Central Opera Service Bulletin Volume 29, Number A

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CENTRAL OPERA SERVICE BULLETIN VOLUME 29, NUMBER A

CONTENTS

NEW OPERAS AND PREMIERES 1 NEWS FMNQKRA COMPANIES 18 GOVERNMENT AND NATIONAL ORGANIZATIONS 24 27 ODNFERENOS H MEM AND REMWftTED THEATERS 29 FORECAST 31 ANNIVERSARIES 37 ARCHIVES AND EXHIBITIONS 39 ATTENTION C0MP0SH8. LIBRE11ISTS, FIAYWRHMTS 40 NUSIC PUBLISHERS 41 EDITIONS AND ADAPTATIONS 4t EOUCATION 44 AFPOINTMEMIS AND RESIGNATIONS 44 COS OPERA SURVEY USA 1988-89 OS INSIDE INFORMATION 57 COS SALUTES. . . O WINNERS (4 BOOK CORNER 66 OPERA HAS LOST. . . 73 PERFORMANCE LIST INC. 1969 90 SEASON (CONT.) 83

Sponsored by the Metropolitan Opera National Council

CENTRAL OPERA SERVICE BULLETIN

Volume 29, Number 4 Fall/Winter 1989-90

CONTENTS

New Operas and Premieres 1 News from Opera Companies 18 Government and National Organizations 24 Copyright 27 Conferences 28 New and Renovated Theaters 29 Forecast 31 Anniversaries 37 Archives and Exhibitions 39 Attention Composers, Librettists, Playwrights 40 Music Publishers 41 Editions and Adaptations 42 Education 44 Appointments and Resignations 46 COS Opera Survey USA 1988-89 56 COS Inside Information 57 COS Salutes. . . 63 Winners 64 Book Corner 66 Opera Has Lost. . . 73 Performance Listing, 1989-90 Season (cont.) 83 CENTRAL OPERA SERVICE COMMITTEE

Founder MRS. AUGUST BELMONT (1879-1979)

Honorary National Chairman ROBERT L.B. TOBIN

National Chairman MRS. MARGO H. BINDHARDT

Please note page 56:

COS Opera Survey USA 1988-89

Next issue: New Directions for the '90s The transcript of the COS National Conference

In preparation:

Directory of Contemporary Opera and Music Theater, 1980-89 (Including American Premieres)

Central Opera Service Bulletin • Volume 29, Number 4 • Fall/Winter 1989-90

Editor: MARIA F. RICH Assistant Editors: CHERYL KEMPLER JOHN W.N. FRANCIS Editorial Assistants: FRITZI BICKHARDT NORMA LITTON SUSAN FELIX

Copyright 1990 Central Opera Service. All rights reserved. Permission to quote need not be requested, but source acknowledgment should be made. The COS Bulletin is published quarterly for its members by Central Opera Service. For membership information see back cover.

Please send any news items suitable for mention in the COS Bulletin as well as performance information to The Editor, Central Opera Service Bulletin, Metropolitan Opera, Lincoln Center, New York, NY 10023.

This issue: $4.00 ISSN 0008-9508 NEW OPERAS AND PREMIERES Philip Glass will be writing an opera for premiere at the eleventh annual AMERICAN New Music America festival, scheduled for November 1 through 11, 1990 OPERA in Montreal. The opera ORPHEE will be based on Jean Cocteau's film PREMIERES version of the Orpheus legend. The premiere is to be directed by Gilles Maheu of Montreal. This will be the first time that the contemporary music festival will be held outside the United States.

Mr. Glass's next premiere will be in Charleston, South Carolina, where the Spoleto Festival U.S.A. will premiere THE HYDROGEN JUKEBOX on May 26, with subsequent performances in Italy in June. Its libretto is by poet Allen Ginsberg. The piece will first have a trial run in concert at the American Music Theater Festival of Philadelphia. — Also scheduled for premiere during the festival in Charleston is Paul Dresher's new opera PIONEERS, to a text by Rinde Eckert. It is programmed for May 24 through 28. A new opera written for the Montana centennial in 1989 received its premiere in Billings on August 25, repeated on the 26th. PAMELIA tells the story of an early pioneer family in Montana, based on letters between a married couple penned between 1860 and 1864. The opera was created by the Montana composer Eric Funk and Montana librettists Linda Peavy and Ursula Smith. Choral sections of Pamelia were tried out as early as April '86 by the Portland Opera Chorus, and instrumental excerpts were first performed by the Billings Symphony in October '88. At the opera's premiere, Pablo Elvira and Leslie Richards sang the leading roles, Uri Barnea of the Billings Symphony conducted, and Jonathan Griffith was in charge of the chorus. With Idaho celebrating its centennial in 1990, the premiere of a new opera, based on a historic event in that state, was the opening event. C. Griffith Bratt's A SEASON FOR SORROW was written especially to commemorate the anniversary. The libretto by Hazel Weston is based on the story of Harry Orchard, charged with the assassination of Governor Steunenberg of Idaho in 1905. The killing was in retaliation for the governor's use of federal troops to put down unrest in Idaho mines. The work was premiered in Boise at the Performing Arts Center on January 19, 1990. SNOW LEOPARD by William Harper (music and libretto) and Roger Nieboer (co-librettist) had its formal premiere on November 9 by the Minnesota Opera's New Music-Theater Ensemble. There was a total of eight performances. The Ensemble has taken it through the workshop process several times, with Rhoda Levine assisting as stage director. John Conklin was the designer for the premiere production, which will be shared by Chicago's American Ritual Theater Company. The American Chamber Opera Company has announced the premiere of a new one-act opera, PERONELLE, by Larry Lipkis, with a libretto by Barry Spacks. The central figure is the medieval composer Guillaume de Machaut, and excerpts from his motets are incorporated into the opera, played by an onstage ensemble of period instruments. It will open at Marymount Manhattan Theater in New York on February 16 on a double bill with Beeson's Dr. Heidegger's Fountain of Youth, and return for three more performances. It received a first reading by ACO earlier this season, together with Nicholas Flagello's THE WIG. Two one-act operas by Philip Hagemann were presented by the Santa Fe Concert Association, with Maralin Niska not only singing the lead role -1- NEW OPERAS AND PREMIERES

but also staging the double bill. The Music Cure complemented the new work, ROMAN FEVER, in its premiere on November 25. A CHEKHOV TRILOGY by Richard Wargo has been in the making since its first opera, The Seduction of a Lady, was premiered at Florida State University in March 1985; The Music Shop followed in September, as produced by the Minnesota Opera's touring company, Midwest Opera Theater. The middle opera, A VISIT TO THE COUNTRY, was given a workshop reading by the Greater Miami Opera in 1986-87. The Chautauqua Opera will now stage its world premiere, and that of the complete Trilogy, on July 20.

Doug Lofstrom, Music Director of Chicago's Free Street Theater for the past seven years and an Associate Artistic Director there since last year, has written TWO SOLDIERS, an opera set for premiere by his company on March 8. Al Day wrote the libretto, which tells the story of a Russian and a German soldier in the 1940s. Two performances will take place at the UIC Theater at the University of Illinois in Chicago.

As part of the New Music America festival, the Brooklyn Academy of Music and the Dance Theater Workshop coproduced ten days of performances of Stewart Wallace and Michael Korie's KABBALAH. It opened on November 16. — The previous week, on November 11, Merkin Hall hosted a double bill of new works by Michael Cave, CANTO and RENASCENCE, the latter based on a poem by Edna St. Vincent Millay.

A double bill of American one-act operas was premiered by the After Dinner Opera in New York on November 6, as part of the American Music Week. They are Seymour Barab's LA PIZZA CON FUNGHI (Pizza with Mushrooms) and Vernon Martin's FABLES FOR OUR TIMES.

William Mayer's ONE CHRISTMAS LONG AGO had its professional stage premiere on December 20 in New York City at the Saint Paul the Apostle Church on West 59th Street.

WORLD The fourth opera by the Finnish composer Aulis Sallinen, KULLERVO, PREMIERE based on the national Finnish epic Kalevala (Vol. 27, No. 3), will have OF FOREIGN its world premiere in Los Angeles on February 22, 1992, the year in OPERA IN U.S. which Finland celebrates the 75th anniversary of its independence. The work's first performance was to have opened the new opera house in Hel- sinki; however, delays in construction have made the date of completion indefinite. A joint announcement from Peter Hemmings, General Director of the Los Angeles Music Center Opera, and Ilkka Kuusisto, General Manager of the Finnish National Opera, informs us that the work will be prepared in Helsinki by the Finnish National Opera, then brought complete with cast, sets, conductor, and director to California; the Los Angeles Music Center Opera will supply the orchestra and the technical stage staff. It is to play in California through March 1.

COMMISSIONS As part of the Lyric Opera of Chicago's ten-year plan, and in celebration of the 500th anniversary of Columbus' discovery of America, the company has commissioned Pulitzer Prizewinning composer William Bolcom to write a new opera, GOLD, for premiere during the 1992-93 season. The work is based on an American classic, Frank Norris's novel McTeague; Arnold Weinstein and film director Robert Altman are providing the libretto. Dennis Russell Davies is to conduct the premiere.

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Composer John Adams is collaborating with librettist Alice Goodman and director Peter Sellars on a new opera based on the Achille Lauro high- jacking (Vol. 28, No. 4). The same team is responsible for another opera based on recent political events, Nixon in China. The new work, entitled THE DEATH OF KLINGHOFFER, represents a commission given jointly by six companies that will share the premiere production. It is scheduled to open at the Theatre Royal de la Monnaie in Brussels on March 19, 1991, to appear next in Lyon in April, and then to travel to the U.S. for its first American performances at the Brooklyn Academy of Music in May. Glyndebourne Touring Opera will present the work in October '91, and the Festival itself in summer 1992. After this it will play in California as part of Peter Sellars1 new Los Angeles Festival in September and at the San Francisco Opera in October.

The Orlando Opera Company's commission to Elizabeth Swados for a two- act opera, THE PIED PIPER, will bear fruit next season, when the work is performed in April in Florida, then taken to Toulon, France as part of the company's international exchange program.

The Piedmont Opera Theatre has received a grant from OPERA America which enables the company to proceed with its commission to composer Robert Chumley and librettist Dugg McDonough. The new opera will be based on Judith Guest's novel ORDINARY PEOPLE, which was also turned into an award winning movie. Three scenes will be tried by the company in Winston-Salem, North Carolina in a workshop next April. The premiere is tentatively set for spring 1993.

Following the premiere of Anthony Davis's second opera, the fantasy OPERAS IN Under the Double Moon, comes the announcement of his next work, which PROGRESS will again center on a quasi-political headline-making American figure. Patty Hearst will be the protagonist of TANIA. Davis's first opera X told the story of Malcolm X.

On August 1 and 2, the Chattanooga Symphony and Opera Association and the newly revived Encompass Music Theater of New York City presented scenes from a new opera-in-progress at New York's Ubu Repertory Theater. THE GLASS WOMAN is the life story of Anna Safely Houston, an eccentric Chattanooga woman who founded the Houston Antique Museum with her extensive collection of art glass pieces. Composer and lyricist Sorrel Hays collaborated with author Sally Ordway and stage director Nancy Rhodes in developing the work. The Chattanooga company has commissioned the work, which will be scored for ten singers and a sixteen- piece orchestra. Ms. Hays's two earlier operas are Love in Space, written for the West German Radio, and the video opera Touch of Touch.

Begun in 1983, OPERA America's "Opera for the 80s and Beyond" program recently awarded twelve grants to ten producing organizations for new operas and music theater works at different stages of completion. Listed here are the titles, composers & librettists, and the commissioning or producing organizations to whom the grants were made: BOLIVAR, Thea Musgrave, Los Angeles Music Center Opera; THE DEATH OF KLING- HOFFER, John Adams and Alice Goodman, Brooklyn Academy of Music; ENDANGERED SPECIES, Richard Peaslee and Martha Clarke, Music- Theatre Group, New York, and Brooklyn Academy of Music; FRIDA, Lalo Schifrin and Migdalia Cruz, American Music Theater Festival, Philadelphia; THE HYDROGEN JUKEBOX, Phillip Glass and Allen Ginsberg, Spoleto Festival U.S.A., Charleston, South Carolina; LOVE AND SCIENCE, Stanley

-3- NEW OPERAS AND PREMIERES

Silverman and Richard Foreman, Music-Theatre Group, New York; MARIO AND THE MAGICIAN, Harry Somers and Rod Anderson, Canadian Opera Company, Toronto; THE OUTCAST, Noa Ain, Opera Ebony, New York; PIONEERS, Paul Dresher and Rinde Eckert, Spoleto Festival U.S.A., Charleston; SEVEN SEVENS, Jan Vandervelde and Judy MacGuire, Minne- sota Opera, Saint Paul; THE STONE MAN, Daniel Dutton, Kentucky Opera, Louisville; and TOUCH AND GO, Christopher Drobny, Opera Memphis. The grants range from $5,000 to $35,000. Since its inception, the program has given support to over 350 projects.

WORKSHOPS Joseph Papp and his New York Shakespeare Festival have instituted work- AND shop try-outs for new musicals. Under these laboratory conditions, a READINGS four-week rehearsal period is followed by workshop performances which run for three weeks; formal premieres may follow later. The first work developed in June '89 in these "musical laboratories" was ROMANCE IN HARD TIMES by composer/librettist William Finn, whose previous music theater pieces include March of the Falsettos. Set at the end of the Depression era, it includes in its cast of fourteen such diverse famous personalities as Eleanor Roosevelt, the Duke of Windsor, Babe Ruth, and Shirley Temple. A formal premiere followed in December at Papp's Public Theater. In August, the company worked on UP AGAINST IT, based on an unfilmed screenplay by English dramatist Joe Orton, with music by rock star Todd Rundgren. Mounted at the Public Theater, the workshop performances are open to the public but closed to the press. The company's first big musical hit was Hair (1968), and the longest running one is A Chorus Line (1975); both played first at the Public Theater and wound up on Broadway. One of the first opera/music theater workshops, the National Music Theater Conference of the O'Neill Theater Center in Waterford, Connecticut, accepted eight new works for its 1989 summer workshop—double the usual number. Thanks to a substantial grant from the Lila Wallace-Reader's Digest Fund, the workshop period was also doubled, with the additional two weeks held in New York City in September. The four works which received public readings in Waterford between August 3 and 12 are HANNAH—1939, with music, book, and lyrics by Bob Merrill; THAT PIG OF A MOLETTE, with music by Thomas Z. Shepard and a libretto by Sheldon Harnick; GUNMETAL BLUES, with music by Craig Bohmler, book by Scott Wentworth, and lyrics by Marion Adler; and THE REAL LIFE STORY OF JOHNNY DE FACTO, with music, book and lyrics by Douglas Post. The readings in New York City were offered between September 11 and 23, and presented FROM THE BODONI COUNTY SONGBOOK ANTHOLOGY, with music by Claibe Richardson and book and lyrics by Frank Gagliano; DOWN THE STREAM, with music, book, and lyrics by Michael Goldenberg; PAGAN BABIES, with music by Charles Goldbeck and book and lyrics by Brighde Mullins, Jorge Cacheiro and Art Borreca; and MARTIN GUERRE, with music by Roger Ames and a libretto by Laura Harrington. Several established authors, librettists, and composers were in residence as advisors and/or editors. — New York's Vineyard Theater will give the premiere of Merrill's HANNAH—1939 on April 19.

In addition to the previously announced works in progress presented in readings by the National Music Theater Network in New York (Vol. 29, Nos. 1 & 3) were Roger Nelson's MARY S and a new piece by Kevin Hayes, LARRY AND THE GYPSY. Bright Sheng, 1989-90 composer-in-residence with the Lyric Opera of Chicago, is currently working on a one-act opera with Andrew Porter,

-4- NEW OPERAS AND PREMIERES who will write the libretto. It is scheduled for a workshop performance by the Lyric Opera Center for American Artists in the spring or summer of 1990. Last September, the Pittsburgh Civic Light Opera gave a staged reading of STAR OVER BROOKLYN. Tim Simon is the composer and Dennis Snippy the librettist. On June 5, Opera Ebony of New York tried out THE OUTCAST, with words and music by Noa Ain. About an hour of excerpts were performed before an invited audience. During the last season, Opera Memphis held three reading workshops with Ron Peluso as director and Robert Gross as dramaturg. The November '88 workshop was an exploratory session with composer Gary Sheldon; January '89 saw a "salon reading" of LUCY'S LAPSES by Christopher Drobny; and the April '89 workshop was devoted to Drobny's TOUCH AND GO, musical settings of D.H. Lawrence love poems. The company also plans to develop a new MACBETH during this season; the composer is John Baur. (See also "Attention Composers.") The Ten-Minute Musicals Project (Vol. 29, No. 1) has selected nine operas and music theater pieces from the initially submitted 150 for further development in January, a workshop presentation at the Climat Theatre in San Francisco on February 15, and for some a more complete second- step production in Los Angeles in May. Each winner also received a $250 development stipend. They are Enid Futterman and Sarah Ackerman's AN OPEN WINDOW; Barry Manilow, Jack Feldman, Bruce Sussman, and John PiRoman's AWAY TO PAGO PAGO; David Spencer and Bruce Peyton's PULP; Mae Richard and Nancy Ford's SPACE FOR TWO; Doug Katsaros and June Siegel's SUDS AND LOVERS; Saragail Katzman's THE FURNISHED ROOM; Joyce Bramberg's THE HOOK; Richard Peaslee and Christopher Durang's UBU LEAR; and Morrie Bobrow's UNTITLED. (See also "Attention Composers.")

As its participation in American Music Week, American Opera Projects Inc. programmed excerpts from several operas and music theater pieces with a common theme of cultural diversity. They included William Ortiz's RICAN, a bilingual opera concerned with identity problems of New York's Puerto Ricans; Thomas Cabaniss' DENMARK VESEY, based on a historic slave revolt attempt in South Carolina; Connie Beckley's THE SCORE KEEPER; and Chinese composer/librettist Tan Dun's THE SILK ROAD. Performances took place at the Blue Door Studio on November 8. The following week, on the 15th, AOP premiered Joel and Bela Lisa Friedman's A VINDICTIVE POEM FOR A HOT SUMMER'S EVENING, and Ben Yarmolin- sky's BLANCHE, a modern adaptation of Balzac's Le Piche venial.

The result of the composers' residencies with the Chicago Opera Theater was the workshop presentation of two new works: COMMUTER! with music and libretto by Steven Kowalsky, and STEEL GRIN, with music by Peter Aglinskas and libretto by Dan Sutherland. They were showcased on November 1.

George Coates's latest music theater piece with music by Marc Ream, MUSIC previously announced as Nowhere Now Here (Vol. 29, No. 3), was premiered THEATER under its new title RIGHT MIND by the American Conservatory Theater WORKS at San Francisco's Geary Theater on October 2. The work is based on -5- NEW OPERAS AND PREMIERES the writings and personality of Charles Dodgson, i.e. Lewis Carroll. The run had to be discontinued prematurely on October 17, when the earthquake severely damaged the theater; performances may resume later this season at a new location.

Plans of the American Music Theater Festival in Philadelphia for the spring season call for a premiere reading of William Bolcom's CASINO PARADISE, a cabaret-like work with a libretto by Arnold Weinstein, and a concert premiere of the Philip Glass/Allen Ginsberg opera, HYDROGEN JUKEBOX (see also "American Opera Premieres"). The two other works are Kurt Weill/Alan Jay Lerner's LOVE LIFE, in a newly reconstructed version, and a music theater/dance piece, PRAISE HOUSE. Two additional pieces that had been announced as under consideration, FRIDA by Lalo Schifrin and Hilary Blecher, and a revue entitled SITTING ON THE EDGE OF THE FUTURE, will not be done this season.

Elizabeth Swados's new piece THE RED SNEAKS, suggested by the ballet film The Red Shoes, was shown at the Theatre for a New Audience in New York. The new audience was made up of enthusiastic teenagers, as was most of the cast. A Korean folk tale is the basis of THE SONG OF SHIM CHUNG by Du- Yee Chang and Terence Cranendonk. It is the story in words, music, and dance of the three lives of a young woman—past, present, and future. It played from November 14 through December 2 at Playhouse 46 in New York as part of the Pan-Asian Repertory Theatre season, under the composer's direction; Atsushi Moriyasu designed puppets and masks for the production.

Mimi Stern-Wolfe and her Downtown Music Productions have commissioned Lynn Wilson to create the music for DEAD SEAL AT McCLURE BEACH, based on a poem by Robert Bly. The first performance is scheduled for April 28, 1990. John Moran, who collaborated with Philip Glass on The Juniper Tree, has concocted a one-hour music theater piece called JACK BENNY using film and video clips, live action, and live and electronic music. It was premiered in late September by the Ridge Theater Company at La MaMa E.T.C. in New York, then brought to the Theatre Project in Baltimore.

The Folksbiene Playhouse in New York premiered THE LAND OF DREAMS, with music by Raphael Crystal, book by Nahum Stutchkoff, and lyrics by Miriam Kressyn, sung in Yiddish with simultaneous live English translation. It opened on October 28. Mark St. Germain and Randy Courts have written JOHNNY PYE AND THE FOOL KILLER, which was workshopped by the George Street Playhouse in New Brunswick, New Jersey last season and will be premiered there on February 7. The music theater piece, based on a Steven Vincent Bene't story, will subsequently play New York at the Lamb's Theatre Company in March, in performances made possible by an AT&T grant. The same team also wrote The Gift of the Magi, after the O. Henry story. Composer David Shire and lyricist Richard Maltby Jr. have created CLOSER THAN EVER, a musical revue that opened at New York's Cherry Lane Theater on November 6. Among the team's earlier successes is Starting Here, Starting Now, and each has also collaborated with different artists on other music theater pieces.

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A POUND OF FEATHERS was developed at the BMI Lehman Engel Musical Theatre Workshop by composer Andrew Lippa and lyricist Tom Greenwald. The book is by Rachel Feldbin Urist, based on her play Shtetl Tales (premiered in 1985), which itself is an adaptation of five Jewish stories. The new musical was premiered December 2 at the Rodeph Sholom Syna- gogue in New York, which cosponsored the production together with Jeffrey Seller, Randi Grossman, and Pepper Productions.

The Perseverance Theatre in Douglas, Alaska has mounted the premiere of PIECES OF EIGHT by Dave Hunsaker. The performance dates were November 14 to December 10.

On January 24, Musical Theatre Works in New York has scheduled the first performance of GOOSE: BEYOND THE NURSERY, with a book by Austin Tichenor and Scott Evans, the latter also responsible for the lyrics. The music was composed by Mark Frawley. Anthony Stimac, Artistic Director of the company, offered another premiere earlier this season with Kevin Kuhn and Brian D. Leys' MIDSUMMER NIGHTS on September 13.

Stephen Sondheim, with some fifteen musicals to his credit, had his latest MUSICALS show, ASSASSINS, workshopped at Playwrights Horizons in December. The book is by John Weidman of Pacific Overtures. Mr. Sondheim describes Assassins as a one-act surreal revue, including eight songs, about nine real people who have tried to assassinate presidents of the United States. — New at Playwrights Horizons this season is Stephen Flaherty and Lynn Ahrens' ONCE ON THIS ISLAND, scheduled for a premiere on April 6.

The following musicals were scheduled for first performances by Heritage Artists Ltd. in Cohoes, New York this season: ANGELINA, with music and lyrics by Barry Kleinbort and book by Frank D. Gilroy, premiered October 25 (postponed from last season); HOODWINKED, with music and lyrics by John David Cariton and Steve Liebman and book by Brian D. Leys, premiered November 29; and JINX, with music, lyrics, and book by Sandy Alpert, to be premiered March 21, 1990.

Herman Wouk's 1955 best-selling novel MARJORIE MORNINGSTAR is to be turned into a musical for Broadway. Four major American producers are in charge of the project, have secured the rights from the author, and are now in search of a composer and librettist.

In its 25th anniversary season, the Studio Arena Theater in Buffalo, New York offered the premiere of GALILEO, a musical by Jeanine Levenson, with book and lyrics by Keith Levenson and Alexa Junge based on Brecht's play. The premiere was on November 28, 1989.

ANIMAL FAIR, with book and music by Clark Gesner, will receive its premiere by the Denver Center Theatre Company during the newly organized WestFest. The performance dates are April 18 to May 12; the subject is man's concern—and lack thereof—for the environment and animal safety.

Dell'Arte Players Company of Blue Lake, California and the San Diego Repertory Theatre coproduced the first performances of ANIMAL NATION in Blue Lake, running from December 14 to January 21. Playwright Steve Friedman parallels the animal world to human society, and has as collaborators composer Gina Leishman and producer/directors Sam Woodhouse and Jael Weisman.

-7- NEW OPERAS AND PREMIERES Yet another musical adaptation of Frances Hodgson Burnett's book THE SECRET GARDEN is scheduled for a premiere, this one by the Virginia Stage Company in Norfolk. Marsha Norman did the book and lyrics, Lucy Simon the music. The musical calls for a cast of twenty plus a boys' choir and an eight-piece orchestra.

Des McAnuff, artistic director of the La Jolla Playhouse, has commissioned composer Alan Mencken and librettist Robert Coe to create a musical version of the long-running TV comedy series THE HONEYMOONERS. He has also commissioned from Mr. Coe a new libretto for the 1946 Harold Arlen/Johnny Mercer musical, ST. LOUIS WOMAN.

CANADIAN The Canadian Opera Company's current two composers-in-residence, OPERAS Robert May and John Oliver, are each working on a new opera of about 1} hours length. Neither subjects nor titles have yet been revealed. Mr. May is working with librettist Michael Doleschell, and the opera is to be ready for a premiere in February 1991, when both works may be premiered in what could be a festival of contemporary opera.

Harry Somers, the dean of Canadian opera composers, has collaborated with librettist James Reaney in writing SERINETTE, a new opera based on the story of the Jarvis family, which created a new religion and built its temple in Sharon, Ontario (near Toronto), around the turn of the century. The two-act work, steeped in Ontario history, was commissioned by the Sharon Festival. It was workshopped there last summer and will be premiered this summer during the festival, with performances taking place in the Temple. Mr. Somers is presently also writing Mario and the Magician for the Canadian Opera Company (Vol. 29, No. 3).

Saskatchewan history is the subject of composer Elizabeth Raum and librettist James Fitzpatrick, who have been commissioned by Prairie Opera to write an opera on a colorful local politician of the early years of the century. The premiere of EOS: A DREAM OF NICHOLAS FLOOD DAVIN (formerly The Shaping of Man) is planned for February '91 in Regina. The new opera written for L'Ope"ra de Montreal by pop composer Andre" Gagnon and playwright Michel Tremblay is now titled NELLIGAN (formerly Emile Nelligan; see Vol. 29, No. 3). It is based on the life of the Quebec poet, whose father had him committed to an asylum when he was 21; he was held there until his death in 1940 at the age of 53. The premiere is to take place on February 24 at the Grand The'Stre in Quebec City, after which the production moves to the company's home base in Montreal on March 1 and closes on March 30 and 31 at Ottawa's National Arts Centre.

A burst of creativity in new Canadian music this year is assured in preparation for the New Music America festival, which is to be held in Montreal in November 1990. As previously mentioned (Vol. 29, No. 3), this will be the first time that Canada has hosted this event, which will be in its eleventh year. Fifteen to twenty world premieres are expected to be included among the sixty contemporary pieces to be performed between November 1 and 11, 1990. The American operatic contribution will be made by Philip Glass (see "American Opera Premieres"). Canadian composer Jean Piche' is the Artistic Director of the festival.

April '89 brought a new opera, Gilbert Patenaude's POUR CES QUELQUES ARPENTS DE NEIGE, to the stage of the TheHtre d'Art Lyrique de Laval in Quebec.

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The Center for Contemporary Opera has canceled its planned world PREMIERE premiere of THE IMAGINARY COUPLE by Canadian composer Timothy CANCELED Sullivan (Vol. 29, No. 3). The American premiere of Mr. Sullivan's DREAM PLAY will be given by the Center on February 6, as scheduled. The Opera Theater and the Department of Southern Studies of the NEW OPERAS University of Mississippi plan participation in a William Faulkner IN ACADEME Conference arranged by the institution for August 1990. Composer David McKay and librettist Laura J. Menides have been commissioned to write an opera based on Faulkner's novel AS I LAY DYING. The Opera/Music Theater Workshop of Stetson University in DeLand, Florida has commissioned Dr. Paul Langston of the School of Music to write a one-act chamber opera. Plans call for a premiere in fall 1991. December '89 brought a new Christmas opera to SUNY College at Fredonia. The opening date for Frank Pullano's one-act, 40-minute opera, SARAH'S GIFT, was December 8. THE SEAPLANE is a new operatic work by composer Allen Pote and writers Carolyn and Jack Fleming. It was premiered on October 27, and repeated on the 28th and 29th, by the Department of Music and Drama at Pensacola Junior College under Sidney Kennedy's direction. November 9 brought the first performance of THE BAND INSIDE YOUR HEAD, a musical dealing with Cajun culture, at the Opera Theater of the University of Southwestern Louisiana in Lafayette. Composer Richard Bernard, lyricist James Edmunds, and author Rawleigh Marcell collaborated on the work, which was directed by G.S. Beman Griffin. Donald Riggio, director of the Opera Department at the Charleston Conser- vatory of Music of the University of Charleston, West Virginia, is writing ROTUNDA, ROTUNDA, LET DOWN YOUR HAIR. Suzanne Riggio is the librettist. The work is being considered for a premiere on April 1, 1990. Chris Becker, a composition student at Capital University's Conservatory of Music in Columbus, Ohio, has written a new music theater piece entitled SATIE. It will be premiered at the school in February 1990. The Opera Workshop at Clayton State College in Morrow, Georgia has scheduled a new opera, SILENCE, by composer Brent Weaver, for later this season. Last season, the one-act THE OPEN WINDOW by workshop director Larry Corse was premiered on May 26. It was coupled with The Telephone. Brigham Young University in Provo, Utah has announced an opera in progress by composer Stephen Jones and librettist David Warner. The temporary title is THE NEW SON. Completion and premiere are expected in October 1992. A rock musical, DAYSTAR, was premiered at Paris Junior College in Paris, Texas on April 27. The work by Lon Chaffin, professor at the Texas school, is based on the Gospel According to Saint John. THE TOURNAMENT, with music and lyrics by Raymond J. Small, was the first prize winner in the 1989 BMI college musical competition. The opera was produced by the Department of Music at Western Connecticut -9- NEW OPERAS AND PREMIERES

State University in Danbury. Mr. Small received a cash award of $5,000, and the school's music department another $2,500 toward the production costs. Second prize went to Rob Hartmann for his new musical BREAK, produced by the Drama Department of the University of Arizona in Tucson. A third prize was awarded to Tom Senning for HARBINGERS, sponsored by the Theater Department of Rice University in Houston.

YOUNG Middle-school students in Mobile, Alabama have created their own opera, PEOPLE'S THE LIFE AND TRIALS OF GLORIA MATHEWS. The main character is OPERAS AND a mother of two with alcohol and marital problems. The completed work MUSICALS was produced by the students last spring in collaboration with the Mobile Opera Guild.

Saint Louis composer/librettist James Meyer worked with fourth-graders of the local Carman Trails Elementary School in developing LACLEDE'S LANDING, a 35-minute opera, which was tried out on April 16 and 17. The one-act work had its first full production on October 6, 1989, as staged by the Opera Theatre of Saint Louis.

Composer/librettist Edward Barnes is preparing a new participatory music theater work for third- through fifth-graders for performances by the Los Angeles Music Center Opera Resident Ensemble on tour to area schools. It is based on Thatcher Hurd's story MAMA DON'T ALLOW.

The New York children's theater ensemble TADA! gave a triple bill of music and dance pieces based on books by Ezra Jack Keats. The musicals, performed by six- to fifteen-year olds, were APT. 3, with music by Mark Bennett and libretto by Davidson Lloyd, and MAGGIE AND THE PIRATE, with music by David Evans and libretto by Winnie Holzman. Performances opened on July 14.

In its quest to help and educate young people through musical performances, the Blue Apple Players of Louisville have created CONSEQUENCES, the latest in their series of family entertainments. Its message is of a teenage pregnancy prevention program. It was first performed in September 1988.

Composer J. Scott Brumit, who is also General Director of the Longwood Opera in Needham, Massachusetts, has written FRIENDS AND DINOSAURS a one-act children's opera with a libretto by Helen O'Keefe. Scored for three adult voices with piano accompaniment, children in the audience can participate in the action. It was premiered by his company on May 20, and is planned for further performances by the Lake George Opera Festival next summer.

The Children's Theatre Company of Minneapolis commissioned Constance Congdon to write the libretto for a children's opera, MOTHER GOOSE, based on de Paola's storybook; the composer is Hiram Titus. It opened on January 12.

The Creative Theater in Englewood, New Jersey, which specializes in musicals for children and young audiences, will premiere WISHES, A Musical Storybook Revue on April 26. The music is by Keith Thompson and book and lyrics by Grey Ganahas and Adryan Gordon.

Several new children's musicals were tried out in readings and first stagings last spring. Among them was THE BRIDGE TO TERABITHIA by Steve Liebman, Stephanie Toland and Catherine Paterson at Stage One:

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The Louisville Children's Theatre. — New at Theatreworks/USA this season are the premieres in New York and on tour of FOOTPRINTS ON THE MOON, with music by Jeffrey Lunden and book and lyrics by Arthur Perl- man, given on November 11, telling the story of space exploration from Sputnik to Apollo, and HARRIET THE SPY, with music by Kim Oler, lyrics by Alison Hubbard, and book by James Still, the premiere of which is scheduled for February 10. In addition, Theatreworks/USA performed Waldman and West's The Play's the Thing, formerly entitled Shakespeare, or What You Will.

LIONS AND TIGERS AND BEARS, OH MY, a catchy title taken from The Wizard of Oz, is a new musical for young people premiered last season by Bradley University in Peoria, Illinois. D. Snelling is the composer and librettist. The work was given fourteen performances by the university's theater department.

The Children's Theatre of the Arkansas Arts Center includes in this year's season musicals based on the classic fairytales RUMPELSTILTSKIN, JACK AND THE BEANSTALK, and THE ELVES AND THE SHOEMAKER, all with new music and lyrics by Lori Lee.

The Empire State Institute in Albany, New York has premiered KNOCK- ABOUT BOY, with music and lyrics by George Harris and book by W.A. Frankonis. The performance dates were October 13-17.

Schubert's DES TEUFELS LUSTSCHLOSS had its first American perfor- AMERICAN mance in concert on January 7 at Hunter College in New York, as part PREMIERES of the third year of the Schubertiade series being presented by the 92nd Street Y. Composed in 1813-14, the opera was not heard until 1879 when it was done in concert in Vienna. The New York east included baritone Hermann Prey, soprano Carolyn James, and mezzo Mimi Lerner, with Werner Klemperer as narrator; Bruno Weil conducted the New York Chamber Symphony Orchestra. Eventually, the ten-year Schubertiade is to include concert performances of all of Schubert's operas.

Wagner's DAS LIEBESVERBOT, first heard in the U.S. at the 1983 Waterloo Festival in New Jersey in concert, will be staged by the Pocket Opera in San Francisco on March 25. It will be performed in an English translation by Donald Pippin under the title No Love Allowed. The first performance of this, Wagner's second opera, was mounted in Magdeburg in 1836.

Continuing the Mascagni renaissance, the Westchester Opera in Tarrytown gave the first U.S. performance of his LE MASCHERE on November 18. Credit for the world premiere in 1901 was shared by seven Italian companies. Mascagni's comic opera SI! (Rome 1919) will be given its American premiere by the same company in the spring.

The New York City Opera has scheduled the first American stage production of Janacek's FROM THE HOUSE OF THE DEAD for August 28, 1990. First performed in Brno in 1930, it has been seen in the U.S. once before, but only in a television production by the NBC Opera Theater.

Among contemporary composers, one of the most famous is the controver- sial Luciano Berio. His LA VERA STORIA, premiered at La Scala, Milan in 1982, will be given its first U.S. performance in concert on October 4 at Carnegie Hall as part of the hall's centennial celebration (see also

-11- NEW OPERAS AND PREMIERES "Forecast"). The composer will conduct the Orchestra and Chorus of the Academy of Santa Cecilia of Rome. True to its commitment to European contemporary works, the Santa Fe Opera has again scheduled an American premiere for next summer. The opera is Siegfried Matthus's JUDITH, with a libretto by the composer in collaboration with stage director Harry Kupfer, based on Friedrich Hebbel's play about the Biblical character. It had its first performance at the Komische Oper in East Berlin in 1985, and will open in New Mexico on July 28, 1990, sung in Bernard Jacobson's new English translation.

Aribert Reimann's GESPENSTERSONATE, first heard in West Berlin in 1984 and in several other German productions since then, is scheduled for its American premiere on July 25, 1990 by the San Francisco Opera Center at the Theatre Artaud. The Russian rock musical JUNON AND AVOS—THE HOPE, by poet Andrei Voznesensky and composer Alexis Ribnikov (Vol. 27, No. 4), has come to the U.S. courtesy of Pierre Cardin. The Moscow Lenin Komsomol Theatre production opened at New York's City Center for Music and Drama on January 5, playing through February 4. — On March 28, New York City's Musical Theatre Works starts a three-week run of MOLDAVANKA, a Rus- sian piece in its American premiere, with music by Alexander Zhurbin, lyrics by Ray Errol Fox, and book in the English adaptation by James Raeheff.

