BROOI\. I YN A< ADI MY OJ M l Sl< 'J"'ll ( ~ I.Ji l tl e () rcll e 'l.ra s()C ieLy THOMAS SCHERMAN, Mmic f)irector VLADO I lAB N l K, Stage I>ircct01 I

ANNUAl SUBS< IUI'IION !->I lUI.!'> S I ASON l<)(l<) 197() Flr'>t ('once It Sund.ty, October I 2 at ?. · W p.m.

III· Rili·H I II AIUU I I , A1onagl'l

(ARt ORI F PROI\.11 1111 l S (Amclit::lll Pl elllll're) From the origin.tl (,IL'L' J.. t1aged) of Ac ... ..:: hvlu'> Prnmet hell '> ...... ('ados Ak.-..::tlllkt In ...... Coktll: I o tand llephaestus ...... I eo ( .oeke Bi.t ...... Phil ip Rice 1\.ratO'i ...... Scan ILu kcr Oceanu-...... Ravmnnd M un.:ell llermcs ...... Wtlltam I cwis Oceanitl'i : CIH istina A-.hn, Hetty B;mch, JenncJ..e B.u ton, Icc lkllaver. ll.trba t.t < 1011..:h, < lamn1ah D.tle, S.tr.th FranJ..IJJl, D1.111 C ll1gginbotham, D1.1n.t llo.Jgl.tnd. I ou Ann I ee, I in Maxwell, Jacqueltnc Pierce. In\ Bl. tLJ..ctt SchoL·plltn, Ruth Ra), DP..Jt: Stew.ut ltme · Ancient (,recce Place: A mountain t: 1.1g in the ( .tlH.:as us

Scene I Krato-., Promet heus, llephae'itll '>, Ili a Scene 2 Scene 1 - Prnmetheu-., Oce.tnids Scene ~ ­ J>rom et he us, Oceanus, Ocean ids Scene ) Oce:t nids, PJOlllL'thcus Scene 6 P • nmct he us, , ('hot us Scene 7 Chon!'>, Pt OlllL't he us Scene H Promctheu-.. llcrmcs, ('horus Scene 9 PJlHll L't hew.. , < h01 u-.

'I hNt' will ht• no 111/t'lllll.\\ion

'I he al tem .t tt:'> fot Mr. Alnandcr and M1ss l orand arc· '1 homas Pallll L' l and Ann.1 ( ,,thtleli The chon"' of Oceanitl'i wa-. prepared by Dlllo Anagnost Setting and costume'> by: Dian,1 and /l.1to Bomd. ( 'o-.tumes execull'd by: Bett y Wdli:tm'> llcaddresse'> by: R.tl ph Lee J>rnmethew.. puppet cte.tted by: I a11y lkrthelson Operated by: l at ry Berthclson and Mat y Allen Mus1c by at rangL' lllc nt with A-.-.oci.tted Mti'>I C J>ubli -. hcl'>, In c., New Yot J.., agent lot B. Schott\ Sohne, Main;r

