CENTRAL SERVICE BULLETIN

JANUARY-FEBRUARY, 1970

Sponsored by the National Council

Central Opera Service • Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467

CENTRAL OPERA SERVICE COMMITTEE

ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman

National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORR1GAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL EL1HU M. HYNDMAN Professional Committee , Chairman

KURT HERBERT ADLER MRS. LOUDON MELLEN Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Hartt College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of , L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington GEORGE SCHICK No. Texas State Univ. School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDROP Houston & San Diego Opera of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois

We are delighted to announce the appointment of Dr. Jan Popper (UCLA) and Mr. Glynn Ross (Seattle Opera) to the COS Professional Committee and the replacement by Mrs. Timothy Fiske of Mrs. Lyle H. Fisher who resigned.

The Central Opera Service Bulletin is published bi-monthly for its members by Central Opera Service. Permission to quote is not necessary but kindly note source. We would appreciate receiving any information pertaining to opera and operatic production in your region; please address inquiries or material to:

Mrs. Maria F. Rich, Editor Central Opera Service Bulletin Lincoln Center Plaza New York, N.Y. 10023

Copies this issue: $1.00 CENTRAL OPERA SERVICE BULLETIN

Volume 12, Number 3 January-February, 1970

NEW AND PREMIERES

AMERICAN OPERAS Jack Beeson has composed MY HEART'S IN THE HIGHLANDS to a libretto adapted from the Saroyan play by the same title. The opera will be seen for the first time on March 18 over the National Education Television Network. This is Mr. Beeson's second opera based on a Saroyan story, the first being Hello Out There, premiered by Columbia University in 1954. The composer also scored a considerable success with his opera, Lizzie Borden, which was seen on NET last year in a videotaped version of the New York City Opera's 1965 production. Another opera to be premiered on television is Michael Colgrass' NIGHTINGALE, INC., conceived after the composer's own original story. It was commissioned by the Corporation for Public Broadcasting, which will produce the work. Italian-born Luciano Berio, a resident of the U.S. for the last few years, is writing his seventh work for the stage. It was commissioned by the Santa Fe Opera and is significantly named OPERA. Yet, Mr. Berio explained that the title refers to the Italian word meaning "work" or "opus" and that the finished product will not resemble opera in the conventional sense. At a recent interview, the composer explained that Opera will combine performances by eighteen members of the New York Theatre Ensemble and three soloists (singers) "who will perform arias from the standard repertory as their part in a complex, many-faceted score". The or- chestra will be augmented by a number of percussionists. No specific scenery or costumes will be required for this somewhat free-styled happening which will be staged by the composer. The disaster of the Titanic serves as the starting point of the story.

American composer Leo Smit and British cosmologist and writer Fred Hoyle have collaborated on THE ALCHEMY OF LOVE. The premiere, originally sched- uled for March 20 at the Manhattan School of Music, was recently postponed when rehearsals proved The Alchemy to be in need of some revisions. At present no new date has been set. John La Montaine's ERODE THE GREAT, the last part of a trilogy, had its premiere at Washington (D.C.) Cathedral on December 31, 1969. The other two operas in this cycle, Novellis, Novellis and The Shepardes' Playe, were first per- formed at the Cathedral in 1961 and 1967 respectively. HERACLES, composed by John Eaton under a Guggenheim grant and first per- formed by Radio Italiano, will receive its American premiere this summer on the occasion of the opening of Indiana University's new 12 million dollar opera theatre. Marc Lavry's opera TAMAR AND JUDAH will have its first performance at New York City's Rhodeph Sholem Congregation on March 22. The libretto is by Rabbi Newman of the congregation and is based on his play "The Woman at the Wall" which in turn is based on "Genesis" XXXVIII. The latest children's opera is based on Grimm's fairy tale, THE FISHERMAN AND HIS WIFE, and has music by Gunther Schuller and a libretto by John Updike. It was commissioned by the Junior League of Boston for performances by the Boston Opera Company which has scheduled the opening for May 8 and sub- sequent free performances for Boston school children later that month. THE TALE OF ISSOUMBOCHI is a thirty-minute children's opera commissioned by Childhood Education International from composer David Ward-Steinman. The libretto is by Mrs. Steinman and is based on a Japanese fairy tale. The opera is now being recorded on video-film for presentation by the National Education Television. Another husband and wife team, Newell and Eleanor Long, created THE MUSIC HATER, "an instant opera" premiered last October at Northern State College in Aberdeen, S. D. Joyce Barthelson's latest one-act opera, GREENWICH VILLAGE 1910, was per- formed under her direction at Scarsdale Junior High School on December 20. It was heard on a double-bill with her Chanticleer. With the aid of a Canada Council grant, Canadian composer Vic Davies has com- pleted his jazz-rock opera, LET US PAY TRIBUTE TO LORD GORDON GOR- DON (sic). Goldie Weatherhead is the librettist. A recent concert by the Winnipeg Symphony featured the premiere of Mr. Davies' CELEBRATION, a three-part composition consisting of Song and Dance, A Very Short Opera and Allegory. Stratford Festival in has commissioned Gait McDermot (Hair) to write incidental music to Richard Sheridan's play, School for Scandal, which the festival company is taking on tour this spring. It will also be performed during the summer in Stratford. Norman Mailer's novel, AN AMERICAN DREAM, is being adapted into an opera libretto by Charles Matz in collaboration with the author. To date no announce- ment on the composer's identity has been made. Kenneth Wright's WING OF EXPECTATION, premiered at the University of Kentucky in 1965, will receive its first professional production in Washington, D.C. this May. It tells the story of Mary Todd Lincoln and will be staged, fittingly, at the restored Ford Theatre. Recordings of three contemporary American operas have recently been released: 's , a three-LP set on Desto label, Thomas Putsche's The Cat and the Moon on CRI-SD and Eric Salzman's Nude Paper Sermon on Nonesuch Records.

AMERICAN PREMIERES Korean composer Isang Yun's BUTTERFLY WIDOW, premiered in Germany in February 1969, has been scheduled by the Opera Workshop of Northwestern Uni- versity for its first American performance on February 27. It will be presented in an English translation by Robert Gay on a double-bill with Luciano Berio's Passag- gio, which had its American premiere on January 9, 1967 in New York. Mr. Berio's THIS MEANS THAT (Questo vuol dire), first heard over Italian Television in April 1969, has its American premiere in a concert performance at New York's on February 17, 1970.

Kurt Weill-Berthold Brecht's DER AUFST1EG UND FALL DER STADT MAHAGONNY will have its U.S. premiere as MAHAGONNY on March 18 at New York's off-Broadway Phyllis Anderson Theatre. Weill's Dreigroschenoper also opened in an off-Broadway theatre in 1956 to a five-year run. Capalbo will again be the producer. , who so successfully revised The Three Penny Opera, started revisions for the American production of Mahagonny but they were unfinished at the time of his death in 1964. Arnold Weinstein has now 2 completed the scoring and translation. Barbara Harris and Estelle Parson will be featured in the en suite run. The North American premiere took place at the Stratford Festival in Ontario in 1965.

American operas to be heard in Europe this season will include Elie Siegmeister's THE PLOUGH AND THE STARS in Bordeaux on March 13, 1970 in its Euro- pean premiere and 's at the West Deutsche Oper with Christa Ludwig and Walter Berry. The Bernstein opera was performed by the American Opera Workshop in Vienna last season. — The British rock opera, TOMMY, heard in New York earlier this season, will be presented by its originators, The Who, at the Hamburg Opera in a late-evening benefit.

Correction The opera, Semele, by John Eccles which was reported as a new opera (wrong) in the 9/69 Bulletin and to have had its world premiere at the Brooklyn Academy of Music on December 13, 1969 (right), was actually composed in 1704 for the opening of the Queen's Theatre in London. However, it was not performed then and the score seemed lost until Dr. S. Lincoln discovered it at the Royal College of Music when he was in England on a Fulbright grant. Although a reading was heard previously, the Brooklyn performance constituted the first complete stage production of one of the earliest operas still in existence.

FOREIGN PREMIERES Because of the recent publication of the Directory of Foreign Contemporary Operas and the inclusion therein of all up-to-date information, this issue will not list forthcoming European premieres. The next issue of the COS Bulletin will resume announcements of new foreign operas.

SPEAKING OF OPERA COMPANIES

Since the publication of the last COS Bulletin the METROPOLITAN OPERA settled its dispute and opened on December 29, 1969, fifteen weeks after its original opening date of September 15. At times negotiations came to complete standstills, and the continuation of the company as well as the livelihood of the individual artists appeared to be in jeopardy. Assistance and intervention by medi- ators seemed ineffectual and even the most experienced labor negotiatiors some- times seemed stalemated. The seesaw of the situation can easily be followed through headlines in the New York Times: "Sour Notes at the Met" (9/13), "Met Impasse Seen at Critical Point" (9/18), "Lindsay Hopeful" (9/27), "Met Dead- lock" (10/10), "Met Offers Refund to Subscribers" (10/16), followed by "Hint of Progress" (10/19), with the seesaw reaching its nadir on October 31, "Death of the Met?" and again on November 14 "Negotiations Fail", "Hopes Dashed But Still Talking" (11/21), and starting November 25 the "Final Offer", and finally on December 4 acceptance by the orchestra of a revised offer. December 14 brought the long-awaited announcement of agreements with soloists, chorus and ballet and the following day with stagehands and the other remaining unions. The only constant object throughout these 5Vz months of negotiations proved opera itself; opening was still the originally-planned . Contracts were signed for a three-year period. Since pay increases and working conditions vary with each type of contract, figures for wage and benefit gains are difficult to establish, but the average increase amounts to about 25% over the three-year period. A number of improvements in working conditions were also agreed upon. The unions' demand for retroactive pay was dropped. These new contracts and the ripple effect to non-union groups will increase the company's expense budget by an estimated $3.5 million in the third year. With ticket prices at present ranging from $14.50 for front orchestra to $3.50 for family circle ($25 — 3 — for Monday night boxes and $1.50 and $2.50 for standing room) one can readily see that an increase in ticket prices must be forthcoming, especially considering that Broadway shows playing en suite charge $15 and $12 for orchestra seats. The company's recently published financial report shows total expenses for the last season at $17.4 million, $0.5 million higher than in the previous season. Box office receipts accounted for 63 % of the income, miscellaneous income amounted to 15% and contributions made up the remaining 22%. Deficit before contribu- tions amounted to $3.5 million; contributions received last season amounted to $4 million, with $500,000 applied to reduce the working capital deficit of $1.3 million. Due to the briefness of the current season, only two new productions, & and , will be mounted although six were originally planned. Completing the New York season on April 18, the company will embark on its annual six-week tour which will be followed by an extra four-week subscrip- tion season at Lincoln Center. These performances will make up some of the subscription dates lost because of the delayed opening.

Unresolved contract negotiations also delayed the opening of the Kansas City Philharmonic which began its concert series on January 6 after a three-month mu- sicians' strike. The seasons of both the and the New York City Ballet were also threatened but were saved by last minute settlements. It is good to report that in the end financial difficulties caused no major casualty this season; however, the news is not so good from the summer circuit (see Forecast). The SAN FRANCISCO SPRING OPERA COMPANY will not perform this year. Spring 1971 will find the company on a new stage, that of the Curran Theatre. The War Memorial Opera House, where the San Francisco Opera is performing in the fall and where the Spring Opera used to perform, is booked through the middle of June, hence the Spring Opera's late season last year. This has proved impractical and the company started looking for a new home. The new auditorium offers a non-proscenium stage and a smaller seating capacity. The com- pany, continuing as an affiliate of the San Francisco Opera, will, from now on, adapt its productions to this new concept. OPERA OTTAWA has been established by James Pfeiffer, who became general director and Robert van Dine musical director. The company aims to form a repertory ensemble with residency in Ottawa's National Arts Center and to offer employment to some fifty young singers. The first production will be Dido and Aeneas. Another new company for young professional singers, to be known as INTER- NATIONAL OPERA ASSOCIATION, is being formed in New York by William Woodruff, general manager. The first performances are planned for next fall at the Brooklyn Academy of Music where Mr. Woodruff presently lectures for the Friends of the Academy and where he will offer an opera concert with piano in April. The repertory will consist of lesser-known operas by the popular opera composers with an occasional contemporary work added. The first performance of the new MANHATTAN LYRIC OPERA ASSN. was given at New York's Beacon Theatre^ a converted movie house. The group's musical director is Martinez Palomo and the company intends to offer opera per- formances built around one or two name artists. The December 17 offering was . No further performances have been announced at this time. The Lucrezia Bori Foundation, created under the will of the late , and its directors announced the final disbursements of the Foundation's assets, totalling $415,000. The following musical institutions were among the beneficiaries: The Metropolitan Opera Studio ($100,000), the Manhattan School of Music ($50,000), the Third Street Music School Settlement ($50,000), the Apprentice Artist Pro- gram of the Santa Fe Opera ($25,000) and the Harlem School of the Arts ($10,000). 4 ARTS AND THE GOVERNMENT What could be a better send-off for iiie campaign to extend the life and scope of the NATIONAL FOUNDATION ON THE ARTS AND HUMANITIES than President Nixon's impassioned plea for national cognizance of the need for art in today's American civilization. The President requested legislation extending the six-year-old federal agency for another three years (June 30, 1970 is the expiration date) and recommended an arts and humanities appropriation of forty million dollars for the 1971 fiscal year. Five million of this amount is to come from private sources on a matching basis. The total would be divided between the arts and humanities, which even with a 50:50 distribution would still offer the arts a more than one hundred percent increase of funds over the past year. Following the President's encouraging statement, bills supporting his proposals were immediately introduced in both Houses of Congress, and a special subcommittee scheduled hear- ings on the subject. These hearings were held in Washington, January 26 through February 6, with Nancy Hanks representing the National Endowment for the Arts. Also present were a great number of prominent arts administrators and artists to elucidate the financial plight of arts institutions and of creating and performing artists respectively. National arts organizations submitted substantiating surveys with Central Opera Service presenting figures for the national operatic scene; arts councils and foundations supported the general representation. Testimony delivered during these eight days filled a 698-page transcript.