Imported from East Berlin, DIE KURZ OPERN is a four-part jazz opera with music by Ulrich Gumpert and a libretto by Jochen Berg, first performed at the Deutsches Theater in January 1988. The American premiere was presented by the Castillo Cultural Center on Greenwich Street in New York City on October 14. Surprisingly, this summer's performances of Reynaldo Hahn's CIBOULETTE by the Ohio Light Opera in Wooster, opening on July 3, seem to be the first in the United States. The French operetta was first produced in 1923, and its North American premiere took place in Quebec in 1970. The Long Wharf Theatre in New Haven plans the American premiere of James Roose-Evans and Maureen Lipman's RE:JOYCE!, scheduled for Janu- ary 16 through March 4, with Alan Strachan directing. The story is based on the life of Joyce Grenfell.

CANADIAN L'Atelier lyrique of L'Opgra de Montreal participated in the Montreal PREMIERES International Music Festival by giving the North American premiere of Donizetti's one-act opera ELVIDA. An opera seria first performed in Naples in 1826 and now rarely heard even in Italy, it is said to contain some of the composer's most florid vocal music. The concert performance was given at the Chapelle Historique de Bon-Pasteur on September 13.

Verdi's I DUE FOSCARI received its first Canadian performances on September 21 and 23 when it was staged by Opera Hamilton in Ontario, conducted by Daniel Lipton. The opera reached Boston in 1847, three years after its world premiere in Rome. — A first Canadian showing of a contemporary work occurred on the west coast, where Vancouver New Music performed Michael Nyman's THE MAN WHO MISTOOK HIS WIFE FOR A HAT. The British composer's opera, first seen in London in 1986, had its U.S. premiere the following year in Philadelphia.

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Simon Fraser University's Centre for the Arts in Vancouver gave the first Canadian performances of Satie's GENEVIEVE DE BRABANT on January 12 and 13. The production was part of an all-Satie program presented jointly by the opera, music, dance, and theater department faculties.

Philip Glass's THE MAKING OF THE REPRESENTATIVE FOR PLANET 8 AMERICAN had its first German performance at Kiel in April '89, while the Workshop OPERAS Stage at Bonn has scheduled the composer's THE FALL OF THE HOUSE ABROAD OF USHER for the current season. Glass's 1,000 AIRPLANES ON THE ROOF made its first landing in England in October, at the Sadler's Wells Theatre in London. Yet another new opera by Philip Glass has opened, this one with little fanfare in the U.S. Written for and premiered in Rio de Janeiro and produced in collaboration with Gerald Thomas, it has as its theme the destruction of the Amazon region, and in a larger sense the destruction of the environment. Entitled MATTOGROSSO, it was premiered on July 15.

A major new production of Bernstein's CANDIDE was unveiled in May by the Deutsche Oper Berlin at the Theater des Westens.

Dominick Argento's operas continue to travel well to Europe (Vol. 28, No. 4 & Vol. 29, No. 1). His latest work, THE ASPERN PAPERS, which premiered in Dallas in 1988, is scheduled for its first German production in Kassel on June 9, 1990. Tom Johnson's THE FOUR NOTE OPERA has found favor in many European cities; it had its Danish premiere last season, staged by The Jutland Underground in Aarhus, on a double bill with American composer Marc Neikrug's monodrama THROUGH ROSES. The Coburg Opera Studio showed it in February '89 together with Chailly's The Proposal.

Under the heading of "Studio Performance," the Komische Oper in East Berlin tried out six scenes from a new work by Peter Paul Fuchs, the German-born American composer/conductor, on June 12. DIE WEISSE KRANKHEIT (The White Agony) was adapted from the Capek drama by the composer, who wrote his own libretto.

Thomas Pasatieri's THREE SISTERS, after the Chekhov play, returned home to Russia, where the opera was performed at the Stanislavsky/ Nemirovich-Danchenko Music Theater in Moscow in summer '88.

The first performance of Leonardo Balada's CRISTOBAL COLON opened NEW OPERAS the festivities commemorating the landing of the explorer in the American ABROAD hemisphere. The two-act, two-hour-plus opera, with a libretto by Antonio Gala, was premiered on September 24 at the Gran Teatre del Liceu in Barcelona. The premiere cast featured Montserrat Caballed Jos6 Carreras, and Carlos Chausson, and was conducted by Theo Alcantara and staged by Tito Capobianco.

Madrid's Teatro de la Zarzuela, which is not at all restricted to zarzuelas —Tristan und Isolde could be heard there last spring—premiered Alfredo Araeill's FRANCESCA on March 28, 1989. The opera, commissioned by the theater, has a libretto by Luis M. de Merlo based on the story of Francesca di Rimini.

The Festival of Two Worlds in Spoleto, Italy gave the premiere of SARAH, subtitled scenes lyriques de la vie de Sarah, a new opera by the Belgian

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composer Paul Uy, on June 30. The libretto is freely fashioned after events in the life of Marilyn Monroe. On June 17, the 1989 Festival di Fermo in Italy premiered GESUALDO DA VENOSA by S. Cappalletto and G. Barbieri. The same festival also offered the rarely performed Don Falcone by Niccol6 Jommelli. On January 23, IL VIAGGIO by Franco Vacchi will be premiered in Bologna. Five further performances are scheduled, all under the baton of Giampiero Taverna; Amadori Desderi designed the sets. — The Teatro Lirico in Milan has announced the first perfomance of Azio Corghi's BLIMUNDA for May 20, 1990. Zoltan Pesk6 is to be the conductor. The composer's earlier opera was Gargantua.

The Ope'ra Bastille in Paris has commissioned British composer George Benjamin to write an opera for premiere at the new theater. Arthur Miller is to provide the libretto. The first act of Marcel Landowski's latest opera, L'OPERA DE LA BASTILLE, was heard in a concert performance at the The'Stre du CMtelet on December 12 during Paris's Festival d'Automne. Completing the program was the composer's mass, La Messe de VAurore. LA NOCHE TRISTE is Jean Prodromides' latest opera, premiered by L1 Ope'ra de Nancy et de Lorraine. Olivia Stapp sang the leading role on the November 24 opening night. The opera deals with the conquest of Mexico and of Montezuma by Cortes and his troops. The London International Opera Festival, which opened in May, offered the world premiere of THE FISHERMAN by Paul Max Edlin. The first performance was mounted on May 23 at the Royal College of Music. Other premieres during the Festival included a one-act, 45-minute work, LA MALINCHE by Paul Barker, at The Place on June 7, performed by children and adults of the Modern Music Theatre Troupe, and David Blake's The PLUMBER'S GIFT, premiered by the English National Opera on May 25.

Also during the International Opera Festival, the Royal Opera Covent Garden's Garden Venture (Vol. 28, No. 4 & Vol. 29, No. 3) gave staged readings of the following new works from May 17 to 27: Priti Paintal and Richard Fawkes' SURVIVAL SONG, Andrew Poppy's THE URANIUM MINERS' RADIO ORCHESTRA PLAYS SCENES FROM SALOME'S REVENGE, Kenneth Chalmer and Felicity Hayes-McCoy's SOAP OPERA, Michael Christie and John McMurray's THE STANDARD BEARER, Peter Wiegold's LAST TANGO ON THE NORTH CIRCULAR, Jeremy Peyton Jones and Claire MacDonald's THE MENACED ASSASSIN, and Edward Lambert's CAEDMON.

The Almeida International Festival of Contemporary Music presented two new operas in London last summer. Dmitri Smirnov's THE LAMENTATIONS OF THEL, based on William Blake's book, was given three performances, the first of which was on June 9, and John Casken's GOLEM had five performances with the first on June 28. The English National Opera has announced the premiere of David Holloway's CLARISSA for May 5, 1990. The opera, published by Boosey & Hawkes, is based on Samuel Richardson's novel of the same title. Oliver Knussen will conduct and David Pountney will direct the work. -14- NEW OPERAS AND PREMIERES

On November 7, the Welsh National Opera gave the premiere of George Lloyd's THE VIGIL OF VENUS at the Royal Festival Hall in London, with the composer conducting. — John Metcalf's TORNRAK has undergone more changes and another postponement of its premiere. It is now set for a first performance by the Welsh National Opera in Cardiff for May 19, 1990. Earlier workshop performances were given by the Banff Centre Music-Theater Ensemble in Alberta. Greater London Arts has recently given two grants facilitating the commissioning of two operas. One went to the Women's Playhouse Trust, which requested from composer Nicola LeFanu a two-hour work for twelve soloists, small chorus, and sixteen orchestral musicians; the premiere is planned for April '91. The second grant went to National Youth Music for a commission to Stephen MeNeff for a two-act chamber opera with children and adults as soloists. The first performance is to take place at the Sadler's Wells Theatre in January '91.

The opera company in Lucerne has scheduled the premiere of Ingomar Grunauer's latest opera, KO'NIG FUR EINEN TAG, for May 16, 1990. In a new arrangement, the Vienna State Opera will give studio performances at the Odeon Theater. On November 25, it opened with a one-week premiere run of Beat Furrer's DIE BLINDEN. Kleist's writings have been borrowed several times for operas, and Karl Kogler has based his MICHAEL KOHLHAAS on the Kleist story of the same title. The opera was premiered in Linz, Austria, on March 12, 1989. — Dieter Kaufmann chose a local hero as the central figure for his church opera, BRUDER BOLESLAW, The Silent Penitent of Ossiach. It was premiered on August 24 during the Carinthian Summer Festival in Ossiach.

The Deutsche Oper Berlin has announced the premiere of the latest Hans Werner Henze opera, DAS VERRATENE MEER, based on a novel by Yukio Mishima. The first performance is scheduled for early May, with Gotz Friedrich as stage director. Christopher Keene, General Director of the New York City Opera, is currently exploring possibilities for sharing this premiere production; it would be performed under the English title The Sailor Who Fell From Grace With The Sea.

The 1989-90 season will bring DER LETZTE ORPHEUS by Anton Ruppert to the Theater im Marstall, the experimental stage of the Bayerische Staatsoper in Munich. It is scheduled on a double bill with a yet unnamed work by Klaus Heinrich Stahmer. — The 1990 Munich Biennale is considering the premiere of Volker Hein's OPERA.

On March 4, the opera house in Koblenz mounted the world premiere of Klaus Arp's ODYSSEUS AUF OGYGIA, a work commissioned by the theater for its 200th anniversary. The libretto is by Wolfgang Poch and is based on a play by the Koblenz-born poet and author Fritz von Unruh. A rock opera by Rick Bowers, MAMBO MORTALE oder DER NOTRUF 1ST LEIDER BESETZT, had its first performance in Detmold, Germany on August 16, 1989. Heinz Holliger, the Swiss composer of the short operas Come and Go and Not I, based on Samuel Beckett's plays, was commissioned by the -15- NEW OPERAS AND PREMIERES Frankfurter Kammerspiele to write another one-act Beckett-based opera to go with the preceding ones. WHAT WHERE was the result, and it was premiered May 19 on a triple bill with the earlier works. WAGNER UND. . .—spes contra spent, written by Swiss composer Klaus Huber and incorporating some of Wagner's operatic music, was premiered at the Diisseldorf Theater on February 22, 1989. Within the premiere week, there were performances not only in Diisseldorf but also at the University of Bochum and in Cologne. In June, it was performed at the Vienna Konzerthaus during the Festival Weeks. September 16 marked the first performance of Robert Wittinger's MALDOROR at the Municipal Stages in Hagen. The four-act music theater piece is scored for four singers, one actor, a chorus, dancers, one chamber- size and one full orchestra. The same theater premiered Marakowski and Schiitze's DON JUAN UND CASANOVA on December 20, 1989. Bruno Liberda had his second opera premiered in Ulm on May 28; its title and setting is SHAMBHALA, an Arctic Shangri-La. His first opera, Das Ende des Kreises, was premiered in 1981, also in Ulm. — The Wuppertal Opera will premiere Volker David Kirchner's ERINNYES on April 15, 1990. Russian composer Gleb Sedelnikov based his one-act opera POOR FOLK on Dostoevski's novel of the same title. The opera had its first performance in Germany at the Augsburg Studiobiihne last March 23. The Miinchner Musiktheater is preparing the premiere of von Schweinitz's PATMOS in a coproduction with Kassel. It is scheduled to open on April 29 as part of the Munich Biennale, then play in Kassel on May 5. Ruth Berghaus will stage the new work. Other premieres in Germany this season include Rosenf eld's DIE VERWEIGERUNG, given on November 26, 1989 at Osnabriick, with Peter Starke conducting and Matthias Otto directing, and Dohl's MEDEA, to be performed at the Stadttheater in Kiel on June 17, 1990.

The Dutch composer Louis Andriessen collaborated with Robert Wilson on DE MATERIE, a three-act multimedia opera premiered at Amsterdam's Musiektheater last June 1. The Italian/Norwegian composer Antonio Bibalo (The Smile at the Foot of the Ladder, Miss Julie, Ghosts) will have his latest opera, MACBETH, premiered at the Norske Opera in Oslo in the fall of 1990. Celebrating the reopening of the Royal Opera, Stockholm, after extensive renovations, the company will produce a series of new commissioned works. On December 16 Bjo Wilho Hallberg's MAJDAGAR (May Days) was unveiled, with Lars Runsten in charge of design and direction, and June will bring Torsten Nilsson's MALIN. Next season will include THE BACCHAE by Daniel Ho'rtz, after Euripides, and four other new operas still to be determined are to be premiered over the next three seasons. In addition, the Royal Opera will bring back Swedish operatic works of some 200 years ago, such as Abt Vogler's Gustaf Adolph and Ebba Brahe and Johann Gottlieb Naumann's Gustaf Vasa.

Swedish composer Arne Mellnas' DANS PA ROSER (Dance on Roses/Bed of Roses), described as "a sophisticated family drama", received its -16- NEW OPERAS AND PREMIERES premiere at the Musikdramatisk Teater in Frederiksberg, Denmark in February '89. The Istanbul Opera has announced plans for the premiere of Turkish composer Demiris' YUSUF AND ZUELEYHA for February 1990. The New Israeli Opera in Tel Aviv has announced the first performance of Sheriff's THE SORROWS OF JOB for June 1990. Ostrovski will conduct and Christopher Alden will direct the production. As a result of glasnost and the easing of conditions in Russia, Jews may now receive special grants from organizations outside the USSR. The Memorial Foundation for Jewish Culture in New York and its chairman Konstantin Kharchev have made a special award to Russian composer Mikhail Gluz, commissioning him to write an opera based on the life of the second-century military leader SHIMON BAR-KOCHBA. Mr. Gluz is the Artistic Director of Moscow's Jewish Musical Theater.

The National Opera Company of Mexico gave the premiere of a new opera, AURA, by Mexican composer Mario Lavista. It was presented in April on the opening night of the company's 1989 season at the Palacio de Bellas Artes. Two one-act operas by Argentinian composers were given first performances in Buenos Aires on December 17. They are Mario Perusso's ESCORIAL and Alejandro Pinto's ADONIAS. The studio of the opera house in Wiesbaden, called Musik Theater Werk- statt, has commissioned Johannes Kalitzke to write a youth opera, DIE TRUBSALSFLGTE (The Mournful Flute), intended as a multidisciplinary piece including dance, pantomime and acrobatics. — In November, Gelsen- kirchen premiered a children's musical by Wood entitled AUSFLUG DER GARTENZWERGE (Excursion of the Garden Dwarfs), and Mannheim DER FALSCHE PRINZ by Florian Zwipf after the Hauff fairy tale. Also in Mannheim, Jens Peter Ostendorf's children's operas, the new ISNOGUD UNO DER NARRENTAG and last season's Alice in Wonderland, were holiday fare at the Musiktheater fur Kinder.

With children as performers and a youth orchestra in the pit, Kees Olthuis's DE NAAM VAN DE MAAN was premiered in Amsterdam by the Music Theater Foundation in January. Annie M.G. Schmidt and Flip van Duyn wrote the libretto of a tale of a man who appears on an island inhabited only by children. []

-17- NEWS FROM OPERA COMPANIES NEW The GARDEN GROVE OPERA of California has chosen Rossini's rarely COMPANIES performed Semiramide as its inaugural vehicle. The new company will give two performances at the Don Wash Auditorium in Garden Grove in February. James Sullivan will conduct and Don Hayes will stage the opera, with Gil Morales and Peter Conway as set and costume designers; they jointly founded the company. The opening production will feature Karen Poston-Sullivan in the title role and Gail Dubinbaum as Arsace.

NEW STAGES, Musical Theatre Arts is a new organization in New York City founded for the discovery, development, nurturing, and promotion of new music theater pieces. Plans call for collaborative development of new works by selected composers and lyricists, followed by tryouts of scenes and eventually a premiere when the work is deemed ready to be produced. Robert J. Weston is Managing Director.

OPERA EAST in Nova Scotia plans its third festival cum summer school. Matt Hughes of Acadia University is the director, and the summer school's faculty includes tenor William Neill and coach/accompanists Dixie Ross Neill and Stuart Hamilton, who is also the director of Toronto's Opera in Concert. In its opening season, Opera East offered two double bills, one by Mozart, the other by Puccini; last summer—with an enrollment of 80—it gave Die Zauberflbte and La Boheme. Plans for 1990 call for staged performances of Ariadne auf Naxos, II Barbiere di Siviglia, and Carmen between July 2 and 18. Performances take place at Acadia Uni- versity in Wolfville, Nova Scotia. Further information is available from Mr. Hughes, Opera East, P.O. Box 694, Kentville, NS B4N 3X9.

Calgary, Alberta will have a second opera company, albeit one much smaller than the Calgary Opera. DEBUT OPERA plans to give concert performances of H.M.S. Pinafore and Gluck's Orfeo ed Euridice in its first season, which will close with a pops concert.

LYRIC OPERA'SThe LYRIC OPERA OF CHICAGO is the first American opera company 10-YEAR PLAN to outline and announce a ten-year plan; it is entitled "Toward the 21st Century." According to General Director Ardis Krainik, the thrust of the plan is to put greater emphasis on modern works, with one foreign and one American contemporary opera to be given each season. The far- reaching plan will also bring to the Chicago stage an ambitious program of neglected as well as familiar classical works, to be conducted and staged by internationally renowned artists, several in their American or local debuts, and drawing directors from related fields such as theater and film. Three new operas commissioned by the company will be premiered during the ten-year period. There is the previously announced new opera by William Bolcom, McTeague, renamed Gold, based on the 1899 novel by Frank Norris. The premiere is scheduled for 1992-93, the 500th anniversary of the discovery of America. The other two commissioned operas, whose composers and subjects have not yet been announced, are planned for the 1996-97 and 1999-2000 seasons. (For more details of the repertory, see "Forecast.") Many works by prominent European contemporary composers are under consideration by Miss Krainik for inclusion in her ten- year plan. Mention must be made of the company's recent excursions into the contemporary field (notably Satyagraha) as well as its daring productions of standard works by Peter Sellers, both to local acclaimand to sold-out houses, a sure encouragement for the most ambitious program yet announced by any American opera company.

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Following the settlement of the musicians' strike that led to the can- NEW PLANS cellation of NEW YORK CITY OPERA'S 1989 fall season (see "Shortened FOR Seasons"), General Director Christopher Keene announced some major CITY OPERA policy changes which should prove beneficial from both the economic and the artistic point of view. There will be fewer performances per week; the Sunday night performances will be discontinued, and a few nights during the season will remain dark. The en-suite runs of classical American operettas during the season have not proven sufficiently popular and will also be discontinued. There will be fewer works in the repertory—fourteen in 1990 compared to the previous twenty or more—and each will be given at least six performances compared to the previous minimum of three. This will allow more time for rehearsals and will put less strain on both the budget and the artistic quality of performances. A renewed commitment to American contemporary opera will be evident starting in 1992; the company will present one new American work annually, and also award at least one commission each year. With salary increases to orchestra musicians as well as to other company members—a five-year contract with AGMA covering singers, dancers, and stage managers has also been concluded—an increase in ticket prices was unavoidable. The top price of $45 in the first tier has been raised to $55 on single ticket sales, but only to $47 on subscription. Beyond this, fundraising will have to be greatly accelerated to make up for the increased expenses. (See "Forecast" and "Performance Listing, 1989-90 Season" for this year's program.)

In anticipation of having its own opera house, the CANADIAN OPERA EXPANDED COMPANY will expand its 1990-91 season to nine productions by adding SEASONS two Mozart operas at the Elgin Theatre in June. This will be COC's first appearance at the restored theater. The total number of performances will go up from 52 to 65. (See also "Forecast.")

The ORLANDO OPERA is expanding from last year's three productions to four, with a total of twelve performances during the current season. The fourth opera, he Nozze di Figaro, will be a French production from Toulon, the first in a new exchange program between the state of Florida and the province of La C6te d'Azur. The Orlando company, in return, will send its premiere production of Elizabeth Swados's The Pied Piper to Toulon in May '91.

The GREATER MIAMI OPERA, which has always repeated one performance of each production in Fort Lauderdale, will now also add two performances of Madama Butterfly in Tampa in May. This will be the company's first appearance at the new Tampa Bay Performing Arts Center, where the Florida Symphony Orchestra of Orlando will be the supporting ensemble in the pit.

Having raised operatic consciousness within its region, OPERA SAN JOSE is essaying a visit to Pleasanton in California's Tri-Valley region. After the initial seven performances of La Traviata in its own theater, the company took the production to the 630-seat Amador Theater. While Opera San Jose' has traveled with its outreach/educational program throughout the Santa Clara Valley and the Tri-Valley region before, this was the first main-stage production to be given outside its own theater. The AMERICAN MUSIC THEATER FESTIVAL in Philadelphia is establishing a consortium project with the SPOLETO FESTIVAL U.S.A. in Charleston, South Carolina, and the WALKER ARTS CENTER in Minneapolis, for the development and production of innovative works in multidisciplinary fields,

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featuring music theater, theater, and dance. An NEA Challenge III Grant has been awarded for the furtherance of this project.

SHORTENED The musicians' strike against the NEW YORK CITY OPERA, called on SEASONS September 1, eventually resulted in the cancellation of the 1989 fall season. Various postponements of the closing, to allow for additional negotiations, could not save the season. A settlement was achieved in early November which salvaged the spring musical season and insured plans for 1990. A new five-year contract with pay increases and guaran- tees of a minimum number of work weeks will offer both management and the players some stability and facilitate long-range planning. Due to a previous booking by the State Theater, the opening of City Opera's 1990 summer season will be delayed until July 28, resulting in a shortened season of sixteen weeks. Next year the schedule will return to the customary twenty weeks. (See also "New Plans for City Opera.")

FUNDRAISING Most fundraising events are arranged by the opera companies themselves, AND FINANCIAL but recently a company was the beneficiary of a fundraiser given by ASSISTANCE another organization. The Paint and Powder Club in Baltimore, which lays claim to being the oldest philanthropic organization in the U.S., this year chose the BALTIMORE OPERA to benefit from its annual bash, the staging of a musical review. Perhaps other companies may find local institutions willing to promote and assist them.

Although the 1988-89 season was outstandingly successful for opera in the United States (see "COS Inside Information"), a few smaller companies were unable to keep step with the national trend, among them the LINCOLN OPERA in Chicago, which had to cancel its summer schedule. But the MaeArthur Foundation has come to the rescue with a grant specifically designed to assist the company in developing funding sources. As a result, several grants have now been received, and the first production of the 1989-90 season has been announced; there will be two performances of The Magic Flute at Mundelein College in Chicago.

While not-for-profit organizations are legally prevented from lobbying on their and the arts' behalf, individual arts leaders such as opera company board members, as well as arts-oriented corporations, are free to do so. Such efforts have been well rewarded. Examples provided by the Arts Management newsletter include the creation of an Arizona Arts Trust Fund by the Arizona State Legislature. The Fund, which is the beneficiary of a $15 increase in the annual filing fee levied against for-profit corporations in the state, is administered by the Arizona Commission on the Arts and is expected to raise $1 million a year. — In Colorado, a six-county area around and including Denver has been declared a Cultural Facilities District in which the local sales tax has been increased by 0.1 percent for the benefit of the district's arts organizations. The first receipts, amounting to $5.3 million, were shared among ten cultural groups; the fund is expected to collect about $13 million annually. — In Wisconsin, the legislature's concern was with adequate space for artists and arts organizations. Money is being made available for feasibility studies regarding the creation of suitable work spaces from unused or unoccupied spaces. The program, administered by the state arts council, will follow up the studies with loans or grants to realize the recommended improvements.

The Support Center of New York has devised an assistance program for Hispanic nonprofit performing ensembles, offering instruction and individual

-20- NEWS FROM OPERA COMPANIES consultations on managerial and technical problems. The first group of free courses was given in September. For further information contact the Center at 56 West 45th St., #905, New York, NY 10036; (212) 302-6940.

Chorus America offers financial assistance to choral ensembles toward the costs of rehearsing and performing American works composed since 1930 which have had little exposure since their premieres. Last season, over $50,000 was distributed among nineteen performing groups. For further information write to CA, 2111 Sansom St., Philadelphia, PA 19103.

For several seasons, LYRIC OPERA OF KANSAS CITY has toured educa- OUTREACH tional programs to local and area schools. Last season it did so under PROGRAMS the auspices of Young Audiences and expanded the number of performances (.Little Red Riding Hood) to 107. This year the touring ensemble will be presented under its own new name as Lyric Opera Express, offering Barab's Chanticleer.

The CANADIAN OPERA COMPANY has'revealed plans for the eventual expansion of its COC Ensemble, which presently numbers nine members, to a company of thirty. It will serve both for extended tours and as a resident ensemble. The full complement is expected to be in place at the time of the company's move to the new opera house, projected for 1994. The first additions in programming, scheduled for this, its tenth season, include a four-concert recital series in Toronto and a fall tour of the eastern provinces, with visits to seventeen different centers.

The VANCOUVER OPERA has added a new Resident Young Artists Program. In its first season it will accept twelve Canadian singers and four apprentice stage directors and designers. There will be formal instruction in addition to the program's main thrust of rehearsals and performances. These will include special educational/outreach programs in schools and communities. Apprentices will also study and cover major roles in the company's main season repertory, and will have the opportunity to perform comprimario roles. Supported by a Canada Council grant, the program will be headed by Leslie Uyeda.

For the first time, the COCONUT GROVE PLAYHOUSE has added appren- NEW ticeships for actor/singers, stage managers, and theater technicians. They TRAINING will work with the company's resident staff of professionals, receive PROGRAMS specific training, and have the opportunity to participate in the day-today operation of the well-known music theater company.

The PITTSBURGH OPERA has joined forces with Duquesne University to establish the Pittsburgh Opera Center at Duquesne University, a major component of the university's newly created special performing arts program. General Director Tito Capobianco will work in collaboration with Michael Kumer, Dean of the university's School of Music, and will hold master classes for Duquesne students and other young singers enrolled in the nine-month program during the school year, together with faculty members and various visiting artists including Carlo Bergonzi, R6gine Crespin, Maureen Forrester, Sherrill Milnes, Renata Scotto, and Beverly Sills. Auditions for 1990-91 are scheduled in Pittsburgh for March 24 through April 1, 1990. The Center at Duquesne is to expand the original Pittsburgh Opera Center, created in 1986 as a part of the company.

In September, the PITTSBURGH CIVIC LIGHT OPERA opened its new Academy of Musical Theater, a training institution under the direction

-21- NEWS FROM OPERA COMPANIES

of Joe Franze for children and young people between five and eighteen. (Charles Gray is Executive Director of the parent company.) Courses are offered in musical comedy techniques, voice, dance, jazz, acting, and audition technique, and some of the registered students also have the opportunity to participate in the company's musical productions. The fall semester ran from September 25 to January 20; the spring semester is scheduled for January 22 to May 19. Until this season, the company has offered a training program in light opera for designers, directors and managers; this is the first time that performers—and specifically children —have been included.

EDUCATIONAL Next summer, the METROPOLITAN OPERA GUILD'S Education Department PROGRAMS will offer a ten-day Teacher Workshop Series on "Creating Original Opera in Elementary Schools." The courses, which will be held at the opera house, are scheduled for July 7 through 16. Attendance at last summer's workshop included forty general classroom and music teachers from twenty elementary schools across the country. Subsequently, the teachers were required to keep a record of the operatic activities they initiated in their classes during the 1989-90 school year as a result of the MOG workshop. School teachers should apply before March 1, 1990 to MOG, David Dik, Education Dept., 1865 Broadway, New York, NY 10023.

OPERA America's school textbook project for opera education, developed over the last five years, was adopted by OPERADELAWARE last fall for a trial run. The opera company sponsored three weekend sessions of teacher training for instructors at a local elementary school, with the results to be analyzed for possible changes or improvements in the textbook. The first pilot programs were conducted in schools in San Francisco and Mobile, Alabama during 1988-89. — In the same project, the HOUSTON GRAND OPERA offered a free two-week opera education institute for fifth-grade classroom and music teachers last June. The workshop was funded by the National Endowment for the Arts in coopera- tion with OPERA America and Young Audiences of Houston. — Eventually there will be textbooks and teachers' guides for four different educational levels from kindergarten through high school, to be published by MMB Inc. of Saint Louis under the series title Music! Words'. Opera! The Level 1 book, to be published this year, focuses on the study of Hansel and Gretel, The Magic Flute, and Ravel's Child and Enchantment, and also provides material for the students to create and produce their own opera. For information contact Marthalie Furber, Education Director, OPERA America, 777 14th St. NW, Washington, DC 20005; (202) 347-9262.

In a related project, Ms. Furber went to Sarasota to work with children writing their own opera, in a program arranged through the SARASOTA OPERA. The 70 participating youngsters selected the topic of homeless- ness, then wrote, rehearsed, and finally performed the piece at the Sarasota Opera.

"American History Through American Opera" is the subject of a new lecture series instituted by OPERADELAWARE. Each program will include a live performance of operatic excerpts from related works. Scholarly essays are also in preparation for this unique project, sponsored by the Delaware Humanities Forum.

MANAGEMENT L'OPERA DE MONTREAL is probably the first professional opera company FOR CANADIAN to add an artists placement service. Founded and coordinated by the ARTISTS Montreal opera company but with its own executive committee and its

-22- NEWS FROM OPERA COMPANIES

board of administrators, it will eventually become an independent organization. Set up as a nonprofit society, with Michel Beaulac as Executive Director, the Socie'te' de Placement d'Artistes Lyriques, S.P.A.L. for short, expects to cover its expenses from commissions. Restricted to Canadian artists, the management company intends to represent professional singers, conductors, and stage directors, whether in mid-career or at the career- entry level. Acceptance is by audition; there is no registration fee. To apply, send resume" and photo to S.P.A.L., 1008 rue Sainte Catherine est, Montreal, PQ H2L 2G2.

The 35-year-old WIENER KAMMEROPER, under founder and Artistic COMPANY Director Hans Gabor, has concluded an arrangement with the future NEWS ABROAD director of the WIENER STAATSOPER and WIENER VOLKSOPER, Eberhard Waechter, whereby the companies will collaborate on some productions. The first is a double bill of one-act operas by Peter Maxwell Davies, mounted by the Kammeroper in October. They are The No. 11 Bus and Miss Donnithorne's Maggot. The company also continues performances of one of its most successful productions, Carmen Negra, both in Vienna and on tour.

For three weeks in October, the BOLSHOI OPERA and LA SCALA, Milan, exchanged locales. The Italians brought I Capuleti ed i Montecchi, Cos\ fan tutte, Adriana Lecouvreur, and Turandot to Moscow, while the Russian company presented Ivan Susanin, Mlada, Boris Godunov, and Betrothal in a Monastery at La Scala. — Also from eastern Europe come the ensembles of Leningrad's MALY THEATER and Warsaw's TEATR WIELKI for guest performances at the THEATRE DES CHAMPS-ELYSEES in Paris. The theater will also host the Clemencic Consort, which will perform several Baroque operas. — This year's visiting company to Japan is the WIENER STAATSOPER, opening in Tokyo with Rossini's II Viaggio a Reims.

CONCERT OPERA OF MANHATTAN was founded in 1985 by Daniel R. CORRECTION Shaindlin, not by Elizabeth M. Falk. The Provineetown Academy of the Living Arts was formed in 1972 and, as stated previously, the PALA Opera Association was founded in 1989. It will give the American premiere of Alberto Zedda's critical edition of Rossini's La Gqzza ladra, produced by Ms. Falk, with Philip Gossett adding the embellishments.

OPERA THEATRE AT WILDWOOD (formerly Arkansas Opera Theatre), NAME Wildwood Park for the Performing Arts, Denny Road, Little Rock, AR CHANGES 72211; (501) 821-PARK; Ann Chotard, General/Artistic Director SKYLIGHT OPERA THEATRE, Milwaukee (formerly Skylight Comic Opera; address unchanged) SOUTHWEST VIRGINIA OPERA, Roanoke (formerly Southwest Virginia Opera Society; address unchanged)

ATLANTA OPERA, 1800 Peachtree St., #620, Atlanta, GA 30309; (404) CHANGES OF 355-3311 ADDRESS CHAUTAUQUA OPERA, P.O. Box 838, Teaneck, NJ 07666 (winter address; summer address unchanged) NEW YORK INTERNATIONAL FESTIVAL OF THE ARTS, 130 Fifth Ave., New York, NY 10011; (212) 633-1991 NORTH STAR OPERA, 1863 Eleanor Ave., Saint Paul, MN 55116; (612) 698-5386 OPERA CAROLINA, 3*5 North College St., #409, Charlotte, NC 28202 (telephone unchanged) []

-23- GOVERNMENT AND NATIONAL ORGANIZATIONS NEA The President's budget for FY 1991, presented to Congress at the end of January, proposes an appropriation of $175 million for the NATIONAL ENDOWMENT FOR THE ARTS. Counterproposals will be made and debated in the near future, but even more importantly, the reauthorization of the NEA will soon be on the Congressional agenda (Vol. 29, No. 3). It is imperative to realize the importance of letters by individual constituents addressed to their representatives and senators in Washington, stressing the indispensible role the NEA has attained in the U.S. today: 1) its assistance with American creativity—"Vote Yes for Creative America" is the slogan for Arts Advocacy Day on March 20; 2) its contribution to our civilization through the continuance of culture—there is no civilization without culture; 3) the success of some of the important NEA-supported programs and their impact in your city and/or state, including the manifold regional and local support stimulated by and dependent on the NEA grants, documenting the legacy of accomplishments in its twenty-year history; 4) the soundness of the peer panel system, which has proven time and again to be the most knowledgeable and reliable body of judges. Remember that it is the number of letters, the pounds of mail, received on a particular subject that will show your Washington representatives that enough people in their districts care. The fiscal 1990 appropriation for the NEA has been approved at $171.25 million, which is $1.15 million more than the Administration's request and $2.16 million above the previous year's appropriation, an increase corresponding to the rate of inflation. More money than last year will go to state arts programs, local arts agencies, the Folk Arts Program, and to administering the NEA. The total amount for the Opera-Musical Theater Program is projected at $6.75 million, as opposed to $6.4 million in FY '89; $4.6 million will be reserved for the professional companies. Slight cuts were registered in inter-arts projects, advancement programs, and design. The overall amount reflects the $45,000 cut to the visual arts, a result of the Mapplethorpe/Serrano controversy, and includes a special allocation of $250,000 for a new, independent fact-finding commission to research NEA's grant-making procedures. — The American Arts Alliance had proposed that the NEA's FY '90 funding be set at $223.9 million, the equivalent of the 1981 appropriation in constant dollars. The new commission was created as a compromise in response to the proposal by Senator Jesse Helms (R-NC) to legislate criteria for awarding or withholding NEA grants. Of the commission's twelve members, eight have been appointed by the leaders of the House and the Senate, with the President's four choices to follow. House Speaker Thomas S. Foley (D-WA) has chosen Joan W. Harris, former Commissioner of Chicago's Department of Cultural Affairs and founder/director of Chicago Opera Theater; Kitty Carlisle Hart, performer and Chairman, New York State Council on the Arts; John Brademas, President of New York University and former congressman from Indiana, a cosponsor of the original NEA authorization bill; and David E. Connor, former Chairman of the Illinois Arts Council. Those selected by the Senate's leadership are Marcia Laing Golden, a member of the Governor's Council on the Arts in Kansas; Kay Goodwin, former Chairman of the West Virginia Arts and Humanities Com- mission; Peter Kyros Jr., a White House aide in the arts and humanities; and Rosalind Wyman, a former member of the National Council for the Arts. Although the President has not yet made an announcement, it is said that his choices will include Leonard Garment, attorney and formerly President Nixon's special consultant on the arts, and Gertrude Himmelfarb, historian and Professor Emeritus, City University of New York.

-24- GOVERNMENT & NATIONAL ORGANIZATIONS

As reported above, Senator Helms's efforts were only partially successful. The wording of his proposed restrictions was ambiguous as well as far- reaching and could therefore have been applied to too many important new programs. In the end it was again Representative Sidney R. Yates (D-IL) who came to the aid of the arts, leading his colleagues on the House-Senate conference committee, including Senator Robert Byrd (D- WV), in working out a compromise which was found acceptable by the needed majority in Congress. The new amendment bars funding of projects deemed "obscene," as defined by a 1973 Supreme Court ruling (Miller v. California) as offensive portrayals of specific sexual conduct, as well as programs that lack serious literary, artistic, political, or scientific value. While this approach still requires new kinds of choices to be made in fundable programs, the scope is not nearly as broad and open to interpretation as the original Helms amendment called for, and it does recognize the importance of artistic, political, and scientific values.