American debut Bal dwin Pt .t nm

NOTES ON THE PROGRAM by THOMAS MATTHEWS The Wor/d-1 heater of Carl Orf] ( 1895-

Prometheus is the concluding work in Carl OrfT's epic-trilogy for the theater. The first, , made its appearance in 1949 and the second, , The Tyrant, was pre­ miered in 1959. For those experiencing Orff for the first time, let them be aware immedi­ ately that he is not an operatic composer in the accepted sense. In fact, the word never appears in connection with the titles of his stage pieces. All of his World-theater works-which they have been named-are direct and elemental protests against the established conceptions of so-called nineteenth century opera. The texts of Orff's theater pieces are the departure point for his music. He is a composer, who illustrates and decorates the spoken or sung word in a collaboration with dance or stylized movement and stage design. K. H. Ruppel reminds us that ''one cannot do justice to Orff's creative work by considering only its musical aspects. Alongside his musical primitivism, one must place the stimulating force of his ideas on the art of dramatic presentation; an art, which, in a vibrant, resonant room, makes the singing and playing of vibrant people an allegory of life." Dr. Orff rarely comments on his magical and, to some, incomprehensible creations, but. it is well known that he believes the salvation of musi~ can be realized only through the spoken-sung word and a complete!\ rejuvenated, "yet technically simplified .. theater. He has stated: "I am often asked why I nearly alwa)s select old material, legends and fairy tales for my tage works. I do not look upon them as old, but only valid. The time clement disappears and only the spiritual power remains. I write for the theater, in order to convey a spiritual attitude." Orff's musico-dramatic quest has driven him beyond the confines of opera into a realm of mystery and ritual. Toward a total theatrical experience. His works are strange, hypnotic incantations, suggestive of almost forgotten times in which drama, music and staging shared and moved together in the truest sense of equality. However, despite his empathy for antiquity, Orff is a twentieth century composer, a twentieth centuryman and his works arc expressions of twentieth century ideals and happenings. Carl Orfi was born in Munich and studied there at the Akademie der Tonkunst, until 1914. After serving in the army during the first World War he held positions at the opera houses of Mannheim and Darmstadt. Dissatisfied, he returned to Munich and was put in charge of a department in the Gunther school of Physical Training called Tanserisch Musikerziehung (Musical training by means of percussion orchestra). This limited accounting of his roots, his education and his theater training explains somewhat his preoccupation with movement and his characteristic style. Following the sensational suc­ cess of Cannina Burana at its premiere in Frankfurt in J 937, Orff literally disowned all his previous compositions. He withdrew or destroyed all of his works, including many sonatas and fugues. Since that year, he has refused to discuss any of these earlier works or any part of his earlier life. Once, when an enterprising editor of a book on modern opera, begged Orff for information about himself, Orff wrote back: ", born in Munich in 1895, still living there." Consequently, his international and quite justified reputation is based entirely on his stage works, all of which have been created since 1935. Der Monel ( 1939) and (1943) arc the first results of Or.ff's experiments that utilize the legend as a dynamic medium of German expression. Although the fantasy world of Grimm supplies the concept and the background for both these theatre pieces, the situation Orff offers us is new. He views the world and its occupants as they arc involved in their eternal relationship to the universe. His scenic cantatas and , revealed another aspect of his audacious aesthetic principles. So do Die Bern- auerin and Astutuli. In Holdcrlin's version of Antir::onae (American premiere, The Little Orchestra Society, 1968), OrfT four.d another outlet for his strict Munich logic and his adventurous musical mind, which was and is concerned particularly with rhythm and words. It is obvious in both A ntigonae and Oedipu~ (I 959), as well as Prometheus, that there arc lines, which are sung, but the ultimate power of the vocal music lies in a com­ bination of song-speech, actual spoken dialogue and driving, hypnotic declamation. In each of OrfT's world-theater works, his writing is amazingly direct. Neither the use of effects that shock-if they are pertinent to the words-nor extremely simple harmonies have ever deterred their creator. His music is intentionally primitive and elemental for a reason. With his return to a musical k.ind of innocence, OrfT cast ao:;ide all the efTccts of 18th and 19th century Romanticism, Post-romanticism and Nco-classicism. He consistently avoids the sweetness of strings. Wind instrument<; predominate and above all, the percussion batter~ becomes his important instrumental spokesman. Orff has developed the percussion department \\ith an almost unparalleled genius. In Prometheus, the chained Titan became for OrfT another lcgendar~ route back to the cs'\cntial and the authentic; the series of dialogues and mirror images, the sympathetic daughters of Oceanus and the stricken, half-crazed ro arc symbols of the very beginnings of the theater. Theater, where the individu,d character is onl~ relevant when he typifies all of humanity. Wolfgang Sehadewaldt, the eminent OrfT authority, tells us that in Prometheus, "OrfT's many-layered world of sound and rhythm is an interpretation, not of antiquity, but of the very beginning. The elementary first sound ( Urlaut), the crash, the scream and on to the ultim,tte fulfillment of the soul. It is an interpretation of a happening formed into a word." Everett Helm has explained P10metheus by \\riting: "Through his conscious reduction of music to its most elemental terms, Orff achieves what no complicated, erudite score could achieve-n tmcly, the spiritual pcnctr<1tion and renewal of the classical myth, which is revealed as timeless, hence contemporary."' There arc no soothing, flattering, romantic musical sounds to be found in Prometheu\. We hear music that accompanies a drama of vision. Its creator illuminates musical, spiritual and theatrical visions that lead the open and perceptive participant back to the original source of self-awareness. To an awareness of suffering and charity. Back to the basic origins of sound and the birthplace of music. VrRrwzd Mu\·ik, as Dr. OrfT describes it. Prometheus, Professor Schadewaldt further explains, "reaches far back to the titanic first beginning; the living realization of a begin­ ning of humanity, in which the sound-worlds of the races arc united in one tremendous global concert." Two parts of the Promethem· drama have been lost in the hurricanes of time and consequently, the section in which the Katharsis explains the hero's release and his reconciliation with is not available to modern audiences. This loss wac; of little concern to Orff; it was never his intention to shed any light on the denouement of the legend. OrfT"s decision to usc ' original Greek for Prometheus further enables him to renounce any distr<1cting re-interpretations of Prometheu\ bound by modern audiences and historians. The original Greek would also strengthen his belief that the origins of Western civilization as a unit found their beginnings in ancient Greece. Since the -vocal score of Prometheus· oficrs only a phonetic duplication of the clas..,ic Greek, we might assume that OrfT preferred for the language to be a symbol, rather than a guidebook to comprehensibility. OrfT has always worked with vigorous sounds and dialects: he appears to be searching for a tongue that is devoid of convention and artifact. Just as he found it necessary to usc texts in Latin, mid-high German and French in his earlier works, the use of classic Greek for Prometheus became an obvious imperative. The old Greek sound-characters were the only expressions of the clement OrfT wanted to reveal. Once again the H ord was the way for him to recreate a time. The suggestions of the very beginnings of sound. The time when 1 itans and gods spoke together. The Greek language is, therefore, essential to our rediscover~ of the mystique of humanity, which is the theme and the spine of Aeschylus' Prometheus. Orff's Prometheus is a composition linked together in nine scenes, or blocks, as some critics have called them. In reviewing its world premiere at the Wurttemberg State Opera, Stuttgart, March, 1968, Everett Helm wrote: 'The huge blocks of sound produce a static, immobile form and atmosphere that correspond entirely to the unyielding strength of Prometheus· will. The orchestra is as striking as the sound it produces-hard, metallic sounds, mercilessly driven by primitive ostinato rhythms. The whole effect is elemental to a degree, but in no sense naive. Orfi's stylized primitivism masks a degree of sophistication."