Recognizing the tremendous impact and wide-reaching effect this legislation may have on everyone connected with the arts and its importance to the public at large, the Associated Councils of the Arts will devote the entire March 25 issue of its magazine, Cultural Affairs, to a condensation of the complete testimony. As a special service, COS will make copies of this $1.50 volume available to its members for $1.00. The bills deciding the fate of federal aid to the arts will reach the floor of the House in April and it is imperative for the legislators to know where their constituents stand on this issue. We highly recommend reading the summary of the committee's proceedings in order to make your individual views known most articulately and effectively.

In this connection, it is interesting to note that following a three-year study, a committee of the BRITISH ARTS COUNCIL, the British counterpart of the American federal agency, has recommended the addition of another opera and ballet house in London's Covent Garden section, of more regional opera and ballet companies and a general expansion of artistic activities "to accommodate greatly increased demands." Expansion of existing touring com- panies was also suggested. At present, the Arts Council allocates about $70 million to subsidize opera and ballet in England with over $3 million for the Royal Opera alone. The committee insists that, although the new proposals go far beyond the present budgets, they are well within the possibility of realization. The committee's report concludes: "We are convinced that the potential demand for opera and ballet is increasing and that bold steps are called for to meet it."

Another bill, which will have significance to opera companies and which was recently passed by Congress, is the TAX REFORM ACT. It includes changes affecting tax-exempt organizations, private foundations as well as tax-deductible donations. Because of the intricacy of the new restrictions, we refer our readers to the January '70 issue of Taxwise Giving (280 Park Avenue, New York, N.Y. 10017), a publication which appears in twelve annual issues.

Individual STATE ARTS COUNCILS are expanding continuously and have been responsible for considerable aid, both financial and in services. New York leads the list of state councils in budget and activities. Last year it spent about two and one quarter million dollars, and for next year Governor Rockefeller has asked the State legislature to appropriate over $20 million, a 10-fold increase over this year. The moneys are administered by the New York State Council on the Arts.

The Massachusetts Council on the Arts and the Humanities is sponsoring a new program called Young Musicians: Performances in Prospect. Young performing

— 5 — musicians of the state are sponsored for concert dates by the State agency; the one stipulation is the inclusion of one contemporary American composition on the program.

The former Alabama Council, now known as the Alabama State Council on the Arts and Humanities, has moved its office in Mobile into a restored 1850 historic mansion with a beautiful white lattice-work facade. Included in the Council's total grants of $75,000 is a $3,000 allotment to the Birmingham Civic Opera for expansion of its season. In addition to the State Council, the city of Mobile has its own Allied Arts Council of Metropolitan Mobile, Inc.

The recently-published Directory of State Arts Councils 1969-70 is a compre- hensive listing of all state councils with addresses and names of officers and includes for the first time a listing of the various programs undertaken by each council and the money available for each project. The Directory is, of course, published by ACA, 1564 Broadway, New York, N. Y. 10036 and can be ordered for $2.00.

Among the recent recipients of federal grants from the National Council of the Arts are the Western Opera Theatre which again received $100,000 towards its touring expenses and the Affiliate Artists Program which was able to accept $80,000 on a matching-grant basis due to the Sears Roebuck Foundation's dona- tion in the same amount. Affiliate Artists placed thirty-two young professional artists (among them many singers) with arts organizations or educational insti- tutions.

ARTS AND BUSINESS The BUSINESS COMMITTEE FOR THE ARTS has released some encouraging figures regarding the growth of corporate giving to the arts. While in 1965 business gave $5.8 million to the arts, or a 2.8 % of its total annual contributions, the 1968 figure has more than doubled, amounting to $13 million or almost 5% of total donations. BCA has enlisted the services of the Advertising Council, Inc. to recruit volunteer advertising agencies for a three-year advertising campaign to stimulate interest in the arts. A recent publication "Business in the Arts '70" will be of equal interest to the company considering donations to the arts and to the groups applying for grants from business. The 196-page book contains important information and valuable advice and may be obtained from BCA, 1270 Avenue of the Americas, New York, N.Y. 10020 for $6.95. The Business Committee for the Arts/Esquire Magazine "Business in the Arts Award" established in 1966 will again be given to companies who have actively participated in the arts or have conducted one or more projects fostering appreci- ation of the fine or performing arts during the 1969 calendar year. Nominations should be forwarded to Esquire/BCA Awards, 221 East 66 Street, New York, N.Y. 10021. ARTS MANAGEMENT has announced its second annual award for cultural administrators presented in cooperation with the New York Board of Trade. "The Arts Administrator of the Year Award" will be bestowed upon a professionally employed arts administrator for special achievements in or contributions to the fine or performing arts during the 1969 calendar year; the "Career Service Award" will go to a successful arts administrator consistently active for the last ten years. Nominations should be submitted to AM, 408 West 57 Street, New York, N.Y. 10019. Alvin H. Reiss, editor of Arts Management, is responsible for THE ARTS MAN- AGEMENT HANDBOOK, to be published in March. Conceived as a guide for arts administrators, directors, producers, as well as business executives and lawyers

— 6 — its 600 pages contain advice on "How to structure an arts organization", fund raising, foundation and business support, promotional methods and ticket sales. Published by Law-Arts Publishers, Inc., it will sell for $12.50.

A JOINING OF FORCES A new and promising attempt of cooperation between opera companies was made at a recent conference held in Seattle. Sixteen opera directors representing com- panies of similar size and type of programming got together to explore possibilities of joint planning for greater efficiency, better economics and higher artistic achieve- ment. Part of the cost for the initial meeting was underwritten by the Baird Rockefeller Fund for Music. The first result was the decision for a joint production of Tales of Hoffmann which will be built in Vancouver, Canada, for use by the company as well as by those in Edmonton, Seattle, San Diego and Houston. Another direct result of the Seattle meeting is the Kansas City Lyric Theater's scheduling of Floyd's Of Mice and Men for the October 1970 season. The company will use the Seattle Opera's production which was made possible through a Ford Foundation grant. Other companies represented at the Seattle meeting were the Civic Opera, Fort Worth Opera, Washingon (D.C.) Opera Society, Portland Opera, St. Paul Opera, Omaha Opera, Tulsa Opera, the Mobile Opera Guild and the Duluth and Syracuse Symphonies. Central Opera Service, which has always promoted and urged cooperation between opera com- panies, extends its best wishes and hopes for successful results through coordinated efforts which may well prove to be the key to survival in these financially difficult times. Delegates from seventy-seven symphony orchestras met in New York together with representatives of the American Symphony Orchestra League to discuss how best to present a united front to stave off — not only the wolf at the door — but also the ever recurring problem of priorities (see also COS article No Contest Over Priorities in the 3/69 Bulletin). At the closing of the conference a petition was sent to the National Endowment for the Arts for funds to at least meet the actual cash income gap after all grants and donations had been received. Based on figures of the 1968-69 season, this amount would have been $5.2 million and it is estimated to amount to $8.5 million for the 1970-71 season for all symphony orchestras. The New York conference was chaired by Amyas Ames, president of the New Phil- harmonic, and spokesman for the ad hoc committee. Financial worries are also uniting privately supported, professional music schools. Heads of eight of America's leading conservatories met in an atmosphere of great urgency to discuss the immediacy of their problem of survival. Represented were some of the institutions regarded most vital for the training of young musicians and hence for the survival of orchestras, opera companies and other performing arts groups, for the continuation of music teachers as well as creative artists. The Cleve- land Institute of Music, the New England Conservatory, the San Francisco Con- servatory, the Peabody Conservatory, the Manhattan School of Music and the Mannes College have formed the Council of Independent Professional Schools of Music with the Juilliard School and the Curtis Institute of Music auditing the initial conference. The schools represent a total student body of about 2,500 prospective professionals. As a result of the initial meeting, the Rockefeller Brothers Fund has agreed to underwrite a study of operations and problems of music schools which will be conducted by the Council. A different type of cooperation between individual organizations was achieved recently when eight New York artists managers formed the American-International Managers Society. A most welcome feature of this new organization is its audition service whereby AIMS arranges and coordinates auditions for young singers and, conversely, sets up auditions for visiting impresarios. Setting up standard contracts and joint publicity material will also further the efficiency of each individual man- ager while retaining his or her autonomy in the handling of individual artists. FORECAST - Festivals 70 Three major American operatic festivals have announced their repertory for 1970: SANTA FE will offer new productions of The Rake's Progress with Joy Davidson, Loren Driscoll and , with Pauline Tinsley, Helen Vanni, Davidson and Gramm, with , Vanni, and Gramm and the previously mentioned Opera by Berio. From previous seasons the company will repeat La Traviata with Marylin Niska, opening the season on July 3, and Help! Help! The Globolinks together with Le Rossignol. The season will close on August 22. — The CINCINNATI SUMMER OPERA will open on July 8 with a new production of (Saunders; Lavirgen, Paskalis) sponsored by the Corbett Foundation. (Costa; del Ferros, Paskalis) and Madama Butterfly (Weathers, de Carlo; Stewart, Darrenkamp) are the other new productions. // Trovatore (Lacambra, Grillo; Cassilly), Samson et Dalilah (Verrett; Cochran), Carmen (Verrett, Crane; Novoa) and La Traviata (Cruz-Romo; Alex- ander) will round out the summer season. — The CARAMOOR FESTIVAL in Katonah, N.Y. will offer a new production of conducted by Julius Rudel and staged by .

Temple University's AMBLER FESTIVAL outside will be the sum- mer home for the Pittsburgh Symphony Orchestra for the first time. It will open the season on June 26 under the baton of . On July 26, Martin Rich will conduct the orchestra in an operatic concert with , Clarice Carson and . Mo. Rich will also be in charge of the training orchestra and the opera workshop of the Ambler Institute which will perform the double-bill of Die Kluge and // Tabarro on July 30. The Institute under the direc- tion of Robert Page runs concurrently with the Festival. — OBERLIN COL- LEGE'S Music Theatre, which had its first summer festival at its home base last year (formerly in Falmouth, Mass.), has scheduled five productions of opera and light opera again on its Ohio campus: Madama Butterfly, The Rake's Progress and , as well as The Pirates of Penzance and Carousel.

As always, the BERKSHIRE MUSIC FESTIVAL will be the home of the Boston Symphony; the opera scheduled for this summer is Cosl fan tutte under the baton of Seiji Ozawa. — The will again perform at the BLOSSOM MUSIC FESTIVAL, this year under Pierre Boulez, the Festival's artistic director. — Istvan Kertesz will be principal conductor of the Chicago Symphony at the this summer. Concert performances of two operas are planned: Otello with and James McCracken and Lucia di Lammer- moor with and . — The LYRIC OPERA OF LA- GUNA BEACH will join forces with the Laguna Community Players for its sum- mer production of the musical, Oliver.

The CASALS FESTIVAL in San Juan, Puerto Rico, will be devoted in its entirety to Beethoven with a concert performance of Fidelio scheduled for early June. Zubin Mehta will conduct with Ludmilla Dvorakova and John Vickers taking the leading roles. A number of summer festivals will not be with us this year; others will not produce music or opera for the first time. The CONGREGATION OF THE ARTS at the Hopkins Center of Dartmouth College found operation of its music and theatre festival too costly and is continuing only the studio art. The Music Festival, which emphasized contemporary compositions, had in previous years invited a number of prominent foreign composers as artists-in-residence. Canada's STRATFORD FESTIVAL, which used to have its own opera company, will not produce any operas, concerts or ballet this summer. There will be recitals in the evening and some chamber music concerts in the morning. Eight theatri- cal productions, some with incidental music, are programmed between June 4 and October 10. Stamford University in California has cancelled its MUSIC SUMMER FES- TIVAL for this year and so has Daytona Beach its FLORIDA INTERNATIONAL FESTIVAL, which featured the London Symphony Orchestra. — The continu- — 8 — ance of the Detroit Symphony's summer home, THE MEADOWBROOK FES- TIVAL, is also in question at this time.