In 1989, the NEA awarded a total of $14 million in Challenge III Grants. Among the recipients were the following opera and theater companies or producers: the Lyric Opera of Chicago, the Opera Theatre of Saint Louis, the American Music Theater Festival, the Arena Stage in Washington, the Perseverance Theatre in Alaska, the Spanish Theatre Repertory Company/Repertorio Espanol in New York, Stage One: The Louisville Children's Theatre, the Kennedy Center for the Performing Arts, and Carnegie Hall.

With NEW YORK CITY'S overall budget approved at $26.6 billion, the CITIES Department of Cultural Affairs, which had been forwarned to expect a cut from the previous year, wound up with a net gain of slightly over $3 million. These figures, approved by former Mayor Koch, may however be changed by the new city administration under Mayor David Dinkins.

Sometimes art makes strange bedfellows. NEW YORK CITY'S Department of Cultural Affairs has joined forces with the Department of Sanitation to strengthen its Material for the Arts project, now in its tenth year. Last year alone, the program distributed approximately $1 million in donated goods from corporations, local businesses, and private donors to the city's nonprofit cultural organizations. New warehouse space has recently been secured for transient storage of the materials until they have found a permanent and suitable home. Prospective donors may contact the offices of either Cultural Affairs Commissioner Mary Schmidt Campbell or Sanitation Department Commissioner Brendan Sexton for further information. — The GREATER TOLEDO ARTS COMMISSION in Ohio reminds its constituents that office supplies are available to nonprofit arts organizations, thanks to a donation to the Commission by Franklin Office Products. Interested parties must make an appointment to view, select, and remove supplies, using their own packing materials. (See also "News from Opera Companies: Fundraising.")

The Canadian Parliament has increased the latest allocation for the CANADA CANADA COUNCIL by $8 million (Canadian), allowing a total of $101 million to be distributed by the government arts agency in 1989-90. This is a 38 percent increase over the last five years. The same sum has also been authorized for 1990-91.

The Parliament's Stand'ng Committee on Communications and Culture has organized a subcommittee, chaired by Jean-Pierre Hogue, M.P., as liaison with Canadian artists and for recommendations regarding their status.

-25- GOVERNMENT & NATIONAL ORGANIZATIONS

Following official approval by the Canadian Department of Consumer and Corporate Affairs, the Performing Rights Organization of Canada (PROCAN) and the Composers, Authors, and Publishers Association of Canada (CAPAC) have merged; the name of the new organization is SOCIETY OF COMPOSERS, AUTHORS AND MUSIC PUBLISHERS OF CANADA (SOCAN). In order to insure fair representation on the new Board of Directors, the following rules have been established and approved by the members of both organizations. Eighteen board members are to be elected, with nine composers and authors and nine publishers. Furthermore, the board must have nine members from the Eastern provinces plus six from Quebec and three from the West. Other criteria require that six directors must be Francophones, and three must represent concert music. Among the new society's major functions will be the collection and distri- bution of royalties and the settlement of royalty disputes, similar to the work of the corresponding organizations in the United States (ASCAP, BMI, and SESAC). The new society will have its headquarters at the current PROCAN address (41 Valleybrook Drive, Don Mills, Ont. M3B 2S6), with offices also in Montreal (600 blvd. de Maisonneuve Ouest, 5th floor), and in Vancouver (1201 West Pender Street, 4th floor). — Canadian copyright law protects original works until fifty years after the composer, author, librettist, or playwright's death. In February 1989, a Canadian Copyright Board was established to look into royalty payment disputes and to set new guidelines for payments in media such as radio, television, and cable television. (For a summary of U.S. and international copyright regulations, see "Copyright.")

RETURNS FROM Americans always look with great envy at European arts subsidies. Govern- GOVERNMENT mental support of cultural institutions and events in the FEDERAL REPUB- SUPPORT LIC OF GERMANY is particularly high and has been steady and reliable over the years. Now, a study made by a Munich-based research center, the Institute of Industrial Research, reveals that while governmental subsidies to arts and culture amount to 6 billion DM, revenue to the state from the cultural sector accounts for 10 billion DM in taxes and social insurance, yielding a 67 percent "profit" on the state's investment. — The ratio in the UNITED STATES is much larger, as several studies have revealed. One which was recently completed for the city of Pittsburgh found that the ratio of return was 8:1 in favor of the city; another reported for the state of Florida was lower but still a most profitable 4:1. Arts for America, the former National Assembly of Local Arts Agencies, is considering the sponsorship of studies for many communities across the country. NATIONAL It is with regret that we report the closing of the NATIONAL INSTITUTE ORGANIZATIONS FOR MUSIC THEATER. It was founded in 1969 as the National Opera Institute with financial support from a private foundation and the National Endowment for the Arts, under the leadership first of Roger L. Stevens and later of George London. John M. Ludwig became executive director in 1977, and in 1982 the NOI changed its name, reflecting the organization's wider interest, to include music theater as well as opera. In these twenty years NIMT has disbursed $12 million in grants to young singers and other creative and performing artists in the opera/music theater field, most of them at the threshold of their careers. Grants to opera companies were also made, some to assist in the hiring of young artists, others to further the development and performance of new or rarely heard works. "Insoluble financial difficulties" was the reason given for the decision to close the Institute. All pending NIMT grants have been paid out, and the George London Grants for singers will continue under the aegis of OPERA America in collaboration with the Sullivan Foundation.

-26- GOVERNMENT & NATIONAL ORGANIZATIONS

With collaboration between opera companies becoming an ever more ORGANIZA- pressing economical necessity, another umbrella organization has been TIONS formed. Henri Maier, director of the opera company in Montpellier, ABROAD France, is the organizer of the ASSOCIATION EUROPEENNE DE THEATRES LYRIQUES, founded to facilitate the exchange of information and joint planning of new productions. Its first conference was scheduled for January 1990. The Association's address is 11 boulevard Victor, 34000 Montpellier, France. — Another such organization is the INTERNATIONAL ASSOCIATION FOR OPERA AND MUSIC THEATRE, whose fourth Congress is to be held next September. Its address is 1 rue des Dominicains, 4000 Liege, Belgium.

USITT (United States Institute for Theatre Technology): 8-10 West 19th CHANGE OF Street, New York, NY 10011 [] ADDRESS

In response to frequent inquiries regarding American copyright law, here are the rules as they pertain to material in the public domain versus material protected by copyright, requiring permission for use of the material.

Any work created and/or premiered prior to January 1, 1978 is copyright- protected in the United States for 75 years from the year it was copyrighted, good through the end of that calendar year. Thus at the beginning of 1990, any original work copyrighted in 1914 came into the public domain, joining all works copyrighted before 1914.

Effective in 1978, the United States adopted the international rules governing copyright, and all original works created and/or premiered after 1977 are protected for the lifetime of the author, composer, etc., plus 50 years. Where there are multiple authors, as with the composer and librettist of an opera, the contribution of each is protected until 50 years after his or her death. This rule applies to all foreign countries for all works, including those created before 1978; it is referred to as "life plus 50."

On occasion, this results in some works being protected in the U.S. while they are already in the public domain abroad, and vice versa, as in the case of George Gershwin's Porgy and Bess, which was premiered in 1935. Performances in the U.S. will require royalty payments through the year 2,010. In all other countries that are signers of the international copyright code, the "life plus 50" rule released all of the composer's music from copyright in 1987. However, in those countries, the libretto by DuBose Heyward (d. 1940) will not enter the public domain until next year, and the lyrics by Ira Gershwin (d. 1983) not until 2,033.

A word of caution. Any new adaptation or critical edition of an earlier work is protected by copyright regulations, as of the publication date of the new version. This is true even if the earlier work is now in the public domain, and even if the purpose of the new edition is to be faithful to the original manuscript. []

-27- CONFERENCES 11/30-12/3/89 "Theatrical Design: The Past, The Present, The Promise," Conference, United States Institute for Theatre Technology (USITT), University of South Carolina at Columbia 12/10-13/89 "2009: An Artful Look into the Future," International Society of Performing Arts Administrators (ISPAA), New York City 12/15-18/89 Annual Conference, Association of Performing Arts Presenters (form. ACCUCA), New York City 1/21-24/90 "Tone Roads," Annual Conference, Chamber Music America, New York City 1/27-30/90 "Opera Today: A Growing National Voice," Annual Conference, OPERA America, Marriott Hotel, Washington, DC 1/30-2/2/90 Annual Meeting, Box Office Management International, San Francisco, CA 2/21-24/90 Annual Meeting, Music Library Association, Tucson, AZ 3/20/90 "Vote Yes for Creative America," National Arts Advocacy Day 3/22,23/90 Voice Symposium 1990—Care of the Professional Voice, Red Deer College Arts Centre, Red Deer, Alberta, Canada 3/22-25/90 International Kurt Weill Symposium, Steigenberger Duisburgerhof, Duisburg, Germany 3/28-4/1/90 "United by Music," National Biennial Conference, Music Educators National Conference, The Sheraton/Washington, DC 4/11-14/90 Annual Conference, U.S. Institute for Theatre Technology (USITT), Hyatt Regency, Milwaukee, WI 5/4-6/90 "Europe Talks Tickets," Box Office Management International, Sheraton Hotel, Brussels, Belgium 5/30/90 Symposium and 1990 American Eagle Awards Luncheon, National Music Council, New York City 5/31-6/2/90 International Conference, Dance/USA, Wyndham-Franklin Plaza Hotel, Philadelphia, PA 6/7-10/90 "Open Dialogue IV, Cultural Pluralism: The Next Steps," Association of American Cultures, Oklahoma City, OK 6/13-16/90 Annual Conference, American Symphony Orchestra League (ASOL), The Sheraton/Washington, DC 6/19-22/90 4th Annual Congress, International Society of Performing Arts Administrators, (ISPAA) Albany Hotel, Glasgow, Scotland 6/23-26/90 "Arts for America," National Assembly of Local Arts Agencies, San Diego, CA 7/9,10/90 "Access to the Arts: A Right, Not a Privilege," Mid-Atlantic Arts Foundation, Holiday Inn Crowne Plaza, Washington, DC 8/7-10/90 New Hampshire Music Festival Composers Conference 9/7-10/90 4th Congress, International Association for Opera and Music Theatre, Madrid, Spain 9/13-16/90 "Challenges of the 90's," Annual Conference, Opera Guilds International (OGI), New York City 10/25-28/90 Annual Meeting, College Music Society, Capitol Hilton, Washington, DC 11/1-11/90 New Music America, 11th Festival, Montreal, P.Q., Canada 11/7-10/90 National Opera Association, Roosevelt Hotel, New York City 5/19-24/91 "Performing Mozart's Music," Mozart Bicentennial at Lincoln Center, Juilliard School, New York City 10/10-13/91 Annual Meeting, College Music Society, Palmer House, Chicago, IL 10/29-11/1/92 Annual Meeting, College Music Society, Omni San Diego Hotel, CA []

-28- NEW AND RENOVATED THEATERS

On September 8, the MORTON H. MEYERSON SYMPHONY CENTER opened NEW in Dallas. Designed by I.M. Pei with Russell Johnson of Artec Consultants THEATERS collaborating on the structural form as well as the interior design for optimum acoustical properties, the 2,066-seat hall had gone through various birth-pangs before its completion. The delay raised the cost to about twice the budgeted amount, finally totaling $106 million. By all accounts it is a handsome building with superb acoustics, successfully fulfilling its calling as a concert hall and a monument to modern architecture as well as to a renewed cultural awareness in the city.

Fort Lauderdale is planning the BROWARD COUNTY PERFORMING ARTS CENTER, a $50 million complex to feature a 2,700-seat hall for opera, musicals, and concerts, a 595-seat theater and a multi-purpose community hall. William Farkas is the Executive Director of the new project.

Sonoma State University at Rohnert Park will open a new theater in May '90. The hall will be used for opera performances, concerts, and drama. — In April, the University of Nebraska in Lincoln will inaugurate its new theater, the LIED CENTER, with gala performances of Die Fledermaus, produced by the UNL Opera/Musical Theater.

The Meadows School of the Arts at Southern Methodist University in Dallas has received a major gift from actress Greer Garson toward the cost of building a new theater for the school. The seating capacity of what is planned as a classic theater will be just under 400. Completion is projected for the 1991-92 season.

Hurricane Hugo, which struck Charleston, South Carolina last September, NATURAL severely damaged the city's major theater, the GAILLARD MUNICIPAL DISASTERS AUDITORIUM. Many other buildings incurred damages, including the TAKE THEIR offices and the warehouse of the Spoleto Festival U.S.A. Special benefit TOLL concerts in New York (January 29) as well as in Charleston, the latter conducted by Leonard Bernstein, will help with the costs of repair and reconstruction. Artistic Director Gian Carlo Menotti is confident that he will be able to proceed with his Festival plans. (See "Performance Listing, 1989-90 Season.") Following the catastrophic earthquake in San Francisco on October 17, the San Francisco Opera had to vacate the WAR MEMORIAL OPERA HOUSE for a thorough inspection for possible structural damage. The company gave one concert performance each, in costume, of Otello, Aida, and Idomeneo at the Masonic Auditorium on October 20, 21, and 22. Fortunately, by October 23 the opera house had received a clean bill of health, and rehearsals and fully staged performances could be resumed there without endangering people or property. To safeguard against any possible loosening and falling debris due to aftershocks, the company installed nylon netting above the audience area. Only a single performance of Idomeneo had to be cancelled; it was to have taken place on October 17. — However, the earthquake severely damaged the historic GEARY THEATRE, where the American Conservatory Theatre had just opened with George Coates and Marc Ream's Right Mind (see "New Operas: Music Theater Works"). The two subsequently scheduled plays, already in preparation, were rebooked, one into the Orpheum Theater and the other, an Alan Jay Lerner re-'ue titled Almost Like Being in Love, programmed for December, into the smaller Herbst Theater. Repair and reconstruction of the Geary may run as high as $10 million and will take at least six

-29- NEW AND RENOVATED THEATERS

months. The Curran Theatre, next to the Geary, did not sustain any damage and continued with its run of Les Mis6rables.

As we go to press, we hear that the National Endowment for the Arts has committed a total of $947,000 in grants to five arts agencies for disaster relief to artists and arts organizations in their areas. The San Francisco Foundation for the Bay Area will receive $555,000, the City of Charleston, South Carolina $200,000, the South Carolina Arts Commis- sion $100,000, and the Puerto Rico and Virgin Islands' arts agencies $30,000 each. The two largest grants require that 3-to-l matching funds be raised locally. At this writing, the recently established Arts Recovery Fund of San Francisco has received $740,000 from local foundations, businesses, and individuals; it will have to raise another $760,000 to fulfill the NEA requirements.

THEATERS The FRANKFURTER OPER will reopen its renovated opera house for the ABROAD 1990-91 season, with thn first part of that season reserved for rehearsals to adjust existing and new productions to the changes in the house. The theater is not only being repaired and refurbished from major damages incurred in the 1987 fire, but it is also being equipped with the latest technical stage machinery and an enlarged overhead stage tower to accom- modate the new equipment. Until the opening in January '91, the company will continue to play in the adjoining Schauspielhaus.

A feasibility study and architectural design proposals are under consideration for a future enlargement of the facilities at GLYNDE- BOURNE, always mindful of preserving the character of the existing festival grounds and buildings.

The Paris national theaters will have yet another auditorium available for music theater and opera performances. Located in the new complex of Les Halles, the new theater will be named after the neighboring cathedral and former city gate: L'AUDITORIUM DE LA PORTE SAINT- EUSTACHE. It will be managed by the administration of the Theatre du Chfltelet, which will close for several months to complete its own extensive program of renovations. A tentative schedule announced for the new hall calls for contemporary programs on Mondays, chamber music on Wednesdays, and "music-hall" pieces on Fridays.

Israel has opened a new opera house outside Tel Aviv. It is the 830- seat former movie-house, THE NOGA, that will serve as the home of the New Israeli Opera at least for the next four years, until the new GOLDA MEIR PERFORMING ARTS CENTER is completed.

The new opera house in Hong Kong, the GRAND THEATER of the Hong Kong Cultural Center, opened in November with guest appearances by the Cologne Opera. Fidelio, under the baton of Marek Janowski, was the first opera on November 6; repeat performances alternated with the company's production of II Barbiere di Siviglia. The new center, built at a cost of about $77 million, was designed by a committee of government architects. Set on a choice location on the harbor, its untraditionally windowless shape as well as its acoustics have resulted in local controversy, and adjustments to correct the acoustical properties of the hall are currently under study; the Center's technological installations have generally been praised. Meanwhile, the first few months will bring major international artists such as Joan Sutherland, Jessye Norman, and Isaac Stern to the Center. It will also be the home for many local performing (continued on pa^e 43) -30- FORECAST

The MAGGIO MUSICALE FIORENTINO will present three operas next SUMMER '90 spring featuring American singers in principal roles. II Trovatore will ABROAD star Susan Dunn as well as Luciano Pavarotti and Giorgio Zancanaro, with Zubin Mehta conducting; June Anderson and Chris Merritt take the leads in Lucia di Lammermoor; and Don Giovanni will feature Samuel Ramey in the title role.

The restaging of Mozart operas continues at the GLYNDEBOURNE FESTI- VAL, which runs from May 21 to August 22 this year. Peter Sellars has been invited to produce Die Zauberfldte, which will be set in Hollywood; Lothar Zagrosek is to conduct. The other new production is the European premiere of Sir Michael Tippett's New Year, which Glyndebourne co-commissioned and coproduced with Houston Grand Opera. The conductor will be Andrew Davis, the director Sir Peter Hall. Brought back from previous summers will be Albert Herring, Kdt'a Kabanovd, Capriccio, and Falstaff.

Herbert von Karajan had intended to present Fidelio at this year's SALZ- BURG EASTER FESTIVAL, which he himself founded in 1967. The production will go forward, but with Kurt Masur conducting and Peter Brenner directing. — In preparation for the Mozart year in 1991, the 1990 summer SALZBURG FESTIVAL will offer a new production of Idomeneo, conducted by Seiji Ozawa, and revivals of Don Giovanni and Cos! fan tutte, both conducted by Riccardo Muti. The BREGENZ FESTIVAL runs from July 20 to August 22 this year. Catalani's La Wally will receive a new production at the Festspielhaus, with Mara Zampieri in the title role. The floating stage will be used for last year's Der fliegende Hollander.

Der fliegende Hollander will receive a new production to open this year's BAYREUTH FESTIVAL (7/25-8/28). The principal soloists are to be Eliza- beth Connell, Reiner Goldberg, Bernd Weikl, and Hans Sotin, with Giuseppe Sinopoli conducting, Dieter Dorn in charge of the stage, and Jiirgen Rose furnishing the designs. Returning from previous summers are Der Ring des Nibelungen in the Daniel Barenboim/Harry Kupfer production, Lohen- grin, and Parsifal. In June, the WURTTEMBERG STATE OPERA in Stuttgart will realize its long-term plan of presenting its productions of Philip Glass's Akhnaten, Satyagraha, and Einstein on the Beach as a trilogy. Two performances will be given of each opera.

The ROSSINI OPERA FESTIVAL in the composer's native Pesaro will once again bring back an all but forgotten work, Ricciardo e Zoraide. June Anderson leads the cast, Riccardo Chailly conducts, and Luca Ronconi has charge of the staging. Also scheduled are Tancredi (Cecilia Gasdia, Lucia Valentini-Terrani) and the thoroughly operatic Stabat Mater.

Gian Carlo Menotti's FESTIVAL OF TWO WORLDS in Spoleto, Italy (6/27- 7/15) will feature Le Nozze di Figaro, as staged by Menotti, as well as Elektra and Philip Glass's latest work, The Hydrogen Jukebox, following its premiere in Charleston, South Carolina.

Open-air opera at the ARENA DI VERONA will be given from July 5 to August 31. Aida, Carmen, and Tosca will alternate in repertory. Performances of the Verdi Requiem and a "Concerto di tenori" on the centenary of Beniamino Gigli's birth complete the program.

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France's leading open-air opera festival, the CHOREGIES D'ORANGE, offers Gounod's Faust, with Richard Leech and Jos<§ Van Dam, and Don Carlos, as well as concert performances of Berlioz' La Damnation de Faust, featuring Jessye Norman and M. van Dam, and the Verdi Requiem.

The INTERNATIONAL FESTIVAL OF AIX-EN-PROVENCE has scheduled two early Mozart operas, II Sogno di Scipione and II Re pastore, as well as Die Entfiihrung aus dem Serail. Rameau's Les Indes galantes will receive a new production, and the summer season will be rounded out with Der Rosenkavalier and Don Pasquale.

USA & CANADA No fewer than seven new productions are among the SAN FRANCISCO 1990-91 OPERA'S bold plans for the fall season. Suor Angelica, directed by John SEASON Copley, joins a revival of Jean-Pierre Ponnelle's Pagliacci on a verismo double bill conducted by Nello Santi; Leona Mitchell is Angelica, Elena Obraztsova the princess. Next comes Wozzeck, with Judith Forst and Allen Monk booked for the leads and Christoph Perick to conduct, in a Lotfi Mansouri staging coproduced with the Canadian Opera Company. In Die Entfiihrung aus dem Serail, Stephen Wadsworth directs a young cast headed by Susan Patterson and Kurt Streit, joined by veteran Kurt Moll. Samuel Ramey sings Don Quichotte in the first San Francisco performances of Massenet's opera, with Katherine Ciesinski and Michel Trempont also in the cast, Julius Rudel conducting, and Charles Roubaud directing a production created by Pierluigi Samaritani for the Lyric Opera of Chicago. Richard Strauss's conversation-piece Capriccio, a great rarity on American stages, features Kiri Te Kanawa, Reri Grist, Hanna Schwarz, Keith Olsen, and Hakan Hagegard, staged by John Cox in a Covent Garden coproduction. Mo. Rudel stays in San Francisco to conduct a new Die Fledermaus, as directed by General Director Mansouri, with Elizabeth Holleque, Barbara Kilduff, and Hagegard in the cast. The final new production, another San Francisco first, is Monteverdi's II Ritorno d'Ulisse in patria; Frederica von Stade, Thomas Hampson, and many others perform in Michael Hampe's Cologne Opera production, conducted by Mario Bernar- di. Other works in the repertoire are Rigoletto, Un Ballo in maschera, and Khovanshchina featuring Nikolai Ghiaurov. The company's late music director, Sir John Pritchard, was to have conducted the Mozart and Richard Strauss works; his replacement has not yet been named.

LYRIC OPERA OF CHICAGO'S ten-year plan (see "News of Opera Compa- nies") gets underway next fall with Gluck's Alceste, a first for the company. Robert Wilson's production, first seen in Stuttgart, features Jessye Norman and Chris Merritt; Gary Bertini conducts. Also new to the company is Dominick Argento's The Voyage of Edgar Allan Poe, receiving its second American production; it will be sung by Ruth Ann Swenson, Donald Kaasch, and Richard Stilwell, conducted by Christopher Keene, staged by Frank Galati, and designed by John Conklin. A new Lucia di Lammermoor for June Anderson and Alfredo Kraus will have Donato Renzetti and Andrei Serban respectively in charge of musical and dramatic matters. The final new production of the season, Carmen, comes from the Seattle Opera and is directed by Francois Rochaix; the four principals are Lucia Mazzaria, Tatiana Troyanos, Neil Shicoff, and Richard Cowan, with Eduardo Mata in the pit. Completing the eight-production season are revivals of Eugene Onegin, La Fanciulla del West starring Marilyn Zschau and Plfieido Domingo in Harold Prince's production, Rigoletto, and Die Zauberfldte. The Lyric Opera Center for American Artists will premiere a new opera being written by composer-in-residence Bright Sheng. (See also "USA and Canada 1991-92 and Beyond" for further plans.)

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The NEW YORK CITY OPERA, rebounding from its strike-shortened 1989 season, has announced its plans for 1990. There will be 100 performances of fourteen productions during the sixteen weeks from July 31 to November 18. The first new production will be of Stephen Sondheim's A Little Night Music (conductor, Paul Gemignani; director, Scott Ellis; premiere, August 3). From the House of the Dead, premiering August 28, begins a cycle of Jan66ek's operas, with a new work to be added each year. The opera will be sung in English, conducted by General Director Christopher Keene, and staged by Rhoda Levine, with designs by John Conklin. During the fall season, Flotow's Martha will join the repertoire in a production by John Lehmeyer, and two major efforts originally planned for last fall, Schoenberg's Moses und Aron and the double bill of Ravel's L'Heure espagnole &. VEnfant et les sortileges, will finally take the City Opera stage on September 22 and November 11 respectively. (Conductors and directors are as announced in Vol. 29, No. 3, except that Mo. Keene will conduct the Schoenberg.) Five operas will receive major revivals after a year or more out of the repertoire—he Nozze di Figaro, Lucia di Lammermoor, Tosca, Street Scene, and La Fanciulla del West— while the remaining works, Madama Butterfly, La Boheme, Carmen, and The Mikado, are carried over from last season. (For further information about the summer season see "Performance Listing, 1989-90 Season.")

The METROPOLITAN OPERA has not yet announced its plans for the 1990-91 season, but one of the new productions is to be Rossini's Semira- mide with June Anderson and Marilyn Home, premiering in December. (See also "Anniversaries: The Mozart Bicentennial.") — LOS ANGELES MUSIC CENTER OPERA will have two Mozart operas in its 1990 repertoire, Le Nozze di Figaro and Idomeneo, with Arleen Auge> appearing in both.

CARNEGIE HALL'S centennial celebration promises to be an unequaled season-long event. Star-studded concerts, by a bigger array of celebrated orchestras and soloists than have ever appeared in one place in one season, will be augmented by premieres of fourteen specially commissioned works and the inauguration of new festivals with special themes. The most ambitious of all the projects is a series of operas in concert, with the opening event the American premiere of Luciano Berio's La vera storia on October 4, 1990. First heard at La Scala in 1982, it will be performed by Rome's Orchestra and Chorus of the Academy of Santa Cecilia with the composer conducting. The other operas and dates have also been announced: Henze's Die Bassariden on October 27, with Henze expert Christoph von DohnAnyi conducting the Cleveland Orchestra in a New York premiere; Falstaff on November 15 (Minnesota Orchestra conducted by Edo de Waart); Elektra on March 3 (Vienna Philharmonic Orches- tra conducted by Claudio Abbado); Tosca on April 2 (Philadelphia Orchestra conducted by Riccardo Muti); and Otello with Luciano Pavarotti in a role debut on April 16 and 18 (Chicago Symphony conducted by Sir Georg Solti). All operas will be videotaped for home use and recorded live by London Records. Other special events will include the 70th-birthday gala for Isaac Stern on October 16, a Domingo gala on April 12, a 100th- birthday celebration for Cole Porter on June 9, and in between the New Year's Eve gala, for which the organizers hope to have the use of the new banquet facilities in the adjoining 60-story Carnegie Hall Tower, currently under construction. But the biggest guns are reserved for the "closing fireworks" on May 5, 1991, when a two-part gala performance will start at 4:00 P.M. It will be interrupted for a supper under a tent covering the Seventh Avenue block next to Carnegie Hall, where the festivities will continue at night after the second half of the concert

-33- FORECAST with more food and drinks and dancing. Year-long exhibits will feature memorabilia and original manuscripts of Tchaikovsky never before shown in this country, and historic documents and pictures of Carnegie Hall and various other concert halls and opera houses. This will also be the first time that Carnegie Hall will sponsor educational projects in the form of a series of Professional Training Workshops. The more than 150 events, including those at Weill Recital Hall, such as a folk music festival, will be presented at a cost of close to $6 million over and above this year's $7.3 million budgeted for presentations.

The VIRGINIA OPERA'S four-production plan for 1990-91 will be called "A Season for Lovers" and will include Ariadne auf Naxos, La Cenerentola, Rom6o et Juliette, and Cosl fan tutte. Four performances of each of five operas make up the PITTSBURGH OPERA'S season. Opening night on October 23 will bring Otello with Mary Jane Johnson, Vladimir Atlantov, and Sherrill Milnes, followed in early November by Der fliegende Hollander with Mari-Anne Haggander, Tom Fox, and Harry Dworchak. March and April will offer lighter fare with Die Fledermaus and II Barbiere di Siviglia. Eugene Onegin will close the season on May 5, with Rosalind Plowright, Jon Garrison, and Tom Fox. Theo Alcantara will conduct all but the last opera, which will be under the baton of Timothy Shaindlin. General Director Tito Capobianco will stage three productions and Kay Walker Castaldo two, the Wagner and Tchaikovsky operas. The company will give a gala benefit concert on September 30 at the 17,000-seat Civic Arena, featuring Luciano Pavarotti. Each of the six works making up the SEATTLE OPERA'S season is representative of a different operatic style or period. There is Donizetti's bel canto Anna Bolena, Mozart's Don Giovanni, and an Italian double bill pairing Mascagni and Puccini in Cavalleria rusticana & Gianni Schicchi. Two Slavic operas introduce Dvorak's Rusalka and Prokofiev's War and Peace to Seattle audiences, the latter in August 1990, while Wagner's Tannhauser returns in the company's 1984 production. Four operas and one musical have been programmed by the CLEVELAND OPERA for next season. Don Giovanni, Don Pasquale, Aida, and Fidelio will be followed by Carousel. Two out of three productions to be given by OPERA GRAND RAPIDS have Spanish settings, Don Giovanni and Man of La Mancha. Don Pasquale completes the company's season. Continuing the company's recent inclusion of some large-scale operas, KENTUCKY OPERA'S plans for 1990-91 include Otello, conducted by Sir Alexander Gibson, and Norma, staged by Robert Wilson. — Leigh Munro will sing Norina in OPERA/COLUMBUS' Don Pasquale next November. — NEW ORLEANS OPERA will open with Norma featuring Ruth Falcon as the Druid priestess; Madama Butterfly, La Traviata, and Le Nozze di Figaro complete the repertoire. — La P6richole will usher in the spring next March at CHICAGO OPERA THEATER; Deidra Palmour leads the cast. Nine productions in 65 performances comprise the CANADIAN OPERA COMPANY'S longest season on record. As its contribution to Toronto's Glory of Mozart Festival (see "Anniversaries: The Mozart Bicentennial"), COC will give the Canadian premiere of La Clemenza di Tito in addition to Cosl fan tutte at the restored Elgin Theatre, and Le Nozze di Figaro

-34- FORECAST at its home base, the O'Keefe Theatre; the three operas are scheduled for June. The regular season at the O'Keefe begins in September and October with Madama Butterfly and Eugene Onegin, continues in January and February with Die Fledermaus and Elektra, and ends in April with Suor Angelica &. Pagliacci and Lulu. In February, the company plans to give the world premiere of one or both of the short operas being written by its composers-in-residence (see "New Operas: Canadian Operas").

MANITOBA OPERA'S repertory for the 1990-91 season will consist of Don Giovanni, La Fille du regiment, and Les Contes d'Hoffmann.

The ROYAL OPERA, COVENT GARDEN plans new productions ranging EUROPE from early Mozart, his Mitridate, re di Ponto (staged by Graham Vick), 1990-91 to the world premiere of Harrison Birtwistle's Gawain. New stagings are SEASON also planned for Fidelio, conducted by Christoph von Dohnrinyi; Verdi's Attila, conducted by Edward Downes and produced by Elijah Moshinsky; Massenet's Don Quichotte, directed by Piero Faggioni; / Puritani, conducted by Riccardo Muti; Boris Godunov, with Paata Burehuladze as the tsar; and The Cunning Little Vixen, directed by Bill Bryden. — Next season's new productions at the ENGLISH NATIONAL OPERA will include Blue- beard's Castle and Peter Grimes.

The repertoire at LA SCALA will include Rossini's Le Comte Ory, with Mariella Devia and Walter Matteuzzi, and two Wagner operas: Die Meister- singer, directed by Nikolaus Lehnhoff, and Parsifal, conducted by Music Director Riccardo Muti. — Lehnhoff will also produce Elektra at the ZURICH STAATSTHEATER in February '91. — Placido Domingo will essay several new roles at the WIENER STAATSOPER during the course of 1991. In the spring he is to sing Florestan in Fidelio to Hildegard Behrens' Leonore; later in the year he will expand his Wagnerian repertory with principal roles in Parsifal and Die Walkiire.

During the summer of 1991, the INTERNATIONAL FESTIVAL OF AIX-EN- PROVENCE will continue its series of Rameau operas with Castor et Pollux, and will present a new staging of L'ltaliana in Algeri with Teresa Berganza in the title role.

For further 1990-91 plans from these and other European companies and festivals, see "Anniversaries: The Mozart Bicentennial."

Among the ROYAL OPERA, COVENT GARDEN'S planned new productions EUROPE are Don Giovanni, staged by Johannes Schaaf, and Schoenberg's Moses 1991-92 und Aron, with director Nikolaus Lehnhoff in charge. Gotz Friedrich's SEASON Ring cycle is to continue with Siegfried, featuring Ren6 Kollo in the title role. Music Director Bernard Haitink will conduct the Mozart and Wagner works. Also scheduled is Guillaume Tell and revivals of Simon Boccanegra, Die Fledermaus (with Joan Sutherland as Rosalinde), Les Contes oVHoffmann, and La Boheme, the latter pairing Mirella Freni and Luciano Pavarotti. — The ENGLISH NATIONAL OPERA will also present classical and modern Viennese operas in its new productions of Le Nozze di Figaro and Lulu; in addition there will be the London premiere of Anthony Turnage's Greek.

Continuing its ten-year plan, "Toward the 21st Century," LYRIC OPERA USA & CANADA OF CHICAGO has already announced several new productions to be given 1991-92 & in 1991-92, 1992-93, and even further into the future. The pattern of BEYOND two modern works per season, one American and the other European, con-

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tinues in 1991-92 with the revised version of Samuel Barber's Antony and Cleopatra, which will be produced by Elijah Moshinsky, designed by Michael Yeargan, and conducted by Richard Buckley; the foreign work will be Prokofiev's The Gambler as directed by Liviu Ciulei in a production imported from Florence's Teatro Comunale. Samuel Ramey will sing the title roles in Le Nozze di Figaro and Mefistofele, a Geneva production staged by Robert Carsen. — In 1992-93 will come the first of three planned world premieres, William Bolcom's Gold (see "New Operas: Ameri- can Opera Premieres"). Catherine Malfitano and Ben Heppner have been cast in the leading roles; Dennis Russell Davies is to conduct and film director (and co-librettist) Robert Altman to direct. Turn-of-the-century European opera will be represented by a new production of Pelleas et M6lisande, conducted by Lyric's own Music Director Bruno Bartoletti. — The 1992-93 season will also bring the inauguration of a new Ring cycle under the baton of Zubin Mehta, beginning with Das Rheingold; the remaining operas will be added in order, one per season, and the complete cycle will be mounted in the spring of 1996. — Further advance notice includes plans for Wozzeck in 1993-94, to be staged by Patrice Che'reau and conducted by Daniel Barenboim in a joint production with the Theatre du Chfitelet of Paris. Mo. Barenboim, by then Music Director of the Chicago Symphony, will be making his Chicago operatic debut. And two more world premieres of American operas are anticipated for the 1996- 97 and 1999-2000 seasons.

The HOUSTON GRAND OPERA will perform Tristan und Isolde in 1991- 92, with Eva Marton singing Isolde for the first time. — Also during that season, SAN DIEGO OPERA will stage Der Rosenkavalier. — CANADIAN OPERA COMPANY'S new Turandot, directed by Robert Carsen, will premiere in March 1992.

A cheerful celebration marking 500 years since Columbus' discovery of America is planned by the CLEVELAND OPERA and six collaborating companies. They will present the Offenbach pastiche Christopher Columbus, originally created by Patric Schmid and Don White for the American bicentennial in 1976. The production, opening in Cleveland, will be shared by the BALTIMORE OPERA, OPERA CAROLINA, OPERA/ COLUMBUS, PORTLAND OPERA, VIRGINIA OPERA, and UTAH OPERA.

The LOS ANGELES FESTIVAL, to take place under Peter Sellars' direction in September 1992, will feature John Adams' The Death of Klinghoffer. The new work will then travel north for performances in San Francisco in October. The first U.S. performance will have taken place in May '91 at the Brooklyn Academy of Music.