The Prometheus Orchestra contains, besides 4 and varying numbers of , and , , harps and double basses, such unlikely instruments as banjos, electric organs ami at least 70 percussion instruments, including Turkish and Chinese and , African slit-drums, bamboo tubes, wooden , , plu wind and thunder machines. Orff u es the rich, bizarre sounds of his orchestra to form great masses of opposites. By combining percussive declamation, singing and sound, he succeeds in transporting, as Professor Schadewaldt tells us, "saying into singing, speech is elevated into song. The orchestra builds to thrilling climaxes, above which one can hear the solo voice triumphing in its own world of darkest twilight. The torment reaches its limit of madness in the music of the god-loved and god-pursued Io and in the cruel scene between Prometheus and ." Aeschylus· was a drama capable of exciting OrfT's imagination on many levels and the play makes it apparent that OrfT and the Greek writer, share common ideals. For them, legends and m} ths are poetic illustrations of the enduring truths that are found in the subconscious and the soul of mankind. Both their creative spirits were and arc intrigued by truths that involve com­ promise between complete opposites. Fundamentally, the story of Prometheus is a simple one. The myth of the Titan (one of the immortal race, who were supreme rulers, until they were defeated in battle by the gods), who stole fire from the gods, in order to give it to man has remained a popular and challenging one, despite antiquity. Prometheus is the arch-rebel and arch-martyr of all humanity in conflict with the tyrant. He represents the conflict of wisdom against force. Ultimately, he becomes the symbol of Man against God.

David Grene tells us in his introduction to his translation of Prometheus Bound (Random House) that, "we are never told in this play why Zeus wished to destroy man. There is no indication what sort of animal he wished to put in his place; but, insofar as Prometheus, in disobedience to Zeus, enlightened man, by the gift of intelligence, it may be assumed that Zeus' creation would have had no such dangerous potentialities of development. The second action in Prometheus' rescue of man from the enmity of the world in which he found himself is even more significant. 'I stopped mortals from fore­ seeing doom!' says Prometheus.

Chorus: What cure did you provide them with against sickness?

Prometheus: I placed in them blind hopes.

Chorus: That was a great gift you gave to men.