The VIENNA FESTIVAL WEEKS will last from May 23 to June 21 and will honor Beethoven's 200th anniversary with a new production of Fidelio, conducted by Leonard Bernstein and directed by Otto Schenk; it will feature Gwyneth Jones, Lucia Popp, James King and Theo Adam. Visiting orchestras in Vienna during that time will include the under Eugene Ormandy and the Berlin Philharmonic under . A special International Beetho- ven Symposium has been arranged for June 2 - 5 in Vienna.

The SALZBURG EASTER FESTIVAL will offer the last of the new Ring produc- tions, Gotterdammerung, on March 27. Leading roles will be taken by Helga Dernesch, Josephine Veasey, , and Karl Ridderbusch with Herbert von Karajan conducting and directing.—The SALZBURG SUMMER FESTIVAL will celebrate its fiftieth anniversary season (7/26-8/30) with productions of Otello (Vickers, Glossop) and under Karajan, Zauberflote under Sawallisch and Fidelio under Bohm. The three other Mozart operas on this year's program are Cost fan tutte, Nozze di Figaro and Entfuhrung aus dem Serail. It was announced that ticket prices will be raised and the highest priced seat in the Grossen Festspiel- haus will cost $36.00. — At the not too distant BAD ISCHL a festival will honor the 100th anniversary of Vienna's operetta king, Franz Lehar, with performances of his works between July 15 and August 30.

The BREGENZER FESTSPIELE (7/23-8/23) will again offer a spectacle on its lagoon on the Bodensee; this year it will be Die Fledermaus. Norma will be per- formed in the local theatre.

July 24 to August 27 is the time of the BAYREUTHER FESTSPIELE. It will open with under Bohm, offer Die Meistersinger under Horst Stein, Der fliegende Hollander under Varviso, under Boulez and the complete Ring under Maazel in the Wolfgang Wagner staging. An early announcement for summer 1972 lists Leoard Bernstein as conductor for Tristan.

The GLYNDEBOURNE season, which opens in late May and lasts until August 9, will offer two novelties: the world premiere of British composer Nicholas Maw's Rising of the Moon and Italian baroque composer Cavalli's La Calisto, revised and adapted by R. Leppard. The program also includes Eugene Onegin, II Turco in Italia and Zauberflote. — EDINBURGH INTERNATIONAL FESTIVAL (8/23- 9/12) also plans opera for this season.

In Spoleto LA (6/25-7/12) will include per- formances by the Juilliard School's American Opera Center of Mercandante's // Giuramento to be conducted by , while in Carmen, La Traviata and Lescaut will be given in the Arena from July 16 to August 16. — The MAGGIO MUSICALE FIORENTINO (5/5-6/30) will offer the unusual, varied repertory of Ravel's L'Enfant et les sortileges. Sauguet's La Voyante, Satie's Reldche, Bucchi's // Coccodrillo, Stravinsky's Persephone, Spontini's La Vestale and also Verdi's in the Teatro Communale.

The GULBENKIAN FESTIVAL (5/8-6/9) in Lisbon will be the site for the world premiere of Braga Santos' opera, Trilogia das Barcas, as well as for a new production of Gluck's Iphigenie en Tauride. Penderecki's oratorio, St. Luke's Passion, is also scheduled as are concerts by the Philadelphia Orchestra.

Pelleas et Melisande, , Janacek's The Excursions of Mr. Broucek and the seldom-performed Haydn opera, La Fedeltd premiata will be produced at the HOLLAND FESTIVAL from June 15 to July 9. — AIX-EN-PROVENCE has also scheduled Pelleas et Melisande and a Haydn opera, — this one II Mondo della luna, in addition to productions of and Nozze di Figaro. 9 FORECAST - Fall '70 The LOS ANGELES MUSIC CENTER and the NEW YORK CITY OPERA COMPANY have jointly announced the return of the New York company to the Center in November 1970. This will be the fourth consecutive year for the N.Y. City Opera to play in Los Angeles. Sixteen performances of eight operas are scheduled. In its New York fall season, the company will offer a new production of Donizetti's , which, after a most auspicious start in 1837 (within the first 16 years the opera traversed all of Europe and was also performed in North, Central and South America), slowly fell into oblivion. With the exception of a concert performance by the American Opera Society in 1965 in New York, it has not been heard here for a very long time. Beverly Sills, , Nicholas di Virgilio and will be featured in the City Opera's produc- tion. -— A new production of , unveiled at the Teatro in in December under the baton of Julius Rudel, will be offered at the City Opera and later at the J. F. Kennedy Center in Washington, again under Mo. Rudel's direction. The SAN FRANCISCO OPERA COMPANY'S forty-eighth season will open on September 18 with Tosca with Regine Crespin, Ludovico Spiess and Cornell Mac- Neil. The company will offer eleven operas before the closing date on November 29. This will be the fourteenth season for the DALLAS CIVIC OPERA which plans a total of four productions during November. Madama Butterfly is scheduled for November 13 and 15, starring , and the subsequent will present Gian Piero Mastromei in his American debut. The has set the opening of its sixteenth season for September 25; a total of nine operas will be produced, two on a double-bill. Of greatest interest may be the first American performance by a professional com- pany of 's with in the title role and also featuring and Richard Lewis. Christa Ludwig, Yvonne Minton and Patricia Brooks will star in together with Walter Berry under the musical direction of Christoph von Dohnanyi; Turandot will be sung by with Felicia Weathers as Liu; the latter will also appear as Madama Butterfly. La Traviata will present Montserrat Caballe and , and will have Christina Deutekom, and Norman Mittelmann in the leading parts. Marilyn Home will be heard in The Italian Giri in Algiers together with Ottavio Garaventa; Tito Gobbi will portray while Geraint Evans will perform on the same night in Bluebeard's Castle. singing all three soprano roles in Tales of Hoffmann for the first time seems to be the hottest news item on the SEATTLE OPERA COMPANY'S program for next season. Co-starring in this new production in November with her will be John Alexander and . Madama Butterfly in September will be the other new production and will be designed by Robert Darling with Marcella Reale and Flaviano Labo as the ill-fated lovers. In January '71 The Mar- riage of Figaro will feature , Olivera Miljakovich and Herbert Lackner while and Elinor Ross will co-star in Don Carlo in March, and April will bring Carmen with Viorica Cortez, Evelyn Mandac and Nicholas di Virgilio. Long range planning becomes a necessity when attempting to present the most sought-after artists and Glynn Ross, general director of the Seattle Opera, just announced the engagement of Richard Tucker for November 1971 and Beverly Sills for April 1972. September 18 marks the opening of the 'S 1970 season which will be inaugurated with Fidelio starring , Glad Peterson and . Other scheduled operas will include Don Giovanni with Eileen Schauler, Heather Thomson and , with Jeanette Zarou, Carmen with Ruza Pospinov-Baldani and La Traviata featuring Urszula Koszut. The National Educational Television is presently rehearsing and taping The Ab- duction from the Seraglio for airing next season when the Canadian Opera Com- pany's production of Louis Riel will also be seen.

— 10 — TRAINING FOR ARTS ADMINISTRATORS, Other Courses

Arts administration programs, added by some leading universities, vary in length, depth and credits. Harvard University will condut a four-week Summer Institute in Arts Administration (7/6-31) under he direction of Douglas Schwalbe of the Loeb Drama Center. Some courses will be under the guidance of professors from the Business School, and the School's case analysis methods will be applied. Under the aegis of the Graduate School of Business Administration in cooperation with the College of Fine Arts, the University of California in Los Angeles is es- tablishing an Arts Administration Program which will offer a Master of Science degree in Business Administration. Approximately six academic quarters of post graduate study will be required for the degree. Students with bachelor degrees in any field and with knowledge and/or involvement in some artistic field are eligible. The course includes a working-in-residence program and a number of California arts institutions have expressed their willingness to participate and to offer jobs to students during that part of their training period. Hy Faine, executive secretary of the American Guild of Musical Artists and presently on leave of absence from that position, will be at UCLA as Regents Professor to advise on and prepare areas of curriculum and to hold courses on "Environment of the Arts World" and "Pro- gramming Policies in the Performing Arts". 's York University is in the process of setting up programs in arts ad- ministration to start in the fall of 1971. Projected as part of the Master of Business Administration degree program, new courses are now being discussed and planned. Meanwhile, some short courses in those areas are offered. "Legal Aspects of Per- forming Arts Administration" was presented during a three-day symposium, and administrative planning and audience development are future subjects under consideration for the short-term courses. The first Ph.D. in arts administration will be awarded this summer by the Uni- versity of Wisconsin in Madison, and a new program for an M.A. degree within the School of Business will be initiated there next fall. The first annual "Institute on Facilities for the Fine and Performing Arts" will be held at Calvin College, Grand Rapids, Michigan in August. It will be co-sponsored by the College and Bolt Beranek and Newman, the acoustical and theatre con- sultant. The Institute will coincide with the Grand Rapids Summer Festival of the Arts. The "Contemporary Music Project" of the Music Educators National Conference, co-sponsored by the Ford Foundation, will offer graduate level summer courses for college music teachers. Five universities will participate in the project which carries the catch-all title, "Comprehensive Musicianship": University of South Florida in Tampa, Case Western Reserve University in Cleveland, Eastman School of Music in Rochester, N.Y., University of Southern California in Los Angeles and North Texas State University in Denton. — Also under the auspices of MENC's "Contemporary Music Project," three colleges (George Peabody College for Teachers in Nashville, Tenn., San Jose State College in California and Wichita State University in Kansas) will offer summer in-service training for school music teachers (grades 1-12). MENC and its president, Wiley L. Housewright, went on record in support of the addition of "youth music" (including rock) to the music curriculum at public schools, colleges and universities. It was also suggested to have a rock festival on the White House lawn "to reduce the generation gap". Further innovations and new guidelines will be discussed at the Biennial National Convention in Chicago, March 6-10, 1970. The next National Conference of the Associated Councils of the Arts, scheduled for May 20-23 in St. Louis, will be devoted to Youth Education and the Arts: A Community-School Commitment. George Schick, president of the Manhattan School of Music, announced a new Extension Division which will also offer courses on "Production of Operas and Operettas in the Community" under the direction of Nicholas Flagello. (The — 11 — school's opera department has been renamed The John Brownlee Opera Theatre in memory of the who had been the school's director and subsequent pres- ident for 13 years.) The Juilliard School's new "Institute of Special Studies" includes master classes and lectures. Rudolf Bing, general manager of The Metropolitan Opera, recently conducted four on-hour lectures on "Opera as a Career". The Music Campus at Sea will again consist of a 36-day music study cruise through the Mediterranean during the summer. The music program, under the auspices of Indiana University, will be directed by Dean Wilfred Bain. The University will give five hours of credit to participants of the Campus. Instrumental and vocal instruction is offered during the tour which may be booked through Ambassador Travel Service, 202 E. Michigan Ave., Kalamazoo, Mich. 49006. Cost, which varies somewhat with type of accommodations, starts at $1,100 and includes air fare round trip New York-London as well as rail transportation with intermittent stops to the port of embarkation. Ports of call include Istanbul, Dubrovnik, Alex- andria and a number of cities in and Spain. The annual Opera Workshop at OGLEBAY INSTITUTE in Wheeling, W. Va. will, as usual, be under the direction of Boris Goldovsky with Arthur Schoep and Fred- eric Popper as his faithful assistants. August 3 through 24 are the dates, and persons interested in applying as resident or non-resident students or as auditors must apply for registration before May 1. A limited number of vocal scholarships will be avail- able to men, and the National Federation of Music Clubs will again offer a full scholarship to a proficient pianist seeking further training as an operatic coach. Application forms may be obtained from Oglebay Institute Opera Workshop, Ogle- bay Park, Wheeling, W. Va. 26003. A new experimental program for school children is being launched in . Blanche Thebom, general director of the Southern Regional Opera Company, is responsible for the fruition of the project devised by composer Raymond Pannell in cooperation with Robert Waggoner of the Atlanta school district. An anonymous gift of $100,000 from a local donor will finance the Youth Experimental Opera Workshop for four academic quarter sessions for 40 students each. The first courses will begin in March with two operational quarters for high school students and one for upper elementary school children. Opera in the traditional sense will occupy only part of the studies which will research new ideas in sound and performance.

NEWS FROM TRANSLATORS AND PUBLISHERS

Paul Csonka, conductor of the Civic Opera of the Palm Beaches and of the San Carlo Opera in Tampa and who is also on the musical staff of the Opera Guild of Greater Miami, has translated the following operas: The Bartered Bride, Bastien und Bastienne, , La Damnation de Faust, , L'Elisir d'amore, Die Ent- fuhrung aus dent Serail, Eugene Onegin, Falstaff, Fidelio, Die Fledermaus, , The Impresario, Die lustigen Weiber von Windsor, and Manon. Ariane Theslof, Mrs. Csonka in private life, collaborated on the translations which are published by Edwin F. Kalmus, New York. Alfred Morgan has added Romeo et Juliette to the list of his opera translations. It is available from him at 210 West 70 Street, New York, N.Y. 10023.

Anthony Addison, director of the Opera Theatre at the Cleveland Institute, has written his own English version of La Serva padrona for the recent performance by his group. G. Schirmer, Inc. has published a new English version of Mozart's Bastien and Bastienne by Hamilton Benz. The vocal score containing the translation sells for $3.00.

