RECEIVEDJUlt 11983 CENTRAL SERVICE BULLETIN VOLUME 24. NUMBER pTTrrnoonin

INDEX

NEW AND PREMIERES 1 r- ATTENTION COMPOSERS & LIBRETTISTS 9 NEWS FROM OPERA COMPANIES 10 'GOVERNMENT & NATIONAL ARTS ORGANIZATIONS 19 NEW AND RENOVATED THEATERS 22 LIBRARY COLLECTIONS 23 EDUCATION AND SEMINARS 24 COMPOSER'S SOCIETIES 27 CO" INSIDE INFORMATION 28 GO iALUTES 29 WlNNLRS 31 GAPEtR GUIDE AMENDMENT 32 APPOINTMENTS* RESIGNATIONS 33 NEW EDITIONS, PUBLISHERS 39 BffiBKyjORNER 40 PERIODICALS 48 PERFORMANCE LISTING 1982-83 copt. 49 SJRST PERFORMANCE LISTING 1983-84 Season 63

1 £

Sponsored by the National Council CENTRAL OPERA SERVICE COMMITTEE

Founder MRS. AUGUST BELMONT (1879-1979)

Honarary National Chairman ROBERT L.B. TOBIN

National Chairman MRS. MARGO H. BINDHARDT

National Vice Chairman MRS. MARY H. DARRELL

The 1983 COS National Conference—a most sensational meeting of opera/theater professionals. October 26, 27, 28, 1983-The St. Regis Hotel,

Make sure you are counted—return the 1982-83 Opera USA Survey questionnaire to COS promptly.

Central Opera Service Bulletin • Vol. 24, No. 3 • Spring/Summer 1983

Editor, MARIA F. RICH Assistant Editor, JEANNE HANIFEE KEMP

The COS Bulletin is published quarterly for its members by Central Opera Service. For membership information see back cover. Permission to quote is not necessary but kindly note source. Please send any news items suitable for mention in the COS Bulletin as well as perfor- mance information to The Editor, Central Opera Service Bulletin, Metropolitan Opera, , New York, NY 10023. Copies this issue: $3.00 ISSN 0008-9508 NEW OPERAS AND PREMIERES The COS DIRECTORY OF CHILDREN'S OPERAS, which had been projected for publication at this time, will be a much larger and more detailed listing than originally anticipated, thanks to the amount of information submitted to us. The Directory will be completed later this season and will be the last number of Volume 24.

The University of Arizona School of Music commissioned Thomas Pasatieri NEW AMERICAN to write a new opera with a Southwest setting, to be premiered during OPERAS the ten-day Tucson Festival of A Celebration of the Americas. The resulting MARIA ELENA (see also Vol. 24, No. 2) is based on the true story of a beautiful Mexican woman. The premiere took place on April 8; of the total of three performances, two were sung in English, one in a Spanish translation by Miguel Cuello and Juan Gilabert. The 70-minute production was under the supervision of the composer; Richard Woitach conducted the performances.

The Baton Rouge Opera announced the world premiere of an unpublished full-length opera written by the late William Grant Still. The central character of MINETTE FONTAINE is based on the true story of a singer who performed at the French in New Orleans in the late 19th century. The is by Verna Arvey, the composer's wife. The first performance is tentatively scheduled for October '84. The company's manager, Dolores Ardoyno, and its artistic director, Donald Dorr, previously heads of Opera/South, were responsible for the first performance of A Bayou Legend by the same composer.

Last summer, the Festival of Contemporary Music in Tanglewood, Mas- sachusetts, presented Gheorghe Costinescu's "stage music work", THE MUSICAL SEMINAR, on August 3.

The latest in a series of operas on Jewish subjects is THE FALSE by Bruce Adolphe, with a libretto by Mel Gordon. The story tells the history of Sabbatai Zevi, a young Turkish Jew who, in 1665, proclaimed himself the Messiah. The consequences have continued into contemporary times, as there are still some members of a Sabbatean sect. Jewish Opera at the Y was the producer, performing at Kaufmann Auditorium in New York on April 9 and 10.

MY HEART IS IN THE EAST is a new musical which is also based on a Jewish historical figure, this one the 12th century Spanish poet and philosopher Judah Halevy. The Jewish Repertory Theater is giving 21 performances between May 28 and June 26. Linda Kline wrote the book, Richard Engquist the lyrics, and Raphael Crystal the music. Ran Avni, the company's artistic director, is responsible for the stage action of the seven member cast.

Golden Fleece Ltd. and Composers' Chamber Theater presented a double- bill of premieres at the Opera in New York, opening March 24. STATUES ON A LAWN by Thomas J. Flanagan has a libretto by Matthew Calhoun; THE POND IN A BOWL by David Macbride is based on a Chinese poem and is scored for a small chamber , soprano, -1- NEW OPERAS AND PREMIERES and voice. Mr. Maebride conducted the six performances, Lou Rodgers directed. On January 29, the Newport Harbor Art Museum in Newport Beach, California, hosted the first performance of Edward Applebaum's THE FRIEZE OF LIFE. The , with a libretto by Julia Garza, is based on the series of paintings of the same title by Edvard Munch, which also formed the basis for the visual effects. The work will be repeated in May at the University of California in Santa Barbara.

HIPPOLYTUS, a full-length opera by Joseph Summer, will be given its first production August 19 and 20 by the Pennsylvania Opera Festival and the Contemporary Opera Company of America in Pittsburgh. The staged performances will include chorus and ballet and will be accompanied by two pianos, harp, percussion, and horn. Four additional performances will be given at Drexel University in September. The same composer's one-act The Tenor's Suite was premiered in Philadelphia in 1981.

The Bronx Arts Ensemble Orchestra brought UNA JIBARA by American composer Manuel Gonzalez to Tully Hall for a first performance on January 4. IN On February 4, Brooklyn College mounted five new short operas as a ACADEHIA Contemporary Music Celebration: Dean Johnson's EAST RIVER BRIDGE (written for the centenary of the Brooklyn Bridge, with the Bridge's chief engineer as its central character); Mark De Palma's COURTING (which includes "Latin and Black" musical styles); Roger Zahab's HAWK RUN (set in a coal mining town); Robert Starer's MYSTIC TRUMPETER (after Walt Whitman, for one soloist with trumpet obbligato); and Charles Dodge's CASCANDO (after Beckett's radio play, and accompanied by electronic sound). — Other recent premieres at academic institutions include Grant Jeffers' one-act chamber opera WHAT HAPPENED, to an original text by Gertrude Stein, on February 25 at UCLA, and Robert Convery's one-act PIRAMUS AND THISBE at the Curtis Institute in Philadelphia on March 23. The latter was staged with Mozart scenes, and accompanied by an orchestra under Boris Goldovsky.

MUSICAL PepsiCo Summerfare '83 will, for the first time, produce its own shows THEATRE rather than booking other performing companies into the Center for the Arts at Purchase, New York. Three new music theatre pieces have been selected for first productions. BOOTH IS BACK IN TOWN has a book by Austin Pendleton, music by Arthur Rubenstein, and lyrics by Gretchen Cryer, and is scheduled for July 7 through 17. — MRS. FARMER'S DAUGHTER, with music and lyrics by Eric Williams and direction by Tom O'Horgan, was inspired by the story of Frances Farmer and her mother. It will open July 20 and play through the 31st. — Closing this series will be SHAKESPEARE AND THE INDIANS with a book by Dale Wasserman, lyrics by Bob Preston and Rita Briggs, and music by Allan Jay Friedman. Its dates are July 27 through August 7. It was one of the music theatre pieces tried out at the O'Neill Theater Center 1982 Showcase Conference. — In addition, Summerfare will choose two more works for showcase workshop readings.

The Mother Lode Troupe in Sacramento staged the premiere of GAMBLING JONES by Monroe Kanouse and Corinne Swall on January 19. The music-theatre piece plays in the California of the early settlers. -2- NEW OPERAS AND PREMIERES Robert Ashley's (Acts of God) was performed at New York's MULTIMEDIA Marymount Theatre in a contemporary music festival sponsored by Performing Artservices and its recording division, "Lovely Music". The work uses live and taped music including a synthesizer, and live and videotaped performers, who, in this performance, were all part of the creating team: Gene Tyranny, Peter Gordon, Jill Kroesen, David Van Tiegham, and Mr. Ashley. Atalanta is the first in a three-part series; Perfect Lives (Private Parts) is the second. December 14 was premiere night at New York's Theater of the Open Eye for Richard Isen's music theatre work SALFORD ROAD. The text is by Gareth Owen. CANTICO represents the collaborative efforts of composer and producer Barbara Kolb and painter and film maker James Herbert. Based on the life of St. Francis of Assisi, the work was commissioned by the Third Street Music School Settlement and Miss , and premiered by the School on December 5.

The collaboration between composer Bentley Jarvis and sculptor Robert NEW CANADIAN Mulder resulted in the piece CHROMA, premiered at the OPERAS Theatre in Toronto on April 25. — Quebec City and its AMAQ Theatre hosted the first performance of Bernard Bonnier and Gisele Ricard's multi-media work UNE AUTRE CREATION DU MONDE (Another World Premiere) on November 5, 1982. In January, the National Opera Institute offered two works in an NOI SHOWCASE Showease/Work-in-Progress presentation, first at TOMI in New York, then PRESENTATIONS repeated the following week at Kennedy Center. The two pieces chosen for production were Roger Ames's opera AMARANTHA, a drama based on a short story by Wilbur Daniel Steele, and a musical biography, THE VIRGIN UNMASKED, suggested by the early life and works of Henry Fielding, with music by Hiram Titus and book and lyrics by Sharon Holland. Both productions, performed with two pianos, were finished presentations of professional premiere quality; there was no charge for admission.

The Opera America Showcase, which took place during the annual Decem- ber conference held this season in Toronto, presented excerpts or scenes from a total of ten opera/musical theatre works. Four were shown in more extensive scenes: Conrad Susa/Richard Street's BLACK RIVER, Myron Fink/Donald Moreland's CHINCHILLA, Hugh Aitken/Laura Tapia's FELIPE, and Lewis Spratlan/James Maraniss' LIFE IS A DREAM; the others with shorter excerpts were Roger Ames' AMARANTHA, Frank Lewin's BURNING BRIGHT, Edward Thomas/Joseph Masteroff's DESIRE UNDER THE ELMS, Carlton Clay's HOWCUM, OKLAHOMA?, Roger Trefousse/Jane deLynn's THE MONKEY OPERA, and John Beckwith/James Reaney's THE SHI- VAREE. The Showcase was followed by a frank and informative discussion with almost all the composers and librettists in attendance.

One of the first composer/librettist workshops, the Eugene O'Neill Theater Center Opera/Musical Theater Conference, now in its sixth season, will be held from May 22 to June 12 this year. Two of the four selected works will receive staged readings before an audience, the other two will only go through the workshop process. Glenn Paxton's THE ADVENTURES OF FRIAR TUCK with book and lyrics by Allan Leicht, and Sheldon -3- NEW OPERAS AND PREMIERES Harnick's DRAGONS can be heard June 3, 4, 10, and 11 in Waterford, Connecticut. The former will have its official premiere in Saratoga Springs later this summer, produced by the Lake George Opera; the latter is a new musical based on Yevgeny Schwarz's play The Dragon. Mr. Harnick, who created the book, lyrics, and music, has fashioned a satyrical fantasy with serious undertones of the difficulty of dealing with power. — The two selections which will be rehearsed and worked through but not given public performances are THE BEAUTIFUL DREAM OF ILYA ILYICH OBLOMOV, with music by Arnold Black, book by John Barnes, and lyrics by Aaron Kramer, and Robert Chauls1 THE THIRTEEN CLOCKS. The Beautiful Dream is set in Russia in the 1850's and tells the story of a landowner who prefers his fantasy dream to reality; the latter is a children's fairytale. A new group offering showcase workshop readings of new works is the PepsiCo Summerfare, performing at SUNY-Purchase in New York. Two selections will be announced later this summer, and will be offered as a bonus to season subscribers. The Musical Theatre Lab founded by Stuart Ostrow some ten years ago at Kennedy Center has now moved to Cambridge, Massachusetts, and taken up residency with the American Repertory Theatre. Its programs include apprenticeships at Harvard and Radcliffe to explore new musical theatre concepts. The three works accepted for try-outs and Lab pro- ductions this season are AMERICAN PASSION by Willie Fong Young and Fred Burch (November), KAMIKAZE KABARET by Jerry Colker and Mi- chael Rupert (January), and FRENCH by Jonathan Lynn and Monty Norman (May).

OPERAS SHYLOCK, based on The Merchant of Venice, has music and libretto by COMPLETED John Thomas Magee, and is a full-length work written in two acts and BUT NOT seven scenes. Casting requires two sopranos, one alto, two , one PERFORMED , one bass, and five actors. It is scored for full orchestra, but a reduction for string quartet is also available. — Inspired by Bernard Malamud, librettist Jacobo Kaufmann and composer Raymond Goldstein created THE JEWBIRD. The three-act opera has a contemporary setting, calls for six soloists, and six to eight instrumentalists for accompaniment. — On a larger scale is the three-act THE TUMBLER OF GOD by Steven Block. It has nine major singing roles, a large complement of actors, and a chorus. The orchestration is for double winds, double brass, two percussionists, and strings. The same composer is working on a puppet opera, CANTERBURY TALES OF MARRIAGE, after four marriage tales by Chaucer. — Christopher Yavelow has completed THE PASSION OF VINCENT VAN GOGH. He used the artist's own words, as they appeared in letters or other documents, or those of the artist's close friends, to fashion the libretto. The opera has five main characters, seven minor ones, and a mixed chorus. The minimum complement of orchestra members is 78. The composer received an NEA grant towards this work in 1981. — BLIND GIRL, by Scott Huston, is a one-act, one-scene opera set in an Appalachian coal mining town. It calls for five soloists and a small orchestra.

WORKS IN Robert Wilson is currently working on a mammoth, six-part project; each PROGRESS part will be premiered in a different city, probably including Minneapolis, Rome, Rotterdam, , and Tokyo - culminating in a three-day production in June 1984 in Los Angeles during the Olympics. The temporary -4- NEW OPERAS AND PREMIERES title is THE CIVIL WARS: A TREE IS BEST MEASURED WHEN IT IS DOWN. Each section will have its own composer, and among them are , David Byrne, Gavin Bryars, Nicolas Economou, and Jo Kondo. The performances at Los Angeles' Shrine Auditorium are planned for ten or twelve hours on each of the three days. Rock singer Davie Bowie is to play Abraham Lincoln, and sopranos Hildegard Behrens and will also participate. — John Eaton's librettist for his next work is music critic and translator Andrew Porter. — A grant from the NEA will facilitate the completion and workshop/showcase performances of 's unfinished QUEENIE PIE. His son, Mercer Ellington, is completing the score. — The Minnesota Opera received an NEA grant under the new Phase I-III Commissioning Program, which will make it possible for the company to commission, try out, and finally premiere a new work by Dominick Argento. The tentative title is CASANOVA'S HOMECOMING.

The seventh Imagination Celebration at Kennedy Center offered three NEW new children's music theatre works, in addition to Menotti's A Bride from CHILDREN'S Pluto. THE TALE OF PETER RABBIT, after Beatrix Potter, with music OPERAS by Luigi Zaninelli, features puppets and dance. The first performance was April 3 at the Terrace Theatre. The two other pieces were university productions: DANDELION by Judith Martin on March 27 - University of Wisconsin at Madison, and JOE LOUIS: THE BROWN BOMBER, book and lyrics by Jim Mirrione, music and additional lyrics by Ben Epps - The Creative Arts Team of . — The Menotti and Zaninelli operas, produced by the Kennedy Center educational program, The National Children's Arts Festival, were also taken on an eight-state tour. Coinciding with the performances, the Center offered three-day seminars showing how to establish and run a children's festival. Four of the 21 communities hosting the performances have also offered this pilot program. — The Kennedy Center Alliance for Arts Education mounted an original holiday show at Christmas, developed by young people under the guidance of a professional director. The title: IT'S THAT TIME AGAIN.

Skylight in Milwaukee is presenting a new work on its Education Department tour to area schools this spring. The company's music director, Donald St. Pierre, provided the music for THE YOUNG VISITERS [sic], a story written by a nine-year-old Victorian girl, Daisy Ashford, and published in 1919. Mr. St. Pierre's John J. Plenty and Fiddler Dan formed the same company's 1982 spring tour.

Last November, Opera New England, the touring/educational ensemble of the Opera Company of , offered a double-bill of children's operas by Edward Barnes. The Frog Who Became Prince was coupled with his latest work, ZETABET, commissioned by the company. — The Cathedral School Chorus and guest soloists and instrumentalists gave the first performance of Paul Halley/Elliott Sroka's THE PRINCE AND THE PAU- PER at the Cathedral Church of St. John the Divine in New York. Based on the Mark Twain story, the work was premiered on March 11. — American General Life Insurance co-sponsored the commission of THE NIGHT HARRY STOPPED SMOKING, a new opera with music by Ross Dabrusin and a libretto by John Davies. Opera Theatre of Syracuse was the producing organization which staged the premiere of the anti-smoking opera at Liverpool Central Schools in upstate New York on March 25. — On May 9, the Brooklyn Center Children's Opera Workshop presented two new operas by Jack Chaikin, ROBERT, THE ROSE HORSE with a

-5- NEW OPERAS AND PREMIERES

book by Joan Heilbroner, and THE WOMAN WITH THE EGGS after Hans Christian Andersen. Color slides of the book's original illustrations enlivened the visual aspect for the elementary school children at the Brooklyn Center of Long Island University. — Roselyn Winokur's BYLINE NELLIE BLY won the annual Alliance Theatre Company/Atlanta Children's Theatre contest. -- NIGHT OF THE UGLIES is the title of a work currently being created by Peter (music and libretto) for a premiere next season. The Children's Theatre Company and the Charlotte- towne Players in Charlotte, North Carolina, will be joint producers. This year, they collaborated on Pasatieri's The Goose Girl. — Commissioned and first performed by the Scottish Opera, the eleven-minute 'S BURNING, with music by Frank Spedding and text by Ann Sandison, Ann Baird, and Gordon Hunter, was performed by Des Moines area school children. The work is published by Novello, does not require solo voices, and its piano and percussion accompaniment can be played by children. Stewart Robertson, director of the Des Moines Metro Opera Apprentice Program, supervised the school production. He was formerly with the Scottish Opera Touring Program.

NEW FOREIGN RAGNAROK is the last opera in an Islandic trilogy, based on legends and CHILDREN'S composed by David Bedford for "young people and amateurs". It was OPERAS premiered March 17 at the Gordonstoun School, which also premiered the other two operas of the trilogy, The Death of Baldur (1980) and Fridiof's Saga (1981). — Earlier this season, the Teatro Niccolini in Florence produced a fairytale in two acts for children. IL SOGNATORE (The Dreamer) has music by Romano Pezzati and a libretto by Mauro Pezzati. — Cesare Cui's PUSS IN BOOTS (Der gestiefelte Kater) could have been seen at the Hochschule fur Musik in Weimar last summer. — The Carl Maria von Weber Competition for Children's Operas in Dresden, East Germany, chose 27 compositions from 13 countries for performances over the next few years. Last summer, the Dresden Children's Music Theater performed some of the winning entries, including Michael Rauchwerger's ROTKAEPPCHEN (Little Red Riding Hood) and Joachim Werzlau's MEIS- TER ROECKLE. The Moscow Children's Theatre Company brought the Russian entries to Dresden. — In Hildesheim, Germany, a new children's musical was based on the favorite story of Seven at a Blow. SIEBEN AUF EINEN STREICH, by Wunderlich and Breuer, was performed on November 19. — Several days earlier, on November 6, children were invited by the opera company in Hagen to the first performance of Wood's AUFSTAND M GEMUESEBEET (Revolt in the Vegetable Patch).

CHRISTMAS With book and lyrics by Sheldon Harnick and music by Michel Legrand, OPERAS A CHRISTMAS CAROL was performed at the Hartman Theatre of the Stamford Center for the Arts, Connecticut, December 10 to 26. — Also last December 10, the opera department of Brigham Young University in Provo staged the premiere of Murray Boren's A CHRISTYMAS PLAYE. The composer adapted the libretto from the medieval Travellers Playe. — The educational arm of under Karen di Chiera created a new holiday revue for the Northland Center in Detroit, and performed it there last December. SNOOPY VISITS NORTHLAND com- bines traditional Christmas music and children's songs with some new music.

CORRECTIONS Thea Musgrave's new opera will be a joint production of the Virginia AND CHANGES Opera and , Covent Garden, in London. The story deals with Harriet Tubman's escape from slavery via the Underground Railway. -6- NEW OPERAS AND PREMIERES

William Finn/Charles Rubin's music theatre piece The Soup Kitchen has been retitled AMERICA KICKS UP ITS HEELS. — The Banff Centre premiere of the new Steven Oliver/Alexander Ostrovsky musical will be under the title SASHA, rather than the originally announced Artists and Admirers. — Nathan's PORTRAIT OF JENNIE was under consideration by Playwrights Horizions, but was not performed there.

One of the major events of next fall will be the U.S. premiere of Michael AMERICAN Tippett's THE MIDSUMMER MARRIAGE. The will PREMIERES give six performances beginning October 15, conducted by David Agler and directed by John Copley. The world premiere was at Covent Garden in 1955. This will be the second Tippett opera to be heard here; the Opera Company of Boston produced The Ice Break in 1979.

Philip Glass's PHOTOGRAPHER, premiered in Holland last year, was given a concert performance at on May 10. The 40-minute operatic work was part of a total Philip Glass evening; it will be presented in its American stage premiere at the Brooklyn Academy of Music next fall. Italian composer Roberto Hazon's L'AGENZIA MATRIMONIALE, first per- formed in Parma in 1962, will receive its American premiere at the Peterloon Festival of the American Opera Auditions in Cincinnati. It will be performed in September on a double-bill with The Impresario. The Studio Opera at Indiana University in Bloomington staged Heinrieh Sutermeister's DIE SCHWARZE SPINNE (The Black Spider) in English on December 2 and 3. Originally written for radio, it was first broadcast in 1936 by the Swiss Radio, and received its first stage production in St. Gallen in 1949. Moving from the contemporary to the classic, we find two 18th century operas in first American productions. Pergolesi's IL FLAMINIO, premiered in Naples in 1735, will be given its first American stage production by Spoleto U.S.A. in Charleston, South Carolina, on June 2. There was a concert performance at the YMHA in New York in 1953. — Rameau's ZOROASTRE, first mounted in Paris in 1749 and returned to Paris in a revised edition in 1964, will be performed by Banchetto Musicale in Sanders Theater of Harvard University on May 20, 23, and 24. It will be presented by Banchetto Musicale and the Boston Early Music Festival under the auspices of the Rameau Tercentennial Committee. Philippe Lenael will conduct, Martin Pearlman direct, and Violetta Verdy will choreograph.

American audiences will have the opportunity to see and hear the much publicized adaptation of Bizet's — Peter Brook's TRAGEDIE DE CARMEN — when Mr. Brook stages it at the reopening of the New Amsterdam Roof on New York's 42nd Street. Premiere night is planned for October 24 at the 750-seat performance space. In its new version, the 82-minute operatic drama features only four singers and two actors. Scored for 15 instrumentalists, it was first heard in Paris at the Bouffes du Nord theatre last year. Carnegie Hall and Columbia Artists will present a series entitled "French Ope>a Comique" next winter. It will include the first American per- formance of Massenet's CHERUBIN, which was premiered in 1905 in Monte Carlo; will sing the title role in this concert version.

-7- NEW OPERAS AND PREMIERES NEW OPERAS GASLIGHT, originally a book by Patrick Hamilton and later a suspense ABROAD film starring Ingrid Bergman, has reached the operatic stage. Betty Roe is the composer, Marion Lines the librettist of the two-act work. The Intermezzi Ensemble, conducted by Jason Osborn, gave the first per- formance on January 6 at the Jeanette at the Camden Festival in London. — Last September, BBC performed Thea Musgrave's half-hour radio opera, AN OCCURRENCE AT OWL CREEK BRIDGE. It was heard in April in the United States on the National Public Radio network. The work is based on a short story by Brete Harte. — Little Missenden Church in London commissioned and premiered THE SELY CHILD on October 9. Richard Drakeford wrote the music, Jeremy Lemmon the text, which is based on Chaucer. The playing time is 80 minutes. — The Royal College of Music in London premiered Richard Blackford's METAMORPHOSES, an opera cycle in five parts, on March 23. The Australian Broadcasting Co. presented Peter Scallhorpe's television opera QUIROS, conducted by Myer Fredman. ABC also broadcast a concert featuring Sutherland and Pavarotti under "Live from Sydney Opera House". — On October 27, the Studio group of the Stockholm Royal Opera performed KAGEKIYO, by Swedish composer Werner Wolf Glaser, at the Rotunden Theatre. Per Erik Wahlund based the libretto on a Japanese Noh drama. — Another Noh play, this one from the 14th century, was the inspiration for SILKITROMMAN (The Silk Drum), by Icelandic composer Atli Heimir Sveinsson. Oernolfur Arnason wrote the libretto, and the premiere took place at the seventh Biennial Reykjavik Festival on June 5, 1982.

Michael Rot, a pupil of British composer Francis Burt, wrote the one-act opera, DIE PROPHETEN. It had its premiere November 14 in Graz, Austria, on a double-bill with Burt's Barnstable. — Also in Austria, the Linz Festival of the Arts, Technology, and Society premiered three operas, each using different kinds of electronic devices: ERDENKLANG, A Com- puter-Acoustical-Dance Theatre by electronics composers Hubert Bogner- mayr and Harold Zuschrader; ICARUS, A Laser Opera for Multi-Media and Electronics, with music by Paul Earls, designs and realization by Otto Piene and Ian Strasfogel; and LINZER STAHL-OPER by Italian com- poser/librettist Giorgio Battistelli. All performances took place last September. — Alpbach in the Tyrol hosted the premiere of the church opera DER WEG NACH EMMAUS by Thomas Christian. — On November 4, 's experimental stage, the Opera Stabile, presented Kalevi Aho's DER GEBURTSTAG. — Munich's Theater am Gartnerplatz offered the first performance of Greek composer Theodore Antoniou's PERIANDER on February 6.

Southwest German Radio and Television in Baden-Baden commissioned American composer Carson Kievman to write and stage a full length multi-media work. Entitled INTELLIGENT SYSTEMS, it calls for 15 solo singers and instrumentalists, animated film (John Shaw), costumes and puppets (Robert Israel), special lighting (Pat Collins), and audio tapes (Kievman). It will be performed during the 1984 Donaueschingen Festival. The composer, who received an NEA grant towards the preparation of this work, has two previous music theatre pieces to his credit: Wake Up, It's Time to Go to Bed! and Multinationals and the Heavens.

Salvatore Sciarrino has created another LOHENGRIN, this a one-act melodrama with text by Pier 'Alii, adapted from Jules Laforgue. The

-8- NEW OPERAS AND PREMIERES first of seven performances at the Piccolo Teatro alia Scala took place on January 15. — During February, the Rome Opera mounted A. Clementi's ES and Bussotti's BERGKRISTALL as "Works in Progress". —Adapted from the late 19th century French play, Ubu Roi, by Alfred Jarry, Falavigna's UBE RE was premiered at the Teatro Regio in Parma on December 2. — The Teatro San Carlo in Naples gave the first performance of Jacopo Napoli's one-act SAN FRANCESCO, together with II Povero diavolo and II Rosario. On March 26, the same theatre mounted Mussorgsky's SALAMUBO, left incomplete by the composer. It was conducted by Zoltan Pesko. — Italian librettist Roberto Roversi freely adapted Schnitzler's Der Reigen for composer Fabio Vacehi's GIROTONDO. The Teatro della Pergola in Florence gave the first performance last May. The Paris National Opera featured Christiane Eda-Pierre in the premiere of Charles Chaynes' ERSZEBET, premiered on a double-bill with Pagliacci on March 28. — March 4 was the date of the first performance of Koering's LA LUNE VAGUE at the Theatre le la ville de Rennes. •

ATTENTION COMPOSERS AND LIBRETTISTS The PUBLIC THEATRE/NEW YORK SHAKE- The NEW YORK STATE COUNCIL ON THE SPEARE FESTIVAL and its director, Joseph ARTS has established a new Fellowship Pro- Papp, have inaugurated a new five-year plan gram, whereby a sponsoring or presenting or- of looking for new musical theatre works of ganization makes the application on behalf of an experimental genre, by composers, lyricists, the new work and its creators. The organi- and writers who have not ventured into this zation may request a maximum of 20 percent particular medium before. The style may be for administering the program, and must even- electronic music, mixed-media, rock, new tually raise the production money. Included wave, or any other new trend. herein are multi-media presentations, musical compositions, plays, video or film, etc. The AFTER DINNER OPERA, Richard Flusser, director, 23 Stuyvesant Street, New York, New June 1 is the deadline for applications to the York 10003, solicits piano-vocal scores of new NORTH CAROLINA ARTS COUNCIL for American chamber operas for its recently cre- $5,000 Fellowships for creative artists (not ated opera readings, "New Operas at Lincoln students). Requirements are that the applicant Center", scheduled for October '83 through have at least five years professional experience April '84 at the Bruno Walter Auditorium. in his field, have been resident in North Caro- Successful works will be considered for full lina at least one year immediately prior to his productions by the company. application, and that the monies awarded be spent within a 12-month period beginning Sep- The CHAMBER OPERA THEATRE OF NEW tember 1. Fellowships are awarded painters, YORK is offering, in its Forum series, work- sculptors, craftsmen, etc. during even num- in-progress readings, with the possibility of bered years, and composers, poets, writers, full productions at a later date. The readings, etc. in odd numbered years. before an audience, are followed by discussions with the composers and authors. Gait McDer- The CENTER FOR CONTEMPORARY OPERA, mott's 77ie Human Comedy was performed in with new offices at 4 West 76 Street, New this manner on February 13; in January, the York, New York 10023, is soliciting cassette company presented a reading of a new English tapes and scores of new operas. Robert Ward translation-in-performance of Lortzing's Der was recently elected chairman. Wildschiltz at Marymount Manhattan Theatre. The CREATIVE ARTS PROGRAM and Charles The Department of Music at UNIVER- River in Dover, Massachusetts, are looking for SITY in Oxford, , offers a total of $4,000 a two-hour musical for children, to be produced in cash prizes for a chamber music theatre by 8 to 15-year-olds. The cash prize is $300. piece or for songs, to be presented in concert at the University in June. (continued on page 18)

-9- NEWS FROM OPERA COMPANIES

NEW Two new companies were founded at the beginning of this season, one in COMPANIES the East, one in the West, both created by composers. Although they plan to include compositions by various contemporary composers, this season each presented his own works. Joseph Summer's CONTEMPORARY OPERA COMPANY OF AMERICA is located in Philadelphia, and its plans call for full productions of 20th century American operas, probably little-known works but not necessarily world premieres. All should be scored for full orchestra and be written in the "grand or comic opera tradition". The director and his board and committee hope to interest other opera producers to see these productions and give the works further exposure. The company's first production was Summer's The Tenor's Suite, the second will be his Hippolytus, both produced jointly with the Pennsyl- vania Opera Festival, the latter work to be repeated at Drexel University.