As his additional gifts to man are all concerned with enlightenment, and indeed, as fire it­ self becomes the symbol of this enlightenment, this gift of blind hopes seems at first strange. Yet, it is quite consistent. We are told (Plato) that in the days of Cronos, (the father of Zeus) and when Zeus was newly king, men were informed as to the day of their death and were judged alive, by live judges. This was a practice that brought much injustice, says Plato, and Zeus ultimately ordered it otherwise. What, then, is the meaning of the blind hopes which are the compensation for man's loss of knowledge of hi death and yet, left him able to use man's reason to build houses and invent cures for sickness? PtlliiiL'IhL'll~ i~ wi~e in the \\i~dom ol his mothL·r. l llL'lllts, tH I'arth and LOn'>t'que ntly he i., \\i'>L' in thl' knu\\k-dgt' ol dL''>Iill\ . I hi..., is tl\ll IL'.t'>tlll. It '" alholttiL' 1-.t!ll\\kdgt' ' I IlL' kno\\kdge lll the d:t) ot a m:tn\ dL'.tlh p.ttl.tKL''> lll th:tl qu.tlit\, fur 11 is in the ptO\ tnLL'lll dt·sltll\ . IIlli'>, tll.tll :t l tilL' hq•intllng had :tn in tinill'h small ar ltck tll lht• -.;tllle 1-.tnd of 1-.nnv,kdgt', ''hich J>nHltl'lhL'tts enjoyed in l:u gL' IIIL' :t~ liiL' . .Ju-..t as :t nim.tl~ tod.ty seem to h.l\e a L'l triuu-. intuilitHI lot the cutning lll tllL'it lk.tlh .tnd na\\l .1\\.l\ 11110 htdtng tu l.tl'L' tl, sll pt irnilt\L' rlt .t ll had th is 1-.rl\n\ll'dgt• And l'nliiiL'I ht'll" c.llt~L'd thL'Ill to L'L'.t'>l' to !..now the do~\ ul their tk:tth. Fur tilL' frl l ul IL'.t ...,tll l, the '>lljl iL'IIlL' .tlly 111 thL' II slttrgpk a ~'.l llt\1 n.tlllll m:tdc them ti ght lH l .tg:tin~t de.tlh ir1 hl111t! lioflt', L'\L'It whL·n the d.t\ of theu tk;tlh h.td ulnll'. ' I he lite itsl'll, P!lltllL'Iheus' gtL':tiL''>I and most cdehrated gri t to m.tn, ts a '>) mlhll ul pr.tctic.tl, not ~pe~.-·trl.tli\ L' r L'.tMHl. And rHl\\here dot's AL'" L·hvlus .t'>'>L'l I that ~jll'l'UI:ttiVt: IL';t~lHl Ill ih ftrll \\Ill L'\L'I be in lll:tll\pusSL'SSitlll

l'rol/11' /lil'lf' ,..., the 'tor\ of .1 rn.trl-gtld whn ruusl ~ulk t tnt hi., 1-.rndne~~ Ill lll.tn, by h,l\ ing hi~ '!.tiL' L'quated Wllh lhL'II~. l'romethL·trs, thuugh flll~'L's~ed nl tilL' kind uf 1-..nowl ulge ol de till\ .llld lherl'ltllt of \il'ltll\ in lhL' L'lld, is lor lhL· prc,ertl .11 thL' lllL'IL'\ lll .t hrttt.tl .tnd igtHll.ttll oppllllL'Ill \n llHl, '"the lll\ll t.ll Ill. Sn. :tiL' .til the nHll t.tls ll\t'l v.honl Dt:.tth hulds JHl\\l'f' ag:titl\l \\hrdl thL') tight with hlrnd IHlpL'. I he '>L'tling ftH I'J oi/JI'IIic•lt.\ is .t dL'Slll,tiL' t' r.tg in Ilk· ( ·.1\ IL'.ts u" IIHHIIll.tins, lh.tl O\er hangs thL· UL'L':t n.

