo Gati asMusic Director of the Victoria Symphony,and Mo. GATI, in the same capacity, to theWindsor Symphony. Following his resigna-tion as Music Director, PIERRE HETU re-mained with the Edmonton Symphony asPrincipal Guest Conductor for the presentseason.L'Orchestre Symphonique de Montrealnamed ROGER LAROSE, former Vice Rec-tor of Montreal University, President andManaging Director.MARTIN FEINSTEIN, who became GeneralDirector of the Washington Opera afterleaving the post of Executive Director ofKennedy Center (see Volume 21, Number 4),was also named President and Chief Operat-ing Officer of the National Symphony Or-chestra. This may bring a closer cooperationbetween the orchestra and opera company.However, due to previous commitments, theearliest this could occur would be in the1981-82 season. The post of the orchestra'smanaging director, occupied by Oleg Lo-banov, is being discontinued; AUSTIN KIP-LINGER, President of the Orchestra, wasnamed Chairman of the Board.RUSSELL STANGER, Music Director of theNorfolk Symphony in Virginia, has an-nounced his resignation, effective the end ofthis season.The Norfolk Symphony, Virginia BeachPops, and Peninsula Symphony Orchestrahave joined together under one managementto form the Virginia Orchestra Group.JULIEN BERESFORD, formerly with theBinghamton (NY) Symphony, is Managerof the new organization. — MICHAELWOOLCOCK, formerly of Decca/LondonRecords, was promoted to Executive Direc-tor of the Houston Symphony; DOLORESJOHNSON, formerly of the St. Paul Cham-ber Orchestra, is the new Orchestra Man-ager. — NICHOLAS CASSIZZI has becomeGeneral Manager of the Tucson Symphony,DARRELL EDWARDS of the Columbus(OH) Symphony, ELEANOR SHOPIRO ofthe Syracuse Symphony, and RUSSELL P.ALLEN of the Shreveport Symphony, whichincludes the Louisiana Opera Theatre.

— 24 —

PUBLISHERS AND MANAGERS

Boosey and Hawkes announced the appoint-ment of CLINTON J. EVERETT III asManager of its opera and symphony depart-ments; he has been orchestra manager ofthe Spoleto Festival in Italy. WILLIAMGIANNONE also joined the publishinghouse in New York as Manager of its edu-cation department. — Affiliated with G.Schirmer/AMP since 1974, BARRY O'NEILis now Manager of Associated Music Pub-lishers.WILLIAM H. ALEXANDER has assumedthe duties of Southern Sales Manager forHerbert Barrett Management. His previousexperience was with Columbia Artists Man-agement.

ACADIMIAEDWARD ZAMBARA, professor of voiceand chairman of the voice department atthe University of Tennessee in Knoxville,has accepted an appointment to the En-dowed Chair in Voice at the St. Louis Con-servatory of Music. He will begin in his newposition in fall 1980, when he will move toMissouri. Last year, he founded the Knox-ville Civic Opera, of which he is generalmanager and artistic director.The Saint Louis Conservatory and Schoolfor the Arts named JAMES N. CAIN VicePresident for Performance Activities. Hisprevious experience includes managing theSt. Louis Symphony for the last twelveyears and, prior to that, administrative workfor the Aspen Music School and Festival.The Conservatory offers bachelor's andmaster's degrees in performance. — ALLENP. BRITTON, former Dean of the School ofMusic at the University of Michigan, ispresently Acting Dean of the ManhattanSchool of Music. — CHARLES G. BOYERhas become Director of the School of Musicat Illinois Wesleyan University of Bloom-ington, Illinois. — Last fall CHARLESSPOHN assumed the duties of Dean of theSchool of Fine Arts at Miami University inOxford. Ohio. He is also Chairman of theArt Education Subcommittee of KennedyCenter in Washington.

Stage director IAN STRASFOGEL is visit-ing professor at the University of MichiganOpera Theatre this season.Following the resignation, due to ill health,of Dorothy Maynor as director of the Har-lem School of the Arts, it was announcedthat concert singer BETTY ALLEN willassume the post.A number of opera departments engagednew directors at the start of the 1979-80school year. MIKE BLUM is the Director ofthe Marjorie Lawrence Opera Theatre ofSouthern Illinois University in Carbondale,succeeding Mary Elaine Wallace; TERRYFLATT, Director of the opera/musicaltheater program, succeeding Edward Craft

at the University of Nebraska at Lincoln;RAPHAEL METZGER, Director of operaand symphony at Dominican College in SanRafael; JERRY DANIELS, Director of theopera workshop at Washington State Uni-versity in Pullman; and DAVID STOFFEL,head of the opera/musical theatre depart-ment at the University of Georgia at Athens,where RALPH VERRASTRO has becomeDirector of the music department.

A new conducting program at the PeabodyConservatory of Music in Baltimore, underConductor Emeritus FREDERIK PRAUS-NITZ signed SERGIU COMISSIONA, WIL-LIAM HENRY CURRY, and EDWARDPOLOCHICK as members of the faculty,with the latter in charge of choral activities.The Conservatory's Prep Department hasKENNETH KIESLER and PETER BAY,conductor and assistant conductor, respec-tively, of the Prince George's Philharmonicin Maryland, in charge of the orchestra andchorus. — CORNELIUS EBERHARDT,Music Director of the Corpus Christi Sym-phony, faculty member and conductor at theAmerican Institute for Musical Studies inGraz, and former Professor at the MunichAcademy, is Visiting Professor and Conduc-tor of the symphony at the University ofTexas at Austin this winter. — Former Metassistant conductor and more recently, Con-ductor of the Portland (OR) SymphonyLAWRENCE SMITH has taken over theduties of Conductor at the Music Academyof the West in Santa Barbara. MauriceAbravanel continues as Artistic Director,Martial Singher as stage director.

New members of academic vocal depart-ments include former Met mezzo-sopranoHERTA GLAZ as Adjunct Professor at theUniversity of Southern California in LosAngeles, where THOMAS CLEVELAND andCHARLES ROE were recently named Asso-ciate Professors; JEROLD SIENA as Visit-ing Professor at the University of Arizonain Tucson; DENNIS MONK as Chairmanof the department and CORA ENMAN andDOUGLAS STARR as faculty members ofCentral Michigan University in MountPleasant; and PHYLLIS TILTON HURT asAssistant Professor at Michigan State Uni-versity in East Lansing.

FESTIVALS AND OPERA ABROADMASSIMO BOGIANCKINO was chosenVice President of the European Associationof Music Festivals. — ROLF LIEBER-MANN was elected President of the Salz-burg Festival, commencing next summer.— The Spoleto Festival of Two Worlds inItaly has a new Artistic Director in RAF-AELLO DE BANFIELD, who is also Gen-eral Director of the Teatro Verdi in Trieste.— LOUIS ERLO, Director of the Opera deLyon, will assume the position of Director ofthe Festival at Aix-en-Provence vacated byBernard Lefort's move to the NationalOpera in Paris. — MARTTI TALVELA re-

— 25 —

signed as Artistic Director of the SavonlinnaOpera Festival in Finland, which he founded,in order to devote his time exclusively tosinging.FRANCESCO SICILIANI is the successorto Claudio Abbado as Artistic Director ofthe Teatro alia Scala, following the latter'sresignation. However, Mo. Abbado will con-tinue with the Milan company as chief con-ductor. Mo. Siciliani held that position oncebefore, 1957-66. — Due to ill health, SirCHARLES GROVES resigned as Music Di-rector of the English National Opera, andMARK ELDER, formerly of the AustralianOpera, has assumed the duties of Music Di-rector. — The Australian Opera and itsGeneral Director PETER HEMMINGS will

be parting at the conclusion of their contractat the end of this season. — MYER FRED-MAN, Music Director of the State Opera ofSouth Australia, will not renew his contractwhen it expires next December. — Beginningwith the 1981-82 season, GOETZ FRIED-RICH will be the new Generalintendant ofthe Deutsche Oper Berlin. — At the sametime, JEAN CLAUDE RIBER, currentlyGeneral Director of the Grand Opera inGeneva, will assume his new duties as In-tendant of the Theater der Stadt Bonn inGermany, where he succeeds Hans JoachimHeyse. — General Director Jiri Pauer ofPrague's National Theatre named ZDENEKKOSLER Music Director of the opera com-pany, beginning this January. •

NEW THEATRES, NEW LOCATIONS

Denver's Performing Arts Center, which attracted great attention uponthe 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-seatcinema and two theatres, The Stage with a thrust stage and seatingcapacity of 640, and The Space an experimental theatre which can ac-commodate between 150 and 600 spectators. The Arts Center also in-cludes two old halls, the 1908 Auditorium Theatre and the 1940 Arena.A glass covered Galleria connects the buildings to the abovegroundgarage.

The EL PASO COUNTY THEATRE/AUDITORIUM in ColoradoSprings, estimated to cost $12.2 million, is in its planning stages withconstruction to begin next spring and completion projected for fall 1982.Under the guidance of Clifford Nakata, architect, and Russell Johnson/Artec Consultants, the 2,100-seat auditorium will be fitted with 18 mov-able towers, which can be used for side seating (box-like) on stage, aswall panels, or as stage lighting towers. In each case they will serve toenhance the acoustical and visual aspects of the hall. — Russell Johnsonis also acoustician for the new KITCHENER CENTRE in Ontario.

Following a Louis Harris study which revealed a large, potential au-dience for the performing arts in the Borough of Queens, New York,which currently is not served due to the lack of a facility, another studyis 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 an-nounced plans for the construction of a 2,200-seat theatre/concert hall,replacing the domed auditorium which collapsed two years ago as a resultof a snow storm. The new theatre is to open in fall '81 with a gala concertby the New York Philharmonic.

The San Francisco Palace of Fine Arts, built in 1915 for the Pan-PacificExhibition, will host the Western Spring Opera's season in April andMay for the first time. The theatre, which was renovated in 1970, willreceive further technical improvements prior to the spring opening. •

— 26 —

WINNERS

SINGERS

The Metropolitan Opera National Councilpresented eleven finalists in its auditionsconcert at the Met on March 23. Each ofthem won the $3,000 finals prize, in additionto the regional first place which sent themto New York. There were a total of 26regional winners who participated in thesemi-finals, each brought to New York atthe expense of the MONC, where they re-ceived free coaching with Met staff membersin preparation for the last round of thecompetition. The winners were sopranosMARJO CARROLL (28, from Hot Springs,AR), LOUISE DEAL-PLUYMEN (25, fromSeattle, WA), LANI NORSKOG (29, fromPlattsburgh, NY), MARGARET VAZQUEZ(27, from Hartford, CT), and LAURENWAGNER (26, from Brooklyn, NY); mezzo-soprano LESLIE RICHARDS (30, from SanMateo, 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 Pasa-dena, CA), and THOMAS WOODMAN (22,from Cos Cob, CT); and bass KEVINLANGAN (24, from Monmouth, NJ). Theother semi-finalists were sopranos CAROLEADRIAN, DAWN DICKINSON, JOANGIBBONS, DELENE W. HAYS, MARYJANE JOHNSON, ROBERTA LAWS, RITAORONA, and NOVA THOMAS; mezzo-sopranos JOLANTA NAGAJEK andBRENDA WARREN; tenors CHRISTO-PHER LEO KING, GARY LAKES andWILLIAM MITCHELL; baritone WILLIAMTULLIS; and bass-baritone STEPHENWEST.

At its third annual Awards Evening onJanuary 28, the National Opera Institutechose the following four singers as re-cipients of Career Support Grants, carryinga maximum cash award of $5,000: tenorCARROLL FREEMAN from Hattiesburg,baritone ROBERT S. GALBRAITH fromMilwaukee, soprano LINDA KELM fromSalt Lake City, and soprano STEPHANIESUDINE from Moline. Six Career StudyGrants (maximum $1,500) were awarded tomezzo-soprano CLAUDIA CATANIA, bari-tone DAVID KLINE, soprano MYRA MER-RITT, bass Z. EDMUND TOLIVER, bari-tone JAMES TYESKA, and soprano DEBRAVANDERLINDE.

The latest Baltimore Opera competition waswon 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 inNew York. — The Dayton Philharmonic Or-chestra Competition, open in 1979 to vocalists,gave its first prize to soprano ALESSAN-DRA ALTHOFF. — ANNE BILL, a gradu-ate of the Cleveland Institute of Music, wonthe National Association of Teachers ofMusic state collegiate competition.Baritone HOWARD BENDER was chosenas Artist in Residence by the Virginia OperaAssociation, and tenor PAUL SPENCERADKINS of Affiliate Artists joined theOpera Company of Philadelphia for onemonth to give "informances" at schools,hospitals, and for civic groups.Canadian tenor BEN HEPPNER from Van-couver won the first prize in the '79 CBCTalent Competition in Quebec City. Otherwinners were instrumentalists. The nextCBC Competition will be held in 1981.The sixth International Competition of Musi-cal Performance in Vina del Mar in Chileawarded its first prize of $3,000 to Americansoprano LINDA WALL. Other winners in-cluded Canadian MICHELE BOUCHER andIsraeli RONIT KALISKY, who currentlystudies in the United States.

CONDUCTORSFirst place at the International Conductor'sContest, sponsored by the Herbert vonKarajan Foundation and held in Berlin inOctober, was won by American RONALDBRAUNSTEIN. He is a 24-year old gradu-ate of Juilliard. Second prize went to Ger-man BRUNO WEIL and third prize toCHRISTIAN EHWALD, also from Germany.