The Western company is called VOICES/SF, and performs in small (about 100-seat) houses in San Francisco. It is a showcase ensemble for American singers, composers, and librettists under music director/composer David Ahlstrom. In its first season it presented six programs, with two to ten singers and instrumentalists, of semi-staged Ahlstrom operas coupled with vocal selections. Next season, the company hopes to repeat each program in a larger auditorium, and plans to include music theatre works by other composers.

Another new ensemble in San Francisco, this one dedicated to classical opera, is the HANDEL OPERA COMPANY. Bruce Wetmore is its general director. A concert performance of is under consideration; if it takes place it would be the American premiere of the work.

...IN LONDON The LONDON CHAMBER OPERA is a new group which will present fully staged, one-act chamber operas in English. A chamber orchestra under the aegis of the Opera Players Ltd. has been formed to accompany the British ensemble. Charles Farncombe is music director and Elisabeth Parry managing director.

PRODUCTIONS The ubiquitous , who is artistic director and conductor of ACROSS the Opera Company of Boston and its Opera New England, who has been THE SEA directing efforts toward of an opera school and opera company in Manila, who conducted seminars and opera performances in China, has now been named artistic director of a new OPERA COMPANY OF ISRAEL. The former Israel National Opera, which was created some 35 years ago by Edis de Philippe and managed after her death by her husband, was dissolved last year. The new company, founded under the sponsorship of The Honorable Shlomo Lahat, mayor of Tel Aviv, has been assured the support of the Israel Philharmonic and its music director, . First performances are planned for late summer in Tel Aviv, and shared productions with the Boston company are under consideration. Plans also provide for the inclusion of a training school or seminar to develop Israeli operatic talent. Possible repeat performances in other Israeli cities are also being discussed.

Other productions shared across the seas have been mentioned here in recent issues. In addition to the above, new programs include a Welsh/Ca- nadian collaboration brought about by the appointment of Brian McMaster, general administrator of the Welsh National Opera in Cardiff, to the additional post of general director of the Vancouver Opera. Two or three of Vancouver's four productions will be performed in both countries. -10- NEWS FROM COMPANIES

The previously announced Mozart project of the Washington Opera and L'Orchestre de Paris, will bring the Paris production of Cosi fan tutte to Kennedy Center in November. The cast will remain the same; only the orchestra and chorus will be the resident Washington ensembles. — Last season's successful venture between the Los Angeles Philharmonic and the Royal Opera, Covent Garden will continue with a second produc- tion. Performances of will originate in London, then move to Los Angeles in time for the 1984 Olympics. The opera will be performed with the complete Alfano ending. It will also be the first time Gwyneth Jones sings the title role. A project currently under consideration by the major professional Canadian OTHER JOINT opera companies is that of organizing a joint production for touring PROJECTS throughout the country. The opera most likely to succeed is Der Rosen- kavalier. For the second year, CARNEGIE HALL in collaboration with Columbia Artists will present an opera-in-concert series. This season's program featured Marilyn Home in three Rossini operas; next season will feature Frederica von Stade in a series entitled French Opdra Comique (see Performance Listing). From July 28 to August 12, 1984, Los Angeles will host the summer NEW FESTIVALS Olympics. An extensive program of cultural activities is planned, for which the Times-Mirror Company has pledged an initial $5 million. The Royal Opera, Covent Garden will be visiting with three productions: Turandot, , and Die Zauberflote; another highlight of the OLYMPIC FESTIVAL will be the new three-day Wilson music theatre piece (see New Operas). BRITAIN SALUTES NEW YORK 1983 will have featured over 200 events before it closes in late June. The April 16 Metropolitan Opera Club Ball in the Opera House was one of the opening festivities, and the performances of The Fires of London at Symphony Space, the Royal Shakespeare Company on Broadway, and the Royal Ballet at Lincoln Center are also part of the Salute. Special exhibitions include paintings and sculptures on loan from British museums and from the Royal Family.

The Arts and Education Council of Greater St. Louis will sponsor a new SAINT LOUIS ARTS FESTIVAL in October '83. The estimated cost is $4 million. Advertised as a "once-in-a-lifetime" event, the 1984 TORONTO INTER- NATIONAL FESTIVAL is expected to cost about $8.5 million, but it is believed the economic impact will total $25-$30 million. A highlight of the Festival will be the first Metropolitan Opera visit to that city in almost 20 years. The company will take seven of its Centennial productions to the O'Keefe Centre: Peter Grimes, Die WalkUre, Die Entfukrung aus dem Serail, , , , and Francesco da Rimini. The resident , which does not usually perform in June, will mount a special production of Britten's Death in Venice (6/24, 26, 28, 30/84). The National Ballet of Canada, and various visiting ballet compa- nies from Japan, India, and the U.S., will participate; Festival concerts by the Toronto Symphony will include Berlioz' Romeo et Juliette; there will be folk music and jazz and popular music, with an opening concert on June 1 at Harbourfront, featuring an 800-voice chorus, dancers, and

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a brass band. Exhibits at the Royal Ontario Museum will include David Hockney's "Design for the Stage".

When the Boston Lyric Opera gives the two staged cycles of The Ring this July and August, it will do so under the company name of NEW ENGLAND WAGNER FESTIVAL. John Balme is music director, David Waite is general director, and Anne Catherine Ewers will be responsible for the staging. Performances will be mounted at in a one-unit set designed "in the spirit of an original 1870's and 1880's touring production". One cycle will be brought to New York's Beacon Theatre.

For the first time, the LAKE GEORGE OPERA FESTIVAL will participate in the Saratoga Springs Festival. It will offer the premiere and 12 performances of Paxton's The Adventures of Friar Tuck at the Saratoga Performing Arts Center in August.

Summer 1984 may bring the first JUNE OPERA FESTIVAL to Princeton, New Jersey, under the directorship of Michael Pratt of Princeton Uni- versi ty.

When the BROOKLYN OPERA SOCIETY gives its outdoor performances in Prospect Park next summer, it will be playing in a much improved, renovated band shell. For the first time, the company will be able to present its park performances semi-staged with the orchestra in the pit. Last summer's schedule included five Gershwin Nights; this year the program calls for a production of Treemonisha.

The SAN FRANCISCO OPERA SUMMER FESTIVAL will produce the complete Ring des Nibelungen in 1985. However, the 's annual NORTHWEST FESTIVAL will not perform the cycle that year.

For a PUCCINI SUMMER FESTIVAL, see Opera below.

OPERA The SAN ANTONIO SYMPHONY, which has a 43-year tradition of staged DISCONTINUED opera productions, and which, under its "" title, was the oldest opera company in Texas, will no longer include opera in its season. While the new San Antonio Festival will bring opera to the city, there will not be a resident company.

The PHOENIX THEATRE in New York, a non-profit repertory company which offered both straight plays and music theatre pieces/operas, had to close its doors after 30 years of high-quality productions.

REDUCED The has announced its 1983 season, and the SEASONS cutback in productions and performances from its former (but not current, truncated) season results in 19 rather than 26 productions, and 134 rather than 175 performances (see.Performance Listings 1982-83 and 83-84). The original plan of one light opera played for the first three weeks has been changed to a varied repertory for the first week, followed by ten days of . The season, which opens July 7, will feature a PUCCINI FESTIVAL of six of the composer's operas, and other Puccini celebrations are scheduled at or near Lincoln Center. Of the 19 operas on the company's schedule, five will be offered in new productions. - City Opera's annual guest appearances at the Los Angeles Music Center, begun in 1967, have been discontinued, and performances at the Wolf Trap

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Festival must be postponed until at least 1984, when the Park's new theatre is expected to be completed (this summer's events are still being held in the temporary shell erected after the fire last spring). A change in season and a cutback in productions is being effected at the NEW ORLEANS OPERA. Going from five to four operas, the company will be performing in October, November, and December, instead of scheduling its productions evenly throughout the season. The Hinsdale Opera did not perform during the current season because of financial difficulties. The company has announced a reorganization and a change of name to OPERA THEATRE OF ILLINOIS to reflect plans for next season's performances in Hinsdale and other Illinois communities. American companies are not alone in finding a need for retrenchment, although it should be added that most opera companies are scheduling the same amount of productions and performances for the coming season as had been their custom in the past. From Europe, we hear of the cancellation by the Deutsche Oper am Rhein of a special four-year plan for a Gluck cycle in Jean-Pierre Ponnelle productions, and of the post- ponement by the Royal Opera, Covent Garden of a new production and a visit to Manchester due to uncertainty in financing the coming season. With reference to the above comments, it may be of interest to note STEADY that those major companies which have thus far announced their 1983-84 SEASONS schedules seem to be keeping to their usual length of season and number of productions. The 1983-84 season will bring a total of 22 productions to the stage of the Metropolitan Opera (counting the Stravinsky triple-bill as one), ten to the San Francisco winter season, plus five at its summer festival and two performed by the San Francisco Opera Center, seven productions at the Lyric Opera of , and four each by Greater Miami and Dallas. The latter has published a most encouraging 1982-83 report: ticket income and attendance were 26 percent greater than the previous year, a year which in itself had established a record; single ticket sales rose by 29 percent (see also page 18). As we go to press, we learn that the OPERA is, in effect, EXPANDED enlarging its program, and for the first time will mount five productions SEASON next season. In preparation for this move, the company offered the Verdi in addition to four staged operas last year. In 1983-84, OPERA MEMPHIS will not only reinstate its original number COMPANIES of productions, four rather than the two and three of the last two seasons, ADD PROGRAMS but will continue the new program for young professional and apprentice & SERVICES singers instituted this season. The AMERICAN OPERA SERIES was offered both in Memphis and on tour, performing The Face on the Barroom Floor some eight times in small theatres, bars, and at the Mid-South Fair during August and September, and four performances of Rosina at the Academy of Arts in October. Fifteen performances of The Silver Fox and 48 performances of were taken to area schools under the auspices of Southern Opera Theatre, the resident touring com- pany. The company has rapidly expanded during the first year of adminis- tration by Anne Randolph and Carey Wong.

The Connecticut Opera's OPERA EXPRESS, which has been performing in schools and various other educational programs, will be branching out next

-13- NEWS FROM COMPANIES season and will also offer a "Showcase for Adults". Two complete opera productions of full-length, standard works which will be staged in costume, vocal selections under the title "A Grand Night for Singing", and a Christmas opera will comprise this series. The educational program will continue its condensed versions of standard operas, several complete children's opera productions, and a potpourri of popular arias billed as "Opera to Order". As a result of the five-year strategic plan developed by the MICHIGAN OPERA THEATRE and a marketing consultant, the company will change its image by engaging international stars for one or two annual productions, and offer those productions in larger halls. The first celebrity will be Dame , who will be featured in Anna Bolena. The performances will be mounted in spring '84 at the Masonic Temple.

OPERA COLORADO, which opened its first season in April, has joined Houston, Seattle, and Miami in presenting operas in two series with two casts. The Family Opera Series repeats the productions of the main season in English at reduced ticket prices with young American singers. Taking its cue from television, the CANADIAN OPERA COMPANY ran English "sur-titles" on a proscenium screen above the stage - hence "sur", not "sub"-titles - for its performances of . The great success of this experiment will assure its continuance, at least for some operas. The sur-titles were supplied by Sonja Friedman of Texture Films Inc., who is also responsible for the "Live from the Met" and the "Bayreuth Ring" subtitles seen on PBS.

NEW NAMES £ The Asolo Opera, or Asolo Opera Guild, has adopted the new name of ADDRESSES SARASOTA OPERA ASSOCIATION. Under that name, the company will move to its new home, the Edwards Theatre. The former Westchester Lyric Festival has moved to Manhattan and changed its name to CENTER FOR OPERA PERFORMANCE. Franco Iglesias is general director, and performances are staged at the Martin Luther King Jr. High School auditorium. Reflecting its future regional activities, the Hinsdale Opera Theatre has become the OPERA THEATRE OF ILLINOIS (see above). The PORTLAND OPERA announced the move of its offices to 1530 SW Second Avenue, Portland, Oregon 97201, where it can be reached by calling (503) 241-1401. The COLORADO OPERA FESTIVAL has new offices located at 27 South Tejon, and a new mailing address: Box 1484, Colorado Springs, Colorado 80901. The company will perform in the new Pikes Peak Performing Arts Center. Offices of the OPERA have moved to 1900 North Mills Avenue, Suite 4, Orlando, Florida 32803; the new telephone number is (305) 896-7575. The Boise Civic Opera is now the BOISE OPERA COMPANY, INC. Its telephone number has changed to (208) 345-3531, although its address remains the same. Vivien Garetz is its executive director. -14- NEWS FROM COMPANIES

Also note that the telephone area code for SAN DIEGO (opera company, light opera, university, etc.) has been changed to 619.

Lastly, the STATE OPERA OF SOUTH AUSTRALIA announced a new address of 20 Rowlands Place, Adelaide, South Australia.

The new SPOLETO U.S.A. FESTIVAL staging of will PRODUCTION be set at the beginning of World War II, although the scene remains IDEAS Nagasaki. This production will mark the American opera debut of film/ opera director Ken Russell. Also this season, Menotti's The Unicorn, the Gorgon, and the Manticore will be presented at the Festival as a madrigal ballet, featuring the North Carolina Dance Theatre and the Westminster .

Hansel and Gretel, as presented by the CONNECTICUT OPERA, was a full-length ballet, choreographed by Uthoff and danced and mimed by the Hartford Ballet Company, with vocalists singing off-stage. In addition, the production featured an elaborate light and slide show, including projection surfaces above the stage and audience for the flight of the witch. Promotion for the four performances at the 15,000-seat Civic Center included a giant in the park, sponsored by McDonalds, children's entertainment in the same park on Easter Sunday, and a competition for gingerbread houses, entered by local corporations and stores. The largest entry was four feet tall.

Just as some companies are gradually building their repertoires toward a complete Ring des Nibelungen cycle, THE OPERA COMPANY OF PHILA- DELPHIA announced that it is working toward a four-opera series, all starring James Morris. The company will stage a new production of the Gounod opera during the coming season, to be followed in later years by Boito's Mefistofele and Berlioz' La Damnation de Faust. The fourth opera will be contemporary, especially commissioned for these perfor- mances.

The WASHINGTON OPERA announced that management reached an agree- LABOR ment with its musicians, stage hands, and their respective unions for a CONTRACTS wage freeze for 1983-84.

The NEW YORK CITY OPERA, which operated this season under a wage freeze agreement, will have to negotiate all contracts for next season and beyond. — And in 1984-85, following the Centennial Season, it will be the METROPOLITAN OPERA'S turn for new union agreements.

Merchandising has become a respectable source of income for non-profit FUNDRAISING arts organizations, and some are now branching out beyond the gift or & PROMOTION book shops on their own premises. In addition to flourishing mailorder businesses, boutiques or sales counters in commercial or public places have also been established. Examples in New York include the Metropolitan Museum's shops at the and at Maey's, the Brooklyn Museum's shop in the atrium of Citicorp Center, and the New York Botanical Garden counter in the new IBM building. Certainly every city has its own prestigious locales and lucky landlords.

While on the subject of prestigious locales, these may also be viewed as possible places for additional ticket booths or box offices. A promotional -15- NEWS FROM COMPANIES tie-in with the specific business, store, corporation, or bank should be kept in mind; some exchange service with another arts group such as a museum is another possibility. Tosca, as performed and broadcast by the METROPOLITAN OPERA on January 7, 1956, is this year's gift to donors of $125 to the Met Opera Fund. The stellar cast features , Richard Tucker, Leonard Warren, and Fernando Corena under the baton of Dimitri Mitropoulos. The two, sound-restored records are, as always, handsomely boxed with a libretto and 28-page book of historical information. Dorle Soria and David Hamilton are the producers. The $125 contributions should be addressed to Met Opera Fund, Box 930, New York, New York 10023. This is the tenth album in the Met Historic Broadcast Series. A limited supply of the following recordings, issued in past years, are still available, each for a $125 gift: , , Der Rosen/cavalier, , and the two-in-one album Elektra/. Radio marathons are always popular fundraisers. The netted $155,000 last November, the CANADIAN OPERA'S "Cele- brity Radiothon" received over 1,000 gifts and pledges, and the METRO- POLITAN OPERA/WQXR's Marathon reached its $500,000 goal just before the closing belL

"Twenty-Eight Reasons Business Considers the Arts" is the title of a slide show, written and directed by Harriet Feinberg, to illustrate major motiva- tions for arts patronage by corporations and other business establishments. Partially funded by the Massachusetts Foundation for the Humanities and Public Policy, it is available free of charge for a showing, or may be purchased at cost by an arts agency. Address inquiries to Ms. Feinberg at 639 Green Street, Cambridge, Massachusetts 02139, telephone (617) 354-4441.

The Business Committee for the Arts reported that AMERICAN EXPRESS has given over $1 million to the arts (see these pages in previous issues for specific programs). Of particular interest is that, in addition to cash grants, over $3 million has been given in advertising and marketing values, in the free loan of personnel as consultants, or in the use of equipment and services. BCA further reported that business in Alabama leads all other states in a "Ten Percent Club". That is, club member corporations are committed to giving ten percent of their pre-tax income to philanthropic endeavors, including the arts.

Package tours to opera festivals, arranged by the local opera company or guild, can net the organization some extra income. Subscribers and patrons will feel they are in knowledgeable hands if their guide has been chosen by the company. A very special opportunity presents itself when the company itself is touring to foreign shores, as is the ease with the guest engagement of the Opera Theatre of Saint Louis at the Edinburgh Festival. One hundred twenty patrons will visit different musical per- formances during a singular tour of England and Scotland, culminating with the St. Louis productions at the Scottish Festival. The overall cost of $3,000 includes a tax-deductible contribution to the company.

Money-saving ideas in advertising include joint ads with corporations that

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prefer to project a cultural image rather than a "cold, materialistic business angle", or greatly reduced rates in newspaper ads contracted on a "stand-by" basis, which allows the paper to determine the exact day or days to run the ad within a prescribed period of time. Arrangements with a regional vineyard or vintner for a wine named after a performing arts company has proven not only excellent promotion for both wine and opera, but also has been profitable - and fun - for all parties involved. From time to time we have reprinted some particularly clever promotional slogans. Here is a new one: "It's time to fill your subscription - for fast temporary relief of culture shock", accompanied by a picture of a medicine bottle containing two costumed singers. Thank you, Opera Company of Greater Miami!

Because of the frequent demand for opera schedules of the coming season, FORECAST we are publishing, for the first time in a spring issue of the COS Bulletin, 1983-8't the First Performance Listing 1983-84. As always, we shall continue to fill in the gaps as the season progresses and new issues are published. This column includes companies and performances for which only partial information is available at this time. The CLEVELAND OPERA, under the directorship of David Bamberger, will offer , , and . — Conductor Christian Badea will lead performances of in Louisville for the KENTUCKY OPERA, and of II Trovatore in Florida for the PALM BEACH OPERA. The schedule of the FORT WORTH OPERA will consist of The Pearl Fishers, Madama Butterfly, and Un Ballo in maschera. The company will also present the Verdi Requiem. This will be the first season under the management of Dwight Bowes. Following performances of La Boheme in Duluth, Benita Valente will open the season of the MICHIGAN OPERA singing Marguerite in Faust. The Detroit season will continue with Sutherland's Anna Bolena in a Canadian Opera Company production, as mentioned earlier in these pages, and also and A Little Night Music. — The PITTSBURGH OPERA will stage n Barbiere di Siviglia in March '84.

San Francisco's LAMPLIGHTERS/OPERA WEST FOUNDATION will open its season with a one-month run of . In October, the VANCOUVER OPERA, under the new management of Brian McMaster, will open with Nabucco, to be followed by Madama Butterfly, Les Contes d'Hoffmann, and . — Les Contes d'Hoffmann, La Traviata, and La Cenerentola will be performed in Calgary by the SOUTHERN ALBERTA OPERA. Continuing our listing of 1983 European festivals: THE TWO WORLDS ...IN EUROPE FESTIVAL, Spoleto, will offer La Rondine, Wozzeck, Convenienze ed inconvenienze teatrali, and Rameau's Pygmalion between June 23 and July 10. — The ORANGE FESTIVAL in France will stage Aida with Margarita Castro-Alberty in the title role. Other operas at the festival, which opens July 13, include La Gioconda and Turandot. -17- NEWS FROM COMPANIES July 2-24 are the dates of the SAVONLINNA FESTIVAL in Finland. The Finnish opera, The Red Line, will be joined by Die Zauberflb'te, Der fliegende Hollander, and . This year's SALZBURG EASTER FESTIVAL, under , featured Der fliegende Hollander, not Lohengrin as previously announced. Rossini's Mose will be mounted in a new production for the 1983-84 opening night of the OPERA NATIONAL DE PARIS, with Simon Estes in the leading role and Giorgio Strehler directing. The WUERTTEMBERGISCHE STAATSTHEATER in Stuttgart wiU hold a Henze Festival next season. The following operas are to be included in the program: Wir erreichen den Fluss, Policino together with a new work Die englische Katze, Don Chisciotte, El Cimarron, the original version of Kb'nig Hirsch, and Monteverdi/Henze's . With information on seasons usually arriving very late, we are delighted to announce 's opening nights for the next two seasons: 1983-84 will offer , with Rosalind Plowright and Placido Domingo, Lorin Maazel conducting, and 1984-85 will open with Carmen, also with Domingo, and conducting.

The 1985 SALZBURG SUMMER FESTIVAL promises the unlikely combi- nation of Don Giovanni and Placido Domingo, under von Karajan's baton. — The BAYREUTHER FESTSPIELE continues to engage interesting and controversial stage directors, and the 1985 summer season will see Ken Russell directing Tannhauser, conducted by . NEWS FLASH The DALLAS OPERA (see also page 13) will add a spring season of chamber operas to its usual fall season. Three performances of a double-bill, The Medium and Amelia Goes to the Ball, will be performed in April 1984; two productions are planned for the following year. •

Composers and Librettists (continued from page 9) Although the 1983 deadline for the NEW DM 15,000, and the closing date for appliea- WORKS PROGRAM IN MUSICAL THEATRE tions is December 31, 1983. Inquiries should has passed, the information may be of interest be addressed to the Opera House, Oberer for 1984: Mae-Hayden Theatre, Box 204, Chal- Schlossgarten 6, 7000-Stuttgart 1, Germany, tham, New York 12037, offers a small cash prize and the opportunity to have your work read in a workshop and, eventually, fully pro- Open only to Canadian composers is the duced. YOUNG COMPOSERS COMPETITION, admin- istered by the Performing Rights Organization Do not miss the various composer/librettist of Canada. Categories include compositions programs mentioned under New Operas and for orchestra, chamber orchestra, solo instru- Premieres in these issues, and the NEA Phase ments, and accompanied or unaccompanied I-in program mentioned under Government. voice. Electronic or computer music is eli- gible, but popular songs are not. A total of The WUERTTEMBERGISCHE STAATSOPER in $6,000 will be disbursed; application forms may Stuttgart announced an international competi- be obtained from PRO Canada offices in To- tion for chamber opera. The cash prize is ronto, Montreal, and Vancouver. •

-18- GOVERNMENT AND NATIONAL ARTS ORGANIZATIONS

The amount ultimately appropriated for the NATIONAL ENDOWMENT NEA FOR THE ARTS under the FY'83 budget was $143,875 million, almost the same amount as was allotted the agency in FY'82. The breakdown of this amount is as follows: $101.67 million in Program Money (including about $5 million for the Opera-Musical Theater Program), $18.4 million in Challenge Grants, $11.2 million in Treasury Funds, and $12.6 million for Administrative Funds. Program Money also includes $1.1 million for the new Advancement Grants, which are direct Federal grants to smaller, community-based organizations (see Vol. 24, No. 2), and $2 million to local arts agencies either through direct applications or through state arts agencies. Monies in this new pilot program must be matched by new public funds. The FY'84 Guidelines are now available.

Separate federal grants which were approved included $15 million toward rebuilding the Filene Center at Wolf Trap, $10.8 million for Museum Services (the original plan was to discontinue this organization), and $1 million for the National Symphony "for its special role as resident orchestra at the Kennedy Center".

Discussions for the FY'84 budget yielded the first official suggestions for NEA appropriations. The President's request was $125 million, followed by the recommendation of $166 million by the Congressional Subcommittee in charge of NEA and NEH authorizations. NEA is sponsoring a SYMPOSIUM ON ACCESS TO CULTURAL PRO- GRAMS, scheduled for July 13-16 at Indiana University in Bloomington. The purpose is to share ideas on exemplary ways arts facilities have solved problems on access for the elderly and the handicapped.

There are six grant categories within the Opera-Musical Theater Program: OPERA- Professional Companies, Regional Touring, New American Works, Producers MUSICAL Grants, Special Services, and Services to the Arts. Several changes have THEATER been proposed for applications "to include many other forms that do not PROGRAM fit the traditional definition of opera", to "emphasize artistic quality and administrative quality with a new system of evaluation", rather than the "repetitious, turn-over grant awarding", to have "all applicants subject to on-site visits", and "to include in the Special Grants category concert opera organizations with unique programming". It was further suggested the number of companies receiving grants be expanded, even though less dollars are available. Finally, it was suggested the New American Works and Producers Grants be awarded to the applying companies in three phases: 1) for the commissioning of artists to create new pieces, 2) for testing and revising, as in composer/librettist workshops, and 3) for support of rehearsals and premiere productions.

A test program has been initiated by the NEA Music Program in cooperation NEA MUSIC with the National Foundation for Advancement in the Arts, with the PROGRAM purpose of establishing community residencies for performing ensembles & NFAA from music training organizations. A total of $50,000 has been allotted this project for small grants to recognized music schools, which must raise matching funds to sponsor a graduate ensemble for a six-week residency of community performances. This might assist the graduate opera programs that perform in schools and community centers; they have been quite successful in the past few years, but have always been threatened by a lack of financial support. -19- GOVERNMENT & NATIONAL ORGANIZATIONS NEA & NEH The long-projected move of the National Endowments finally became a NEW OFFICES reality with the renovation of the Old Post Office building, a handsome, 1899 structure which won landmark status some time ago. It has been dedicated to the memory of Nancy Hanks, who was primarily responsible for the preservation of the building. The NANCY HANKS CENTER contains a commercial mall with three levels of boutiques, cafes, restau- rants, and a special performance space, above which are the offices of the NEA, the NEH, the President's Council on the Arts and the Humanities, and the Institute for Museum Services. The clock tower of the structure, the third highest point in Washington, has an observation deck and houses the Ditchley Bells, replicas of those in Westminster Abbey. The bells were a Bicentennial gift from Britain to the U.S. NEA's new address is 1100 Pennsylvania Avenue NW, Washington, DC 20506, (202) 682-5400.

OMB The OFFICE OF MANAGEMENT AND BUDGET has, at least temporarily, withdrawn its proposal to limit or curb advocacy activities by non-profit organizations. Numerous congressmen urged OMB to wait for clarification of the respective rules and regulations. CONGRESS I ONALTom Downey, Congressman from New York and head of the Congressional LEGISLATION Arts Caucus, has reintrodueed the NATIONAL HERITAGE RESOURCE ACT, H.R. 1285. The bill would allow artists to claim fair-market value for their works donated to charitable organizations, contrary to current law which permits only the value of the actual materials used. A valuable musical manuscript is currently worth only the paper it has been written on when, for example, it is donated to the Library of Congress by its author. A second party or a collector may, however, take a tax credit for the recognized market value. STATE ARTS An NASAA survey indicates that 1982 arts appropriations for 56 states AGENCIES and territories rose by 4.8 percent. The report for 1983 to date indicates a loss of appropriations of over $2 million in a total of 28 states. As a result of these reductions, for example, the NEW YORK STATE COUNCIL ON THE ARTS was to have had its appropriation cut from $32.5 million to $28 million for FY'83/84. A last minute reversal restored $4 million. The highest amount New York ever put at the disposal of the arts was $34.15 million in FY'75/76. — The Council is sponsoring a new fellowship program to become effective in 1984-85 in the areas of music composition, multi-media production, playwrighting, video, film, and choreography. Sponsoring or producing organizations are encouraged to write letters of interest outlining the proposed program. The maximum Council sponsorship will be 20 percent of cost. The ILLINOIS ARTS COUNCIL is threatened with total extinction, but the MICHIGAN COUNCIL ON THE ARTS announced such success with its pilot program of 1) touring, 2) market development, 3) facility improve- ment, and 4) consultancy program, that all will be continued next year.

An economic impact study of the effect of the arts within the state was commissioned by the ART COUNCIL. The study covered the year 1981, and found that $38 million was of direct impact, with another $44 million generated indirectly, totalling an impact of $82 million for the state. As the Iowa arts industry is primarily supported by citizens, not tourists, the basic economic activity in the arts occurs in salaries, totalling $16.6 million. Copies of the Economic Impact Study of the Arts in Iowa are available from the Institute of Urban and Regional Research, , Oakdale Campus, Iowa City, Iowa 52242.

-20- GOVERNMENT 6 NATIONAL ORGANIZATIONS

A few states have instituted a check-off, voluntary donation on their state tax returns, but SAN DIEGO COUNTY has found its own way to raise money for arts institutions. Enclosed with their property tax bills, residents find a request for donations to support the arts to be added to their tax. In one fiscal quarter, $50,000 was raised by this method.

The MID ATLANTIC STATES ARTS CONSORTIUM, which serves the states REGIONAL of New York, New Jersey, Delaware, Pennsylvania, Maryland, Virginia, TOUR PROGRAM West Virginia, and the District of Columbia, has announced guidelines for applications for its 1983-84 and 1984-85 regional performing arts program. As a result of a sponsors/presenters/performers study conducted by the Consortium, there will be a number of changes in the guidelines for the 84-85 season. Applications for that season must be received between October '83 and January 30, 1984; to participate in next season's programs, a letter of intent must reach the Consortium, HE. Chase Street, Suite 7-B, Baltimore, Maryland 21202, before July 1, 1983.

Joint support by the Canada Council Touring Office, the NEA, and the US/CANADIAN respective state and Canadian province arts agencies has facilitated the TOURING creation of EASTERN CANADA/NEW ENGLAND CONTACT - BOSTON '83. The purpose is a joint performing arts booking conference for the New England states and Eastern Canadian provinces. Twenty-four indivi- dual artists and performing ensembles have been invited to participate in the showcase conference, which is scheduled for September 23-25 at the Park Plaza Hotel in Boston. The list of touring attractions includes a number of vocal ensembles and one opera group, the Connecticut Opera Express. Inquiries should be addressed to the New England Federation for the Arts, 25 Mount Auburn St., Cambridge, Massachusetts 02138.

The CANADA COUNCIL'S 1983-84 budget totals Can. $77.3 million, a 6.8 percent increase over the current appropriation. One of the special grants will go towards the French version of The Encyclopaedia of Music in Canada, which is now in its third printing in the original English edition.

Reflecting its wider sphere of interest, the National Opera Institute has NOI/NIMT adopted a new name, NATIONAL INSTITUTE FOR MUSIC THEATER, to become effective June 1. The Institute is dedicated to the support of "opera and all forms of American musical theater". These are to "include opera, , musical theater, and a variety of experimental works as well as all theatrical forms in which the singing voice is a principal means for communicating a story or drama". The name change was approved by the Institute's chairman, , and its 34-member board.