\c 1'1/t' I PwrnL· IhL'tr ..., rs flltgl'll to the w cl-.-.. hv tlllt'l' ht'rlchrllt'l l tll /l'tr..., I kph:tcslu!-. , lhL· dtrl'f \\01 1-.m.tn of the gods, Kr :t ill\, rll L'.t nirlg ...,lll' ll plh . .111d !IlL' \ roknl Br.t. I he\ IL'II therr prrsotll'l lll.tl thnc i'i no llllssihk L''>l.tjlL' I k \\'ill he burnt·d h\ the -.u n\ fii'L' I k ,., Ill crv out in wl'IL'lllllL' to ight. \\hen ,flL· ullllL''> '' rtlt her llt.trtlk ol -. tar..., Ill llldL' the '.till' ftll\ \ ulltiiL'~ and c.tglv'> \\ill pic!.. .tl hi.., both. 1--r :t lth rtllll'l-...., ht ..., sluptdil\ .111d tllftlllll\ l'rnrtll..lhctro., tlr.tl ht• will he llltllll t'd t'tlllleo.,sh. hc~.-·.tust' the tlllt' whtl 111is.:lit po...,srhly ..,,t\ l' ltuu h:t\ \t'l lo he ho111. I kplt.tt'\ltro.,, lltt the ulltt'l lt.tnd lt.t ... L'lllllp.t ... siun ftll lilt• I itan .tnd I'L'\L',tl" tlt.tt it i... unlv hi" ll\\lt pu... tlitlll .t~ '>t'l\,tlll tu ZL'll" tlt.tl l':tllsl'" him Ill inllict ltll'lltlL' on a hl'rng \\hom ht· :t dmir L's.

\c c'llt' II ( haincd .tnd :tlllll l', Plllllll'l hl'lts l:tllll'llls his f:tll'. I k ..1 Titan. h.t~ cum nut1l'd an unftllgivl'.thk L:lilllL' :tg:uiiSI lht• rtt,t'ilt·r-god. lk lt,to., gi\l'll tltl' scl'tl'l of filL' to llllltt.ll lll.ttl I ht'I'L' is a wllio.,pt'ling lll \\ing..... trtd '-l'\l'l.tl llf thl' tlllt'L' lhllll\,tlld d.llr~lllL'Is 'iiI t:d h\' ( kl'!lllliS :tpJlL'.tf'.

.\c·c 1/t' Ill . lilt:: nymphs. known .ts (kt'.tltlll'>, speak to Pnlltll'lhetts wr tlt gt\'.tl ullll p:t~\lllll and l.tlllL'Ill !Ill' '>.td o.,Ltll' of .tll.tir ... 1\.o\\ tlt.tt <>hntptl\ is rukd h\ the new dllgrn.t..., .tnd Cltsloms of Zetts, all tlt.tt \\,ts lllll'L' gtt'.tl h.t-. ht't'Jt hrtHtght dll\\ 11 Ill IHllhingnL·ss. I'IOIIIL' Ihcus IL' 'llllllls Zeus' intention to dcsllll\ lhl' r.tCl' of m.tn. I k t'l,thol:tll'o., on how hL· .done h.t-; ~.1\Cd lll.lll. I iL' lt.ts gi\t'll lt11Jt IlL'\\ ltopt' .111d lht• gilt nf lilt', lrnm \\ luch hL' h.ts k,unt::d m.tn) Cl.tf Is .llld .tl ts.

Sctnc· I JI. h.t\ ht't'll llllll'lner for hi., own good. lk :td viscs thl' rl'lwl tnlc.tlrltlw lllt'.tning of humil rt ). lk rtllhlrl'L'llgniiL' th.tt Zctt'- j.., :tl l-powc1ful. llmH'\'t: l, o.,inu· Ill' lt.t'i d.ttt•d Ill .tgiL't' \\il h .111d .tlso o.,hared in all ol lti ... I 1 icnd\ llkologv. (kc:tJlliS s:t\ s ht· ''til .tsk Z t't ls to I f' l'l' Pf'tlllll'l hctl'i lilt· rtt.tl I\ 1 will h:t\l' none of

.SC'I'I/t' V. Pn)JIIL'Iht'liS l'Xpl.tlllS hro., rrt h (O lll:t llkind in del.til. lkl':tll\t' of hun. llWI Ltb h.t\l' fllll pow to lht'll l'\t'l \ d.t\ 11\l'" lhn .til' :thk Ill budd hortlL'"· tltn t.ttl "lilt' .tnd tlllllll. lit' h.t -. ~ltow rttltem !ttl\\ Ill \lll-.t· .ttld h.tltt ·..,.., tht'll hL··•"'" uf htlldt•rt lk lt.t..., ... lttl\\11 man the great power of the satltng ship and he has disdosed the way to make healing medicines; and he has directed them to the mines of copper, iron and silver, buried in the earth. The chorus of entreats Prometheus to reveal what fate is in store for Zeus. He refuses. The chorus remains convmced that the race of man is still a blind prisoner who can never hope to challenge the law of Zeus.