The Philadelphia music publishing and retail house of ELKAN-VOGEL, INC. has be- come a subsidiary of Theodore Presser, Inc. and the offices have been moved to Presser's headquarters in Bryn Mawr. However, the company will continue to publish under the — 12 — name Elkan-Vogel and will continue to represent its foreign publishers. — THEODORE PRESSER COMPANY, Inc. has also acquired all rights to the catalogue of the Society for the Publication of American Music. FRANCO COLOMBO PUBLICATIONS announced that it has submitted a tape of 's opera Of Mice and Men for consideration to the Pulitzer Prize Commit- tee. The tape was made during the Seattle Opera Company's premiere of the work in December. A new company created to service music libraries, institutions and professionals is JOSEPH BOONIN, INC., Music Publications, 831 Main Street, Hackensack, N. J. The company will supply music from foreign and domestic publishers, periodicals and music books, performance material for all media and information on new publications and reissues.

BOOK CORNER

A most valuable addition to the existing books on Verdi is Charles Osborne's THE COMPLETE OPERAS OF VERDI. In 472 pages Mr. Osborne deals with all twenty-six operas and includes a chapter on the and other music, too. With one chapter devoted to each opera, Mr. Osborne first gives the history of the opera, then a synopsis of the libretto and finally a knowledgeable and lively description of the music with musical examples for clarification. He deals most successfully with each work, offering informative analysis of interest to the profes- sional yet easily comprehensible to the layman. Alfred A. Knopf is the publisher of this $10.00 book.

An excellent treatise on early opera is offered by Winton Dean in his book, HANDEL AND THE OPERA SERIA, published by the University of California Press in Berkeley. It represents a collection of lectures delivered by Professor Dean while at Berkeley in 1965-66 and offers a most valuable insight into Handel's large and neglected output of a total of 39 opera seria, not including oratorios. The book, which contains generous musical samples, offers comparison with other early operas, both seria and the more popular form, the opera buff a, written by Handel's contemporaries. The price for the 220-page book is $8.50.

Two books recently published seem to draw the last and final line under the Metropolitan Opera-39th Street era. John Briggs' REQUIEM FOR A YELLOW BRICK BREWARY, A History of the Metropolitan Opera, tells, less in the form of annals and more as a loving parent, of past glories—and sometimes of somewhat less glorious but more amusing moments, as it follows the life of the company between its closing at the Academy of Music and its move to Lincoln Center (1883-1966). Now, with the Yellow-Brick Brewary gone and a new high-rise office building bustling with people, the book already seems to evoke a bygone era with nostalgia. Mr. Briggs, former New York music critic, is also the author of books on Tchaikovsky, Beethoven and Bernstein. The latest book, published by Little, Brown and Co., contains 360 pages interspersed with many photographs, some published for the first time. The price is $8.95.

A LAST LOOK AT THE OLD MET features pen and ink drawings by Judith Clancy, dancer and artist. A short text by the artist, dealing with her own attach- ment to the house and the company, preceeds 14 pages of most pleasant drawings, some with sections of the house, others with a number of artists (musicians, singers, dancers) doing their thing. The book has been published by Synergistic Press in San Francisco; its price $3.95.

Danish-born , Aksel Schiotz, writes for the young singing student aiming for a professional career in his THE SINGER AND HIS ART, published by Harper and Row and available for $6.95. Rather than giving detailed advice on voice production and technique, he concentrates on the singer's approach to repertory

— 13 — and, giving examples from different styles of the vocal literature, he describes his interpretations. To further illustrate his points the singer recommends his favorite recording in each instance. The 205-page book, prefaced by accompanist Gerald Moore, also contains advice on attitudes and behavior based on the author's life- long international experience. Centennials of famous artists usually bring forth new biographies and George R. Marek, author of three books on opera and of two composers' biographies (Puccini and R. Strauss) gives us BEETHOVEN, Biography of a Genius in cele- bration of the composer's bicentennial year. This history of the life and work of Beethoven and of his contemporaries is heavily documented by letters'and quota- tions and is copiously illustrated. The author, who is vice president of RCA, only touches upon the compositions in respect to the composer's life without going into the details of the works. The 696-page volume has been published by Funk and Wagnalls and sells for $10.00. London's music critic, Martin Cooper, has written another Beethoven book, this one entitled BEETHOVEN: The Last Decade 1817-1827. It offers a lucid and scholarly analysis of the composer's late works aided by musical examples. The first part of the book is devoted to an equally well conceived examination of the last years of the composer's private life. The book should be of particular value to the serious musician although the searching layman will also find much to interest him. Published by Oxford University Press, the 483-page book is available for $12.75. This also being the Berlioz centennial, we find a new edition of the first complete English translation by David Cairns of THE MEMOIRS OF HECTOR BER- LIOZ. A warm, human and highly emotional account of his own life, it is a most welcome addition to composers' autobiographies. The reader will find himself caught up in the lively accounts of the French, Russian, Austrian and German musical life and in the composer's joys and trials. Alfred A. Knopf published the 636-page book containing 30 illustrations to sell for $12.50. The sixth and latest in a series of books co-authored by and Robert Craft is RETROSPECTIVES AND CONCLUSIONS, published by Alfred A. Knopf. It may be the most fascinating and is certainly the most outspoken of his "diary books" (including comments on himself). As the composer nears his ninth decade (he will be 88) he is a peer unto himself and speaks freely of his likes and dislikes. This 350-page book contains discussions between Stravinsky and Craft, reviews, essays and other writings on innumerable musical subjects and on the master's reflections on life in our time. This thought-provoking document available for $7.95 is an important addition to every music library. (COS' National Chairman, R. L. B. Tobin, appears as "our distinguished-looking friend" in this volume.) THE MUSIC MERCHANTS by Milton Goldin traces American musical history by following the footsteps of those who "made music in America great",—great in the sense of popular. Sometimes, however, quality went along with this greatenss, as in the case of lenny Lind, who was promoted by P. T. Barnum. It is both an informative and entertaining book authored by a public relations man and it is interwoven with stories about a wide variety of personalities ranging from artists, impresarios and directors to wealthy and famous patrons. The price of this 249- page book published by The MacMillan Co. is $6.95. The 70th anniversary of an orchestra is the occasion for the publication of Herbert Kupferberg's THOSE FABULOUS PHILADELPHIANS, The Life and Times of a Great Orchestra. In 250 pages the reader relives the orchestra's early years, the Stokowski era and the Ormandy dynasty. The book is lively with anecdotes, some not previously encountered, and the long index points to the many famous names included in the tale. The book contains some pertinent photographs, a discography of the orchestra and a listing of the orchestra's first performances. Published by Charles Scribner's Sons, the book sells for $7.95. Manuel Mujica-Lainez's prize-winning novel, BOMARZO, is well known to opera buffs as the story used by Alberto Ginastera for his opera by the same title. Now the book about an Italian duke has been translated into English by Gregory Rabassa and published by Simon and Schuster. The Argentinian writer was inspired to his — 14 — Gothic tale by grotesque, carved, stone figures found on an estate outside Rome, known only to have belonged to a Duke Pier Orsini in the 16th century. The fantastic yarn is spun through 573 pages; the book sells for $10.00. THE PSYCHOLOGY OF CONDUCTING by Peter Paul Fuchs offers the young conductor guidelines in his approach to the profession, to dealing with managers, board members, orchestra musicians, and it touches upon many problems the fledgling maestro will encounter. There are a number of technical pointers, but the emphasis in this 143-page book is, as the title indicates, on the psychological approach. (Some excellent scholarly treatises on the art of conducting are already available). Mo. Fuchs is conductor in Baton Rouge, La., where he is also director of the opera department at Louisiana State University. His book is published by MCA Music and is available for $4.95. The UNIVERSITY MUSIC EDITIONS, Inc., P. O. Box 192, Fort George Sta- tion, New York, N.Y. 10040, which has successfully offered music on microfiche reprints to music libraries, will now make its product available on the general mar- ket. High quality reproductions on microfilm, arranged on cards of 60 pages each, come with special binders for proper storage. So far the complete editions of the following composer's scores are available on microfiche: Bach $310, Beethoven $170, Berlioz $115, Brahms $185, Chopin $45, Cornelius $50, Liszt $150, Men- delsohn $175, Mozart $290, Palestrina $240, Rameau $220, Schein $65, Schu- mann $135 and Sweelinck $60. Viewers are available from $100 up.

NEW DIRECTORIES AND REFERENCE BOOKS The DIRECTORY OF STATE ARTS COUNCILS 1969-70 includes, for the first time, detailed information on appropriations and programs and lists names of commission members, etc. Publ: Associated Councils of the Arts, 1564 Broadway, New York, N.Y. 10036; 62 pp.; $2.00. SUMMARY OF TESTIMONY GIVEN TO CONGRESSIONAL COMMITTEE regard- ing the extension of The National Endowment for the Arts (see also "Arts and Govern- ment" this Bulletin). Publ: ACA; made available through Central Opera Service to its members for a reduced price of $1.00, COS, Metropolitan Opera, Lincoln Center, New York, N.Y. 10023. GRANTS AND AID TO INDIVIDUALS IN THE ARTS listing over 1300 sources of aid to individual artists in all fields, including college and university scholarships. Publ: Washington International Arts Letter, Grants in the Arts, POB 9005, Washington, D.C. 20003; $8.95. SPACES FOR THE PERFOMING ARTS, A Directory of Auditoriums, Meeting Rooms, Rehearsal Spaces, etc. in New York City. An excellent comprehensive list of all avail- able facilities, arranged by boroughs, showing seating capacity, rental fees, possible ser- vices (stage, pit, projection, food, etc.) and other pertinent information. Publ: N.Y.C. Department of Cultural Affairs, Doris Freedman, Director, 830 Fifth Avenue, New York, N.Y. 10021; Free. THE ARTS MANAGEMENT HANDBOOK (see "Arts and Business" this Bulletin) Law-Arts Publishers, Inc., 453 Greenwich St., New York, N.Y. 10013; $12.50. BUSINESS IN THE ARTS '70 (see "Arts and Business" this Blltn.) Business Committee of the Arts, 1270 Ave. of the Americas, New York, N.Y. 10020; $6.95. Central Opera Service's own latest publication: DIRECTORY OF FOREIGN CON- TEMPORARY OPERAS (companion piece to COS DIRECTORY OF AMERICAN CONTEMPORARY OPERAS) a 70-page volume covering the lifetime output of com- posers who have had at least one premiere since January 1, 1950. Information included: title of opera, name and nationality of the composer and librettist, length and a general description of the work, dates and locations of world and American premieres, source of availability of the score. Publ: COS, Metropolitan Opera, Lincoln Center, New York, N.Y. 10023; $5.00.

— 15 — MUSICAL COLLECTIONS

The complete library of the late has been donated to the music library of Northwestern University by the conductor's widow. Scores, books, recordings and other memorabilia will be housed in "The Fritz Reiner Memorial Room." Also included will be Dr. Reiner's desk and chair from his years as chief conductor at the Dresden Opera as well as musical instruments and many pictures. The School of Music will attempt to arrange his possessions the way they were at Dr. Reiner's home in Weston, Conn., and George Howerton, Dean of the School of Music, said that the University will add similar musical material" to make the Reiner Collection one of the foremost in the country." Mrs. Reiner feels it especially fitting to have this Memorial Library near Chicago where her husband was director of the Symphony for the last ten years of his life. LOTTE LEHMANN presented the University of California with a collection of memorabilia from her artistic career and her personal life. Included are photo- graphs, tapes, films, programs, clippings and a great number of letters written to her by famous contemporaries such as composers, writers, singers and conductors. LAUDER GREENWAY, chairman of the board of the Metropolitan Opera, has presented his collection of over 9,000 opera and concert recordings to the Research Library of the Performing Arts at Lincoln Center. The collection, which will be- come part of the Rodgers and Hammerstein Archives of Recorded Sound, con- tains great rarities such as Caruso and Chaliapin Pathe recordings of 1902. A JAN KIEPURA and MARTHA EGGERTH collection of letters, documents and artifacts was donated to by soprano Martha Eggerth, widow of the Polish-born tenor. The WHITE HOUSE announced the establishment of a White House Music Record Library to become, possibly, the largest of its kind. The Recording Industry Association of America will donate the records and sound system to the White House for use by the President, his family and guests; a duplicate library will be assembled and made available for public use in a yet undesignated institution in Washington, D.C. A commission has been appointed with an expert in each cate- gory which will make up the collection: popular, jazz and rock, folk and country music, the spoken word and , for which Irving Kolodin will be the advisor. Mrs. Andre Mertens, widow of the concert impresario, has donated the "ANDRE MERTENS GALLERIES of Music Instruments" to New York's Metropolitan Museum of Art. These galleries, comprised of six rooms, are to house the prestigi- ous Crosby Brown Collection of some 4,000 rare musical instruments given to the Museum in 1900. On the occasion of the opening of the new galleries, Emanuel Winternitz, curator of musical instruments, gave a demonstration of some of the delicate instruments. The HINDEMITH FOUNDATION with headquarters in Erlenbach, Switzerland, plans to publish the complete works (music and writings) of . The Foundation would greatly appreciate receiving photo-copies of any music manu- script, letter or notes presently in private hands for inclusion in the publication. Even in cases of previously published material, a copy of the manuscript will serve to verify its accuracy for the reprint in the Gesamtausgabe. Please contact Dr. Kurt von Fischer, Laubholzstrasse 46, Erlenbach, Switzerland. Helene Berg, widow of Alban Berg, is establishing the ALBAN BERG FOUN- DATION. The Foundation will serve to fulfill the composer's wish to assist needy students through grants from royalties of performances of Berg's compositions. The American chapter of the BERLIOZ SOCIETY with headquarters at Columbia University presents lectures, films and demonstrations concerning the composer or related subjects. Further information may be obtained from Michael Bavar, 601 West 115 Street, New York, N.Y. 10025.