The question, "How do you spend your leisure?" was asked by United LEISURE TIME Media Enterprises, and resulted in the collection of survey statistics of SURVEY particular interest to the arts. Obviously, the most popular leisure-time activity is TV watching, followed by newspaper reading. The various arts events came between 34th and 39th places in popularity. Sixteen percent attended classical music events once or twice a month. On the other hand, when the questions were asked in the reverse way to determine the percentage of people never attending various cultural events, opera seemed to fare better than museums, much better than ballet and dance, and only slightly worse than classical concerts. Fifty-five percent never attended concerts last year, 57 percent never attended opera, 61 percent never went to an arts or science museum, and 79 percent never attended ballet or dance. •

-21- NEW AND RENOVATED THEATERS The PIKES PEAK CENTER FOR THE PERFORMING ARTS opened to great acclaim last October in Colorado Springs. Seating in the El Pomar Great Hall varies between 1,850 when the full-size orchestra pit is used, as it will be for the Colorado Opera Festival this summer, and 2,100 at concerts or recitals. Two lifts make the pit size adjustable. John James Wallace & Associates was the architect; Artec Inc, directed by Russell Johnson, the acoustician. A maximum of 18 towers can be used to block off the stage and reflect sound. These towers are the hallmark of Artec design and have now been developed to ride on compressed air for easy movability. Other adjustable features include a plaster canopy over the pit, the masking of the fly wings, and the acoustical banners. The Center is owned and operated by the County.

GLIMMERGLASS OPERA THEATRE, currently performing its summer season at Cooperstown High School in upstate New York, has received a gift of 18 acres fronting on Lake Otsego as a site for a new opera house. The nine-year-old company, now firmly established, finds its present hall inadequate, both in seating capacity and in facilities, as there is no pit, no fly space, and various acoustical problems. The design will be chosen from entries submitted in a competition open to students of the Yale School of Architecture. Specifications by the opera company include a seating capacity of about 900, an orchestra pit for 60 musicians, proper theatrical fly space, and full air conditioning. The cost should not exceed $2 million, and the theatre must be completed for a summer '86 opening.

The CINCINNATI SYMPHONY is planning to build a summer home for outdoor performances, at a cost of $7 million. The North Carolina School of the Arts in Winston-Salem inaugurated its new ROGER L. STEVENS CENTER FOR THE PERFORMING ARTS on April 22. Acoustician Peter J. George and architect Newman Calloway Johnson Winfree are responsible for the $9.6 million rehabilitation and renovation of the former vaudeville and movie theatre, originally built in 1929. The auditorium, seating 1,380, includes an orchestra pit which can accommodate up to 90 musicians and which is, in part, covered, a la Bayreuth. Thus, the hall can be used for opera, musicals, and ballet, as well as symphony concerts, recitals, and plays.

An 1868 townhouse, which was converted into a ballroom in 1903, has been renovated and transformed by the Academy of Vocal Arts. The AVA CHAMBER THEATRE, part of the Center City area in Philadelphia, is owned by the Academy, and opened with Cost fan tutte in February. Because of its 600-seat capacity, it can replace the Academy's 100-seat Studio and the 1,000-seat Walnut Street Theatre.

Plans are being discussed for a new opera house in Toronto. Until this becomes a reality, neither the Canadian Opera Company nor the National Ballet of Canada can consider any expansion of seasons, due to the tight booking schedule of the O'Keefe Centre, which is used by all touring attractions. Dresden's famous SEMPER OPER is being reconstructed. The original plans are being followed exactly, except that stage and technical facilities will include all the latest innovations. The intention of keeping the outside of the building to its original shape and size, yet allowing for a spacious stage, prompted the construction of an adjoining building to house

-22- NEW THEATERS the dressing rooms, storage, offices, etc. A covered walkway connects it with the opera house. The opening is planned for February '85, forty years after Dresden's destruction in World War II. •

LIBRARY EXHIBITS AND COLLECTIONS THE OPERA: 1600-1983, A Celebration of the and researchers. The collection is still being 100th Anniversary of the Metroplitan Opera is offered for sale; in case of an offer from a a festival exhibit to be staged by the J. Pier- buyer, the Library has been awarded right of pont Morgan Library in New York from Sep- first refusal. tember 1 to November 6, 1983. It will include all elements from the Library's famous col- The extensive archives of NEW YORK PRO lection, tracing the history of opera over near- MUSICA, an ensemble founded in 1952 by the ly four centuries through musical manuscripts, late Noah Greenberg, have also been deposited first editions, autograph letters, libretti, lit- with the New York Public Library at Lincoln erary sources related to major operatic works, Center. The primary holdings are medieval and 125 stage designs and maquettes from the and Renaissance music, annotated or edited by David Oenslager collection. Dover Publica- Mr. Greenberg. tions will publish a book in conjunction with this exhibit. The J. Pierpont Morgan Library recently ac- quired 19 rare musical manuscripts, which it Another showing of stage and costume designs, will add to its unique collection. The works representing a selection from the fine and very were part of the Robert O. Lehman collection, comprehensive collection of Robert L.B. Tobin, previously owned by Alfred Cortot. Included will be on view at the Grolier Club in New are manuscripts of Schbnberg's , an York. The dates will also coincide with the incomplete copy of Stravinsky's Persephone, Met's Centennial in October; the exhibit will and important compositions by Beethoven, be titled IN SEARCH OF OPERA. Mahler, Schubert, and others. Last January, the Cooper-Hewitt Museum of The Music Division of the LIBRARY OF CON- the Smithsonian Institution showed its holdings GRESS, located in the Thomas Jefferson Build- of stage, costume, and related drawings under ing in Washington, has opened a new "Per- the title DESIGNED FOR THEATER. Begin- forming Arts Reading Room" in the James ning with a 1585 rendering of Palladio's Olym- Madison Memorial Building. The facility is pic Theater in Vincenzo, the exhibit covered equipped with 16 sound-proof, multi-purpose four centuries, including contemporary set and rooms, which include audio and video equip- costume sketches. ment and/or a piano. One room even has two pianos. In addition, there are 32 listening Rizzoli Bookstore and Gallery, on New York's stations. — The main division in the Jefferson Fifth Avenue, featured a special exhibition of Building also includes the facilities of the seven-foot-tall oil paintings of characters from Motion Picture, Broadcasting, and Recorded Wagner's Ring des Nibelungen, by American Sound division. artist Lynn Curlee. The showing was scheduled to coincide with the recent Bayreuth produc- The DURBECK ARCHIVES in California in- tion as seen on PBS, but Mr. Curlee's paintings clude some 15,000 opera and vocal recordings, are based on production pictures of the original sound films, videotapes, and about 1,000 books. 1878 designs. This unusual collection includes 12 complete Ring cycles and 30 complete Tosca recordings, As a result of a legal dispute, the New York and is being offered for sale at $650,000. Public Library was designated as the temporary repository and custodian of the STRAVINSKY ARCHIVES AND MANUSCRIPTS. The Music A new COMBINED CATALOGUE OF THE OP- and Dance Divisions of the Library already ERA COLLECTIONS in the Music Libraries at have books, recordings, tapes, and videotapes the University of California at Berkeley and on Stravinsky, but the new and unique material the University of California in Los Angeles will be catalogued as the special Stravinsky has been published. Some 10,000 items are Archives and put at the disposal of scholars listed in the 700-page catalogue. •

-23- EDUCATION AND SEMINARS AEA AT The New York based ARTS, EDUCATION, AND AMERICANS, perhaps KENNEDY best known for its substantial study "Coming to our Senses - The Sig- CENTER nifieance of the Arts for American Education", will become a Kennedy Center Educational Affiliate. Its Information Center will work closely with the Kennedy Center Educational Program, which is directed by Jack Kukuk. This cooperative venture was announced jointly by Roger Stevens, chairman of Kennedy Center, and David Rockefeller, Jr., chairman of AEA. Kennedy Center will continue to publish its Alliance for Arts Education Interchange, and AEA its Communique. MANNES With the recently announced move from New York's to COLLEGE Manhattan's West Side, the MANNES COLLEGE OF MUSIC will not only MOVES have larger quarters, but, for the first time, will have an adequate concert hall. The new building at 150 West 85 Street, originally constructed in 1928, will provide additional individual practice rooms as well as dormitory space for some 50 students. There will be two concert halls, the larger of which will seat 500. Occupancy is planned for February 1984. ACADEMIC The Opera Department of the CLEVELAND INSTITUTE OF MUSIC, under OPERA Andrew Foldi, has developed a new program in cooperation with Case WORKSHOPS Western Reserve University/ The new, required course is "Theatre for Singers", and is intended to provide the opera students with an intensive training in dramatics. The first semester will be taught at the Institute, and will include stage combat, clasical ballet, and make-up. The second semester will be at the University, where Chairman Kenneth Albers has developed a special course of theatre dramatics for singers. In addition, great emphasis is placed on reading and acting scenes from the dramatic repertoire chosen to correspond with the opera being studied and per- formed. Mr. Foldi has reported that the first year's courses have had dramatic results.

Thanks to a generous gift, the New York University School of Education, Health, Nursing, and Arts Professions has been able to enlarge its opera workshop, renamed the KURT P. REIMANN OPERA STUDIO. It offers young singers training and performance opportunites in contemporary American operas.

Students enrolled in the opera program at MEMPHIS STATE UNIVERSITY are given the opportunity to participate in special performances of Opera Memphis and its Southern Opera Theatre. The students will receive academic credit (see News from Companies). Directors of graduate opera workshops with community programs will be interested in a new project jointly sponsored by the NEA Music Program and the NFAA. See Government Programs for details. NEW STUDIES The MANHATTAN SCHOOL OF MUSIC has created a new Independent PROGRAM Studies Program to explore career opportunities not traditionally offered by the school. The project is being tested this spring semester. With the assistance of a Paul Foundation grant, twelve students are offered mini-internships in such fields as studio engineering, notation of contem- porary vocal techniques, career entry into the jingle/commercial world, and concert series management/promotion. — The conservatory's graduate school continues its special course "The Business of Music: Anatomy of a Career" under Richard Adams, with professionals in the field as guest lecturers. -24- EDUCATION 6 SEMINARS

In addition to summer festivals and other producing organizations men- SUMMER tioned in the Performance Listing, we have reports of the following COURSES summer training institutes. The MINNESOTA OPERA INSTITUTE will offer courses for a limited number of advanced singers, directors, and coach/accompanists between June 13 and July 1. — July 31 to August 20 are the dates of the OGLEBAY INSTITUTE OPERA WORKSHOP in Wheeling, West Virginia, under the directorship of Frederic Popper. As always, training is provided for intermediate and advanced singers; there is also an associate division for coaches and auditors. — The SANTA FE INSTITUTE OF VOCAL STUDIES is held at St. John's College August 8-13, under the direction of John Large. — In Canada, the BANFF CENTRE SCHOOL OF FINE ARTS provides training for instrumentalists, singers, actors, writers, and craftsmen. The Musical Theatre program runs from July 4 through August 20, the Opera Training Program from May 30 through July 16, and the Opera Advanced Program June 20 -July 16. Both the Opera and Musical Theatre programs culminate in a full production.

The AMERICAN INSTITUTE OF MUSICAL STUDIES, one of the leading educational programs for the young professional singer, holds summer courses in Graz, Austria, as a special orientation for the American singer beginning a career in Europe. The courses in its Career Development Workshop include mock auditions for German agents; at the end of the summer, auditions are indeed held by visiting agents. This year, for the first time, AIMS will include a special seminar entitled "Going Home", in which the student artists are instructed in recent developments and opportunities in the U.S. The overall dates of the Graz Institute are June 30 - August 21; the U.S. seminar will be held August 8-12.

California State University at Long Beach will hold a SUMMER INSTITUTE OF OPERA from July 5 to August 7. Hans Lampl will head the program, and the faculty will include tenor Jess Thomas, actor Robert Hanley, coaches LaVerne Dayton, Terry Lusk, and Michael Milansky, who is general director of the Long Beach Grand Opera.

This year's high school summer seminars at HIDDEN VALLEY, AN INSTI- TUTE OF THE ARTS in Carmel Valley will be under the supervision of the 1983 music director, Henry Holt. The winter opera department will be headed by music director David Effron. A new music camp for students between the ages of 14 and 20 has been established in La Grange, Georgia. The SOUTHEASTERN MUSIC CENTER is state supported and will open on July 18. Inquiries should be addressed to SMC, Box 6351, Columbus, Georgia 31907.

The former Shawnigan Lake Summer School of the Arts now operates under the name JOHANNESEN INTERNATIONAL SCHOOL OF THE ARTS. Courses are held at St. Michaels University School in Victoria, British Columbia. This year's seminars, to be held July 14 to August 25, are for instrumentalists only.

Sally Quale of the THIRD STREET MUSIC SCHOOL SETTLEMENT, 235 ALUMNI East 11 Street, New York, New York 10003, is collecting the career WANTED stories of former students. She hopes to form an alumni association, and requests former TSMSS students get in touch with her. -25- EDUCATION 6 SEMINARS NEW DEGREE The School of Music and the Graduate School of Business Administration IN ADMINIS- of the UNIVERSITY OF MICHIGAN have established a joint dual-degree TRATION program culminating in Master of Business Administration and Master of Music in Arts Administration degrees. The first semester will start in fall '83, and applicants must meet the following requirements: a Bachelor of Music or Bachelor of Musical Arts degree from U.M. or equivalent institution, and completion of at least one course in principles of economics and at least one course in college-level mathematics. The program will be comprised of four terms and one summer half-term, and each student must complete an internship with an arts institution or organization. The University will continue to offer its Master of Arts in Theatre Management degree.

ARTS Last January, about 150 high school seniors competed in Florida in the second annual ARTS RECOGNITION AND TALENT SEARCH (ARTS), administered by the National Foundation for Advancement in the Arts. Prizes totalling $400,000 in cash and $1.7 million in scholarships were awarded the winners. In addition, some 20 finalists were presented at the as U.S. Presidential Scholars. Educational Testing Service is scanning the country for the 1983-84 contestants.

IN-SCHOOL The Education Department of the METROPOLITAN OPERA GUILD has PROGRAMS added two new Educational Opera Boxes this season. Aida and join , La Boheme, Carmen, , , and La Traviata as highly acclaimed educa- tional aids for classroom work. The Boxes contain a teacher's manual, activity plans, resource materials, 30 student handouts, a large classroom poster, a recording of selected highlights, and a full-color filmstrip with accompanying cassette tape. Individual boxes may be ordered for $25 plus $4 for shipping; two boxes are $48 including shipping, eight boxes are discounted to a total of $178.

SEMINARS TEXAS OPERA THEATRE held its second Seminar on Marketing and Development in April. Intended to assist and advise the organizations which sponsor TOT's tour performances, the seminars address such problems as developing an arts series, running a ticket sales campaign, fund raising, and building the image of the arts council. The two-day event was partially underwritten by the NEA. Promotional or marketing seminars offered by arts organizations may be assisted and enlivened by a free slide show, TWENTY-EIGHT REASONS BUSINESS CONSIDERS THE ARTS. See News from Companies for details.

Michael Barclay, and his OPERA EDUCATION INTERNATIONAL, 400 Yale Avenue, Berkeley, California 94708, are offering cassette recordings of lectures on 83 individual operas and eight complete opera courses 16 to 30 hours in length. Individual opera lecture tapes are priced at $12.95, the complete courses vary from $135 to $275.

Both arms of the ARTS AND HUMANITIES COUNCIL OF GREATER BATON ROUGE were served when the agency sponsored the visit of an expert lighting designer. He was engaged by the Baton Rouge Opera to light its production at the Centroplex Theatre. While there, he also held seminars on theatre lighting and, specifically, on the use of the Centroplex computer light-board. -26- EDUCATION & SEMINARS

A three-day workshop seminar on PRODUCING FOR THE COMMERCIAL THEATRE was held in New York last March, under the auspices of the new Commercial Theatre Institute, which was founded by Theatre Develop- ment Fund (TDF), and the Foundation for the Extension and Development of the American Professional Theatre (FEDAPT). A ten-week course is planned for later this year. 5/5-8/83 "Women in the Arts, Op. 2: Women in Music", University of CONFERENCES Michigan, Ann Arbor 6/3-5/83 "Enhancing the Working Partnership", National Symposium, The- atre Communications Group, Washington, DC 6/12-15/83 "The Service Approach to Partnership", Annual Conference, NALAA, Philadelphia Center Hotel 6/22-26/83 38th National Conference, American Symphony Orchestra League, Palmer House, Chicago 6/26-7/1/83 "Institute for Music in General Studies", College Music So- ciety, University of Colorado, Boulder 7/6-8/83 "Consumer Behavior in the Arts", Association of College, Univer- sity, and Community Arts Administrators, Madison, WI 7/13-16/83 "Symposium on Access to Cultural Programs", National Endow- ment for the Arts, Indiana University, Bloomington 7/29-31/83 Annual Conference, Chamber Music America, Santa Fe 9/23-25/83 "U.S./Canada Performing Arts Booking Conference", Park Plaza Hotel, Boston 10/26-28/83 "Styles in Opera Production", Central Opera Service/Met Centennial, St. Regis Hotel, New York 11/2-5/83 Annual Conference, National Opera Association, Boston 12/12-16/83 Annual Membership Meeting &. Opera Showcase, Opera Amer- ica, New York Sheraton, New York

MUSIC AND COMPOSER'S SOCIETIES The INSTITUTE FOR STUDIES IN AMERICAN a book by Anton Haef eli, which chronicles the MUSIC is located at the Brooklyn College Society's history from its beginning. Conservatory of Music, with Professor H. Wiley Hitchcock as director. The Institute was foun- A KURT WEELL FOUNDATION has been cre- ded in 1971, and has just published American ated for the promulgation, collection, and pre- Music Recordings: A Discography of 20th Cen- servation of the composer's music. Lys Sy- tury Composers, edited by Carol J. Oja. It monette is musical executer, Kim Kowalke, lists some 8,000 works by 1,300 composers on Weill's biographer, is president. A symposium 13,000 recordings. Copies of the catalogue and concert will be held at Yale University in are priced at $60. the fall of '83, and details are available from the Foundation at 142 West End Avenue, New The CANADIAN MUSICAL HERITAGE SOCI- York, New York 10023. ETY is preparing an anthology of early Ca- nadian music, primarily of the 19th century. The ALEXANDER TCHEREPNIN SOCIETY of Information on little-known compositions is be- New York has named its hono- ing solicited by the Society's chairman, Helmut rary president. The Society's address is 270 Kallmann, and its executive secretary, Clifford Madison Avenue, New York, New York 10016. Ford. They can be reached c/o Canadian Music Council, 36 Elgin, Ottawa, Ontario, KIP 5K5. A membership organization has been formed in Scotland to honor a Viennese composer. DIE INTERNATIONALE GESELLSCHAFT The ERICH WOLFGANG KORNGOLD SOCI- FUER NEUE MUSIK (International Society for ETY, Konrad Hopkins, secretary/treasurer, is New Music) was founded in 1922. Now the located at 12 Townhead Terrace, Paisley, Ren- German publisher Atlantis has come out with frewshire, PA1 2AX, Scotland. • -27- COS INSIDE INFORMATION NEW OFFICERS ELIHU M. HYNDMAN announced his resignation, effective this spring, from the position of Central Opera Service National Chairman, a position he held for the past ten years. While he will remain on the COS Committee in an advisory capacity, we shall miss his constant contact, his always cheerful support, his great efficiency, and his calm and sensitive demeanor, even in the face of various calamities. He was always acutely aware of his responsibilities as National Chairman and was an inspiring guiding spirit. This is not a Farewell, but a most sincere and deepfelt Thank You! to Elihu M. Hyndman for his unselfish dedication to Central Opera Service and to the good health of opera throughout the country. Last, but not least, a very personal Thank You from his devoted staff, for his unstinting guidance, support, and infectious laughter.

The Metropolitan Opera National' Council made the following statement in accepting his resignation: The Metropolitan Opera National Council wishes to heartily thank Elihu M. Hyndman for his many years of leadership as National Chairman of the Central Opera Service. He served in a remarkable fashion to further the causes of COS, the Council, and the Met. Mr. Hyndman's last official act as National Chairman was to find and name his successor. With his usual wisdom, he chose MARGO (Mrs. Klaus) H. BINDHARDT, whose interest and involvement with the Metropolitan Opera National Council and with Central Opera Service go back over many years. Delegates to the COS National Conference held in Toronto five years ago will remember her charm, her attractiveness, and her accomplished handling of the role of Conference Chairman. We are happy to take this opportunity to extend a warm welcome to Margo H. Bindhardt as new COS National Chairman.

The Western and Pacific regions of the Metropolitan Opera National Council have been redrawn, and we are pleased to announce the appoint- ment of STEWART O. HUME as a new COS Regional Director. He lives in San Francisco and will represent the Pacific Region. NATIONAL STYLE OF OPERA PRODUCTION will be the theme of the 1983 COS CONFERENCE National Conference, which promises to be a truly sensational meeting. The dates have been scheduled to coincide with the Metropolitan Opera Centennial celebration - the Met's Gala will take place on the afternoon and evening of October 22. The COS CONFERENCE will open with a reception graciously hosted by the Metropolitan Opera Association on Wednesday, October 26, and meetings will be held October 27 and 28. Speakers and panelists will be national and international luminaries from the world of the performing arts, and at this date we are thrilled to announce the participation of August Ever ding, John Houseman, and . The meetings will be held at the St. Regis Hotel, where rooms have been reserved at special rates, some beginning October 21 for delegates attending the Gala, and others for an arrival on October 26. Programs with Conference registration forms and hotel and ticket reserva- tions will be mailed soon. Be sure to join us on this most prestigious occasion.

-28- COS INSIDE INFORMATION The ROCKY MOUNTAIN REGION celebrated the inaugural performances REGIONAL of Opera Colorado with a three-day Regional Conference April 7-9. The MEETINGS meeting was chaired by Mrs. DeWitt Brennan, Mrs. Sonja Mast, and , artistic director of the new company. Participants included the designer, director, soloists, and conductor of the La Boheme and Otello productions, with Dr. Marcel Prawy of the as moderator and master of ceremonies. The focus was on the problems and assets of presenting opera in-the-round at Denver's Boettcher Hall.

The next COS Regional Meeting is scheduled in Minneapolis on May 20, timed for the annual tour visit of the Metropolitan Opera. Mrs. Hildur Hollander, COS director for the Upper-Midwest Region, will chair the meeting. Artists and administrators of the Minnesota Opera and Opera St. Paul will participate. This year - more than ever before - it is of the utmost importance to OPERA USA show an accurate picture of how opera fared in 1982-83. The annual SURVEY questionnaires have been kept simple and consistent in order to facilitate 1982-83 replies. Any operatic/music theatre performances, staged or in concert, full productions or scenes, by professional or avocational groups, , choral groups, theatre companies (not for profit only), workshops, and educational institutions should be reported. Questionnaires have been distributed with post-paid return envelopes. For additional forms please write or call COS (212) 957-9871. COS SALUTES ...TEXACO INC. and THE METROPOLITAN OPERA on receiving the George Foster Peabody Award for "43 years of live radio presentation, and for the longest sponsorship of a program in broadcasting history". The program is enjoyed by approximately 7 million listeners weekly. Accepting the award were John Childs, General Manager for Advertising and Sales for Texaco, and Michael Bronson, Media Department Director for the Metropolitan.

...the ROYAL OPERA, COyENT GARDEN on the occasion of its 250th anniversary. Although this is its third theatre, the first was built on the same site 250 years ago. ...the SYDNEY OPERA HOUSE on finishing its first decade as a landmark of sails and fine opera productions in the Sydney harbor. ...the publishing house of THEODORE PRESSER, which celebrates its 200th anniversary this year, and its magazine, The Etude, on its centennial. ...the NATIONAL OPERA INSTITUTE on its program of Awards for Service to Opera, and the five recipients of these awards for "outstanding contri- butions to the progress of music-theatre in the United States": , in recognition of his multi-dimensional talents and energy, which have helped inspire and create an American music-theatre; CAR- LISLE FLOYD, in recognition of his works of music-theatre, which have helped create and establish a distinct American style of opera; BORIS GOLDOVSKY, in recognition of his visionary concept of opera as theatre, and his efforts of the past 35 years to forward the growth of America's music-theatre; the OPERA THEATRE OF SAINT LOUIS, in recognition of artistic policies which stress the involvement of young American -29- COS SALUTES

performers and the production of new American works, and its adminis- trative practices, which provide a model of community involvement; and the O'NEILL THEATER CENTER, in recognition of its innovative programs and continued efforts in providing composers and librettists the opportunity to experiment, explore, and develop new works through its National Opera/Music Theater Conference. ...mezzo-soprano , recipient of the San Francisco Opera Medal commemorating her debut (as a soprano) with the company 40 years ago. The Mayor of San Francisco proclaimed November 27 "Regina Resnik Day". Further congratulations on her first, and successful, venture into film production with "The Historic Ghetto of Venice". ...Dr. WALTER DUCLOUX, first occupant of a newly created chair at the University of Texas, making him the Frank C. Erwin, Jr., Professor of Opera. Professor Ducloux will retire from the position of director of the University's opera and orchestra at the end of this school year. ...HOWARD DIETZ, lyricist of over 500 songs, translator of and La Boheme for the Metropolitan Opera, on being the first recipient of the annual Richard Rodgers Award given by ASCAP for outstanding contributions to American musical theatre. ...RICHARD GADDES, founder and general director of the Opera Theatre of Saint Louis, recipient of the 1983 Missouri Arts Award given by the Missouri State Arts Council. In addition, he received the Lamplighter Award from the St. Louis chapter of the Public Relations Society of America, the first time this award has gone to someone in the arts. Last but not least, the St. Louis Conservatory of the Arts has bestowed on him an Honorary Doctor of Musical Arts degree. ... and Dr. JONATHAN MILLER, for being knighted by Queen Elizabeth II. The soprano was named Dame Commander of the British Empire, the doctor/director/producer/actor/writer Commander of the British Empire. ...PLACIDO DOMINGO, on being honored by the Italian Republic, receiving the title of Commendatore, and by Pope John-Paul n, who bestowed on him the title of Commendatore of the Order of the Knights of Malta. ...mezzo soprano and arts administrator MILDRED MILLER, upon receiving a Doctor of Musical Arts degree from the Cleveland Institute of Music; and opera patron LAURENCE BROWNING, upon receiving an Honorary Doctor of Arts degree from Webster University in St. Louis. ...MIMI (Mrs. Burwell) RUDULPH, author, opera professional, patron, and Metropolitan Opera National Council member of long standing, on receiving an Honorary Doctorate in Humanities from the Northwood Institute, Texas, on May 18. ...internationally renowned singers MAUREEN FORRESTER and ALLAN MONK, and author, editor of Opera Canada, and former singer RUBY MERCER, 1983 recipients of the Canadian Music Council Medals for "outstanding service to Canadian musical life". ...conductor MAURICE ABRAVANEL, one of the founding COS Professional Committee members and conductor laureate of the Utah Symphony, on his eightieth birthday; and HUGO WEISGALL, composer and teacher, on the occasion of his seventieth birthday. • -30- WINNERS The Metropolitan Opera National Council Re- applications are being readied and will be gional Auditions, under Executive Director available September 1 from the San Francisco Rise Stevens, presented its National Finalists Opera Center. in Concert on the stage of the Metropolitan Opera on the afternoon of March 27. The The membership auditions of the National young singers, carefully chosen by members of Opera Association yielded two winners and one the company and other professionals, were runner-up. SHIRLEY HARNED, from Seattle, accompanied by the Met orchestra in the pit, and JOHN MOUNT, from Hawaii, received cash and showed a particularly high calibre of voice prizes and a scholarship to the American Insti- and communication. The eleven winners were tute of Musical Studies in Graz, Austria. Hon- sopranos HAROLYN BLACKWELL (New York), orable mention went to CAROLYN YALDELL JEAN MARIE GLENNON (Colorado), ELIZA- STALEY of Little Rock, Arkansas. BETH HOLLEQUE (North Dakota), ELLEN KERRIGAN (California), JOANNE KOLOMY- The first Opera/Columbus Vocal Competition, JEK (Canada), ALESSANDRA MARC (Virginia), held in March, awarded bass-baritone PETER CECILY NALL (New York), and JO ANN PICK- LOEHLE of Hamilton, Ohio, its first prize of ENS (New York), mezzos LINDA CAPLE $1,000 and a scholarship to the American Insti- (Washington) and STELLA ZAMBALIS (Texas), tute of Musical Studies in Graz. The competi- and bass HERBERT MELLS PERRY (Texas). tion is open only to Ohio residents, and drew All received awards of $1,000 cash and a 103 entries; ten finalists received $100 each, $4,000 study grant, and are eligible for addi- second prize winner soprano SANDRA MOON tional career development assistance under received $500, and soprano YOUNG AE CHOE specific conditions. The semi-finalists all re- and baritone CHEYNE DAVIDSON shared the ceived cash prizes in the amount of $1,000. third prize of $300. CAROL SPARROW and In addition to the above, they included: so- ANTHONY VAUGHAN received honorable pranos LISA GASTEEN, KATHRYN GEORGE, mention. MICHELLE HARMAN-GULICK, JANET JAU- DES, CYNTHIA KARNSTADT, MARQUITA The G.B. Dealey Awards have been greatly LISTER, ANN SMITH, and NOVA expanded and are offered in collaboration with THOMAS, mezzos SHARON GRAHAM, RITA the Dallas Opera and the Dallas Symphony. MAZUROWSKI, and LISA TURETSKY, tenors Instrumentalists alternate with vocalists, the GEORGE GRAY and DOUGLAS JOHNSON, latter competing in odd-numbered years. The RONALD MADDEN, VICTOR RA- 1983 winners were soprano SUSAN DUNN of MIREZ, and JOHN P. WILLIAMS, and bass- Arkansas ($7,500), soprano BEVERLY HOCH baritone REGINALD PINDELL. of Kansas ($4,000), and tenor JOHN FOWLER of North Carolina ($1,500). The three other The National Opera Institute's 1983 Career finalists were soprano DEIDRA PALMOUR, Development Awards, in the amount of $3,500, tenor PHILIP BOLOGNA, and baritone MARK were bestowed upon KATHERYN GAMBE- RUCKER. RONI, GEORGE GRAY, PETER LIGHTFOOT, MARVIS MARTIN, ELLEN McLAIN, SUSANNE Two sopranos won the Minna Kaufmann Ruud MENTZER, LESLIE RICHARDS, THERESA Competition: MARY ANN HART and JUDITH TREADWAY, CAROL WILCOX-JONES, and KENNAN. ELIZABETH WOLFE. In addition, special ca- reer medals went to Miss Martin (gold), Miss This season's Associate Artist Touring Program Mentzer (silver), and Mr. Lightfoot (bronze). of the Cleveland Opera features sopranos AIJA JIRGENSON, DEBORAH BAKER, and NANCY In its second year, the Adler Fellowships of HUDSON SNELL, mezzo GAIL FRANKLIN, the San Francisco Opera Center - an 11-month tenors JAMES SHRADER and GREG WHITE, contract for residency and performances -were baritones FREDERICK REEDER and JAMES awarded to soprano RUTH ANN SWENSON, MISMAS, and two accompanists MARGE AD- mezzo LAURA BROOKS RICE, tenor JEF- LER and SUSAN BENNINGFIELD. FREY THOMAS, baritone THOMAS WOOD- MAN, bass-baritone JACOB WILL, and bass Sopranos MARION VERNETTE MOORE, JUNE JAMES PATTERSON. Out of a total of 1,000, ANDERSON, ROBERTA PALMER, PAMELA 20 young singers were chosen to participate MYERS, and HEI-KYUNG HONG, tenor JERRY in the 1983 Merola Summer Training Program, HADLEY, and baritone JAMES SMITH received in the Center's Spring Showcase Program, and special study grants from the Richard Tucker to compete in the Finals Concert for another Foundation (see also Career Guide Amend- $10,000 in prize money. — The 1984 auditions ment). — The Shreveport Opera Singer of (continued on page 38) -31- CAREER GUIDE AMENDMENT The RICHARD TUCKER MUSIC FOUNDATION Gulbenkian Verdi prize, a Philadelphia Opera (page 2) does not accept applications from Advancement prize, etc. individuals. Singers must be nominated by recognized professionals. In addition to direct The CONCOURS INTERNATIONALE DE grants, the Foundation recently awarded money JEUNES CHANTEURS D'OPERA (page 18), So- to apprentice programs and young artists en- fia, deadline is January 31, 1984. The compe- sembles, such as and Texas tition is June-July '84, the age limit for men Opera Theater. John B. Hightower is executive 33, for women 35. director of the Foundation. There is a new INTERNATIONAL VOICE COM- The 1984 application form for the SAN FRAN- PETITION OF FINLAND, the International Mir- CISCO OPERA CENTER auditions (page 5) will jam Helin Singing Competition (insert page 19), be available after September 1. c/o Finnish Cultural Foundation, PL 203, SF-00121-Helsinki 12, Finland. The competi- The SHREVEPORT OPERA (page 9), 515 Spring tion will be held August 14-22. Write for Street, Shreveport, Louisiana 71101, now offers further information. an annual "Singer of the Year" award. The age limit is 18-55, one must be a student or The new address of the INTERNATIONAL resident living within a 300 mile radius of SINGING COMPETITION TITO GOBBI, Italian Shreveport, and have the experience of at least Opera Studio (insert page 20) is Box 25, 31011- two professional productions or two semesters Asolo/Treviso, . The deadline for this or three quarters in a collegiate opera/musical three-week training course was May 15. theatre program. The deadline is March 15, the application fee $6. Send a resume, reper- toire list, photo, and a recommendation from The CONCORSO VOCI PER LA LIRICA (page a recognized professional. There is a required 20) in Peschiera del Garda has been discon- repertoire: five arias in three languages, art tinued. songs each in French, Italian, German, and English, one musical or operetta selection. An Special opportunities are offered by the NEW accompanist is available upon request. There YORK FOUNDATION FOR THE ARTS, 5 Beek- is a cash prize, and engagement with the man St., Suite 600, New York,, New York Shreveport Opera. 10038. Performers are to be placed in resi- dence in various community settings, and the Foundation will match the stipend offered by The OPERA/COLUMBUS VOCAL COMPETI- the sponsoring institution or school as a part TION (insert page 14), 121 E. State St., Colum- of the professional fee. Performers apply in bus, Ohio 43215, will be held annually in March. January, sponsors in mid-March. It is open to Ohio residents or students, and requires some performance experience. A re- commendation by a professional or a teacher The CONSORTIUM OF INDIANA ADVOCATES is to be submitted with the appliation. FOR OPERA (CIAO), with headquarters at the Whitewater Opera, Box 633, Richmond, Indi- The preliminary round of the INTERNATIONAL ana, arranges joint auditions for its member OPERA COMPETITION (insert page 16), 515 organizations. Applications from young pro- Shady Lane, Sheboygan, Wisconsin 53081, is by fessionals are to be sent to the above by May tape only; only the final auditions are live. 6 and should include a resume' and photo. The application deadline is June 15. Auditions are held at Butler University in In- dianapolis. The INTERNATIONAL BELVEDERE COMPETI- TION FOR OPERA SINGERS (insert page 17), Similar to the above is the SOUTHEAST CON- Wiener Kammeroper, Fleischmarkt 24, A-1010 SORTIUM auditions program for the discovery Vienna, Austria, has an age limit of 18-36, of local talent. Its headquarters are at Opera and an application deadline of July 1. One Memphis. must complete a formal application, and send it with two photos. The registration fee is The MICHIGAN OPERA ARTIST APPRENTICE $50, and the required repertoire includes six PROGRAM (insert page 28) is open to advanced arias from a special list, and two Mozart and singers, and also to pianist/coaches, admini- two Verdi arias, all in the original key and strators, stage managers, and technical person- language. The several cash awards include nel. It offers a ten-week intensive training first to fourth prizes, plus a Mozart prize, a program with performance opportunities. •