Scene VI. lo, a young woman, wearing the horns of an ox, stumbles on. She is half­ crazed and cannot escape the torturing strings of~~ gadfly, which follows her everywhere. She is haunted by the shape of Argos, the herdsman, with ten thousand eyes. Prometheus recognizes her as the daughter of Inachus. She has been condemned by Zeus to wander the earth forever. Io asks Promtheus to tell her when her unjust punishment will end. He refuses, until he has heard all of her story. In one of the most dramatic scenes in Prometheus. ro hysterically narrates how nightly visions drove her to madness. She has disdained Zeus, who was stricken with lust for her. Oracles ordered her father to cast her out of his home or suffer Zeus· rage, which would lead to the destruction of Inachus and his race. Prometheus, with cynical foresight, tells Io that she is doomed to travel on through the country of the Sc:. thians, across the highest peaks of the Caucasus to the land of the Amazons. She must brave the dangerous channel at Maeotis and in Asi :1 she must suffer in the country of the Gorgons. Eventually, she will find a home near the Nile, where /eu~ will relent and she will he made sound of mind. She will bear a son by Zeus- who will be named, Epaphos. Generations later, one of his descendants will set Prometheus free. Madness overwhelms Io again and she proceeds on her tortured journey. Scene VII. Prometheus reveals to the chorus that Zeus' reign will be short lived. The god·s son-one born of a new liaison- will destro:. him. Zeus will suffer more than all who have submitted to him.

Scene VIII. Zeus' crafty son, Hermes, appears. The god of cunning and perjury intimates that if Prometheus divulges who the prophesied child's mother will be, he might prevail upon Zeus to release Prometheus. The rebel refuses. His hatred for Zeus and Hermes compels him to keep the mother"s name-Theti-;, the sea n: mph- his own secret. rhe choru<.; begs Prometheus to pay heed to HeP11es· perhaps he is right in asking the Titan to relinquish orne of hi-; pnde and obstinaq. He cannot. There is no disgrace, he tell-; them, in sufTering at the hand of an enemy, especially when hatred is mutual. Hermes eloquently warns Prometheus that he is hopelessly tangled in a net of ruin. A net, woven of his own lack of good sense and reason. Scene IX. Prometheus observes the earth and the sea as they toss in ,1ngry, violent confusion. He watches the churnmg clouds of dust and the flashes of Zeus' lightning. He c.ll l~ out to the sky. and to hts mother. .. Sec me. Sec ho~ I suffer unJustly . :·The chorus shrieks in terror as the earth opens and the chained Prometheus disappears in the holocaust. There arc those who consider that destiny has chosen Carl Orfi to redesign our .:entury's musical theater and th<~t Prometheu\ is a part of that design. Ho~ tar Orfl wtll go cannot \ct be determined. No matter. We do kno~ that Orfi stands two decades past the center of our amazing century as an imaginative, danng and amazing creator. He has brought a unique purpose and a concern for mankind to the not-always purposeful contemporary musical theater. TIIOMAS SCHERMAN

llll.tf111atwn 111 programm111g, introductiOn of both established and new artl'.. ts to the NC\\ roll... n1ll\ic.d SCCnL' pill\ l"l'\1\,d ... ol l.llch he.t rd {l(1CI.ttiC .tnd S\111piHHliC 111,1\kl pil'u.'" h,l\l' pl.tn·d I he I 11tlc Orchc..,tr.t Soc1el\ .tnd 1h Mu..,ic D11ectm. llwn1a" Scherman, in till' lorq_!.IOund of rnu .., 1ca l .tCII\I(Ie" 111 thi" countl\ . Nationwide and OVL'ISCas tours by the l'll\l'lllhlc h.t ve .d ... o brought Cll!lca l accla1n1 and oppo•tunllll'S lo1 the public to c:xpelle11lL' l'\CI!Ing fl\e IK'IIOIIll:lnCl'S j11e\'llHI\f\ :\\ ail:thlc on!\ h\ \\.1\ {ll reC{Hdlllg\. The I ittle On.:hl·..,tr.t Sonct\ '" cclchrat1ng 1h (\H' Ilt\ ..,econd \l'.l\011 1n NL·v. Yo1l... and in :tdditi