First place at the Karl Bohm ConductorsCompetition in Salzburg was won by Vien-nese conductor HANS GRAF, currentlyassistant conductor at the Vienna StateOpera. Second place was won by HANSURBANEK of Freiburg and third place byMANFRED MAYRHOFER of Gelsenkir-chen. The contest, which occurs every twoyears at the end of the Salzburg Festival,will next be held in 1981. •

•27 —

COS INSIDE INFORMATION

NEW After eight years of dedicated service as President of the MetropolitanOFFICERS Opera National Council, ALEXANDER SAUNDERSON is relinquishing

the office. His interest in and constant support of the Central OperaService have earned him the deep gratitude of COS officers and staff, andall best wishes accompany him and Mrs. Saunderson in their future en-deavors. — MRS. GILBERT (LOUISE) HUMPHREY has been electedto succeed him, and COS extends a hearty welcome to her. As we headinto a new decade, we greatly look forward to a long and fruitfulassociation.LOUIS F. WILLIAMS has been appointed COS Director for the NewEngland Region.

cos Responding to the greatly increased interest in new operas, both Amer-PUBLICATIONS iCan and foreign, the 1980 COS Directory will be devoted to CONTEM-

PORARY AMERICAN AND FOREIGN OPERAS, up-dating the threeearlier directories on this subject and including an addenda of AmericanPremieres 1975-80. As always, the directory will be arranged in alpha-betical order by composer with an index by opera, and will include suchinformation as length of work, number of acts and/or scenes, cast andorchestration wherever available, publisher, subject matter or sourceof story, and premiere place and date. All COS members will receive acopy of the Directory as part of their COS Bulletin subscription.

The COS Listing of Opera Producing Organizations is now available inits 1980 edition. In accordance with new trends, it includes, for the firsttime, 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 thehead administrator and/or artistic director. In addition, it includes manytelephone numbers and information on the company's performing fa-cility, wherever available. Also for the first time, the list is coded toindicate type of organization: opera companies by budget category,festivals, touring companies, academic workshops, and choral groups,symphony orchestras, and theatres with opera-musical theatre produc-tions. Listing some 1,000 organizations, "Opera/Musical Theatre Com-panies and Workshops in the United States and Canada" is availablefor $8 (add $1 for first-class postage) prepaid, from Central Opera Ser-vice, Metropolitan Opera, Lincoln Center, New York, NY 10023.

Amendments to the Career Guide for the Young American Singer, pub-lished in 1978, are available free of charge. Send a self-addressed,stamped envelope and a note requesting the amendment. Amendmentsare revised every two or three months. They must be used in conjunctionwith the original publication which is available from COS for $7 includ-ing postage.

The final program for the National Conference in San Diego will bemailed to COS and MONC members at the end of April. Extra copieswith 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 furtherinformation write Mrs. Roy Hollander, 255 County Rd. 6, Wayzata, MN.

The next Eastern COS Regional Conference will take place in Phila-delphia November 20 to 23, hosted by the Opera Company of Phila-delphia. It will coincide with the company's successful production ofRumpelstiltskin.

ADDRESS Please be sure to notify the rffice of any change of address. The postCHANGES office does not forward magazines, nor does it return them to sender,

hence we do NOT know if mail does not reach you.

SAN DIEGOCONFERENCEPROGRAM

REGIONALCONFERENCES

— 28 —

COS INSIDE INFORMATION

June 26 (Thurs.)10:00 AM12:00 M

1:00 PM1:30 PM

3:00 PM

5:00 PM

June 27 (Fri.)8:30 AM9:30 AM

11:00 AM12:00 M2:00 PM

5:00 PM8:00 PM

June 28 (Sat.)9:30 AM

11:30 AM12:30 PM

Central Opera Service National ConferenceLittle America Westgate Hotel, San Diego

June 26-28,1980

RegistrationLuncheonWelcome SessionACADEMIA AND OPERA COMPANIESWhat training programs are offered — what training programs are needed. Acandid discussion between educators and artistic directors of opera companiesevaluating academic workshops and company apprentice programs.Concurrent sessions: A) workshops and major companies; B) opportunitieswith semi-professional companiesConcurrent sessions: A) the singer/actor turning professional; B) San DiegoOpera Young American Opera Conductors ProgramBuses leave hotel for Wild Animal Park Evening Safari Tour; cocktails, dinnerand entertainment at Nairobi VillageRegistration continuesOPERA COMPANIES AND ACADEMIAThe Development of Joint Programs (e.g. San Diego Opera & San Diego StateUniversity with Minnesota Opera and University of Minnesota).Evaluation and conclusionLuncheonTOURISM AND FESTIVALSExploring the opportunities of marketing a festival (increasing its earnedincome and audiences) through organized tourism. Speakers will include air-line, bus, and tour representatives, as well as those from chambers of com-merce and the U.S. Travel Service. Louise Wiener, Special Assistant for Cul-tural Resources of the U.S. Economic Development Administration, will headthis session. There will be ample time for questions and answers and discus-sion to familiarize the festival administrator with the various availablesources 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 TOURISMDirectors of different opera festivals will speak on their programs, plans, andaspirations for the future. Problems such as establishing, promoting or mar-keting a festival will be examined and solutions sought through active coop-eration between government agencies and the commercial and artistic sectors.SUMMATIONLuncheon

2:30 PM Giovanna d'Arco San Diego Opera Verdi Festival production at Civic Theatre6:00 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 92101 (714) 238-1818

Limited number of rooms ($26/$32) at: U.S. Grant Hotel, 326 Broadway, San Diego 92101OTHER EVENTS AVAILABLE

Verdi Festival continues June 30 - July 6Gala Verdi Concert July 3National Shakespeare Festival June 29 - July 6, Balboa ParkSan 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 precedingpage.)

— 29

COS SALUTES

. . . Licia Albanese, who was honored by Mayor Koch of New York Cityon 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 suchas press chief, ticket office director, tour director, television personality,writer, and most recently author of "Celebration, The MetropolitanOpera", who was acclaimed and honored at the Met's patron dinner onstage in December and at the annual Metropolitan Opera Guild luncheonin January.. . . Robert Herman, general manager of the Greater Miami Opera since1973 and, earlier, assistant manager of the Metropolitan Opera for four-teen years, on being awarded the Officer's Cross of the Order of Meritbestowed by the Federal Republic of Germany "in recognition of hislong experience in opera management and his endeavors to promote cul-tural cooperation between Germany and the United States".. . . Erich Leinsdorf, on the occasion of the forty-second anniversary ofhis Met debut (Die Walkiire 1 21 '38'), which he celebrated by conduct-ing a performance of Fidelia with the company.. . . Danny Newman, director of public relations at the Lyric Opera ofChicago, renowned for establishing subscription series for opera andtheatre companies, orchestras, etc., and author of "Subscribe Now", onthe occasion of receiving the 1979 Career Service Award from ArtsManagement.. . . Ming Cho Lee, internationally famous scenic designer, who wasamong the five recipients of the National Opera Institute Awards forService to American Opera, for "maintaining the highest artistic stand-ards".. . . David Griffiths, television producer, who received the same NOIhonor, for "disseminating a varied opera and musical theatre repertoireto a wide public, in productions of the highest quality," as head ofWNET Opera Theatre.. . . The Martha Baird Rockefeller Fund for Music, which was awardedthe same NOI honor, for "its generous support of young Americansingers and in memory of its former director, Maude Brogan".. . . The Merola Fund of San Francisco, another Awards for Service toAmerican Opera winner, for "maintaining an exemplary career trainingprogram for young professionals".. . . Southern Opera Theatre, the touring subsidiary of Opera Memphis,which was also awarded the NOI honor for "its commitment to operafor young audiences".. . . The Children's Free Opera of New York, which was selected for the1979 Arts and Business Council Encore Award.. . . Rudolf Kruger, on the occasion of his twenty-fifth anniversary asgeneral manager and music director of the Fort Worth Opera.. . . Sir John Tooley, general administrator of the Royal Opera, CoventGarden, who was made Knight Bachelor on the Queen's Birthday Hon-ours List last June, and Sir Colin Davis, music director of the samecompany, whose Knighthood was announced in Queen Elizabeth II's 1980New Year's Honours List.. . . Leonie Rysanek, on becoming the first recipient of the Lotte LehmannRing, bestowed for life on an outstanding singer by the Vienna StateOpera. She, in turn, is to designate the next owner. •

— 30 —

DIRECTORY OF SETS AND COSTUMES (1979)1979-80 ADDENDA

The COS Directory of Sets and Costumes for Rent, Volume 21, Number 2, is availablefor $8. The listing below is to be used in conjunction with that Directory.

ARGENTO, DOMINICKPostcard from Morocco (c) Brooks-Van Horn (Ivey-Long 79)

BARAB, SEYMOURLittle Red Riding Hood delete Arkansas Opera Theatre

BARBER, SAMUELVanessa (s) Lyric Opera of Kansas City 72

BERLIOZ, HECTORBeatrice et Benedict (s) Indianapolis Opera Co.

BIZET, GEORGESCarmen (s) Merrill Stone (Stone '80) 1/24

(c) Indianapolis Opera Co.delete costumes from Tri-Cities

Docteur Miracle (s,c) Texas Opera Theatre 78BOCK, JERRY

Fiddler on the Roof (c) Theatre by the SeaBOITO, ARRIGO

Mefistofele (c) Malabar, Ltd. (Businger '80)BRITTEN, BENJAMIN

Curlew River (s,c) Birmingham Civic OperaNoye's Fludde delete Arkansas Opera Theatre

CAVALLI, PIER FRANCESCOL'Ormindo (s) Pennsylvania Opera Theatre 79

COPLAND, AARONThe Tender Land (c) Florida State University Opera Wksp. 79

DE FALLA, MANUELLa Vida breve (s) Opera Company of Boston

DONIZETTI, GAETANODon Pasquale (s,c) Birmingham Civic Opera

(s) Greater Miami Opera(s) Virginia Opera Ass'n

GIANNINI, VITTORIOThe Taming of the Shrew (c) Brooks-Van Horn (Ivey-Long 79)

delete costumes from Wolf TrapGOUNOD, CHARLES

Faust (s) Merrill Stone (Stone 79) 1/40(s) Nevada Opera Guild 79

HARBESON, JOHNFull Moon in March (s,c) Boston Musica Viva 79

HERBERT, VICTORNaughty Marietta (s) Merrill Stone (Stone '80) 1/43The Red Mill (c) Eaves Costume Co. 79

HERMAN, JERRYMame (s) Music Theatre of Wichita

HONEGGER, ARTHURJeanne d'Arc au bucher (c) Opera Sacra, Inc.

HUMPERDINCK, ENGELBERTHansel und Gretel (s,c) University of Illinois Opera Theatre, Urbana

(s) Southern Alberta Opera (Laxton '80) 60x40x20(c) Spokane Symphony Society 77delete Arkansas Opera Theatre

ISRAEL, BRIANWinnie the Pooh (s,c) Opera Theatre of Syracuse 79

LEHAR, FRANZDie lustige Witwe (s) Stivanello

(s) Tri-Cities Opera (Mayman 79)LOESSER, FRANK

How to Succeed in Business Without Really Trying (s) Schell Scenic StudiosLOEWE, FREDERIC

Brigadoon (c) Theatre by the SeaMy Fair Lady (c) Eaves Costume Co. 79 (available for small chorus only)

MASSENET, JULESCendrillon (s) Ottawa Festival Opera (Bardon 79)

(c) Malabar, Ltd. (Mess 79)

— 32 —

TO USE OR NOT TO USE

Errors which once appear in print have a habit of multiplying, and wehave noticed recent press releases and announcements include the wrongtitles more frequently than ever before.

A number of inquiries prompt us to publish our findings below. Readersare invited to comment and to send us further examples.

The most common errors in (mistaken) use of articles occur in the fol- ARTICLESlowing operatic titles: Pagliacci (not "/" Pagliacci), Tosca (not "La"Tosca), Gotterdammerung or Goetterdaemmerung (not "Die" Gotter-dammerung), and Dialogues des Carmelites (not "Les1' Dialogues deCarmelites). But it is Die Fledermaus.

We were made vividly aware of the perpetuation of such errors whileresearching this piece. Both Kobbe and the Opern-Lexikon write "I"Pagliacci, Loewenberg and Groves do not. We feel the original Sonzognoscore, approved by the composer, is the definitive form — no article.

Even a German music magazine recently printed Der Ring der Nibe-lungen, instead of the correct Der Ring des Nibelungen. The latter signi-fies single ownership by Alberich.

The English usage of capitalizing each word in a title other than articles CAPITALIZATIONhas swept over titles in foreign languages and, in response to someinquiries, we are happy to give you the following guidelines based onthe common usage of the major languages. Italian, French, Spanish,Czechoslovakian: only the first word of the title, proper names of peopleand places, and degrees or honorary titles are capitalized, e.g. Cost fantutte, Cavalleria rusticana, L'ltaliana in Algeri, Docteur Miracle, Prodananevesta. However, customs vary as to the capitalization of a noun follow-ing an article as the first word of the title. You will find both La Traviataand La traviata, Un Ballo in masckera and Un hallo in maschera, LesPecheurs de perles and Les pecheurs de perles, Le Postilion de Lonju-meau and Le postilion de Lonjumeau (but never Le Postilion de Longju-meau).