-32- APPOINTMENTS AND RESIGNATIONS Federal, State, and Municipal Agencies Music Advisory Panel; he has been a member Frank Hodsoll, Chairman of the National En- of the Panel for the last two years, and is dowment for the Arts, named CYNTHIA General Director of the Whitewater Opera JEANNE GRASSBY and ANTHONY B. TUR- Company. — Mrs. LESLIE HARRINGTON is NEY to the posts of Deputies to the Chairman the new Associate Program Director and Ana- for Private and for Public Partnerships, respec- lyst for the Pennsylvania Council on the Arts. tively. Ms. Grassby, formerly with the Colo- rado State Republican Organization, will be in Regional or municipal arts agencies with new charge of coordinating programs involving the directors include the Dade County Council of Private Sector in support and advocacy, cor- the Arts and Sciences in Miami, whose Execu- porate as well as individual, and also handle tive Director is now KEN KAHN, formerly of Challenge Grants and Advancement Programs. the Maryland Arts Council. The Decatur Area Mr. Turney, who has worked with the Southern Arts Council in Illinois named LOUISE WAL- Arts Federation, has been charged with co- LACE Assistant Director, and the Arts and ordinating state and local support, and with Humanities Council of Tulsa chose ROBERT the Arts in Education Program. A further MYERS Assistant Director. appointment made by the NEA Chairman went to ROBERT M. CANON, who is Executive EILEEN LAWTON and LAURA MORROW both Director of the Arts Council of San Antonio, resigned their positions as Executive Director, and President of the National Assembly of the former from the New Jersey Council on Local Arts Agencies. He will direct a new the Arts, the latter from the Great Lakes Arts NEA Test Program for Local Arts Agencies, Alliance, and PETER JABLOW resigned as Ex- intended to stimulate greater public support ecutive Director of the Cultural Alliance of for the arts on the local level, primarily Greater Washington as of June 1. through matching grants. Reporter, television personality, and Miss ANDRES OLIVER, Jr., was named Director of America 1945 BESS MYERSON is the new Programs for the NEA Museum Services. Commissioner of Cultural Affairs for the City of New York, where she succeeds Henry Geld- As a result of presidential appointments, zahler. It is her involvement in the public SCHUYLER G. CHAPIN, Dean of the Columbia affairs of the City which makes her highly University School of the Arts and Chairman qualified for this position; for many years she of the Board of ASOL, and FRANK STANTON, was New York City Commissioner of Consumer President of CBS 1946-71, have become mem- Affairs. She will administer a Department bers of the President's Committee on the Arts with a total budget of $46.3 million which, in and the Humanities. addition to supporting arts programs in the City, maintains 30 municipally owned cultural BETTE VALENTI has resigned her position as institutions, such as major museum buildings. Executive Director of the National Committee Only five percent of the total budget is spent for Arts and the Handicapped. for support of other than city operated arts programs. RANDALL BOURSCHEIDT will as- The Mid-Atlantic States Arts Consortium has sist her as Deputy Commissioner. a new Director, SANDRA LORENTZEN, the Texas Commission on the Arts a new Executive National Arts Organizations Director, RICHARD HUFF, and the New After three and one-half years as Director of Hampshire Commission on the Arts a new the American Council for the Arts, W. GRANT Executive Director, ROBB HANKINS. At the BROWNRIGG resigned, and WILLIAM KEENS, Massachusetts Cultural Alliance, LYDIA KO- editor of ACA's magazine, American Arts, and WALSKI succeeds Burton Woolf as Executive former Executive Director of the United Arts Director. Council of Greensboro, North Carolina, was selected Acting Director of ACA by its Presi- Recent elections to the post of Chairman in- dent, Milton Rhodes. eluded Dr. MARYTHEA GREBNER at the Ore- gon Arts Commission, OSCAR REMICK at the LEE DAY GILLESPIE of Massachusetts was Michigan State Arts Council, and CONSUELA elected President of the National Opera Insti- SANTOS KILLENS at the California Arts Coun- tute, where she succeeds R.W. Driscoll. She cil. The latter also engaged MARILYN RYAN has been a trustee of NOI since 1977, and was as its new Executive Director, succeeding Bill named Chairman of its Executive Committee Cook. — The Indiana Arts Commission named the following year. — The organization also CHARLES COMBOPIANO the Chairman of its has a new Director of Development. She is

-33- ANN SHERIDAN SMITH, a founding member Baird Rockefeller Fund for Music, KATHLEEN of the Cleveland Ballet and former Co-Chair- HAGER, who was with the Fund for 17 years, man of the NEA Dance Panel. (See Govern- most recently as its Director, has joined Cham- ment for NOI's change of name.) ber Music America as its Associate Director. GENE WENNER, who has been active in educa- Notes, the magazine of American music libra- tion in the arts on state and federal levels ries, has a new Editor. She is SUSAN T. and who has also worked with the J.D. Rocke- SOMMER of the New York Public Library of feller in Fund, has joined the National Founda- the Performing Arts at Lincoln Center; her tion for Advancement in the Arts as Vice predecessor is William McClellan of the Music President for Programs Administration. Grant Library of the University of Illinois. Beglarian is President of the Miami based organization. f Local 802, the New York chapter of the Ameri- can Federation of Musicians, has replaced Max Bass DON YULE was named Acting President Arons, who had been President since 1935. of the American Guild of Musical Artists (AG- Tpumpeter JOHN GLASEL was elected to that MA), an office vacated by Gene Boucher when position, violinist JOHN PALANCHIAN to Vice he agreed to become National Executive Secre- President, woodwind player CARL JANELLI tary. Mr. Yule and Nedda Casei have been Secretary, and banjo and guitarist BARRY nominated for the Presidency, and members KORNFELD Treasurer. Mr. Glasel will preside will vote in late May. over 17,000 members in the New York area. After four years as Executive Director of the Opera Companies Music Educators National Conference, DON- RICHARD K. MILLER, who has been a board ALD W. DILLON has resigned, effective June member of the San Francisco Opera for the 30. Prior to his position with MENC, he served past 16 years, was recently elected Chairman on the Oklahoma Arts and Humanities Council of the Board, succeeding R. Gwin Follis. Mr. and later with the National Endowment. He Miller is the son of the late Robert Watt now plans to form his own management com- Miller, who was president of the company pany. (1937-42 and 1951-66). — The New York City Opera Guild voted SUE YAGER COOK Following the resignation of FRANK MAN- its new President; SANDRA S. SWAN is the KIEWICZ as President of National Public Ra- Guild's Executive Vice President. dio, an office he held for over five years, RON BORNSTEIN was named Acting Chief Some dramatic announcements and important Operating Officer. changes in top ranking administrative positions of opera companies have been made recently. MARGARET E. LYNN was named to succeed Jack Morrison as Executive Director of the ANTHONY A. BLISS will retire, after the American Theater Association in Washington, 1984-85 season, from his position as General DC. - ALAN SCHNEIDER, of The Acting Manager of the Metropolitan Opera, a title he Company, is the new President of Theatre has held since 1981. From 1974 to 1981 he Communications Group, an office held by Sara was Executive Director of the company, which O'Connor. — New York City's Theatre De- he also served as President of the Board of velopment Fund has elected two new members Directors between 1956 and 1967. He became to its board of directors. They are MARY a member of the board in 1949. He plans to LINDSAY, Mrs. John V. Lindsay, wife of the be with the company through the coming cen- former mayor of New York, and HOWARD tennial season and subsequent year, when new KISSEL, arts editor and critic of Women's Wear contracts will have to be negotiated with the Daily; HENRY GUETTEL is Executive Director various unions. Meanwhile, a search commit- and ANNA E. CROUSE is President of TDF. tee has been organized, headed by the com- pany's President, Frank Taplin. Other members DEAN STEIN, former Administrator at Opera of the committee are William Rockefeller, America, resigned in January to become Direc- Michael Forrestal, Laurence Lovett, James tor of Finance of the McCarther Theater in Marcus, James Smith, and Mr. Bliss. The new Princeton, New Jersey. In his stead we find General Manager is expected to continue the MARTHA M. MENARD, formerly an officer close working relationship with Maestro Le- of the Washington Bank. vine, whose contract currently extends through 1985-86 and, the company hopes, will be fur- As a result of the termination of the Martha ther lengthened. -34- SPEIGHT JENKINS, author, lecturer, music Asolo Opera Guild, has hired WILLIAM GIL- critic, and host of the "Live from the Met" LESPIE as its new Managing Director. Mr. telecasts, has been given a three-year contract Gillespie comes to the position from San Diego, as General Director of the Seattle Opera. He where he was Administrator of the Opera Cen- will succeed Glynn Ross, who founded the ter. In addition to his new duties, he will company in 1962 and who has been its director also supervise the company's move into its new for 21 years. Mr. Jenkins will begin his new home, the Sarasota Theater of the Arts. duties on September 1, planning the 1984-85 season. He was Music Critic of the New York ROGER BRUNYATE, Artistic Director of the Post from 1973 to 1981, and for seven years Peabody Conservatory Opera Theatre during prior, News and Reports Editor for Opera the winter, has accepted the summer position News. of Program Director of the Wolf Trap Opera Company. He will work with Richard Woitach, Soon after the news of JAMES DE BLASIS' Music Director of the company which is plan- resignation as Artistic Advisor for the Pitts- ning performances at the Barns and at Meadow burgh Opera (he continues, of course, as Gen- Center this season. eral Director of the ), it was announced that TITO CAPOBIANCO resigned As a result of Sara Granier's resignation as as General Director of the San Diego Opera Administrative Director of the Tri-Cities Op- and accepted the office of Vice President and era in Binghamton, New York, BONNIE CLOU- General Director of the Pittsburgh company. SER has been appointed Acting Administrative President Gordon F. Flagg explained that the Director. present General Manager, Vincent R. Artz, will become Consultant to the President in Charge NORMAN JOHNSON, Artistic Director of the of Special Projects. The new appointments Piedmont Opera Theatre in Winston-Salem become effective July 1. since its founding in 1977, has also been named the company's General Director. After an international search, the Vancouver Opera named BRIAN McMASTER its new Ar- The Pennsylvania Opera Theater has engaged tistic Director. He will also continue as Gen- DIANE SPIVEY, formerly with the Public eral Administrator and Artistic Director of the Broadcasting System, as Managing Director. Welsh National Opera in Cardiff, and hopes She succeeds MARJORIE SAMOFF, who re- that joint or exchange productions between signed from the post in January after three Cardiff and Vancouver can become a reality. years with the company. Barbara Silverstein His official contract begins October 1984, how- is Artistic Director and Conductor. ever, he is in Canada whenever his schedule allows - he is also a guest stage director on The Hawaii Opera Theatre has a new Artistic the Continent - in order to plan the 1984-85 Director in BEEBE FREITAS. — Conductor season. For the 1983-84 season he accepted EVAN WHALLON, formerly of the Columbus without change the program planned by Irving Symphony in Ohio, became Music Director of Guttman, this year's artistic consultant:. Na- the Western Opera Theater for the 1983 tour, bucco, Madama Butterfly, Les Contes d'Hoff- and of the Merola Opera Program for summer mann, and Norma. 1983; both are programs of the San Francisco Opera Center. Maestro RUDOLF KRUGER, who founded the Fort Worth Opera 28 years ago and who has HENRY HOLT will be Music Director and been the company's only Artistic Director and Principal Guest Conductor of the Baton Rouge General Manager, is retiring at the end of this Opera for the next two seasons. season. He is one of the last of his kind, the central-European conductor who created and Other positions where changes have occurred managed American opera companies. Repla- are those of House Manager at the Met, with cing him in the duties of General Director, ROBERT FRAWLEY succeeding Richard Gard- beginning in May, is DWIGHT BOWES, whose ner; and the position of Assistant in the Office previous positions include General Manager of of the General Director of the Met, which was the Orlando Opera, Director of Production of dissolved with the termination of CHRISTO- the Michigan Opera, and Director of Education PHER PRATT's contract. Another new ap- and Tour Director of the New York City Opera pointee to the Metropolitan Opera administra- and its Opera Theatre. tive staff is IAN CAMPBELL, formerly with the Australian Opera, whose new title is As- The Sarasota Opera Association, formerly the sistant Artistic Administrator.

-35- Several companies have new Directors of Mar- committee of his experience in administrative keting. HELEN CLARE HELMER is with the and managerial matters, and his skills in deal- Virginia Opera, ALICE SWANSON with Opera ing with public issues: Associate Director of Memphis, and JOHN P. FINK with the Michigan the Peace Corps, Chancellor of Long Island Opera Theatre, which also named him Director University, President of Clark University in of Public Relations. He was working for the Worcester and of the University of Connecticut company as Director of Productions when the in Storrs, and, between 1978 and 1982, Chief change occurred; ELIZABETH ECKERT re- Executive Officer of Radio Free Europe. places him in the technical position. — LOOM, the Light Opera of Manhattan, was JEFFREY BUTLER is the General Manager of looking for one full-time person to assume the the new Thomson Hall in Toronto. He held duties of Director of Public Relations and the same position at the Center in the Square Audience Development. In the end, the com- in Kitchener, Ontario. pany engaged two part-time staff members: MARY JANE GIBBONS, Director of Audience JEANE RIDGE YOUNG was named to the Development, and JOSEPH CHART, Director newly created post of Director of Public Af- of Group Sales. fairs of the Wolf Trap Foundation in Vienna, Virginia. She had been affiliated with the Johanna Dordick, Artistic Director of the Los Public Broadcasting System. — The Music Angeles Opera Theater, has named several new Center of the North Shore in Winnetka, Illinois, people to the administration and to the produc- engaged KATHLEEN RIZZO as its Develop- tion department: JAMES McDIARMID to Di- ment Director. rector of Development, CHARLES RICH to Production Manager and Technical Director, Ballet and Choral Groups SUSAN KELLY to Box Office Manager, BILL The National Association of Regional Ballet KENNEDY to Head of Press and Public Rela- elected SHELDON SOFFER President. AL- tions, and GAIL BOCHENEK to Assistant to FRED TERLIZZI assumed the office of Trea- the Artistic Director. surer, which was previously held by Mr. Soffer. The Cleveland Opera and its Director, David Choreographer JEROME ROBBINS and princi- Bamberger, have engaged KEITH NAGY, for- pal dancer PETER MARTINS have been named merly of Merrill Stone and Co., as Production Ballet Masters in Chief of the New York City Manager, CATHY KRAJNY as Production Co- Ballet, succeeding the late . ordinator, and CATHERINE MCCARTHY as Lincoln Kirstein, co-founder of the company, Tour Manager. continues as General Director. KARIN KELTNER, a former participant in the KENNETH SCHERMERHORN, former Music San Diego Opera Young Conductors Program, Director of the Milwaukee Symphony, is re- has been engaged by the company as Associate turning to the American Ballet Theatre as Conductor. General Music Director, a position he held between 1960 and 1968. New to ABT this Texas Opera Theater has a new Executive season is Stage Manager WILLIAM DOLIVE, Assistant to the Managing Director: J. KEONI whose previous jobs were with the Houston ROBINSON. — David Lawton and the Long Grand Opera and the New York City Opera. Island Opera Society have engaged MARIA VOLLMER, former Executive Director of the TOM HALL has been engaged as Music Direc- Suffolk Symphony, as Assistant Administrator. tor of the Choral Arts Society in Baltimore. He taught at Boston Universtiy and the Longy Arts Centers School of Music. One of the major positions to be filled recently is that of President of Lincoln Center for the Symphony Orchestras Performing Arts, from which John W. Mazzola AMYAS AMES, a leading figure in New York's resigned. The search committee, after re- musical life, has announced his retirement as ceiving some 120 applications and narrowing Chairman of the Board of the New York Phil- its choices to 16, finally selected GLENN W. harmonic, effective this spring. He has been FERGUSON, lawyer, educator, administrator, a member of the board since 1955, became and, in the 1960's, U.S. Ambassador to Kenya. President in 1963, and was elected Chairman Mr. Ferguson had not applied for the position, in 1970. That same year he was named Chair- but was suggested to and contacted by the man of the Board of Lincoln Center, an office committee. His former activities assured the he held until 1981. He was a member of the

-36- Commission for Cultural Affairs of the City Changes in the administrations of symphony of New York, and founded and directed the orchestras include the Buffalo Philharmonic, Concerned Citizens for the Arts, a group ad- where GARY L. GOOD, former Manager of vocating greater State support for the arts. the Baltimore Symphony, is the new Executive — Succeeding him as Chairman of the Philhar- Director, combining the positions formerly held monic is CARLOS DU PRE MOSELEY, the by Michael Bielski and Ruth Spero; the San orchestra's former President and Managing Di- Antonio Symphony, where CARLOS WILSON rector, who also began with the company in became Managing Director; and the Lincoln 1955 as Director of Press and Public Relations. Center Chamber Music Society, where RO- During his administrative association with the BERT PORTER was advanced to Associate orchestra, he instituted such events as the Director. He has been on the staff of the parks concerts, the Promenades, and the Rug Society since 1977, prior to which he was with concerts. the New York State Council on the Arts. — In Canada, the Kitchener-Waterloo Symphony's SERGIU COMISSIONA, who has been Musical new General Manager is CAROLYN OLIVER, Advisor for the Houston Symphony for the last succeeding Audrey Shaw. three years, will become Music Director Desig- nate next season and full Music Director begin- Academia ning summer '84. That is also when his con- The St. Louis Conservatory and School for the tract with the Baltimore Symphony expires, Arts (CASA) has named JANE G. CHILDS and he has already announced he will not seek Acting President. — Beginning this summer, a renewal. His Houston contract extends until AUGUST L. FREUNDLICH will be the new summer '87. — JOSEPH SILVERSTEIN was Dean of the School of the Arts at the Univer- named intermediate Music Director in Balti- sity of South Florida in Tampa. — St. Cloud more, where he will remain until assuming the University in Minnesota named JAMES FLOM position of Music Director of the Utah Sym- Chairman of its Music Department. — David phony in 1984. Smith's retirement from the Chairmanship of the Music Department of Humboldt State Uni- Following the tragic death of Calvin Simmons, versity in Arcata, California, resulted in the the Oakland Symphony Orchestra offered a appointment of JANET M. SPINAS. — JAMES two-year contract as Artistic Consultant to E. WOODWARD now heads the Music Depart- , Music Director of the ment of Oklahoma State University in Still- St. Louis Symphony. - , water. — ROBERT MYERS became Associate Music Director of the Montreal Symphony, will Dean of DePaul University in Chicago, where be principal guest conductor of the Minnesota PHILIP KRAUS was appointed part-time Direc- Orchestra for three years, succeeding Klaus tor of the Opera Workshop. — As of April Tennstedt. is the orchestra's 15, the Third Street Music School Settlement Music Director. — KAZUHIRO KOIZUMI has in New York has a new Executive Director, been engaged by the Winnipeg Symphony as STEPHEN L. SHIMAN. — FRANK LITTLE Conductor and Music Director. is Chairman of the Music Department at Fur- man University in Greenville, South Carolina, not North Carolina as previously reported. Two international celebrities have decided to remain with their respective American orches- tras as Music Directors. LEE STRAWN will be directing the Opera has renewed his contract with the Philadelphia Workshop at Northern Illinois University in Orchestra until 1988, and has rejected an offer DeKalb; ROSS MAGOULAS the Opera Work- of Music Director of the Royal Opera, Covent shop at Converse College in Spartanburg, South Garden; ANDRE PREVIN will continue as head Carolina; BEVERLY HAY will be an Assistant of the Pittsburgh Orchestra, although he will in heading the Southern Illinois University Mar- also become Music Director of the London jorie Lawrence Opera Theatre in Carbondale. Royal Philharmonic Orchestra. All the above will be members of the respec- tive voice faculties. A mid-season parting of the ways occurred In addition, the following vocal teachers have between Music Director THOMAS MICHALAK changed their positions: BERTON COFFIN, and the New Jersey Symphony, where he had Professor Emeritus at the University of Colo- conducted since 1977. The remaining concerts rado in Boulder, will be Visiting Professor of are to be under the baton of Associate Con- Voice at Southern Methodist University in Dal- ductor GEORGE MANAHAN and various guest las for two years. — Soprano ELIZABETH conductors. VOLKMAN has joined Western Kentucky Uni-

-37- versity in Bowling Green as voice teacher, the Halle Orchestra in Manchester, England. MARTINA ARROYO and MAUREEN FOR- — IAN HUNTER was named first Artistic RESTER will be teaching at the Music Aca- Director of the Brighton Festival, founded in demy of the West this summer. — JUDITH 1967. RASKIN was named head of the Voice Depart- ment at the Manhattan School of Music, suc- With Christoph von Dohnanyi's acceptance of ceeding Helen Vanni, who moved to Santa Fe. the position of Music Director of the Cleveland — Dutch soprano ELLY AMELING will offer Orchestra (see Vol. 24, No. 2), the post of Master Classes at New York's Greenwich House Music Director of the Music School. — JOYCE FAR WELL resigned and the Hamburg Philharmonic Orchestra be- from Baylor University in Waco, Texas, to join came vacant. HANS ZENDER was named Western Carolina University in Collowhee, Music Director of the Opera, and ALDO CEC- North Carolina. — Tenor LOUIS RONEY was CATO Music Director of the Orchestra, both named Artist-in-Residence at the University effective summer '84. The administrative du- of Central Florida in Orlando. — JAY LESEN- ties for the Opera will be assumed by the new GER is Visiting Professor of Stage Direction Intendant, KURT HORRES, who currently holds at the University of Michigan in Ann Arbor the same position in Darmstadt. this spring semester, and ROBERT CHAPEL will head the Music Theatre Program there The San Carlo Opera in Naples named FRAN- this summer. He will remain in Ann Arbor CESCO CANESSA General Administrator, RO- as Director and Visiting Assistant Professor BERTO DI SIMONE Artistic Director, and through 1983-84. — Composer HUGO WEIS- MASSIMO PRADELLA Resident Conductor. GALL, who is celebrating his 70th birthday, — Beginning fall '83, JOHN ELIOT GARDINER will retire as Director of the Opera Studio of will assume the duties of Music Director of Queens College at the end of the term. the Ope>a de Lyon. Opera Abroad EDUARDO MATA, who is Music Director of TASSILO NEKOLA will succeed DENIS DE the Dallas Symphony, was also named Artistic ROUGEMONT as President of the European Advisor to the National Opera of Mexico. Association of Music Festivals. Dr. LEANDRO VIVET was signed as the new The Conductor Emeritus of the Minnesota Or- General Director of the Teatro Col6n in Buenos chestra, STANISLAW SKROWACZEWSKI, has Aires, and RENATO CESARI as its Artistic been engaged as principal guest conductor of Director. •

Winners (continued from page 31) the Year Award (see Career Guide Amend- ERICKSON, third prize in the women's division ment) was bestowed on DIANA KESLING in to CARLA COOK of Salt Lake City, and third 1981, and on BRENDA WIMBERLY in 1982. prize in the men's division to JOEL KATZ of Toronto. The s'Hertogenbosch International Three singers were among the performing ar- Competition awarded second place in the men's tists awarded travel grants by the Laurence division to American counter-tenor STEVEN L. Korwin International Music Competition Pro- RICKARDS. — The Concours de Chant de ject in collaboration with the Institute of Inter- Paris honored New York tenor LAWRENCE national Education. They were sopranos MAR- BAKST with second place, and LONA CUL- GARET CUSACK and RUTH GOLDEN; and MER, also of New York, won the first prize baritone WILLIAM SHARP, who will partici- in the French Song category. — The Voci pate in the International Vocal Competition in Verdiane in Busseto did not award a first prize, Geneva. but granted two second prizes instead. One of them went to soprano MICHELLE HAR- American and Canadian singers distinguished MAN-GULICK of Chicago. — The G.B. Viotti themselves in various foreign competitions. Competition in Vercelli chose Canadian JAC- The Munich/Bayerische Rundfunk Competition QUELINE LESPERANCE as recipient of its gave first prize to California soprano KAAREN second prize. •

-38- ORIGINAL AND NEW EDITIONS When Delius's Margot la rouge is given its concert at London's Barbican Center last No- stage premiere in St. Louis in June, it will be vember with Sylvia Sass, Barbara Hendricks heard in the composer's own complete scoring and Franco Bonisolli in the leading roles. It and orchestration. This was totally unexpec- will be presented in its stage premiere by the ted, as it was not known the original score New York City Opera on the opening night of still existed. Eric Fenby, the scholar who had its new season in June. worked closely with Delius during the last years of the composer's life, had believed the The Cleveland Institute of Music gave the first score lost and, since the work had never been production in the United States of Don Gio- performed, Fenby completed the fragments and vanni based on the Neue Mozart Ausgabe, an created an orchestration based on an elaborate edition which is said to have corrected some piano transcription by Ravel. Not until about 200 errors which have accumulated over the one month before the forthcoming stage pre- years. miere did the original score come to light, found by the Delius Trust in London. The and Douglas Gamley have Fenby orchestration was used in a radio con- created a new edition of Gay's The Beggar's cert performance by the BBC, but it will be Opera. It was performed by the Australian the original version, frantically copied into the Opera Company and recorded in London with various parts, that will be presented in Mis- Joan Sutherland, Kiri Te Kanawa, Angela Lans- souri. bury, Regina Resnik, Ann Murray and James Morris. Another "original" score controversy surrounds Puccini's Turandot. It is well known that Alan Curtis edited Niccolb Jommelli's La Puccini died before completing the opera and Schiava liberata for performances of the 18th that Franco Alfano added the last scene based century work by the Netherland Opera last on sketches left by Puccini. A manuscript in year. Alfano's handwriting has now been found at Casa Ricordi, which shows that Alfano had Neal Zaslaw of Cornell University and Francois written two scenes to complete the opera. Lesure of the Paris Biblioteque Nationale will However, when Toscanini conducted the world be the editors of a new edition of the complete premiere, he agreed to do so only after in- works of Jean-Philippe Rameau. The first two sisting that Alfano shorten his addition to a publications to appear later this year to com- minimum. At the first performance, Toscanini memorate the composer's 300th birthday are stopped the music where Puccini had written Volume I with motets, and a Catalogue rai- the last bar, but later he, and all other con- sonne of the sources of Rameau's music. Any- ductors, have used the one-scene closing. Now one with knowledge of the composer's music that Alfano's original, longer ending has been in private collections or small libraries is re- discovered, audiences will have the opportunity quested to contact either editor, or R. Peter to compare the two versions. The newly found Wolf, Rutgers University Douglas Campus, New edition was performed for the first time in Brunswick, NJ 08903. •

NEWS FROM PUBLISHERS American orchestras are invited to participate department, before December 31, 1983. This in THEODORE PRESSER CO.'s Bicentennial should be a wonderful opportunity for perfor- Celebration. The publisher has established a mances of contemporary works, and early ap- special fund for this occasion, a fund which plications are advisable, as grants are allocated will subsidize the payment of rental fees for on a first-come, first-served basis. the performance of serious music by American composers published by Presser and its sub- Reasonably priced new piano/vocal scores are sidiaries. To facilitate a maximum number of available from G. SCHIRMER/ASSOCIATED performances during the 1983-84 celebratory MUSIC PUBLISHERS. The 15 scores, published season, the publisher is waiving its own share by G. Ricordi, are of better and lesser-known of rental fees and paying only the composer's Italian operas by Puccini, Verdi, Donizetti, share out of the fund. For details on eligibility Rossini, Spontini, and Mozart. The soft-bound and a list of composers and works, contact editions are priced at $13.95. The series will Eugene Moon, head of Presser's performance include contemporary operas in the future. •

-39- BOOK CORNER GENERAL No doubt many coffee/cocktail tables will be adorned with the picture OPERA of Placido Domingo in the guise of Otello looking you straight in the eye. BOOKS His face is on the cover of OPERA PEOPLE, a beautifully executed picture book with compassionate biographies by 's editor-in- chief, Robert M. Jacobson, and an introduction by Michael Scott. Christian Steiner is responsible for the artistic and stunning portraits of the twenty- nine singers and eight conductors featured in this volume, and includes his own notes on each artist as an addendum. An exuberant book on an exuberant art! Published by Vendome Press and distributed by Viking Press, the 112-page book makes a wonderful gift at $30. BACKSTAGE AT THE OPERA commemorates the significant artists and production components of the San Francisco Opera both in text, by Joan Chatfield-Taylor, and in photographs, by Ira Nowinski. The attractive paperback is dedicated to Kurt Herbert Adler, former general director of the company for 27 years. Published by Chronicle Books, it may be ordered from the San Francisco Opera Shop for $12.95 plus postage.