CARLOS ALEXANDER

It j .. wl'll 1...110\\ n tl1.11 ( .u I Orll" \(\ k dl'l11and" .t new and lrHir\ 1dual !\ pe of 11l'llormer. In hi" ( •red\. 11 .tgedie.., 11 '" .tl 1l s mo" l demand1ng. and ( ':u hh Ak\.t11 dl'l '" 011\.' of the 1Hnrni11L'nt .ut1"h \dHl h.t\l' m.t-;tell'd thr.., \t\lc hrillianth. l

COLETTE LORAND

"'>" ,..,.., ..,oprann. ( olcttc I nrand, m.ldL' hc1 debut 111 B.1-;cl I he wit- \\,1.., 1\l.ugucnt~ in I tJ/1\I and "llc w,1..., .111 inuncdl.tll' \lll'Cl'"" I 'olin\\ rng th.tt pcrllH lll.tiiL'L' .,he \,,,..., eng.1gcd h) the npn.t lwu"e" ol (•L'Ill'V.t. /1111 Ch. I .ttl...,,lnne. and I ucelllL' \\hne shc ..,,lllg Dcs­ demnn.t. I ls.t, D nnn.t A1111.t, .111d the Fig.uo ( lll111le..,..,, ( .emg Soltr tlwn llllcrcd her a collll.tll "" th L· k.tdrng lll.tm.ttic cnlo1.1ltll.t ol the h.111l...lurt Opl'l;t lwu..,e. For li\'L' "caso11s thcrl'. .,he ... ang many rolc" 111cluding Con..,l.tniL'. ()uccn ol thL' N1ght . .tnd 1olctta. llcr e:o-.Liting 111terpret.tl1on of the {)tll'l'll of tlw "~ht led to 1\tr..,.., I nrand hl•ing invited hv Rol f I ll'hl·rrn:11111 lll l.tl...e p.trt 111 lhL· ( •:tl.l rl' opcnrng ol the ll.tmhtllg St.t.thopl'l Shl· rem;tined \\llh tiLt! cn111p.tn\ lor tlll"l'l' \l'.trs. I ht'\l' wne \l'.lr" whl'n " hL· lwga n to hr.tnch nut into thl· 111odc·Jn ll'pntor) Before long .,he w.t.., a gn:al favo1itc of contcmpol.tl) composcrs .1nd IH;I 111.111\ fint\ IIICiudc llcr11c\ !he 1'1 111n' of llolllluug. Blache1 \ otlo/1(/1/ng and \k11utli\ ! he• (;/oholin/,' She fi1..,! "111g the rnk nf to 1n I'JOIIIC'thc·lt\ .11 the l\lun1ch premiere. Miss Lorand has sung with the companies of , Convent Garden, Rome, Vienna, Rio de Janeiro, Berlin, and the Edinburgh Festival. This past June. her inter­ pretation of Jeanne in Penderetzky's The De1·il\ of Lofldon was highly acclaimed.

LEO GOEKE Leo Goeke was born in Kirksville, Missouri and received Master degrees from Louisiana State University and the State University of Iowa. He has performed with the Experimental Opera Theater of New Orleans. the St. Louis Opera Society and numerous opera companies throughout the United States. His repertoire includes Don Jose, Tamino, Rinuccio, Almcn·il·a, Nemerino, and Rudolfo. In operetta and musical comedy he has appeared in 'The Merry Widow," "The Student Prince," and "The King and I." His exemplary work as the alternate for Ivo Zidek in the Society's production of "The Makro­ pulos Case" led to his being engaged for the difficult role of '/lie Guard in Carl Orfi's Antir:onae in 1968. Mr. Goeke is H ephaestu'i in tonight's Prometheus performance.

WILLIAM LEWIS William Lewis first came into prominence as Tamino in the memorable NBC-TV production of "the Magic F lute." H e went on to sing leading roles with the Association, the New York City Opera. and companies throughout the United States and Europe. He is a great favorite with the Little Orchestra Society audiences and his appearance with Thomas Scherman include leading roles in "Die Frau ohne Schattcn,'' "Athalia," "Pique Dame ... and "Antigonae." Mr. Lewis has sung with most of the major orchestra of the world including the New York Philharmonic, under such conductors as Adler, Bernstein, Boehm, Cleva, G loschmann, Mitropoulos. and Stravinsky. He recently s mg a variety of roles in the triumphant revival of Bernstein's "Candide" in Philharmonic Hall and he has recorded for RCA. Vanguard .tnd Columbia records.