German: Capitalize the first word, all proper names of people and places,degrees or honorary titles, and all nouns: Die lustige Witwe, Der flie-gende 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 adjec-tive it is not capitalized (/ Vespri siciliani, L'Heure espagnole, La Vieparisienne).

Of course, there is always the question of policy, and some publicationsadhere to their own style. The English magazine Opera changed to list-ing 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 sharewith you some errors that you, too, may find delightful: Les Mamelles byTiresias and The Abduction from Mozart's The Seraglio. •

— 31 —

MENOTTI, GIAN CARLOAmahl and the Night Visitors (s,c) Birmingham Civic Opera

(s,c) University of Illinois Opera Theatre, Urbana(s) Chattanooga Opera Co. (built for 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 TheatreThe Medium (s) Merrill Stone (Stone '80) 1/24; replaces 79 listing

MOLLICONE, HENRYThe Face on the Barroom Floor (s,c) Opera/Omaha (built for touring)

MONTEVERDI, CLAUDIOBallo delle ingrate (s,c) Brooklyn Opera SocietyL'Incoronazione di Poppea (s,c) University of Illinois Opera Theatre, UrbanaII Ritorno d'Ulysse in patria (s,c) Birmingham Civic Opera

MOZART, WOLFGANG AMADEUSDon Giovanni (s,c) University of Illinois Opera Theatre, Urbana

(s) Lyric Opera of Kansas City 79Die Entfiihrung aus dem Serai] (s) University of Colorado, Boulder 79Le Nozze di Figaro (s,c) Birmingham Civic Opera

(s,c) Project Opera (Stenson/Overholtzer 79)(s) Brooklyn Opera Society

Der Schauspieldirektor (s,c) StivanelloDie Zauberflote (s) Princeton University Opera Wksp. 78

MUSGRAVE, THEAA Christmas Carol (s) Virginia Opera Ass'n

OFFENBACH, JACQUESLes Contes d'Hoffmann (s) Tri-Cities Opera (Woodbridge '80)

(s) Virginia Opera Ass'n(c) Malabar, Ltd. '80

PERGOLESI, GIOVANNI BATTISTALa Serva padrona (s,c) Stivanello

PORTER, COLEKiss Me Kate (s) Artpark/National Heritage Trust 79

PROKOFIEV, SERGEILove for Three Oranges (s) Minnesota Opera Co. 78

PUCCINI, GIACOMOLa 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, HENRYDido and Aeneas (s,c) Birmingham Civic Opera

(s,c) Brooklyn Opera SocietyRAVEL, 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 AssociatesRODGERS, RICHARD

Carousel (c) Producers AssociatesThe King and I (c) Illinois Wesleyan University 79Oklahoma! (c) Producers AssociatesThe Sound of Music (c) Spokane Symphony Society 78South Pacific (s) San Bernardino Civic Light Opera

ROMBERG, SIGMUNDThe Student Prince (c) Producers Associates

ROSSINI, GIOACCHINOII 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 —

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 SyracuseSONDHEIM, STEPHEN

change Gypsy listings; insert under STYNESTRAUSS, JOHANN

Die Fledennaus (s,c) Opera Theatre of Syracuse(s) Michiana Opera Guild 79(c) Eaves Costume Co. 79

STRAVINSKY, IGORL'Histoire du soldat (s) Boston Musica Viva 79

STYNE, JULEThe Bells Are Ringing (s,c) California Civic Light Opera 79Insert Gypsy listings (not Sondheim)

SULLIVAN, ARTHURH.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 77delete Arkansas Opera Theatre

The Gondoliers (c) North County Community Theatre 79Iolanthe delete Arkansas Opera TheatreThe Mikado (c) North County Community Theatre 79

delete Arkansas Opera TheatreThe Pirates of Penzance (s) Merrill Stone (Stone '80) 1/24

(c) North County Community Theatre 77Utopia, Ltd. (s,c) Lamplighters /Opera West 79The Yeomen of the Guard (c) North County Community Theatre 79

VERDI, GIUSEPPERigoletto (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, RICHARDDer fliegende Hollander (s) New Orleans Opera (Darling) SALE OR RENT

WEBBER, ANDREW LLOYDJesus Christ Superstar (c) Topeka Civic Theatre 78

WEBER, CARL MARIA VON/MAHLER, GUSTAVDie drei Pintos (s) Opera Theatre of St. Louis (Scheffler/Sullivan 79)

WEILL, KURTStreet Scene (c) Brooks-Van Horn (Potts 79)

WILDER, ALECThe Lowland Sea (s) Los Angeles Valley College Opera 79

WOLF-FERRARI, ERMANNOII Segreto di Susanna (s) Stivanello

YOUMANS, VINCENTNo! No! Nannette! (s) San Bernardino Civic Light Opera

CHANGES AND ADDITIONS TO ADDRESS LIST OF SOURCESBrooks-Van Horn — (212) 989-8000Colorado Costume Co. — 2100 BroadwayGreater Miami Opera — Robert Heuer replaces Guy ComtoisOrlando Opera — (305) 423-9527; delete Joyce ParkerVermont Opera Theatre — delete

* * * *Birmingham Civic Opera, 600 19th Street N. Birmingham. AL 35203. f205) 322-6737California Civic Light Opera, 135 N. Grand Ave.. Los Angeles, CA 90012North County Community Theatre, 1226 Via del Cerro. Vista. CA 92083Opera Sacra. Inc.. 692 Auburn Ave., Buffalo. NY 14222Oswego Opera Theatre, 10 Draper St.. Oswego. NY 13126Producers Associates. 3300 Joaquin Miller Rd.. Oakland, CA 94602Scholar Opera. 877 Moana Court, Palo Alto. CA 94302Theatre by the Sea. Bow Street, Portsmouth. NH 03801Thunder Bay Symphony, Box 2004 Station P, Thunder Bay, Ont. Canada P7B 5E7

— 34 —

ADDITIONS TO DIRECTORY OF ENGLISH TRANSLATIONSSee also Addenda I published in Volume 21, Number 2 (1978-79).

BERG, ALBANLulu Arthur Jacobs (The Polytechnic, Music Dept., Huddersfield, HD13DH, England)

BIZET, GEORGESCarmen James Goolsby & B. Silverstein, Mississippi Opera

Richard Brothers, Univ. of Arkansas, FayettevilleDjamileh Deborah Bershatsky & Joshua Greene, Theatre Opera Music Institute.

New York, NYDocteur Miracle Rudolph Picardi, San Francisco Talent BankDon Procopio Roger Savage & Deborah Bershatsky, Theatre Opera Music InstituteLes Pecheurs de perles Joan Bernick (795 Vernon Ave., Glencoe, IL 60022)

BUSONI, FERRUCCIO BENVENUTOTurandot Ross Halper, Chamber Opera Ensemble, San Francisco

CHABRIER, EMMANUELL'Education manquee Ross Halper, Chamber Opera Ensemble, San Francisco

DE FALLA, MANUELEl Retablo de Maese Pedro Ross Halper, Chamber Opera Ensemble, San Francisco

DONIZETTI, GAETANOL'Ajo nell'irabarazzo Donald Pippin, Pocket Opera, San FranciscoBelisario Donald Dorr, Opera/South. Jackson, MSII Campanello Richard Brothers, Univ. of Arkansas. FayettevilleDon 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. MinneapolisLucia di Lammermoor Vincent Liotta (CARID, 2790 Broadway, New York, NY 10025)

Carole Boelter, Five Penny Opera, Costa Mesa, CAGOUNOD, CHARLES

Le Medecin malgre lui Mark Herman & Ronnie Apter (13 Woodside Dr., Madison,NJ 07940) incl. new performing edition

JANACEK, LEOSExcursions of Mr. Brucek Ross Halper. Chamber Opera Ensemble, San Francisco

KALMAN. EMMERICHGrafin Mariza Marianne Weltman (6521 27th Ave. NE, Seattle, WA 98115)

LEHAR, FRANZDie Iustige Witwe Charles Kondek (Belwin Mills)

LEONCAVALLO, RUGGIEROZaza Veronica Reed (Belwin Mills)

MARSCHNER, HEINRICH AUGUSTDer Vampyr John Moriarty, Boston Conservatory

MARTIN Y SOLER, VICENTEUna cosa rara Vern Sutton, Univ. of Minnesota, Minneapolis

MASCAGNI, PIETROCavalleria nisticana Jane May (Belwin Mills)

MONTEVERDI, CLAUDIOII Ritorno d'Ulysse in patria Ross Halper, Chamber Opera Ensemble. San Francisco

MOZART, WOLFGANG AMADEUSBastien und Basrienne (More Than Meets the Eye) Donald Dorr, Opera/South,

Jackson, MSCosi fan tutte Donald Pippin, Pocket Opera, San FranciscoDon Giovanni Carole Boelter, Five Penny Opera, Costa Mesa, CA

Peter Westergaard, Princeton UniversityDie Entfiihrung aus dem Serail Wesley Balk (Belwin Mills)Le Nozze di Figaro Csonka & Theslof (Belwin Mills)

Earl Snow, SUNY-Stony BrookBasil Swift (Belwin Mills)

Die Zauberflote Basil Swift, Valley Opera, Van Nuys, CAMel Zellman, Grant Park Concerts, Chicago, ILAndrew Porter (9 Pembroke Walk, London, W87PQ England)

OFFENBACH, JACQUESLa belle Helene Barbara Silverstein, Pennsylvania Opera TheatreLes Contes d'Hoffmann Ruth & Thomas Martin (Oeser-Felsenstein edition)L'lle de Tulipatan Marijean Marvin, Univ. of N.C., Chapel HillUn Man a la porte (Rejected Bridegroom) Arthur Roberts, NY Light OperaOrphee aux enfers Daniel Jordan, Bronx Opera, NYLa Perichole R. Lert, National Opera, Raleigh, NC

Olga Loveland, Phoenix Opera, Atlanta, GA

— 35 —

PERGOLESI, GIOVANNI BATTISTALivietta e Tracollo Eugene Cook, Yale University (for Opera Company of Philadelphia)La Serva padrona Donald Pippin, Pocket Opera, San Francisco

PUCCINI, GIACOMOLa Boheme Csonka & Theslof (Belwin-Mills)Le Villi Barrymore Lawrence Scherer (660 Rugby Rd., Brooklyn, NY 11530)

RAMEAU, JEAN PHILIPPENai's Joseph Mattivi, Bloomsburg State College, PA

ROSSINI, GIOACCHINOII Barbiere di Siviglia Csonka & Theslof (Belwin Mills)

Lata. Scholar Opera, Palo Alto, CALa 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. ARNOLDVon heute auf morgen Bliss Hebert, Santa Fe Opera

STRAUS, OSCARDer tapfere Soldat (The Chocolate Soldier) Marianne Weltman (6521 27th Ave. N.E.

Seattle. WA 98115)STRAUSS, JOHANN

Eine Nacht in Venedig John Lehmeyer (incl. adaptation). Skylight Opera, MilwaukeeDie Fledermaus Anthony Addison. Cleveland Institute of MusicWiener Blut Washington Opera, DCDer Zigeunerbaron Vein Stilton, Univ. of Minnesota, Minneapolis

STRAUSS, RICHARDAriadne auf Naxos Robert Carson (Boosey & Hawkes)

SZOKOLAY, SANDORBlood Wedding Ross Halper. Chamber Opera Ensemble. San Francisco

TCHAIKOVSKY, PETER ILYC HPique Dame Tony Blatt, Seattle Opera

THOMAS, AMBROISEMignon J. Jones & Vern Sutton, Univ. of Minnesota. Minneapolis

ULLMANN, VIKTORDer Kaiser von Atlantis Ross Halper, Chamber Opera Ensemble, San Francisco

VERDI, GIUSEPPEAroldo Ross Halper, Chamber Opera Ensemble. San FranciscoFalstaff Andrew Porter (now Pendragon Press)La Forza del destino Andrew Porter (original 1862 complete score)II Giorno di regno Wilder/Witherspoon. National Opera. Raleigh, NCRigoletto Csonka & Theslof (Belwin Mills)Stiffelio Donald Pippin, Pocket Opera, San FranciscoLa 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 vonAbu Hassan Walter Ducloux, Univ. of Texas, Austin

Richard Crittenden, Yale UniversityDie Freischiitz Lessinger, New York Lyric Opera

WEINBERGER. JAROMIRSchwanda, der Dudelsackpfeifer Kingsley Lark, Opera in Concert, Toronto, Canada

The Translation Center has been reactivated under the auspices of the AmericanMusicological Society and the Music Library Association of Brooklyn College MusicDepartment, Dee Bailey, Head. Copies of translations are available and may be borrowedby music scholars. •

NEWS FROM PUBLISHERSAnna Karenina, Iain Hamilton's latest Belwin-Mills, NY, is publishing The Col-opera, commissioned by the English Na- lected Works of Sergei Prokofiev. The 87tional Opera, will be published by Theodore volumes will include the composer's operasPresser Co. — Don Locklair's Good Tidings in a reprint based primarily on the defini-from the Holy Beast will be available from tive Russian edition. The complete collectionSeesaw Music. — Novello Publications an- is priced at $1,707.50.nounced publication of Thea Musgrave's AChristmas Carol, premiered in Norfolk lastDecember.