— 16 — COMPETITIONS AND GRANTS FOR COMPOSERS AND CONDUCTORS Celebrating its 25th anniversary, THE GAUDEAMUS FOUNDATION in Bilthoven, Holland, is holding an international composer's competition open to musicians born after January 1, 1934. Compositions for choir, chamber or orchestral music and elec- tronic works are eligible. To mark the anniversary, the customary prize of 3000 Dutch Guilders will be augmented this year by another 5000 and the winner will be announced during the International Gaudeamus Music Week September 9-18. At that time, the Competition for Interpreters of Contemporary Music will also be held (see COS' Awards for Singers brochure). At the fourth International COMPETITION FOR COMPOSITIONS FOR THE BAL- LET, held in Geneva in September 1969, Turkish composer Ilhan Usmanbas was awarded second prize for his Musique pour ballet; Les Jours I The Days won the third prize for Canadian John Rea. No first prize was awarded to any of the 56 contestants. The $1,000 YALE GORDON FOUNDATION Award is offered for a prize-winning composition for chorus or orchestra by the Jewish Community Center, 5700 Park Heights Avenue, Baltimore, Md. The winning composition will also be presented by the Center during the 1970-71 season. Sigma Alpha Iota, which sponsors the INTER-AMERICAN MUSIC AWARDS com- petition, will award $300 for a winning choral composition and guarantee at least one performance as well as the publication of the work by either Carl Fischer of C. F. Peters. Compositions must be submitted before September 1, 1970 to Sigma Alpha Iota Founda- tion, 165 West 82 Street, New York, N.Y. 10024. The 18th BMI AWARD FOR STUDENT COMPOSERS is open to citizens and per- manent residents of the Western Hemisphere under 26 years who are either enrolled in a secondary school, college or conservatory or who are studying privately with a recog- nized and established music teacher. A total of $15,000 will be awarded in prizes ranging from $250 to $2,000. To aid contemporary composers, the FORD FOUNDATION has initiated a $375,000 program to defray some costs involved in publishing and recording new serious music. The money will be available to publishers who must submit applications to the Founda- tion. In the case of compositions of shorter duration than one LP record, various pub- lishers may share one record grant which offers a maximum of $7,500 for one LP disc. Both published and unpublished music is eligible for recordings. Grants are also avail- able for the publishing of the unpublished compositions. Inquiries should be addressed to The Ford Foundation, Recording-Publication Program, 320 East 43 Street, New York, N.Y. 10017. Thirty contenders from eighteen countries vied for prizes of the DIMITRI MITRO- POULOS INTERNATIONAL CONDUCTORS' COMPETITION held in New York in January. Three first-prize winners received gold medals, $5,000 cash prizes, performances with the and positions of assistant conductor with that or- chestra. They are 27-year-old Phillippe Bender from France, 33-year-old Mario Ben- zecry from Argentina and 33-year-old David Gilbert of the U.S. A silver medal and $2,500 cash went to the 30-year-old Israeli Yuval Zaliouk and a bronze medal and $1,000 to the 22-year-old American Guido Ajome-Marsan. The competition is sponsored by the Women's Division of the N.Y. Federation of Jewish Philanthropies. James Frazier, 29 years old from Detroit, won this year's CANTELLI PRIZE in Novara, Italy, in the fifth International Competition for Young Conductors. There were forty-two contestants for the $1,600 cash prize. Christopher Keene, 22-year-old conductor from California, won the JULIUS RUDEL AWARD making him apprentice in all administrative and artistic matters at the New York City Opera. He will join the company's musical staff under the personal tutalage of Mr. Rudel. The young musician's professional experiences include participating in the production of opera in California, conducting at the Spoleto Festival and for the Ameri- can Ballet Company. He was chosen from among thirty applicants, including twelve from foreign countries.

— 17 — AWARDS TO SINGERS and WINNERS The National Finals of the METROPOLITAN OPERA NATIONAL COUNCIL AUDI- TIONS, intended for November 1969, were postponed due to the closed opera house and have now been scheduled for Sunday evening, April 5 at 8 p.m. As usual, tickets are available through contributions. Celebrating the fifteenth anniversary of the Na- tional Council's Auditions Program, the following ten winners of the semi-finals will be heard in April: Elaine Cormany, Margaret Garrett, Gilda Cruz-Romo, Mary Foster Strebing, Frederica von Stade, Kristi Vensand, Eugenie Chopin Watson and Fernando Barabino, James T. Johnson and Perry Price. Four cash prizes and a possible Metro- politan Opera contract will be awarded at that time. — Meanwhile the 1970 regional auditions are being held at the following dates and places: New London, Conn. 2/1 * Boston, Mass. 2/22 Chicago, 111. 1/27 Denver, Colo. 2/27 Atlanta, Ga. 1/30 Bloomington, Ind. 2/28 San Antonio, Tex. 2/7 Cleveland, O. 3/1 Tulsa, Okla. 2/13 Memphis, Tenn. 3/1 Minneapolis, Minn. 2/14 Washington, D.C. 3/14 , La. 2/15 Honolulu, Hawaii 3/14 Seattle, Wash. 2/15 Los Angeles, Cal. 3/16 * this is the first time that Eastern Regional Auditions are not held in New York. The 1970 semi-finals and finals will be held in October and November respectively and the program will return to its original format of scheduling these two events in close proximity of one another.

After one year in operation, the CORBETT FOUNDATION OPERA PROGRAM can chalk up some excellent results. It has, at present, forty young singers in the program, most of them in Europe training at the Corbett Foundation's Zurich Studio. Thirteen singers have received contracts with European opera houses for the 1970-71 season and another ten have been signed by opera companies in Europe for special engagements. The 13 artists with seasonal contracts are: Harriet Beebe (mezzo from Ind.) to Hagen, Germ., Sharon Bennett (sop. from Ohio) to Nuremberg, Germ., Elaine Cormany (sop. from Texas, also finalist in Met. National Council Auditions) to Nuremberg, Germ., Norma Dean (sop. from Tenn.) to Hagen, Germ., Emily Derr (sop. from N.Y.) to Augsburg, Germ., Philip Erikson (ten. from N.J.) to Koblenz, Germ., Ronana Gales (sop. from N.Y.) to Koblenz, Germ., Grayson Hirst (ten. from N.Y.) to Bern, Switz., Steven Kimbrough (bar. from N.J.) to Bonn, Germ., Linda Matousek (mezzo from Ind.) with a 3 year contract, Berlin, Germ., Rico Serbo (ten. from Cal.) to Koblenz, Germ., Donna Woodward (sop. from Va.) to Lucerne, Switz. and Jane Wright (sop. from N.Y.) to Koblenz, Germ. In addition to the above engagements these singers have also been signed for guest appearances with other opera companies. Participating singers are chosen through auditions in the U.S. and must have had some professional experience. Coaching and language training as well as stage deportment courses are offered in Zurich and auditions for managers and opera directors are arranged by the Foundation. This year's INTERNATIONAL COMPETITION FOR YOUNG MUSICIANS held near will again be open to singers; the last time singers competed there was in 1967. Eligible are vocalists born after May 29, 1935 and before May 29, 1950. Con- testants must be on hand for the duration of the competition May 29 - June 14. Cash prizes are exceedingly generous with a first prize of $10,000, 2nd prize of $5,000, 3rd of $2,500, 4th of $1,500, 5th of $1,000 and seven additional prizes of $500 each. Applica- tion forms and brochures listing the demanding repertory requirements are available from the International Institute of Music of Canada, 106 Dulwich Ave., St. Lambert, P.Q. The NEW YORK CONCERT ARTISTS GUILD announced a new $500 award in honor of Victoria Riskin. This annual grant will be given in recognition of outstanding vocal talent and professional experience is not required. The NORTH CAROLINA SCHOOL OF THE ARTS announces the first Vittorio Giannini Scholarships, provided for in Dr. Giannini's will. Four $1,000 scholarships will be available annually to students of the school who are to be chosen on merit, two from the composition department, one from the voice and one from the violin department. The first recipient of the vocal scholarship is Johnny Williams from Raleigh.

— 18 — In Mid-April, CHATHAM COLLEGE will hold auditions for women singers between the ages of 18 and 26 in New York City who will be competing for five cash prizes of- fered by the Minna Kaufmann Ruud Foundation. Three winners will receive $1,000 each, two others $500 each. For applications write to Chatham College, Pittsburgh, Pa. 15232. Mary Foster Strebing, a finalist in the Metropolitan Opera National Council Auditions has won the $1,500 first prize of the Sullivan Foundation Award. •— Soprano Sallie Valente, former member of Juilliard's Opera Theatre, won the Young Artist Award of the National Arts Club. — Kathleen Mott, graduate student at the Univ. of Texas, was named "Singer of the Year" by the National Ass'n. of Teachers of Singing. — Sigma Alpha Iota, international music fraternity for women, presented its Chautauqua Per- formance Award to soprano Maria Venuti from Geneva, N.Y. — Donald Gray was the 1969 winner of the $1,500 Scholarship Award given by Northwestern U. The tenor from Aberdeen, S.D. is presently studying for his doctorial degree at North- western where he also participates in performances. — In addition to the previously an- nounced winner of last summer's American Opera Auditions in Cincinnati, Gwynn Cornell, Ana Riera, Michael Cousins and Leslie Gwynn were chosen to perform L'Amico Fritz in Mantua, Italy.

Winners at the 1969 International Competition in Geneva were South Korean Yoo Yeon Lee, and Romanian Ionel Pantea sharing the first prize; Canadian Maurice Brown re- ceived second prize. The 1969 Vocal Competition in s'Hertogenbosch in Holland had three first prize winners, American Walker Wyatt, Romanian Maria Slatinaru and Danish Else Paaske. Second prizes went to American Leslie Johnson, Dutch Hubert Waber, Canadian Maurice Brown and German Karl Markus. A third American, Klesie Kelly, took honorable mention.

APPOINTMENTS Executive positions in major artistic organizations underwent some changes. JOHN B. HIGHTOWER, 36-year-old executive director of the successful New York State Council on the Arts for the last six years, was named director of New York's Museum of Modern Art. He succeeds Bates Lowry who left after less than one year in the position. Mr. Hightower begins in his new position on May 1.

C. DOUGLAS DILLON, chairman of the Business Committee for the Arts since its inception, has been named president of the Metropolitan Museum of Art in New York, succeeding Arthur A. Houghton, Jr. Mr. Dillon, banker, diplomat and former cabinet member, is president of the U.S. and Foreign Securities Corporation. He has been a trustee of the Museum since 1951. — Succeeding Mr. Dillon at the three-year-old BCA is ROBERT O. ANDERSON, chairman of the Atlantic Richfield Corporation. His ar- tistic affiliations include the chairmanship of the Aspen Institute of Humanistic Studies and vice chairmanship of the J. F. Kennedy Center for the Performing Arts in Wash- ington. BCA's membership of 107 is comprised mostly of heads of the country's largest and most influential corporations. The organization is dedicated to advise and guide big business in its involvement with the arts.

DR. PETER MENNIN, president of the Juilliard School, has been named chairman of the Music Advisory Panel of the National Council on the Arts. Walter F. Anderson is the Council's music program director.

NORMAN SINGER, general administrator of the N.Y. City Center of Music and Drama, has been appointed dean of administration of N.Y. (City) University's Graduate Division. Mr. Singer, formerly administrator of the Hunter College Concert Bureau and executive director of the Aspen Festival and dean of its Music School, will begin in his new post on September 1, 1970. — OMUS HIRSHBEIN has succeeded Mr. Singer as director of the Hunter College Concert Bureau; a replacement for the N.Y. City Center position has not yet been announced.