SEAN BARKER Sean Barker ( ) has just completed his second season with the Lake George Opera Company where he sang a variety of roles-Sid in A /bert Iferring, Dr. Malatesta in Don Pasquale, and Harlequin in Ariadne auf Naxos. He made his American Opera Society debut in the role of Donald in Britten's . He is soon to sing the role of Tarquinius in 1/ie Rape of Lucretia for the Chamber Opera Society of Baltimore. Mr. Barker created the title role in the American premiere of Werner Egkt's Peer Gynt at his alma mater, Hartford's Hartt Coll ege of Music, and he has sung with the opera companies of San Francisco, Dallas, Baltimore, and the Chautauqua Festival. Prometheus marks his first appearance with The Little Orchestra Society.

RAYMOND MURCELL Raymond Murcell (Oceanus) was born in Malden, M assachusetts where he began preparing for a career in music as a violinist. After several years of professional playing, he turned to singing as his main musical instrument. His vocal studies have been with Ralph Errole, Byron Warner, and finally, the late Sergius K agen at the Juilliard School of Music. In 1959 he joined the Robert Shaw Chorale and appeared as soloist with them on many occasions in such works as Carrisimi's "Jephtha," Bach's "Mass in B Minor," and many others. Since 1963 he has been the with the famous male quartet known as the Revelers. He has sung with them in over 300 concerts. He has appeared with the Cleveland Orchestra, The Ltttle Orchestra Societ) of New York, the Cincinnati Sym­ phon}, The Collegiate Chorale, the Amor Artis, the American Opera Society, the Caramoor Music Festival, the Anchorage, Alaska Music Festival, Festival Casals, San Juan, Puerto Rtco, the Cincinnati May Music Festival, and many others. He can also be heard as soloist with the Robert Shaw Chorale in several albums recorded by RCA Victor.

VLADO HABUNEK Vlado Habunek. is from Zagreb, Yugoslavia. He fir t visited the united States to study and research the Amencan 1 heatre. He returned in 1966 at the invitation of The Little Orchestr.t Society to stage Jant~cek ·s Jenufa. His immediate success with audiences and the press prompted the Society to engage him to stage its productions of Curlew River, Busom's Turandot and OrfT s Antigonae. For the New York Cit) Opera he has staged the premtere of Nine Rivers to Jordan and The l\1arriage of Fi~aro. His production of Cosi fan Tt·ttc for the Holland Festtv

DINO ANAGNOST Drno Anagnost has prepared the choru of Oceanids for tonight's Prometheus. He is of the breed of multi-talented )Oung musicians of thi<.; generation whose continuous advance­ ment fulfills hi<.; promise and the admiration of many operatic, symphonic and choral organizations with whom he has worked. Followtng his early music education at the School of Fmc .tnd Applied Art-. in Boston and at H<~rvard Lni\ersity, he received Master degrees from both Columbia Lniversity and The Juilliard School. He was one of the performing art<.; specialists with the Lincoln Center Resources Personnel Program as well as the \1us1c Director for the International I xchange program for College students in 1968. He IS the Founder-Director of the Juilliard Madrigal Ensemble and he has worked With Sar.th C.tldwell's Boston Opera Company-Special Choral preparation. The Orpheon Chorale, whiCh he organized and conducts, will be heard in Alice Tully Hall this October. FORTHCOMING CONCERTS IN THIS SERIES

Tuesday Evening, November 18, 8:00p.m. Orchestral Program GRANT JOHANNESEN, pianist

Tuesday Evening, January 27, 8:00p.m. Gustav Holst AT THE BOAR'S HEAD with Guus Hoekman, Jean Sanders, Emile Renan and Vaughan-Williams RIDERS TO THE SEA

Tuesday Evening, March 24, 8:00 p.m. L'ENFANCE DU CHRIST with Josephine Veasey, Kenneth Riegel and Adair McGowan

ALVARO CASSUTO, Assistant Conductor WILLARD STRAIGHT, Vocal preparation PETER DIMITRIADES, Concert Master GEORGE KOUTZEN, Personnel BERNARD JOY, Stage Manager RICHARD CASLER, Lighting lfERBERT BARRETT, A1anager THOMAS MATTHEWS, Associate A1anager MARKS LEVINE, Consultant The Little Orchestra Society 1860 Broadway, New York, N.Y. 10023 PL 7-3460