— 36 —

IN 1979 OPERA/MUSICAL THEATRE LOST

Baritone MATHIEU AHLERSMEYER, German, 83 years old, in Gar-misch-Partenkirchen 7 23 79. He made his debut in 1929 and sang lead-ing roles at major German opera houses until his retirement from theHamburg Opera in 1973. Among the world premieres in which he partici-pated were Egk's Peer Gynt (title role >, Strauss's Die sehweigsame Frau(Barber), Haas's Hochzeit des Jobs (title role;, von Einem's DantonsTod (title role), and Klebe's Figaro lasst sich scheiden (Count Alma-viva).Scenic and lighting designer and designer of theatres RALPH AL-SWANG, American, 62 years old, in New York 2 15 79. He was aneminently successful scenic designer for many hit shows on Broadway(a total of over 100), often also designing the lighting and sometimesthe costumes as well. For the last ten years he designed theatres (amongothers, the Uris in New York), and brought many innovative ideas tothis new career.Composer, pianist, baritone DENNIS ARLAN (HIRSCHBEIN), Amer-ican, 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 Dukeof Dingle, premiered at the Caramoor Festival in 1977 and 1978, respec-tively.Designer, photographer, author Sir CECIL BEATON, British, 76 yearsold, in London 1/18/79. Internationally famous for his designs of setsand costumes as well as for his portrait photographs of prominent fig-ures. His designs for the films Gigi and My Fair Lady brought him twoAcademy Awards. In 1956, he designed the decor for Soiree, a balletpresented by the Metropolitan Opera as a curtain raiser to Don Pasquale.His next Met commission was the sets and costumes for the world pre-miere of Barber's Vanessa in January 1958, and his final designs for thecompany were unveiled in February 1961, the opera Turandot. He wrotea number of books, some of them autobiographical, and was knightedin 1972.Actress, benefactor, Grande Dame of the Metropolitan Opera ELEANORROBSON BELMONT (Mrs. August Belmont), British/American, 100years old, in New York 10/24/79. She started her theatre career in SanFrancisco when she was 17 years old and soon rose to stardom, playingleading roles on Broadway and on tour for the next 13 years. GeorgeBernard Shaw wrote Major Barbara for her, although she never didplay the role. In 1910 she married banker and horseman August Belmont,and devoted her efforts to social and charitable causes. During the FirstWorld War she joined the Red Cross; she also visited General Pershingin France with an introductory letter from President Theodore Roose-velt. In 1933 she was the first woman to be elected to the Met's boardand in 1935 founded the Metropolitan Opera Guild, becoming its pres-ident and, later, president emeritus. In 1954, she founded the Metropoli-tan Opera National Council, and it was her idea and inspiration tocreate a Central Opera Service within the National Council to assistopera companies and workshops throughout the country, and to promotethe cause of opera in the United States. Her dedication, interest andsupport of the COS, MONC, MOG, and MOA never faltered and, evenin her last years when she was not able to actively participate, she re-mained interested in all activities and gave generously of advice andsupport. Her infectious enthusiasm will always be an inspiration to usall, and the growth and success of opera in the United States is a livingand 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 forhis interpretation of French art songs, particularly those by his friendFrancis Poulenc, who often accompanied the singer in his concerts.

— 37 —

OBITUARIES 1979

(Poulenc died in 1963.) Bernac made his American concert debut in1948, and concertized in France and on tour until 1960. He never per-formed in opera. He was in great demand as a teacher of the Frenchvocal literature and frequently visited the United States to hold master-classes at universities and conservatories.Tenor, director EINAR BEYRON, Swedish, 78 years old, in Stockholm3/29/79. He made his debut at the Royal Opera in Stockholm in 1924 andcontinued singing there until 1954. He also appeared in leading roleswith various opera houses in Europe including La Scala. After he retiredas a singer, he staged operas in Stockholm and Oslo. He was the father ofCatarina Ligendza.Conductor RICHARD BLAREAU, French, in Paris 2/79. For 27 yearsa conductor at the Paris Opera, he started his career as a conductor ofthe Opera de Monte Carlo and appeared as guest conductor in variousopera houses throughout Europe. He also composed three ballets.Music publisher LESLIE A. BOOSEY, British, 92 years old, in England9/5/79. In 1919 he became managing director of the British musicpublishing house and instrument makers Boosey and Company and re-mained in this position after it merged with Hawkes and Sons, formingBoosey & Hawkes Ltd. In 1951 he assumed the position of president ofBoosey & Hawkes, Inc. in New York and later was named chairman ofthe parent company. He retired in 1964. For many years he was alsopresident 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 Americancomposers of this century. Among her pupils were Aaron Copland, Leon-ard Bernstein, Virgil Thomson, Roy Harris, Douglas Moore, ElliotCarter, Roger Sessions, Elie Siegmeister, David Diamond, and, morerecently, Philip Glass. She taught at the Paris Conservatoire and pri-vately, and made extended lecture tours including some to the U.S. Shestarted as a composer, winning second place in the Prix de Rome com-petition, but abruptly stopped composing after the death of her sisterLili (in 1918), who had won the first prize in the same competition in1913. She conducted symphony orchestras and was the first woman tolead the New York Philharmonic and the Boston Symphony in the 20'sand 30's.Author, librettist GUY BOLTON, British/American, 96 years old, inLondon 9/5/79. His first play was produced on Broadway in 1911, how-ever, shortly after this he changed to writing musicals and collaboratedon twelve shows with Jerome Kern, seven with George Gershwin, andone with Cole Porter, many co-authored by P. G. Wodehouse. Amongthem 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 yearsold, in Syracuse, NY 8 11779. He was an executive of Bristol-MyersCompany between 1951 and 1962, a president of Westminster Choir Col-lege, composer of choral and organ pieces, author of several books, andan Episcopal minister. As a result of his interest in and support of operahe was made an advisory director of the Metropolitan Opera and vicepresident of the Metropolitan Opera National Council, which he servedwith 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 Scalain Milan, where she sang until 1951. She sang major roles throughoutItaly, and also at Covent Garden, the Teatro Colon, and at the SalzburgFestival under Toscanini in the 30's. During the 1938-39 season, she

— 38 —

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 NewYork 5/18/79. Well known painter and portraitist who was responsiblefor some 400 cover designs for Time magazine, he was the son of theworld famous Russian bass, Feodor Chaliapin.Record executive JOHN COVENEY, American, 62 years old, in NewYork 8/6/79. He joined Capitol Records in 1945 and, at the time of hisdeath, was director of artist relations for Angel Records. A personalfriend of many world famous singers, his special interest was opera andhe was considered an authority on that subject. He frequently appearedon the Metropolitan Opera broadcast intermission quiz, and wrote theliner notes for many records.Tenor ALAN PAUL CROFOOT, Canadian, 49 years old, in Dayton, Ohio3/5/79. A leading singer with the Canadian Opera Company in Toronto,where he made his debut in 1956, he sang with many companies in theU.S. and Canada as well as with the English National Opera in Londonand the Glyndebourne Festival. He made his debut at the MetropolitanOpera in The Bartered Bride in fall '78 and was to sing Herod in Salomein Dayton. He had been married to and divorced from Canadian sopranoDodi Protero .Soprano, teacher ELVIRA DE HIDALGO, Spanish, 87 years old, inMilan 1/21/80. She made her debut in Naples and sang one performanceof 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 1926seasons, singing Rosina, Gilda, and Lucia, and also appeared in Chicago.She was the teacher of Maria Callas, who began studying with her inAthens when she was 13 years old.Countertenor ALFRED DELLER, British, 67 years old, in Bologna7/16/79. He was primarily responsible for the revival of the art ofcountertenor, or male alto, singing. He began concertizing in the 1940's,and in 1960 Benjamin Britten wrote the part of Oberon in A MidsummerNight's Dream for him. He formed the Deller Consort, which specializedin Elizabethan music. In 1970, he was awarded the Order of the BritishEmpire by Queen Elizabeth II.Composer PAUL DESSAU, German, 84 years old, in East Berlin6/28/79. He started his career as conductor in Germany, left during theNazi era, and lived in New York from 1939 to 1948. Upon his return toEurope, he settled in East Berlin, composed songs for various Brechtplays, and wrote a total of nine operas. The most succesful ones areHerr Puntila, Lanzelot, Die Verurteilvng des Lvcullus, and Einstein. Hislast opera, Leonce vnd Lena, was premiered posthumously last November(see Foreign Premieres). He was married to Ruth Berghaus, a stagedirector 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 engage-ments 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 in1947 founded the Collegium Musicum Italicum and the Virtuosi di Roma.He was also artistic director of the Teatro dell'Opera Camera, an en-semble that toured the U.S. several times, most recently in 1978, when itincluded performances of Vivaldi's Juditha triumphans.Conductor ARTHUR FIEDLER, American, 84 years old, in Brookline,MA, 7 10 79. Music director of the Boston Pops Orchestra for 50 years,he had become an American institution, beloved by his audiences. Heconducted his first concert at the age of 17, and became a member of the

•39 —

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 wasgiven his first contract to conduct the Boston Pops Orchestra. Over those50 years he may have done more for music in the United States than anyother single individual, attracting new audiences and giving perform-ance opportunities to promising young soloists.Music publisher ANNA FISHER BERRENS, American, 82 years old, inNew York 4/23/79. After the death of her first husband, Fred Fisher in1942, she became president of the Fisher Music Corporation, foundedby Mr. Fisher in 1918. The company specializes in copyright works, andis not to be confused with Carl Fischer, Inc. The 1949 movie Oh YouBeautiful 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 foundedthe Grass Roots Opera Company in Raleigh, NC, to bring opera in Eng-lish to school children. In the 1950's the company was renamed the Na-tional Opera Company, engaging young singers full-time, and touringexpanded to over 30 states. Many artists who received their start withthis group went on to build professional careers. As president, he oftenunderwrote the losses of the organization. In recognition of his achieve-ments he received a number of awards.Violinist STEFAN FRENKEL, Polish/American, 73 years old, in NewYork 3/1/79. He was concert master of the Metropolitan Opera orchestrabetween 1936 and 1940, and also made a career as a soloist, taught atPrinceton University, and, during summers, was concert master at theSanta Fe Opera.Conductor, coach ROLAND GAGNON, American, 42 years old, in NewYork 8/4/79. He began his career as chorusmaster of the Opera Companyof Boston, where he also conducted some performances. Other conductingengagements included Broadway musicals and operas at the Mini-Metand the American Opera Society. He was on the faculty of Juilliard and,last fall, was engaged as associate music administrator by the New YorkCity 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. Shesang with La Scala from 1948 to 1954, and appeared as guest artist inmajor opera houses throughout Europe. •Tenor WALTER GEISLER, German, 66 years old, in Berlin 6/9/79. Hestarted his career singing baritone roles, but later changed to tenor, andin the 1950's sang dramatic tenor roles in Germany, including Bayreuth,and in France, Italy, and Holland. During the last decade he taughtsinging in Berlin.Administrator ANTONIO GHIRINGHELLI, Italian, 77 years old, inCourmayeur, Italy 7/11/79. He was instrumental in the renovation of LaScala after it was badly damaged during the War, and became its So-praintendente when it reopened under Toscanini in 1946. He held thepost until he retired due to ill health in 1972, serving without pay. Dur-ing his administration, stellar casts including Callas, Tebaldi, Suther-land, Del Monaco, and Corelli appeared at La Scala.Soprano, teacher EUPHEMIA GIANNINI GREGORY, American, 83years old, in Philadelphia 1 15 79. Born into a musical family — herfather was the tenor Ferruccio Giannini, her mother a violinist, herbrother the composer Vittorio, and her sister the soprano Dusolina •—she made her debut in Turin in 1916. and sang with the PhiladelphiaOpera in the 1920's and 30's. In 1927 she joined the faculty of the CurtisInstitute, where she became one of America's most distinguished voice

— 40 —

OBITUARIES 1979

teachers. A number of internationally famous singers were among herpupils.Bass-baritone FRIEDRICH GINROD (Frederick Gynrod), German, 74years old, in Monchengladbach 4/22/78. He made his debut in 1929, andwas a member of the Vienna State Opera from 1935 to 1939, when hemoved to the United States and anglicized his name. He sang majorroles at the Metropolitan Opera for two seasons beginning in 1944, andresumed his European career in 1950.Conductor, educator, composer, writer RICHARD FRANCO GOLDMAN,American, 69 years old, in Baltimore 1 '19 '80. He was the son of EdwinFranko Goldman, who founded the Goldman Band in New York, andbecame the band's associate conductor in 1937 and its music director in1956. The ensemble's final free summer concerts were given last year incity parks, when ill health forced him to disband the orchestra. In 1947he joined the faculty of the Juilliard School and was chairman of theDepartment of Literature and Materials of Music at his retirement in1960. He wrote a number of books, primarily relating to band music,and was the author of the libretto for Weisgall's opera Athaliah. He wasthe editor of the "Juilliard Review", and contributed reviews and articlesto many music publications. The collected reviews are soon to be pub-lished by the Institute for Studies of American Music at Brooklyn Col-lege. He was also the recipient of a number of prestigious awards.

Composer, teacher ROY HARRIS, American, 81 years old, in SantaMonica 9/29/79. He was one of America's most renowned contemporarycomposers, a prolific creator with fifteen symphonies and numerouschamber music and piano pieces to his credit. Although he wrote severalcompositions 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 dur-ing his career. He began his academic affiliations in 1934 at WestminsterChoir College and from then on was never without a teaching post. Forthe last ten years he was composer-in-residence at California State Uni-versity in Los Angeles, and professor emeritus at UCLA. He was marriedto pianist Johana Harris.