EUROPE The INTERNATIONAL FESTIVAL OF AIX-EN-PROVENCE will give two 1992 & BEYONDnew productions in 1992, The Rake's Progress and Don Giovanni. Revivals will include two baroque works, Rameau's Les Boreades and Purcell's The Fairy Queen. Pierre Boulez is to be composer-in-residence at the SALZBURG FESTIVAL in summer '92, and there is talk that his new music theater work, Repons, will receive its premiere there. Also mentioned as a possibility is a production of Messaien's Saint Frangois d'Assise, a work that enjoys the dedicated commitment of Gerard Mortier, the festival's new artistic director. There will be no new productions at the BAYREUTH FESTIVAL in 1991 or 1992, as the festival will devote its resources to filming the Daniel (continued on page 110) -36- ANNIVERSARIES The bicentennial of Mozart's death, to be commemorated in 1991, will THE MOZART bring a wealth of special festivals and performances of his works here BICENTENNIAL and abroad, as well as conferences and symposia to mark the occasion. This section focuses on information announced so far regarding the obser- vances, and more will appear in future issues of the Bulletin. It may be helpful to know that the Austrian Cultural Institute (11 East 52nd St., New York, NY 10022) is one of the organizations that are coordinating bicentennial activities in the U.S. and abroad. (We gratefully acknowledge the information gained from the Fall 1989 issue of MadAminA!, published by Music Associates of America.) The actual anniversary of Mozart's death does not arrive until December 5, 1991, but the HOUSTON GRAND OPERA is anticipating the event by becoming the first American opera company to present five Mozart operas in repertory. In April '91 the company will perform Die Zauberflote, Le Nozze di Figaro, Com fan tutte, Don Giovanni, and La Clemenza di Tito. In 1990-91, preparing for the Mozart bicentennial the following season, the METROPOLITAN OPERA will present a new production of Die Zauber- flote and revivals of Don Giovanni, Le Nozze di Figaro, and La Clemenza di Tito. Plans for the 1991-92 season call for six Mozart operas at the Met: Don Giovanni, Die Zauberflote, Idomeneo, Cosl fan tutte, Die Entfu'h- rung aus dem Serail, and Le Nozze di Figaro. The Met performances, and those by the New York City Opera (which have not yet been announced), will form part of a vast retrospective, MOZART BICENTENNIAL AT LINCOLN CENTER. The Center itself and its eleven resident companies intend to perform every one of the composer's 800-plus works, including all 21 operas, during the nineteen months from January 1991 to August 1992. The program will begin on January 27, 1991, Mozart's 235th birthday, with a gala concert in which many of Lincoln Center's constituent organizations will take part, and another highlight will be a performance of the Requiem on December 5, 1991, marking the 200th anniversary of his death. In addition to performances by the constituent companies, Lincoln Center will engage outside groups for specific programs, such as over a dozen college and conservatory choruses for performances of Mozart's liturgical music. Lincoln Center's coordinator for the commemorative celebration is Fiona Morgan Fein, formerly of the Center's Mostly Mozart Festival; Neal Zaslaw, the prominent Mozart scholar, will serve as musicological advisor.

Canada will commemorate the bicentennial with Toronto's GLORY OF MOZART FESTIVAL, headed by Artistic Director Nicholas Goldschmidt and scheduled for May 25 through July 13, 1991. In addition to three Mozart productions by the Canadian Opera Company (see "Forecast"), there will be three new ballets to Mozart compositions as performed by the National Ballet of Canada, and the Toronto Mendelssohn Choir will give the Canadian premiere of Thamos, Kbnig in Kgypten. Ingmar Berg- man's film of The Magic Flute will also be shown. In addition, strong emphasis will be placed on educational programs, with lectures and master classes given by internationally renowned artists at the University of Toronto. Other features of the Festival will be three major competitions for young performers between 19 and 33. The Mozart Voice Competition, to be held in Toronto, will have an international jury consisting of singers Elly Ameling, Mady Mespl6, Maria Stader, Leopold Simoneau, and Theodor Uppman, and opera directors Gerard Mortier and the Earl of Harwood. A chamber music competition will take place in St. John's, Newfoundland

-37- ANNIVERSARIES and a piano contest in Joliette, Que'bec. The winners in each category will receive $20,000 from Lloyd's Bank Canada, the Festival's sponsor. To begin the Mozart bicentennial year in Europe, the SALZBURG LANDES- THEATER in the composer's native city will mount Die Zauberflbte in January, followed in February by Don Giovanni and Cost fan tutte, as part of its Mozart Weeks festival. Celebrations will continue at the EASTER FESTIVAL with a new production of Le Nozze di Figaro; Bernard Haitink conducts and Michael Hampe directs. The SALZBURG FESTIVAL in July and August will present six Mozart operas: Die Entfilhrung aus dem Serail, Idomeneo, Le Nozze di Figaro (in the Easter Festival's new production), Cos'i fan tutte, Don Giovanni, and Die Zauberflbte.

In Vienna, seven operas will make up a Mozart Commemorative Festival at the WIENER STAATSOPER from May 10 to June 8, 1991: Lucio Silla, Idomeneo, Die Entfilhrung aus dem Serail, Don Giovanni, Cosi fan tutte, La Clemenza di Tito, and Die Zauberflbte. Viennese summer plans call for outdoor performances of Mozart operas at Schb'nbrunn Palace and two indoor gala concerts for a very select audience (seating capacity 330), one by Luciano Pavarotti and the other by Jessye Norman. On December 6, the anniversary of Mozart's funeral, Leonard Bernstein will conduct the Vienna Philharmonic in the Mozart Requiem; the performance is to be telecast throughout the world.

Mozart also dominates the program at the INTERNATIONAL FESTIVAL OF AIX-EN-PROVENCE, which usually includes at least one Mozart opera each year. In 1991 there will be a new production of Le Nozze di Figaro and revivals of Die Entfiihrung aus dem Serail and Die Zauberflbte.

The ROYAL OPERA, COVENT GARDEN will unveil a new Don Giovanni, to be staged by Johannes Schaaf as part of an ongoing Mozart cycle, and the ENGLISH NATIONAL OPERA has announced a new production of Le Nozze di Figaro. — Most opera companies and festivals around the world will mark the occasion with productions of Mozart operas. Watch this space for further announcements.

Mozart conferences with varying scholarly focuses will be given all over the world throughout 1991. In May there will be an international conference on Mozartean performance practice at The Juilliard School, directed by Neal Zaslaw, within the framework of Lincoln Center's bicentennial program. Salzburg will host a meeting in February during its Mozart Weeks, and further symposia will take place at Boston's Early Music Festival in April, at London's Royal Musical Association during the summer, and in New Zealand and Australia in September; doubtless there will be many more of which we have not yet received announcements. In addition, there will be major exhibitions in Vienna, at New York's Lincoln Center Library and Museum, and at the Morgan Library, the latter in collaboration with the British Library in London.

SPECIAL During 1990, special birthdays of major operatic figures also offer occasions BIRTHDAYS for commemorative performances: composers GIOVANNI PAISIELLO (250); PYOTR ILYICH TCHAIKOVSKY and HERMANN GOETZ (150); JACQUES IBERT, FRANK MARTIN, and BOHUSLAV MARTINU (100); AARON COP- LAND, ERNST KRENEK, and KURT WEILL (90); and Sir MICHAEL TIPPETT (85); also authors, playwrights, and librettists KAREL CAPEK, JEAN COCTEAU, and FRANZ WERFEL (100). — And plans are already taking shape for GIOACCHINO ROSSINI'S 200th birthday in 1992. []

-38- ARCHIVES AND EXHIBITIONS The Performing Arts Research Center of the NEW YORK PUBLIC LIBRARIES LIBRARY at Lincoln Center has acquired an extensive collection of & ARCHIVES Rouben Ter-Arutunian's designs from the 69-year-old artist. It consists of 77 large portfolios of scenic and costume designs for opera, dance, theater, television, and film. Among the approximately 1,000 designs are many he created for the New York City Ballet, where he collaborated on several major Balanchine productions. His operatic activities docu- mented in the collection include La Cenerentola for New York City Opera, PellGas et M6lisande for Gian Carlo Menotti's staging in Spoleto, and Orfeo ed Euridice created for Hamburg in a Balanchine production.

Begun as the San Francisco Dance Archives, that collection has been greatly expanded and, as the SAN FRANCISCO PERFORMING ARTS LIBRARY AND MUSEUM, moved in November from the War Memorial Opera House into new, larger quarters on Grove Street. For the opening, it organized a special exhibition, "The San Francisco Stage: From Gold Rush to Earthquake, 1849 to 1906," which will continue through July. In addition to posters, programs, clippings, original set and costume designs, memorabilia, and recordings, the library includes the largest collections in the U.S. of professional and personal material about Kirsten Flagstad and Isadora Duncan.

The STATE UNIVERSITY LIBRARY of Hamburg has received the manuscripts, documents, and memorabilia of the German composer and conductor Manfred Gurlitt (1890-1972). The material includes the manuscripts of his operas Die Soldaten and Nordische Ballade. The American Museum of the Moving Image in Flushing, New York, has EXHIBITIONS opened an exhibit of some 300 sketches, models, photos, and other materials entitled TONY WALTON—DESIGNING FOR THE STAGE AND SCREEN. Included are the original designs for several musicals in their premiere Broadway productions. The show will remain on view for one year. The Pierpont Morgan Library in New York is among the most important resources for material on Gilbert and Sullivan. The library has now organized a very extensive exhibit curated by Fred Wilson and called GILBERT AND SULLIVAN: A WINDOW ON THE VICTORIAN WORLD, including not only its own holdings but important documents from public and private collections here and abroad. Autograph scores, programs, posters, and various memorabilia will be on view in the Morgan mansion on Madison Avenue at 36th Street until February 18.

The widow of composer and conductor Alexander von Zemlinsky has estab- MUSICIANS' lished the ZEMLINSKY FOUNDATION, to be administered by the Gesell- SOCIETIES schaft der Musikfreunde in Vienna. Its aim is the promulgation of the composer's works on the international music scene; it will also make material available for some scholarly research. The foundation's chairman is Peter Dannenberg, and committee members include Christoph von Dohna'nyi, James Levine, and Peter Ruzicka. The latest issue of the newsletter published by the LOTTE LEHMANN LEAGUE in Santa Barbara mentions the issuance of a Lotte Lehmann commemorative stamp on July 13, 1989 by the German postal department, marking the artist's centennial. Designed by Gerd Aretz after a photo of the artist, the stamp may be ordered from the Deutsche Bundespost, Frankfurt. Also available is a first-day cover. []

-39- ATTENTION COMPOSERS, LIBRETTISTS, PLAYWRIGHTS The SERGE KOUSSEVITZKY MUSIC FOUNDATION at the Library of Con- gress, one of the early major organizations dedicated to the commissioning of new compositions, has altered its rules. Instead of selecting a composer and awarding him the commission, the Foundation will collaborate with symphony orchestras and chamber music groups that have outstanding records in the performance of contemporary music. This way, the commissioned work will also be assured of performances. Commissions for symphonic compositions will range from $20,000 to $30,000, and for chamber music from $12,500 to $17,500. Further information is available from the Music Division of the Library of Congress or the Koussevitzky Music Foundation, 200 Park Ave., New York, NY 10166.

The 1990 competition for the CITY OF TRIESTE MUSIC AWARD is restricted to symphonic music with one or two solo voices and an optional chorus. Compositions may have been published and/or performed, but only after January 1, 1987. The application deadline is August 31, 1990. For details write to Secretary of the Premio Musicale Citta di Trieste, Palazzo Municipale, Piazza dell'Unita d'ltalia 4, 34121 Trieste.

Opera Memphis and the Opera Theater Department of Memphis State Uni- versity are the vehicles for trying out new operas or music theater pieces, whether in progress or already completed, under the NATIONAL CENTER FOR THE DEVELOPMENT OF OPERA, Robert Driver, director. Composers with new chamber or full-size works are invited to submit tapes and/or scores. For details contact Mr. Driver, General Director, Opera Memphis, Memphis State University Station, Memphis, TN 38152. The second TEN-MINUTE MUSICALS PROJECT has been announced. Scenes or single short acts should be submitted to Michael Koppy, Producer, Box 461194, West Hollywood, CA 90046; (213) 656-8751. Nine of the first year's entries were selected to be presented in a workshop in San Francisco on February 15 (see "New Operas: Workshops"). The MIXED BLOOD THEATRE COMPANY is holding its seventh annual competition for the best play or musical which is as yet unperformed but by an author or composer who has had one or more productions of at least one earlier work. Scripts of plays, accompanied by a cassette tape of lyrics and music for musicals, must reach the company by April 15, 1990. For details write to the company at 1501 South 4th St., Minneapolis, MN 55454. The BEST PLAY COMPANY (P.O.Box 444, Times Square Station, New York, NY 10108) and THE PROMENADE THEATER (2162 Broadway, New York, NY 10024) are both accepting scripts for new, as yet unproduced plays and musicals. The 1989-90 BMI STUDENT COMPOSER AWARDS carry an application deadline of February 9, 1990. Contestants must be students who are citizens or permanent residents of the Western Hemisphere and were under 26 as of December 31, 1989. There are no restrictions as to style and length of the composition, nor to the type of orchestration. Cash prizes range from $500 to $2,500. Entry forms should be requested from Ralph Jackson, BMI Student Composer Awards, 320 West 57th St., New York, NY 10019. The CIVIC ORCHESTRA OF CHICAGO will perform readings of two new orchestral works selected as winners in separate Illinois and National

-40- ATTENTION COMPOSERS, LIBRETTISTS, PLAYWRIGHTS

competitions. John Corigliano, composer-in-residence with the Chicago Symphony, is in charge of the competition. The application deadline for Illinois residents and students is January 31; that for U.S. residents or students is February 15. The concerts featuring the readings of the new orchestral pieces will be held on March 16 and 30.

It may not be too early to think about the 1991 INTERNATIONAL COMPE- TITION FOR MUSICAL COMPOSITION, organized by Radio-Television Suisse Romande and the city of Geneva, and this time open to operas and music theater works suitable for television. Composers of any age and nationality may submit manuscripts of unpublished and unperformed pieces about 40 minutes long, with text in French (preferred) or in English, Italian, or German. The work should be scored for 25 to 42 instrumentalists and a maximum of eight solo singers, and may call for a chorus and/or dancers. September 3, 1991 is the deadline; further information may be obtained from Concours International de Musique 1991, Maison de la Radio, P.O.B. 233, 66 blvd. Carl-Vogt, CH-1211 Geneva 8, Switzerland.

Pierre Boulez heads the jury in a competition, open to Canadian composers, at the new SCOTIA FESTIVAL OF MUSIC in Halifax, Nova Scotia in June '91. The winning pieces will be performed at the Festival. — See also the NEW MUSIC AMERICA festival in "New Operas: Canadian Operas."[]

MUSIC PUBLISHERS MUSIC SALES CORPORATION/G. SCHIRMER tribution Center, with Leslie Brooks and Ella INC., New York, has announced several major Winfield in charge of orders. The address is new affiliations that substantially enlarge its 5 Bellvale Rd., Chester, NY 10918; (914) 469- holdings. First is a ten-year agreement with 2271. (See also "Appointments and Resigna- VAAP, the U.S.S.R.'s copyright agency, for the tions: Libraries & Publishers.") exclusive representation of all Soviet "serious" music in North America. This greatly expands GALAXY MUSIC has been bought by E.C. their previous agreement for partial representa- SCHIRMER, and all items in its catalogue will tion. — Schirmer has also announced the acqui- henceforth be available from E.C. Schirmer at sition of SHAWNEE PRESS. The 50-year-old its new address, 138 Ipswich St., Boston, MA publishing house, located in Delaware Water 02215; telephone (617) 236-1935. Galaxy pub- Gap, Pennsylvania, will continue to operate lished various contemporary operas, among them there as a subsidiary of its new owner. those by Robert Ward. — DUNVAGEN MUSIC, the company that pub- The new address for BOOSEY <5c HAWKES INC.'s lishes Philip Glass's works, will now be repre- Serious Music Division is 24 East 21st St., New sented by G. Schirmer. Until recently, its dis- York, NY 10010; telephone (212) 228-3300. The tributor was Theodore Presser Co. — WARNER/ address for the Sales and Rental Division and CHAPPELL MUSIC is yet another American the Educational Music Department is 52 Cooper music publisher whose catalogues will hence- Square, 10th floor, New York, NY 10003. forth be represented by G. Schirmer. The long- term agreement includes concert music by com- Telephone 979-1090 from New York City, (800) posers such as Blitzstein, Gershwin, and Lerner 732-2220 from New York State, or (800) 645- and Loewe. — Finally, G. Schirmer has acquired 9582 from outside New York State. the Spanish music publisher, UNION MUSICAL ESPANOLA, founded in 1900 by the Chapa MUSIC ASSOCIATES OF AMERICA is most family, which is still in charge; Antonio and generously offering members of Central Opera Manuel Chapa will remain as General Manager Service a free copy of either of the two popular and Publishing Manager respectively. With this children's operas by Dennis Arlan and James purchase, Schirmer has acquired numerous Billings: Meanwhile, Back at Cinderella's or zarzuelas as well as compositions by, among The Daughter of the Double Duke of Dingle. others, Rodrigo, Granados, and de Falla. — G. Requests should be on your company stationery Sehirmer's Rental and Performance Department and addressed to George Sturm, Executive has been consolidated with the company's Dis- Director, MAA, 224 King St., Englewood, NJ 07631. This offer expires March 31, 1990. []

-41- EDITIONS AND ADAPTATIONS When the Opera Ensemble of New York performed Monteverdi's IL RITORNO D'ULISSE IN PATRIA in November, it played on period instruments in a new edition by early-music scholar Paul Echols, using a new English translation also made by Professor Echols. For the new production of Monteverdi's L'INCORONAZIONE DI POPPEA in Brussels, General Director Gerard Mortier commissioned the Belgian composer Philippe Boesmanns to revise the orchestration "uniting today's listening sensibilities with an authentic historic sound." It seems that this new instrumentation was very favorably received. While the current trend points to the use of original instruments, the opera department of the Cincinnati College-Conservatory of Music has elected to perform Gluck's IPHIGENIE EN TAURIDE with electronically produced accompaniment. This "electronic orchestra" or "sound environment" was created especially for this production by Frederick Bianchi of the CCM's Electronic and Computer Music Department. The work was performed on January 6 and 7 in an English translation.

The NEUE MOZART-AUSGABE, the critical edition of the complete works of Mozart, prepared under the auspices of the International Mozarteum Foundation, Salzburg, and published by Baerenreiter Verlag, will be completed in 1991, the bicentennial of the composer's death, when the last volume, number 120, is issued. (Critical editions of all the operas are already in print.) The project was begun in 1955, the year before the bicentennial of Mozart's birth. Baerenreiter's American distributor is European American Music of Valley Forge, Pennsylvania. Vivaldi's ORLANDO FURIOSO was heard in a new critical revision by Ulysses Roseman, Jr. in its performances by the San Francisco Opera last November. — Rossini's LA SCALA DI SETA has a new critical edition by Anders Wiklund, which will be used in the February performances by the Rockland Opera in Suffern, New York. — The same musicologist is preparing a series of critical editions of the Donizetti operas, cosponsored and published by G. Ricordi and the composer's native city of Bergamo. MARIA STUARDA is the first opera to appear, and the new edition was performed for the first time in Bergamo last September. Ricordi's American distributor is Boosey <5c Hawkes. The New Jersey State Opera will use the Roger Parker critical edition in its performances of Verdi's NABUCCO in March, and the Metropolitan Opera's new production of RIGOLETTO is being performed in the critical edition by Martin Chusid. Both editions were produced by the University of Chicago Press in collaboration with G. Ricordi, and are available in the U.S. through Boosey & Hawkes. The extant fragments of a largely unknown opera by Hugo Wolf were performed at the Mozartsaal in Stuttgart under the auspices of the Hugo- Wolf-Gesellschaft in that city. MANUEL VENEGAS is based on Pedro Alarc6n's novel El Nino de la bola, and during its composition in 1897 Wolf suffered the breakdown that led to his confinement in a mental institution. The first public performance of the excerpts, which last a half hour, is believed to have occurred in Mannheim in 1903; last summer's performance was given in conjunction with a simultaneous recording. In the Village Light Opera Group's performances of H.M.S. Pinafore last autumn, the U.S. was substituted for Great Britain. Fitted with new

-42- EDITIONS AND ADAPTATIONS lyrics by Isaac Asimov, the work was presented as U.S.S. PINAFORE. Some musical changes, including the addition of some American tunes, were made by Music Director Ronald Noll. Carlisle Floyd has revised his THE PASSION OF JONATHAN WADE for a new production shared by three companies. It will open in Houston in January '91 and subsequently play in Miami and San Diego. The work was first staged by the New York City Opera in 1962. The reduced orchestration of Samuel Barber's VANESSA, made specially for the 1988 production by the Opera Theatre of Saint Louis, is now available for rent from G. Schirmer. When Gershwin's 1926 musical OH, KAY! was performed recently, first at the Goodspeed Opera House in Connecticut and then at the Birmingham Theatre in Michigan in a joint production, it had acquired a new setting. Goodspeed's Dan Siretta is responsible for the changes, which moved the jazz musical from suburban Long Island to a Harlem speakeasy, with an all-black cast.

Stephen Sondheim and librettist/playwright George Furth have made new revisions in their 1985 musical MERRILY WE ROLL ALONG, produced by the Arena Stage in Washington, D.C. at the Kreeger Theater. The performance dates are January 26 through April 8; it is staged by Arena's Producing Director Douglas Wager, who collaborated on the revision. []

Theaters (continued from page 30) groups, including the two resident orchestras, several dance and theater companies, and about a dozen Cantonese opera ensembles. The Center contains three halls: the concert hall in the round with 2,100 seats, the Grand Theater with 1,750 seats, and a small experimental theater studio. Wayne Maddern is the Executive Director.

The COMPTON VERNEY OPERA HOUSE, to be built on the grounds of a handsome country house ten miles outside Stratford-upon-Avon in England, is to be designed by Danish architect Henning Larsen, who won the contract through a competition. Its estimated cost is about £35 million. Opera performances will be offered during the summer in an ideal-size hall of 1,200 seats with a pit for 100 players. The opening is projected for 1993, providing the funds are in place in time. Groundbreaking ceremonies for a new cultural center in Bucharest, Romania, were held last summer. The original plans called for a 3,000- seat opera house and seven other auditoria of varying sizes, designed to be suitable for concerts, ballet, and theater performances, as well as for meetings, conventions, and exhibitions. []

-43- EDUCATION

NEW The UNIVERSITY OF MICHIGAN'S School of Music has begun to integrate PROGRAMS some programs from related departments into the new Division of Vocal Arts. One of the United States' leading opera/music theater educational programs, the newly shaped Division incorporates all the faculty of the Voice Department, the Opera Theater Program, and the Accompanying and Vocal Literature Program, as well as the Musical Theatre Program (exclusive of dance), the Choral Conductors Program, and otolaryngology studies as they pertain to the performing arts.

The UNIVERSITY OF CINCINNATI COLLEGE-CONSERVATORY OF MUSIC has issued an Artist Diploma (AD) in Opera to its graduating singers. It has now received authorization also to issue ADs in Opera to coach/ accompanists, thus extending its field of formal instruction. For the first year of the program (1990-91), the institution will actively seek pianists interested in training as operatic coach/accompanists. — The Musical Theater Department of CCM received a bequest by Mrs. Helen Weinberger which will establish the Joseph Weinberger Chair in Musical Theater. The first teacher to be appointed to this Chair is yet to be selected.

The BROOKLYN CONSERVATORY OF MUSIC has added an Opera Ensem- ble as a training ground for young professional singers. Susan Morton is music director and Richard Getke is guest stage director. Admission is by auditions, which are held at Merkin Hall in Manhattan and at the Conservatory in Brooklyn.

During its first year under the new directorship of Roma Prindle, the Opera Theater at JAMES MADISON UNIVERSITY in Harrisonburg, Virginia gave its first community and educational performances off campus. Plans call for expanding these tours next season, to introduce new audiences at elementary schools as well as at social clubs to operatic excerpts.

NEW Ann Baltz has founded an educational program for singers and coaches WORKSHOP called OPERAWORKS INC. Two-week workshops have been held in Pitts- burgh, Los Angeles, and Phoenix. Ms. Baltz is Artistic Director, and for the Phoenix sessions she enlisted stage directors Ron Peluso and Christine Wunderlich as well as conductor David Aks as instructors. Students pay tuition and housing fees. Further information is available from Ms. Baltz, 5335 Yarmouth Ave., #204, Encino, CA 91316.

SUMMER The vocal/opera summer program of the MUSIC ACADEMY OF THE WEST PROGRAM in Santa Barbara, intended for advanced voice students, will run from June 24 to August 18. Auditions for singers are scheduled in Bloomington, Indiana on February 3 and 4, New York City on February 10 and 11, and Los Angeles on February 23 and 24. Singers must have submitted a completed admissions application and a $40 fee. Audition requirements call for three opera arias and two songs in at least two different languages. A Verdi opera, either Falstaff or La Traviata, will be performed at the end of the courses.

ENLARGED In COS's Opera Survey USA for 1988-89, it was learned that the Opera PROGRAM Theatre at the University of Northern Colorado in Greeley mounted six productions in 24 performances last season—numbers matching those for the Indiana University Opera Theater. The Colorado program under the direction of Carl Gerbrandt has been steadily increasing its performance schedule since 1984-85, when four operas were given a total of 15 performances. The 1988-89 repertory included Mozart, Puccini, and

-44- EDUCATION

Menotti, as well as musicals, in which the Opera Theatre collaborated with the drama department. The school also offers a Bachelor of Arts in Music Theater degree.

Financial support of opera/music theater programs at universities comes SOURCES OF from a variety of sources. Receipts from ticket sales help defray some SUPPORT production costs, particularly in 1988-89 because of higher ticket prices and increased paid attendance at academic performances. Off-campus performances at elementary or high schools and community centers are often paid for by these institutions. Other sources as reported, for instance, by STETSON UNIVERSITY in DeLand, Florida include Wheatland Group Holdings, which provides funding for one or two major academic productions; the SAN JOSE STATE UNIVERSITY Opera Workshop receives financial assistance from State Lottery Funds. State arts and humanities councils' funds have been successfully solicited by BLUFFTON COLLEGE in Ohio, for the ethnic musical Dance of the Klobzar, and the ABILENE COLLEGIATE OPERA in Texas, which has been assisted by grants from the Abilene Cultural Affairs Council, the Texas Commission on the Arts, and the National Endowment for the Arts.

The UNIVERSITY OF WATERLOO in Ontario, which has offered an under- ARTS graduate arts management program for some time, has now added a Centre MANAGEMENT for Cultural Management on the graduate level, whose mission is to PROGRAMS explore the latest research and management training projects. Directed by William D. Poole, the new Centre opened last fall with a budget of $1.8 million (Canadian), donated by the Floyd and Jean Chalmers Founda- tion and by the Samuel and Saidye Bronfman Family Foundation.

COLUMBIA UNIVERSITY has announced termination of its Arts Manage- ment Training Program as of 1991. One of the leading arts administration graduate programs, it was established nine years ago and has graduated over 150 arts administrators.

A new music institute has been established in England, the BIRMINGHAM FOREIGN CONSERVATOIRE OF MUSIC, with Simon Rattle as president and Kevin PROGRAMS Thompson as dean. It will include a School for Vocal and Operatic Studies.

London's KING'S COLLEGE and the ROYAL ACADEMY of MUSIC will join forces to create a new center for teaching and research in music. The center is expected to increase the opportunities for high-level training for students at both institutions.

Students from three universities will get together in Germany this summer to prepare a joint performance of Weill's Der Jasager and Down in the Valley as the culmination of an intensive choral workshop called Campus Cantat. Participating institutions are SUNY COLLEGE AT BUFFALO, SUNY COLLEGE AT FREDONIA, and the UNIVERSITY OF DORTMUND, which will host the workshop and the productions in conjunction with the North Rhine Westphalia Festival on the occasion of Weill's 90th birthday. Lys Symonette, Musical Executive of the Kurt Weill Foundation, will hold master classes and assist in the productions.

Musical scholars, academic and otherwise, may submit entries in what MUSICOLOGY appears to be the first international competition for musicological works, COMPETITION the PREMIO INTERNAZIONALE LATINA DI STUDI MUSICALI. Writings in three categories are eligible for prizes: Historical Musicology, Ethno- musicology, and Systematic Musicology and Contemporary Music. The (continued on page 55) -45- APPOINTMENTS AND RESIGNATIONS Government Appointments WENDY GRIFFIN, former Chairman of the Paci- President Bush has appointed JOHN E. FROHN- fic Northwest Ballet, is the new Chairman of MAYER of Portland, Oregon to the post of the Washington State Arts Commission, and Chairman of the National Endowment for the SHIRLEY LANGDON was recently installed in Arts, a nomination endorsed by the arts commu- the same post at the South Carolina Arts Com- nity and unanimously confirmed by the Senate. mission. ELIZABETH CHRISTOPHERSON now Mr. Frohnmayer, a lawyer, is no stranger to chairs the New Jersey State Council on the the NEA, having served for several years on Arts. the opera-musical theater advisory panel. He was on the board of the National Assembly of In the state of Washington, authority for State Arts Agencies, was Chairman of the Ore- appointing the Executive Director of the State gon Arts Commission for four years until 1984, Arts Commission has been passed from the Com- and was actively involved in developing several mission to the Governor. The Commission now projects for Portland's Metropolitan Arts Com- has a new Director in JOHN FIRMAN, formerly mission. Dedicated to government support of of Minnesota. He succeeds Michael Croman. the arts, he has testified in Washington before — T. ELLEN SOLLOD has exchanged her posi- Senate committees on behalf of the arts. An tion of Executive Director of the Colorado amateur baritone, he has sung solo in orchestral Council on the Arts for the same post with and choral concerts. He now fills the post for- the Seattle Arts Commission. merly occupied by Frank Hodsoll, now at the Office of Management and Budget, and is the National Arts Organizations immediate successor to Acting Chairman Hugh At the end of OPERA America's conference in Southern (see "Opera Companies: Executive/ January, ARDIS KRAINIK (Lyric Opera of Artistic Heads"). Chicago) assumed the office of President, succeeding David Gockley (Houston Grand Opera). Mr. Gockley was President for four Several other NEA appointments have also been years. — After ten years as Executive Director announced. ALVIN S. FELZENBERG, whose of OPERA America, MARTIN KAGAN has an- experience as New Jersey's Assistant Secretary nounced his resignation effective February 15, of State and advisor to the Governor on cultural 1990. Under Mr. Kagan's tenure, the organiza- affairs predisposed him for his new appointment, tion's budget expanded from $250,000 to $1.5 has succeeded Mr. Southern as NEA Deputy million, the staff almost doubled, and the Chairman. Most recently, Mr. Felzenberg was membership expanded to include nine foreign a visiting lecturer in political science at opera companies in addition to the Canadian Princeton University, where he had received members. Management Consultants for the Arts his Ph.D. in that field. Also confirmed was of Greenwich, Connecticut will be working with SELINA OTTUM as Deputy Chairwoman for Pub- an OPERA America search committee in identi- lic Partnership, putting her in charge of NEA's fying and screening applicants for Mr. Kagan's relationship with state and local arts agencies position. — MARTHA PERRY has joined OPERA and the NEA's Art in Education program. She America as its new Communications Director, had been Director of the Metropolitan Arts following Jane Keegan's move to Milwaukee Commission in Portland, Oregon, Mr. Frohn- (Vol. 29, No. 3). Miss Perry's earlier affiliations mayer's home state. At the NEA, she succeeds include the Cincinnati Opera and, more recent- Adrian Hirsch. BOB WITECK has been retained ly, Trinity College in Washington, where she by Mr. Frohnmayer to assist with media rela- was Director of Public Relations. Other new- tions; he is marketing director of the public comers are JOANNE COONEY, Administrative relations and lobbying firm of Hill & Knowlton. Director, and NANCY ROBERTS-LEA, Commu- JOSEPH SLYE is the new Press Officer. nications Assistant.

The new permanent Directors of the NEA's Opera Guilds International installed a new Music and Theater Programs have been named, President at its 1989 general meeting. DIXIE with D. ANTOINETTE HANDY appointed to the REPPE of the Tulsa Opera Guild succeeded former post and JESSICA L. ANDREWS to the Pauline Cuncannan of Chicago, who has held latter. Both had been Acting Directors of their the office for the last three years (see also respective programs since the resignations of "COS Inside Information"). Mrs. Reppe had William Vickery and Robert K. Marx (see "Per- been Vice President of Regional Directors, a forming Arts Library"). — GERTRUD SALEH is position now occupied by SUZANNE HASL of serving as Acting Director of the Opera-Musical Cincinnati. In addition, BLANCHE CARRA- Theater Program until a permanent appointment GHER of Toronto has become Vice President is made. for Membership Services, and JEAN HAFFEN-

-46- APPOINTMENTS AND RESIGNATIONS REFFER of Wellesley, Massachussetts, Secre- DICT, to a third term as President. His first tary of the Board. term ran from 1972 to 1974, and he has just completed his second term. The organization, Dr. LELAND FOX, former editor of The Opera with Henry Guettel as Executive Director, cele- Journal and longtime member of the National brated its twentieth anniversary last year. Opera Association's board of directors, has been elected the organization's President. He is The Association of American Cultures (TAAC), Associate Dean of the University of Mississippi's a national arts organization created for the graduate school. Dr. ARVID KNUTSEN has been support of and services to ethnic artists and elected Vice President of Conventions, and arts organizations in the U.S. and its territories, ROBERT MURRAY Vice President of Regions. has engaged its first full-time Executive Direc- Returned to their offices were MARAJEAN tor, VICTORIA SHARPLEY. TAAC's headquar- MARVIN, Secretary; Dr. CRAIG MADDOX, ters are in Washington, D.C. Its next national Treasurer; Dr. ROBERT HANSEN, Editor of The conference is scheduled for Oklahoma City in Opera Journal; and MARY ELAINE WALLACE, June 1990. Executive Secretary and Editor of The NOA Newsletter. RICHARD BELL, who has been with Young Audiences Inc. since 1976, has been named National Executive Director. The National Assembly of State Arts Agencies has signed GARTH L. TATE, formerly of Dance/ Canadian Arts Organizations USA, as Director of Communications. In February '89, a Canadian Copyright Board was created, and the following members have Mezzo-soprano NEDDA CASEI has been returned been installed: DONALD H. MEDHURST, Chair- to office for a fourth term as President of the man; MICHEL HETU, Vice Chairman; and American Guild of Musical Artists (AGMA). JUDITH A. ALEXANDER and MICHEL LATRA- Vice Presidents are EILEEN SCHAULER, CHES- VERSE, members of the board of directors. TER LUDGIN, EUGENE LAWRENCE, BARBARA BYSTROM, and PAMELA SMITH; LAWRENCE The presidency of Les Jeunesses musicales du DAVIDSON has been reelected as Treasurer and Canada has passed from conductor BORIS YOLANDA ANTOINE as Secretary. BUD WOLFF BROTT to bass JOSEPH ROULEAU. is National Executive Secretary. Opera Companies: Officers The American Council for the Arts has elected The Lyric Opera of Chicago has reelected most GERALD D. BLATHERWICK as Chairman. He of its former officers, adding only a few new joined the board of directors two years ago. names to its governing committee: the Honor- able JAMES R. THOMPSON and the Honorable WILLIAM P. BLAIR III has completed his term RICHARD M. DALEY as Honorary Chairmen of as Chairman of the American Arts Alliance, the Board; J.W. VAN GORKAM as Chairman of the advocacy organization for the arts in Wash- the Board; WILLIAM B. GRAHAM as President ington, but will remain on the board of directors. Succeeding him as Chairman is DAVID and CEO; FRANK W. CONSIDINE as Chairman, STARR, senior editor of Newhouse Newspapers. Executive Committee; LESTER CROWN, JOHN D. GRAY, and PHILIP B. MILLER as Executive Vice Presidents; ANTHONY A. ANTONIOU, Tenor PAUL SPERRY has been elected Presi- JAMES J. BRICE, and RUSSELL B. FISHER as dent of the American Music Center. Vice Presidents; LEE A. FREEMAN, Sr. as Sec- retary of the Board and General Counsel; PAUL The National Society of Fund Raising Execu- WILSON as Treasurer; ARDIS KRAINIK as tives, an educational association for the devel- General Director and Chief Operating Officer; opment of professionals, has elected DEL STAECKER of the Saint Thomas Foundation of and FARRELL L. FRENTRESS as Assistant Nashville, Tennessee as Chairman of the board Secretary. of directors; PATRICIA LEWIS of the Seattle The list of officers at the Kentucky Opera County Council of Camp Fire Girls as Chair- includes some reelections as well as some new man-Elect; and four members, GEORGE MON- members. Among the former are Mrs. DON E. GON of Cincinnati, JOHN S. LORE of Detroit, (LIBBY) PARKINSON, President, Mrs. RICHARD SANDRA A. ADAMS of Washington, D.C., and MAYER, Vice President, and JOHN BRIDEN- CHARLES STEPHENS of Atlanta, as Vice Chair- DALL, Treasurer; among the latter are DAN men. The organization's headquarters are in HUNEKE, Vice President, and Mrs. ARTHUR Alexandria, Virginia. MARTINEZ, Secretary.