Originally published in 1961, George Martin's THE OPERA COMPANION is now available in its Third Edition, and for the first time in paperback. It inaugurates a new series of paperbacks by Dodd, Mead & Co., and will be a most welcome library and reference addition at the low cost of $13.95 for its 693 illustrated pages and overflowing information. Following basic introductory chapters addressing the opera lover and layman are individual, detailed studies of 50 of the most popular operas. Thus, we find within the synopses mention of the major - and sometimes also minor - arias, duets and ensembles, placed within the proper scenes and acts, complete with original first lines and their translations. Even the non- linguists will not be uncovered, thanks to extensive phonetic annotations. Only - watch out for the German "ich" which should not be pronounced "k" or "sh", whatever the origin of the singer or reader. This, however, is a minor flaw in a sea of accurate information.

Adopting the book format of the Miehelin travel guides but providing it with a hard cover, ARCO, New York has published AN ILLUSTRATED GUIDE TO COMPOSERS OF OPERA. It combines brief biographies of over 100 of the better-known opera composers with listings of their respective operatic oeuvres and premiere dates, and 135 color, and oc- casionally black and white illustrations of a production, or the portrait of the composer. Compiled and written by Peter Gammond, the 240-page, pocket-size booklet is brimful of information and should be very popular at $9.95.

In contrast, MOZART'S EARLY OPERAS by Dr. Carolyn Gianturco is a scholarly study of the first 12 Singspiele, opere buffe and opere serie written by the composer before he had reached his twenty-fourth birthday. In analyzing each work, the author also considers the background and personages which surrounded Mozart at each specific time and place, as well as the singers for whom the roles were intended. The 216-page, indexed book contains numerous musical examples, has been published in London and is available in the United States from Batsford, North Pomfret, Vermont 05053 for $37.50. OPERA, An Assessment by Audrey Williamson, which originally appeared in 1953, has now been published in a revised version by Marion Boyars, London/Boston, and is available for $19.50

-40- BOOK CORNER through Merrimack Book Service, 99 Main Street, Salem, New Hampshire 03079. Illustrated with photographs as Well as with musical examples, the book is divided evenly into biographical material on the two famous collaborators, and studies of their 15 . The 292 pages are indexed and include examples of Gilbert's verses.

The Puccini scholar, William Weaver, gives us SEVEN PUCCINI LI- LI BRETT I BRETTOS, published by W.W. Norton. Accompanying the original texts of the composer's most popular operas are new English translations by the author who also wrote brief introductions to each work. Containing 463 pages and priced at $25, the book is a companion piece to Weaver's Seven Verdi With New Translations.

The latest additions in the Cambridge Opera Handbooks series are devoted MONOGRAPHS to : THE RAKE'S PROGRESS by Paul Griffiths, and LEOS JANACEK: KAT'A KABANOVA by John Tyrrell. As in the three preceding monographs on , Don Giovanni, and Gluck's Orfeo, the new books contain scholarly and detailed analyses of the operas, their stories and music, the historical background and the performance history. Both have musical examples and illustrations of major productions, with the Stravinsky volume including photographs of some of the original Hogarth pictures- The latter is priced at $19.95 in hardcover and $7.95 in paperback for 109 pages; the 233-page Jandcek book sells for $24.95 in hardcover and $9.95 in paperback. Both are indexed and contain bibliographies and discographies. Although enough books have been written about Mozart to fill a small COMPOSERS' library all on their own, it is the latest biography, MOZART, by Wolfgang BIOGRAPHIES Hildesheimer, which has particularly stirred the musical community. Its contents should be described rather as a study than a biography, with its many analytical theories based on Mozart's letters, which seem never to have been understood, especially in light of the recent psychological and psychoanalytical findings. Among the services the author renders is the discrediting of many romantic notions perpetuated by Mozart biographers, whether they concern such statements as Vienna welcoming Mozart with open arms, or his delight in his visits to patrons and/or friends. While the author removes myths and illusions which have been built around the boy and the man Mozart, he substitutes more questions than answers for what was accepted as his character and personality. A more complicated, more removed personage emerges endowed with genius, ambiguous in his relationships to even the closest family members and friends. We find his contemporaries were alien to him, an alienation to which he contributed strongly, yet which did not seem to trouble him very much. This was most likely a result of his conscious resistance (or so he liked his friends to believe) to deeper thought and analysis of his own motivation, his own souL A fascinating, thought provoking study, with appendices of a chronology of events, a list of works, and an index, all contained in 408 pages, available for $22.50. The book was originally written in German and published in 1977; the English version is a translation by Marion Faber, published by Farrar Straus Giroux, New York.

An exquisite table-top book, HAYDN - A Documentary Study, has been published by Rizzoli, New York. Just as this publisher stands for quality presentation and reproductions, the author's name, H.C. Robbins Landon, means expert musicological knowledge, particularly as he is a Haydn scholar. The informative and readable text is interspersed with over 200 -41- BOOK CORNER

illustrations, many in color; reprints of letters and examples of autographed scores, a chronology, and an index close the 225-page volume priced at $45.

DEBUSSY AND THE THEATRE by Robert Orledge offers an interesting study of both the composer's attraction to and hesitation with theatrical works. At the center of the book stands, of course, PellSas et Melisande, but in addition, we read about numerous attempts of setting plays to music or of fashioning operas from books or stories. Some of these fragments have since been completed and performed, such as the two versions of The Fall of the House of Usher. Also discussed are the ballets and incidental theatre music. The 383-page book is copiously annotated and illustrated, and includes two indices. (A word of caution: the General Index does not include titles; they appear only in the Index of Works). Cambridge University Press has published the book to sell for $49.50.

TCHAIKOVSKY: The Crisis Years (1874-1878), is Volume II of a three- volume biography of the Russian composer by David Brown. Volume I covered The Early Years 1840-74. The current volume speaks of his marital problems, and of his friendship, limited to correspondence, with Madame von Meek. All this is intertwined with musical discussions about the creation of some of his most important compositions. Using many musical examples to demonstrate his points, the author deals knowledgeably with the operas Eugene Onegin and Francesca da Rimini, composed during those years. The publisher is W.W. Norton; the 311 pages include illustrations and are indexed; the price is $25.

First published in 1975, Mosco earner's has been "completely revised and reset", and published by Holmes & Meier in 314 pages illustrated with both photographs and musical examples. This biography, created with the assistance of Berg's widow, who authorized the original version, deals in great part with the composer's relationship with Arnold Schonberg, and offers thorough studies of Berg's compositions, in particular Wozzeck and . Also included are excerpts of unpublished correspondence between Schonberg and Berg. Much care was taken in the selection of the paper and the printing style of the book, resulting in a price of $42.50.

The same publisher is offering BRITTEN by Christopher Headington as the first title in its newly created series, "The Composer as Contemporary". The small-sized volume of 166 pages introduces the subject by an account of the success of the Peter Grimes premiere. This is followed by a concise biography, alternating with discussions of other compositions, and some personal reminiscences by the author of his encounters with Britten. Illustrated and indexed, the book is available for $14.50. John Lade is general editor for the series, which in the future will offer books on Beethoven, Jandcek, Purcell, and Schubert.

Biographies about two British composers have launched the series, "The Contemporary Composer", published by Robson Books, Ltd., London, and represented in the United States by Universe, New York, NY. Meirion Bowen is the author of , Paul Griffiths of PETER MAXWELL DAVIES. Both books were written in collaboration with the composers and offer studies of their major respective works in addition to chronological biographies. Considering the important places both men occupy today, not only in their native England, but on the international -42- BOOK CORNER musical scene as well, these books are particularly meaningful. Nicholas Snowman is the editor for the series, which seems to have, as a uniform rule, books in a length of approximately 200 pages, with illustrations, lists of works, bibliographies and indices, and a price of $15 per volume.

Like a mirror into the past, A BOOK ABOUT STRAVINSKY by Boris Asafyev offers a view into the 1920's in Russia, as seen by a contemporary, perceptive yet idiosyncratic musician. Originally published in Russian in 1929 and soon thereafter banned in that country, the book has now been translated into English by Richard F. French and published by the University of Michigan (UMI) Research Press. It is number five in the series of Russian Music Studies. The author discusses and evaluates Stravinsky's compositions up to and including , and an introduction by Robert Craft relates the material to present thinking. Numerous musical examples are included in the indexed 287-page book available for $44.95.

COMPOSERS' Nowhere is a character, a human being, quite so revealed as in his or LETTERS her letters (well, almost nowhere, if we include diaries and exclude those written purposely for posterity's publication). Thus, STRAVINSKY, Selected Correspondence Volume I, edited and with commentaries by Robert Craft, is a most welcome addition to the many books that have appeared on the composer over the years. The letters, many of them never published or quoted before, are arranged by addressees. In some cases they represent both Stravinsky's and the respondent's communications, in others they are limited to the composer's letters only. The present volume, which by its number promises one or more sequels, features exchanges between Stra- vinsky and Maurice Delage (1912-23), V.V. Derzhanovsky (1912-14), Jean Cocteau (1913-62), Lincoln Kirstein (1946-66), and W.H. Auden (1947-65), and the composer's letters to Nadia Boulanger (1938-64), Robert Craft (1944-49), and to Ernest Ansermet, beginning in 1914 and including three letters from the 1960's testifying to a reconciliation after their famous feud. Published by Alfred A. Knopf and priced at $27.50, the 471-page book is illustrated and indexed.

Cambridge University Press and musicologist Denis Stevens have under- taken to give us THE LETTERS OF CLAUDIO MONTEVERDI. The 443-page book contains Mr. Stevens' English translations of 126 letters covering the years from 1601 to 1643. Copious notes and observations clarify many references in the letters and help towards better understanding of much of the correspondence. Illustrated and indexed, the book also includes a list of the composer's works and a bibliography. Its price is $45.

One part nostalgia mixed with ten parts of knowledge and writing skill AN AUTO- equals MY MAD WORLD OF OPERA created by Harold Rosenthal, editor BIOGRAPHY of Opera magazine. He has been associated with the publication since its founding by Lord Harewood in 1949, and soon after was named editor. In this capacity he saw and heard opera's great performers and was witness to important events on stage as well as back stage. This book admits us into the life of a writer, critic, expert and friend or sometimes even foe of the operatic personalities. If you like and treasure the magazine the way professionals and opera laymen do, you will love the author's mad world, for, after all, it is our world. Illustrated and indexed, the 234-page book is available through Holmes and Meier Publishers, New York, for $29.50. -43- BOOK CORNER MORE Great dedication and perseverance have made STOKOWSKI, A Counterpoint BIOGRAPHIES of View, the serious and valuable book that it is. Author Oliver Daniel threw to the wind much information -and more misinformation - that had collected around this controversial figure, relying only on his own fresh research. Thus, right at the beginning of the book, we learn that his name was indeed Stokowski, and not Stokes, as had been publicized by his "knowledgeable" friends and all his enemies. In the over 1,000 pages, Daniels does not let Stokowski's flamboyancy overshadow his achievements, which often have been minimized or forgotten due to the personality cult, and which have been unfavorably compared to the come scritto attitude of Toseanini. But it was Stokowski who pioneered with film, radio and television and who was the staunch defender and promulgator of the contemporary composer - see the book's ten-page premiere listing. It was he who had the sensitive ear for orchestral sound and the touch to train an orchestra to produce this sound, even though he did get carried away with some of his reorchestrations and transcriptions. The author does not shy away from critique and offers a balanced account of one of this century's overpowering yet enigmatic musical personalities. Dodd, Mead is the publisher of the illustrated and indexed book, which is complete with bibliography and discography; the price is $24.95.

Although not opera related, HOROWITZ, A Biography by Glenn Plaskin, speaks to such a wide musical public that its exclusion would be a decided omission. This serious study of the man and musician is as knowledgeably written as it is fascinating. It allows the reader a view of the Olympian heights achieved by this unique artist, but includes as well insights into the trials and tribulations to which the pianist was subject. This must be considered the definitive account of the life of one of the great performers of our time. Including a discography, repertory list and source notes, the 605-page, illustrated and indexed volume sells for $19.95; William Morrow and Company is the publisher.

SINGERS' Fifty-six celebrated women greet us in the 633 pages of Lanfranco BIOGRAPHIES Rasponi's latest book, published by Alfred A. Knopf. They are THE LAST PRIMA DONNAS, and each is presented in a very personal chapter which resulted not only from the author's own vast experiences of having heard these singers, but also from his personal interviews, some of which took place more recently than others. Most of these acclaimed singers were at the height of their careers in the 1930's, although some had achieved stardom in the 20's, for example Galli-Curci, dal Monte, etc., but others reached their fame and fortune in the 50's. No doubt every operaphile will find his or her favorite first lady of the opera, as long as they are not contemporaries. The book speaks of by-gone, irretrievable days. The grouping of singers seems somewhat arbitrary but an index assists in finding each name. Fifty-six black and white photographs, an introductory essay and an epilogue are included in the price of $22.50.

PONSELLE: A SINGER'S LIFE has been co-authored by James A. Drake and the soprano herself, with the material completed shortly before her death in 1981. We read of her meteoric rise to stardom at the Metropolitan Opera from where she retired after 19 success-filled years at the young age of 40. She tells of her continued involvement with opera following her stage career, particularly being artistic director of the Baltimore Opera. Illustrated, indexed, and including a discography, the 235-page book has been published by Doubleday; its price is $22.50. -44- BOOK CORNER Yet another Callas book, although written from a very personal view, is MY WIFE, MARIA CALLAS by Giovanni Battista Meneghini in collaboration with Renzo Allegri. First published in 1981 in Italian, it has been translated by Henry Wisneski, who added an introduction to the English edition. In many ways the author attempts to disprove the minor role in which some Callas biographies have cast him. At the same time, there are new faets and anecdotes involving the singer, which have not previously come before the public. Farrar Straus Giroux has published the 331-page indexed and illustrated book, priced at $16.50. Contrary to the aforementioned singers' biographies, David Fingleton has chosen for his subject a singer currently at the pinnacle of her career. KIRI, A Biography of Kiri Te Kanawa, on which the famous soprano collaborated, is based on interviews with her and with her friends and colleagues. Her childhood in New Zealand and her early musical training make interesting reading, and her international successes are reflected in her exuberant personality. The 191 pages include a foreword by James Levine, many photographs, and an index. A price of $13.95 has been set by Atheneum Publishers, New York. A lively view of opera in England is provided in NOTHING QUITE LIKE IT, the second volume of Ian Wallace's autobiography. His operatic career began, with no vocal training whatsoever, as soloist with the New London Opera Company, and progressed to Glyndebourne, Edinburgh, Parma, Rome and Venice. In addition, he appeared in plays, musicals, and on the concert stage. His reminiscences of his colleagues are warm and affec- tionate, and glimpses of early television productions and reports of radio broadcasts are intriguing. Published by Hamish Hamilton, Vermont, the 230-page book includes photographs and sells for $22.50.

What young singers - and some older ones too - are not just dying to SINGERS ON know some of the secrets of vocal technique employed by internationally SINGING acclaimed singers? How did they solve some of their technical problems, how did they overcome special difficulties? Or, have they never encoun- tered any problems? Taking his cue from such questions, bass Jerome Hines interviewed 40 renowned opera singers and Doubleday published the results under the title GREAT SINGERS ON GREAT SINGING. But, young singers, beware and take the introductory Warning to heart: "This book may be injurious to your health." Do not identify with each problem and with each solution. If the reader can observe that rule, he or she will learn many interesting facts that worked for other singers, and will also find numerous contradictory opinions. Practically all voice types and categories are represented as are a cross section of the current leading vocalists, including even a famous laryngologist. The book is 356 pages with some musical examples; the price is $17.95.

Meribeth Bunch's DYNAMICS OF THE SINGING VOICE has been published MORE ON by Springer-Verlag Wien/New York, as Volume Six of its "Disorders of VOCAL Human Communication" series. The 156-page book, available for $28, TECHNIQUE mixes practical advice with technical, anatomical and physiological an- alysis. The author, who has a studio in London and one in Delaware, is a consultant in voice not only to individual singers but to actors and choral groups as well as to television and radio producers. The book contains charts and drawings to illustrate her theories. BUILDING YOUR BEST VOICE by Henry N. Jacobi is a computer-printout -45- BOOK CORNER

paperback published by Prentice-Hall, Inc. Quoting the author, who is a voice teacher, 'There are four essential qualities to be found in the human voice: freedom, flow, ring and roundness." The 270-page book explains his philosophy and teaching methods, and is available for $8.95.

GENERAL While credentials as a music critic do not necessarily guarantee superior MUSIC writing ability, a 20-year tenure as senior music critic of The New York BOOKS Times certainly promises exceptional qualities in authorship combined with a superior intellect and musical knowledge. All of these are in evidence in FACING THE MUSIC, a collection of pieces by Harold C. Schonberg which appeared under his by-line. Arranged by subject matter, they cover the full spectrum of musical life and are often telling reflections of the musical trends or tastes of a particular period. Of course, there are extensive chapters on opera and on singers and singing. Others include performance practice, contemporary music, and composers. A wonderful book of 450 pages to browse through or to read chronologically from cover to cover, it has been published by Summit Books, New York, and is available for $17.95.

Another collection of articles, these by the late British author Deryck Cooke, form VINDICATIONS, Essays on Romantic Music. Most of them have previously appeared in print and some were written as radio lectures. Their subject matter varies from Wagner's Operatic Apprenticeship, to Mahler's Tenth Symphony, to Beethoven's Late Quartets. Brian Magee furnished a memoir of the author as an introduction to this 220-page book, published by Oxford University Press in hardcover ($24.95) and in paperback ($7.95).

The search for new approaches in writing about music has led Norman Lebrecht to create DISCORD, a record of Conflicts and the Making of Music. An original idea indeed, which discovers situations and incidents from the ridiculous to the - well not sublime, but some of more serious consequences. There was the well-publicized, outraged letter from Presi- dent Truman to music critic Paul Hume in response to a critical assessment of daughter Margaret's concert, there were the jealous stars who tried to upstage each other, physically or vocally or by any other means, there were also the more serious political, ethical, or ethnical differences which drove friendships apart. Published by Universe Books, New York, these 250, primarily entertaining pages are illustrated with numerous cartoons; the price is $25.

Norman Del Mar's ANATOMY OF THE ORCHESTRA is a scholarly, detailed study of orchestral instruments, orchestral combinations, sizes and types of orchestras, and the manifold problems in orchestral leading and playing. It offers analyses of classical versus modern scores, and discusses repertoire and the role of conductor and first chairs. A knowledgeable and scholarly book for professionals and students concerned and involved in orchestral performance. The 500 pages contain numerous musical examples. Pub- lished by the University of California Press, the book sells for $42.50.

THEATER HALLS FOR MUSIC PERFORMANCE: Two Decades of Experience 1962-82 ARCHITECTURE has been published by the Acoustical Society of America. It features a & ACOUSTICS total of 87 different halls, new or renovated during the last twenty years. They range from a 500- to a 3000-seat capacity, with two-thirds in the United States, the others in Europe, Australia, Japan, and Mexico. Each entry includes various architectural drawings, photographs, technical data -46- BOOK CORNER and a general description of the facility. In paperback, 175 illustrated pages, priced at $15 and available from Acoustical Society of America, 335 East 45 Street, New York, NY 10017. Of both practical and romantic value is Kenneth Bernstein's MUSIC MUSIC S LOVER'S EUROPE, A Guidebook and Companion. With it you can visit TRAVEL twenty-four countries, searching out birthplaces and graves, "here slept" houses, "here performed" theatres, and "here walked" paths of your favorite musicians. It includes some information on European music festivals and its appendices list the New York addresses of the various countries' tourist bureaus, a four-language glossary to assist you in buying tickets or finding out at what time a performance is over, and an index. Charles Scribner's Sons has published the illustrated, 200-page, hardcover guide priced at $12.95.

MUSIC FESTIVALS IN AMERICA by Carol Price Rabin has been published in its third edition. This 1983 revised and enlarged version includes the latest additions to the U.S. musical scene. It is divided into Classical (which includes some opera), Opera, Jazz--Dixieland, Pops-Light Classical, Folk, and Bluegrass-Country, and each section is arranged by state. The book is paperback, indexed, illustrated in 280 pages, priced at $8.95 and published by The Berkshire Traveller Press.

The National Opera Institute's fifth national colloquium was concerned CONFERENCE with opera in education, and NOI has published an extensive and extremely REPORT 6 informative report under the title LITTLE LEAGUES, SCIENCE CLUBS TRANSCRIPT AND OPERA. A task force of opera professionals, educators and admini- strators working with a wider committee during the colloquium days, established a ten year plan, which is outlined in the report and graphically illustrated in charts. The 48-page report compiled by Junius Eddy may be ordered from National Opera Institute, Kennedy Center, Washington, DC 20566, for $7.50.

The transcript of the 1982 Central Opera Service National Conference held in Miami is now available for $7.50. The primary subjects THE OPERATIC STAGE DIRECTOR IN THE 80'S: Career Development of the Young Director, and Concepts and Styles of Stage Direction in the 80's led to one of the most stimulating and provocative discussions, captured verbatim in the transcript.

Charles Suber & Associates of Chicago published the 1983 BUSINESS-OF- TRAINING £ MUSIC SCHOOLS DIRECTORY listing Business-of-Music Schools, Busi- CAREER ness-of-Music Careers and Organizations. This well-organized, 30-page GUIDES guide is available for $3.95 from the publisher at 600-B South Dearborn, Chicago, IL 60605. THE MUSICIAN'S MANUAL, A Practical Career Guide is a presentation of the Beverly Hills Bar Association Barristers Committee for the Arts. Thus, it concentrates primarily on legal advice concerning contracts, copyrights, tax information, etc. The 240-page paperback is edited by Mark Halloran and published by Hawthorn/Dutton; its price is $9.95. MAKING MONEY MAKING MUSIC (No Matter Where You Live) is full of practical advice on how to start a career in music in your own community; much of it concerns ways of earning money in the popular field. The 300-page paperback by James W. Dearing is published by -47- BOOKS £ PERIODICALS Writer's Digest Books, Cincinnati, and priced at $12.95. The Washington International Arts Letter has published the fifth edition of its National Directory, GRANTS AND AID TO INDIVIDUALS IN THE ARTS. The 240-page paperback has been compiled and edited by the Newsletter's editor, Daniel Millsaps. It is Number 11 in The Arts Patronage Series, and a valuable reference guide. The price is $15.95.

The National Committee/Arts for the Handicapped has prepared two booklets which will be found extremely helpful. A REVIEW OF THE PUBLISHED RESEARCH LITERATURE ON THE ARTS AND THE HANDI- CAPPED 1971-81 offers detailed descriptions of each book, listed by categories. PERFORMANCE WORKSHOP PROJECT GUIDE is presented by the Department of Recreation and Human Services of the City of Long Beach. Both may be ordered from the Committee, c/o Kennedy Center, Washington, DC 20566. Copies of the above have been received by Central Opera Service. In addition, there are numerous new publications which are helpful guides to professionals in the arts, whether artists, educators or administrators. Lists of titles of their own publications are available from the American Council on the Arts, Association of Community, University and College Arts Administrators, The Foundation Center, Theatre Communications Group, Grantsmanship Center, Washington International Arts Letter, for Arts Information, U.S. Institute for Theatre Tech- nology, National Association of State Arts Agencies, Alliance for Arts Education, National Center for Citizen Involvement, Volunteers in the Arts, and last but not least, Central Opera Service.

NEW THE OPERA QUARTERLY, published by the University of North Carolina PERIODICALS Press, Chapel Hill, is designed for the interest of the dedicated opera lover, the opera professional, and the scholar. Sherwin Sloan and Irene Sloan are the editors. Each issue will consist of 150 to 200 pages, and the annual subscription rate is $24. Orders should be addressed to University of North Carolina Press, Box 2288, Chapel Hill, NC 27514; editorial inquiries to the editors in Los Angeles. Special articles are solicited and/or commissioned, and regular columns will be under the by-lines of contributing editors John Ardoin, Natalie Limonick, George Marek, and Maria F. Rich; Dale Harris and Speight Jenkins are in charge of record reviews and George Martin of book reviews. The first issue came off the press in April, 1983.

Already in its second year but not previously reported is OPERA DIGEST, with William H. Wells as editor-in-chief. The 12-page publication appears in ten issues annually, with news about individual artists and reviews of performances and recordings. A subscription for one year is $8, and may be ordered from Opera Index, 11 Fifth Avenue, New York, NY 10003.

THE JOURNAL OF ARTS MANAGEMENT AND LAW is published by Heldref Publications, 4000 Albemarle Street, NW, Washington, DC 20016. The Arts and Public Policy is the subject of a special double issue to appear in spring, 1983. Individual copies are offered for $12.50; annual subscription is $27. — The University of Illinois Press and the Sonneck Society are soliciting articles for their new publication, AMERICAN MUSIC, a quarterly journal. Allen P. Britton, School of Music of the University of Michigan, Ann Arbor, Michigan 48109, is the editor. • -48- PERFORMANCE LISTING 1982-83 (cow.) All performances are staged with orchestra unless marked "cone, pf." or "w.p." (with piano) — * following an opera title indicates a new production. — Performances and news items once listed will not be relisted at the time of performance. A single date appearing for a listing of several performances indicates the opening night.

ALABAMA Auburn Univ. Opera Wskp., M.J. Howard, Dir., Auburn Spring '83 H.M.S. Pinafore Music and Theatre Depts. ARIZONA Arizona Theatre Co., G. Gisselman, Art.Dir., Tucson 4/30-5/22/83 A Funny Thing Happened on the Way to the Forum also tour: 5/25-6/5 Phoenix College Opera Wksp., K. Poore, Dir., Phoenix 11/17,18,19,20/82 Babes in Arms University of Arizona Opera Theater, L. Day, Dir., Tucson 4/6,8,9,10/83 Pasatieri's Maria Elena prem.; pfs. alternate Eng. & Spanish; c: Woitach; d: Siena; ds: Sehwanke ARKANSAS Inspiration Point Fine Arts Colony, W. Williams, Dir., Eureka Springs Summer '83: Cos! fan tutte; ; Madama Butterfly; La Traviata; La Pe>ichole; Noye's Fludde & van Grove's Ruth; Vanessa University of Arkansas Opera Wskp., J. Dougherty, Dir., Monticello 10/25,26/82 w.p. 4/26,27m,28/83 Hello, Dolly! CALIFORNIA Alhecama Players, Lobero Theatre, Santa Barbara 3/3,4,5,6,8,10,12/83 Fiddler on the Roof Berkeley Arch Ensemble for Experimental Music, Herbst Theatre, San Francisco 3/28/83 Pound's Le Testament de Villon conc.pf. & Pound's Cavalcanti Am.prem.; c: Hughes CabriUo Music Festival, D.R. Davies, Mus. Dir., Aptos 8/18-28/83 inol. Henze's The New Adventures of Tom Thumb Am.prem. California State Univ. Opera Theater, T. Acord, Dir., Hayward 1/20-22/83 w.p. 4/22,23,29,30/83 w.o. 2/24,25,26 3/1,2,3/83 Canterbury Tales w.o. California State Univ. Summer Opera Institute, H. Lampl, Dir., Long Beach (7/5-8/7/83) 8/4,5,6,7/83 The Medium <5c Gianni Schicchi California State Univ. Opera Theater, H. Blankenburg, Dir., Los Angeles 11/6,7,8/82 Le Nozze di Figaro Eng. Blankenburg; also 1/83 8 pfs. on tour 5/83 Dido and Aeneas &. tba 4 pfs. California State Univ. Opera Wksp., L. Stradley, Dir., Sacramento 12/3/82 Opera Scenes 4/29,30/83 Riders to the Sea & Signor Deluso California State Univ. Opera Wksp., R. Barrett & M. Trimble, Dirs., San Bernardino 1/9/83 Italian Opera Concert l/16,19,23m/83 Handel's 1/17,20/83 Handel's Acis and Galatea 1/18,22,23/83 Handel's Carmel Bach Festival, S. Salgo, Mus.Dir., Carmel 7/16,23,30/83 Cosl fan tutte Eng.; Gustafson, Ganz, McCaffrey; MacNeil, Eckoff, Parker; c: Salgo; d: Takazauckas Casa Italiana, M. Leonetti, Dir., Los Angeles 10/31/82 La Traviata 2/6/83 Lucia di Lammermoor 8/28/83 Tosca Cerritos College Opera Wksp., D. Anthony, Mus.Dir., Norwalk 3/18,19,23,24,25,26/83 Christ Superstar College of Notre Dame Opera Wksp., O. Taylor, Dir., Belmont 11/18,19,20/82 Ernest in Love Davis Comic Opera Co., Davis 12/2,3,4,5,9,11/82 & Ages Ago & 4/14-20/83 Kismet Desert Opera Theatre, A. Beakey, Dir., Palmdale 11/5,6,12,14/82 Susannah 3/18,19,20,25,26,27/83 H.M.S. Pinafore 8 pfs. -49- 1982-83 Season Diablo Light Opera Co., Civic Arts Center, Walnut Creek 3/18-4/23/83 Hello, Dolly! Downey Civic Light Opera, Downey 10/7-24/82 South Pacific 3/3-20/83 Carousel Encino Opera Group, Encino 10/1-11/14/82 A Funny Thing Happened on the Way to the Forum 4/8-5/22/83 Dames at Sea Euterpe Opera of Southern California, H. Pelta, Art.Dir., Los Angeles 12/14/82 La Finta gardiniera 2/1/83 3/15/83 La Boheme Fullerton Civic Light Opera, G. Duncan, Gen.Mgr., Fullerton 10/22-11/7/82 The Pirates of Penzance 10 pfs. 2/18-3/6/83 Camelot 10 pfs. 5/20-6/5/83 Flower Drum Song 10 pfs. Glendale College Civic Music Theatre, M. Young, Prod./Mus.Dir., Glendale 11/19-12/5/82 The Music Man 4/15-5/1/83 The Boy Friend Hollywood Bowl, Los Angeles Philharmonic in residence, CM. Giulini, Mus.Dir. (7/4-9/21/83) 7/19/83 Mills; Amerson, Binder; L.A. Master Chorale; c: Tilson Thomas 9/1/83 Highlights from The Ring Gray; c: De Waart 9/8/83 Verdi Requiem; Plowright, Hamari; Shicoff, Lloyd; c: Sinopoli Hollywood-Wilshire Symphony, F. Desby, Mus.Dir., Los Angeles 1/30/83 Tosca Wald; Winthrop, French Hum bold t State Univ. Opera Wksp., J. Stanard, Dip., Arcata 2/83 A Little Night Music 4 pfs. w.p. 5/83 Pippin 4 pfs. w.o. Inland Opera Co., J. Wilson, Mus.Dir., Los Angeles 11/26,27,28 12/11,12/82 The Medium & Act I La Mirada Light Opera, P. Johnson, Mus.Dir., La Mirada 10/1-16/82 Kiss Me Kate 10 pfs. 3/18-4/20/83 Fiddler on the Roof 10 pfs. 5/10-22/83 They're Playing Our Song 10 pfs. 6/17-7/3/83 George M 10 pfs. Long Beach Civic Light Opera, Long Beach 10/82 Carousel 14 pfs. 1/83 Bittersweet 14 pfs. 5/83 Wonderful Town 14 pfs. 7/83 Grease 14 pfs. Long Beach Grand Opera, M. Milenski, Gen.Dir., G. Cleve, Mus.Dir. (see Vol. 24, No. 2) 2/3,5,10,12,14/83 Ringo; Fowler, Radovan; (Death in Venice postponed to 9/83) 4/4-22/83 Hansel and Gretel 15 pfs.; c: Fried/Mollicone; d: Hoey; w. Guild Opera Los Angeles Chamber Orchestra, Los Angeles 3/23,24,25,27/83 Pergolesi's The Music Master conc.pfs.; Blegen; Britten, Ostendorf Los Angeles Master Chorale and Sinfonia, R. Wagner, Mus.Dir. 3/11/83 Aida conc.pf.; Arroyo, Cariaga; Ortez, Cheek, Thompson; in Torrance 4/24/83 Carmina burana conc.pf.; in Los Angeles Day '83, at Music Center Plaza 5/14/83 Operatic marathon sponsored by City of Los Angeles Cultural Affairs Dept. & "Opera Guide"; 12 companies and workshops presenting scenes Marin Opera Co., H. Rinaldi, Mus.Dir., San Rafael (see also Vol. 24, No. 2) 1/29 2/4,6m/83 L'Elisir d'amore Eng. 5/14,20,22/83 Madama Butterfly Merola Opera Program, T. McEwen, Gen.Dir., San Francisco 7/17m/83 c: Whallon; d: Farruggio; ds: Kuharski; Stern Grove 8/6m,7m/83 Madama Butterfly c: Baustian; d: Takazauekas; ds: Kotcher; in Saratoga 8/21/83 Grand Finals of San Francisco Opera Center Auditions Mother Lode Troupe, M. Kanouse, Mus.Dir., Sacramento 1/19-23/83 Kanouse's Gambling Jones prem. Music Academy of the West, T. Alcantara, Dir., Santa Barbara 8/13,14,15,16/83 Don Giovanni alternates in Italian <5c Eng.; d: Capobianco Music From Bear Valley, J. Gosling, Mus.Dir., Bear Valley 7/30-8/14/83 incl. La Traviata 2 pfs. Newport Beach Arts Commission & Newport Arts Museum 1/29/83 Applebaum's The Frieze of Life prem.