Business executive, benefactor GILBERT WATTS HUMPHREY, Amer-ican, 62 years old, in Carmel, CA 6/17/79. He was chairman of HannaMining Company, headquartered in Cleveland, and on the boards ofvarious other national corporations. Together with his wife, the formerLouise Ireland, he was a benefactor patron of the Metropolitan Opera.Mrs. Humphrey is also president-elect of the Metropolitan Opera Na-tional Council; their daughter, Margaret Dunlap of Ontario, is MONCRegional Director.Artist, stage designer LESLIE HURRY, British, 69 years old, in London11/20/78. This celebrated artist was responsible for several scenic de-signs for ballet, the English theatre (notably Shakespearean produc-tions), and opera. Designs for the latter included Pique Dame, La Forzadel destino for Glyndebourne, and for the Royal Opera House, Turandot,Tristan vnd Isolde, and the Ring cycle. He had just completed thesketches for Tchaikovsky's Mazeppa, a commission by the Opera Com-pany of Boston.

Bass-baritone ZOLTAN KELEMEN, Hungarian, 53 years old, in Zurich5/9/79. He made his debut as Kecal (The Bartered Bride) in Augsburgin 1959 and soon sang the major comic as well as dramatic roles of hisFach. A regular member of the Cologne Opera since 1961, he performedwith many leading companies in Europe, including the Bayreuth andSalzburg festivals. At the Metropolitan Opera, he sang Alberich duringthe 1968-69 season.

— 41 —

OBITUARIES 1979

Administrator ARTHUR KERR, American, 53 years old, in New York8/21/79. From 1967 to 1974 he was acting director and later associatedirector of the New York State Council on the Arts. For the last fiveyears he held the position of executive director of the New York Foun-dation for the Arts.Conductor ANDRE KOSTELANETZ, Russian American, 78 years old,in Port-au-Prince, Haiti 1 30 80. He studied at the St. Petersburg con-servatory and came to the United States when he was 21 years old. In1930 he was engaged as conductor of the symphony orchestra of theColumbia Broadcasting System, where he frequently accompanied lead-ing opera singers on the "Chesterfield Hour". Over the years he appearedas guest conductor with most major American orchestras, as well asthose in Europe, Israel, and Japan. In 1963 he organized the New YorkPhilharmonic "Promenade" concerts, which he led for the last time inMay and June of 1979. He married soprano Lily Pons in 1938; they weredivorced 20 years later. The loss of maestros Kostelanetz and Fiedler,both primarily famous for conducting programs of popular appeal, withinso short a period of time seems to leave the American public devoid of aproponent of the classical "pops" idiom.Conductor KARL KRUEGER, American, 85 years old, in Chicago7/21/79. After five years as an assistant conductor at the Vienna StateOpera (1919-24), he became music director first of the Seattle Symphonythen the Kansas City Philharmonic, which he founded, and finally of theDetroit Symphony 1943-49. He guest-conducted a number of other or-chestras 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 resi-dent member of the Deutsche Oper, Berlin, he made his debut in Grazin 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 to1933, he commanded an extensive repertoire and was often heard duringthose seasons. He sang Calaf in the American premiere of Turandotopposite Maria Jeritza in November 1926. His first professional per-formance took place in Rome in 1920. He continued to sing in Italianopera houses until he was in his late 60's, when he was still reportedas hitting and holding a high C. For the last 50 years he resided in Spain.Recording executive, music expert WALTER LEGGE, British, 72 yearsold, in St. Jean-Cap Ferrat, France 3/22/79. Founder (1945) and artisticdirector of the Philharmonia Orchestra of London and of what eventu-ally became Angel Records, he made his fame by his immense talent infinding the best performers, guiding his recording artists, and presentingthem in the best possible record productions. He was also responsible fortechnical innovations for the recording industry. He began his career asmusic critic for the Manchester Guardian (1930-37), and was artisticdirector of Covent Garden 1938-39. In 1953 he married soprano ElizabethSchwarzkopf, who credits her husband with the international success ofher career. Together, they held masterclasses for young singers here andabroad. Mr. Legge also founded the Hugo Wolf and Beethoven Sonatasocieties.Pianist, teacher RENEE LONGY, French/American, 81 years old, inBronxville, NY 5/10/79. A pianist in her own right, she became one ofthe most renowned teachers in the U.S. She and her father founded theLongy School of Music one year after their 1914 arrival in the U.S. fromFrance. 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 —

OBITUARIES 1979

Music and the Literature and Materials of Music Department of Juil-liard, as well as at the Peabody Conservatory and the University ofMiami. Among her most famous pupils were Leonard Bernstein, RoseBampton, 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 ageof 24, by the National Opera of Paris, where she sang for the next 30years. In the late 1920's she turned to the dramatic repertoire, and in1938 was the first French singer to appear in Bayreuth (Kundry andIsolde). She sang at Covent Garden in 1937 and again in 1939, and wasto have sung at the Metropolitan Opera, however, World War II pre-vented her from appearing. She participated in several world premieres,among them Repartz's Le Pays, d'Olline's Le Retour, Milhaud's Maxi-milien, and Sauget's La Chartreuse de Parme.Conductor LEOPOLD LUDWIG, Austrian, 71 years old, in Hamburg4/25/79. He started his career in provincial opera houses in Czechoslo-vakia, conducted opera in Vienna from 1939 to 1943, and at the Stadt-tische Oper in Berlin from 1945 to 1951, when he assumed the post ofmusic director in Hamburg where he remained until 1970. He guest-conducted throughout Europe, and made his American debut with theSan Francisco Opera in 1958, returning there for ten consecutive sea-sons. His first conducting engagement at the Metropolitan Opera was inNovember 1970 leading Parsifal, and he returned the following year toconduct a new production of Der Freischiitz.Composer, conductor RENZO MARTINI, Italian, 82 years old, in Parma1/3/79. He conducted in Parma and other Italian opera houses in theprovinces. His opera Raggio di sole was premiered in Parma in 1947.Mezzo-soprano ANNA MASETTI BASSI, Italian, 86 years old, in Milan1/12/78. She sang leading roles in major Italian opera houses, as wellas those in Switzerland, France and Spain.Musicologist, editor, teacher ARTHUR MENDEL, American, 74 yearsold, in Newark 10/14/79. A professor of music at Princeton Universityfor 21 years, he studied in his youth with Nadia Boulanger in Paris. Foreight years he was literary editor for G. Schirmer, Inc., and from 1938to 1952 he was a teacher, critic, and the conductor of the Cantata Singersin New York. He also contributed articles to music journals.Soprano, teacher SABINE MEYER-JESSEL, Austrian/British, 82 yearsold, in Torquay, England 7 '29/79. She made her debut at the HamburgOpera during the 1916-17 season, and sang major coloratura roles atopera houses in Germany and Vienna. She left Germany at the time ofthe Nazi rise and settled in England, where she taught singing.Bass RAYMOND CHARLES MICHALSKI, American, 48 years old, inElizabeth, NJ 12/24 '78. A member of the Metropolitan Opera since 1965,he was a versatile performer whose credits with the company totaled 30roles in 253 performances. His debut occurred in 1958 with the Phila-delphia Grand Opera. He also sang with the companies in Chicago,Houston, San Antonio, New Orleans, and other major cities. He wona number of awards, among them the prestigious prize at the Inter-national 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., laterknown as Mills Music Inc., specializing in popular songs and show tunes.He was also a director of the Music Publishers Association. He sold thepublishing 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 Uni-versity.

— 43 —

OBITUARIES 1979

Music executive RUDOLF NISSIM, Austrian/American, 78 years old, inNew York 3/3/79. After completing his studies in music theory andpiano at the Vienna Academy, he studied law and was awarded a lawdegree from the university there. From 1931 to 1938 he was managingdirector of the Austrian copyright society (ALAKA) and, after estab-lishing residence in New York in 1940, organized the Department ofSerious Music at the American Society of Composers, Authors, andPublishers (ASCAP). He remained its director until 1975, when heretired.Scholar, rare book and manuscript dealer SAMUEL ORLINICK, Amer-ican, 72 years old, in New York 4/30/79. He was the owner of the Scien-tific Library Service, which he started with his own private collection ofrare first editions, manuscripts, and autographs from the fields of musicand science 40 years ago. He recently discovered an unknown Mozartmanuscript which is now included in the Kochel catalogue. His own musicand science catalogues were circulated among scholars and librariesthroughout the world.Conductor, composer PAUL PARAY, French, 93 years old, in MonteCarlo 10/10/79. At the age of 25 he was awarded the Prix de Rome forcomposition, however, he decided on a conducting career and made hisdebut in Paris in 1920. Three years later he was appointed music directorof the Lamoureux concerts in that city, and in the 1930's he frequentlyappeared as conductor at the Paris Opera. His first engagement in NewYork occurred in 1939, when he led the Philharmonic. He spent the waryears in France, returning to the U.S. in 1945 for concerts with theBoston Symphony and subsequent guest engagements with other majorAmerican orchestras. After one year as head of the Israel Philharmonic,he became music director of the Detroit Symphony, where he remainedfrom 1952 to 1963. He gave his last concerts in the United States in 1968in New York, but continued to conduct in Europe. Despite his age, hehad been engaged to conduct in Paris and Monte Carlo in 1980.Author, humorist S. J. (SIDNEY JOSEPH) PERELMAN, American,75 years old, in New York 10/17/79. Beginning in the early 30's, hisstories and poems were published in The Neiv Yorker and appeared thereregularly during his lifetime. He wrote several humoristic books, workedfor motion picture companies in Hollywood, and co-authored severalplays, notably the musical One Touch of Venus, with lyrics by OgdenNash and music by Kurt Weill.Opera manager ELEANOR PINKHAM, American, 70 years old, in LosAngeles 11/22/79. For 34 years she was general manager of the LosAngeles and San Francisco Light Opera associations, and for an ad-ditional year was named general director. She retired from that post in1974, but remained a member of their boards of directors. She was amember of the Los Angeles Mayor's Committee for the Greek Theaterand was the first woman to receive an honorary membership in the Inter-national 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 laterappeared with the National Opera and the Opera-Comique in Paris. Hesang leading roles primarily with companies in France and Belgium, butin 1964 appeared as Raoul in Les Huguenots, produced by the AmericanOpera Society, at Carnegie Hall.Mezzo-soprano ILKA MAVRODJIEVA POPOVA, Bulgarian, 74 yearsold, in Sofia 5/28/79. After a debut in Sofia in 1929, she spent one seasonin Bordeaux, followed by her debut at the Paris Opera, where she sangleading roles until 1939. Guest engagements took her to many Europeancapitals including Milan, where she appeared in 1947. She returned tothe Bulgarian State Opera in 1945, and continued to sing there for 30years. She displayed great versatility through a large repertoire, and

— 44 —

OBITUARIES 1979

her great technical facility was proven by her farewell performance asthe 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 TheTale of the Terrible Dragon (1972). He contributed articles and reviewsto periodicals and newspapers and held various administrative positionswith music organizations in Prague.Bass-baritone DAN RICHARDSON, American, 41 years old, in Heidel-berg 10/3/78. His professional debut took place in 1960 in Saarbriickenas Telramund. In 1964 he became a member of the opera company inEssen, but also gave many guest engagements in other German citiesand in Spain, Belgium, Italy, and France. He had command of a totalof 70 major bass-baritone roles. In 1970 he returned to the United States,singing the Siegfried Alberich and the Falstaff Ford with the San Fran-cisco Opera. A serious car accident interrupted his career in 1974, buthe resumed performing on a limited basis in 1976.Conductor FRITZ RIEGER, Czech/German, 68 years old, in Bonn9/29/78. His first conducting engagement was at the German Theatrein Prague in 1931. He later became music director at the opera housesin Aussig, Bremen, and Mannheim, and led over 300 performances at theBayerische Staatsoper in Munich. He was in Bonn preparing a new pro-duction of Hindemith's Cardillac.Composer RICHARD RODGERS, American, 77 years old, in New York12/30/79. A world famous composer of songs and musicals, he wrote hisfirst Broadway show, Poor Little Ritz Girl, in 1920, his last, I RememberMama, in 1979. Between these two is a wealth of unforgettable musicaltheatre: Babes in Arms, Pal Joey, Oklahoma!, Carousel, A ConnecticutYankee, South Pacific, The Boys from Syracuse, The King and I, andThe Sound of Music to name but a few of the total of 42. There were alsoover 1,000 songs and several scores for movies and television. His mostsuccessful collaborations were with Lorenz Hart and Oscar HammersteinII. After Hammerstein's death he worked with other well known writerssuch as Sondheim, Harnick, and Lerner, but never achieved quite thesuccess of the earlier works. For No Strings he wrote his own libretto.In 1975 he wrote his autobiography, "Musical Stages". Together withsuch names as Gershwin, Porter, Kern, and Berlin, Richard Rodgers willalways be considered a treasured American institution. Collectively theycreated 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 wrotehis first opera, // Principe Pnrcarn, when he was 15. Later stage worksinclude Ariodante (Parma 1942), 7 Due timidi (RAI 1950), II Capellodi paglia di Firenze (Palermo 1955; Santa Fe 1977), La Nntte di unnevrastenico (Turin 1959; New York 1964), Vista meravigliosa (Venice1965), La Lampada di Aladino (Naples 1968), Torouemada (Naples1975), Le Moliere imaginaire, (Milan 1977), and Napoli milionaria (Spo-leto 1977). However, his biggest claim to fame and fortune came from filmscores, among them the music for Coppola's The Godfather, Zeffirelli'sRomeo and Juliet, Visconti's Rocco and his Brothers, and Fellini's TheWhite Sheik, The Clmms, and Amarcnrd. From 1930 to 1932 he studiedat the Curtis Institute in Philadelphia. For the last 28 years he was thedirector of the conservatory of music in Bri in southern Italy.Conductor THOMAS KIELTY SCHERMAN, American. 61 years old, inNew York 5 14 79. In 1947 he founded The Little Orchestra Society inNew York with the primary aim of performing new and rarely heardworks. Each season included some operas in concert or semi-staged, andover the years he brought over sixty unusual operatic works before NewYork audiences. Included were the American premieres of Wolf's Der