— 19 — The North Carolina School of the Arts Foundation, Inc. has appointed ROGER GRIF- FIN HALL as its new president and as executive director of the School. is president of the School. Mr. Hall headed the A & R division (artist and repertoire) of RCA/Red Seal. OLIVER DANIEL, vice-president of Broadcast Music, Inc. and treasurer of the National Music Council, was appointed individual member of the International Music Council at the general assembly meeting in Paris. Mr. Daniel was chairman of the planning com- mittee for the International Music Congress held in the U.S. in September 1968; he also was speaker and moderator during the COS National Conference in Minneapolis in October 1969. Other new individual members simultaneously appointed to the IMC are Nadia Boulanger and Mstislav Rostropovich. JULIUS RUDEL, general director of the N.Y. City Opera, director of the Caramoor Festival and music advisor to the J. F. Kennedy Center, has been named music director of the Cincinnati May Festival for the 1971 and 1972 seasons. He will succeed Max Rudolf, music director and conductor of the Festival and the Cincinnati Symphony for the last 12 years. Mr. Rudel will guest conduct two concerts there this May. PIERRE BOULEZ will be the principal guest conductor of the Cleveland Orchestra and artistic director at the Blossom Music Festival, the orchestra's summer home. MARIO BERNARDI, Canadian conductor/pianist, will become the music director of the Stratford Festival in Ontario, succeeding retiring Victor di Bello. Miss Andree Gingras from CBC, Montreal, will be music administrator and Mr. Bernardi's assistant. LEONARD ALTMAN was named president of the Concert Artists Guild, Inc., a non- profit organization dedicated to further the careers of selected individual artists. Appointments to executive positions were announced at five foreign opera houses. Aus- tria: Dr. Gottfried Heindl, former director of the Austrian Cultural Institute in New York for three years and previously on board of directors of the Austrian Radio and TV, to chief of the Austrian State Theatre Administration, supervising the Vienna Staatsoper, Volksoper, as well as the two national theatres, as per January 1970. — Germany: Wolf- gang Windgassen, world-reknowned tenor, to acting artistic director at the Stuttgart Opera, following the retirement of W. E. Schafer in spring 1971. — France: Rene Nicoly as director of the Grand Opera succeeding Georges Auric. — Italy: Composer Mario Zafred (Amleto, Wallenstein) to the administration of the Rome Opera. — Russia: 28- year-old Yuri Simonov as chief conductor of the Bolshoi Opera and Ballet replacing G. Rozhdestvensky who will become leading conductor for Soviet radio and television. Recent academic appointments include Hy Faine, to Regent's Professor in Arts Adminis- tration at UCLA while on a 6-month sabbatical from AGMA; — Metropolitan Opera conductor Martin Rich as part-time faculty member of Temple University's School of Music while continuing his post at the Met; — Adelaide Bishop, as stage director of the Opera Theatre of Boston University; — William Russo as director of the newly-created jazz and rock workshop at the Peabody Institute in Baltimore; — Dr. Robert Bays, for- merly with George Peabody College in Tennessee, to chairman of the Music Department at the University of Texas; — Eugene Bonelli as chairman of the Division of Music of Southern Methodist University in Dallas; — Daniel Harris to the voice faculty of the University of Miami in Coral Gables; — Dr. George Seltzer as director of the Miami University Symphony in Oxford, Ohio, where Otto Frohlich is director of opera and composition.

PUBLICITY

Opera joined the button craze with the Seattle Opera distributing some with OPERA LIVES! and the Denver Lyric advertising its latest production with but- tons proclaiming GET AHEAD WITH . Corny? Maybe, but catchy. — The St. Paul Opera Company announced a "money-back" guarantee in a full-page ad in two daily papers and found itself without a single claimant for refund after — 20 — successful performances. — Bumper stickers, another medium for such slogans as "Opera Lives", also carried the message "Support School Music!", the latter dis- tributed by the Music Educators National Conference. For the promotion of international operatic good will and also as added service, the Metropolitan Opera Guild offers its members a nine-day European opera tour. In cooperation with KLM, flights are leaving weekly during February and March. The all-inclusive price (round trip New York-Munich, opera tickets, meals and accommodations) is $399; the round-trip plane ticket alone is available for $205.

NEW COS MEMBERS American International Managers Society, Sara Tornay, Pres., N. Y., N. Y. Aria, Pietro, Larchmont, N. Y. Arkansas, Univ. of, Opera Workshop, Maxwell Worthley, Fayetteville, Ark. Atlanta Arts Alliance, Atlanta Memorial Arts Ctr., Wm. C. Herring, Ga. Bemidji State College Opera Theatre, Fulton Gallagher, Dir., Bemidji, Minn. Bethel College, Fred P. Watkins, Mishawaka, Indiana Boonin, Joseph, Hackensack, N. J. Bowers, Karen Lee, New York, N. Y. Brenner, Daniel J., Seattle, Washington British Columbia, Univ. of, Library, Vancouver, B.C., Canada California, Univ. of, Library, Santa Barbara, California Central College Library, McPherson, Kansas Cobert, Mme. Jacqueline C, New Bedford, Mass. Cooperstein, Miss June, New York, N. Y. Csonka, Dr. Paul, Lake Worth, Florida Dayton Opera Assn., Lester Freedman, Gen. Dir., Dayton, Ohio Drexel Institute of Technology, Library, Philadelphia, Pa. Elon College, Mrs. Terrell W. Cofield, Dir. of Opera, Elon, N. C. Fresno State College, Rolland W. Hurst, Dir. of Opera, Fresno, Calif. Gouin, Raymond, Melrose, Massachusetts Hajtas, Major Francis, Pusan Base Command, San Francisco, California Johnson, Dr. Samuel, Jackson, Mississippi Kerne, Donald, Denton, Texas King, Miss Sharon, Brighton, Massachusetts Manuelian, Haig der, Boston, Massachusetts Marin, College of, Opera Workshop, Scott Merrick, Kentfield, California Missiouri, Univ. of, Norman Abelson, Kansas City, Missouri Morgan, Alfred, New York, N. Y. Nebraska, Univ. of, Opera Theatre, John J. Zei, Lincoln, Nebraska New England Conservatory of Music, Library, Boston, Massachusetts Niklaas, Miss Mary, New York, N. Y. Noble, Miss Luana, San Francisco, California Preacely, Mrs. Katharine M., Los Angeles, California Ragaini, Mrs. Carolyn, New York, N. Y. St. Cloud State College, Music Dept., Richard Cage, St. Cloud, Minn. Scarborough School, Miss Katherine Zades, Briarcliff Manor, N. Y. Serrlya, Miss Sivia, New York, N. Y. Shreveport Civic Opera Assn., Inc., S. Mark Lovell, Pres., Shreveport, La. Southeastern Mass. U., Prof. J. Cobert, North Dartmouth, Mass. Southern Methodist Univ., School of Music, Dallas, Texas Southern Mississippi, Univ. of, Robert Mesrobian, Hattiesburg, Miss. Stambaugh, Miss Marilyn, Canoga Park, California Stoltenberg, Mrs. Irene G., New York, N. Y. Tennessee, Univ. of, Paul Meek Library, Martin, Tennessee Time, Inc., Music Dept., New York, N. Y. Villarreal, Miss Sylvia, Philadelphia, Pa. Wagner, Miss Janet, New York, N. Y. Washington, Univ. of, Library, Seattle. Washington Western Illinois Univ., Library, Macomb, Illinois York University Libraries, Downsview, Toronto, Canada