-50- 1982-83 Season

Odyssey Theatre Ensemble, R. Sossi, Art.Dir., Los Angeles 3/12-4/10/83 Sondheim's Frogs Opera a la Carte, R. Sheldon, Art.Dir., Los Angeles 1982-83 tour: ; The Pirates of Penzance; ; Scenes Opera Buffet, M. Leonetti, Dir., Los Angeles 9/18,26 11/7/82 Tosca 12/4,5/82 Hansel and Gretel 6/26/83 La Boheme 7/31/83 Rigoletto Opera in Workshop, R. Lappano, Dir., Los Angeles 10/11,13 12/6,9/82 Lucia di Lammermoor 2/7,10/83 Tosca Pacific Lyric Theatre, K. Evans, Gen.Mgr., San Diego 12/10-19/82 Hansel and Gretel 6 pfs.; c: Mysior; d: Teutsch Palm Springs Opera Guild of the Desert, Palm Spring 1/27 2/13/83 Concerts 3/11/83 Carmen Firestone; Griee; c: Salesky; New York City Opera National Co. Pepperdine Univ. Opera Wksp., V. McMahon, Dir., Malibu 11/4-7,11-14/82 The Music Man 4/7,8/83 Trial by Jury & Scenes w.p. Pocket Opera, D. Pippin, Mus. Dir. (see also Vol. 24, No. 2) 1/29 1/31/83 in Palm Springs: Lucia di Lammermoor; La belle Hel£ne 4/24 5/1,8,15,22,29 6/5,12,19/83 in Berkeley: Eugene Onegin; Rinaldo; Cosi fan tutte; Italiana in Algeri; ; Maria Padilla; Atalanta; Coffee Cantata & Chatte metamorphose'e en femme; Martha all Eng. Pippin 7/10,17,24,31 8/7,14,21,28/83 in San Francisco: Merry Wives of Windsor; King for a Day; ; Anna Bolena; La Pe"richole; Merry Wives of Windsor; ; La P&ichole all Eng. Pippin Port Costa Concert Ass'n, H. Rinaldi, Mus. Dir., San Rafael 4/8,9/83 Leoncavallo's Zaza Eng. San Bernardino Civic Light Opera, California Theatre, San Bernardino 11/12-20/82 Annie Get Your Gun 8 pfs. 2/18-26/83 Man of La Mancha 8 pfs. 3/11-19/83 Grease 8 pfs. 5/6-14/83 Seven Brides for Seven Brothers 8 pfs. San Diego Civic Light Opera, Starlight Bowl, San Diego 9/2-5/82 Fiddler on the Roof 6/23-7/3/83 7/14-24/83 8/4-14/83 Hello, Dolly! 8/25-9/4/83 Annie San Diego Gilbert & Sullivan Co., Balboa Park, San Diego 11/12-28/82 The Pirates of Penzance 9 pfs. 2/11-20/83 6 pfs. 5/13-28/83 The Gondoliers 6 pfs. San Francisco Opera Center, T. McEwen, Gen.Dir., Herbst Theatre, San Francisco 3/2,4,7/83 L'Ormindo Leppard ed.; c: Meltzer 3/14,16,18/83 The Rape of Lucretia c: Bradshaw; d: Hastings; ds: Uzemack San Francisco Opera Summer Festival, T. McEwen, Gen.Dir., War Memorial Opera House 5/27 6/2,5m, 10,18/83 Das Rheingold* Schwarz, M.J. Johnson, Runkel; Berry, W. Lewis, Devlin; c: de Waart; d: Lehnhoff; ds: Conklin 5/28 6/3,8,12m,16/83 Die Walktire* Altmeyer/Jones, Rysanek, Dernesch; Hofmann, Stewart, Tschammer; c: de Waart; d: Lehnhoff; ds: Conklin 6/4,9,11,19m,24,27/83 La Boheme Tokody, M.J. Johnson; Lima, Raftery; c: Navarro; d: Guttman; ds: Pizzi; Lyric Opera of Chicago prod. 6/17,22,26m,29 7/2/83 Carmen Vergara, B. Daniels; Johns, Devlin; c: Dervaux; d: Calabria; ds: Ponnelle/Juerke 6/23,25,28 7/l,3m/83 Cos! fan tutte Lorengar, Troyanos, Burrowes; Winbergh, Krause, Gramm; c: Meltzer; d: Frisell; ds: Ponnelle San Jose Civic Light Opera, San Jose Center for the Performing Arts 9/24-10/3/82 Annie Get Your Gun 11/5-14/82 Cabaret 3/4-13/83 Brigadoon 4/29-5/8/83 Kiss Me Kate Santa Barbara Symphony, F. Collura, Mus.Dir., Santa Barbara 5/15m,17/83 Rigoletto conc.pfs.; Burgess; Villa, Fabricci Santa Monica Civic Opera, M. Lanza, Mus.Dir., Santa Monica 11/27,28/82 3/12,13/83 n Barbiere di Siviglia Scholar Opera, D. Straka, Gen.Dir., Palo Alto 11/5-28/82 Carmen 6 pfs. 4/23-5/1/83 The Elixir of Love Eng.; 5 pfs.

-51- 1982-83 Season Stanford Savoyards, R. Taylor, Dir., Stanford 11/12-14,19-21/82 H.M.S. Pinafore 4/15-24/83 Trial by Jury & Scenes 6 pfs. University of California Opera Theatre, S. Krachmalnick, Mus.Dir., Los Angeles 2/25/83 Jeffers' What Happened prem. 4/22,23,29,30/83 d: Hall University of California Opera Theatre, C. Zytowski, Dir., Santa Barbara 2/26 3/5/83 Zytowski's Johnny Appleseed 5/13,14/83 Applebaum's The Frieze of Life Valley Opera, R. Chauls, Dir., Van Nuys 12/17,18/82 Opera Scenes 4/29,30 5/1/83 Mechem's Tartuffe 5/5/83 The Human Voice 5/8/83 Chauls1 The Thirteen Clocks Ventura County Master Chorale & Opera Ass'n, B. Taft, Mus.Dir., Ventura 12/11/82 AmaM and the Night Visitors 2/4,5/83 Gianni Schicehi & Opera Scenes; Vaness 4/16/83 Vecchi's L'Amfiparnaso conc.pf. & Choral selections Voices/SF, Showcase Ensemble, D. Ahlstrom Mus.Dir., San Francisco 9/17,18/82 Ahlstrom's Three Sisters Who Are Not Sisters w.p. 10/29,30/82 Ahlstrom's Doctor Faustus Lights the Lights conc.pfs. w.p. 12/17,18/82 Ahlstrom's America, I Love You Scenes 4/8,9/83 Ahlstrom's The Tumbler of Notre Dame 5/6,7/83 The Secret Box 6/17,18/83 America, I Love You West Coast Opera, J. Lombardo, Gen.Dir., San Gabriel 11/12,13,14/82 Review 2/25,26 3/3,4/83 & The Medium 4/23,24,28,29/83 Die Fledermaus West End Opera, F. Fetta, Mus.Dir., Ontario/Los Angeles 12/3/82 The Tales of Hoffmann 5/7/83 Aida Clark, Werner-Bachmann; Lachonas, Topouzian; d/ds: Fisher; also 8/26 at Redlands Bowl Western Wind, Los Angeles 11/16/82 L'Amfiparnaso COLORADO Aspen Music Festival Opera Wksp., R. Pearlman, Dir., Aspen 7/13,16/83 Falstaff conc.pfs. 8/11,13,15,16/83 Transformations Central City Opera, J. Moriarty, Art.Dir., Central City 7/9,10,13,14,15,17,19,21,23,27,29,30 8/2,4,6/83 La Traviata Huffstodt/Brustadt; Puzzo/ Farma, Brandstetter/Massey; c: Moriarty 7/16,20,22,24,26,28,30,31 8/3,5/83 L'Elisir d'amore South, Mizell; di Paolo, Orth, Opalach; c: Wolfe Summer '83: The Face on the Barroom Floor Central City Opera Apprentice Singers Colorado Opera Festival, D. Jenkins, Gen.Dir., Pike's Peak Arts Center, Colorado Springs 7/26,28,30m/83 Carmen Meyerson; Evans; c: Jenkins; d: Hudson 7/29,31m 8/2/83 The Barber of Seville Eng.; Friede; Glaze, Evitts, Beattie; d: Beattie CONNECTICUT Connecticut Opera & Hartford Ballet, G. Osborne, Dir. (see also Vol 24, No. 1) 4/6-9/83 Hansel and Gretel Eng.; Marsee, Brummel, Johnson; Glassman, Lavonis; c: Parker; ds: Dunham/Lynn; cgr: Uthoff Hartman Theatre, H. Goldman, Exec.Dir., Stamford Center for the Arts 12/10-26/82 Legrand's A Christmas Carol prem. 3/18-4/10/83 Friml's The Three Musketeers Long Wharf Theatre, A. Brown, Art.Dir., New Haven 3/31-5/8/83 Pal Joey O'Neill Theater Center Opera/Musical Theater Conference, P. Haupt-Nolen, Art.Dir., Water- ford (5/22-6/12/83) 6/3,4,10,11/83 Harnick's Dragons prem. reading 6/3,4,10,11/83 Paxton's The Adventures of Friar Tuck stgd. reading 5/22-6/12/83 Works-in-Progress Workshop: Black's The Beautiful Dreams of Ilya Dyich Oblomov; Chauls' The Thirteen Clocks

-52- 1982-83 Season University of Connecticut Music Dept., Storrs 2/10,12,14/83 Albert Herring DISTRICT OF COLUMBIA Kennedy Center for the Performing Arts, R. Stevens, Chmn., Washington 3/24-4/16/83 Show Boat prod. 5/14/83 Benvenuto Cellini conc.pf.; c: Queler; Opera Orchestra of New York 5/25-6/18/83 Porgy and Bess S.H. Goldman & Houston Grand Opera prod. Kennedy Center Handel Festival, S. Simon, Mus.Dir., Washington 1/22/83 conc.pf.; Marsee, Haywood; McCoy, Meredith 4/23/83 conc.pf.; Haywood, Rakusin, Nadler; Diaz 5/21/83 Xerxes conc.pf.; Paunova, Mabbs, Harris, Ciesinski, Ciesinski; Ostendorf, Dirksen Kennedy Center Imagination Celebration, R. Stevens, Chmn., Washington (3/26-4/10/83) 3/30,31m,31 4/2m,2/83 Menotti's A Bride from Pluto at Terrace Theatre 4/3,4,6,9m,9,10m/83 Zaninelli's The Tale of Peter Rabbit at Terrace Theater 3/27m,27,30,31m,31 4/2m/83 Martin's Dandelion at Theatre Lab; Univ. of Wisconsin- Madison prod. 4/5,7,9m,9/83 Epps/Mirrione's Joe Louis: The Brown Bomber at Theatre Lab; New York Univ. Creative Arts Team prod. National Lyric Opera, N. Wells, Gen.Mgr., Washington 12/11,12/82 Faust Opera SW, B. Payne, Gen.Mgr., Washington 5/13,14,19,20,21/83 The Coronation of Poppea Eng. Roca; new oreh. & c: E. Roberts Potomac Valley Opera Co., St. John's Church, Washington 3/4,6/83 Gounod's Mireille Summer Opera Theatre Co., E. Walter, Exec.Dir., Washington 7/13/83 La Traviata 6 pfs. FLORIDA Florida Lyric Opera, R. Maresea, Oir., Clearwater (see also Vol. 24, No. 2) 2/6/83 Pagliacci w.p. (replaces Hansel and Gretel) 3/6 4/18/83 Carmen cone. pfs. w.p. (replaces II Trovatore) 6/27/83 Madama Butterfly w.p. Greater Miami Opera Touring Program, R. Herman, Gen.Dir. 1982-83 tour: The Impresario Eng.; Jacksonville Univ. Opera Wksp., W. Vessels, Dir., Jacksonville 10/27-29/82 Abu Hassan Eng. Tyler Treasure Coast Opera Society, Ft. Pierce (see also Vol. 24, No. 2) 3/26/83 Madama Butterfly University of Florida Opera Wksp., E. Graham, Dir., Gainesville 1/27,28,29 2/3,4,5/83 The Mikado ILLINOIS Chicago Opera Repertory Theatre, R. Kamsler, Gen.Dir., Chicago Public Library 2/2,5/83 H Matrimonio segreto w.p. 4/22,23,24/83 La Clemenza di Tito w.o. Grant Park Concerts, S. Ovitsky, Gen.Mgr., Petrillo Shell, Chicago 6/25-8/28/83 incl: Orfeo ed Euridice; The Bartered Bride cone, pfs. Light Opera Works, B. McDonough, Mng.Dir., Evanston (see also Vol. 24, No.2) 6/23,24,25,26m/83 The Pirates of Penzance Lyric Opera Center for American Artists, L. Schaenen, Dir., Chicago 1/28,30/83 La Traviata 6/83 La Cenerentola at Midland Fest. Midland Repertory Players, K. Shanahan, Dir., Alton 6/83 Faust 8/83 Pagliacci & The Red Death Northern Illinois Univ. Opera Wksp., E. Smith, Dir., DeKalb 11/12,13,17,18,19,20/82 Cabaret , J. Levine, Mus.Dir., Highland Park (6/24-9/11/83) Woodstock Music Theatre Festival, D. Rankin, Exec.Dir., Woodstock 6-8/83 Schwartz's The Baker's Wife INDIANA Early Music Institute/Pro Arte Ensemble, Indiana Univ., Bloomington 3/6,7,8/83 "Great Passion Play" from Carmina burana manuscripts; c: Binkley; d: Allen; art.supv: Rothlisberger

-53- 1982-83 Season

Indiana Univ. School of Music, C. Webb, Dean, Bloomington (see also Vol. 24, No. 1) ll/7m,7/82 L'Histoire du soldat narr: Morrison; c: Harrington; d: Allen; cgr: Stuart Indiana Univ. Opera Studio, C. Webb, Dean, Bloomington (see also Vol. 24, No. 1) 12/2,3/82 Hoist's Savitri & Sutermeister's Die schwarze Spinne (The Black Spider) Eng.; Am. prem. Indiana Univ. Summer Opera Theatre, C. Webb, Dean, Bloomington 7/16,22,23/83 Sweeney Todd c: Poreo; d: Liotta 7/30 8/5,6/83 Candide c: Baldner; d: Allen; ds: Higgins Indianapolis Opera, V. du Rivage, Mng.Dir. (see also Vol. 24, No. 1) 6/17,19/83 H.M.S. Pinafore (replacing Porgy and Bess) IOWA Des Moines Metro Apprentice Program, S. Robertson, Dip., Des Moines 1982-83 tour: Zytowski's The Town Musicians of Bremen; Little Red Riding Hood Des Moines Metro Opera Area Schools Program, S. Robertson, Dir. 1982-83 program: Spedding's London's Burning Des Moines Metro Opera, R. Larsen, Art. Dir., Indianola 6/17,19,25 7/1,10/83 Cavalleria rusticana & Pagliacci Eng.; Rakusin, Gutknecht; Grice, Hartman, McFarland; c: Larsen/Robertson; d: Larsen; ds: Johnson 6/18,26,30 7/2,6,8/83 Eng.; Karlsson, Kaplan; Hartman, Kline, Livingston; e/d: Larsen 6/24,29 7/3,5,9/83 The Daughter of the Regiment Eng.; Mills, Larson; Freeman, MeShane Kline; c/d: Larsen; ds: Norrenbrock Simpson College Opera Dept., R. Larsen, Dir., Indianola 11/82 The Tales of Hoffmann 3 pfs. 3/83 Gianni Schicchi & The Village Singer 4 pfs. University of Iowa Opera Theatre, B. Glass, Dir., Iowa City 1982-83 Faust 2 pfs. 7/83 The Ballad of Baby Doe 3 pfs. LOUISIANA Louisiana State Univ. Opera Theatre, R. Aslanian, Dir., Baton Rouge 11/6,7/82 Die Fledermaus 1/28,29/83 Opera Scenes 2/20,25/83 The Boor & Intimations 4/15,16/83 The Magic Flute Madewood Arts Festival, K. Marshall, Gen.Dir., Napoleonville 4/15/83 Suppers Die sehone Galatea Embree National Conference of American Society of University Composers, Louisiana State U., Baton Rouge 2/20/83 Argento's The Boor LSU prod.; d: Aslanian 2/25/83 Constantinides' Intimations LSU prod.; d: Aslanian 2/26/83 Benjamin's The Rehearsal River City Opera Wksp. prod.; d: Cline University of New Orleans Opera Wksp., R. Cortina, Dir., New Orleans 4/7-10/83 Faust 7/16-21/83 Musical tba MAINE Maine Opera, A. McMullan, Art. Dir., Portland 7/83 n Trovatore Owen University of Maine Opera Theater, L. Hallman, Dir., Orono 2/7,9,11,12/83 Falstaff University of Southern Maine Opera Wksp., R. Russell, Dir., Gorham 1/28-2/3/83 Cosl fan tutte Eng. Martin 4/15-30/83 Personals 6 pfs. w.p. 7/1-17/83 My Fair Lady 21 pfs. w.o. 7/21-30/83 Side by Side by Sondheim 9 pfs. w.o. MARYLAND Prince George's Civic Opera, D. Biondi, Art. Dir. (see also Vol. 24, No. 2) 5/6m,6,8m/83 Faith's The Little Match Girl 5/7m,8/83 The Diary of One Who Vanished Eng. 5/7,8m/83 Hoiby's Something New for the Zoo University of Maryland Opera Theatre, M. Mangold, Dir., College Park 4/16/83 "Stravinsky and Friends" Bryn-Julson; d: Shirley 5/7,8/83 La Voix humaine Eng.; Tate; c: Cooper; dj Shirley MASSACHUSETTS American Repertory Theatre, R. Brustein, Dir., Cambridge 2/18-3/26/83 The Boys from Syracuse

-54- 1982-83 Season

American Repertory Theatre Musical Theatre Lab, R. Brustein & S. Ostrow, Dire. 11/10-21/82 Young/Burch's American Passion prem. 1/83 Colker/Rupert's Kamikaze Kabaret prem. 5/83 Lynn/Norman's The French Follies prem. Banchetto Musicale/Boston Early Music Festival, M. Pearlman, Dir., Cambridge 5/20,23,24/83 Rameau's Zoroastre Am.prem.; N. Armstrong, Boulin; Orliac, Verschaeve, Maddelena; c: Lenael; d: Pearlman; cgr: Verdy; for Rameau Tercentennial Celebration Berkshire Festival/Tanglewood, Boston Symphony in residence, S. Ozawa, Mus.Oir., Lenox 6/30-8/28/83 incl. Orfeo ed Euridice Mills Festival Stage, Charles River Creative Arts Program, Dover 7-8/83 incl. Elkus' Princess prem.; Walden's This Week Pm Famous prem. New England Wagner Festival, Boston Lyric Opera, J. Balme, Art.Dir., Northwestern Univ. 7/25-30 8/1-6/83 Der Ring des Nibelungen stgd.; 8/8-13 in New York Music Theatre Group, L. Austin, Dir., Lenox Arts Center 7/6-8/20/83 The Mother of Us All; Kesselman's The Juniper Tree prem. Opera Company of Boston, S. Caldwell, Art.Dir. (revised schedule) 2/18,20m,24,27m/83 Carmen Crespin, Reese; MeCracken, Reardon; c/d: Caldwell; ds: Pond/Senn/Diffen 4/17,19,22,24/83 The Legend of the Invisible City of Kitezh and the Maiden Fevronia Eng. McConathy; Reese, Alberts; Velasco, Gramm, Moulson; c/d: Caldwell; ds: O'Hearn/ Miles 5/19,22,26,29/83 Norma Verrett, R. Freni; Evans, Gramm; c/d: Caldwell; ds: Pond/Senn Opera New England, K. Porter, Mgr., touring company of Opera Company of Boston 11/1-12/1/82 tour: Barnes' Zetabet prem.; The Frog Who Became Prince; 1/83 tour to Philippines, Honolulu, San Diego, Los Angeles Touring Concert Opera Co., H. Shapiro, Mus.Dir., Berkshire Festival, Great Barrington 5/27-6/5/83 Cavalleria rusticana & Goyescas Gordon, E. Figols; A. Figols; 7 pfs. w.p. 6/10-19/83 La Traviata 6 pfs. w.p. 6/24-7/4/83 Madam a Butterfly 7 pfs. 7/8-17/83 "The Art of " 6 pfs. 7/22-8/7/83 L'Elisir d'amore 6 pfs. w.p. 8/12-21/83 Tosca 6 pfs. w.p. 8/26-9/5/83 La Boheme 7 pfs. w.p. MICHIGAN Interlochen Arts Festival, Interlochen 6/26-8/22/83 incl. The Mikado University of Michigan Music Theatre, Ann Arbor (see also Vol. 24, No. 2) 8/12-15/83 Side by Side by Sondheim d: Chapel MINNESOTA Midwest Opera Theatre, W. Balk, Art.Dir. (see also Vol. 24, No. 2) 3-4/83 tour: Barnes' Zetabet Opera St. Paul, V. Olson, Gen.Dir., Macalester College Audit., St. Paul 3/25,26/83 Rita dinner theatre, St. Paul Hotel 6/15,17,19/83 La Traviata Hill; Park, Johnson; c: Forner; d: Tavernia; at Macalester The. MISSISSIPPI Mississippi Opera, F. Choset, Art.Dir., Jackson (see also Vol. 24, No. 2) 6/10,12/83 The Barber of Seville Senter; C. Williams, N. Wilson, Melton; c: Choset; d: Janer 6/llm,12m,18m,19m/83 Hindemith's Let's Build a Town Brown, Choset, Briggs MISSOURI Springfield Regional Opera, D. Crosby, Gen.Mgr., Springfield 10/82 Benefit Concert 6/83 Rigoletto Shore; 4 pfs. 7/83 Pagliacci 4 pfs. NEBRASKA Omaha Magic Theatre, J.A. Schmidman, Art.Dir., Omaha 11/1-30/82 de Pury's Kegger prem. 12/1-20/82 Budenholzer's Clothes 8/1-30/83 Sheehan's Aliens Under Glass U Opera/Omaha & Omaha Public Schools 4/15-5/22/83 Hansel and Gretel 6 pfs. University of Nebraska Opera Theatre, G. Tallman, Dir., Lincoln 2/3,5,6/83 n Tabarro & Suor Angelica & Gianni Schicchi 6/25,26 7/1,2/83 Le Nozze di Figaro Eng.

-55- 1982-83 Season

NEVADA University of Nevada Opera Wksp., C. Kimball, Oir., Las Vegas 5/83 Madama Butterfly w. Las Vegas Symphony NEW HAMPSHIRE Monadnock Music Festival, J. Bolle, Dir., Peterboro 7/23-27/83 incl. Le Nozze di Figaro; Abu Hassan NEW MEXICO Santa Fe Opera, J. Crosby, Gen.Dir., Santa Fe 7/1,7,9,13,22 8/4,9,18,23,25,27/83 Orpheus in the Underworld Fr./Eng.; Hunt, Clarey, Beardsley, Christin, Howard; Rosenshein, Atherton, Corbeil, Frank, Castel; c: Crosby; d: Hebert; ds: Thun/Feldman 7/2,6,8,15 8/2,10,16,24,26/83 Don Pasquale Hall; von Kannen, Gambill, Castel, Stil- well/Melbye; e: Leppard; d: Besch; ds: Rubin/Ridge 7/16,20,29 8/6,11,19/83 E. Shade, Langton, Howard, Beardsley; Ellsworth, Braun, Corbeil, J. Stewart; c: Crosby; d: Lamos; ds: Conklin 7/23,27 8/5,13,17/83 Cavalli's L'Orione Eng. Leppard; Am.prem.; Clarey, Hall, Elias, Lear; Rosenshein, von Kannen, T. Stewart, J. Stewart; c: Leppard; d: P. Wood; ds: Bury 7/30 8/3,12,20/83 The Turn of the Screw Greenawald, Christin, Johnson; Myers; c: deWaart; d: D. Alden; ds: R. Israel NEW YORK Artpark/Natural Heritage Trust, J. Allison, Exec.Dir., Lewiston 6/28-7/16/83 Hello, Dolly! 22 pfs. c: Head; d: Widney 7/20-24/83 H.M.S. Pinafore 7 pfs. c: Head; d: Towey 7/27,29,31/83 Rigoletto c: Keene 7/28,30/83 Elektra c: Keene C.W. Post College Summer Opera, J. Walters, Dir., Greenvale (6/1-27/83) 6/22,24/83 Scenes from The Marriage of Figaro, The Magic Flute w.o. 6/23,25/83 Gianni Schicchi <5c Dido and Aeneas w.p. Caramoor Festival, M. Sweeley, Exec.Dir., M. Feldman, Mus.Adv., Katonah (7/2-8/28/83) Chautauqua Opera, C. Auerbach, Art.Dir., Chautauqua 7/8,11 8/12,15/83 The Merry Widow Cummings; Stilwell, Britton; c: Kojian 7/15,18 8/5,8/83 Leseaut* Kr. Ciesinski; Busse; c: DeMain 7/22,25/83 The Marriage of Figaro Telese, Brown; Perry, Stone, Sullivan; c: Manahan 7/29 8/1/83 Of Mice and Men Capone; Nel, Livingston, Cooper; c: DeMain Glimmerglass Opera Theatre, P. Kellogg, Gen.Mgr., Cooperstown 6/29 7/1,3,5,7/83 Rigoletto Telese; Cameron, Serrano, Densen; c: Schneider; d: Gately 7/17,19,22,24,26/83 The Abduction from the Seraglio Eng.; Hocher, Gamberoni; Danner, Smith, Densen; c: Schneider; d: Bakman; ds: Beck/Kendrick 8/5,7,9,11,13,14,16,18/83 The Mikado Lynch, Levy; Danner, Kass, Smith, Stephens, c: Schneider; d: Danner; ds: Beek/Kendrick Ithaca Opera Ass'n, B. Troxell, Art.Dir., Statler Theatre 11/20,21/82 Trouble in Tahiti & La Serva padrona Eng. W. Schneider 3/4,6/83 Don Pasquale Eng. Mead Lake George Opera, P. Haupt-Nolen, Gen.Dir., Glens Falls 7/14,15,16,20,22,23,25/83 Kiss Me Kate Peil, Carnahan; Nolen, Fontaine; c: Haupt-Nolen; d: Levine; ds: Anania/Bella 7/28,30 8/l,5,10,13m/83 Lucia di Lammermoor Eng. Chotzinoff-Grossman; Donahue, Yahr; Grahame, Galbraith; c: Salemno; d: Getke; ds: Anania/Bella 8/4,6,8,12,17,20/83 Werther Eng. Tucker; Schuman, Bruton; Sundquist, Damsel; c: Kellogg; d: Bakman; ds: Anania/Bella 8/11,13,14m,16,18,19,20,21m,23,25,27,28/83 Paxton's The Adventures of Friar Tuek prem. Fuar, Coleman; Nolen, Harger; c: Haupt-Nolen; d: Major; egr: Kein; ds: Anania/Bella; at Saratoga Performing Arts Center Little Theatre 7/10,17,24,31 8/7,14/83 Opera on the Lake Cruises 8/15,22,24,26/83 American Lyric Theater Showcases - Scenes from Plays, Operas, and Musicals,* at Blenheim on the Lake mansion Nassau Lyric Opera, R. Lawson, Art.Dir., Great Neck 10/14/82 Rigoletto L. Quilico, Cameron; c: Halasz 2/5/83 Le Nozze di Figaro Ostendorf; c: Halasz 4/16/83 Cavalleria rusticana & Pagliacci c: Halasz