The Theatre Development Fund has reelected The Sarasota Opera has elected MARTIN I. one of its founding directors, STEPHEN BENE- MOSS, 1988 recipient of the company's Grand

-47- APPOINTMENTS AND RESIGNATIONS Award for his support of the opera house's half-price same-day ticket kiosk on Times restoration, as President of the company. LEO Square. TDF also created the Costume Collec- ROGERS continues as Chairman of the Board. tion and several major programs of assistance to theater companies. Mr. Southern began in At a recent board of directors meeting of the his new post at Lincoln Center on November Minnesota Opera, the members voted to change 1. COS members will remember him as the the bylaws so as to be able to name its General keynote speaker at the COS Conference in Director KEVIN H. SMITH Chief Executive Offi- Chicago in 1984, and he returned as featured cer and President of the company. ROBERT luncheon speaker at the 1989 COS National M. HOWARD was reeleeted Chairman. Conference in New York—having been invited when he was still NEA Acting Chairman and R. WILLIAM EDMUNDSON has succeeded Mrs. before any Met annoucement. Todd Cooke as Chairman of the Board of the Pennsylvania Opera Theater; WILLIAM M. LEO- The Boston Lyric Opera, from which Anne NARD became Vice Chairman. Ewers and John Balme have recently resigned (Vol. 29, No. 3), has engaged JUSTIN MOSS as The Santa Fe Opera board of directors has its first full-time General Director. Mr. Moss, elected NANCY ZECKENDORF President. who began his career in opera administration with the Virginia Opera in 1981, joined the Newly installed officers of Opera Carolina in Baltimore Opera as Director of Development in Charlotte include LYNETTE A. LEWIS, Presi- 1985. In Boston he will have RICHARD dent; WOODROW E. NAIL, Vice President; G. GADDES, founder of the Opera Theatre of Saint PATRICK PHILLIPS, Treasurer; and JOHN Louis, as his newly-appointed Artistic Advisor. MITCHELL, Secretary. BERNARD UZAN, General Director of L'Ope>a Opera Guilds: Officers <5c Administrators de Montreal, has also taken on the position of The New York City Opera Guild recently Artistic Director, formerly held by JEAN-PAUL elected SUSAN PRIEM as its new President. JEANNOTTE, who has left the company. She and her Guild will host the next conference of Opera Guilds International in September Following John Gage's move from the Florentine 1990. — Also newly installed is KAREN MED- Opera to Opera/Columbus (Vol. 29, No. 3), the FORD as President of the Dayton Opera Guild. Milwaukee company has chosen DENNIS W. HAN- THORN as its new General Director. For the The Chairmanship of the Kansas City Lyric last seven years, Mr. Hanthorn has served as Opera Guild has passed from one of its founding Managing Director of the Dayton Opera, where, members, Dr. REVIS LEWIS, who retired, to in addition to securing the company's financial ROBERT F. SNAPP, former Guild President and base, he added an artists-in-residence program longtime Treasurer of the opera company. and instituted an award-winning program for the hearing impaired. — His successor in Dayton JACQUELINE DESMARAIS recently founded the is JANE D. NELSON, whose last position was L'Ope>a de Montreal Guilde, and was installed Director of Operations for the Central City as its first President. Opera. Earlier she had been a staff member of the opera companies in Houston, San Diego, The San Francisco Opera Guild has engaged Tulsa, and Norfolk. The Dayton Opera continues ANDREW THOMPSON, formerly of the Thunder under the artistic direction of David DiChiera. Bay Symphony, as Administrator. At the Triangle Music Theater in Durham, North Opera Companies: Executive/Artistic Heads Carolina, ESTHER NELSON-RAPP, formerly of After several months of thorough investigation, the New Orleans Opera, has been engaged as the Metropolitan Opera Association's board of General Director. She succeeds MICHAEL directors has signed a new General Manager, CHING, who has joined the Virginia Opera (see HUGH SOUTHERN, most recently Acting Chair- below). Composer Robert Ward is founder and man of the National Endowment for the Arts, President of the North Carolina company, where and before that NEA Deputy Chairman for seven SCOTT TILLEY has advanced from Assistant years. The British-born Mr. Southern has been Music Director to full-fledged Music Director. a U.S. resident since 1956. His early affiliation with opera in this country was in San Francisco KYLE RIDOUT, formerly Company Manager of where he was a management associate of the the Kentucky Opera, has been engaged by the opera company and acting manager of the West- Nashville Opera as its General Director. — Mr. ern Opera Theater in the '60s. Later he created Ridout is being replaced in Louisville by the Theater Development Fund in New York, ROZANNA THOMPSON. JOHN HOOMES, who which in turn led to the opening of TKTS, the staged his first Kentucky Opera production in

-48- APPOINTMENTS AND RESIGNATIONS 1988, has been named Assistant Stage Director reach program, has a new General Director, and Production Stage Manager. CHRIS STOLLERY, succeeding Stephen Brown. She has been working in production and direc- Opera Grand Rapids has signed administrator tion with several American and Dutch opera and conductor ROBERT LYALL as General and theater companies. Lee Sehaenen continues Director, a post he will assume at the beginning as Artistic Director. of next season. He succeeds Artistic Director ROBERT PETERSON, who has resigned. Mr. The Pennsylvania Opera Theater and Founder/ Lyall will continue as General Director of the Artistic Director Barbara Silverstein have Knoxville Opera, but will give up the Music named PATRICIA FULVIO General Manager of Directorship of the Victoria Symphony (Texas) the company. and the Oak Ridge Symphony (Tennessee). He plans to conduct most of the performances of PATRICK J. FLYNN has become Managing the Michigan company. Director of Opera Pacific in Costa Mesa, Cali- fornia, another company under the directorship The Southwest Virginia Opera in Roanoke, of David DiChiera. which has dropped the word "Society" from its name, has engaged its first professional Execu- Opera Companies: Department Heads tive Director, JUDITH W. CLARK. VICTORIA The Cleveland Opera has added two new staff BOND, Music Director of the Roanoke Symphony members: JENNA JONES, who will administer Orchestra, has also joined the opera company the education and outreach program in collabo- as its new Artistic Director. ration with tour director Judith Ryder, and SHIRLEY HAWK, who will fill the newly created BYRON DAN RYAN, who has conducted for position of Coordinator for MAP, the Multicul- various American opera companies, has been tural Awareness Program sponsored by the Ohio named Music Director of the Utah Opera in Arts Council. Salt Lake City. When John Peter Jeffries left the Greater NICOLA RESCIGNO, co-founder of the Dallas Miami Opera for a new post with the Canadian Opera and its Artistic Director for 33 years, Opera Company in Toronto, the Florida company resigned from the company effective at the end engaged PAUL P. LAPINSKI as Director of Pro- of the current season; his last performance was duction, as of fall '89. Previously, he was in on January 14. He plans to pursue his career charge of production at the Pittsburgh Opera as a free-lance guest conductor here and and the Opera Company of Philadelphia. — Mr. abroad. Lapinski, in turn, has been replaced by RON ALLEN, formerly of the Baltimore Opera, who Opera Companies: Administrative Heads has joined the Pittsburgh Opera as Production JOHN LEBERG, previously Director of Opera- Manager. LINDA STAHLHEBER is the new tions with the Canadian Opera Company, has Director of Corporate and Foundation Giving. joined his former General Director Lotfi Mansouri at the San Francisco Opera in the same capacity. Another new member of Mr. The Dayton Opera has appointed JANE S. Mansouri's team is BARRETT CRAWFORD, for- KUNTZ Director of Development, a position merly Comptroller and Director of Finance with formerly occupied by LAUREL SANDERS, who Arthur Anderson and Co., first in San Francisco has become General Manager of Dayton's Muse and lately in Chicago. Last summer he became Machine company. (See also "Opera Companies: San Francisco Opera's Director of Finance and Executive/Artistic Heads.") Administration. In Oregon, the Eugene Opera has announced Several new appointments at the Canadian the appointment of STEPHANIE MEEKS as De- Opera Company in Toronto became effective velopment and Marketing Director. Her former this season. DONNA COUTTS is the new Direc- affiliation was with Opera Colorado in Denver. tor of Administration, ROBERT LAMB Director of Development succeeding Dori Vanderhoof, SCOTT HOLDERER, former Director of Produc- and LINDA BARNETT-CLARK Director of Mar- tion at Opera/Columbus, has moved with keting succeeding Margaret Genovese. Ms. Michael Harrison to the Baltimore Opera. He Coutts worked formerly with a major manage- is succeeded by BILL BARTO, the new Produc- ment consultant firm, while both Mr. Lamb and tion Manager in Columbus under General Mana- Ms. Barnett-Clark have been on the staff of ger John Gage. — Also new with the Maryland COC for some time. company this season are ANN L. McINTOSH as Director of Development, JoANN B. DOLAN, The Lyric Opera Center for American Artists, Associate Director of Development, PATRICIA Lyric Opera of Chicago's educational and out- A. KRAMER, Director of Marketing and Public

-49- APPOINTMENTS AND RESIGNATIONS Relations, W. JAMES HARP, Artistic Adminis- tor from 1986 to 1988 and then interim head trator, ROBERT SWOBODA, Director of Audi- of the Opera and Music Program. The latter ence Services, and BRIAN BECKHARDT as Mr. post has gone to JOANNE MORROW (Vol. 29, Swoboda's Assistant Director. No..3), his immediate predecessor as the NAC's Music Producer. Also new at the Centre is Milwaukee's Skylight Opera Theatre, as it is MANON RAICHE, former Assistant Editor of now named, has opened a new position of Devel- Ottawa's French daily newspaper, who is now opment Director, and filled it with KATHLEEN NAC's Director of Communication. TRYNER. Working closely with her will be DEBRA KAIN, the company's new Marketing The Saskatchewan Centre for the Performing and Public Relations Director. Arts has acquired JOHN HILL as its Executive Director. Previously, he managed the Alberta WILLIAM R. EPSTEIN is the new Business Ballet. Manager of the Virginia Opera, and MICHAEL CHING, former Executive Director of the Tri- The New Jersey Center for the Performing angle Music Theater in Durham, North Carolina, Arts, planned for downtown Newark (Vol. 29, has accepted the position of Assistant to No. 3), has named LAWRENCE P. GOLDMAN General Director Peter Mark. as its first President. As a former Vice Presi- dent of Carnegie Hall, he brings to his new HUGH KRONROT has assumed the position of post direct knowledge of the role of an arts Director of Operations with Orlando Opera, center, as well as much experience of the esthe- where he will assist General Director Richard tic and artistic considerations that must go into Owens in musical and administrative matters. its planning.

KATHLEEN McLAUGHLIN has been engaged as WARREN K. SUMMERS is the new President Director of Development for the San Diego and CEO of the Tampa Bay Performing Arts Opera, as announced by General Director Ian Center in Florida. Campbell. The Music Society of the Midland Center for The Cincinnati and Syracuse opera companies the Arts in Michigan has engaged VICTOR A. have engaged new Directors of Public Relations. KLIMASH, an associate professor at Louisiana JOELLE DANIEL assumed that post with the State University, as its new Artistic Director. Ohio company, while DANA A. BOOTH joined He took up his new position in January 1990. the company in upstate New York with dual duties in PR and marketing. WAYNE J. SHILKRET, former Director of the Ambassador International Cultural Foundation, The Pittsburgh Opera Theater, with Mildred is the successor to Robert Harth (Vol. 29, No. Miller Posvar as its Director, has signed GARY 3) as General Manager of the Hollywood Bowl RACE as its new Artistic Coordinator. and the Los Angeles Philharmonic's summer residency there. LESLIE UYEDA, formerly with the CBC as a producer, has joined the Vancouver Opera Com- JUDITH JOHNSON has joined Lincoln Center for pany as Education Director in charge of the the Performing Arts as Archivist and Manager newly established Resident Artists Programme. of Information Resources.

Arts Centers The Orford Arts Centre with its summer music There is to be a change of leadership at the camp of Les Jeunesses Musicales near Magog, Kennedy Center for the Performing Arts. The Quebec has engaged AGNES GROSSMANN as board of trustees and its newly formed search its new Music Director. She also heads committee are looking for a replacement for L'Orchestre Metropolitan of Montreal and the RALPH P. DAVIDSON, chairman and chief exec- Toronto Chamber Players, but will relinquish utive officer, who succeeded Roger L. Stevens the second of these positions following a in January 1988. Mr. Davidson's contract European tour in fall 1990. The Austrian-born expires in 1991, but he may relinquish the post conductor took up residence in Canada in 1984. earlier if a successor is found. Visiting her native Austria in summer '88, she became the first woman to conduct the Salzburg The National Arts Centre in Ottawa has Mozarteum Orchestra. announced the appointment of JACK MILLS as Music Producer. He has been Executive Direc- Presenters tor of the Winnipeg and Denver Symphony Orch- The Japan Society in New York has signed estras and, more recently, an administrator with CORA MIRIKITANI as Director of Performing the Canada Council, where he was Music Direc- Arts and Film. She was Managing Director at

-50- APPOINTMENTS AND RESIGNATIONS the Japanese American Cultural and Community The Guelph Spring Festival is one of Canada's Center in Los Angeles, and before that Execu- long-standing music festivals. Following the tive Director of the Greater Philadelphia retirement of its founder/director Nicholas Cultural Alliance. She is a graduate of the Goldschmidt three years ago, it has had several Annenberg School of Communications at the directors. The latest is SIMON STREATFEILD, University of Pennsylvania. who is taking over from William Lord. Mo. Streatfeild is also conductor of the Manitoba Festivals Chamber Orchestra, which will become the prin- The New York International Festival of the cipal guest orchestra at the Ontario festival. Arts, begun in grand style in summer '88 and continued in greatly reduced form in '89, plans Ballet and Theater Companies to refoeus and open afresh in summer 1991. Following a dispute with the new administrator The festival has acquired JOSEPH V. MELILLO of the American Ballet Theater, MIKHAIL as its new President and Artistic Director. He BARYSHNIKOV resigned effective immediately has been in charge of planning contemporary as Artistic Director. He had planned to leave and experimental works for the Brooklyn ABT next summer; his early departure left the Academy of Music's Next Wave Festival; he company without an artistic director in its has been succeeded there by LIZ THOMPSON, fiftieth anniversary season. formerly Director of the Jacob's Pillow Dance Festival. Another Russian dancer has "defected" from an administrative post in the West. From Paris This summer the Chautauqua (NY) Festival comes the announcement of the resignation of Symphony Orchestra will have a new Music RUDOLPH NUREYEV from the post of Director Director, the Israeli-born, Stuttgart-resident of the Paris Ope>a Ballet, although he will URIEL SEGAL. The season will open June 30 remain affiliated as Principal Choreographer. and run through August 18. The Chautauqua Again, the departure was due to differences Festival Opera, where GARY MAGBY is the with the head administrators, in this case new Music Director and Linda Jackson continues concerning the length of time Mr. Nureyev as General Director, will give four productions would spend with the company. between July 6 and August 13. A third artistic director to leave his dance After 22 years, EDWARD GORDON has retired company is JEROME ROBBINS, who will be as Executive Director and Chief Operating retiring from the New York City Ballet Com- Officer of the Ravinia Festival in Highland pany, where he is currently co-Ballet Master- Park, Illinois, the summer home of the Chicago in-Chief with Peter Martins. Mr. Robbins, who Symphony Orchestra, where James Levine is is 71 years old, had previously shared artistic Music Director. Mr. Gordon's successor will responsibility for the company with George be ZARIN MEHTA, Managing Director of the Balanchine. Montreal Symphony Orchestra, and brother of conductor Zubin Mehta. He will relinquish the The Cincinnati Playhouse in the Park has signed Canadian post. KATHLEEN NORRIS as its new Managing Direc- tor. She had been Executive Director of New RICHARD TURP took over the Artistic Direc- Dramatists in New York City before an extended tion of the Second Montreal International Music stay in Australia. Festival from Marc Durand in time for the three-week event in September, which preceded Publishers the city's regular symphony and opera season. Boosey & Hawkes' Serious Music Division has The 1989 festival theme was piano and voice, announced the appointment of DAVID HUNTLEY and in addition to recitals, L'Ope>a de Mont- as Vice President. He joined the company in real's Atelier lyrique gave the North American 1980 and was previously Promotion Manager of premiere of Donizetti's Elvida. this division. He was also a member of the Performance Committee of the Music Publishers Meanwhile, another Canadian music festival is Association of the U.S. being prepared in Halifax, Nova Scotia for June 1991. Arrangements have been concluded with PAUL WITTKE, Senior Editor in the Publica- composer and conductor PIERRE BOULEZ to tions Department of Music Sales Corporation/G. become Music Director of the Scotia Festival Schirmer, has been named Senior Consulting of Music. In addition to conducting his own Editor. Some of his former responsibilities are performing group, the Ensemble InterContempo- being assumed jointly by STEPHEN CULBERT- rain of Paris, he will also teach, give lectures, SON, Director of Rental and Performance, and and head a jury assembled for a competition CLAIRE ANDREOLI, Publications Production of new Canadian compositions. Manager. New acquisitions are the province

-51- APPOINTMENTS AND RESIGNATIONS of Messrs. Wittke and Culbertson and Vice NEEME JARVI has been chosen as the Detroit President SUSAN FEDER. The functions of the Symphony's new Music Director. The Estonian- Rental and Performance Department, formerly born conductor, now a resident of the U.S., under URSULA EASTMAN, are being handled conducted the Detroit orchestra for the first by LESLIE BROOKS and ELLA WINFIELD; Miss time in 1983, having previously made his Eastman is now working in the Promotion American debut at the Metropolitan Opera in Department together with PHILIP BLACK, who 1979, with return engagements in 1984 and '85. is responsible for marketing and catalogue Mo. Jarvi has also conducted many leading maintenance. MARY LOU HUMPHREY is Direc- American orchestras, beginning with the New tor of Performance Promotion. York Philharmonic in 1980, but until now he EUGENE MOON, until recently with Galaxy has been better known abroad, as Music Direc- Music and before that with Theodore Presser tor of the Scottish National Orchestra from and G. Schirmer, has now joined the Promotion 1984 to 1988 and since then as Principal Department of International Music Co. Conductor of the Goteborg Symphony Orchestra in Sweden. He will succeed Gunther Herbig, who is taking over the Toronto Symphony at Performing Arts Library the end of this season (Vol. 28, No. 4). ROBERT MARX, who previously headed the Theatre Program of the National Endowment LORIN MAAZEL has accepted a four-year for the Arts, has accepted the post of Chief extension of his contract as Music Director and of the Performing Arts Research Center of the Conductor of the Pittsburgh Symphony Orches- New York Public Library at Lincoln Center. tra. He has cancelled previously arranged concerts and recording sessions with the Berlin Symphony Orchestras Philharmonic. The Los Angeles Philharmonic has announced the appointment of the 31-year-old Finnish RICHARD CISEK has announced his retirement conductor, ESA-PEKKA SALONEN, as its new as President of the Minnesota Orchestra, effec- Music Director; his three-year contract will tive at the end of this season. He has been begin in 1992. He is currently Music Director involved with the administration of the orches- of the Swedish Radio Orchestra, to which he tra for the last 32 years. Music Director EDO is under contract until 1991, and is also DE WAART has had his contract extended Principal Guest Conductor in Oslo and with through 1994, and MICHAEL STEINBERG, Artis- London's Philharmonia Orchestra. Mo. Salo- tic Advisor to the San Francisco Symphony for nen's first appearance with the Los Angeles the last ten years, has added the same title Philharmonic was in 1984. The previous Music and responsibilities with the Minnesota Orches- Director, Andr6 Previn, resigned the post last tra. This year Mr. Steinberg will also function spring, but is still conducting many of the as interim Artistic Director for the orchestra's orchestra's concerts. Viennese Sommerfest, formerly under the direc- In addition to being General Music Director of tion of Leonard Slatkin. the City of Bonn, Founder/Conductor of the American Composers Orchestra, and Music Beginning next fall, the San Diego Symphony Director of the Cabrillo Festival, DENNIS Orchestra will have the Israeli-born conductor RUSSELL DAVIES has accepted the position of YOAV TALMI as its Music Director. His three- Music Director of the Brooklyn Philharmonic year contract runs through the 1993 season. Orchestra. He will succeed Lukas Foss, who is retiring. His engagement will bring about While remaining Associate Conductor of the several changes involving the orchestra, notably Richmond (VA) Symphony and Director of New a new partnership with the Brooklyn Academy York's Concordia Chamber Orchestra, MARIN of Music, which has long provided a perfor- ALSOP has accepted the additional post of Mu- mance facility for the orchestra. Now BAM sic Director of the Eugene (OR) Symphony, Executive Producer HARVEY LICHTENSTEIN effective this season, joining new General will assume the same title and function for the Manager RONALD G. JOHNSON. In 1990-91, Philharmonic, reflecting BAM's new role as the Maestra Alsop will also become Music Director orchestra's producer. Maestro Davies will most of the Long Island Philharmonic. She is the likely also conduct some BAM Opera perfor- latest recipient of the prestigious Koussevitzky mances, which will have the BPO rather than Conducting Prize awarded by the Tanglewood the Orchestra of St. Luke's in the pit, and he Music Center. may also share some of his Bonn productions with BAM Opera. While the conductor's three- CHRISTOPHER DEACON has been named Mana- year contract starts only in 1991, Mo. Davies ger of Ottawa's National Arts Centre Orches- has already begun to prepare what will be the tra, which he served as tour manager last first season under his guidance. season.

-52- APPOINTMENTS AND RESIGNATIONS Since the beginning of the current season, companies, as assistant professor of costume MAXIMIANO VALDES has been Music Director design. PETER POLIAKINE, who has been on of the Buffalo Philharmonic; he succeeded the musical staff of the Netherlands Opera for Semyon Bychkov. the last fifteen years, has become assistant professor of accompanying and opera. In addi- MICHAEL SPIERMAN, founder and Director of tion, dancer and choreographer DIANE LA LA the Bronx Opera Company, has also been named has joined the faculty as Visiting Instructor in Music Director of the Bronx Symphony Orches- Musical Theater. tra, which regularly performs at the Lehman Center for the Performing Arts. The Curtis Institute's opera department is now headed by MIKAEL ELIASEN. JOAN PATE- The Florida Symphony Orchestra has engaged NAUDE-YARNELL has joined the voice faculty. KEVIN A. HAGEN as its new General Manager. — CARLOS WILSON has resigned as Managing Stage director KAN CAZAN has become a mem- Director of the Oregon Symphony in Portland. ber of the faculty of the University of Michigan in Ann Arbor, where he will work with students The Toledo Symphony Orchestra's Music Direc- in the Opera Workshop. Eight years ago he tor for the last' ten years, YUVAL ZALIOUK, won the Outstanding Director's Award from the retired this season. Merola Opera Program of the San Francisco Opera. — GEORGE MULLY is also new at the COSTA PILAVACHI has left his post as Artistic University of Michigan; he was engaged as stage Administrator of the Boston Symphony Orches- director for La Boheme. Mezzo-soprano tra to join the recording industry; he has been KAREN LYKES has become Assistant Professor named Vice President in charge of Artists & in Voice. Repertoire for Philips Classics Production in Holland. Before his position in Boston, he was The Tisch School of the Arts at New York Uni- in charge of the music program at Ottawa's versity has signed LIVIU CIULEI, stage director, National Arts Centre. designer, and former Artistic Director of the Guthrie Theater in Minneapolis, as Master GEORGE PERLE has succeeded Charles Wuori- Teacher and Artist in Residence. nen as Composer-in-Residence with the San Francisco Symphony. Bass-baritone JOHN FIORITO now teaches at George Washington University in Washington, Academia D.C. CHERYL LINDBERG ZRNIC, formerly of the Tulsa Opera, who joined the faculty of Okla- LOU GALTERIO has resigned as Director of homa City University two years ago, has been the Opera Department of the Manhattan School named Dean of the University's Margaret Petree of Music in order to have more time for free- School of Music and Performing Arts. In addi- lance opera directing. However, he returned tion to her new administrative duties, she will to the school in December to stage The Rake's continue to direct the productions of the uni- Progress. versity's opera theater. Theater producer Cameron Mackintosh is Baylor University in Waco, Texas has appointed sponsoring an academic chair in England for RICHARD ASLANIAN Director of Opera and STEPHEN SONDHEIM, who will be Visiting Pro- Vocal Coach. He has worked as coach and fessor of Drama and Musical Theater at Oxford conductor with various opera companies here University's Saint Catherine's College. Mr. and abroad, and his academic activities have Mackintosh has produced several hit musicals, included those as head of the opera departments some by Sondheim and others by Andrew Lloyd at the University of Illinois and Louisiana State Webber. University. UCLA's Arts Management Program, the first WILLIAM VENDICE of the Metropolitan Opera full-time graduate program in this field in the has been engaged by New Jersey's Opera/Music U.S., is now headed by Professor ARCHIE Theater International as its Music Director, KLEINGARTNER. He received his Ph.D. at the succeeding Henry Lewis. Jerome Hines is the University of Wisconsin and joined the UCLA founder and General Manager of the advanced faculty in 1964. The Arts Management program training institute. will be celebrating its 20th anniversary in 1991. The University of Cincinnati College-Conserva- Opera and Symphony Abroad tory of Music has added DEAN MOGLE, designer Shortly before his death, Herbert von Karajan of costumes for opera, theater, and dance resigned from the artistic leadership of the

-53- APPOINTMENTS AND RESIGNATIONS Berlin Philharmonic Orchestra and the Salzburg zerthaus, has been appointed to lead the Swiss Festival. His successors have now been chosen. company. CLAUDIO ABBADO has been elected Chief Con- ductor by the members of the autonomous Berlin Before even starting as Music Director of the Philharmonic. He will receive a seven-year Graz Opera (Vol. 29, No. 1), UWE MUND can- contract. A decision as to whether he will celled his contract there in order to continue continue as Music Director of the Vienna State as Music Director of the Gran Teatre del Liceu Opera is expected shortly. in Barcelona. GERHARD BRUNNER, formerly Artistic Director of the Vienna State Opera GERARD MORTIER, Director of the Theatre Ballet, has become the new director of the Royal de la Monnaie in Brussels, has been Graz opera house. selected as the next Artistic Director of the Salzburg Festival. M. Mortier's six-year con- In the fall of 1990, Czech-born JIRI KOUT will tract begins in October 1991, but he has already begin a five-year tenure as Principal Conductor started assisting in the planning and preparation at the Deutsche Oper Berlin under General Mu- of future seasons. Other changes will include sic Director Giuseppe Sinopoli. He is currently the appointment of a new board, a finance Music Director in Saarbrucken. director, and a president who will share responsibilities with M. Mortier. The addition of an As of next summer, the new General Music economic director, HANS LANDESMANN, an Director in Gelsenkirchen will be NEIL VARON. Austrian artists manager, has also been an- He will also continue as head of the Siegerland nounced. A permanent music director will not Orchester. be appointed; however, PIERRE BOULEZ will become the festival's Composer-in-Residence in Beginning next fall, Mannheim will have a new 1992. M. Mortier's contract in Brussels runs General Music Director in MIGUEL GOMEZ- until 1993, and he has let it be known that he MARTINEZ, who has signed a three-year con- will not continue with the Belgian company. tract there, succeeding Friedemann Layer. He will also be chief conductor for the Mannheim Herbert von Karajan's third major post, that of Musik Akademie. Director of the Salzburg Easter Festival, has been given to Sir GEORG SOLTI. His first MARCELLO VIOTTI, currently at the Lucern season will be in 1992, when he plans to mount Stadttheater, has been named General Music a new production of Die Frau ohne Schatten. Director in Bremen, succeeding Pinchas Stein- His contract with the Chicago Symphony berg. MICHAEL LUIG is to fill the same post Orchestra ends in summer 1991. in Augsburg. PETER DANNENBURG will join the opera in Kiel as its General Intendant in The trouble-beset Ope>a de la Bastille in Paris fall 1990. had to record yet another departure of a member of its administration when RENE GONZA- The opera house in Kassel engaged BERNHARD LEZ resigned as Administrative Director. LONG, formerly of Bonn, as Chief Conductor. GEORGES-FRANCOIS HIRSCH has been named He started there last fall. his successor by Pierre Berg6, President of the Administrative Council of the Ope>a National. SARAH PLAYFAIR has succeeded Anthony M. Hirsch is currently General Director of the Whitworth-Jones as Glyndebourne's Opera Th^§tre des Champs-Elys^es, where he will Manager and as Administrator of Glyndebourne remain until the end of this season. Touring Opera. Mr. Whitworth-Jones had previously advanced to General Administrator of MAREK JANOWSKI, who will leave his conduct- Glyndebourne Festival Opera (Vol. 29, No. 3). ing post with the Gurzenich Orchestra of Cologne at the end of the 1990-91 season (Vol. HENRY WRONG, who, after some years with 29, No. 3), last year assumed the post of Music the Metropolitan Opera, joined the planning Director of the Nouvel Orchestre Philharmo- committee of London's Barbican Centre twenty nique, Radio France's main orchestra. He has years ago and became the Centre's Director, conducted at the Metropolitan Opera, most is retiring, but he will be retained as a part- recently during the 1988-89 season. time consultant. DETTA O'CATHAIN has been named Managing Director. JOHN FISHER has been named Artistic Director of the Teatro La Fenice in Venice. MICHAEL DE GRAY has exchanged his job as Administrative Director of the London Sinfo- The Zurich Opera will have a new Managing nietta and the Opera Factory for that of Gene- Director in 1991. ALEXANDER PEREIRA, cur- ral Manager of the London Academy of Music rently Secretary General of the Vienna Kon- and Dramatic Arts (LAMDA). JANE HELLINGS

-54- APPOINTMENTS AND RESIGNATIONS is the new Administrator of the orchestra and Technical Director ROBERTO OSWALD have opera ensemble. — The Kent Opera has a new had their contracts renewed. Managing Director, DAVID PICKARD. Radio & Television As of the 1990-91 season, Opera North will be The INTERNATIONALES MUSIK-ZENTRUM, joined by PAUL DANIEL as the company's new with headquarters in Vienna and its annual IMZ Music Director. Formerly of the Opera Factory Congress in Salzburg, has elected British tele- and English National Opera, Mr. Daniel will be vision director DENNIS MARKS as President. replacing David Lloyd-Jones, who headed the Mr. Marks is assistant head of music and arts British touring company. television for the BBC; his television production of Bluebeard's Castle won the Prix d'ltalia. TAMAS VASARY succeeds Roger Norrington as IMZ is a central source of information about Principal Conductor of the Bournemouth Sinfon- musical and specifically operatic productions ietta next season. for radio and television. SIEGFRIED KOEHLER, who had reached the Late News official retirement age as General Music Direc- The Romanian-born, naturalized American tor in Wiesbaden, became Chief Conductor at conductor SERGIU COMISSIONA has been Stockholm's Royal Opera in January. appointed Music Director of the Vancouver Sym- phony Orchestra. He conducted the Canadian BJORN SIMENSEN, General Intendant of the ensemble for the first time in 1977 and has Norske Oper in Oslo, where he has extended returned there several times. His three-year his contract until 1993, has announced the contract begins with the 1991-92 season when appointment of ANTONIO PAPPANO as Music he will lead the orchestra for eight weeks, Director from 1990 to 1993. extending his residency to twelve weeks the following year. Earlier, he was named Music Baritone WALTON GRONROOS, Artistic Direc- Director of the Helsinki Philharmonic, where tor of Finland's Savonlinna Festival, has also he is to start this fall (Vol. 29, No. 1), and he been elected the festival's President. has conducted leading orchestras here and abroad for some thirty years. Past positions The two top administrative posts at the Teatro as Music Director have included the orchestras Col6n have been newly assigned, that of Gene- in Houston, Pittsburgh, and Baltimore, and in ral Director to SERGIO RENAN, and that of New York the American Symphony Orchestra Administrative Director to CRISTOBAL JULIA. and the New York City Opera, from which he Musical Director JUAN PETER FRANZE and resigned in 1988. []

Education (continued from page 45) rules call for original, unpublished studies, to be submitted in typewritten manuscript, not exceeding 200 pages with 30 lines to a page. The study may be written in English, French, German, Italian, or Spanish, and it may have more than one author; the author(s) must be under 35 at the time of submitting the work. The transmittal deadline is May 31, 1990, and the manuscript must be accompanied by a completed application form. The prizes, one in each category, are 3 million lire each, and the winning works will be published. Contestants will be notified of the results by September 29, 1990. Application forms and further information are available from the competition, c/o Campus Internazionale di Musica, via ecetra 36, 04100 Latina, Italy.

AMERICAN INSTITUTE OF MUSICAL STUDIES, 3500 Maple Ave., #120, CHANGE OF Dallas TX 75219 (winter address; the summer address in Graz, Austria, ADDRESS remains the same) []

-55- CENTRAL OPERA SERVICE ANNUAL UJS. SURVEY STATISTICS 1988-89

Central Opera Service, Metropolitan Opera, Lincoln Center, New York, NY 10023 (212) 957-9871 Opera/Musical Theatre Companies and Workshops

PERFORMING GROUPS* 87-88 86-87 85-86 84-85 80-81 74-75 70-71

Companies: over $100,000 budget 209 187 174 170 168 127 54 40 27 Companies: other 658 654 658 602 576 456 335 269 296 College/University workshops 418 409 392 404 379 436 418 376 409 Total 1,285 1,250 1,224 1,176 1,123 1,019 807 685 732

NUMBER OF PERFORMANCES

Standard repertoire 6,891 6,245 6,049 6,324 6,502 5,475 4,097 3,332 2,643 Contemporary foreign repertoire 955 628 652 564 603 555 677 504 1,533 Contemporary American repertoire 7.252 5,488 5,093 4,192 3,537 3,653 1,654 1,410 na Subtotal 15,098 12,361 11,794 11,080 10,642 9,683 6,428 5,246 4,176

Musicals (exclusive of commercial theatres) 9,825 8,836 7,759 6,993 4,983 2,251 Total 24,923 21,197 19,553 18,073 15,625 11,934

NUMBER OF OPERAS PERFOBMEDt

Standard 262 245 234 282 261 263 209 158 167 Contemporary (foreign) 69 62 57 64 53 62 71 67 164 Contemporary (American) 400 351 331 314 264 234 107 99 na Subtotal 731 658 622 660 578 559 387 324 331 Musicals 279 296 278 301 242 118 na na na Total 1,010 954 900 961 820 677 na na na

World Premieres 165 141 129 116 121 88 16 35 na

Premiere Readings (not inch in World Prems.) 69 87 53 58 39 27 - - - American Premieres 29 41 23 31 24 25 11 11 na

Attendance (in millions) 21.4 17.7 16.4 14.4 14.1 11.1 8.0 6.0 na EXPENSES (in millions) Companies: over $100,000 budget $403.8 $352.3 $321.1 $270.3 $256.5 $161.6 na $41.2 na Companies: S25.000-S99.999 budgets 5.3 4.8 4.8 5.0 4.9 4.9 na na na All others 58.8 50.1 48.7 46.1 43.2 42.4 na rm na Total $467.9 $407.2 $374.6 $321.4 $304.6 $208.9 na na na

•DETAIL OF PERFORMING GROUPS number of companies number of performances 1988-89 1987-88 1988-89 1987-88

Companies: budget over $1 million 72 54 Companies: budget over $500,000 38 40 Companies: budget over $200,000 52 52 Companies: budget over $100,000 47 43 209 187 7,311 6,647

Companies: budget over $50,000 53 50 Companies: budget over $25,000 45 46 Subtotal 98 96 1,853 1,346

Orchestra/Festival/Chorus 127 129 Small Companies/Avocational/Clubs, etc. 175 196 Theatres (non-profit) 258 233 Subtotal 560 558 12,170 9,861

Total Companies 867 841

College/University Workshops 418 409 3,589 3,343

Total Producing Organizations 4 Performances 1,285 1,250 24,923 21.197 MISCELLANEOUS Light repertoire of opera companies, workshops, ind non-profit theatres included above Gilbert & Sullivan (11) 1,056 901 Classical operettas (27) 1,161 842 Musicals (279) 9,825 8,836 12,042 10,579 In addition to regular season: Companies: community/educational service programs 192 183 7,678 6,524 Academia: community/educational programs 51 57 266 281 Academia: scene programs 141 103 384 269 Academic - joint programs w. companies 101 129 Academic - Opera/Mus.Th. degree programs 70 68 COS INSIDE INFORMATION

The COS Annual Survey for the 1988-89 season was completed within a COS few weeks after the close of the reporting period, and the findings were ANNUAL made public in a Metropolitan Opera press release in early October. SURVEY Questionnaires completed by the opera and music theater companies and 1988-89 academic workshops were the chief source of information, supplemented by telephone inquiries. A copy of the survey statistics, with comparative figures for the past 35 years can be found on the preceding page. An analysis of the survey results, "Broadening the Base," appeared in the November 1989 issue of Opera News.

The stunning results will be most encouraging to all opera professionals, opera supporters, and opera enthusiasts. There was a substantial increase in performances, 17.5 percent over 1987-88, but the big news story was the attendance figure of 21.4 million, showing a growth rate of 20.9 percent over the previous year's 17.7 million. Never before have we wit- nessed such a burgeoning of the art form within one season. The 1988- 89 season broke out of the pattern of continuing constant growth by doubling any earlier one-year increases in performances and audiences. This documents beyond any doubt the tremendous success and overwhelming popularity of opera and music theater in the United States.

The total of 1,285 opera-producing organizations remained constant compared to 1987-88, but performances rose from 21,197 to 24,923. There were more companies with budgets over $100,000; they numbered 209 versus 187 the previous year, and accounted for 7,311 main-season performances. These companies also supplied over 7,000 educational programs for combined budgets totaling $403.8 million. With their share of the audience count up from 9.5 million to 12.6 million, they were the prime source for increased attendance.

Works were selected from a wider repertoire than in the previous year, resulting in 262 different operas from the standard repertory (from the Baroque to the early twentieth century) and a record 400 American contemporary operas and music theater pieces being performed. While the highest performance numbers were again rung up by Seymour Barab's Little Red Riding Hood (733) and Gian Carlo Menotti's Amahl and the Night Vistors (563), as in 1987-88, the season also offered second and third productions of relatively new American operas, and brought 165 new works in world premieres and another 69 in developmental stages. Among standard operas, Le Nozze di Figaro with a record 279 performances took on special significance on the Bicentennial of the French Revolution.