— 21 — PERFORMANCE LISTING, 1969-70 Season (confc) All performances are staged with orchestra unless marked "cone, pf." or "w.p." (with piano). — Performances and news items once announced will not be relisted at the time of performance. — *denotes new production; m — denotes matinee. ARIZONA Univ. of Arizona Opera Theatre, E. Conley, Dir., Tucson 12/3, 4, 5/69 The Old Maid and the Thief & The Wise Woman and the King CALIFORNIA Lyric Opera Assn. of Orange County Repertory Company, V. Sun, Dir., Laguna Beach 11/16/69 Opera excerpts (Cost, Carmen Boheme) staged w.o. Pasadena Symphony Orchestra, R. Lert, Mus. Dir. 4/70 Der fliegende Hollander cone, pf.: Cassel West End Opera Assn., S. Petroff, Gen. Dir., Alta Loma 11/15/69 La Traviata Fahringer; Conley Western Opera Theatre, R. Woitach, Mus. Dir., c/o San Francisco Opera Co. 1/17/70 opening of tour: The Medium & Gianni Schicchi Matsumoto, Lindsey, C. Lewis, Rothfuss, Castle, D. Petersen; Brewer, Hall-Sundquist, Parkerson, Nolen, M. DiStefano, Holloway, Brundage, Fleck. also in repertory: La Boheme; Cost fan tutte both Eng. in full length and/or abbrev. vers. CONNECTICUT Eastern Conn. Symphony, V. Norman, Mus. Dir., New London 2/1/70 La Traviata cone, pf., G. Cruz-Romo (Ntl. Council Audition's Finalist) New Haven Opera Society, Inc., Herta Glaz Redlich, Prod.; F. Brieff, Cond. 2/21, 22/70 Die Fledermaus Eng.; Wells, Wegener, Zornig, Wyner; Bender, Billings, Clamp; st. dir.: Brenda Lewis DELAWARE Wilmington Opera Society, Wilmington 2/70 Help! Help! The Globolinks 4117, 18, 24, 25/70 Aida Bryson, Brame; A. Stewart, Chance DISTRICT OF COLUMBIA Opera at the Ford Theatre, Washington 5/70 Wright's Wings of Expectation (story of Mary Todd Lincoln) Bayard Washington Cathedral, P. Callaway, cond., Washington 12/31/69 La Montaine's Erode the Greate prem.; S. Barker FLORIDA Civic Opera of the Palm Beaches, Mus. Dir. Paul Csonka 1/27/70 Opera Scenes "Around the World With Opera" 3/6/70 Carmen Blackham; Merrill, Campora 4/5/70 Hansel and Gretel 5/14/70 The Telephone & Secret of Suzanne Florida State Univ. Opera Guild, M. Pollock Dir., Tallahassee 12/5, 6/69 The Abduction from the Harem (sic) 1/27, 28/70 Trouble in Tahiti & Sister Angelica Opera Studio, Paul Csonka, Dir., Miami 1969-70 Secret of Suzanne 8 pfs., w.p. Spanish Little Theatre, R. Gonzalez, Dir., Tampa 11/16, 23/69 La Paranda (zarzuela) Tenth Anniversary Season 2/8, 15/70 Triptico Madrileno 5/17, 24/70 Frederico Chuecca's Las Leandras (incl. perf. under Title I of HEW) State Opera Assn. of Fla., Fine Arts Festival, Fla. State Univ., Tallahassee 4/23, 24, 25/70 & Help! Help! The Globolinks HAWAII Hawaii Opera Theatre, Opera Festival, R. LaMarchina, Cond. (form. Honolulu Sym. Soc.) 2/6, 8, 10/70 Madama Butterfly 2/12 in Wailuku, Maui; Rondelli, deCarlo; Poretta Patrick; dir.: Perlee 2/20, 22, 24/70 The Marriage of Figaro Eng. 2/26 in Lihue, Kauai; Maxson, Peil, deCarlo; Monk, Patrick, Drake; dir.: Melano; des: delaCruz Honolulu Symphony Opera for Youth, R. LaMarchina, Mus. Dir., Honolulu 11/13, 14, 15/69 The Jumping Frog of Calaveras County 2 pfs. daily; spons.: Dept. of Education oo IDAHO Ricks College, Music Department, C. W. Hill, Chmn., Rexburg 3/18, 19, 20, 21/70 The Merry Wives of Windsor ILLINOIS The Chicago Symphony Orchestra, G. Solti, Mus. Dir., J. S. Edwards, Gen. Mgr. 3/12, 14, 16/70 Fidelio Silja, Popp; Thomas, Boehme; cond.: Solti; cone. pf. Northwestern University Opera Workshop, R. Gay, Dir., Evanston 11/4/69 The Impresario (WITW) Cooley 11/23/69 Cosl fan tutte in Aurora w. Fox Valley Sym. 1/6/70 The Battle Between Tancredi and Clorinda (WTTW) 2/3/70 A Country Doctor (WTTW) R. Combs 2/27 3/1/70 Yun's The Butterfly Widow Am. prem. Eng.: Gay & Berio's Passaggio (at Cahn Audit.) 3/9/70 Butterfly Widow & Ligeti's Requiem Am. prem. at Chicago Opera House for biennial convention of Music Educator's National Conference 5/1, 2/70 Cos) fan tutte in LaCrosse, Wise. w. Viterbo Coll. Orch. 5/28/70 Cost fan tutte w. Evanston Sym. INDIANA Fort Wayne Philharmonic, J. Sample, Cond. 1/70 Fidelio cone. pf. Indiana University, Bloomington (correction) 3/22/70 Valkyrie Eng. (not Parsifal) Harshaw, Lipton, Mannion; Samuelsen, Shriner IOWA Lyric Opera of Chicago, Carol, Fox, Gen. Mgr. (see also 6/69 Blltn) 12/7/69 Madama Butterfly guest engagem. in Ames MASSACHUSETTS Boston Symphony, W. Steinberg, Mus. Dir. 4/70 Bluebeard's Castle cone. pf. New England Conservatory Opera Theatre, I. Strasfogel, Dir., Boston 1/14-18/70 Le Rossignol Eng. Craft & Oedipus Rex cond.: Schuller; des: Eric Martin & Otto Piene The , Inc., , Art Dir., Savoy The., Boston and Audit, at MIT, Cambridge 1/28, 30 2/lm/70 The Flying Dutchman* Curtin; Stewart, Tozzi; cond./dir.: Caldwell; des: Senn/Pond 2/21, 23/70 The Daughter of the Regiment* Sills; Gramm, Hirst, Beni 4/3, 5m/70 The Good Soldier Schweik 5/8, 10/70 Schuller's The Fisherman and His Wife* prem.; comm. Junior League for Boston Opera Co., also free pfs. in Boston public schools 6/3, 5, 7m/70 Rigoletto Valente; Alexander, Shinall MICHIGAN Tibbets Opera House, Coldwater 3/15/70 Opera Excerpts K. L. Bowers, P. E. Reynolds; repeat 3/17 at Coldwater State Home and Training School Univ. of Michigan, Opera Theatre, J. Blatt, R. Herbert, Dire., Ann Arbor 11/25/69 Manon Scheffel; Zajak MINNESOTA Minnesota Symphony Orchestra, S. Skrowaczewski, Mus. Dir., Minneapolis 10/69 Die Zauberflote cone, pf.; Valente 2/20/70 Bluebeard's Castle Lear; Stewart MISSISSIPPI Univ. of Southern Mississippi, Opera Workshop, R. Mesrobian, Dir., Hattiesburg 10/23, 24, 25/69 & scenes MISSOURI St. Louis Opera Theatre, E. Murphy, Art Dir. 2/70 Don Giovanni Havranek, Samuelsen Stephens College, Opera Workshop, Columbia 10/69 Cosl fan tutte N. Williams — 23 — NEBRASKA Univ. of Nebraska, Opera Theatre, J. J. Zei, Dir., Lincoln 2/4, 5, 6, 7/70 Cavalleria rusticana 4/10, 11, 12/70 Hansel and Gretel 5/1, 2, 3/70 Gianni Schicchi (and pfs. out-of-town 5/10-16) 8/5, 6, 7, 8/70 Faust University of Nebraska at Omaha Opera Theatre, R. G. Ruetz, Dir. 12/3/69 // Campanello Eng. (in Nebraska setting) 2/13, 14/70 The Triumph of Honor Eng. 4/26/70 opera scenes 6/22-8/1/70 summer opera workshop NEW JERSEY Fairleigh Dickinson University Opera Workshop, D. Shapiro, Dir., Teaneck 12/12-14/69 An Incomplete Education & Opera Scenes; Eng., w.p.; dir.: Shelby Garden State Opera, J. T. McGill, Art Dir., Union City (Park Theatre) 11169 La Boheme 1 /31 /70 Rigoletto 11/69 Madama Butterfly 4/4/70 Cavalleria rusticana 12114/69 Tosca 4/25/70 Barber of Seville 1/10/70 La Boheme 5/16/70 Pagliacci Metro Lyric Opera, Carlton Theatre, Red Bank 11/21/69 Carmen Dunn; Guarrera Opera Theatre of New Jersey, A. Silipigni, Art Dir., Newark 11/9/69 The Barber of Seville Iglesias, di Giuseppe, Hines, Plishka 1/25/70 Aida Roberto, Thebom; Shinall, Fernandi 4/26/70 La Traviata Evangelista; Fernandi Paterson Lyric Opera Co., R. Boyajian, Art Dir., Paterson 413170 Lucia di Lammermoor Galvany NEW YORK Buffalo Philharmonic, L. Foss, Mus. Dir., Buffalo 3/70 Erwartung G. Davy; cone, pf., in Buffalo and tour Eastman School of Music, Opera Theatre, £. McArthur, Mus. Dir. 11/1, 2/69 Opera Scenes 12/12, 13/69 Dialogues of the Carmelites 2/21, 22/70 Dido and Aeneas & La serva padrona 3/20, 21/70 Opera and Operetta Scenes 4/24, 25/70 Die Meistersinger von Nurnberg Scarsdale Jr. High School, N. Y. 12/20/69 Barthelson's Chanticleer & Greenwich Village, 1910 prem. NEW YORK CITY American Opera Society, A. S. Oxenberg, Dir., at Carnegie Hall (revised schedule) 2/13/70 Donizetti's La Fille du regiment Sills: Hirst, Corena 3/19/70 Gala concert; Caballe 3/26/70 Goldmark's Die Konigin von Saba Kubiak; A. Floyd 41'22/70 Spontini's La Vestale The originally scheduled La Donna del lago was cancelled. Blue Hill Troupe, C. D. Walker, Mus. Dir., at Hunter College Playhouse 1/28, 2/11, 15m/70 G. & S. excerpts at Union League Club, Yale Club and N.Y. Historical Society 4/1, 2, 3, 4m, 4/70 Princess Ida (5/70 in Southport, Conn., w.p.) Brooklyn College Opera Workshop (see also 10/69 Blltn.) 3/14, 15m/70 Trouble in Tahiti Brooklyn Lyric Opera, S. Henderson, Cond. at Klitgord Audit 2/13, 14/70 La Boheme Carol Longone's Operalogues, Hotel Pierre; 2:00-3:30 pm (see also 9/69 Blltn) 1/12/70 2/23/70 Lucia di Lammermoor 1/26/70 Manon 3/9/70 Norma 2/9/70 Andrea Chinier Charlotte Bergen Production at Town Hall 3/lm/70 Monteverdi's Orfeo cone, pf.; Hay ward, Bonazzi; Shadley, Reardon, Poor, Merriman — 24 — Community Opera, Inc., Gladys Mathew, Dir. at Brooklyn Museum (all w.p.) 11/2/69 The Jealous Husband Eng. Mathew (11/17 at Lincoln Center Library) 12/7/69 The Long Christmas Dinner (12/20, 21m, 21 for Women's Press Club, N.Y. Historical Society, National Arts Club) 2/1/70 Don Giovanni (2/7 P.S. 44) (3/16 Lincoln Center Library) 3/1/70 (3/21 P.S. 44) 3/8, 16/70 Opera Concerts at N.Y. Historical Soc. & Lincoln Center Library 4/5/70 Massenet's Cinderella (4/18 P.S. 44) 5/10/70 Arrieta's Marina (5/23 P.S. 44) First Presbyterian Church, Henry Street 2/28 3/1/70 Noye's Fludde Hunter College Opera Theatre, D. Lloyd & W. Tarrasch, Dirs. 12/4, 5/69 E. Landi Production at Carnegie Hall 2/17/70 Berio's This Means That (Questo vuol dire) Am. prem.; Berberian, Legrand, Mantovani; The Swingle Singers; narr: de Carlo The Light Opera of Manhattan (LOOM), Mus. Dir. Mount-Burke, at St Michael's Episcopal Church 2/6, 7, 8, 13, 14, 15, 20, 21, 22, 27, 28 3/1, 6, 7, 8/70 Ruddigore 3/20, 21, 22/70 H.M.S. Pinafore Little Orchestra Society, T. Sherman, Mus. Dir., at Brooklyn Academy 10/12/69 OrfFs Prometheus Am. prem. (for program at Phil. Hall, see 6/69 Blltn.) 1/25/70 At the Boar's Head & Riders to the Sea Long Island University, N.Y. Opera, Convocation of the Arts 11/21/69 Cost fan tutte cond: Ryan; dir: Nomikos Manhattan Lyric Opera Assn., L. M. Palomo, Cond. at Beacon Th. 12/16/69 Madama Butterfly de Oca. Evans; Fernandi, Gregori, Romaguera Manhattan School of Music, John Brownlee Opera Theatre, G. Schick, Pres. 12/12, 13169 Cost fan tutte 12/16/69 11 a.m. opera scenes (workshop prod.) 5/1, 2/70 Gianni Schicchi & scenes (workshop prod.) 5/15, 16/70 L'Amico Fritz The Mannes College of Music Opera Workshop, P. Berl. Mus. Dir. 2/5, 6, 7m, 8/70 Henze's The Miracle Theatre Eng., 1st N.Y. pf. & Monsieur Choufleuri at Marymount Manhattan Coll. Metropolitan Opera Assn., Lincoln Center, R. Bing, Gen. Mgr. (rev. sched.) 12/29/69 l/3m, 9, 14, 17, 24 3/18, 31/70 Aida 12/30/69 1/2, 15, 24m 31 2/4, 26/70 La Boheme 12/31/69 1/3, 7, 10m, 16 2/5, 28 4/6/70 Tosca 1/1, 5, 21, 26 3/7m/70 Madama Butterfly l/8g, 12, 20, 27, 30 2/7m 4/4, 8, 17/70 Cavalleria rusticana* & Pagliacci* 1/10, 13, 17m, 19, 23, 29 2/2 /70 Die Zauberflote 211, 16 3/21m, 26/70 La Traviata plus 7 student matinees 2/10, 14m, 20 3/21, 25/70 Don Carlo 2/11, 21, 25 3/2, 5, 9, 14m/70 2/13, 18, 21m/70 Turandot 3/3g, 6, 10, 14, 19, 23, 27 4/4m, 9, 14, 18/70 Norma* 3/12, 17, 20, 28m 4/1/70 Ariadne auf Naxos 3/16, 24, 28 4/2, 10, 13, 18m/70 Romeo et Juliette 3/30 4/3, 7, llm, 15/70 Le Nozze di Figaro 4/16/70 Andrea Chenier 4/llg/70Gala g — Guild benefit; m — matinee; * — new production Because of the delayed opening, a complete roster of artists is not available at this time. Metropolitan Opera Assn., R. Bing, Gen. Mgr.; tour 4/20-5/30/70 BOSTON, AT WAR MEMORIAL AUDITORIUM 4/20, 21, 22, 23, 24, 25m, 25/70 Andrea Chenier, La Traviata, Norma, Lucia di Lammermoor, Cavalleria rusticana & Pagliacci, Tosca, Die Zauberflote CLEVELAND, AT PUBLIC AUDITORIUM 4/27, 28, 29, 30 5/1, 2m, 2/70 Cavalleria rusticana & Pagliacci, La Traviata, Tosca, Andrea Chinier, Norma, Die Zauberflote, Lucia di Lammermoor — 25 — ATLANTA, AT CIVIC CENTER 5/4, 5, 6, 7, 8, 9m, 9/70 La Traviata, Cavalleria rusticana & Pagliacci, Lucia di Lammermoor, Norma, Andrea Chenier, Tosca, Die Zauberflote MEMPHIS, AT MUNICIPAL AUDITORIUM 5/11, 12, 13/70 Cavalleria rusticana & Pagliacci, Norma, Tosca DALLAS, AT STATE FAIR PARK 5/14, 15, 16m, 16/70 Die Zauberflote, Cavalleria rusticana & Pagliacci, Tosca, Norma MINNEAPOLIS, AT NORTHRUP MEMORIAL AUDITORIUM 5/18, 19, 20, 21, 22, 23m, 23/70 Lucia di Lammermoor, Tosca, Norma, La Traviata, Andrea Chenier, Cavalleria rusticana & Pagliacci, Die Zauberflote DETROIT, AT MASONIC TEMPLE 5/25, 26, 27, 28, 29, 30m, 30/70 Cavalleria rusticana & Pagliacci, La Traviata, Lucia di Lammermoor, Norma, Andrea Chenier, Tosca, Die Zauberflote Metropolitan Opera Assn., R. Bing, Gen. Mgr.; Lincoln Center (special June subscription performances) 6/1, 5, 18, 25/70 Lucia di Lammermoor 6/2, 6m, 20, 24/70 Cavalleria rusticana & Pagliacci 6/3, 16, 23/70 La Traviata 6/4, 20m, 26/70 Madama Butterfly 6/6, 10/70 Turandot 6/8, 11, 22/70 Aida 6/9, 15, 19, 27m/70 Carmen 6/12, 27/70 Le Nozze di Figaro 6/13m/70 Tosca 6/13/70 Andrea Chenier 6/17/70 La Boheme Metropolitan Opera Orchestra and Chorus, at Philharmonic Hall 10/17/69 Benefit Concert for Unemployed Metropolitan Opera Musicians; guest artists: L. Bernstein, L. Stokowski; Tebaldi, Tucker, Shirley, MacNeil, Flagello Metropolitan Opera Studio, J. Ryan, Mus. Dir., J. Gutman, Dir. 12/26, 27, 28/69 1/2, 3, 4/70 The Barber of Seville Eng. Martin; at Brooklyn Academy w. ; spons: Met. Opera Guild 1/25, 2/9/70 The Barber of Seville scenes; at 92 St. YM-YWHA and 52 St. YWCA 1/27, 30/70 Vocal chamber music; Library of Congress, Wash. D.C. (1/27 Overseas Press Club, N.Y.C.) 2/20/70 Opera excerpts, Kimble; Murray, Davis; at Overseas Press Club 2/25/70 Afternoon of American Arts Songs, composers: Schubart, Menotti, Bernstein, Barber, Copland, Bowles; soloists: Farley, Newman; Clemmons, Boucher 2/11, 12, 22 3/2, 5, 6 4/13, 14, 15, 16, 17 5/14, 15, 16/70 The Birthday of the Infanta & The Telephone w.p. throughout the state 3/18, 19, 20, 23, 24, 25 4/8, 9/70 Cosi fan tutte at Brooklyn Academy w. Brooklyn Philharmonic; spons: Met Opera Guild 4/25 5/24, 26, 28 6/2/70 Cosi fan tutte w.p. throughout the state 1969-70 "Introduction to La Boheme" lecture demonstration for schools abt. 25 pfs. 1969-70 "Shakespeare in Opera and Song" lecture demonstration for schools abt. 25 pfs. 6/70 Cosi fan tutte, "From Vienna to Broadway", Gala concert, in Bermuda Musica Aeterna Orchestra and Chorus, F. Waldman, Dir., at Carnegie Hall 3/5/70 Kodaly's Psalmus Hungaricus & Handel's Acis and Galatea cone. pf. Raskin; Gedda, Shirley, M. Smith National Educational TV, Opera Project, P. H. Adler, Mus. Dir. (complete, revised schedule) 12/3/69 Janacek's Front the House of the Dead Eng. 3/18/70 Beeson's My Heart's in the Highlands prem. (NET production) Chookasian; Crofoot, K. Smith, Malas 4/28/70 Peter Grimes Pears; (filmed at Aldeburgh, co-produced BBC, CBC, NET) The New York Chamber Soloists, at G. R. Rogers Audit 10/31/69 Purcell's Dido and Aeneas Hakes, Simon; White New York City Center of Music and Drama, N. Singer, Dir., West 55 Street 12/22/69 - 1/4/70 Help! Help! The Globolinks & Amahl and the Night Visitors Blegen, Faull, Kraft; Boucher, Best, Walker; - Davidson; Puleo, Castel, Guinn; Choreogr: Nikolais, Falco; des: Lee, Nicolai/Kim, - Berman, Montresor — 26 — New York City Opera, Lincoln Center, J. Rudel, Mus. Dir. 2/19, 22, 25 3/6, 13, 21 4/18m/70 Lucia di Lammermoor 2/20, 22m, 27 3/4/70 The Magic Flute Eng. 2/21m, 28 3/22m 4/3/70 La Traviata 2/21 3/19 4/14/70 Madama Butterfly 2/24, 26 3/7m, 15m, 25, 28m/70 Faust 2/28m 3/8, 21m/70 La Boheme 2/lm, 3, 7, 10, 14, 20/70 Rigoletto 3/1, 5, 11/70 The Turn of the Screw 3/8m, 14m 4/8, 11, 17, 19/70 Manon 3/12, 17, 29m/70 3/15, 18, 22, 27 4/1, 5m, 7, 9/70 Pelleas et Melisande* 3/26, 28, 31 4/5/70 La Cenerentola 3/29 4/4m, 10, 16/70 Oedipus Rex & Carmina Burana 412, 4, llm, 12m 18/70 The Abduction from the Seraglio Eng. 4/12, 15, 19m/70 Katerina lsmailova Eng. m — matinee * — new production Auger, Armstrong, Bayard, Blanchard, Brooks, Clements, Crane Cruz- Romo, Dal Piva, Elgar, Lebrun, Meier, Moody, Neblett, Niska, Roberto, Schauler, Sills, Wise; mezzos and contraltos Bible, Creed, Evans, Greenspon, Guilet, Lueders, Kieffer, Nadler, Winburn; Castel, Clements, DiGiuseppe, Di Virgilio, DuPree, Glaze, Jobin, Lamberti, Lankston, LoMonaco, Marti, Molese, Nagy, Piso, Riegel, Romaguera, Sergi, Stewart; and basses Beattie, Bittner, Cossa, Darrenkamp, Devlin, Gibbs, Fredricks, Hale, Hicks, Iglesias, Jamerson, Ledbetter, Malas, Mundt, Pierson, Polakoff, Quilico, Roy, Schwartz- man, Smith, Trehy, Treigle, Yule. New York Opera Theatre Workshop, L. Fowler, Cond. 12/3, 7/69 1/10/70 Faust at Educational Alliance w.p., 12/10, 17/69 at Judson Hall w.p. New York Philharmonic, L. Bernstein, Cond. (see also 9/69 Blltn.) 1/22, 23, 26/70 Gotterdammerung scenes, cone, pf.; Farrell; Thomas New York Pro Musica, J. R. White, Mus. Dir., at Church of St. Mary 12/16, 17/69 The Play of Daniel 2 pfs. daily 12/19, 20/69 The Play of Herod 2 pfs. daily New York State Opera Society, C. Yost, Mus. Dir. 11/9/69 La Traviata at H.S. of Fashion, 225 W. 24 St. The Opera Orchestra of New York, , Mus. Dir., at Tully Hall all cone. pfs. 12/1/69 Tosca Sena; Amorim, Iglesias 2/2/70 Rigoletto Christiansen, Parsons; Lee, Jones, Ronson 3/22/70 The Magic Flute Strebing, Bennet; Glaze, Yule, Holley 5/11/70 Altman, DiGiglio, Parsons; Ronson Opera Workshop of New York, Josephine La Puma, Mus. Dir. 1/9/70 Carmen at P.S. 163 1/10/70 / Puritani at P.S. 163 1/16, 30/70 at P.S. 41 1/17/70 Andrea ChMer at P.S. 163 1/23/70 The Barber of Seville at P.S. 41 Paul de Leeuw at Educational Alliance 12/14/69 (3:30 P.M.) L'Enfance du Christ N. Williams, M. Walker; Barreili; w.p. Queens Opera Assn., J. Messina, Dir., Jamaica 11/22/69 Don Pasquale at St. John's University 2/70 Suor Angelica & The Impresario at Frances Lewis Auditorium 12/6/69 Aida semi-staged 3/70 Cost fan tutte 4/70 // Trovatore semi-staged 4/70 Die Fledermaus in opera appreciation series for students 5/70 The Barber of Seville Rhodeph Sholem Congregation, 7 West 83 Street 3/22/70 Marc Lavry's Tamar and Judah prem.; Parsons; cond: Aks Ruffino Opera Co., Provincetown Playhouse (see 10/69 Blltn.) 12/7/69 Haubiel's Sunday Costs 5 Pesos Susan Wagner High School, Staten Island 12/6/69 Madama Butterfly Sato, Mayer; Livigni — 27 — Tumau Opera Players, W. Pinner, Prod, c/o National Music League TOUR 1969-70; mostly w.p. 9/25 10/19, 21, 23, 31 11/5, 14, 16, 30 12/2/69 Die Fledermaus Eng., in Bloomsburg, Pa., Tullahoma, Tenn., Gaffney, S.C., Penn Yan, N.Y., Davidson, N.C., Princess Anne, Md., Selinsgrove, Pa., Middletown, O., West Orange, N.J., Sandusky, O. 10/14, 16, 17 11/11, 17 12/4, 6/69 Cosl fan tutte Eng., in Aiken, S.C., Nashville, Tenn., Sewanee, Tenn., Seneca Falls, N.Y., Tiffin, O., Loretto, Pa., Chamberburg, Pa. 2/16, 21 3/1, 7, 8, 15, 17, 24 4/9, 27 5/17, 19, 23/70 Die Fledermaus Eng., in Lake Wales, Fla., Norfolk, Va., Brooklyn, N.Y., Johnstown, N.Y., New York, N.Y., Newark, O., Clarksburg, W. Va., Towson, Md., Lincoln, 111., Portland, Ore., Glendive, Mont., Lewiston, Mont., Dayton, O. 2/25 3/10, 12, 20 4/3, 15, 30 5/2, 11, 15/70 Cost fan tutte Eng., in Lynchburg, Va., Portland, Me., Worchester, Mass., Bethlehem, Pa., Grand Rapids, Mich., Omaha, Neb., Porterville, Cal., Pasadena, Cal., Nampa, Id., Casper, Wy. ASOLO THEATER, SARASOTA, FLORIDA 1/16-2/15/70 La Traviata (6 pfs.), Cost fan tutte (4 pfs.), The Barber of Seville (4 pfs.), Die Fledermaus (4 pfs.) Vienna Choir Boys, at Philharmonic Hall 12/26/69-1/3/70 Offenbach's Monsieur et Madame Denis Washington National Symphony, H. Mitchell, Cond., at Philharmonic Hall 3/27/70 Parsifal Acts I & III; Parly, Uppman, M. Smith; U. of Md. Chorus, cone. pf. The Who, at the Fillmore East 10/20-25/69 Tommy rock opera, cone. pf. NORTH CAROLINA North Carolina School of the Arts, Winston-Salem (see also 9/69 Blltn.) 2/27, 28/70 Incomplete Education & Act I Marriage of Figaro & excerpts Barber of Seville cond.: Johnson; st. dir.: Beck OHIO Akron Symphony Orchestra, L. Tan, Mus. Dir., Akron 12/69 Der Freischiitz cone, pf., Havranek Bowling Green State Univ., School of Music, D. Morelock, Guest Dir. Ill7, SI69 The Old Maid and the Thief (11/7 in Toledo) w.p. 1/22, 24, 26/70 The Barber of Seville (1/26 in Vermilion) Eng. Martin; w.o. 2/8/70 Hansel and Gretel Cincinnati College-Conservatory of Music, B. Mclntyre, Mus. Dir., U. of Cin. 11/21, 22, 23, 24/69 Help! Help! The Globolinks & Trial by Jury 2/27 3/1/70 Don Giovanni dir.: I. Tajo Cincinnati May Festival, Cincinnati Symphony, M. Rudolf, Mus. Dir. 5/22/70 Carmina Burana Penna Ballet Co., cond.: J. Rudel Mansfield Symphony Orchestra, R. Cronquist, Art. Dir., Mansfield 3/8/70 La Traviata staged; Raitch; Knoll, Guarrera Oberlin College Gilbert and Sullivan Players, College Conservatory 12/3-6/69 Iolanthe Ohio State University, Opera Workshop, Columbus 12/69 Long's The Music Hater OKLAHOMA Oklahoma City University, Opera Theatre, Miss I. Silberg, Dir. 1/30, 31/70 OREGON Lewis and Clark College Opera Workshop, H. Moore, Dir., Portland 11/7, 8, 14, 15/69 Down in the Valley w. play prod, by Drama Dept. Willamette University Opera Theatre, J. Viamonte, Dir., Salem 2/20, 21, 22/70 The Marriage of Figaro Eng. Dent PENNSYLVANIA Lancaster Opera Workshop, F. Robinson, Dir., Lancaster 10/19, 27/69 5/12/70 Opera Scenes w.p. 11/5, 6, 7, 8/69 La Traviata Eng. Martin 3/15/70 Maastricht Easter Passion Play 5/10/70 Elijah staged