OBITUARIES 1979

Corregidor, Busoni's Turandot, and Orff's Antigonae, and New York'sfirst performances of Djamileh, Beatrice and Benedict, The MakropoulosAffair, and the first full-length performance of Strauss's Daphne. Theconductor was able to engage international stars and underwrite thedeficits from his own funds. In 1975, The Little Orchestra Society gaveits last performance, but two years later he formed the New Little Or-chestra, offering children's concerts in New York and on tour. He wasa student of Otto Klemperer.Business executive, philanthropist ARNOLD SCHWARTZ, American, 74years old, in Greenwich, CT 9/7/79. Founder and former vice presidentof the Paragon Oil Company, he gave generously to institutions in thefields of health care and education. He and his wife Marie were alsobenefactor patrons of the Metropolitan Opera, and donated special fundsfor the construction of the company's new atrium, named the Arnoldand Marie Schwartz Atrium.Musicologist CHARLES SEEGER, American, 92 years old, in Bridge-water, CT 2/7/79. While chairman of the music department at the Uni-versity of California in Berkeley from 1912 to 1919, he introduced thefirst musicology course in the United States. In the 1930's he foundedthe American Musicological Society, and later the American Society forComparative Musicology. In the early 1950's he created the Society forEthnomusicology. He was the author of numerous articles and severalbooks and, at the time of his death, was working on two books, one anautobiography. He was the father of Pete Seeger, the folk singer.Author VICTOR SEROFF, Russian/American, 76 years old, in NewYork 5/10/79. He was a biographer of famous composers, and published16 books in the United States. He also made an English translation ofThe Love for Three Oranges which was widely used after it was firstheard at the New York City Opera in 1945.Record and opera executive DARIO SORIA, Italian/American, 67 yearsold, in New York 3/28/80. In 1939 he left his native Italy and became aresident and later a citizen of the United States, working for the Officeof War Information. For five years he was affiliated with CBS. AfterWorld War II he started to import Italian Cetra records, and in 1948founded the Cetra-Soria label which, in the early 50's, featured thelargest opera record catalogue in the world. Following the sale of Cetra-Soria to Capital Records in 1953, he was, asked by the British Electricand Musical Industries (EMI) to form an American record company forthem. This resulted in the creation of Angel Records, which Mr. Soriaheaded for five years. In 1958 he joined RCA Victor, devising the specialSoria Series, and three years later he became vice president of the com-pany's international division. He left RCA in 1970 and became managingdirector of the Metropolitan Opera Guild, where he established a numberof new programs and greatly expanded both the Guild's functions and itsmembership. He produced a series of historical broadcast recordings forthe Metropolitan Opera and was researching material for next season'srecording of a 1940 Met broadcast of Un Ballo in rnaschera when he wasstricken. He retired from the Met Guild in 1978, but remained a memberof its board of directors. He was also a member of the advisory board ofthe Metropolitan Opera. He was married to Dorle Soria, the author.Opera has lost a true and dedicated friend, who was always knowledg-able, understanding, and supportive, beloved by performers and admin-istrators alike.

Tenor GERHARD STOLZE, Austrian, 52 years old, in Garmish-Parten-kirchen 3 12 '79. Primarily a singer of character roles, he made hisoperatic debut at the Dresden State Opera in 1949 after three years asa straight actor. His first appearance at Bayreuth occurred in 1951, andtwo years later he joined the ensemble of the Berlin State Opera. Heappeared as guest with major German, Austrian, and British companies,and made his Metropolitan Opera debut in 1968 as Loge in Rheingold.

— 46 —

OBITUARIES 1979

He returned for two seasons (1971-73), portraying Herod in Salome andMime in Siegfried. He also sang with the Lyric Opera of Chicago. Castsat 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 Budapest6/79. He made his Metropolitan Opera debut in December 1940 as Renatoin Un Ballo in maschera and continued with the company until 1950. Hesang major baritone roles, especially those of the Italian repertoire, butafter World War II, expanded into German opera. During his yearsat the Met he also appeared with other American companies, notablythose in Chicago, Philadelphia, and Cincinnati. His first performancetook place in Budapest in 1928 (Count di Luna), and he eventually sangwith most leading opera companies throughout Europe (1938-40 at LaScala). During the 50's and 60's he continued as the star of the BudapestState Opera.Benefactor, producer GERT VON GONTARD, German, 73 years old, inZurich 9/29/79. He was a member of the board of the New York CityCenter and, together with the New York City Opera, he produced sevenoperas in the last seven years, the most recent Weill's Silverlake. Heleft Germany in 1933 and settled in California, where his interest wasdevoted to theatre and where he worked with Max Reinhardt. In 1946he and the German impresario Felix Gerstman founded the Playersfrom Abroad, a group of German-speaking actors which toured majorAmerican cities for five years. Later he was instrumental in bringingGerman theatre companies to the United States, including the pres-tigious Vienna Burgtheater. He also arranged European tours for Amer-ican ensembles. His activities with the New York City Opera were notlimited to financing new productions, but included his participation inthe planning and execution of new presentations.Composer FRANZ ALFONS WOLPERT, German, 60 years old, inVienna 6/78. Among his compositions was the recently premiered opera,Der eingebildete Kranke. It was mounted by the Vienna Volksoper in1975.Soprano, teacher ALEXANDRA YACOVLEV, Russian French, 90 yearsold, 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 singthere and in Odessa for ten years. In 1925 she moved to Paris, whereshe sang at the Grand Opera; she also made guest appearances at otherleading opera houses throughout Europe. She retired from the stage in1941 and began to teach, first at the Salle Pleyel and later at the Con-servatoire Serge Rachmaninov in Paris, where she remained on thefaculty and was honored by a special concert on the occasion of her 90thbirthday.Mezzo-soprano, choral conductor ZILLAH YOUNG, American, 33 yearsold, in Honolulu 3/29/79. A winner of the Metropolitan Opera RegionalAuditions in the Pan Pacific Region and a former member of the SanFrancisco Opera Chorus, she was named conductor of the recentlyformed Honolulu Symphony Chorus. She suffered a heart attack duringa 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 alwaysactive in civic and cultural affairs. He took an early interest in LincolnCenter, and helped raise funds for its building. He was appointed byMayor 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 OperaNational Council.Violinist JOSEPH ZWILICH, American, 53 years old, in New York6/26/79. He was a member of the Metropolitan Opera orchestra for thelast 17 years and was stricken while attending a ballet performance inthe opera house. •

— 47 —

PERFORMANCE LISTING, 1979-80 (cont.)

All performances are staged with orchestra unless marked "cone, pf." or "w. p."(with piano), — * following an opera title indicates new production. — Perform-ances and news items once announced will not be relisted at the time of per-formance.

ALABAMATroy State University Opera Wksp., P. Kelley, Dir., Troy5/14, 15, 16, 17/80 Orpheus in the Underworld Hng. Park

ALASKAAlaska Repertory Theatre, R. Farley, Art. Dir., Anchorage2/12-29/80 Something's Afoot

ARIZONAArizona Theatre Co., S. Rosenthal, Art. Dir., Tucson4/1-20/80 The Threepenny Opera

ARKANSASArkansas Repertory Theatre, C. Baker, Dir., Little Rock10/1-14/79 Dames at Sea3/13-30/80 Filumena6/5-22/80 Something's AfootUniversity of Arkansas Opera Wksp., B. Thebom, Dir., Little Rock12/1-9/79 Calhoun's Christmas puppet opera w.p.2/3-9/80 Cinderella abgd. w.o.

CALIFORNIACalifornia State Univ. Opera Wksp., M. Kurjian, Dir., Fullerton12/10/79 Mussorgsky's The MarriageCalifornia State University at Long Beach Opera Theatre, H. Lampl, Dir.3/14, 15, 16, 19, 20, 21, 22/80 Blow's Venus and AdonisCalifornia State Univ. Opera Wksp., Los Angeles11/9, 10, 11/79 Hansel and Gretel1/18, 19, 20/80 The Magic FluteCalifornia State University Opera Wksp., D. Scott, Dir., Northridge11/79 The Beggar's Opera3/80 The Merry Wives of WindsorCasa Italiana Opera Theatre, M. Leonetti, Gen. Dir., Los Angeles10/21, 22/79 Cavalleria rusticana & Pagliacci1212, 3/79 RigolettoChico State University Opera Dept., Chico11/14/79 McFarland's The Donner Party prem.East-West Players, M. Iwamatsu, Art. Dir., Los Angeles10/4-11/11/79 Pacific OverturesFullerton Civic Light Opera, Fullerton10/19-11/4/79 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 Opera2/22-3/30/80 Don Giovanni Eng.2/29-5/18/80 Carousel4/10-5/18/80 La Boheme Eng.Hollywood-Wilshire Symphony, F. Desby, Dir., Wilshire Ebell Theatre, Los

Angeles2/10/80 La Traviata Wald; Wickman, FrenchJesters Theatrical Society, L. Pope, Dir., Pasadena9/7-10/7/79 The Pirates of Penzance 15 pfs.La Mirada Civic Light Opera, La Mirada10/5-20/79 Hello DollyLong Beach Grand Opera, M. Melinski, Gen. Dir., Terrace Theater, Long

Beach2/27, 29/80 Madama Butterfly Pilou, Vergara; Ciannella, Opthof; c: Guadagno; d:

Auerbach; Chicago Lyric prod.

— 48 —

Los Angeles Lyric Ass'n, N. Van Way, Dir., Los Angeles4/80 The Merry WidowLos Angeles Music Theatre, L. P. White, Dir., Los Angeles11-12/79 1/12/80 Candidew.p.Los Angeles Opera Repertory Theatre, J. Dordick, Dir., Wilshire Ebell Thea-

tre, Los Angeles9/79 Benefit Concert5/7, 9, 11/80 Albert Herring Stuart, Decker, Yarmet; Mack, Immel, Van Dusen;

c: D. ScottLos Angeles Solo Repertory Co., J. Swift, Dir., Hall of Liberty, Los Angeles2/17m/80 Fidelio cone. pf.Mt. San Jacinto College Opera Wksp., A. Ayars, Dir., Gilman Hot Springs1/11, 13, 18, 20/80 Hansel and Gretel w. 2 ps.Music Academy of the West, M. Abravanel, Art. Dir., Santa Barbara8/80 Suor Angelica & // Tabarro & Gianni Schicchi c: L. Smith: d: M. SingherMusic From Bear Valley, J. Gosling, Art. Dir., Bear Valley8/8/80 The Barber of SevilleNew York City Opera, B. Sills, Gen. Mgr., Chandler Pavillion11/14, 17/79 La Loca11/15, 18m/79 Lucia di Lammermoor11/16, 18/79 Rigoletto11/20,24 12/4/79 Carmen11/21/79 La Clemenza di Tito11/23,25/79 Faust11/25m, 27, 29/79 The Merry Widow11/28 12/lm/79 The Marriage of Figaro11/30 12l2ml79Manon12/1, 9m/79 Faistaff12/2/79 The Daughter of the Regiment12/5, 8m/79 Count OryMid, 8/79 Dido and Aeneas & Le Bourgeois gentilhommeMil, 9/79 ToscaOdyssey Theatre Ensemble, R. Sossi, Art. Dir., Los Angeles9/5-23/79 Little Mary SunshineOpera a la Carte, R. Sheldon, Dir., Los Angeles10/13 11Z26/79 2/3/80 The Pirates of Penzance10/26/79 The Mikado1/25/80 H.M.S. PinaforeL'Opera Comique, G. Negrini, Mus. Dir., Patriotic Hall, Los Angeles1/19/80 Madame ButterflyOpera Piccola, E. Evans, Dir., Little Theatre, Palace of the Legion of Honor,

San Francisco2/21, 23 3/1, 2m/80 The Secret of Susanna & Viardot's CinderellaOpera West, N. Domokos, Dir., Fairfax H.S. Auditorium, Los Angeles1/12, 13/80 La TraviataPalm Springs Opera Guild of the Desert, Palm Springs3/14/80 Don Pasquale guest engagement Lyric Opera of Chicago, L.A. Chamber

Orchestra; G. Evans; c: SchaenenSan Diego Opera Center, T. Capobianco, Gen. Dir., San Diego11/3/79 The Triumph of Honor & Scenes1979-80 "Street Opera" 40 pfs. (The Telephone; Secret of Susanna)1979-80 tour to schools: Hansel and Gretel; "Opera: It's Grand!"San Diego Opera Verdi Festival '80, T. Capobianco, Art. Dir., San Diego6/26, 28m 7/6/80 Giovanna d'Arco Maliponte; Lima, Elvira, Chausson; c: Gava-

zzeni; d: Mansouri; ds: W. Skalicki/A. Skalicki6/27 7/2, 5m/80 // Trovatore Arroyo; Bini, Pons, Martinovich; c: Simmons; d:

Capobianco; ds: Lee7/3/80 Gala Verdi Concert6/26-29/80 Central Opera Service National ConferenceSan Jose Opera and Symphony, G. Cleve, Mus. Dir., San Jose2/80 Madama Butterfly

— 49 —

Santa Monica Civic Opera, Santa Monica10/27, 28/79 Die Fledermaus3/1, 2/80 RigolettoSouthern California Conservatory of Music, Opera/Children's Musical Theatre

Wksps., Sun Valley12/17-22/79 Wolf/Burgess' A Christmas Fable & Amahl and the Night Visitors3/24-29/80 Wolf/Burgess' Snow-White and the Seven Dwarfs prem. & 1-act operaThe Table Top Opera Co., Los Angeles2/80 Hansel and GretelUniversity of California at Irvine, School of Fine Arts, C. Garrison, Dean,

Irvine4/22, 24, 26/80 La Forza del destino 1862 version, Eng. Porter; Vaness, Clarey;

Howell, Gardner, Carmeli; c: Bradshaw; d: GarrisonUniversity of California at Los Angeles, Opera Wksp., J. Hall, Prod., Los

Angeles2/22, 23, 26, 27, 28, 29 3/1, 6, 7, 8/80 "One-Act Opera Festival" Manage aux

lanternes; Mavra; Suor Angelica; RitaUniversity 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., Stockton11/16, 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 Diego12/1, 2/79 Gianni Schicchi & Amahl and the Night VisitorsValley Opera, R. Chauls, Dir., Los Angeles Valley College, Van Nuys1/11, 12, 13m, 13/80 The Magic Flute Eng. B. Swift3/28, 29, 30m, 30/80 Cavalleria rusticana6/20, 21, 22m, 22/80 The Bartered BrideWest Bay Opera, M. Holt, Exec. Dir., Palo Alto10/19-21, 25-27/79 The Merry Wives of Windsor Eng.; c: Kanouse2/8-10, 14-16/80 La Traviata c: Setapen5/16-18, 22-24/80 Die Fledermaus Eng.; c: BarnesWestern Spring Opera, K. H. Adler, Gen. Dir., Palace of Fine Arts Theater,

San Francisco4/15, 18, 20m, 23, 26/80 Weill's Lost in the Stars Winbush, Davis; Cole, Ackridge4/16, 19, 22, 26m 5/2/80 Kurka's The Good Soldier Schweik Snyder; Green, Raines,

Hammons, Hedlund; c: Agler; d: Levine; ds: Israel4/25, 29 5/4m, 7, 10/80 Susa's Transformations Alexander, Quittmeyer, South;

Brandstetter, Duykers, Myers, Tate, Wexler4/30 5/3, 6, 9, l lm/80 Friml's The Vagabond King Cook, Beckstrom; Rice, Low-

man; c: Miner; Houston Grand Opera prod.COLORADO

University of Colorado Opera Wksp., K. Hata, Dir., Boulder10/26, 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., Gunnison4/9, 10/80 Hansel and Gretel w.p.

DISTRICT OF COLUMBIAContemporary Music Forum, Washington11/19/79 Maxwell Davies's Miss Donnithorne's MaggotHandel Society, S. Simon, Dir., Kennedy Center, Washington2/16/80 Radamisto Wolff, Valente, N. Shade; R. Lewis; cone. pf.3/15/80 Judas Maccabaeus Garden, Forrester; Burrows, Diaz4/19/80 Samson GeddaPaul Hill Chorale, T. Duncan, Art. Dir., Kennedy Center2/24/80 Porgy and Bess cone pf.; D. Jackson; S. BondsRenton Community Opera, Washington12/79 Christopher Columbus 4 pfs.

FLORIDAFlorida Opera Repertory, B. Smith, Pres., Coral Gables (see also Vol. 21,

No. 3)12/79 La Traviata also radio broadcast

— 50 —

Opera-a-la-Carte, A. Smith, Gen. Dir., Jacksonville1979-80 tour to schools: The Boor; The Telephone; Rita; Gallantry; The Impresario

GEORGIAAlliance Theatre Co., F. Chappell, Art. Dir., Atlanta11/25-12/23/79 Oliver!Atlanta Civic Opera Ass'n, P. Heuermann & W. Noll, Art. Dirs., Fox Theater2/25/80 Daughter of the Regiment Augusta Opera prod.3/14, 16m/80 The Seagull Boozer; Hartman; c: Noll; d: Pasatieri3/28, 30m/80 La Traviata Ferrer4/1/80 Sherrill Milnes in Concert

HAWAIIOpera Players of Hawaii, educational group of Hawaii Opera Theater, Hono-

lulu1/8, 12, 15, 17, 23 2/7/80 "The Don and His Ladies" preview for Don Giovanni2/13, 14, 21/80 "Mini Don Pasquale"

IDAHOBoise Civic Opera, C. Elliot, Pres., Boise9/79 La Boheme4/80 The Ballad of Baby Doe; outreach tour to Horseshoe Bend, Idaho City, Twin

Falls, Caldwell.Boise State University Opera Wksp., W. Taylor, Dir., Boise1/80 Hin und zurtick also tour4/80 Cos) fan tutteIdaho State University Opera Wksp., T. Flatt, Dir., Pocatello41 SO CabaretNorthwest Opera Assn., M. Mead, Dir., Twin Falls10/79 Opera Scenes2/80 Madame Butterfly Western Opera Theater prod.University of Idaho Opera Wksp., C. Walton, Dir., Moscow11/79 Opera Scenes3/80 Noye's Fludde4/80 The Robber Bridegroom

ILLINOISChamber Opera Theatre, E. Starkeson, Gen. Mgr., 11th St. Theatre, Chicago6/11, 13, 14/80 L. Smith's Aria da Capo prem. & L'Histoire du soldat Eng.; c:

Larsen; d: WilliamsIllinois Wesleyan University Opera Theatre, L. Snyder, Dir., Bloomington10/18-21/79 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., Evanston12/5/79 3/15 5/21, 28/80 Scenes w.p.2/15, 17, 22, 24/80 The Rape of Lucretia w.o.

IOWACornell College Opera Wksp., M. Lee, Dir., Mt. Vernon5/19, 21/SO The Marriage of FigaroDrake University Opera Theatre, M. Hall, Dir., Des Moines11/8-12/79 A Funny Thing Happened on the Way to the Forum2/23, 24/80 Christopher Sly

LOUISIANALouisiana Tech University Opera Wksp., S. Yang, Dir., Ruston3/13, 14, 15/80 Susannah

MARYLANDPrince George's Civic Opera, R. Steeg, Art. Dir.. Riverdale2/1, 3/80 The Elixir of Love High Point H.S.. Beltsville3/21, 23/80 Rigoletto Fng.: Prince George's Community College. Largo: c: Tardue:

d: BiondiPrince George's Civic Opera's Operathon, The Publick Playhouse, Cheverly12/27-30/79 Seminars and Workshops12/27m. 28m, 29m. 30m/79 Hansel and GretelMl21, 29/79 Czerny-Hydzik's The Tell-Talc Heart prem.12/30/79 Cain's The Lesson prem.

— 51 —

University of Maryland Opera Theatre, G. Tallman, Dir., College Park9/30-10/7/79 Once Upon a Mattress w.o.11/14-17/79 Signor Deluso & The Medium w.p.; also 12/1 at NOA Convention2/28, 29 3/1, 2/80 The Pirates of Penzance w.o.

MASSACHUSETTSBoston Conservatory Opera Theater, J. Moriarty, Dir., Boston1/25-27/80 Les Mamellcs de Tiresias & Incomplete Education4/9-13/80 Marschner's Der Vampyr Am. prem.; Eng. MoriartyBoston Lyric Opera Co., J. Balme, Gen. Dir., Boston3/13, 16/80 Vn Giorno di regnoChamber Concerts of Newton, P. Morehead, Mus. Dir., Sanders Theater,

Cambridge4/4, 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 GretelOpera New England, S. Caldwell, Art. Dir., Boston2/80 Die Fledermaus Eng.; tour

MICHIGANOpera Company of Greater Lansing, A. Suits, Pres., Lansing1/11, 12/80 Madama ButterflyUniversity of Michigan Opera Theater, G. Meier, Dir., Ann Arbor11/15, 16, 17, 18m/79 La Boheme c: Meier: d: Bakmanl/26m, 26/80 The Unicorn, the Gorgon and the Manticore University Dance Co.

and Cantata Singers3/13-16/80 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

CenterUniversity of Michigan Opera Wksp., J. Van Der Merwe, Mus. Dir., Ann

Arbor11/19/79 Opera Scenes & Rorem's A Childhood Miracle

MINNESOTACarleton College Chamber Singers, W. Wells, Dir., Northfield5/16, 17, 18 6/7/80 Dido and Aeneas & Trial by JuryCricket Theatre, L. Salerni, Art. Dir., Minneapolis1/1-26/80 Shire's Startinq Here, Starting Now

MISSISSIPPIMississippi Opera, J. Goolsby, Art. Dir., Jackson9/20, 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.,

Jackson1/26, 27/80 More Than Meets the Eye & Savitri6/23-7/22/80 The Music Master Eng. Radford; Carissimi's Job w.p.

MISSOURIOpera 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., Boseman1979-80 Four Note Opera: The Pirates of PenzanceUniversity of Montana Music Theatre, E. England, Dir., Missoula1979-80 Amahl and the Night Visitors; Patience; Carousel

NEBRASKANebraska Sinfonia, T. Bricetti, Cond., Omaha4/80 Bach's The Happy Prince prem.

NEW HAMPSHIRETheatre by the Sea, D. Souerwine, Mng. Dir., Portsmouth10/26-12/2/79 Godspell4/25-5/18/80 Weill: Berlin to Broadway

— 52 —

NEW JERSEYRutgers University Opera Wksp., V. Goodall & J. Connell, Dirs., New Bruns-

wick12/79 Amahl and the Night Visitors w.p.4/80 Opera Scenes w.p.

NEW YORKCornell Savoyards, S. Bronfenbrenner, Dir., Ithaca11/9-11, 16-18/79 H.M.S. Pinafore3/7-9/80 RuddigoreSUNY at Purchase, Opera Wksp., P. Brooks, Dir., Purchase2/22-25/80 Little Mahagonny4/23, 25, 26/80 Dialogues of the Carmelites Eng. Machlis; e: Wyner; d: Owens

NEW YORK CITYApollo Opera Inc., N. Moraitis, Art. Dir., Wagner H.S.5/31 6/lm/80 La Muette de Portici c: Martin; d: J. BookspanBrooklyn College, School of Performing Arts12/16m/79/ep/f/a41271 SO Sounds of the American Musical TheatreBrooklyn Lyric Opera, N. Myrvick, Art. Dir., Holy Name Aud., Brooklyn9/9, 15, 16, 22/79 Romeo et Juliette10/14, 20, 21/79 // Trovatore10/21/79 La Traviata11/25 12/1, 2/79 Un Ballo in maschera1/20, 27 2/3, 10/80 La Fi/le du regiment2/23, 24/80 L'Elisir d'amoreChamber Opera Theatre, T. Motyka, Prod., Brooklyn Academy of Music3/21, 22, 23m/8O The Bear & Angelique c: Cox; d: Motyka; ds: Giampa/Kellard;

choreog: ReamsComposers' Showcase Program, Whitney Museum of American Art1/4/80 "Kurt Weill Songs" Stratas. Mercer. Lenya: Gregg Smith SingersThe Dance Theater Workshop, West 19 Street12/26-29/79 Ashley's Perfect Lives (Private Parts) prem. of 4 parts; Kroesen; Van

Tiegham; narr: R. Ashley; ace: Tyranny; d: M. Ashley & H. BorkinEastern 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 PlayhouseEnsemble for Early Music, F. Renz, Mus. Dir., Cathedral of St. John the

Divine12/79 The Play of St. Nicholas a medieval church playFirst All Children's Theatre Co., M. Stein, Art. Dir.10/21-12/2/79 Namanworth's Alice Through the Looking Glass10/31-12/1/79 Thomas & Forster's Clever Jack and the Magic Beanstalk12/8/79-2/24/80 Swados's Incredible Feeling Show3/80 Strouse's The Emperor's Nightingale4/80 Forster's GrownupsInwood Chamber Opera Players, S. Edelman, Dir., Brooklyn10/79 The Magic Flute abgd. w.p.11/79 Cost fan tutte abgd. w.p.12/79 An Evening of Renaissance MusicKosciuszko Foundation, East 65 Street11/30/79 Friedman's Mordecai prem.: c: Kozinski; 12/9 at Temple IsraelLive From the Met, M. Bronson, Exec. Prod., PBS5/17/80 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 Chamounix11/30 12/1/79 Herbert's Natoma12/18/79 Samson et Dalila1/14/80 Le Roid'YsManhattan 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 —

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'amore4/22, 25/80 Otello4/23, 30 5/7, 21, 28 6/12/80 Eugene Onegin4/24, 28 5/5, 12, 15, 19, 26 6/14/80 Un Balln in maschcra4/26m 5/3m, 10m, 17m. 24m, 31m 6/ 14m/80 Hansel and Gretel4/26 5/3, 10, 24, 27 6/13/80 Billy Budd4/29 5/6, 14, 20, 29 6/10/80 Carmen5/2, 9, 13, 16, 23, 30 6/9/80 AidaNew Princess Theater Co., G. Bordman, B. Schuchat, E. Watt, Dirs., Park