The vitality of the art form is borne out by the spread of performances among standard operas (6,891) and contemporary foreign (955) and American works (7,252)--and given added importance through the infusion of 234 new American pieces. Each of these numbers represents a new record in its category. And more people than ever before chose opera and music theater to fill their leisure time, buying 21.4 million tickets to do so —mostly single tickets, continuing the decline in subscription sales, a trend first noted here last year.

Last season there were opera productions in all fifty states, the District of Columbia, and Puerto Rico, many by companies with long performance histories. Among the principal companies there are 12 with performance histories of over fifty years, 18 for more than forty years, 24 for over thirty years, 31 for more than twenty years, and 61 have been producing

-57- COS INSIDE INFORMATION annually for ten to twenty years. Some two dozen small ensembles have built their reputations steadily for over 25 years, several performing in towns with a 70,000 population, and many principal companies in cities of 250,000 or less. Each year's survey also results in the publication of a complete repertory list for the past season, showing the numbers of performances and noting world premieres, American premieres, and works-in-progress at American nonprofit opera and music theater companies and academic workshops. The list for 1988-89 is now available. (See "New Publications" below.)

THE SURVEY Press coverage of the COS Annual Survey was very extensive and most AND THE PRESS gratifying. United Press International put our story on the wire and it was run by daily newspapers from coast to coast. Some newspapers and magazines gave the survey more extensive and individual coverage, often based on special interviews with Maria F. Rich. Such foreign magazines as Opera (Great Britain) and Opernwelt (Switzerland) also gave significant play to the survey results.

NEW The Central Opera Service National Conference, "New Directions for the DIRECTIONS '90s," was held on October 19 and 20 at the Essex House hotel in New FOR THE '90s York City. There were 232 registrants from all across the U.S. and Canada, as well as opera professionals from England, Germany, Switzerland and Italy; 119 organizations were represented. Among the registrants were 47 National Council members. We were again able to enlist prestigious speakers, in most cases our first choice of experts; after three decades of conferences, COS has built a reputation of presenting top- level professionals as speakers and panelists. Our most appreciative thanks go to the participants, who made time for the Conference in their very busy schedules and were willing to share their ideas and experiences with the registrants. As always, the Conference opened with a reception, this year generously hosted by the Met. The next morning, Dr. Mary Schmidt Campbell, New York City's Commissioner of Cultural Affairs, gave a speech of welcome stressing the importance of the arts not only to New York City but to the whole country, making a special plea for better and more substantial arts education to open the young generation to this rich heritage.

The panel discussions on the first day were especially enlightening because the general directors were willing to speak freely about both positive and negative experiences. The morning session presented directors of major American companies; topics ranged from the availability of star singers and their international fees, to the programming of standard and contemporary works. The afternoon panel consisted of six general managers, all of whom had recently assumed new positions. The experience they brought from their former associations, and the welcome and/or reservations with which they were greeted, made for an illuminating discussion with a wealth of good advice. The day concluded with a dialogue on the provocative subject of how and what to look for in an arts organization leader. The participants were a company trustee who had led a search committee for a new general manager, a representative of a major international "headhunter" corporation, and the long-time head of a leading arts service organization. The topics for the two afternoon sessions were suggested by the fact that an unprecedented number of opera companies had changed their top administrators at the start of this season.

-58- NEW DIRECTIONS FOR THE '90s COS NATIONAL CONFERENCE Thursday, October 19 9:30-10:00 AM Welcome and Opening Remarks Dr. Mary Schmidt Campbell Commissioner of Cultural Affairs, City of New York Margo H. Bindhardt National Chairman, Central Opera Service Mrs. Gilbert W. Humphrey President, Metropolitan Opera Association

10:00 AM-12:00 Noon General Directors—The Challenge of New Directions Martin Feinstein General Director, The Washington Opera Peter Hemmings, General Director, Los Angeles Music Center Opera Christopher Keene General Director, New York City Opera Danny Newman, Public Relations Consultant, Lyric Opera of Chicago, representing Ardis Krainik, General Director Beverly Trifonidis General Manager, Vancouver Opera Moderator: Patrick J. Smith Editor, Opera News 12:00 Noon-2:00 PM Luncheon COS presentation honoring Texaco on the occasion of 50 years of Metropolitan Opera broadcasts—Texaco's gift to opera lovers in the United States and Canada

2:00-3:30 PM Management—The Challenge of Succession Dennis Hanthorn General Director, Florentine Opera, Milwaukee Michael Harrison General Director, Baltimore Opera Linda Jackson General Manager, Chautauqua Opera, NY Craig Palmer Executive Director, Opera San Jos6 James Wright General Director, Opera Carolina, Charlotte, NC Moderator: James de Blasis Artistic Director, Cincinnati Opera 3:30-4:30 PM The Challenge of Leadership James Abruzzo Vice President, Boyden International, Inc., Morristown, NJ Dennis Lane, Q.C. Partner, Osier, Hoskin & Harcourt, Toronto; Chairman, Search Committee, Canadian Opera Company Moderator: Milton Rhodes President, American Council for the Arts, New York

Friday, October 20 9:00-10:30 AM Theaters for the '90s Russell Johnson Chairman, ARTEC Consultants Inc., New York Carlos Ott Principal, NORR Partnership Ltd., Toronto Richard Pilbrow Chairman, Theatre Projects Consultants Inc., New York Moderator: Klaus D. Bindhardt OSA, FRAIC, Newmarket, Ontario 10:30 AM-12:30 PM Composers for the '90s John Corigliano Composer-in-Residence, Chicago Symphony Orchestra Lee Hoiby composer, pianist; Long Eddy, NY Tod Machover composer; Director, Experimental Media Facility, M.I.T., Cambridge, MA Kirke Mechem composer; San Francisco Stanley Silverman composer, conductor, director; New York Moderator: John Duffy composer; President & CEO, Meet the Composer Inc., New York 12:30-2:30 PM Luncheon Hugh Southern Acting Chairman, National Endowment for the Arts, and General Manager Designate, Metropolitan Opera Association Introduced by Mrs. Gilbert W. Humphrey, President, Metropolitan Opera Association 2:30-4:30 PM New Collaborators in Opera/Music Theater Training Martina Arroyo soprano; Professor, School of Music, Louisiana State University Tito Capobianco General Director, Pittsburgh Opera Malcolm Fraser Director, Opera Theatre, College-Conservatory of Music, Cincinnati Carl Gerbrandt Di-ector, Opera Theater, University of Northern Colorado, Greeley Roger Pines Director of Education, San Diego Opera Cheryl Zrni

The second day opened with highly effective presentations on theater architecture, computer-controlled acoustics, and the new Paris Ope>a de la Bastille, all visually enhanced by numerous slides. The leading firms in this field were represented, and technical experts later described the session as "educational and provocative." The panel of important American composers proved them to be as eloquent verbally as musically. Their discussions with each other and in response to audience questions were especially stimulating because of their differences in style and approach. During the afternoon, attention was focused on various approaches to the training of young singers, with presentations made by a star singer who also teaches, the director of a professional company with an apprentice program, and the heads of various academic programs, from conservatories of music to university theaters and workshops.

Both luncheons were particularly meaningful to Metropolitan Opera supporters. On Thursday, COS honored Texaco Inc. for its fifty years as sponsor of the Metropolitan Opera broadcasts (see below). Friday's luncheon speaker was Hugh Southern, who had been invited in June as the acting head of the National Endowment for the Arts, before there was any idea that he would become the Met's next General Manager. We were thrilled to have him with us, and Met President Louise Humphrey introduced him to the assembled guests.

Exhibits by music publishers, stage set design and rental houses, and publishers of books on music attracted the registrants during the breaks and free periods, and were found interesting and helpful.

The many enthusiastic letters received from conference attendees since the meeting are most gratifying and indicate that all the sessions were stimulating and thought-provoking, and that both opera professionals and opera supporters, the two groups that made up most of the conference audience, felt that they benefitted greatly from what they heard and saw. Please know that we are delighted to hear from you and are always grateful for your comments!

~~All the Conference proceedings were taped, and a transcript will be published in the next issue of the COS Bulletin.~~

COS FIRST A highlight of the National Conference was COS's special award to Texaco TO HONOR Inc., the very first in this, its fiftieth anniversary season as sponsor of TEXACO the Metropolitan Opera broadcasts. The award was presented at the luncheon on October 19 and took the form of a handsome brass plaque mounted on a walnut frame, carrying the red Texaco star, the black COS logo, and a text which proclaimed: In grateful recognition of TEXACO for its immeasurable contribution over 50 years to opera in North America

Central Opera Service, representing opera professionals, supporters, and audiences in the United States and Canada. Stephen C. Kutler, General Manager of Worldwide Advertising and Sales Promotion for Texaco, accepted the award from COS National Chairman Margo H. Bindhardt.

~~The Met has scheduled a special gala matinee on March 10 to celebrate the occasion, and it will of course be broadcast live over the Metropolitan Opera/Texaco network.~~

~~-60- COS INSIDE INFORMATION~~

We are delighted to announce the appointment of Mrs. J. WILLIAM NEW COS (Pauline) CUNCANNAN of Northbrook, Illinois as the new COS Director REGIONAL for the Central Region. She was named to the position by Edward M. DIRECTOR Johnson, MONC Regional Chairman. Mrs. Cuncannan is no stranger to opera and to COS, of which she has long been a member and a frequent attendee at our conferences. She is one of the founding directors of Opera Guilds International and was OGI president for three years. She has collaborated with COS on many operatic projects, and we are happy that she has now become a member of the COS administrative team. Her predecessor was Phyllis Herndon, to whom we are greatly indebted for her dedication and support. Central Opera Service was one of several arts service organizations to COS participate in the symposium WORKSHOP FOR ARTS MANAGERS, organ- ASSISTANCE ized in New York by the Support Center of New York (formerly Accountants HERE AND for the Public Interest). ABROAD COS also assisted Mozart Musicista Europeo, which is organizing special events for the Mozart bicentennial, and CIDIM, UNESCO's Music Committee for Italy, in the coordination of American and Canadian participation in its INTERNATIONAL MOZART SINGING COMPETITION, for which Italo Gomez is the Artistic Coordinator. Periodically, COS is called upon by the United States Department of State and the U.S. Information Agency to receive and assist foreign composers, performers, and administrators representing opera companies abroad, who come here under the USIA INTERNATIONAL VISITORS PROGRAM. Such guests have included Ilkka Kuusisto, General Director of the Finnish National Opera; Dr. Valerie Hennecke of the Theater des Westens, part of the Deutsche Oper Berlin; and Harris Vrondos, composer from Athens, Greece. Other recent foreign visitors have included Hans Gabor, General Director of the Wiener Kammeroper and the Belvedere International Singing Competition; Professor CM. Gruber, Director of the Austrian Opera Archives; Violeta Dinescu, Romanian-born, German-resident composer; and Imre Fabian, Editor-in-Chief, and Maria Fabian, Assistant Editor of Opernwelt, published in Zurich, Switzerland. The next issue of the Bulletin will be New Directions for the '90s, the COS transcript of the 1989 COS National Conference. As reported above, the PUBLICATIONS panel discussions and speeches abounded in stimulating and newsworthy TO COME information and ideas of interest to opera professionals and supporters. — Publication of the previously announced Directory of American &. For- eign Contemporary Operas/Music Theater Works, 1980-89 has been delayed due to the unexpectedly large number of entries and volume of information. Work is continuing on this publication, however, and it will appear later this year. — Also in preparation are the annual addenda for the Directory of Sets and Costumes for Rent and Directory of English Translations.

New editions of the following COS publications are now available at the NEW following prices (including postage and handling): PUBLICATIONS Opera/Music Theater Companies and Workshops in the U.S. and Canada 1989-1990 (November 1989) $11.65 English Captions in Projection (July 1989) $5.00 Opera Repertory USA 1988-1989 (November 1989) $8.00 Addenda (December 1989) to Career Guide for the Young American Singer $4.95 Career Guide (1985 edition) plus latest addenda $9.85 For overseas airmail/printed matter please add $3.00 to the above charges; international money orders in dollars only, please. -61- COS INSIDE INFORMATION

METROPOLITAN The long-awaited new ANNALS OF THE METROPOLITAN OPERA, covering OPERA ANNALS the 100 seasons from its founding in 1883 until 1985, has been completed and will be published this spring by the Metropolitan Opera Guild. Eight years ago, Editor in Chief Gerald Fitzgerald and Senior Editor Jean Seward Uppman, with computer support, began the enormous task of researching the official company programs, pay books, and other archival materials that would enable them to correct and extend the previously published volumes of Met annals. The fruits of their labors are contained in this massive two-volume set, totaling over 1,300 pages and illustrated with more than 400 photographs. Volume 1, Chronology, lists every Metro- politan Opera performance during the first hundred seasons, including those given on tour, with complete casts and production credits for each —including last-minute and mid-performance substitutions. Relevant company history is summarized in a brief introduction to each season. Volume 2, Tables, not only indexes the first volume but also gives performance statistics for all the singers, conductors, composers, librettists, works, stage directors, choreographers, and production artists; the reader can see at a glance that Caruso sang 18 seasons at the Met, in a total of 862 performances in 39 roles—and just as quickly discover what those roles were and the date of his debut in each. The Met's Artistic Director James Levine has written the Foreword. This fascinating reference work will be invaluable to music historians, Metropolitan Opera enthusiasts, and anyone who loves opera. Until March 31, it will be available from the MOG, 1865 Broadway, New York, NY 10023 (telephone: 800-621-8272), at a prepublication price of $145.95, including shipping and handling; after publication, the books will be sold in stores for $175.00.

IN MEMORIAM We deeply mourn the loss of MRS. EDGAR (MARGARET BATTS) TOBIN, who succumbed to a long illness in San Antonio, Texas on August 3, 1989 in her 91st year. Her dedication and commitment to the Metropolitan Opera, and particularly to the National Council and its programs—the Regional Auditions and our own Central Opera Service—were unique, as was her personal involvement with new projects and budding young artists. She took great interest in individual performers, and her assistance and encouragement helped many toward realizing their careers. She became a member of the Metropolitan Opera Association in 1962, a member of its Board of Directors in 1969, and an Honorary Director in 1981. Her generosity toward the Met was not limited to her annual donations; she was also one of the founding patrons for the Centennial Fund, and gave both financial and moral support to any and every special project under- taken by the Association. Among the productions she underwrote were such twentieth-century works as Peter Grimes and, in their Met premiere productions, Lulu, Porgy and Bess, and the Stravinsky triple bill of he Sacre du prlntemps, Le Rossignol, and Oedipus Rex. In her hometown, San Antonio, she helped found the San Antonio Symphony in 1939 and the Opera Company in 1944, and she served on the boards of directors of the Houston Grand Opera, the Santa Fe Opera, the Spoleto Festival of Two Worlds in Italy, and the Royal Opera, Covent Garden. There are many other causes which she embraced, and organizations in health, conservation, education, and the fine arts, both on the local and the national level, benefitted from her interest and generous philanthropy. But we who were fortunate to have known her remember most of all her cheerfulness, her laughter, and her compassion. She was and will remain an inspiration to all of us, and we are forever grateful for the legacy she left us, her beloved and remarkable son, Robert L. B. Tobin. []

-62- COS SALUTES...... CINCINNATI OPERA, which is looking forward to its seventieth season next summer; the NEW YORK CITY OPERA, CHATTANOOGA SYMPHONY & OPERA ASSOCIATION, and MISSISSIPPI OPERA, all in their 45th seasons; and VANCOUVER OPERA, now in its thirtieth season. ...CARNEGIE HALL and the CHICAGO SYMPHONY ORCHESTRA, both preparing for their centennial seasons in 1990-91 (see "Forecast"). ...COLUMBIA ARTISTS MANAGEMENT INC (CAMI), which is preparing for its sixtieth anniversary season in 1990-91. ...NATIONAL MUSIC COUNCIL, on its fiftieth anniversary in May 1990. ...LONGJJLHARF THEATRE, on this its silver anniversary season.

^ on turning twenty, at the inauguration of its new presiden^jpFdis Krainik of the Lyric Opera of Chicago. ...ARTS REPORTING SERVICE and its founding publisher/editor CHARLES CHRISTOPHER MARK, looking back on twenty years of service to the arts. ...AFTER DINNER OPERA, on being honored with a proclamation from the Office of the Mayor of New York, for its forty years of presenting American operas and American performers. ...ANNE G. MURPHY, Executive Director of the American Arts Alliance for the last ten years, who was named Arts Administrator of the Year at the 21st annual Arts Management Awards, and PETER ZEISLER, Director of the Theatre Communications Group since 1972, who received the Career Service Award.

...composer JOHN HARBISON (Full Moon in March), one of this year's MacArthur Foundation Fellows; composer and conductor PHILIP BRU- NELLE, awarded the Stig Anderson Prize, Sweden's highest music award; composer ROGER REYNOLDS, 1989 winner of the Pulitzer Prize in Music; and composer LUCIANO BERIO, who received the Ernst von Siemens Prize in Munich. ...composer and administrator WILLIAM SCHUMAN, one of the 1989 Kennedy Center honorees; the others are Harry Belafonte, Mary Martin, Alexandra Danilova, and Claudette Colbert. ...composers GEORGE TSONTAKIS, CHINARY UNG, DAVID LANG, and MICHAEL DAUGHERTY, who received the 1989 Friedheim Awards of the Kennedy Center in Washington. ...producer JOSEPH PAPP, director LLOYD RICHARDS, and the composer/ librettist teams of JERRY BOCK & SHELDON HARNICK and JEROME LAWRENCE & ROBERT E. LEE, among those inducted into the Theatre Hall of Fame in 1989. ...ERNEST FLEISCHMANN, Executive Director of the Los Angeles Philhar- monic, one of five arts executives honored by the Los Angeles Arts Council.

...bass-baritone DONALD McINTYRE, recipient of this year's Fidelio Medal awarded by the International Association of Opera Directors/Intendants, for 22 years of outstanding service to the Royal Opera in London. []

-63- WINNERS The $10,000 first prize of the Baltimore Opera DENNIS JESSE. Their awards included one International Vocal Competition went to sopra- scholarship to AIMS in Graz and one to the no JUDY BERRY of the Tri-Cities Opera in Banff Centre School of the Performing Arts in Binghamton, New York. The other winners, in Alberta. Scholarships were also offered to order of prizes, were tenor CESAR HERNAN- Studio Lirico in Italy. DEZ, sopranos STEFFANIE PEARCE and AN- DREA ADKINS, baritone JEFFREY KNEEBONE, Indiana Opera Theatre's 1989 MacAllister mezzo-soprano TRACEY WELBORN, and tenor Awards for Opera Singers netted $10,000 for ROBERT CHAFIN. its first place winner, soprano CYNTHIA LAW- RENCE of Colorado. $8,000 was won by CARO- Two baritones shared the 1989 Bruce Yarnell LYN JAMES of Kansas and $3,000 by DENYCE Memorial Award: JAMES DEMLER and CRAIG GRAVES of Washington, D.C.; fourth prize went HEATH NIM. — The three major winners of the to YU CHEN of California. In addition to the American Opera Auditions of Cincinnati were major artists prizes, the College Division gave contralto JANICE FULBRIGHT, soprano MARI- cash awards to EARL PATRIARCO, DANIEL ANNE LABRIOLA, and tenor CESAR ULLOA. NARDUCCI, and TOM BARRETT.

The Illinois Opera Guild Auditions of the Air Soprano DARYNN ZIMMER was tMapiner of selected soprano LYNDA KEITH and baritone the Joy in Singing Award for 198ff^ Mezzo JOHN KOCH for first and second place respec- CAMELLIA JOHNSON, tenor JIANYI ZHANG, tively. — JOHN KOCH shared second place and soprano THERESA HAMM were the recipi- ($8,000) with soprano STEPHANIE PEARCE (see ents of 1989 Opera Index grants. above) at the Concours International de Musique de Montreal; no first prize was awarded. JOHN SHORT received the first James Mc- Cracken Scholarship for American Tenors. Soprano LAUREN WAGNER and baritone - DANIELA SIKORA, CYNTHIA REYNOLDS, MATTHEW CAREY placed first and second in and DORENE FALCETTA, sopranos, won the the Artists Awards competition sponsored by Amato Opera Circle scholarships for 1989. the National Association of Teachers of Singing. LYNDA KEITH, soprano (see above), received The international competition of the Concert the $2,000 Eleanor Steber Music Foundation Artists Guild in New York was won by CHAR- Prize for excellence in the concert field. LOTTE HELLEANT, a mezzo from Sweden; the — Soprano ROSA VENTO, a multiple winner in other winner was a French harpist. — Soprano 1989 (see Vol. 29, No. 3), also placed first in JANE LEIBEL of Saskatchewan won the 1989 the Washington International Competition for Career Development Grant awarded by the Van- Singers sponsored by the Friday Morning Music couver Opera Guild. — At Vienna's Belvedere Club. Sharing this prize with her was tenor International Singing Competition (see below), TRACEY SCOTT WELBORN, while second prize Polish baritone ANDRZEJ DOBBER won an went to mezzo REVEKA MAVROVITIS. Soprano appearance with the Vancouver Opera; he was CAROL HABER received a special award. selected by the company's Artistic Director Guus Mostart. The Richard Tucker Music Foundation's award for 1989 went to soprano MARGARET JANE The Young Canadian Mozart Singers' Competi- WRAY, who sang at the gala concert on January tion, administered by the Canadian Opera Com- 7, 1990. The $5,000 Ruth Richards Grant was pany, gave two awards at its finals in December. awarded to STANFORD OLSEN. HAROLYN Of the ten competitors who made up the last BLACKWELL, CHRISTINE BREWER, RENEE round, WENDY NIELSEN, a soprano from Frede- FLEMING, and EVALYNN VOSS were given ricton, New Brunswick, won $4,000 and the top Career Grants, while MICHAEL FOREST, honors; bass-baritone ROBERT MILNE of Onta- PHYLLIS PANCELLA, and TICHINA VAUGHN rio received $1,000 in recognition of his career received Robert M. Jacobson study grants. potential. The next competition is scheduled for 1991, when it will be held in conjunction California lyric soprano KATYA ROEMER won with Toronto's special Glory of Mozart Festival first prize in the artists division at the National (see "Anniversaries: The Mozart Bicentennial"). Opera Association's Constance Eberhart Memo- rial Awards for 1989. Second place went to Coloratura soprano HELENE FORTIN received California soprano MARGARET MORRISON and second prize ($3,000) at the CBC's Young Per- third to Oklahoma baritone ERIC GRABER. formers competition, as well as a $1,000 award The winners in the scholarship division were given by the Atelier lyrique of L'Op^ra de TIMOTHY TUCKER, CONNIE COFELT, and Montreal and the 1989 "Aria" award. — HELENE

-64- WINNERS FORTIN was also awarded the opera prize at men's division, Spanish tenor ERNESTO Quebec's Journe'es de la musique francaise. GRISALLES-CARDONA won first place, Russian MARIO TREMBLAY won the song prize, and VLADIMIR GRICHKO second place, and Chinese MARIE RACINE received a special award for bass YUE LIU third place. operatic interpretation. — L'Ope'ra de Quebec chose soprano AGATHE MARTEL as recipient The second International Mirjam Helin Singing of its Raoul Jobin Prize and bass GREGORY Competition, held in Helsinki last August, ATKINSON for the Diana Soviero Award. awarded one prize to an American: SALVA- TORE CHAMPAGNE, tenor, took second place The 1989 Voci Verdiane International Competi- in the men's division. Other winners were East tion in Busseto gave its first prize to American German bass-baritone RENE PAPE (first prize), soprano DEBORAH VOIGT. — The Viotti Inter- Japanese baritone SATOSHI MIZUGUCHI (third national Music Competition in Vercelli named prize), and Danish baritone JOHANNES MANNOV soprano SANDRA MANTOVANI second prize (fourth prize). Four prizes were given to the winner, and NORMA FANTINI and STEFANIA women: first to Hungarian soprano ANDREA DONZELLI received equal third prizes; no one ROST, second to Swedish mezzo CHARLOTTE was found sufficiently outstanding to receive HELLEKANT, third to Spanish soprano PILAR first prize. The second prize in the men's TORREBLANCA, and fourth to Bulgarian sopra- division was given to the Italian bass ANDREA no TATJANA CHIVAROVA. All winners had SILVESTRELLI. to excel in both opera and Lieder repertory. In addition, special prizes were awarded to Austrian baritone PETER EDELMANN was the German soprano GABRIELE KLEIN, Finnish winner of last October's Internationaler soprano KIRSI TIIHONEN, and German baritone Belvedere Wettbewerb fUr Opernsanger in KLAUS HAEGER. The competition takes place Vienna; second place was shared by tenor YONG every five years. CHIN of Malaysia and soprano LILIANA NICHI- TEANU of Romania, while third went to basses In England, the BP Peter Pears Award jury EGILS SILINS of Russia and PIETRO DAALYI- chose a Welsh bass, NEAL DA VIES, as its first SKI of Bulgaria. Austrian soprano SILVANA place winner, and soprano JANICE WATSON DUSSMANN received the operetta prize, and and bass ALASTAIR MILES as joint runners- Polish baritone ANDRZEJ DOBBER proved to up. — A Russian baritone, DMITRI HVORO- be the competition audience's favorite, winning STOVSKY, won Cardiff's Singer of the World its special award. competition.

Geneva's International Competition for Musical At the International Singing Contest of Rio de Performers, which was open to singers in 1989, Janeiro, American mezzo JENNY MILLER took awarded three equal top prizes to American fourth place and the special prize for best soprano MICHELLE CRIDER, Italian tenor operatic interpretation. First place was shared ROBERTO SACCA, and West German bass by Russian soprano HASMIK HATSAGERTSIAN REINHARD HAGEN. In addition to 10,000 Swiss and Polish mezzo YOLANTA BIBEL. Francs, Miss Crider's award includes an engagement to sing Trovatore's Leonore in Dortmund. Young Artists Ensembles The 1989-90 members of the Houston Opera At last October's Concours International de Studio include sopranos DARLA BARROW and Chant de la Ville de Toulouse, third place for HEIDI JONES, mezzo DENYCE GRAVES, tenor women was captured by Canadian soprano ERIC PERKINS, baritone BRUCE BROWN, and MAUREEN BROWN. There were two second bass-baritone GRANT YOUNG, as well as coach/ place winners, Romanian MARIA DIACONU and pianists LETICIA AUSTRIA, JAY ROZENDAAL, Belgian ANNICK VAN DE WELLE; no first prize and MARK TRAWKA. was awarded. "In the men's division, the grand prize went to Russian baritone IGOR STRUMIN, The Ensemble Company of the Cincinnati Opera while second and third prizes were awarded to (ECCO!) for 1989-90 consists of the following Japanese tenor TOSHIRO GOROBE and Spanish artists: soprano CAROL OSTLIND, mezzo tenor ERNESTO GRISALLES-CARDONA. SUZANNE LOERCH, tenor DAVID PRICE, and baritone DUNCAN HARTMAN. The repertoire The third Concours International d'Op^ra in being toured includes Sid the Serpent Who Marseille yielded two winners in the women's Wanted to Sing, Amahl and the Night Visitors, division and three in the men's. The former and various special programs such as "Cincinnati honored French VALERIE MILLOT (second Opera Sings Shakespeare" and in-school residen- prize) and Japanese MICHIE NAKAMARU (third cies. Meanwhile, auditions for the 1990-91 prize); no first prize was awarded. In the season have been announced for March. (continued on page 109) -65- BOOK CORNER

MUSIC Written in nontechnical language and handsomely illustrated, Oxford Uni- HISTORY versity Press's HERITAGE OF MUSIC, edited by Michael Raeburn and Alan Kendall, covers the history of the art form in four attractive volumes comprising articles by 55 leading scholars on the major composers and other important topics, with good coverage of opera. More than 500 well-chosen illustrations (over 200 in color) document factual information —a composer's portrait, a copy of a manuscript page or a photograph of a contemporary production—and capture the visual aesthetic indicative of the composer's era. Volume one, Classical Music and Its Origins, includes the leading opera composers from Monteverdi to Mozart. Volumes two and three, The Romantic Era and The Nineteenth-Century Legacy, contain extensive materials on the art form and its development, with separate chapters devoted to the bel canto composers, followed by Verdi, Puccini, the French and Russian schools, and Wagner. The final volume, Music in the Twentieth Century, focuses on the European masters and contains little on opera in the U.S., since the only American composers covered in depth are Copland and Ives. Useful biographical dictionaries are included in each of the books, with information on almost all important composers of the period covered by the text. The set, totaling nearly 1,300 pages, is priced at $195.00. Eric Weimer's OPERA SERIA AND THE EVOLUTION OF CLASSICAL STYLE 1755-1772 studies in detail the musical structure and harmonic expansion in the operas of the transitional composers Johann Adolf Hasse, Niccol6 Jommelli, and Johann Christian Bach, and also touches on the works of 29 other composers of the Classical era, including Haydn and Mozart. Chapters about counterpoint in Jommelli's late operas and Haydn's early symphonies are followed by a discussion of the development of operatic orchestration from the Baroque to the Classical periods, with particular emphasis on the role of the wind instruments. Published by UMI Research Press, the 317-page softcover edition includes a thematic catalogue of operatic arias by the three main composers, a list of tables, notes, a bibliography, and an index. It is priced at $29.95.

Set against the changing panorama of the city's social and cultural life, Mary Sue Morrow's CONCERT LIFE IN HAYDN'S VIENNA: ASPECTS OF A DEVELOPING MUSICAL AND SOCIAL INSTITUTION surveys the role of both public and private music-making from 1740 to 1810 through a study of Vienna's most important composers, performers, and music critics. Pendragon Press's seventh volume in its informative Sociology of Music series includes chronological listings and indices of concerts given between 1761 and 1810, architectural plans of concert halls, salary charts, and more. The 552-page indexed volume sells for $47.00.

Greenwood Press has brought out a number of useful new reference works. Charles J. Hall's A NINETEENTH CENTURY MUSICAL CHRONICLE (374 pages, $47.95) and A TWENTIETH CENTURY MUSICAL CHRONICLE (358 pages, $45.00) are year-by-year diaries of events in the lives of composers and performers, including but not limited to their births, deaths, debuts, and dates for the completion of compositions. A listing of significant •political and cultural happenings in each year is also provided, and a general index concludes each volume. The third and final book in this series, AN EIGHTEENTH CENTURY MUSICAL CHRONICLE, is due in April and will sell for $35.00. OPERA AS Joseph Kerman's OPERA AS DRAMA is now available in a new and revised DRAMA edition. This critical analysis of well-known operas in terms of their

-66- BOOK CORNER success or failure to integrate music and drama, written in nontechnical language and a highly readable style, has exerted a powerful influence among English-speaking critics and thoughtful opera-goers since it was first published in 1956, and it remains provocative. Kerman has let many of his judgments stand, including the famous dismissal of Tosca as "that shabby little shocker," but he has reassessed some of his original statements and cut the final chapter, removing the discussion of contemporary opera (including his attack on Menotti). He has added an epilogue "On Operatic Criticism" to define his approach in a more systematic way. The 232- page indexed publication, priced at $30.00 in hardcover and $10.95 in paper, is published by the University of California Press.

Limelite Editions has brought out a paperback version of Erwin Stein's ON MUSIC AND classic FORM AND PERFORMANCE, a guide to the interpretation of PERFORMANCE music for both amateur and professional musicians, first published in 1962. Using examples from music of the last two centuries, the author—a master teacher, theorist, and student of Schoenberg— discusses the importance of rhythm, color, structure, and phrasing, emphasizing the pitfalls inherent in a purely emotional approach. Benjamin Britten's original foreword is included in the 184-page indexed text. It is priced at $9.95.

Raymond Leppard, a pivotal figure in the revival of music of the Baroque, discusses the performance of Monteverdi, Vivaldi, Scarlatti, and other composers in his short book AUTHENTICITY IN MUSIC. Defending his own approach to musicology, performing instruments, and interpretive style, he argues that today's performers must combine their historical knowledge with their individual powers of creativity and their understand- ing and experience of the modern world, so as to restore and revitalize early works for contemporary listeners. Amadeus Press is responsible for the softcover version of this 80-page text, including notes and an index, originally published by Faber Music in 1988. It is available from the publisher at $8.50 plus $2.00 postage.

H.C. Robbins Landon, whose 1791: Mozart's Last Year received so much COMPOSERS' praise in 1989, has followed it up with MOZART'S GOLDEN YEARS 1781- LIVES AND 1791. With his broad and deep knowledge of eighteenth-century Austria, WRITINGS Landon is able to set the rich musical output of Mozart's final decade, including Le Nozze di Figaro, Don Giovanni, and Cosi fan tutte, in the context of Viennese musical, social, political, and economic life, as well as the composer's own straitened finances, physical illnesses, and erratic personality (with reference to the work of Peter J. Davies—see below). The abundant and handsome illustrations, no less than the text, provide important and often new information about the composer and his milieu. The 271-page Schirmer Books publication includes several informative appendices, notes, a select bibliography and an index. It sells for $29.95.

Peter J. Davies' MOZART IN PERSON: HIS CHARACTER AND HEALTH is a doctor's view of the composer's medical and psychological history, with particular emphasis on traits and illnesses which may have been genetically inherited. The author, an Australian internist, supports his theories with detailed and often highly clinical evidence from biographical sources and analysis based on his own specialized medical knowledge, touching on everything from the composer's finances and working habits to his relationship with his family and romantic liaisons; one of Davies' conclusions is that Mozart was a manic depressive. Dr. Davies also attempts to clarify the cause and circumstances of Mozart's death, taking into account recent medical discoveries about the composer's final illness. Greenwood Press

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publishes the 272-page indexed and illustrated text, No. 14 in Contributions to the Study of Music and Dance. It sells for $39.95. The music dramas of Meyerbeer, standard repertory from their premieres until the early years of this century, left their mark on an entire generation of operatic composers, including Verdi and Gounod. GIACOMO MEYER- BEER: A LIFE IN LETTERS is one of the few books published on the composer in recent years. His correspondence with his wife and mother, friends, and artistic associates, and the commentary of editors Heinz and Gudrun Becker, provide insight into his thoughtful personality, high ethical standards, and regard for his family; but the book ultimately leaves the reader with unanswered questions about his operas, the artists who performed them, and the musical life of his day. Mark Violette has translated the text of this 215-page indexed and illustrated volume, published by Amadeus Press, which sells for $21.95.

A virtuoso at 13, Franz Liszt was known throughout Europe not only as an unequaled pianist but also as an important conductor of new music and a striking and innovative composer. Derek Watson's LISZT is both a biography of this quintessential musical personality of the late Romantic era and a comprehensive analysis of his musical style and works. In the well- written biographical chapters, the author quotes extensively from a variety of sources, including Liszt's correspondence with his children and mis- tresses, fictionalized accounts of his life contained in various contemporary novels, and the recollections of his pupils. The 403-page book, published by Schirmer, contains a chronology of Liszt's life and a list of his works. It is priced at $24.95.

Zoltan Roman's GUSTAV MAHLER'S AMERICAN YEARS 1907-1911: A DOCUMENTARY HISTORY is an informative chronicle of the great musician's four New York seasons conducting the Metropolitan Opera and the New York Philharmonic, a short but highly significant period in terms of his career and creativity. As its title indicates, the book is a compilation of primary sources, including journalistic reviews, interviews, and articles, as well as the composer's diary entries, his letters to and from artists and administrators, and the recollections of his wife Alma. The former reflect the public's perception of a famous and charismatic conductor, while the latter reveal the thoughts and actions of a troubled man whose marital problems, conflicts with administrators and artists, and failing health all contributed to his sense of disillusionment. The author provides both biographical and historical summaries in the introduction to each chapter; annotations identifying names referred to in the body of the text are also helpful. The 544-page indexed and illustrated book, published by Pendragon Press, sells for $48.00.

MASCAGNI, another in the Treves Publishing Company's Portraits in Greatness biographies, was written by Mario Pasi, with John W. Freeman contributing the section "Mascagni in North America." The story of the life and career of the verismo composer, as well as information on the performance history of his famed as well as his forgotten operas, is supplemented by an abundance of fine photographs and illustrations which are a highlight of this series. The 48-page text is available in hardcover for $17.50 and softcover for $12.50, in both an Italian and an English version, the latter edited and translated by Harvey Sachs. John Cage has written the preface to SATIE SEEN THROUGH HIS LET- TERS, a volume which includes correspondence, much of it published for

-68- BOOK CORNER the first time, with such luminaries as Cocteau, Picasso, Stravinsky, and other famed artists and intellectuals of his day. The composer, who also authored a play called The Russian Orphan's Revenge, was an extremely gifted writer whose style is marked by the same play of mischief and deadpan reverence which we associate with his music. Edited and extensively annotated by Ornella Volta, Artistic Director of the Satie Founda- tion, and translated by Michael Bullock, the 240-page Marion Boyars publication is illustrated with line drawings by Magritte, Picasso, and others, and includes several useful appendices including a chronology and list of correspondents. It is priced at $35.00.