-56- 1982-83 Season Opera Theatre of Syracuse, R. Driver, Art.Dir., In-School Performances 3/25/83 Dabrusin/Davies' The Night Harry Stopped Smoking prem.; Liverpool Cent. Schools Pepsico Summerfare '83, B. Jones, Art.Dir., SUNY-Purchase (7/7-8/7/83) 7/7-17/83 Rubenstein's Booth is Back in Town prem. 7/9/83 Noye's Fludde 7/20-31/83 Williams' Mrs. Farmer's Daughter prem. 7/24/83 Jack and the Beanstalk Broque Opera prod. 7/27-8/7/83 Friedman's Shakespeare and the Indians stg. prem. 7/30/83 The Old Maid and the Thief Chamber Opera Theatre of New York prod. 7/83 Concert Readings of two new musicals Pine Orchard Artists' Festival, J. Pouhe, Mus.Dir., Palenville 7-8/83 incl. Don Giovanni Saratoga Performing Arts Center Little Theatre, Saratoga Springs 6/17-26/83 Blitzstein's The Cradle Will Rock d: Houseman; The Acting Company prod. 8/11-28/83 See Lake George Opera above SUNY-Purehase Opera Wksp., B. Owens, Dir., Purchase 4/18-24/83 Albert Herring c: Wyner; d: Bookspan Tri-Cities Opera Touring Program, J. Ardune, Coord., Binghamton 1982-83 tour: Sid, the Serpent Who Wanted to Sing; Sweet Betsy From Pike; Little Red Riding Hood NEW YORK CITY The Acting Company, J. Houseman, Dir., American Place Theatre 5/8-29/83 Blitzstein's The Cradle Will Rock 5/31-6/12 at Ravinia Festival, Illinois After Dinner Opera, R. Flusser, Dir., Federal Hall 4/14-5/5/83 "A Revolutionary Celebration" 14 pfs. inel. Buxom Joan Bel Canto Opera, T. Sieh, Dir. (see also Vol. 24, No. 2) 3/12,13,18,19,20/83 Offenbach's Les Sixty-Six <5c A Lady in a Lottery Eng. (replaces Rob- inson Crusoe) Brooklyn Center Children's Opera Wksp., J. Chaikin, Dir., Long Island Univ. 5/9,10/83 Chaikin's Robert the Rose Horse prem. & The Woman with the Eggs prem. 4 pfs. Brooklyn College Opera Wksp., W. Boswell, Mus.Dir., Brooklyn 2/4,5,6,11,12/83 Johnson's East River Bridge prem. & DiPalma's Courting prem. & Zahab's Hawk Run prem. & Starer's Mystic Trumpeter prem. & Dodge's Cascando prem. Brooklyn Opera Society, R. Tazzini, Art.Dir., Kingsborough Community College 5/4,6/83 Faust 5/7 at St. Ann and Holy Trinity Church 7/17/83 Treemonisha 4 pfs. at Prospect Park Broque Opera, M. King, Dir., Greenwich House 3/18-4/10m/83 Shield's Rosina & Pergolesi's The Music Master 12 pfs. w. chamber orch. 1-5/83 tour: Jack and the Beanstalk 11 pfs.; Ring of the Fettuceines 13 pfs. w.p. Cathedral Church of St. John the Divine School Chorus and Players 3/ll,12m/83 Halley's The Prince and the Pauper prem. Chamber Opera Theatre of New York, T. Motyka, Gen.Dir. (see also Vol 24, Nos. 1 & 2) 1/17/83 Lortzing's Der Wildschtltz (The Poacher) Eng. 2/13/83 McDermott's The Human Comedy prem. reading 6/23,24,27,29,30/83 L'Ormindo Children's Free Opera/St. Luke's Chamber Ensemble, M. Feldman, Mus.Dir. (revised listing) 2/15-18/83 Rossini/Respighi's La Boutique fantasque w. NY Pantomime Theatre; at Car- negie Hall 3/3,9,10,11/83 Red Carnations & Harrison Loved his Umbrella at Lehman College <3c Town Hall 5/9-13/83 L'Infedelta delusa at Brooklyn Academy of Music Clarion Concerts, N. Jenkins, Art.Dir., Merkin Hall 1/9/83 Le Delizie di Posilipo a "Fest al ballo masque" & Scarlatti's Diana ed Endimione also at National Gallery, Washington, DC, for Neapolitan baroque art exhibit Collegiate Chorale, R. Bass, Mus.Dir., Carnegie Hall 5/13/83 Les Noces & Scenes The Fires of London, P.M. Davies, Dir., Symphony Space 4/22/83 Davies' Le Jongleur de Notre Dame Am.prem. & Eight Songs for a Mad King 4/24/83 Davies' Miss Donnithorne's Maggot & Vesalii Icones Thomas -57- 1982-83 Season Golden Fleece, L. Rodgers, Dir., Open Gate Theater Center 3/24-27/83 Flanagan's Statues on the Lawn prem. & McBride's Pond in a Bowl prem. 6/9-12/83 Weisgall's The Stronger & vocal selections; 6 pfs. Henry Street Settlement Opera Prod. Group 2/18,19,20,21/83 The Marriage of Figaro Jewish Opera at the Y, Kaufmann Auditorium 4/9,10/83 Adolphe's The False Messiah prem. Jewish Repertory Theatre, R. Avni, Art.Dir. 5/28-6/26/83 Crystal's My Heart is in the East prem.; 20 pfs. Opera Training Dept., S. Haig, Mus. Dir., Lincoln Center 4/13,14,15/83 Cosl fan tutte d/ds: Ayrton/Kupperstein La Guardia Community College Opera Wksp., N. Rossi, Dir., Long Island City 6/6-10/83 Pippin 7 pfs. Liederkranz Opera Showcase, T. Martin, Mus. Dir., Liederkranz Theatre 1/7,8/83 Tiefland Eng. Elkin/Martin; w.p. Light Opera of Manhattan, W. Mount-Burke, Prod.Dir. (see also Vol. 24, No. 2) 5/30-6/19/83 Rose Marie 6/22-7/3 9/14-25/83 The Mikado 7/6-17/83 H.M.S. Pinafore 7/20-8/7/83 8/10-28/83 The Desert Song 8/31-9/11/83 The Pirates of Penzance Lovely Music Live/Performing Artservices, Marymount Manhattan Theatre 1/5-8/83 Ashley's Atalanta prem. 2/83 Reynold's Voicespace Manhattan Opera Theatre, A. Charlet, Art.Dir., CAMI Hall 3/5/83 Massenet's Cldopatre R. Hinds, Philibosian; Nickerson; c: Williams; w.p. 6/4/83 Donizetti's Poliuto w.p. Manhattan School of Music, J. Crosby, Pres. 11/19,20/82 4/23,24/83 Opera Scenes 3/17,19,20m/83 Stravinsky's Renard & Hindemith's Sancta Eng. Moriarty & Korngold's The Ring of Polycrates Eng. Martin; c: C. Harwood; d: Galterio Manhattan School of Music Prep Division, C. Auerbach, Dir. 5/1/83 Maxwell Davies's Cinderella Mannes College of Music Camerata & Minstrel Tapestry Dancers, Christ Church 4/29,30/83 Peri's Euridice c: P. Echols; d: E. Taylor; ds: Foote/Ogletree Metropolitan Opera Parks Concerts, A. Bliss, Gen.Mgr., New York City Parks 6/14,17,22,25/83 Lucia di Lammermoor cone.pfs.; Devia/Negri; Raffanti/Alexander, Sehex- nayder/Arnold, Plishka/Berberian; c: Veltri 6/15,18,21,24/83 La Boheme conc.pfs.; Zylis-Gara/Rom, Craig/Merritt; Ciannella/Stamm, Stilwell/Ellis; c: Kohn Metropolitan Opera Spring Tour, A. Bliss, Gen.Dir., Washington, Atlanta, Memphis, Dallas, Minneapolis, Detroit, Cleveland, Boston 4/18,21,19 5/6,10,17,20 6/10/83 4/19,30m 5/7m,14m,21m,28m 6/4m,llm/83 Adriana Lecouvreur 4/20,28 5/5,9,19,26 6/3,9/83 4/22,25 5/2,11,16,23 6/2,6/83 La Boheme 4/23m,27 5/4,12,18,25,31 6/8/83 Lucia di Lammermoor 4/26 5/3,10,17,24 6/1,7/83 Macbeth 4/30 5/7,13,21,28 6/4,11/83 La Forza del destino Mostly Mozart, G. Schwarz, Mus.Dir., Avery Fisher Hall 7/12-8/28/83 incl. Music Theatre Group/Lenox Arts Center, L. Austin, Dir., St. Clements Church 3/15-4/9/83 The Mother of Us All c/d: Silverman; consult.: Thomson National Opera Institute Music Theatre Wksp., J. Ludwig, Exec.Dir., TOMI Theatre 1/13,15m,16/83 Ames's Amarantha work-in-progress prem.; l/22m,23 at Kennedy Cnt. 1/14,15,16m/83 Titus's The Virgin Unmasked work-in-progress prem.; 1/21,22,23m at Kennedy Center New Amsterdam Theatre, B. Tynes, Art.Dir., E. Haile, Mus.Dir., Town Hall 12/13/82 Herbert's Eileen conc.pf.; Kaye, O'Sullivan, Sternhagen; Cook, Hartman 2/6/83 Friml's The Firefly conc.pf.; Bussert, Bonazzi; Reams, D.R. Smith; narr: Comden 4/18/83 Gershwin/Romberg's Rosalie conc.pf.; Tatum, Lawrence; Dixon, Korey, Irving New England Wagner Festival, J. Balme, Dir., Beacon Theatre 8/8-13/83 Der Ring des Nibelungen

-58- 1982-83 Season

New York City Opera, B. Sills, Gen.Dir., New York State Theatre (season cont. '83-84 list.) 7/7,10,14,20/83 Turandot stg.prem. of Alfano original, 2-scene ending 7/8,23 8/7,13m,20m,27/83 La Boheme 7/9m,22 8/6/83 Carmen 7/9,23m 8/6m,14,17/83 Die Fledermaus Eng. Martin 7/10m,12 8/7m,13,18,23/83 Lucia di Lammermoor 7/15,16m,16,17m,17,26,27,28,29,30m,30,31m,31/83 Candide 7/21,24m 8/5,9/83 Les Pecheurs de perles 7/24 8/3,12,16/83 La Fanciulla del West 8/ll,21,26,28m/83 La Rondine* Soviero/Huffstodt; McCauley/Grayson; c: Keene; d: Da- vidson; ds: Funicello/Kirkpatrick 8/14m,19,27/83 The Magic Flute Eng. Porter 8/20,24/83 Tosca 8/21m,28/83 Madama Butterfly 8/30,31/83 The Mikado* Hynes/Peterson, Bonazzi/Shaulis; Evans/Reed, Billings, McKee, Gramrn; c: Stahl; d: Mansouri; ds: Booquet See 1983-84 Performance Listing for balance of season and complete artists roster New York Grand Opera, V. La Selva, Dir., Band Shell 7/6/83 Nabucco stgd. 7/13/83 Rigoletto stgd. 7/20/83 La Traviata stgd. 7/27/83 Giovanna d'Arco stgd. New York Lyric Opera, J. Haber, Art.Dir. (see also Vol. 24, No. 2) 3/31 4/7,8,9/83 Owen's Death of the Virgin prem. & Miss Havisham's Wedding Night (re- places Paulus' Village Singer) New York Univ. Reimann Opera Studio, T. Martin, Art.Dir. 6/10,llm 7/8,9m/83 Giannini's Taming of the Shrew c: Martin; d: R. Crittenden; ds: Palestrant/Roeder 8/10,12/83 Kiss Me Kate NYU Music Theater Group Opera Shop, Vineyard Theatre 11/18-22,25-28 12/2-4/82 Miranda and the Dark Young Man & Sunday Excursion 4/2-17/83 Donizetti's Betly 2 act vers.; c: Thompson; d: LoSciavo; ds: Locke/Melloy Philip Glass Ensemble & The Western Wind Group, Carnegie Hall 5/10/83 Photographer Am.prem. & other Glass selections Queensboro Community College, Four Arts Festival 4/17/83 Barab's At Last I Found You After Dinner Opera prod. Regina Opera Theatre, M. Cantoni, Pres. (see also Vol. 24, No. 2) 3/5,6,12,13/83 n Trovatore Scovasso Opera Co., S. Scovasso, Art.Dir. (see also Vol. 24, No. 2) 4/10,17/83 The Merry Widow Eng. Harnick; c: E. Hastings Summermusic at the Y, 92nd Street YMHA 6/28-7/7/83 incl. The Soldier's Tale Weaver; Bil Baird Marionettes Third Street Music School Settlement Children's Consort, M. Stern-Wolfe, Dir. 2/6/83 Barab's Braggerty Rabbit & scenes Third Street Music School Settlement, B. Flusser, Concert Dir. 12/5/82 Kolb/Herbert's Cantico prem.; 2 pfs. Village Light Opera Group, R. Noll, Mus.Dir., Fashion Institute Theatre 12/4,5,10,11,12,13/82 lolanthe 4/23,24m,27,29,30 5/lm/83 Song of Norway WNET/PBS Channel 13 2/7/83 The Impresario Eng.; Wise, Christie; di Stefano, Cargill; c: Tausky; d: K. Corden; English Chamber Orchestra; BBC prod. 3/4,6/83 La Bohe'ine Guimraes, Johnson; Pavarotti, Sioli; c: de Fabritiis; d: Menotti; Opera Company of Philadelphia prod, taped 4/82 NORTH CAROLINA Brevard Music Center, J. McCrae, Dir., H. Janiec, Art.Dir., Brevard (6/29-8/14/83) 7/2/83 The Daughter of the Regiment 7/8/83 lolanthe 7/15/83 La Traviata 7/29/83 Carousel 8/5/83 The Tales of Hoffmann Eng. 8/13/83 Charlottetown Players, F. Shafter, Art.Dir., Charlotte 9/82 Susannah 11/82 Pasatieri's The Goose Girl 12/82 Locklair's Good Tidings from the Holy Beast 2/83 H.M.S. Pinafore 6/23,24,25/83 Paulus' The Village Singer & Secret of Susannah -59- 1982-83 Season NORTH DAKOTA Minot Opera Ass'n, W. Nelson, Art.Dir., Minot 6/21,23,25/83 OHIO Baldwin Wallace College Conservatory Opera Wksp., S. Ginn-Paster, Dir., Berea 2/4,5,11,12/83 The Mikado Blossom Music Festival, in residence, C. von Dohnanyi, Mus.Dir., Cuyahoga Falls (6/14-9/4/83) Bowling Green State University Opera Dept., W. Taylor, Dir., Bowling Green 3/83 The Merry Wives of Windsor Eng., 2 pfs. Cincinnati Opera, J. de Blasis, GeiuDir. (see Vol. 24, No. 2) Cleveland Institute of Music Opera Dept., A. Foldi, Dir., Cleveland ll/17,19,21m/82 The Impresario & n Tabarro Eng.; c: Topilow; d: Foldi; ds: Worrell 2/19,21/83 Opera Scenes 4/27,29 5/lm/83 Don Giovanni Neue Mozart Ausgabe ed.; c: Topilow; d: Foldi; ds: Worrell/Kadera/M.J. Foldi Cleveland Opera Theatre, T. Rotolo, Mgr., Cleveland 7/14,16,21,23 8/4/83 Madama Butterfly 7/28,30 8/6,11,13/83 La Penchole Eng. Cleveland Orchestra, C. von Dohnanyi, Mus.Dir., Severance Hall 4/14,15,16/83 I/Enfant prodigue & Choral Selections, Bouleyn; Theyard, Patrick; c: Page ECCO! J. de Blasis, Gen.Dir., touring company of Cincinnati Opera 3-4/83 Die Fledermaus Eng. Ohio Light Opera, F. Knorr, Prod., Wooster 6/21,22,24,25,30 7/2,17m 8/13m/83 Patience 6/23,25m,29 7/3m,8,9,19,27,31 8/13/83 The Merry Widow 6/26m,28 7/l,2,7,9m,20,31m 8/12/83 Utopia, Ltd. 7/12,13,15,16,21,23m 8/7m,14/83 The Pirates of Penzance 7/29,30 8/2,4,6m,10,14m/83 H.M.S. Pinafore 7/5,6,10m,14,16m,23 8/5,7,11/83 Suppe's Boccaccio 7/22,24m,26,28,30m 8/3,6,9/83 Offenbach's Les Brigands 6/26 7/17,24/83 Orchestra Concerts University of Akron Opera Dept., K. Woodward, Dir., Akron 5/5,6,7/83 The Merry Wives of Windsor Eng. OREGON Peter Britt Gardens Music Festival, J. Trudeau, Mus.Dir., Jacksonville 7/22-8/27/83 incl. Porgy and Bess PENNSYLVANIA Academy of Vocal Arts, D. Yannopoulos, Dir. (see also Vol. 24, No. 2) 3/22,23,25,26/83 La Finta giardiniera Eng. Holliday; c: Macatsoris; d: Kugler (replaces Der Schauspieldirektor & Prima la musica, poi le parole) Berks Grand Opera, B. Long, Dir. (see also Vo. 24, No. 2) 7/22,23,24m/83 The Mikado Civic Light Opera, W.L. Thunhurst, Mng.Dir., Heinz Hall, Pittsburgh 7/12-17/83 Follies 7/19-24/83 The Music Man 7/26-31/83 The Pirates of Penzance 8/2-7/83 Oliver 8/9-14/83 They're Playing Our Song 8/16-21/83 Show Boat Curtis Institute of Music Opera Dept., B. Goldovsky, Dir. (see also VoL 24, No. 2) 3/23/83 Convery's Piramus and Thisbe prem. & Opera Scenes Harrisburg Civic Opera, F. Petty, Dir., Lehrman Arts Center, Harrisburg 5/20,21,27,28/83 Susannah Lancaster Opera Workshop, D.R. Smith, Art.Dir., Fulton Opera House, Lancaster 9/17,18,23,24,25/82 The Merry Wives of Windsor Eng.; c: Blackburn 3/17,18,19,20/83 H.M.S. Pinafore c: Blackburn; also 3/26 in York Mann Music Center, , R. Muti, Mus.Dir., Philadelphia (6/20-9/1/83) 7/21/83 Tristan und Isolde Act II, conc.pf.; Vinzing, Dunn; Vickers, Plishka; c: Mehta 7/28/83 Carmen conc.pf.; Senn; Popov, Raftery; c: Friihbeck de Burgos

-60- 1982-83 Season Muhlenberg College Opera Group, J. Slavin, Dir., Allentown 6/23-7/17/83 7/27-8/21/83 Fiddler on the Roof Pennsylvania Opera Festival, J. Meena, Gen.Dir., Pittsburgh 7/18-8/21/83 The Barber of Seville; The Medium; Cavalleria rusticana 8/19,20/83 Summer's Hippolytus prem.; co-prod. w. Contemporary Opera Co. of America University of Pittsburgh Opera Wksp., C. Pinza, Dir., Pittsburgh 1/23/83 Opera Scenes w.o. 5/20,22/83 La Buona figliola w.o. SOUTH CAROLINA Spoleto Festival D.S.A., G.C. Menotti, Art.Dir., Charleston (5/20-6/5/83) 5/20,25,27,29m/83 Madama Butterfly Lamy, Yoshii; McCauley, Galbraith; c: Matheson; d: K. Russell; ds: Macdonald/Myers 5/28,30 6/4m/83 Barber's Antony and Cleopatra Hinds, Cowdrick, Lerner; Wells, Grayson, Halfvarson; c: Badea; d: Menotti; ds: Brown 6/1,2,3,4/83 Menotti's The Unicorn, the Gorgon, and the Manticore w. NC Dance Theatre & Westminster Choir 6/2,4/83 Pergolesi's n Flaminio Am.stg.prem. TENNESSEE Nashville Symphony Orchestra, K. Schermerhorn, Mus.Adv., Nashville 4/28,30/83 ToscaZsehau; Alexander, Willoughby, Beni; c: Charry; d: Rennison; ds: O'Hearn/ Mess; Greater Miami Opera prod. TEXAS Houston Grand Opera Spring Festival, D. Gockley, Gen.Dir., Hermann Park 5/6,7,11,12,18,19/83 Madama Butterfly Kim, Zambalis; Kunde, Grimsley; c: France; d: Auerbacn; ds: Lee/Brown 5/13,14,16,17,20,21/83 Hansel and Gretel Eng.; McBride, Butler, Chalker, Shafer; c: Salemno; d: Ehrman; ds: Scheffler/Colaveccia North Texas State University Opera Theatre, D. Wakeling, Dir., Denton 3/83 Falstaff 3 pfs. Red River Lyric Theatre, R. Hansen, Gen.Dir., Wichita Falls 7/1,3,7,9,14,23,25/83 Camelot 7/2,8,10,16,21/83 The Yeomen of the Guard 7/15,17,24/83 Cos! fan tutte Eng. Martin San Antonio Festival, P. Bakardjiev, Gen.Dir., San Antonio 5/14-6/5/83 Plays, concerts, ballet, symphonies 5/14,16/83 La Damnation de Faust conc.pf.; Pent, von Stade; Lima, Plishka; c: Smith; w. San Antonio Symphony 5/22,25,28/83 Salome Armstrong, Hesse; Beirer, Wixell; c: Stein; d: Friedrich; ds: W. Wagner; Deutsche Oper, 5/28 6/1/83 Britten's The d: Haber; at St. Mark's Church 5/29/83 All Wagner Concert; Armstrong; Martin; Jerusalem; c: Stein; Ft. Worth Symphony 5/31/83 Moffo & Merrill in Concert 6/4/83 Nilsson in Concert; c: K.H. Abler; w. San Antonio Symphony UTAH Brignam Young Univ. Opera Theatre, C. Robison, Dir. (revised listing) 12/10,11/82 Boren's A Christymas Playe prem. (replaces Amahl and the Night Visitors) 2/18,19,23,25,26/83 Don Giovanni (replaces The Consul) 6/17,18,21,22/83 The Mikado VIRGINIA Ash Lawn Summer Festival, C. Holmes, Mgr., P. Little, Art.Dir., Charlottesville 7/8,9,10,15,16,17/83 La Cambiale di matrimom'o Eng. Reims; c: Hargrave; d/ds: Holliday 7/22,23,24,28,29,30,31/83 Haydn's The Apothecary Eng. Holliday; c: Hargrave; d/ds: Hol- liday 8/5,6,7,12,13,14/83 La Finta giardiniera Eng. Holliday; c: Hargrave; d/ds: Holliday Opera Theatre of Northern Virginia, J. Niles, Art.Dir., Arlington 12/11/82 Bastien and Bastienne Eng. Niles 4/15,16/83 Don Pasquale Eng.; Goetz; Rivera, Steele, Saylor; d: Sternberg Wolf Trap Farm Park for the Performing Arts, E. Mattos, ExecDir., Vienna (6/28-9/5/83) 7/12-17m/83 "Anthologia de la Zarzuela" d: Tamayo 8/23,24,26/83 The Mother of Us All Music Theatre Group, S. Silverman prod. 8/28/83 Wolf Trap Opera Company showcase

-61- 1982-83 Season Wolf Trap Opera Co., R. Brunyate, Dir., R. Woitach, Mus.Dir., The Barns 8/5,6/83 L'Ajo nell'imbarazzo Eng. Pollack; w.o. 8/12,13/83 Cavalli's La Calisto w.o.; Eng. Dunn 8/19,20/83 From Berlin to Broadway w.p. WASHINGTON Eastern Washington Univ. Opera Wksp., J. Duenow, Dir., Cheney 12/1/82 2/27/83 Opera Scenes 5/5-21/83 Anything Goes 9 pfs. Pacific Northwest Wagner Festival, G. Ross, Gen.Dir., H. Holt, Mus.Dir., Seattle 7/23 8/l*/83 Das Rheingold Curry, Cook; Rivers, Raff ell; d: Clark; ds: Naccarato 7/24 8/2*/83 Die Walkiire Yoes, Vernon, Curry; Raff ell; d: Clark; ds: Naccarato 7/26 8/4*783 Siegfried Yoes; Sooter/Palay, Raff ell, Rivers;; d: Clark; ds: Naccarato 7/28 8/6*/83 Gotterdammerung Yoes, Cook; Sooter/Palay, Rivers; d: Clark; * Eng. Porter University of Washington Opera Theatre, R. Rosinbum, Dir. (see also VoL 24, No. 2) 2/13,15,17,20/83 Ballo delle ingrate & n Campanello c: Thomas/Feist; d: Deacon/Coleman 5/18,20,21,22/83 I/Elisir d'amore Eng. Beni; c:. Feist; d: Guarrera (replaces Lakme) WEST VIRGINIA Oglebay Institute Opera Wksp., F. Popper, Dir., Wheeling (7/31-8/20/83) WISCONSIN International Opera, P. Tiboris, Art.Dir., Sheboygan 7/23,26,28,30 8/2,4,6/83 The Barber of Seville Eng. Milwaukee Symphony, L. Foss, Mus.Dir., Milwaukee 6/30/83 Kalnins' Banuta Niska; Grigas, Fiacco; cone. pf. Skylight Comic Opera Education Dept., D. St. Pierre, Mus.Dir., Milwaukee (see also Vol. 24, No. 2) 3/16-31/83 tour to schools: St. Pierre's The Young Visiters prem. CANADA Banff Centre School of Fine Arts Music Theatre Studio Ensemble, M. Bawtree, Dir. (see also VoL 24, No. 2) 4/7-9/83 Oliver's Sasha (title changed from Artists and Admirers) 7/14,15,16,17/83 c: Bernardi; d: Reischenbach; ds: Funtek 8/18,19,20/83 Oklahoma! c: Cable; d: Bawtree; ds: Jampolis Canada Opera Piccola, J. Johannesen, Gen.Dir., w. Victoria Symphony Festival Orch. 7/16,18/83 Cosl fan tutte c: Vernon; d: Alarie; ds: Simon 8/20,22/83 The Portuguese Inn Eng.; <5c von Suppe's Die schone Galatea (Pygmalion) Eng.; c: Speers; d: Leyshon; ds: Sellows Canadian Children's Opera Chorus, D. Holm an, Mus.Dir., Toronto 12/12/82 Candlelight Christmas Service at St. Simon's Church 2/21-24/83 Doctor Canon's Cure 8 pfs. at Studio Theatre 4/9/83 Noye's Fludde w. Toronto Youth Symphony 5/83 Cinderella in Salerno Festival Ottawa Opera Plus, A. Gingras, Adm., National Arts Centre, Ottawa 7/9,16,20,22,27/83 La Cenerentola Forst, Boky, Lavigne; Barbacini, Fissori, Montarsolo, Albert; c: Mannino; d: Asagaroff; ds: Ponnelle 7/15,19,23,26,28/83 Eugene Onegin Bouleyn, Marshall, Lavigne, Loeb; Rendall, T. Allen, Garrard; c: Garvi; d: Copley; ds: Stennett/Don Guelph Spring Festival, N. Goldschmidt, Art.Dir., Guelph (4/30-5/22/83) 5/18,20,21/83 Curlew River Can.prem.; Shirley, Pedrotti, Korjus; c: Goldschmidt; d: Glassco National Arts Centre, D. MacSween, Gen.Dir., Ottawa 12/10-31/82 Laing/Wood's The Adventures of Pinocchio Arts Centre Theatre Co. 2/7/83 The Student Prince Shaw Festival, C. Newton, Art.Dir., Niagara-on-the-Lake 5/83 German's Tom Jones Stratford Summer Music, J. Hirsch, Art.Dir., Stratford Festival 6/6-7/30/83 The Gondoliers 6/30-8/26/83 The Mikado Festival also incl. The Seven Deadly Sins; The Secret of Susanne; The Telephone

-62- FIRST PERFORMANCE LISTING 1985-81

ARIZONA Arizona Opera, S. Clark, Bus.Mgr., Tucson Community Center 10/27,29/83 Madama Butterfly also 11/4,6 in Phoenix 2/2,4/84 Lucia di Lammermoor also 2/10 in Phoenix 4/28,30/84 The Marriage of Figaro also 5/4,6 in Phoenix ARKANSAS Arkansas Opera Theatre, A. Chotard, Gen.Dir., Little Rock 9/24,25m/83 Don Pasquale 4/21,22m/84 Carmen CALIFORNIA Long Beach Grand Opera, M. Milenski, Gen.Dir., Long Beach 9/24,27,29 10/1/83 Death in Venice Placer Classic Theatre, R. Garrison, ExecDir., Auburn 11/16,17,18,19/83 Offenbach's Christopher Columbus San Diego Opera, San Diego 9/23,25m,28 10/1/83 Lohengrin Sundine, Tinsley; Hofmann, Justus; e: Alcantara; d: Lesenger 10/7,9m,12,15/83 Hamlet Eng.; Rolandi, R. Freni; Milnes, Hale; c: Rigacci 10/21,23m,26,29/83 La Cenerentola Eng.; Murray; Aler, Titus, McKee; c: Keltner; d: Tannenbaum 2/10,12m,15,18/84 Anna Bolena Ricciarelli, Marsee; Reed, Hale; c: Queler 2/24,26m,29 3/3/84 Don Giovanni Eng.; F. Robinson, Christos; Burrows, Devlin; c: Keene 3/8,llm,14,17/84 Carmen Berganza, P. Myers; Trussel; c: Alcantara 6/21,24m,30/84 I Masnacfieri Sutherland; Greer, Justus; c: Bonynge; d: Capobianco 6/23,29 7/lm/84 Simon Boccanegra Arroyo; Van Limpt, Milnes, Ghiuselev, d: Merrill San Francisco Opera, T. McEwen, Gen.Dir., War Memorial Opera House 9/9,12,15,18m,23,27 10/1/83 Otello M. Price; Cossutta, Milnes, Davies; c: Janowski; d/ds: Ponnelle 9/10,13,17,21,25m,28 10/2m/83 Ariadne auf Naxos Rysanek, Battle, Quittmeyer; Bailey/ Johns, Berry, Titus; c: von Dohnanyi; d: Neugebauer; ds: Messel/Greenwood; Metropolitan Opera prod. 9/24,30 10/3,7,9m,12/83 Katya Kabanova Eng.; Silja, Lear; Jobin, Belcourt, Devlin; c: von Dohnanyi; d: Freedman; ds: Schneider-Siemssen 10/5,8,11,13,18,21,27,30/83 La Traviata Ricciarelli; Cupido, Nucci; c: Sinopoli; d: Far- ruggio; ds: Businger 10/15,19,23m,26,29 11/1/83 Tippett's A Midsummer Marriage* Am.prem.; Johnson, Bur- rowes, Nadler; Bailey, Davies, Herincx, Langan; e: Agler; d: Copley; ds.: Don; cgr: Gilbert 10/20,22m,25,28 ll/2,5,9,13m/83 et Dalila Home; Chauvet, Quilico; c: Fournet; d: Joel, ds: Schmidt/Robbins; Lyric Opera of Chicago co-prod. ll/6m,8,12,16,19,25m 12/1,6/83 La Grande Duchesse du Gerolstein* Crespin, Erickson; Cora'zza, Trempont; c: Soustrot; d: Ducasse; ds: Monloup ll/ll,15,20m,24,27m,30 12/3/83 La Gioconda* Caballe, Paunova, Nadler; Bonisolli, Manu- guerra, Kavrakos; c: Meltzer; d: Mansouri/Thompson; ds: Brown 11/17,22,25,28 12/4m,7,10/83 Freni; Mauro, Sardinero, Capecchi; c: Arena; d: Asagaroff; ds: Klein; Greater Miami & Dallas Opera prod. 11/23,26 12/2,5,8,llm/83 Boris Godunov Troyanos; Ghiaurov, Ochman, Belcourt, Tomlin- son; e: Janowski; d: Everding; ds: Lee; Metropolitan Opera prod. 11/29/83 Fol de Rol Western Opera Theater, T. McEwen, Gen.Dir., touring Company of San Francisco Opera Fall '83 tour: Madama Butterfly CONNECTICUT Opera Express, T. Hinklin, Mng.Dir., touring company of Connecticut Opera 1983-84 community tour: Madama Butterfly; Don Pasquale; Amahl and the Night Visitors; "A Grand Night for Singing" 1983-84 school tour: Little Red Riding Hood; The Toy Shop; Don Pasquale abbrev. vers.; Amahl and the Night Visitors; "Opera to Order"