Royal Theater12/16/79 Kern's Oh, Boy!New York City Opera, B. Sills, Gen. Dir., State Theatre, Lincoln Center2/11, 23, 26/80 Count Ury I:ng. Hammond2/22, 24m. 27 3/2/80 La Traviata2/23m, 24, 28 3/1/80 Die Iledermuus Fng. Martin2/29 3/9m, 11/80 Madama Butterfly3/lm, 7, 9/80 The Marriage of Figaro Rng. Martin3/2m, 5, 8m, 12, 15m/80 Fal.ttafl3/6, 8, 14, 16, 19. 22/80 Don Giovanni'-- Vaness. Kshanv. Blake. Ramey. Rippon; c:

Rudel; d: Cox; ds: Annals3/15, 18, 21/80 Manan3/16m, 23, 29 4/19m. 26m/80 Carmen3/20, 23m, 25, 27, 29m 4/4/80 Weill's Silverlake* Am. prem.. Eng. Wheeler: Hynes,

Bonazzi; Gray, Neill; c: Rudel: d: Prince: ds: Lutgenhorst3/22m, 30 4/5/80 The Barber of Seville Eng. Martin3/28, 30m 4/3, 5m/8O Meftstofele4/6m, 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 Boheme4/11, 13m, 16/80 La Cenerentola Eng. Beni4/13, 17, 19,22, 24/80 Faust4/18, 20, 26/80 lev Contes a"Hoffmann4/20m, 25, 27/80 The Daughter of the Regiment Eng. MartinSpring 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-WilsonNew York Gilbert & Sullivan Players, Symphony Space11/1-4/79 H.M.S. Pinafore & Trial by Jury12/30, 31/79 1/3-5/80 The Pirates of PenzanceOpera at the Y, Kaufmann Concert Hall, Lexington Ave.3/6, 8, 9m/80 Schiff/Singer's Gimpel the Fool c: Kaiser; d: BredemannOpera Camarata, Good Shephard Presbyterian Church9/13, 15/79 Don GiovanniOpera 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 LucretiaQueens College Opera Wksp., H. Weisgall, Dir., Flushing10/4-6/79 Jesus Christ SuperstarRegina Opera, Regina Church11/30 12/2/79 Pagliacci & Gianni Schicchi

— 54 —

Richard Tucker Memorial Concert, Carnegie Hall2/17/80 Concert w. Cotrubas, Riccarelli, Soviero, Troyanos; Bergonzi, Milnes,

Pavarotti, Plishka, Raimondi, Van Dam; me: RobinsonSomers Intermediate School & Wagner Society of New York, Kaufman Audi-

torium1/30/80 Wagner/Caggiano's The Ring adapt, for child performersTouring Concert Opera Co., A. Figols, Art. Dir.1979-80 tour: "The Art of Zarzuela"; La BohemeWNET/13, D. Griffiths, Prod, (see also Vol. 21, No. 4)3/16/80 A Gala of Stars, WNET Benefit from Metropolitan Opera stage; Sills,

Price, Scotto, Soviero, Troyanos; Domingo, Gudunov, MacNeil, Pavarotti, Stern;c: Levine

NORTH CAROLINAEast Carolina University Opera Theatre, C. Hiss, Dir., Greenville11/2, 3/79 Opera Scenes w.p.2/22, 23, 24, 25/80 Riders to the Sea & L'Heure espagnole w.p.University of North Carolina Opera Theatre, A. Knutscn. Dir., Greensboro10/79 Candide w.o.11/13/79 Lackey's Mr. Peggotty's Dream Comes True prem.; w.p.12/79 Scenes from Le Cinesi & Cosi fan tutte4/80 La Boheme w.o.

OHIOBaldwin-Wallace Opera Wksp., S. Raleigh, Mus. Dir., Berea2/29 3/1, 7, 8/80 The Telephone & The MediumCleveland Institute of Music Opera Theater, A. Addison, Dir., Cleveland2/ lm, 1/80 Maestro di musica & Scenes, c/'d: M. Mangold3/26, 28, 29/80 Die Fledermaus c: Bragado-Darman; d: AddisonCleveland Museum of Art, Cleveland10/7779 Maxwell Davies's Miss Donnithorne's MaggotCleveland Opera Theater, S. Feldman, Gen. Mgr., Opera-in-the-Schools11-12/79 Old Maid and the Thief 15 pfs. at secondary schools3/80 Hansel and Gretel at elementary schools; abridged vers.Dana School of Music Opera Wksp., D. Vogel, Dir., Youngstown11/19, 20/79 Sweet Betsy from Pike & Hello Out There & Introductions and Good-

byes & Chanticleer w.p.5/22, 23, 24/80 H.M.S. Pinafore w.o.Toledo Opera Company, L. Freedman, Gen. Dir., Toledo (see also Vol. 21,

No. 4)3/8/80 The Barber of Seville Flasch; Rhodus, Walker, Bisson, Voketaitis; c: J.

Rescigno; 3/15 in DaytonOKLAHOMA

Oklahoma University Music Theatre, J. Birkhead, Dir., Norman10/18, 19, 20/79 Man of La Mancha12/9, 10, 11, 12/79 A Christmas Carol2/28, 29 3/1, 2/80 Cavalleria rusticana & Pagliacci

OREGONEugene Opera Co., G. Hutto, Dir., Eugene10/79 Rigoletto12/79 Amahl and the Night Visitors4/80tbaRogue Valley Opera Ass'n, R. Tumbleson, Dir., Ashland9/79 La Traviata12/79 Amahl and the Night VisitorsSalem Symphony Orchestra2/80 Carmen cone, pfs.; J. Taylor

PENNSYLVANIAAcademy of Vocal Arts Studio & Opera Company of Philadelphia12/14/79 Laderman's Shadows Among Us prem. concert readingPhiladelphia Orchestra, Youth Concert. L. Smith, Cond., Philadelphia10/13/79 Mayer's Hello, World! cone. pf.Theatre Express, C. Harder, Gen. Mgr., W. Turner, Art. Dir., Pittsburgh1979-80 Bolcom's Dynamite Tonight

— 55 —

RHODE ISLANDProvidence Opera Theater, M. Ruffino, Dir., (see also Vol. 21, No. 4)2/2, 9/80 Madama Butterfly Vernocchi, Gatti, Puig, Fazah; c: Doren; d: Ruffino;

at Worcester3/29/80 L'Amore del tre re Moffo, Harrison, Cooper, Seabury; Casutto

SOUTH CAROLINASpoleto Festival U.S.A., J. Kearney, Gen. Mgr., Charleston5/23, 28, 30 6/7m/80 La Sonnambula5/24m, 28m, 30m 6/ lm, 4m, 6m/80 Monsieur Choufleuri at Dock St. Theatre5/24, 26, 28, 30 6/2, 5, 7/80 Transformations all mat. at Garden Theatre5/25m, 25, 27m, 29m 6/1, 3m, 5m/80 Le Docteur Miracle at Dock St. Theatre5/25, 27, 29, 31 6/1, 3, 4, 6/80 Chip and His Dog all mat. at Footlight Players

Workshop5/29, 31m/8O Verdi Requiem

TENNESSEECarson-Newman College Lyric Theatre, T. Teague, Dir., Jefferson City10/25, 26, 27/79 ShenandoahFisk University Opera Wksp., E. Payne, Dir., Nashville12/79 Porgy and BessKnoxville Civic Opera, E. Zambara, Art. Dir.11/79 The Merry Widow4/80 CarmenSouthern Opera Theatre of Opera Memphis (see also Vol. 21, No. 4)11/27-30 12/3, 4/79 Davidson's Scrooge prem.; at Cook Convention Center Audi-

torium

TEXASHouston Grand Opera Spring Festival, D. Gockley, Gen. Dir., Miller Out-

door Theatre6/13-28/80 Die Fledermaus 6 pfs.; La Boheme 6 pfs., all Eng.; subsequent natl.

tour of Die FledermausNorth Texas State University Opera Theater, T. Holliday, Dir., Denton2/27-3/1/80 Bizet's Don Procopio Eng. Holliday

WASHINGTONA Contemporary Theatre, G. Falls, Art. Dir., Seattle10/1-20/79 The FantasticksEastern Washington University Music Theatre, J. Duenow, Dir., Cheney11/15, 16, 17/79 The Bartered Bride w.p.4/17, 18, 19, 20, 25, 26 5/1, 2, 3, 8, 9, 10/80 Jesus Christ Superstar w.o.Seattle Pacific University Opera Wksp., W. Saba, Dir., Seattle5/80 Opera ScenesSeattle Repertory Theatre, P. Donnelly, Mng. Dir., Seattle11/28-12/23/79 Marvin's History of American Film3/19-4/13/80 Kennedy's Spokcsong4/23-5/18/80 Pal JoeyWashington State University, Opera Wksp., J. Daniels, Dir., Pullman12/79 Opera Secenes4/&0 Street Scene

WISCONSINSkylight Comic Opera, C. Cabot, Mng. Dir., Milwaukee10/3, 5, 6, 7m, 7/79 The Beggar's Opera10/31 11/2, 3, 4, 7, 9, 10, 11/79 Silverman's Hotel for Criminals12/79 tf.M.S. Pinafore 18 pfs.1/30 2/1, 2 ,3 ,6 ,8 ,9 , 10, 13, 15, 16, 17/80 Kern's Oh Lady, Lady3/5, 7, 8, 9m, 9, 12, 14, 15, 16/80 The Vagabond King4/9, 11, 12, 13, 16, 18, 19, 20/80 Viva La Mamma

CANADAChildren's Opera Chorus, R. Mercer, Art. Dir., Ryerson Institute, Toronto12/15, 16/79 Chip and His Dog5/31 6/1/80 Rossini's Cinderella in Salerno Walker & Beaumont adapt.Cosmopolitan Opera, Toronto9/79 La Boheme Strano

— 56 —

Festitalia, S. Thomas, Art. Dir., Hamilton Place, Hamilton9/13/79 La Boheme Tucci, Forst: Pastine, Sereni, Kukurugya; c: Brott; d: Thomas;

ds: Varona; Vancouver Opera prod.Le Grand Theatre de Quebec & Societe Lyrique d'Aubigny, Quebec City5/15/80 Romeo et Juliette Boky; Jobin, Rouleau; c: Belanger; d: Letourneau; ds:

PelchatGuelph Spring Festival, N. Goldschmidt, Art. Dir., Guelph, Ont.5/2/80 "Healey Willan Centennial Celebration", Lois Marshall; Elmer Iseler

Singers; Stratford Ensemble5/8, 9/80 L'Enfance du Christ Taylor; Trepanier, Corbeil, Relyea; c: Goldschmidt;

5/12, 13 in Kitchener5/10, llm, 11/80 Spring Thaw '805/11/80 "A Tribute to Ernst Krenek"McGill University Opera Studio, E. Delia Pergola, Dir., Montreal10/21 12/16/79 2/24 4/20/80 Opera Excerpts w.p.11/1 12/1/79 2/1 3/1 4/1/80 Opera Ensemble w.p.3/20, 21, 22, 23/80 La Boheme w.o.Pacific Opera Ass'n, C. Lowther, Dir., Victoria, B.C.2/80 La Boheme w. Victoria Symphony, c: FreemanToronto Symphony Orchestra, A. Davis, Mus. Dir., Toronto3/22-24/80 Die Walkiire Act I, cone, pfs.; Norman; Jung, HaughlandSaskatoon Opera Ass'n, I. Guttman, Art. Dir., Saskatoon1/80 Carmen Landry; c: Gurevitch; d: GuttmanUniversity of Western Ontario Opera Theatre, M. Chambers, Dir., London11/30 12/1, 2/79 The Wandering Scholar & Hin und zuriick & Riders to the Sea3/21, 22, 23, 26, 27, 28, 29m, 29, 30/80 The Merry Widow Eng. Lazarus/Lester

57

CENTRAL OPERA SERVICE

BULLETINLincoln Center • Metropolitan Opera

New York, N.Y. 10023

M E M B E R S H I PINFORMATION SERVICESCentral Opera Service will either supply specific information requested or will suggestsources where information may be acquired. This is a cooperative information exchangeservice on:Repertory, Translations, Performances, Musical Materials, Scenery, Costumes, Props,and Publicity.

PUBLICATIONS, SURVEYS AND SPECIAL LISTINGSBulletin. Lists of: Opera Producing Companies in the U.S. and Canada. Annual Per-formances; Premieres in the U.S.; Available English Translations; Awards for Singers;Directories of American Contemporary Operas and Foreign Contemporary Operas.

MEETINGSCentral Opera Service National ConferenceCentral Opera Service Regional Conferences

CLASS OF MEMBERSHIPINDIVIDUAL MEMBERSHIP $10.00

Bulletin, Announcements of Publications, ConferencesSPECIAL LIBRARY MEMBERSHIP $10.00

BulletinGROUP MEMBERSHIP $25.00

Bulletin, Publications, Conferences, Information ServiceINSTITUTIONAL MEMBERSHIP $50.00

Bulletin, Publications, Conferences, Information and Full Research Service

ENROLLMENT BLANK

Name of Organization or Individual

Name and Title of Officer

Address

City, State, Zip Code

Check enclosed $10 D $25 • $50 • (add $5 for overseas postage)

Please make checks payable to Central Opera Service Date 19