— 28 — Philadelphia Orchestra, W. Smith, cond., Philadelphia 10/11, 27/69 Hello, World cone. pf. Pittsburgh Symphony Orchestra, W. Steinberg, Mus. Dir. 1970 Bluebeard's Castle cone. pf. in Pittsburgh and N.Y.C. (1/28/70) RHODE ISLAND Trinity Playhouse, Opera in the Square, Ruffino Opera Co., Providence 4/1/70 Madama Butterfly Ruffino, Citarelli, Becceril, Martin; cond.: de Renzi 4/4/70 Faust Ruffino, Rabbino, Becceril, Martin; cond.: de Renzi 4/5/70 Aida Pener, Ruffino, La Grua, Assali; cond.: Miller SOUTH DAKOTA Northern State College, Opera Workshop, Aberdeen 10/69 Long's The Music Hater prem. TEXAS Lamar State Coll. of Technol., J. Truncate, Dir. Opera Workshop, Beaumont 1/31 2/1/70 Bucci's The Hero & The Medium cond.: Patiott University of Texas, Opera Theatre, W. Ducloux, Mus. Dir., Austin 3/12, 17/70 Eng. Ducloux; Mott/Glaser, Chase; Jones, Gainey, Walters, White WASHINGTON Pacific Lutheran Univ., Opera Workshop, W. Sare, Dir., Tacoma 2/26, 27, 28/70 The Jumping Frog of Calaveras County CANADA Canadian Broadcasting Corp., Toronto 10/29/69 Somer's Louis Kiel telecast Opera Ottawa, James Pfeifer, Art. Dir., National Arts Centre 111 11169 Mignon 2/2, 7/70 La Serva padrona & one-act opera 3/26, 30/70 II Trovatore Ottawa Symphony, National Arts Centre, Ottawa 11/69 Dido and Aeneas P. Kern cone. pf. Theatre Lyrique du , J. Deslauriers, Mus. Dir., Quebec 11/22, 25, 27, 29/69 Les Pecheurs de perles Martel; Duval, Savoie 2/1, 3, 5, 8/70 Hahn's Ciboulette Joanisse; Jansen, Paradis 3/7, 10, 12, 14/70 Cost fan tutte Tessier, Clement; Corbeil, Trepanier, Germain Winnipeg Symphony Orchestra, G. Cleve, Mus. Dir., Winnipeg 9/69 Davies' Celebrations (incl. part 2 "A Very Short Opera") MEXICO Bellas Artes, 9/18/69 Manon Sills 9/23/69 Suliotis; Paskalis 9/30/69 Suliotis; Paskalis, Novoa 10/7/69 II Trovatore Gulin; Zambon 10/14/69 Un Ballo in maschera Suliotis; Smith, Sardinero 10/21/69 La Boheme Dvorakova; Pavarotti 11/4/69 Eugene Onegin Dvorakova

Due to lack of space the obituary column "In 1969 Opera Lost . . ." had to be deferred to the next news issue.

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