-63- 1983-84 Season DISTRICT OF COLUMBIA Washington Opera, M. Feinstein, Gen.Dir., Kennedy Center, Washington 11/5,9,14,18,20m/83 Cosl fan tutte* Varady, A. Howells, Perry; Kuebler, Dickson, Feller c: Barenboim; d/ds: Ponnelle; L'Orchestre de Paris co-prod.; at Opera House 11/7,11,13m,16,19/83 Rigoletto* Knighton, Vergara; Wixell, Gulyas, Wells, Halfvarson; e: Kellogg; d: T. Robertson; ds: Brown; at Opera House 11/21,23,25,26,27m/83 La belle Helene Eng.; Smith, Ballam; Reed, Wells, Bauer; c: Mau- ceri; d: Schifter; ds: Bosquet; Canadian Opera prod.; at Opera House 11/28,30 12/2,4m,6,10,12,14,16,18m/83 Knighton, Senn, Woods; Blake, Halfverson, Fiorito; c: McGegan; d: Yerleckyj; ds: Brown; at Terrace Theater 11/29 12/3,5,7,9,11m,13,17,20,23,25,27/83 L'Elisir d'amore Telese; di Paolo, Dickson, Loup; c: Kellogg; d: Galterio; ds: Brown; at Terrace Theater 12/19,21,26,28,30/83 1/lm,3,6,8m,10,14,16,18,21m,21/84 The Medium <5c The Telephone Evans, Pelle, Woods; Menotti, Fiorito; c: Muti; d: Menotti; ds: Brown; at Terrace The- atre 12/31/83 1/2,4,7,9,11,13,15m, 17,20,22m/84 La Cenerentola Levy; Loup, Fiorito; c: Kel- logg; d: Menotti; ds: Brown/Grossi; at Terrace Theater FLORIDA Greater Miami Opera, R. Herman, Gen.Dir., Oade County Auditorium, Miami 1/16,18/84 Lucia di Lammermoor Welting; Cupido, Justus, Voketaitis; c: Veltri; d: Freed- man; ds: O'Hearn; also 1/21 in Miami Beach 2/13,15/84 L'Amore dei tre re Neblett; Bini, Edwards, Hines; c: Buckley; d: Yannopoulos; ds: Montresor; also 2/18 in Miami Beach 3/12,14/84 Cosl fan tutte Putnam, Forst, Hynes; Garrison, Raftery, Gramm; c: Allers; d: Lucas; ds: Businger; also 3/17 in Miami Beach 4/9,11/84 n Trovatore Arroyo, Cossotto; Mauro, Pons, Vinco; c: Buckley; d: Frisell; ds: Benois; also 4/14 in Miami Beach ILLINOIS Chicago Symphony Orchestra, G. Sold, Mus.Dir., Chicago 4/19,21/84 conc.pfs.; Bonney; Mazura, Langridge, Haugland; c: Solti 5/24,25,27/84 Wozzeck conc.pfs.; Behrens; King, Prey, Haugland, Unaer; c: Abbado Lyric Opera of Chicago, A. Krainik, Gen.Mgr., Chicago 9/23,28 10/1,4,7,10,14,17/83 Aida Tomowa-Sintow, Cossotto; Pavarotti/Giacomini, Car- roli, Kavrakos, Giaiotti; c: Bartoletti; d: Joel; ds: Samaritani 9/27,30 10/3,8,12,18,24/83 Lakme Serra, Graham; McCauley, Kavrakos; c: Plasson; d: Fassini; ds: Grossi; Teatro Verdi (Trieste) prod. 10/15,19,22,25,28,31 11/2/83 Lady Macbeth of Mtsensk Zschau; Trussel, Farina, Reed, Nurmela, Best; c: Bartoletti; &• Ciulei; Spoleto Festival prod. 10/26,29 11/4,8,11,14/83 La Cenerentola Baltsa, Harman-Gulick, Graham; Blake, Nolen; c: Ferro; d/ds: Ponnelle 11/9,12,15,18,21,26,29 12/2/83 Der fliegende Hollander Carson; Nimsgern, Sotin, Moll, Schunk; d/ds: Ponnelle ll/19,22,27m,30 12/3,6,9,12,17/83 La Boheme Benackova, Hong; Lima, Galbraith, Raftery, Tajo; c: Navarro; d: Copley; ds: Pizzi 11/25,28 12/1,7,10,13,16/83 Manon Scotto; Kraus, Castel, Titus; c: Rudel; d: Hebert; ds: Dupont INDIANA Indiana University Opera Theater, C. Webb, Gen.Mgr., Bloomington 9/24 10/1,8,15/83 The Merry Widow 10/22,29 11/5,8/83 Boris Godunov 12/2,3,10/83 A Midsummer Night's Dream 1/28 2/4,11/84 Philidor's Tom Jones 2/18,25 3/2,3/84 La Traviata 3/31 4/7,14,21/84 Das Rheingold Whitewater Opera Co., C. Combopiano, Art.Dir. & Gen.Mgr., Richmond/Centerville 10/7,8/83 Carmen Eng. 2/3,4/84 Don Pasquale Eng. 4/27,28/84 The Barber of Seville Eng.

-64- 1983-8't Season

KENTUCKY Kentucky Opera, T. SmiUie, Gen.Dir., Macauley Theatre, Louisville 10/22,26,28/83 The Turn of the Screw 12/10,14,16/83 La BohSme 2/25,29 3/2/84 Don Giovanni Eng. Martin 4/7,11/84 Don Pasquale Eng. Mead LOUISIANA Baton Rouge Opera, D. Ardoyno, Gen.Mgr., D. Dorr, Mus.Dir., Centroplex Theatre 10/9,11/83 Giovanna tfAreo 2/8,10/84 Lucia di Lammermoor 4/11,13/84 Tosca New Orleans Opera, A. Cosenza, Gen.Dir., 40th Anniversary Season 10/4,6,8/83 Cavalleria rusticana & Pagliacci Berini; Mauro, MacNeil & Christos; Mauro, MacNeil; c: Coppola; d: Morelock; ds: Klein 10/18,20,22/83 II Barbiere di Siviglia Anderson; Kays, Raftery, Rouleau, Capeechi; c: Manahan; d: Capeechi; ds: Gano 11/8,10,12/83 Tosca Verrett; Prior, Long; c: Marty; d: Symcox; ds: Gano 12/6,8,10/83 Madama Butterfly Zylis-Gara, Hegierski; Tieppo, Schexnayder; c: Boncom- pagni; d: Lucas; ds: Sormani Opera on Wheels, R. Murray, Gen.Dir., touring company of Shreveport Opera 5-6/84 tour: Rigoletto Shreveport Opera, R. Murray, Gen.Dir., Civic Theatre, Shreveport 9/llm/83 in Recital 10/23m/83 The Tales of Hoffmann 1/8,15,29 2/6/84 The Play of the Three Shepherds at various churches 2/18/84 Lucia di Lammermoor 3/3,10,17,24/84 The Face on the Barroom Floor at Louisiana State Univ. 4/28/84 The King and I MARYLAND Baltimore Opera, J. Holbrook, Gen.Mgr., Baltimore 11/17,19,21/83 Tosca Brunner; Moldoveanu, Justus; c: Guadagno 1/12,14,16/84 The Magic Flute Eng.; E. Shade, Helton; Rosenshein, Burchinal, Halfvarson; d: Lehmeyer 2/9,11,13/84 Die Walkiire* Roberts, Tinsley, Nadler; Johns, Holle, Morris; c: Boncompagni; d: Hebert; ds: Klein 3/22,24,26/84 Dialogues of the Carmelites* Hunt, Haywood, Sarfaty, Perkins; Gibbs, Halfvarson; a Montgomery; d: Hebert; ds: Klein 4/26,28,30/84 Manon Putnam; Brecknock, Titus, Dansby NEBRASKA Opera/Omaha, M. Robert, Gen.Dir., 25th Anniversary Season, , Omaha 11/4,6/83 Aida Eng.; 300 performers; c: Briccetti; Omaha Ballet, Omaha Symphony, Henry Doorly Zoo; at Ak-Sar-Ben Coliseum 2/8,10,12/84 The Tales of Hoffmann Eng. 4/11,13,15/84 Don Giovanni Eng. NEW YORK Opera Theatre of Syracuse, R. Driver, Gen.Mgr., Syracuse 11/18,20m/83 3/3/84 Die Fledermaus Eng. Morningstar; eo-prod. w. Indianapolis Opera 2/24,26m/84 Otello Neill, McFarland 3/23,25m 4/28/84 Faust Knighton; Reed, Cox; co-prod, w. Indianapolis, Michigan, & Dayton opera companies Tri-Cities Opera, C. Savoca & P. Hibbitt, Art.Dirs., Binghamton 10/22,23m,28,30/83 La Boheme* 1/28,29m 2/3,4/84 The Merry Widow 4/28,29m 5/4,5/84 Lakme NEW YORK CITY Carnegie Hall & Columbia Artists Present Comique, Carnegie Hall 10/30/83 La Periehole conc.pf.j von Stade; Gramm 2/19/84 Massenet's Cherubin Am.prem.; conc.pf.; von Stade 4/8/84 Mignon conc.pf.; von Stade, Masterson

-65- 1383-84 Season "Live from the Met" Television Series, M. Bronson, Prod., PBS 9/28/83 Lucia di Lammermoor Sutherland; Kraus, Plishka; e: Bonynge (taped 11/13/82) 10/22/83 Metropolitan Opera Centennial Gala Concert (immediate transmission) 12/21/83 Ernani* Mitchell; Pavarotti, Milnes, Raimondi; c: Levine (taped 12/17/83) 3/28/84 Norman, Troyanos; Domingo, Monk; c: Levine (taped 10/8/83) Metropolitan Opera, A.A. Bliss, Gen.Mgr., Centennial Season 9/26,29 10/4,8,12,17/83 2/8,13,18m/84 Les Troyens 9/27 10/l,5,8m,11,14,19,24/83 La Fille du regiment 9/28 10/lm,7,10,15,20,25,28 11/1/83 3/15,20,24m/84 La Forza del destino 9/30 10/3,6,15m,21,29m ll/2,5,12m/83 l/6,10,14m,17,21/84 La BohSme 10/13,18,26,29 11/4,9,12,15,19m/83 Peter Grimes 10/22m,22/83 Gala Centennial Celebration 10/27,31 ll/5m,8,11,14,17,23,26 12/1/83 1/28 2/l,4m/84 La Traviata 11/3,7,10,16,19,26m,29 12/2,8/83 2/29 3/3,7,10m/84 Don Giovanni 11/18*,21,24,30 12/3,6,9,12,17m,20,23,28/83 Ernani* Mitehell/Negri; Pavarotti/Mauro, Milnes/Elvira, Raimondi; c: Levine; d: Samaritani; ds: Samaritani/Hall 11/25,28 12/3m,7,10m,13,16/83 Dialogues of the Carmelites Eng. Machlis 12/5,10,15,19,24m,30/83 1/3,7,11,14/84 Tristan und Isolde 12/14,17,21,27,31/83 l/4,7m/84 12/22,26,29,31m/83 1/2/84 Hansel and Gretel Eng. Kelley l/5,9,13,18,21m,24,27/84 The Rise and Fall of the City of Mahagonny Eng. Drew/Geliot l/12,16,20,25,28m,31 2/4,9,16/84 Macbeth 1/19*,23,26 2/3,7,11m,14,18,22,25/84 Rinaldo* Horne/Podles, Moser/Vaness, Valente/G. Robinson; Raffanti/Alexander, Ramey/Cook; c: Bernardi; d: Corsaro; ds: Negin; Ottawa Festival Opera prod. 1/30 2/2,6,ll,17,22,25m 3/1/84 Oedipus Rex <5c Le Rossignol <3c Le Sacre du printemps 2/10,15,23,27 3/3m,6,10/84 Tannhauser 2/20,24,28 3/2,5,8,14,17m/84 Arabella 3/9*,13,17,22,26,29 4/3,7m/84 Francesca da Rimini* Scotto/Casolla, Lorange, G. Robinson, Rom; Domingo, MacNeil, W. Lewis; c: Levine; d: Faggioni; ds: Frigerio/Squarciapino 3/12,16,21,24,27,31m 4/4,12/84 Die Entfiihrung aus dem Serail 3/19,23,28,31 4/6,11,14,17,20/84 Manon Lescaut 3/30 4/2,5,9,13,18,21m/84 Don Carlo 4/7,10,14m,16,19,21/84 * following a date indicates Guild Benefit performance Roster: sops.: R. Alexander, Amara, Andrade, Battle, Behrens, Bergquist, Blegen, Bradley, Brandson, Bumbry, Bureau, Caballe1, Casolla, Castro-Alberty, Coss, Cotrubas, Craig, Cruz-Romo, Daniels, Devia, DiFranco, Dobish, Evstatieva, Fowler, Freni, Galvany, Garner, Griffel, Kovacs, Kubiak, Lorange, Malfitano, M. Martin, Marton, Meier, Merritt, Millo, Mitchell, Moser, Neblett, Negri, Norden, Norman, Payer, Peters, L. Price, Pruett, Putnam, G. Robinson, Rolandi, Rom, Rysanek, Savova, Scotto, Sbderstrom, Stapp, Sutherland, Te Kanawa, Valente, Vaness, Verrett, Wohlafka, Zoghby, Zylis-Gara; mezzos: Beer, Berini, Boozer, Bybee, Catania, Chookasian, Conrad, Cornell, Decker, Dubinbautn, Dunn, Elias, Ewing, Godfrey, Grillo, Hastings, Home, Jones, Kesling, Kraft, Love, Minton, Murray, Nadler, Podles, Quivar, Resnik, Taillon, Troyanos, von Stade; tens.: Ahlstedt, Alexander, Anthony, Aragall, Araiza, Atherton, Best, Carreras, Cassilly, Castel, Ciannella, Creech, di Giuseppe, Domingo, Franke, Gedda, Giacomini, Gilmore, Hofmann, Jenkins, Jung, Kraus, Laciura, Lewis, Livings, Mauro, Moldoveanu, Montane, Nagy, Pavarotti, Popov, Raffanti, Redmann, Rendall, Sergi, Shicoff, Sooter, Stamm, Ulfung, Velis, Vickers, Walker, Winbergh; bars.: Bacquier, Boesch, Boucher, Bruson, Capecchi, Carlson, Christopher, Clark, Darren- kamp, Duesing, Edwards, Ellis, Elvira, Fredricks, Glassman, Glossop, Goodloe, Hagegard, Hartman, MacNeil, Meredith, Milnes, Mittelmann, Monk, Nimnicht, Nucci, Quilico, Raff ell, Schexnayder, Sereni, Stewart, Thompson, Weikl; basses: Andersson, Berberian, Bertolino, Cheek, Cook, Courtney, Dobriansky, Estes, Flagello, Fleck, Ghiaurov, Giaiotti, Haugland, Hines, Macurdy, Malas, Mazura, Morris, Plishka, Raimondi, Ramey, Robbins, Salminen, Tajo, Talvela, Vernon; conds.: Atherton, Bernardi, Bonynge, Fulton, Janowski, Kohn, Levine, Pritchard, Rosenthal, Rudel, Santi, Tate, Tennstedt. New Amsterdam Roof Theatre, 42nd Street 10/24/83 Bizet/Brook's Trag&lie de Carmen Am.prem.; Brook vers.; continuing run

-66- 1983-84 Season New York City Opera, B. Sills, Gen.Dir., (see 1982-83 listing for summer season) 9/2,3m,3,4m,4,8,9,10ml0,llm,ll 10/16m,16,22/83 The Mikado* 9/15,18,24,27 10/7/83 Cendrillon* Esham, Mills, Wallis, Forrester/Shaulis; Parker; c: Ber- nardi; d: Macdonald; ds: Bardon/Mess 9/16,25m 10/1,15,20,25 ll/l,12m/83 Carmen 9/17m,24m 10/21,30m/83 La Rondine* 9/17,25 10/15m,18,29 ll/5m,13m/83 Madam a Butterfly 9/18m,23/83 La Boheme 9/21,30 10/8m/83 The Magic Flute Eng. Porter 9/29 10/5,9,14/83 Aleina* Vaness, Mills; Stewart; c: Leppard; d: Serban; ds: Montresor 10/lm,8,ll 11/2,11/83 Les Pecheurs de perles 10/2m,2 11/5,10,12,13/83 The Merry Widow Eng. Ross 10/9m,12,22m,29/83 Turandot 10/13,19,27/83 Of Mice and Men* Moulsen, Cooper, Livingston; c: Keene; d: Corsaro; ds: O'Hearn/Caine 10/23m,26 11/6/83 Eng. Jones/Graff 10/23,28 ll/3,6m/83 Tosca 10/30 11/4,8/83 Ariadne auf Naxos Eng. Sydenham/Rudel Koster: sops.: Braden, Christman, Christos, Esham, Fernandez, Goetz, Haddon, Huffstodt, Hynes, Jonason, Kelm, Lamy, Lloyd, Mills, Munro, Myers, Norskog, Pelle, Peterson, Porter-Arnold, Rolandi, Soviero, Sundine, Telep-Ehrlich, Thomson, Vanderlinde, Vaness, Walker-Leuck, Wolf, Woods, Zschau; mezzos: Bonazzi, Castle, Christin, Costa-Greenspon, Darr, Davidson, Evans, Forrester, Fortunato, Lerner, Marsee, McCaffrey, Rose, Sehoenfeld, Shaulis, Wallis, Ziegler; tens.: Alexander, Busse, Calleo, Clark, Donaldson, Eichorn, Eisler, Evans, Farina, Garrison, Grayson, Green, Groenendaal, Hadley, Harrold, Isaac, Kays, Lankston, Livingston, McCauley, Merritt, Morales, Moulson, Olsen, Perry, Poole, Reed, Siena, J. Stewart, Theyard, West; bars. <5c basses: Anderson, Bassett, Beattie, Billings, Brandstetter, Brubaker, Burchinal, Cooper, Cossa, Cross, Densen, Diaz, Dickson, Dworchak, Embree, Everette, Gill, Gramm, Jamerson, Javore, Ledbetter, McFarland, J. McKee, R. McKee, Parker, Reardon, Reeve, Roe, Stapp, Stith, Stone, Thompson, Vanaud, Wexler, Yule; conds.: Bergeson, Bernardi, Ferden, Keene, Knight, Leppard, Maueeri, Mester, Pallo, Stahl, Weise Opera Orchestra of New York, E. Queler, Mus.Dir., Carnegie Hall 11/6/83 Strauss's Der Liebe der Danae eonc.pf. 3/4/84 Donizetti's Dom Sebastien eonc.pf. 5/13/84 Nabucco eonc.pf. NORTH CAROLINA Charlotte Opera, B. Chalmers, Gen.Dir., Charlotte 11/17,19/83 Tosca Thomson; R. Estes, Power 1/26,28/84 The Tales of Hoffmann Eng.; Cummings; Corbeil, Fowler; e: Driehuys; d: Levine 3/29,31/84 The Daughter of the Regiment Eng.; Holland; McDonald, McKee Greensboro Opera, P.P. Fuchs, Art.Dir., Greensboro 10/83 Rigoletto OHIO ECCO!, J. de Blasis, GeiuDir., touring company of Cincinnati Opera 1983-84 tour: La Traviata Eng. Opera/Columbus, L. Schaenen, Art.Dir., Ohio Theatre, Columbus 11/10,12/83 Cavalleria rusticana & Pagliacci 2/2,4/84 La Cenerentola Eng. Gallagher 3/29,31/84 Rigoletto Opera at Peterloon, J. Magro, Exec.Dir., Cincinnati 9/1,3/83 Spontini's La Vestale & The Impresario & Hazon's L'Agenzia matrimoniale Am.prem. OKLAHOMA , E. Purrington, GeruDir., Tulsa 11/5,10,12/83 The Flying Dutchman Napier; Estes, Wildermann, Neill; c: Decker; d: Igesz 3/3,8,10/84 Lucia di Lammermoor Mills; Hadley, Burchinal; c: Coppola; d: Levine 5/5,10,12/84 Les Contes d'Hoffmann de Almeida ed.; Fulton, Gutknecht, Hunt, Clarey; Riegel, Cheek; c: de Almeida; d: Hebert

-67- 1983-84 Season

OREGON Portland Opera, S. Minde, Mus.Dir., Portland 10/8,12,15/83 Lohengrin Evans, Cariaga; Johns, Wildermann, Roar; c: Minde; d: W.S. Wagner 11/5,9,12/83 Cosl fan tutte Eng.; Faix-Brown, Rogers, South; Stone, Cousins, Ludgin; c: Minde; d: Major 3/3,7,10/84 Lucia di Lammermoor Koszut; Calleo, Nolen, Gallup; c: Minde; d: Igesz 4/28 5/2,5/84 The Bartered Bride Cummings; Garrison, Wildermann; c: Minde; d: Boerlage PENNSYLVANIA Lancaster Opera Workshop, R. Smith, Dir., Millersville State College Aud., Lancaster 11/4,5,11,12/83 Die Fledermaus Eng.; at Fulton Opera House 3/25,26,27/84 The Impresario & The Medium <5c Trial by Jury 5/5,6/84 Vaughan Williams' Symphony of Psalms & Dona nobis pacem Opera Company of Philadelphia, M. Everitt, Mgr., Philadelphia 10/11,14/83 Pique Dame* Evstatieva, Crespin; c: Nelsson; d: Menotti; ds: Colavecchia 11/28 12/2/83 La Traviata* Soviero; c: A. Campori; ds: Colavecchia 1/16,19/84 Faust* Morris; d: Robertson; ds: Colavecchia 2/28 3/2/84 La Cenerentola* Hamari; Rintzler; c: Siciliani; ds: Colavecchia 3/27,30/84 Werther Toczyska; Gedda; ds: Colavecchia Philadelphia Orchestra, R. Muti, Mus.Dir., Academy of Music 10/83 Macbeth cone, pfs., Connell; c: Muti; also Carnegie Hall, NYC Pittsburgh Opera, T. Capobianco, Gen.Dir., Heinz Hall, Pittsburgh 10/13,15/83 La Boheme Craig; Long, Moldoveanu 11/17,19/83 The Magic Flute Eng.; Seibel; J. Stewart, Parker 12/8,10/83 On Ballo in maschera Cuccaro, Deutekom; Dominguez, Quilico 1/19,21/84 Carmen Boozer; Diaz 2/16,18/84 Romeo et Juliette Esham; Garrison 4/12,14/84 n Barbiere di Siviglia Lerner; Workman, Kays, Corbeil TENNESSEE Opera Memphis, A. Randolph, GeiuMgr., Memphis 10/20,22m/83 La Traviata* G. Robinson; ds: Conklin ll/25,27m/83 Hansel and Gretel Eli as 2/24,26m/84 Eugene Onegin* Hines; d: Bakman; ds: Wong 4/13,15m/84 H.M.S. Pinafore Flasch TEXAS Dallas Opera, N. Reseigno, Art.Dir., Majestic Theatre 11/3,6,9,12/83 La Fille du regiment Welting; Kraus; c: Reseigno 11/17,20,23,26/83 Carmen Berganza; Lamberti, Diaz; c: Reseigno 12/1,4,7,10/83 The Rake's Progress Johnson; Rosenshein, Gramm 12/15,18,21,23/83 La Forza del destino Gray; Giacomini, Manuguerra, Kavrakos, Brusean- tini; c: Reseigno 4/13,15m,21/84 The Medium & Amelia Goes to the Ball Houston Grand Opera, D. Gockley, Gen.Dir., Houston 10/14,16m,18,21/83 The Barber of Seville Zedda vers; Ewing; Araiza, T. Allen, Montarsolo, Gramm; c: DeMain; d: Montarsolo; ds: Stoddart ll/25,27m,29 11/2/83 Candide Mills; Eisler; d: Prince; New York City Opera prod. l/19,22m,24,29/84 Peter Grimes Barstow, Kruger; Vickers, Stewart; c: Decker; d: An- derson; San Francisco Opera prod. 3/29 4/lm,3,6/84 Simon Boccanegra Freni; Ghiaurov, Nucci, Dvorsky; c: Gomez-Martinez 4/13,15m,17,20/84 Tosca Marton; Domingo, Wixell; c: DeMain; d/ds: Ponnelle; San Fran- cisco Opera prod. 4/25,27 5/1,4/84 Fidelio* Behrens, Mills; Ochman, Becht, Rydl, Eisler, Albert; c: Rudel; d: Sehneidman; ds: Jampolis Houston Grand Opera Great Artists Series, Houston 10/19 12/4/83 2/19/84 Concerts with Placido Domingo; Marilyn Home; Texas Opera Theater, M J. Weaver, Mgr., touring company of Houston Grand Opera 1983-84 tour: The Barber of Seville; Madama Butterfly VIRGINIA Southwest Virginia Opera Society, M. Granger, Art.Dir., Roanoke 9/21,23,24/83 The Barber of Seville Eng. Martin

-68- 1983-84 Season Virginia Opera Ass'n, P. Hark, GeiuDir., Norfolk 10/21,23m,26,28m,30/83 Norma* Simpson, Lerner; Schwisow; c: Mark; d: Farrar; ds: Montresor 12/2,4m,7,9m, 11/83 Gianni Schicchi <5c Suor Angelica l/20,22m,25,27m,29/84 Rigoletto* Adkins, Serrano; c: Mark; d: Farrar 2/24,26m,29 3/2m,4/84 La Fanciulla del West Fisk; Serrano; c: Mark; d: Muni WASHINGTON Seattle Opera, S. Jenkins, Gen.Dir., 20th Anniversary Season 9/24,28 10/1/83 Le Nozze di Figaro Erickson, Powell; Burt, Reardon; also 9/25,30 in Eng. 11/12,16,19/83 Cavalleria rustieana & Pagliaccd Molle, Gutknecht; Theyard; d: Cataldi- Tassoni; also 11/13,18 in Eng. 1/21,25,28/84 La Forza del destino Higareda; Lamberti, Hines; also 1/27,29 in Eng. 3/17,21,24/84 Elektra Yoes, Napier, Decker; d/ds: Turek; also 3/18,23 in Eng. 5/5,9,12/84 Serra; Siepi; also 5/11,13 in Eng. WISCONSIN Florentine Opera of Milwaukee, J. Gage, GeiuMgr., Milwaukee ll/17,19,20m/83 Salome 3/15,17,18m/84 The Barber of Seville Eng. 5/3,5,6m/84 Madama Butterfly Skylight Comic Opera, C. Cabot, Gen.Dir., Milwaukee 9/21-10/9/83 The Jumping Frog of Calaveras County & Trial by Jury 12 pfs. 10/26-11/13/83 The Turn of the Screw 12 pfs. 11/30-12/31/83 H.M.S. Pinafore 18 pfs. 1/25-2/12/84 Cavalli's La Calisto 12 pfs. 3/7-11/84 The Student Prince 5 pfs. at Pabst Theatre 3/28-4/22/84 Tintypes 16 pfs. CANADA Canada Opera Piccola, J. Johannsen, Gen.Dir., Victoria 10-11/83 tour: Cos! fan tutte; Portuguese Inn; Pygmalion (Schone Galatea); Trouble in Tahiti Canadian Opera Co., L. Mansouri, Gen.Dir., Toronto 9/16,20,24,28 10/2,6/83 Lohengrin* E. Shade, Martin; Jerusalem, Fabricci; c: Fischer; d: Schellen; ds: Werz 9/23,27,29 10/1,5,9/83 Turandot Arroyo, Spacagna; Mauro, Garrard, Stark; c: N. Rescigno; d: Mansouri; ds: Klein; Dallas Opera prod. 1/13,15,19,21,24,25,27 2/2,4/84 The Merry Widow c: Kunzel; d: Leberg; ds: Laufer/Mess 1/20,22,26,28,29,31 2/1,3/84 Carmen Stubbs; Bailey, Devlin; c: Rudel; d: Mansouri; ds: Conklin; Houston Grand Opera prod. 4/11,13,14,15,17,19,20,21/84 La Boheme Bouleyn; di Paolo, Raftery, Halfvarson; c: Peloso; d: Copley 5/22,25,28,31 6/3/84 Anna Bolena Sutherland, Forst; Morris, O'Neill; c: Bonynge; d: Mansouri; ds: Pascoe/Stenneth Pacific Opera of Victoria, C. More, Gen.Mgr., McPherson Playhouse, Victoria 9/15,17,20,22,24/83 The Elixir of Love B. Collier; Margison, Charbonneau; c: Vernon; d: Alarie 12/19-23/83 Amahl and the Night Visitors A. Glass; d: Leyshon; at Christ Church Cathedral 2/16,18,20,23,25/84 Carmen Stubbs, Boucher; Baerg; c: Vernon; d: Newton Southern Alberta Opera, B. Hanson, GeiuMgr., Calgary 10/27,29,31/83 The Tales of Hoffmann F. Robinson, Stubbs; Calleo, Monk; c: Pallo; d: Strasfogel 1/26,28,30/84 La TraWata Soviero; di Paolo, Cowan; c: Speers; d: Thomas 3/15,17,19/84 La Cenerentola Eng. Martin; Marsee; Eisler, Massel, Kukurugya; c: Hetu Toronto International Festival, Canadian Opera Co., Toronto 6/24,26,28,30/84 Death in Venice

-69- -<* W „ ^

/••

! JUL-6'83

CENTRAL OPERA SERVICE BULLETIN Lincoln Center • Metropolitan Opera New York, N.Y. 10023

FIRST CLASS MAIL Opera America Martin Kagan, Exec.Dir. 633 "E" Street NW . Washington, DC 20004

MEMBERSHIP INFORMATION SERVICES Central Opera Service will either supply specific information requested or will suggest sources where information may be acquired. This is a cooperative information exchange service on: Repertory, Translations, Performances, Musical Materials, Scenery, Costumes, Props. PUBLICATIONS, SURVEYS AND SPECIAL LISTINGS Bulletin. Lists of: Opera Producing Companies in the U.S. and Canada. Annual Per- formances; Premieres in the U.S.; Available English Translations; Career Guide for the Young American Singer; Directories of American Contemporary Operas and Foreign Contemporary Operas. MEETINGS Central Opera Service National Conference Central Opera Service Regional Conferences CLASS OF MEMBERSHIP INDIVIDUAL MEMBERSHIP $15.00 Bulletin, Announcements of Publications, Conferences SPECIAL LIBRARY MEMBERSHIP . . $15.00 Bulletin SERVICE MEMBERSHIP $25.00 Same as Individual Membership, Position Assistance GROUP MEMBERSHIP $30.00 Bulletin, Publications, Conferences, Information Service INSTITUTIONAL MEMBERSHIP $50.00 Bulletin, Publications, Conferences, Information and Full Research Service ENROLLMENT BLANK

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