The rhythms of speech, the sounds and patterns of nature, the simple and direct chords of a folk tune—all are important and recurring themes in LeoS Jana'c'eks's prose essays, written between 1884 and 1928, and now selected, edited, and translated by Mirka Zemanovfi in JANACEK'S UNCOL- LECTED ESSAYS ON MUSIC, many appearing in English for the first time. In these 47 vignettes, reminiscences, critical reviews, and essays, the revolutionary composer concerns himself with the integral role of music and drama in the national consciousness, while his writing style, charac- terized by short staccato sentences and the frequent use of exclamation marks, underscores the urgency and passion of his convictions. Particularly affecting are his highly personal memories of Smetana and Dvofa'k, and his comments on their music. John Tyrrell has contributed the preface to this 234-page Marion Boyars indexed publication; it is priced at $35.00.

Composer, librettist, and translator Marc Blitzstein deserves much of the recognition author Eric A. Gordon advocates in MARK THE MUSIC: THE LIFE AND WORK OF MARC BLITZSTEIN. In well-known music theater pieces such as The Cradle Will Rock, and still more so in Regina, Blitzstein is hailed as a composer who could successfully create a work of art with a specific and inherent political message. Even the many flawed musicals like Reuben, Reuben, which integrates poetry, music, acrobatics, and spec- tacular theatrical effects, as well as Sacco and Vanzetti, the opera commissioned by the Metropolitan Opera, one of the many compositions left incomplete at his death, seem to have been innovative and prophetic attempts at a new type of music theater. Using primary sources based on the recollections of a cast of thousands, including Evelyn Lear, John Houseman, and Agnes de Mille, the author provides an all but day-by-day account of the composer's artistic, political, and often destructive personal life and friendships, particularly his mentorship of the young Leonard Bernstein. The 605-page book, published by St. Martin's Press, includes historic production shots, personal photographs, and other illustrations, a list of the composer's works, and an index; it sells for $29.95.

Gordon Theil's MICHAEL TIPPETT and Arlys L. McDonald's NED ROREM are the latest in Greenwood Press's series of Bio-Bibliographies in Music. As in the earlier volumes, the biography of the composer precedes a works-and-performance list, a discography, a bibliography, and a general index, as well as a number of special appendices. The 357-page Tippett book sells for $45.00; the 284-page Rorem book is priced at $39.00.

What do Elliott Carter, John Cage, Peter Schickele, and B.B. King have in common? They are all profiled in ON INNOVATIVE MUSIC(IAN)S, a collection of essays by critic, avant-garde poet, and occasional composer Richard Kostelanetz. This book, mainly devoted to contemporary composers who have pushed back or crossed over the boundaries of American -69- BOOK CORNER

classical music, also includes pieces on various kinds of popular music, discussions of criticism itself, and some autobiographical material, including an account of the genesis of Kostelanetz's own America's Game (1988), an agglomeration of national anthems, sound effects, and the droned multi- lingual commentary of baseball announcers from around the world. The 310-page book is published in softcover by Limelite Editions; it sells for $12.95.

SINGERS Anyone lucky enough to have seen Lawrence Tibbett perform, whether PAST AND onstage or in his several Hollywood films of the 1930s, will be interested PRESENT in Andrew Farkas' LAWRENCE TIBBETT: SINGING ACTOR, a collection of writings devoted to his life and art. Essays, articles, and interviews by and about the great American baritone deal with musical background, vocal methods, and acting style, while "The Glory Road," his privately published autobiography, included here complete, is an entertaining work written in the guise of a "regular guy" who just happens to be an opera singer. However, these upbeat articles, largely written during his lifetime, allow hardly a glimpse of the singer's tragic private life, his bouts with alcoholism, and his premature death at 64. William Moran provides both the introduction and the excellent discography for this illustrated and indexed 248-page Amadeus Press publication, priced at $29.95.

Donald Spoto has written LENYA: A LIFE, the first full-length biography of the legendary performer who captured the spirit of Berlin during the Weimar Republic. The author focuses on the tragic aspects of her personality—her need for attention, her stinginess, her self-destructive traits —and on events in her personal life, including her violent childhood, her role as the wife and then widow of Kurt Weill, and her subsequent disas- trous marriages to three homosexuals, to reveal a woman who seemed to live the message of the music she sang and the eccentricities of the parts she played. The 368-page indexed and illustrated Little, Brown publication also includes a selective discography and list of films; it is priced at $19.95.

As one might expect, REVERBERATIONS: THE MEMOIRS OF DIETRICH FISCHER-DIESKAU is more than a typical autobiography. The famed baritone approaches the events in his life as he would the text of a song. In these beautifully written memoirs, Fischer-Dieskau shares with his rea- ders his emotional life, the growth and development of his artistry, his intellectual and compassionate unfolding, and his acceptance of triumphs as well as great losses. One comes away from its pages not only with a rich store of anecdotes but also with the memory of an honest and wise man, who just happens to be one of the world's greatest musicians. The 376-page illustrated and indexed text is published by Fromm International; it is priced at $24.95.

Harry Rasky has distilled the contents of his documentary film StrataSphere into STRATAS: AN AFFECTIONATE TRIBUTE, a book about the diva whose interview with the Canadian author and director forms the core of the book. This volume contains a remarkable photographic record of the soprano from her Depression era childhood to her years as a celebrated star and finally her 1985 Broadway debut in Rags. Excerpts from reviews and the candid responses of those who know Teresa Stratas create a portrait of a strong, free-spirited, yet sensitive and vulnerable artist who has made a remarkable journey of self-discovery. The 112-page Oxford University Press publication, which includes a discography, sells for $21.95.

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Those who pick up Stephen Nelson's IT'S ONLY A PAPER MOON: THE HEN OF THE THEATRE OF BILLY ROSE hoping for an entertaining diversion, full of THEATER juicy stories about the colorful showman's private life and career, will not find it here. Thanks to Rose's own team of hardworking publicists, the spectacles he created on land and water—the famed "aquacades" featuring circus animals, synchronized swimmers, and hundreds of women in various stages of undress—were legendary during the 1930s and '40s, but his ephemeral legacy quickly faded from view after his death in 1965. Little of the carnival atmosphere is conveyed by the author's level-headed descriptions, but even he couldn't resist throwing in a few spicy anecdotes. The 169-Dage illustrated text, complete with notes, a bibliography, and an index, is published by UMI Research Press; it is priced at $39.95.

With the growing recognition and appreciation of the musical as an indigenous American art form, it seems surprising that critical studies are still few and far between. Happily, two books devoted to the genius of Harold Prince have recently appeared. Sheldon Harnick has written the foreword to Carol Ilson's HAROLD PRINCE: FROM PAJAMA GAME TO PHANTOM OF THE OPERA, which traces the ebb and flow of the producer/director's career from his first twenty years of hits—including The Pajama Game, West Side Story, and Fiddler on the Roof—to his "lean years" in the 1970s and early '80s, and concludes with his triumphant comeback as a trailblazer in music theater in his collaborations with Stephen Sondheim and Andrew Lloyd Webber. Prince's opera productions, from Turandot in Vienna to Willie Stark in Houston, are mentioned, but only in passing. This 443-page illustrated and indexed UMI Research Press publication includes notes, a bibliography, and an index, and is priced at $44.95 in hardcover and $18.95 in paperback.

Foster Hirsch's HAROLD PRINCE AND THE AMERICAN MUSICAL THEA- TRE analyzes those traits that audiences have come to associate with a Prince production—the stylizations which illuminate the work's deeper and often sinister subtext, as in Sweeney Todd or Cabaret, and the use of vaudeville elements—identifying their sources in the history of American musical theater. Harold Prince and Stephen Sondheim have both written forewords to this illustrated 187-page Cambridge University Press book, which includes a chronology, a bibliography, and an index. It is priced at $29.95

John Kobler, whose credits include biographies of such diverse twentieth BENEFACTOR century personalities as John Barrymore and Al Capone, has now written IN THE OTTO THE MAGNIFICENT: THE LIFE OF OTTO KAHN. In this sympathetic GOLDEN AGE narrative we meet the famed magnate as an extremely generous and bril- liant man who often played the role of peacemaker in both his professional and philanthropic life. According to the author, Kahn's financing and administration of the Metropolitan Opera, the company's lifeblood for many years, were motivated by his love of music and the artists who performed there. Of particular interest are chapters which illuminate Kahn's relationship with stars like Enrico Caruso and Paul Robeson. Charles Scribner's Sons has published this 244-page illustrated and indexed volume, which sells for $24.95.

In VIENNA: A GUIDE TO ITS MUSIC AND MUSICIANS, historian and critic A TOUR OF Franz Endler packages an itinerary geared to the music lover. His tour VIENNA begins with a series of concise illustrated biographies from Haydn to Korngold, tracing the history of organizations such as the Vienna Boys Choir and the Vienna State Opera, and concludes with a brief excursion

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to the concert halls, churches, and coffee houses where musical history was made. Leonard Bernstein has written the foreword to the 120-page indexed book, published by Amadeus Press, which sells for $17.95.

THE KEMNEDY Begun under the Eisenhower administration and with its encouragement CENTER and support, the John F. Kennedy Center for the Performing Arts became a symbol of the spirit of the young president whose name it bears. MIRACLE ON THE POTOMAC: THE KENNEDY CENTER FROM THE BEGINNING, authored by founding trustee and general counsel Ralph E. Becker, is a first-hand narrative of the surprising trials and tribulations connected with the genesis and establishment of one of the most flourishing arts institutions in the country. Drawing on personal experience as well as official records, he writes candidly of the tenacity and determination required to overcome the stonewalling by Washington's influential politi- cians, contractors, and developers, all of whom had their own reasons for opposing the building of the Center. Roger L. Stevens has contributed the foreword to the 217-page illustrated and indexed Bartleby Press publication, which sells for $24.95. OPERA FOR In SING ME A STORY: THE METROPOLITAN OPERA'S BOOK OF OPERA CHILDREN STORIES FOR CHILDREN, Jane Rosenberg retells the stories of fifteen operas, including The Barber of Seville, Die Fledermaus, and The Love for Three Oranges, in a "once upon a time" style fully appropriate for bed-time reading to youngsters. Although primarily inspired by modern productions, the 44 fanciful illustrations with their gilded proscenium-like borders also capture opera's old-fashioned theatricality, nostalgically asso- ciated with the painted backdrops of the era of Galli-Curci and Caruso. The 160-page Thames and Hudson publication features a genial introduction by Luciano Pavarotti; it sells for $24.75. FOR In five easy chapters, arts administrator Joan Jeffri gives the inside scoop NONPROFIT on ARTSMONEY: RAISING IT, SAVING IT, AND EARNING IT. First pub- ORGANIZATIONSlished in 1983 and now reprinted with brief inserts on new developments in tax law and television, the book is a step-by-step guide to the organization, management, and financial survival of nonprofit organizations. In addition, the author provides such helpful material as sample grant proposals, banking rules and regulations, and new fundraising media, particularly cable television. The University of Minnesota Press publishes the 293-page text, which includes a bibliography and index. It is priced at $39.50 in cloth and $17.95 in paper. REFERENCE Steven G. Pallay's CROSS INDEX TITLE GUIDE TO OPERA AND OPERET- BOOKS TA, a companion volume to his 1987 Cross Index Title Guide to Classical Music, is number 19 in Greenwood's series The Music Reference Collection. In the main section, more than 5,500 excerpts—including arias, dances, and orchestral interludes—from 1,400 works by 500 composers are arranged in a single alphabetical list of selection and work titles, with an index by composer. The 222-page publication sells for $39.95. Michael Gray has compiled Greenwood Press's CLASSICAL MUSIC DISCOGRAPHIES, 1976-1988: A BIBLIOGRAPHY, a sequel to Bibliography of Discographies: Volume 1, Classical Music 1925-1975 (Bowker, 1977). Discographies published in the form of books, periodicals, dissertations, program notes, and record jackets, are listed alphabetically by subject and indexed by author; number codes indicate what kinds of information each work contains. The 341-page book sells for $45.00.

~~See "COS Inside Information" for details on the new ANNALS OF THE METROPOLITAN OPERA.~~

-72- OPERA HAS LOST. . . Choreographer, dancer, and director ALVIN AILEY, American, 58 years old, in New York City 12/1/89. One of the world's most innovative and influential artists, he drew on the rhythmic idioms and ethnic traditions of Africa, America, and the Caribbean to transform the esthetics of modern dance. The Alvin Ailey Dance Theatre had its birth in 1958 when he and six others premiered his choreography at the New York 92nd St. YMHA; today the famed troupe has an annual season at the New York City Center and tours around the world. Winner of numerous honorary degrees and awards for his contribution to both dance and the arts in general, his non-company projects included the choreography for the premiere of Barber's Antony and Cleopatra (1966), the first work produced at the Metropolitan Opera's Lincoln Center home, as well as the dances for the Met's Carmen (1972) and the Mini-Met's staging of Four Saints in Three Acts in the same year. He also choreographed the premiere of Bernstein's Mass (1971), the inaugural production of Washington's Kennedy Center. A memorial service was held on December 8 at the Cathedral of St. John the Divine in Manhattan.

Pianist and composer ERNO BALOGH, Hungarian/American, 92 years old, in Mitchellville, MD, 6/2/89. A child prodigy and student of Bart6k and Koddly, he came to the United States in 1924 and helped to arrange Bar- t6k's first American tour three years later. A composer and a radio and concert performer, he later served as accompanist to various artists including Lotte Lehmann and Fritz Kreisler, for whom he wrote several pieces.

Tenor KURT BAUM, Czech/American, 81 years old, in New York City 12/27/89.- He made his debut in Zemlinsky's Der Kreidekreis in Zurich in 1933, and made his American debut in 1939 as Radames at the Chicago Grand Opera, where he sang until 1941. It was in this year that he began his long association with the Metropolitan Opera, specializing in the dramatic Italian repertory including Don Alvaro, Enzo in La Gioconda, Radames, and Cavaradossi, and also Don Jose1. He remained with the company through the 1965-66 season and appeared there for the last time at the April, 1966 gala which closed the old house. He made guest appearances at the Maggio Musicale Fiorentino and at La Scala and other leading European houses during the 1950s, including a 1953 command performance as Radames at the Royal Opera, Covent Garden.

Playwright and novelist SAMUEL BECKETT, Irish/French, 83 years old, in Paris 12/22/89. The father of the Theater of the Absurd, his dramatic corpus beginning with Waiting for Godot (1953) was the culmination of the Dada-esque vision of a universe governed by irrationality, cruelty, and death. This play is the basis for Ron Weidberg's new opera (first act, 1986), while Endgame (1957) has been set to music by Richard Winslow (1974), Krapp's Last Tape (1960) has undergone operatic treatment by Marcel Milhalovici (1963) and Karl Aage Rasmussen (1968), and the famous Swiss oboist Heinz Holliger is the composer of the one-act Come and Go (1978) and its companion pieces Not I (1980) and What Where, premiered last year.

Composer SIR LENNOX BERKELEY, British, 86 years old, in London 12/26/89. He studied with Nadia Boulanger during the early 1930s, and on his return to Britain achieved eminence as a composer of large-scale symphonies, instrumental and choral music, one full-length opera, Nelson (1951), as well as three one-act operas, A Dinner Engagement (1954),

-73- OBITUARIES Ruth (1956), and Castaway (1967). At first influenced by the neoclassical works of Stravinsky and others, he went on to develop a purely English amalgam of richly polyphonic and melodic idioms. Composer and lyricist IRVING BERLIN (n6 Isidore Balin), Russian/American, 101 years old, in New York City 9/22/89. The son of a Russian cantor, his popular melodies and the direct sentiment which flowed from his lyrics of over 1,500 known songs made him the quintessential American composer. The man who never learned to read or write music created his first hit, "Alexander's Ragtime Band," in 1911; during the next 55 years he went on to write such classics as "Always," "Blue Skies," and "God Bless Amer- ica," songs crooned and belted by noted interpreters from Marilyn Miller, Fred Astaire, Bing Crosby, Frank Sinatra, and Rosemary Clooney to Diana Ross and Willie Nelson. He wrote his first complete musical in 1914, and as a World War I draftee he was commissioned to write Yip Yip Yaphank (1917), performed by the men of the army camp which gave the hit revue its name. Through the ensuing decades, his prolific works included the musicals The Cocoanuts (1925); As Thousands Cheer (1933), written with Moss Hart; This Is the Army (1942); and the scores for the movies Top Hat (1935) and Holiday Inn (1942), which featured "White Christmas." In the years after the war, he penned the memorable Annie Get Your Gun (1946) and Call Me Madam (1950), both starring Ethel Merman; Mr. Presi- dent (1962) was his last musical. Noted throughout his long career for his philanthropic endeavors, he often donated the profits from his hit songs to various charitable causes. His 100th birthday in 1988 was the occasion for an ASCAP gala concert at Carnegie Hall.

Conductor ANTONIA BRICO, Dutch/American, 87 years old, in Denver, CO, 8/3/89. She studied and conducted in Berlin and served as a coach at Bayreuth before her American debut with the Los Angeles Philharmonic. She conducted opera and symphony orchestras in New York, where she was the founder and musical director of the Women's Symphony Orchestra (later renamed the Brico Orchestra) from 1935 to 1939. She later toured Europe and eventually settled in Denver to teach and direct several avocational and semi-professional orchestras and opera ensembles. It was not until the 1970s that she achieved status as a heroine of the women's movement in the documentary Antonia, after which she appeared before sold-out houses at the 1975 Mostly Mozart Festival and made several recordings.

Conductor EMERSON BUCKLEY, American, 73 years old, in Miami 11/18/89. The recipient of many awards for his expert musicianship, his name was linked with the performance of opera in America for many years. He began his career after graduation from Columbia University as coach and chorus master and made his conducting debut in opera in 1936 and as a symphony conductor the following year. Guest appearances in the United States and Canada followed and in 1950 his assocation with the Greater Miami Opera began. He was the company's music director from 1950 to 1973 and artistic director from 1973 to 1985. He also served as music director at the Puerto Rico Opera Festival (1954-58), the Empire State Festival (1955-56), Central City Opera (1956-69), and other companies, as well as several symphonic and radio orchestras. He appeared with the New York City Opera, the San Francisco Opera, and the Lyric Opera of Chicago, and conducted world premieres including The Ballad of Baby Doe (1956), Gallantry (1958), The Crucible (1961), Moross' Gentlemen, Be Seated! (1963) and Ward's The Lady from Colorado (1964). For the last ten years, he was known to audiences throughout the world

-74- OBITUARIES as Luciano Pavarotti's conductor for concerts, movies, and television specials. He was married to the singer and voice teacher Mary Henderson; his son Richard also became a conductor. On December 10, a memorial service was held in his honor at the Colony Theater in Miami Beach. Artists manager JOHN COAST, British, in Norfolk, England, 7/22/89. A concert agent, he was the representative for such artists as Jon Vickers, Jose1 Carreras, and Luciano Pavarotti. Musicologist CARL DAHLHAUS, German, 61 years old, in Germany, 3/89. The influential scholar was a teacher and writer of books and essays on a wide range of musical, historical, and philosophical issues. He was the author of Realism in Nineteenth-Century Music, Esthetics of Music, Foun- dations of Music History, Schoenberg and the New Music, and other works, including a volume on Wagner and his operas.

Mezzo-soprano JAN DeGAETANI, American, 56 years old, in Rochester, NY, 9/15/89. Well known through the concerts and recordings in which she sang works ranging from Renaissance ballads to the songs of Stephen Foster, her remarkable technical skills and interpretive powers made her a specialist in the performance of avant-garde vocal music. She became interested in contemporary repertory while a student at the Juilliard School, and went on to work with such composers as Pierre Boulez, Peter Maxwell Davies, and Gyorgy Ligeti, all of whom wrote music specifically for her. Her dedication to living composers and their works helped to interest a large new audience in avant-garde vocal music. Perhaps most important to her career, George Crumb's acclaimed Ancient Voices of Children (1970), based on texts by Garcia Lorca, was a work which she premiered and recorded and with which she continued to be identified. At the time of her death, she was on the faculties of the Juilliard School, the Eastman School of Music (which has established the Jan DeGaetani Memorial Fund), and the Aspen Music Festival, where there is also a fellowship dedicated to her memory. A service in her honor was held at the Eastman School on September 21, 1989.

Tenor ANTON DERMOTA, Yugoslavian, 79 years old, in Vienna 6/22/89. A famed Mozart tenor, he began his career at the Vienna State Opera in 1936 at the invitation of Bruno Walter and remained a member of the company for 40 years, singing a wide range of lyric roles from Alfredo, Lensky, and David, to Zinovy in Katerina Ismailova and Ferdinand in the premiere of Martin's Der Sturm in 1956. He made many guest appearances with major European and South American companies and festivals including Salzburg, where he sang under Toscanini, Bayreuth, the Paris Ope>a, and La Scala. In addition to his numerous recordings, chiefly of Mozart operas, he was featured in the 1954 film of Don Giovanni, made at the Salzburg Festival under Furtwangler. He was also a well-known recitalist, often accompanied by his wife, the pianist Helga Berger-Weyerfeld.

Dancer and choreographer LEDA ANCHUTINA EGLEVSKY, Russian/ American, 73 years old, in Massapequa, NY, 12/15/89. She immigrated to the United States as a child, and studied with Michel Fokine before becoming a member of the School of American Ballet. It was there that she danced leading roles in works staged by George Balanchine and later performed in Great Lady, a 1938 Broadway musical which he choreographed. She also made numerous guest appearances with companies in Europe. In 1961, she founded the Eglevsky Ballet school with her husband, Andrei, and continued to teach and choreograph there until her death.

-75- OBITUARIES Recording executive NESUHI ERTEGUN, 71 years old, in New York City 7/15/89. President of the International Federation of the Phonographic Industry and a major force in lobbying for anti-piracy legislation, he produced and developed jazz recordings for Jazzman and Atlantic Records. Designer LLOYD R. EVANS, American, 55 years old, in New York City 5/11/89. His productions were seen both on television and in the theater, including the New York City Opera, where he was active from 1966 until the late 1970s, designing sets for operas by Rossini, Debussy, Richard Strauss, and others. At the Minnesota Opera, he created the 1971 premiere production of Lee Hoiby's Summer and Smoke. Composer SAMMY FAIN, American, 87 years old, in Los Angeles 12/6/89. A prolific composer of ballads and pop tunes, his songs were performed by Maurice Chevalier, Dick Powell, and others in Footlight Parade (1933), Dames (1934), and other classic movie musicals. During the 1950s, he wrote the scores of such films as the remake of The Jazz Singer, Calamity Jane, and Love Is a Many Splendored Thing. One of his first theatrical successes was the 1938 musical farce Hellzapoppin, written with Charles Tobias; other collaborators, with whom he worked through the 1950s, included Howard Dietz, E.Y. Harburg, and Mitchell Parish. Winner of two Academy Awards, he was inducted into the Songwriters Hall of Fame in 1971 and earlier this year was presented with a special award by ASCAP, on whose board of directors he had served since 1979.

Soprano NORMA FRENCH, American, 47 years old, in Toronto 6/26/89. She made her New York City Opera debut in 1972 and performed coloratura repertory with that company, as well as the New York Grand Opera, the Cincinnati Opera, and the Wolf Trap Opera Company. Later, she toured in her solo show "Some of My Best Friends Like Opera" and appeared in films and television.

Choreographer and dancer JACQUES GARNIER, French, 48 years old, in Paris 6/10/89. He had studied modern dance in the United States and in 1971 founded the Theatre du Silence with Brigitte Lefevre, a former dancer at the Paris Ope>a. Since 1980, he had headed the Paris Optra's experimental dance company, La Groupe de Re'cherehe Chore'ographique, and had commissioned and premiered works by Ulysses Dove, Lucinda Childs, and other innovative choreographers. Composer, conductor, and educator LEE GOLDSTEIN, American, 37 years old, in Chicago 1/12/90. He was the second composer-in-residenee with the Lyric Opera of Chicago (1987-89), a program initiated in 1983, and his opera The Fan was premiered by the Lyric Opera Center for American Artists in June 1989. He wrote two other operas, An Idiot Dance (1976) and Miriam and the Angel of Death (1984), as well as several choral works and other scores. He taught and conducted at Queensborough Col- lege and the Jewish Theological Seminary, New York, and Baldwin-Wallace College in Ohio, where he was director of choral activities. He was the recipient of a Charles Ives Fellowship, and grants from the National Insti- tute for Music Theater and the Ohio Arts Council. Among his teachers was composer Hugo Weisgall. Composer and conductor JOHN GREEN, American, 80 years old, in Beverly Hills, CA, 5/15/89. The Academy Award-winning composer of songs including "Body and Soul," he began his career writing for Paul Whiteman, led his own band, and collaborated on several Broadway musicals before -76- OBITUARIES going to Hollywood in 1942 as a staff conductor, composer, and arranger for MGM. He served as the studio's general director from 1949 to 1958, overseeing such classics as Summer Stock, Brigadoon, and High Society, and was active through the 1960s, adapting and arranging the scores of West Side Story, for which his album received a Grammy, and Oliver; for the screen, in addition to soundtracks for several nonmusical films. He was also an associate conductor of the Los Angeles Philharmonic from 1959 to 1961 and made frequent guest appearances with orchestras around the country. A member of ASCAP since 1931, he was on its board of directors from 1981 to 1989.

Singer and administrator BERNARD J. HART, American, 67 years old, in Oceanside, NY, 4/16/89. He sang tenor and baritone roles with local opera companies. In 1963, he founded the Long Island Opera Showcase in West Hempstead and headed the organization until his death. It is being continued by his widow, Susan Hart.

Director and administrator JOHN HIRSCH, Hungarian/Canadian, 59 years old, in Toronto 8/1/89. One of Canada's most respected theatrical figures, he was praised for his encouragement of new talent in his adopted country, where he had immigrated as a concentration camp survivor after the war. His directorial projects encompassed more than 200 productions in North American theaters, including the Old Globe, the Guthrie, the Yale Reper- tory Theater, and the Mark Taper Forum. At Lincoln Center, he directed several plays for its Repertory Company, where he was the resident director from 1966 to 1971, and staged Un Ballo in maschera at the New York City Opera in 1971. From 1982 to 1987, he was the artistic director of Ontario's Stratford Shakespearean Festival.

Director GORAN JARVEFELT, Swedish, 42 years old, in Stockholm 11/30/89. A former actor, he turned to directing in 1975 and went on to stage over 70 operas during his career. He was perhaps best known for his Mozart productions at the Drottningholm Court Theatre, performed with original instruments, and in the U.S. for his three Mozart productions at Houston Grand Opera. He worked for major international companies including the Paris Ope>a, Berlin's Komische Oper, and the Santa Fe Opera, where he staged Intermezzo in 1984. At the Metropolitan Opera he was responsible for the double bill of Bluebeard's Castle and Erwartung, performed there for the first time during the 1988-89 season.

Conductor and director HERBERT VON KARAJAN, Austrian, 81 years old, in Anif, Austria, 7/16/89. One of the world's most powerful musicians, his interpretations of the works of classical and romantic composers, most notably Mozart, Beethoven, Wagner, Bruckner, and Strauss, will remain among the greatest of the century. His 1927 debut in Ulm in Le Nozze di Figaro earned him a six-year directorship there, followed by his appointment to the same post in Aachen from 1933 to 1938, when he was named Music Director of the Berlin State Opera. His fast-rising career, linked to his early membership in the Nazi party and Hermann Goering's support, put a temporary halt to his career in the postwar years. As principal conductor of London's Philharmonia Orchestra beginning in 1950, he led the series of operatic recordings which helped to bring him worldwide recognition. In 1954, on the death of Furtwangler, he became "conductor for life" of the Berlin Philharmonic, where his artistic activity was based until his resignation las4 April. His acceptance of the Berlin appointment was followed by his stormy directorships of both the Vienna State Opera (1956-64) and the Salzburg Festival (1956-61 and from 1964 to his death).

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In 1967 he founded the Salzburg Easter Festival and remained its head as an omnipotent central figure, taking complete control of all visual and dramatic aspects of its staged operatic performances, which were later also filmed. During the 1969-70 season he also led the Orchestre de Paris. He made guest appearances, most often with the Vienna Philhar- monic, and with almost every major orchestra and opera house. After 1950, Maria Callas and other stars performed under his baton at La Scala, where he conducted, directed and supervised the lighting. There were briefer engagements at Bayreuth (Der Ring des Nibelungen, Die Meister- singer, and Tristan und Isolde, 1951-52) and at the Metropolitan Opera, where he began the recreation of his Salzburg Ring cycle with Die WalkUre in 1967-68 and Das Rheingold the following season, but then withdrew because of scheduling difficulties caused by the 1969 strike there. Not especially thought of as an interpreter of new music, he did conduct the world premieres of two Orff works, Trionfo di Afrodite (1953) and De temporum fine comoedia (1973). In 1969 he established his own foundation for the purpose of promoting competitions for young conductors.

Administrator JAMES T. KEARNEY, American, in Newburgh, NY, 8/4/89. A former company manager of the Santa Fe Opera and General Manager of the Spoleto Festival U.S.A., he was the Director of the Performing Arts Center at the State University of New York at Purchase since June 1988. Composer SAMMY LERNER, Romanian/American, 86 years old, in Los Angeles 12/13/89. He began his career writing lyrics for the Ziegfeld Follies, and later went to Hollywood, where he wrote songs for animated films, including the theme music for Popeye and Betty Boop. He also translated the lyrics for Marlene Dietrich's torch song in the English language version of Der blaue Engel (1930). Tenor HERMAN MALAMOOD, American, 57 years old, in New York City 9/23/89. He studied opera and cantorial music in New York and made his debut as Canio in Philadelphia in 1970 as a replacement for Richard Tucker. As a member of the New York City Opera from 1970 to 1978 he was heard in principal roles of the Italian repertory, and he sang at the Metropolitan Opera and on tour during the 1980-81 and 1982-83 seasons, where his roles included Turiddu and Idomeneo. He performed frequently in Europe and made guest appearances with several regional companies in the United States.

Musicologist, author, and critic WILLIAM MANN, English, 65 years old, in Bath, England, 9/5/89. A noted specialist in operatic history and performance, he was on the staff of the London Times for 32 years, serving as its chief music critic from 1960 to 1982. A regular contributor to Opera and other publications, he was also heard on the weekly British radio shows Saturday Review, Music Weekly, and Interpretation on Record, and participated in symposia devoted to contemporary British opera. He was the author of Richard Strauss: A Critical Study of His Operas (1964) and The Operas of Mozart (1977), contributed to all three volumes of Opera on Record, and made libretto translations of Der Ring des Nibelungen and Tristan und Isolde for Covent Garden. His witty satire, Let's Fake an Opera, a collaborative project, premiered at the 1958 Hoffnung Astro- nautical Music Festival, is still well known from its recording. Tenor MICHELE MOLESE, American, 60 years old, in Broni, Italy, 7/5/89. Born in New York City, he studied in Italy and made his debut at La

~~-78- OBITUARIES~~

Piccola Scala in 1956. He sang leading roles at various houses in Italy and in Yugoslavia at the Belgrade Opera before returning to the United States in 1964, where he became an important member of the New York City Opera. The tenor achieved notoriety there when he announced from the stage during a 1974 performance of Un Ballo in maschera that he had dedicated a "pinched high C" to Harold Schonberg, a reference to an unfavorable notice given him by the New York Times critic. Although he...was dismissed after the highly publicized incident, he frequently returned to sing with the company until 1980. Composer, musicologist, and teacher SAM MORGENSTERN, American, 83 years old, in New York City 12/22/89. He headed the.Lemonade Opera, a company which presented the American premiere of Prokofiev's Betrothal in a Monastery in 1948. He was also active as a private vocal coach, and taught at the Mannes School. His books include The Dictionary of Vocal Themes, The Dictionary of Musical Themes, and Composers on Music. He composed several instrumental works and also two one-act operas, The Faithless Wife (1958) and The Big Black Box (1984).

Arts patron MITZI E. NEWHOUSE, American, 87 years old, in Palm Beach, FL, 6/29/89. Widow of the owner of the Cond6 Nast group of magazines, she was known for her dedication to arts causes. In 1973, her $1 million gift to Lincoln Center's financially troubled Forum Theater, the smaller hall below the Vivian Beaumont theater, made possible its continued operation, and in gratitude it was renamed in her honor.

Stage designer TONY NORRENBROCK, American, 42 years old, in Chicago 9/22/89. He began work with the Kentucky Opera in 1973, and went on to create sets and costumes for numerous Chicago Opera Theater productions. He was also a painter and teacher. Designer FEDERICO PALLAVICINI (n<§ Friedrich Ludwig von Berzeviczy) Swiss/American, 80 years old, in New York City 11/13/89. He worked from the 1920s as a painter and as designer of graphics, costumes, theatrical sets, and residential interiors. In 1978, he created the production of Henze's Der junge Lord at the Vienna State Opera. Conductor and music director SIR JOHN PRITCHARD, English, 68 years old, in Daly City, CA, 12/5/89. Recognized for his expertise in the interpretation of works by classical composers, especially Mozart, as well as of twentieth-century masters, the distinguished musician began his longtime association with the Glyndebourne Festival as assistant to Fritz Busch, making his debut as a last-minute replacement for him in Don Giovanni (1949) and later serving as the Festival's Music Director and Resident Conductor (1969-78). He went on to lead the orchestras of the Royal Opera House and the Vienna State Opera in 1952, and the following year made his first guest appearance in the United States with the Pittsburgh Symphony. In addition to his permanent posts, including Principal Conductor of the Royal Liverpool Philharmonic (1956-62) and Music Director of the Cologne Opera (1978-89), the Theatre Royal de la Monnaie (1981-86), and from 1986 of the San Francisco Opera, he also made frequent guest appearances with orchestras around the world. Between 1971 and 1983 he conducted seven operas at the Metropolitan, including three by Mozart, Cosl fan tutte, Die Zauberflbte, and Don Giovanni, as well as Peter Grimes, and he led the same number of works in San Francisco: Don Carlo, Salome, Fidelio, Manon Lescaut, Parsifal, Lady Macbeth of Mtsensk, and Idomeneo. Knighted in 1983 for his services

-79- OBITUARIES to British contemporary music, he premiered works including Britten's Gloriana (1953) and Tippett's The Midsummer Marriage (1955) and King Priam (1962). The San Francisco Opera held a service in his memory on December 11, 1989.

Conductor and administrator HUGH CM. ROSS, British/American, 91 years old, in New York City 1/20/90. Considered one of the foremost figures in choral music, he first came to North America in 1923 as the conductor of the Winnipeg Choir, settled in New York as the conductor of the Sehola Cantorum in 1927, and was made its director two years later. During the next 50 years he both conducted and arranged the music for the group, which performed works by such contemporary composers as Stravinsky, Villa-Lobos, and Bernstein under New York Philharmonic conductors and guest conductors including Toseanini, Stokowski, and Boulez. Beginning in 1933, he coached, conducted, and taught music history at the Manhattan School of Music; he was also head of the Choral Department at Tanglewood from 1942 to 1963. In 1962, he founded the Southeastern Choral Conductors Conference, an organization which brought together black and white choruses in the South. From 1970 until his death, he helped foster the careers of young artists through the work of the William Matheus Sullivan Musical Foundation, which he served as Executive Director.

Radio executive ELLIOTT SANGER, American, 92 years old, in New York City 7/9/89. His autobiographical work Rebel in Radio: The Story of WQXR (1973) narrates the rise of the station which he co-founded with inventor John Vincent Lawless Hogan in 1935. Beginning its life in a Long Island City garage and transmitting at barely 250 watts, New York's first classical AM music station was also the first to broadcast on the FM band iri 1939. He continued as head of WQXR when it was purchased by the New York Times in 1944, and until his retirement in 1967 guided the organization on its path of steady growth. He helped to forge its reputation as a leading exponent for innovative programming, including live performances of music by contemporary composers.

Composer HENRI SAUGUET (n6 Henri-Pierre Poupard), French, 88 years old, in Paris 6/22/89. A student of Joseph Canteloube, he became asso- ciated with Erik Satie during the 1920s and was a founder of the group Ecole d'Arcueil, taking its name from Satie's neighborhood in Paris. His deceptively simple, playful, yet lyrical style is evident in many works from that period, including the ballet La Chatte, produced by Diaghilev in 1927, as well as in his subsequent symphonies, cantatas, and oratorios, and in his music for film and theater. Besides the operas Le Plumet du colonel (1924), La Contrebasse (1932), La Chartreuse de Parme (1939), La Gageure imprevue (1944), and Les Caprices de Marianne (1954), he composed the musical comedy Boule-de-suif (1978) and the children's opera Tistou-les-pouces-verts (1981).

Tenor ROBERT SCHMORR, American, 60 years old, in Point Loma, CA, 12/19/89. He was a member of the Metropolitan Opera for 25 years, making his solo debut as Spoletta (Tosca) at a summer concert in 1965 and going on to sing 48 roles in nearly 750 performances, including Jaquino in Fidelia and Cassio in Otello, before his last appearance with the company in 1978. He also made guest appearances with a number of orchestras and regional opera companies around the country. After moving to Califor- nia in 1981, he sang with the San Diego Opera and taught voice privately and at the University of San Diego.

-80- OBITUARIES Pianist and teacher BRUCE T. SIMONDS, American, 93 years old, in Ham- den, CT, 6/2/89. A professional concert pianist, he was on the faculty of Yale University from 1921, and at his retirement in 1973 he was head of both the graduate school of music and the undergraduate music department. Conductor DAVID STIVENDER, American, 56 years old, in Pittsburgh 2/9/90. He studied music at Northwestern University and began his career with the Opera Arts Workshop in Atlanta and the Lyric Opera of Chicago, where he was an assistant conductor. He joined the Metropolitan Opera staff as assistant to Kurt Adler in 1962, and succeeded him as Chorus Master on Adler's retirement in 1973. To this post he brought high standards of musical excellence, and he was directly responsible for raising the level of choral performance at the Met to new heights. He made his 1978 podium debut at the house with 17 Trovatore and went on to lead performances of Rigoletto, Aida, Cavalleria rusticana &. Pagliacci, Don Carlo, and Idomeneo. A well-known Mascagni scholar, he was the author and editor of Mascagni (1988), a compilation of the composer's autobiographical writings.

Musicologist KURT STONE, German/American, 77 years old, in Wilmington, NC, 6/15/89. An expert on twentieth century American music, he served as an editor to such prominent composers as Elliott Carter, Roy Harris, Walter Piston, Wallingford Riegger, and others, after immigrating to the United States in 1938. He was also involved in producing modern editions of older works. During the war, he gave professional support to Stravinsky, Milhaud, Hindemith, and other emigre's. Author of Music Notation in the 20th Century: A Practical Guidebook (1980), he and his wife edited and annotated The Writings of Elliott Carter and translated The Handbook of Percussion Instruments by Karl Peinkofer and Fritz Tannigel from the German.

Bass MARTTI TALVELA, Finnish, 54 years old, in Juva, Finland, 7/22/89. Memorable as Boris Godunov, Dosifei in Khovanshchina, and in operas by Mozart, Verdi, and Wagner, the internationally known artist of imposing voice and stage presence began his career in Finland, made his 1962 de- but at Bayreuth at the invitation of Wieland Wagner, and went on to sing at the Deutsche Oper Berlin, the Rome Opera, La Scala, the Royal Opera Covent Garden, and other principal European companies. In the United States he was heard at the Lyric Opera of Chicago, the San Francisco Opera, and the Metropolitan Opera, where he made his debut in 1968 as the Grand Inquisitor in Don Carlo and sang with the company until the 1987-88 season. His major roles there included Boris Godunov, Dosifei, Gurnemanz in Parsifal, Fasolt in Das Rheingold under Karajan (1968), Kecal in the English-language production of The Bartered Bride, Prince Gremin in Eugene Onegin, Osmin, and Sarastro. He also performed modern music, notably in the premieres of Roger Sessions' Montezuma (1964) in Berlin and Joonas Kokkonen's The Last Temptations (1978) in his own country, where he also gave encouragement to young composers as the first director of the Savonlinna Festival. He was to have become the General Director of the Finnish National Opera in 1992.

Singing actress and arts patron NORMA TERRIS, American, 87 years old, in Lyme, CT, 11/15/89. Chiefly remembered for her creation of the role of Magnolia in Show Boat in both its 1927 premiere and the 1932 revival, she was originally a performer in vaudeville. She later acted in films and appeared as a regular member of the Municipal Opera Company in -81- OBITUARIES Saint Louis during the 1930s. A 30-year member of the board of Haddam, Connecticut's Goodspeed Opera House, whose second theater in Chester is named in her honor, she established both an internship for young artists and a fund for composers and performers. Composer, author, critic and teacher VIRGIL THOMSON, American, 92 years old, in New York City 9/30/89. One of the country's most illustrious composers of concert works and film scores, he is chiefly known for his two innovative operas, the non-narrative Four Saints in Three Acts (1934), written for black singers, dancers, and actors, and The Mother of Us All (1947), both with libretti by Gertrude Stein, whom he met while living in Paris in the 1920s. It was there, as a student of Nadia Boulanger, that he came under the musical influence of Satie and Les Six, which gave a sophisticated form to his simple harmonies, suggestive of parlor songs, folk tunes, gospel hymns, and spirituals. Among his large body of works is the full-length opera Lord Byron (1972), with a libretto by Jack Larson. He was a prominent music critic whose witty and informed articles for the Herald Tribune (1940-54) have been republished and often quoted; in addition, he was the author of The State of Music, American Music Since 1910, and other books, the last of which, Music with Words: A Composer's View, was published last month.

Arts patron MRS. EDGAR TOBIN, American, 91 years old, in San Antonio, TX, 8/3/89. For a tribute, see "COS Inside Information: In Memoriam." Composer VLADIMIR USSACHEVSKY, Russian/American, 78 years old, in New York City 1/4/90. Among the early composers and experts in electronic music during the 1950s, he was a founder of the Columbia-Princeton Center (now called the Columbia University Electronic Music Center) with Milton Babbitt, Roger Sessions, and Otto Luening, his frequent collabora- tor. In addition to choral pieces and film scores, he wrote an interlude, "Suicide Music," for Marvin David Levy's Mourning Becomes Electra, premiered at the Metropolitan Opera in 1967. Musical arranger and conductor DON WALKER, American, 81 years old, in Trenton, NJ, 9/12/89. He was a versatile arranger of operettas and musicals whose orchestrations for many hit shows during the 1950s, '60s, and '70s include The Most Happy Fella, The Music Man, Fiddler on the Roof, and Zorba, for which he studied Greek music and instrumentation. He also composed and wrote lyrics for Memphis Bound!, a swing version of H.M.S. Pinafore, which opened with Bill Robinson and a cast of black performers in 1945. Music director RENE WIEGERT, American, 59 years old, in Goshen, NY, 6/26/89. A graduate of the Juilliard School, he was the music director for Broadway hits, among them Evita, Pippin, and Cats, and revivals of Oklahoma! and South Pacific. Arts patron BLANCHE WITHERSPOON (Mrs. Herbert), American, in Sher- man Oaks, CA, 10/26/89. Her husband, Herbert, sang bass roles at the Metropolitan Opera before turning to administrative work. In 1935, he was chosen as the sucessor to Metropolitan Opera General Manager Giulio Gatti-Casazza, but died before he could assume the position. Mrs. Wither- spoon was a co-founder of the Metropolitan Opera Guild with Mrs. August Belmont in 1935, and went on to serve as its director from 1945 until 1954, when she resigned and moved to Colorado. Subsequently, she was appointed Metropolitan Opera National Council Auditions Director for the Rocky Mountain Region. []

-82- PERFORMANCE LISTING, 1989-90 SEASON (CONT.) All performances are staged unless marked "conc.pf." (concert performance) and are given with an orchestra unless marked "w.p." (with piano). An * following a title indicates a new production; a t indicates that projected English captions are used. A single date appearing for a series of several performances indicates the opening night. Performances and news items listed in an issue of the Bulletin are not repeated in later issues.

ALABAMA Huntsville Opera Theater, H. Bergetzi, Art.Dir., Huntsville 11/25,26,30 12/1/89 Madama Butterfly! 3/26,27,28/90 Cavalleria rusticanat & Pagliaceit University of Montevallo Lyric Theatre, B. Middaugh, Dir., Montevallo 9/25,26/89 Broadway concert 4/26,27/90 Richardson/Elmslie's The Grass Harp ALASKA Anchorage Opera Co., W. Russell, Gen.Dir., Anchorage (see also Vol.29 #3) 11/8/89 Brecht/Sondheim Evening 3/11/90 Jerry Hadley in recital 3/24/90 Mavra w.p. Fairbanks Light Opera Theatre, T. Reed, Pres., Fairbanks 11/17,18,19/89 Damn Yankees tour Juneau Lyric Opera, S. Strandtmann, Pres., Juneau 4/5-8/90 The Mikado Perseverance Theatre, M. Smith, Pres. & Art.Dir., Douglas 11/14-12/10/89 Various/Hunsaker's Pieces of Eight w. reggae music ARIZONA Arizona State University Lyric Opera Theatre, K. Seipp, Dir., Tempe 10/6-20/89 A Funny Thing Happened on the Way to the Forum 9 pfs. 12/1,2,6,8,9/89 Les Contes d1 Hoffmann 2/16,17,18,21,23,24,25/90 Princess Ida 4/20,21,25,27,28,29/90 Four Saints in Three Acts Northern Arizona University Opera Theatre, L. Hanson, Dir., Flagstaff 10/20-22/89 Carousel 11/18/89 Harper's Mellstock Quire excpts.; at NOA Convention, Albuquerque 4/5,6,7/90 Falstaff ARKANSAS Arkansas Arts Center Children's Theatre, B. Anderson, Art.Dir., Little Rock 9/89-3/90 Lee's Jack and the Beanstalk tour 1/26-2/11/90 Lee's Rumpelstiltskin 12/89 Lee's The Elves and the Shoemaker tour Arkansas Repertory Theatre, C. Baker, Prod.Art.Dir., Little Rock 11/30-12/17/89 Guys and Dolls 7/19-8/5/90 Evita Opera Theatre at Wildwood, A. Chotard, Gen.Dir., Little Rock (Vol.29 #3; as Arkansas Opera Theatre) 1/5-7/90 Die Fledermaus scenes; conc.pf.; at Wildwood Park CALIFORNIA American Conservatory Theater, E. Hastings, Art.Dir., San Francisco 10/2-16/89 Ream/Coates' Right Mind prem. (coprod. George Coates Performance Works); at Geary Theater; Spring '90 at location TBA 12/27-31/89 Almost Like Being in Love revue; at Herbst Theater 2/21-3/15/90 Erskine/Shakespeare's Twelfth Night prem. Back Alley Theatre, L. Zucker & A. Miller, Prod.Dirs., Van Nuys 9-10/28/89 Porter/Coward's A Talent to Amuse Berkeley Opera, R. Goodman, Gen.Dir., Berkeley 2/17-28/90 Walton's The Bear & Amelia Goes to the Ball 6 pfs. 4/90 La Boheme Eng.; 10 pfs. 7/90 Moniuszko's The Haunted Castle Eng. Khuner; 10 pfs. California Lyric Grand Opera, E. Polese-Hughes, Art.Dir., Los Angeles 12/9/89 Gala concert; at Eagle Rock California Music Theatre, G. Davis, Art.Dir., Pasadena (see also Vol.29 #3) 2/14-3/4/90 On the Town 6/6-24/90 Man of La Mancha 8/8-26/90 Hirsch/R. Miller's Clothespins and Dreams prem.

-83- 1989-90 SEASON California State University Music Theatre, R. Cordova, Dir., Long Beach 11/3/89 Orfeo ed Euridice Vienna vers. California State University Opera Theatre, D. Scott, Dir., Northridge 10/27,28,31 11/1,3,4/89 Der Schauspieldirektor Eng. & Prima Donna d: Jacobs 11/17-12/10/89 South Pacific 14 pfs. California State University Opera Workshop, R.L. Stradley, Dir., Sacramento 10/4,5/89 Signor Deluso also 8 pfs. on tour Casa Italiana Opera Co., M. Leonetti, Gen.Dir., Hollywood 10/8m/89 La Boheme 4/1,2/90 Carmen tour 11/26/89 Les Contes d'Hoffmann 5/6/90 La Traviata 3/4/90 n Trovatore Cinnabar Opera Theater, M. Klebe, Art.Dir., Petaluma 9/15,16,17m,22m,22,23/89 The Fantasticks 12/8,9,10,15,16,17,19,20/89 Wubbold's The Tailor of Gloucester 12/16,19/89 Holiday Sing 1/26,27,31 2/2,3,4m/90 Bluebeard's Castle* Lichtenstein; Klebe; c: Shuman; d: Klebe; ds: Yeager Citrus College, Music & Theater Depts., Glendora 11/10/89 Beehive revue 12/7-13/89 Christmas Is. . . 2/17/90 Tom Sawyer (Cerritos College Children's Theatre prod.) City Summer Opera, D. Cate, Prod., City College of San Francisco 7/90 Weill's Silverlake Eng. College of Notre Dame Opera Wksp., O. Taylor, Dir., Belmont 3/2,3/90 Amelia Goes to the Ball w.p. Davis Comic Opera Co., M. Dickman, Art.Dir. <5c Prod., Davis 11/9-19/89 H.M.S. Pinafore 8 pfs. 4/19-22,26-28/90 The Merry Widow Eng. Harnick; c: Lang; d: Stradley; ds: Foerster Dell'Arte Players, M. Fields, Mng.Dir., Blue Lake 12/14-21/89 Leishman/Friedman's Animal Nation prem. (coprod. San Diego Rep. Theatre) Downey Civic Light Opera, W. Marsh, Mus.Dir., Downey 10/6-22/89 Barnum 12/7-17/89 Happy Holidays revue East West Players, N. McCarthy, Art.Dir., Los Angeles 10/18-12/10/89 Company Ensemble Theatre Co., R. Weiss, Dir., Santa Barbara 1/19-3/17/90 Scapin's Scandals prem. Euterpe Opera Theater, H. Pelta, Mus.Dir., Sherman Oaks 10/22m/89 Szymanowski concert; at USC 11/19/89 The Early Songs of Alban Berg; at Gallery Theatre, Los Angeles Spring '90 Korngold concert; at Occidental College, Eagle Rock Fresno Lyric Opera Theater, N. Iacovetti, Art.Dir., Clovis 10/13,14/89 La Traviata Eng. Martin 12/20-23/89 Amahl and the Night Visitors 5 pfs. 4/6,7/90 Carmen Eng. Garden Grove Opera, J. Sullivan, Mus.Dir., Garden Grove 2/9,llm/90 Semiramide Poston-Sullivan, Dubinbaum; P. Johnson; c: Sullivan; d: Hayes; ds: Morales/Conway George Coates Performance Works, G. Coates, Art.Dir., San Francisco 1/21-24/90 Ream/Coates1 Nowhere Now Here at Cal State University, Chico Gilbert and Sullivan Society of San Jose, M. Handloff, Pres., San Jose 9/23,24,30 10/1,7/89 Cox and Box & Donizetti's H Campanello Eng. Hollywood Opera Ensemble, A. Monte, Gen.Dir., Los Angeles 10/21m,28m/89 The Merry Widow 2/10,17/90 La Boheme Lamb's Player's Theatre, R. Smyth, Prod.Art.Dir., National City 10/6-11/12/89 Joseph and the Amazing Technicolor Dreamcoat Long Beach Community Players, Long Beach 9/1-23/89 McDonald/Vos/Gerlach's Something's Afoot 1/5-27/90 Pippin at Studio Theatre 1/5-2/17/90 Gigi at Playhouse Theatre Long Beach Opera, M. Milenski, Gen.Dir., Long Beach ll/12m,15,17,19m/89 La Rondine Eng.; Vento, Langton; Livingston; c: Behr; d/ds: de Ana 4/lm,4,6,8m/90 The Rape of Lucretia Ka. Ciesinski; d: C. Alden 4/28 5/2,4,6m/90 Pellets et Melisande Eng.

-84- 1989-90 SEASON Los Angeles Concert Opera Ass'n., L. Zachary, Gen.Dir., Los Angeles 1/29/90 Le Villi & Carmen exepts; conc.pf.; Jacoby; Ikaia-Purdy, Chen; Roger Wagner Chorale; Young Musicians Debut Orchestra; c: Schifrin Los Angeles Music Theatre Co., L. White, Dir., North Hollywood 11/3,5111,8,10,1201,15,17,19111/89 La Boheme Eng. Los Angeles Philharmonic Orchestra, E. Fleischmann, Exec.Dir., Los Angeles 11/30 12/l,2,3m/89 Cone. incl. Oedipus Rex Harries; Cole, Eisler, Devlin; narr: McDowell; Los Angeles Master Chorale; c: Salonen 2/2,3,4m/90 Cone. incl. Die Walkttre Act 3 exepts.; Evans; Sotin; c: Rattle Modesto Junior College Opera Theater, L. Woodward, Dir., Modesto 12/1,2/89 Marshall/Balk's The Business of Good Government Music Academy of the West, B. Igesz, Art.Dir., Santa Barbara 6/24-8/18/90 Festival incl. Falstaff or La Traviata Northbay Lyric Opera, V. Von Ah, Pres., Novato 11/4,5,10,11,12,17,18,19/89 The Desert Song 4/90 TBA 4 pfs. Oakland Opera, C. Heater, Art.Dir., Oakland ll/24,26m,28/89 Boris Godunov exepts.; Raitzin, Hines; c: K. Clark; d/ds: J. Field 3/9,llm,13/90 Madama Butterfly Zajac, Tede; Halstrom, d'Alvise; c: Feist; d: Klitsner; ds: Jordan 5/11,13m,15/90 Cavalleria rusticana & Pagliacci Gruber; Olvis; c: Narinsky Opera a la Carte, R. Sheldon, Dir., Los Angeles 1989-90 Trial by Jury* & H.M.S. Pinafore 10/20,21* in Honolulu; 2/10,llm in Pasadena 11/18/89 The Mikado c: Fetta Opera Buffs, R. Cohen, Pres., Los Angeles 10/29/89 "On the Way Up" recital Orange County Performing Arts Center, Costa Mesa 1/23,24,25,26,27m,28m,28/90 She Loves Me Pacific Repertory Opera, J. Anderson, Mus. & Art.Dir., San Luis Obispo 1989-90 Dido and Aeneas & n Ballo delle ingrate c: D. Stevens; d: P. Heuerman Pasadena Playhouse, State Theatre of California, S. Dietz & S. Rothman, Prod.Dirs. 2/2-3/18/90 Kander/Ebb's Flora, the Red Menace Paul Dresher Ensemble, R. Kirek, Exec.Dir., Berkeley 1989-90 Dresher/Eckert's Power Failure midwest tour; 1/90 at Berkeley; 2/23,24 at U.C.L.A 1/10-21/90 Dresher/Eckert's Slow Fire and tour 5/24/90 Dresher/Eckert's's Pioneers prem.; see Spoleto Festival U.S.A., in SC PCPA Theaterfest, J. Shouse, Mng.Art.Dir., Santa Maria 2/14-3/4/90 Little Shop of Horrors 4/25-5/6 5/17-20/90 Yours, Anne Pepperdine University, Seaver College Opera Wksp., V. Mesrop-McMahon, Dir., Malibu 10/lm,1,2/89 Big River 11/10,11,12m,15-18/89 My Fair Lady 12/17m, 17/89 A Christmas Carol Philharmonia Baroque Orchestra, N. McGegan, Mus.Dir., San Francisco 9/13/89 Handel's Susanna Hunt, Feldman; Minter, J. Thomas, Parker, D. Thomas Pismo Light Opera Theatre, Pismo Beach 11/2,10,11,17,18,24,25/89 The Sound of Music Pocket Opera, D. Pippin, Art.Dir., Lorraine Hansberry Theater, San Francisco 2/18m 3/20/90 La Fille de Mme. Angot Eng. Pippin; 5/6m in Berkeley 2/25m/90 Lo Speziale Eng. Pippin; 6/3 in Berkeley 3/25m 4/17/90 Wagner's Das Liebesverbot Am.stg.prem.; Eng. Pippin (as No Love Allowed); 4/21 in Berkeley; 5/13 in Saratoga 4/lm/90 Orph6e aux enfers Eng. Pippin; 5/5 in Berkeley; 5/27 in Saratoga 4/3,29m/90 Cos'i fan tutte Eng. Pippin; 3/31 in Saratoga 4/8m 5/1/90 La Cenerentola Eng. Pippin; 5/19 in Saratoga 4/15m/90 Handel's Rinaldo 4/22m/90 Smetana's The Two Widows Eng. San Bernardino Civic Light Opera, CD. Jenks, Gen.Mgr. & Prod.Art.Dir. (revised schedule) 9/22-10/1/89 Man of La Mancha 11/10-19/89 110 in the Shade (replaces La Cage aux Folles) 2/16-25/90 Big River San Diego Civic Light Opera, H. Goldman, Gen.Mgr. & Exec.Prod., San Diego 11/8-19/89 La Cage aux Folles

-85- 1989-90 SEASON San Diego Opera, Education/Outreach Dept., San Diego (see also Vol.29 #3) 10/18/89 Rockwell's Rip Van Winkel at O'Farrell School and tour San Francisco Conservatory of Music Opera Theater, W. Gunn, Dir., San Francisco 3/26,28,30 4/1/90 L'Elisir d'amore 12/89 4/22,23/90 Scenes San Francisco Mime Troupe, P. Osbon, Gen.Mgr., San Francisco 11-12/10/89 Barthol/Craig/Peter/Shihadeh/Holden's Seeing Double in New York City; also national tour San Francisco Opera, L. Mansouri, Gen.Dir., San Francisco (see also Vol.29 #3) 4/7/90 P16eido Domingo in concert 6/6,12,20,24m/90 Das RheingoldT Holleque, Dernesch, Svendgn; Trussel, Pampuch, Morris/Hale, Fox/Mazura, Vogel; c: Schneider/Runnicles; d: Lehnhoff/Mansouri; ds: Conklin 6/8,14,21,27/90 Die Walktiret Jones/Martin/Behrens, Blankenship, Dernesch; Lakes, Morris/Hale, Vogel; e: Schneider/Runnicles; d: Lehnhoff/Mansouri; ds: Conklin 6/10m,16,23,29/90 Siegfriedt Jones/Martin/Behrens, Svend^n; Kollo/Johns, Pampuch, Morris/Hale, Fox/Mazura; c: Schneider/Runnicles; d: Lehnhoff/Mansouri; ds: Conklin 6/13,19,26 7/lm/90 Gotterdammerungt Jones/Martin/Behrens, Sundine, Ka. Ciesinski, Svendgn; Kollo/Johns, Devlin, Fox/Mazura; c: Schneider/Runnieles; d: Lehnhoff/ Mansouri; ds: Conklin San Francisco Opera Center, C. Bullin, Dir., San Francisco 6/28/90 Season Preview Concert 7/25/90 Reimann's Gespenstersonate Am.prem.; at Theatre Artaud San Francisco Opera Center, Merola Opera Program, C. Bullin, Mgr., San Francisco 3/20/90 Spring Benefit; at Pare Hotel 7/15/90 The Merry Wives of Windsor Eng. 8/10-12/90 Lucia di Lammermoor at Villa Montalvo, Saratoga 8/19/90 Finals Concert San Jose Civic Light Opera, S. Slater, Exec.Prod., San Jose 11/3-12/89 Dream girls 3/9-18/90 Jesus Christ Superstar 1/19-28/90 The Pirates of Penzance 5/11-20/90 Guys and Dolls San Jose Repertory Company, T. Near, Art.Dir., San Jose 12/8/89-1/7/90 A Day in Hollywood/A Night in the Ukraine Santa Barbara Civic Light Opera, P. Iannaccone, Exec.Prod., Santa Barbara 10/6-22/89 The Sound of Music 12/31/89 Die Fledermaus Eng. 12/1-23/89 Man of La Mancha 3/2-25/90 Damn Yankees 12/4,ll,18m/89 Amahl and the Night Visitors 5/25-6/10/90 My Fair Lady Santa Monica Civic Opera, Santa Monica l/14m,21m/90 Carmen c: Lanza; d: O'Neil Santa Monica Theatre Guild, Morgan-Wixon Theater, Santa Monica 12/1-16/89 The Pirates of Penzance Sinfonia San Francisco, S. Cristler, Mus.Dir., San Francisco 3/12/90 Marie Galante conc.vers. <5c Happy End Songspiel vers. ed. Drew & Mahagonny Songspiel Reaux; c: Cristler Stanford Savoyards, R. Taylor, Prod., Stanford 11/10,11,12,17,18/89 Gianni Schicchi Eng. & Trial by Jury 4/27,28,29 5/4,5,6/90 Ruddigore TheatreWorks, R. KeUey, Art.Dir., Palo Alto 1/26-2/17/90 Cohen's No Way to Treat a Lady 3/17-4/7/90 Big River United States International University, School of Performing & Visual Arts, San Diego 10/4-29/89 The Mikado 2/14-3/11/90 HeUo, Dolly! 1/31-3/11/90 The Fantasticks University of California-Irvine, Music Dept., J. Huszti, Chmn., Irvine 11/9-18/89 Die Zauberflfite Eng. Cohen; c: Bosker (coprod. Drama Dept.); 9 pfs. University of California-Los Angeles, Theatre Arts Dept., Los Angeles 12/1,2,3m,6,7,8,9/89 Rodgers/Hammerstein's Me and Juliet University of Southern California, USC Opera, G. Ostrowski, Dir., Los Angeles 12/7,8,9,10m/89 L'Ormindo Leppard ed.; c: Speck; d: Boerlage l/7m/90 Hansel and Gretel abrgd.; d: Boerlage Spring '90 La Clemenza di Tito Ventura County Master Chorale & Opera Ass'n., B. Taft, Art.Dir., Ventura 10/21,22/89 Dido and Aeneas conc.pfs.

-86- 1989-90 SEASON West Bay Opera, M. Holt, Gen.Dir., Stern Theatre, Palo Alto 10/20,21,22,26,27,28/89 Tosca c: Sloss; d: Rowland 2/2,3,4m,8,9,10/90 Der Freischiitz Eng. dialogue; Spain/Willner, Rodin-Lo/Dronkers; Matthews/Guggenheim, Neil/Portnov; c: Khuner; d: Field; ds: Rathman 5/18,19,20,24,25,26/90 La Fille du regiment Eng.; c: Sloss; d: Field West Coast Opera Co., J. Lombardo, Gen. & Art.Dir., Palm Desert 11/29,30/89 The Sound of Music 3/24/90 Cavalleria rusticana & Pagliacci Western Opera Theater, C. Bullin, Dir., San Francisco 9/27-11/18/89 1/19-3/18/90 Carmen* Eng. Martin; c: Abell; d: Nieuwenhuis; 64 pfs.; "An Hour for the Opera" 7 pfs.; national tours Whittier-La Mirada Light Opera, P. Garman, Exec.Prod., La Mirada 10/6-21/89 My One and Only Yorba Linda Civic Light Opera, Yorba Linda 9/29-10/15/89 The Music Man Youth in Arts, D. Salzman, Exec.Dir., San Rafael 10/18,19/89 Cinderella (Fantasy Forum prod.) 11/14/89 The Sound of Music (San Rafael Young Performers Theatre prod.) 11/28,29/89 A Midsummer Night's Dream (Lilliput Players prod.); in Santa Rosa COLORADO Aspen Opera Theater Center, E. Berkeley & R. Spillman, Co-Dirs., Aspen 7-8/90 Co£l fan tutte c: Mester; Four Saints in Three Acts; Gilbert and Sullivan excpts.; Baroque opera TBA; 10 scenes wksps. Central City Opera, J. Moriarty, Art.Dir., Central City 7/7-8/15/90 La Traviata; CosS fan tutte; The Merry Widow; Apprentice Artists Program incl. Face on the Barroom Floor, Opera a la Carte, salon recitals Colorado State University Opera Theatre, J. Lueck, Dir., Fort Collins 1989-90 Amahl and the Night Visitors; Scenes; Le Nozze di Figaro Denver Center Theatre Co., D. Marley, Art.Dir., Denver 11/8-23/89 A Little Night Music 4/18-5/12/90 Gesner's Animal Fair prem. Opera Colorado, N. Merrill, Gen. & Art.Dir., Boettcher Hall, Denver (revised schedule) 2/17,21,23/90 Curlew River Ahlstedt; c: D. Shaw; d: Merrill; ds: Robertson/Ames; at St. Paul's Lutheran Church 4/28 5/l,4,6m/90 Faust Denning; W. MacNeil, Parce, Langan; c: DelacSte; d: Merrill; ds: Lee 5/5,8,ll,13m/90 Un Ballo in mascherat Barstow, Blackwell, I. Jones; Moldoveanu; c: Acs; d: Merrill; ds: Robertson (replaces Macbeth) University of Colorado, Opera Dept., D. Jackson, Dir., Boulder (see also Vol.29 #3) 11/16/89 Pasatieri's La Divina (coprod. Theater Dept.); at NOA Convention, Albuquerque CONNECTICUT Downtown Cabaret Theatre of Bridgeport, R. Hallinan, Exec.Prod., Bridgeport 11/10/89-1/20/90 The Wiz 2/9-3/31/90 Joseph and the Amazing Technicolor Dreamcoat 4/6-6/9/90 West Side Story Goodspeed Opera House, M. Price, Exec.Dir., East Haddam (see also Vol.29 #3) 11/8-26/89 Post's The Real Life Story of Johnny De Facto wksp.pfs. 1/90 Oh, Kay! new vers. by Siretta; d: Siretta (coprod. Birmingham Theatre, MI) Long Wharf Theatre, A. Brown, Art.Dir., New Haven 1/16-3/4/90 Roose-Evans/Lipman's Re:Joyce! Am.prem. Music Theater of Connecticut, K. Connors, Mus.Dir., Westport 1/6-27/90 The Roar of the Greasepaint, the Smell of the Crowd Spring '90 The Great American Backstage Musical; The Fantasticks Opera Theater of Connecticut, A. Mann, Art.Dir., Clinton 8/90 Cavalleria rusticana & Pagliacci Shubert Opera, J. Lisi, Exec.Dir., Shubert Performing Arts Center, New Haven 9/15,17m/89 Carment Firestone; Glassman 2/9,llm/90 Die Fledermaus Eng.; H. Thomson, Manzi, Catania; Garrison, Siena, Busterud, R. McKee; c: Pallo; d: R. McKee; ds: King/Stivanello 6/l,3m/90 Rigolettot Hong University of Hartford, Hartt Opera/Music Theater, A. Bishop, Dir., West Hartford 1/25/90 Hin und zuriick

-87- 1989-90 SEASON Wesleyan University, Music Dept., Middletown 12/9/89 Debussy's L'Enfant prodigue Shirley; c: M. Strauss Yale Music Spectrum, Yale University School of Music, E. Laderman, Dean, New Haven 2/90 cone. incl. Renard Siena, Sperry, Lalli; c: Berman; 2/17 at Merkin Hall, New York Yale University, Yale Voice & Opera Program, D. Yarick-Cross, Dir., New Haven 10/13 12/9/89 Scenes 4/27,29/90 Falstaff DELAWARE Delaware Theatre Co., C. Morris, Art.Dir., Wilmington 11/3-12/16/89 Tomfoolery OperaDelaware, Education Program, E. Swensson, Dir., Wilmington (see also Vol.29 #3) 10/15/89 Strouse/Robinette's Charlotte's Web Lewin, Lord; Brackin; c: Swensson; at Winston-Salem, NC; 2 pfs. DISTRICT OF COLUMBIA Arena Stage, Z. Fichandler, Art.Dir., Washington 9/89 Stephen Wade—On the Way Home open run 1/26-4/8/90 Merrily We Roll Along rev.vers.; Kreeger Theater Catholic University of America, Benjamin Rome School of Music, E. Annaheim, Dir. Opera, Washington 10/20-22 27-29/89 The Mikado Spring '90 An Evening of Broadway Ford's Theater, F. Hewitt, Exec.Prod., Washington 10/10-11/12/89 Marow's Don't Let the Dream Go prem. Kennedy Center for the Performing Arts, M. Istomin, Art.Dir., Eisenhower Theater 12/12,13,14,15,16m,16,17m,17/89 Amahl and the Night Visitors Guzman; Chaikiri, Raftery, Hawkins; c: Crout; d: Menotti; ds: Brown Kennedy Center for the Performing Arts, Theater Series, Opera House, Washington 12/22/89-1/16/90 Strouse/Charnin/Meehan's Annie 2: Miss Hannigan's Revenge Loudon; d: Charnin; ehorg.: Daniels 2/20-3/25/90 Miller/Ellington/Carmichael/Parish's Stardust revue; B. Buckley; d: McKayle; ds: Erte'; at the Eisenhower Theater 4/25-5/26/90 Chihara/J. Driver's ShOgun prem.; d: Smuin 6/12-7/14/90 Starlight Express national tour National Symphony Orchestra, M. Rostropovich, Mus.Dir., Washington 11/9,11,14/89 Carmina Burana c: Fruhbeck de Burgos 11/89 de Falla's El Retablo de maese Pedro National Theatre, Washington 9/9-10/8/89 The Threepenny Opera* Eng. Feingold; McGovern, G. Brown; Sting, Epstein; c: Rudel; d: Dexter; ehorg.: Gennaro; ds: Herbert; 11/5 at Lunt-Fontanne Theatre, New York City; open run Opera in the Chapel, N. Scimone, Dir., Mount Vernon College, Washington 11/15,18,29,21/89 Oberon conc.pf. Summer Opera Theatre, E. Walter, Exec.Dir., Catholic Univ. of America, Washington 6-7/90 Roberto Devereux; New Moon FLORIDA American Opera Theater, C. Kievman, Art.Dir., Miami 4/15-5/15/90 Kievman/Babe's Tesla wksp. & pfs. American Stage, V. Holloway, Art.Dir., Saint Petersburg 10/16-12/23/89 Ahlin's Cinderella: The True Story school tour 7/12-8/4/90 Billy Bishop Goes to War Asolo Center for the Performing Arts, L. Warner, Exec.Dir., Sarasota 2/20-4/11/90 Kander/Ebb/Martin's 70! Girls! 70! Coconut Grove Playhouse, A. Mittelman, Prod.Art.Dir., Coconut Grove 10/20-11/19/89 Leander/Seago's Matador d/chorg: Bell; ds: Ryan/Missimi; 10/10-22 prvws. 11/3/89-2/4/90 Elliot/Hochman/Leeesne's One Man Band 10/31-11/2 prvws. 12/8-31/89 The Roar of the Greasepaint, the Smell of the Crowd d: Chan; 11/28-12/7 prvws. 3/9-4/1/90 Walden/Levy's Miami Lights prem. Coral Gables Civic Opera <5c Orchestra, B. Smith, Pres. & Art.Dir., Coral Gables 1989-90 Don Giovanni Florida Shakespeare Festival, G. Deschamps, Art.Dir., Miami 12/5-31/89 The Mikado 3/13-4/8/90 High Spirits 1989-90 SEASON Florida State University, Florida State Opera at FSU, L. Clark, Dir., Tallahassee 11/9,10,11,12/89 Gianni Schicchi Eng. & L'Heure espagnole 4/5,6,7,8/90 La Perichole Eng. Summer '90 Broton's Jedermann Eng.; prem.; to be taped for WFSU-TV Greater Miami Opera, Young Artists Touring Ensemble, Miami (see also Vol.29 #3) 9/89 The Medium tour Hippodrome State Theatre, M. Hausch, Prod.Art.Dir., Gainesville 2/16-3/11/90 Romance, Romance Opera Antica, J. Norell, M us. Dir., Palm Beach 3/23/90 Dido and Aeneas c: Norell; 3/23-4/1 school tour Orlando Opera, R. Owens, Gen.Dir., Orlando (see also Vol.29 #3) 5/4,6,8/90 Le Nozze di Figaro (replaces Andrea Chewier) Pensacola Junior College, Music & Drama Depts., S. Kennedy, Dir., Pensacola 10/27-29/89 Pote's The Seaplane prem. Pensacola Opera, C. Reims, Art.Dir., Gulf Breeze 10/27,28/89 The Merry Widow 4/20,21/90 Carmen Sarasota Opera Ass'n., Children's Opera Co., E.J. Trawick, A dm. Dir., Sarasota 1989-90 The Toy Shop tour Seaside Music Theater, L. Malizia, Gen.Mgr., Daytona Beach 2/1-25/90 Dames at Sea 3/1-25/90 Irving Berlin revue Summer '90 Cabaret; La Belle Helene Eng. Dunn; The Apple Tree; Into the Woods; The King and I Spanish Lyric Theatre, R. Gonzalez, Art.Dir., Tampa 9/23/89 Los Claveles de Ybor prem. 3/17,18m/90 Annie Get Your Gun 11/18,19m/89 FoUies 5/19,20m/90 Man of La Mancha Tampa Bay Opera, M. Laurenti, Art.Dir., Clearwater 4/21/90 Tosca Youkon; Amer; c: LeBaron; d: Laurenti University of Miami Opera Theater, F. Summers, Dir., Coral Gables 9/19/89 Mahagonny Songspiel; 9/15 at Festival Miami University of South Florida Opera Theater, W. Woodruff, Dir., Tampa 11/89 Cosi fan tutte and tour GEORGIA Alliance Theatre, R. Farley, Art.Dir., Atlanta 11/18-12/31/89 Annie Get Your Gun Atlanta Opera, A. Kennedy, Gen.Mgr., Atlanta 2/20/90 "Opera Magic" cone; exepts. from season repertoire 4/12,14,15/90 Die Fledermaus Eng.; Paschal, Peterson, Wallis; Freeman, Kreider, Ludgin, Foss; c: Scott; d: Lesenger 6/14,16,18/90 Le Nozze di Figaro* Eng.; Ringo, Hopkin, Cowdrick; Wentzel, Malis; d: Lesenger; ds: Deegan/Conly 8/30 9/1,3/90 Rigolettot Burton; Glassman, Noble, Eckhoff; d: Lloyd Clayton State College Opera Workshop, L. Corse, Dir., Morrow 1989-90 Stop the World, I Want to Get Off; Weaver's Silence Kennesaw State College Opera Omnia, H. Flight, Dir., Marietta 11/3,4,5/89 Cole revue 2/23,24,25/90 Candide Opera for Youth, S. Rapp, Pres., Clarkesville ll/14m/89 Barnes' The Vagabond Queen at NOA Conference, Albuquerque ll/15m/89 Van Ausdal's In Spider's Garden & Barnes' Zetabet & Rodriguez's Monkey See, Monkey Do exepts.; at NOA Conference, Albuquerque IDAHO Boise Opera, B. Judy, Exec.Dir., Morrison Performing Arts Ctr., Boise 10/20,22m/89 The Merry Widowt l/19,21m/90 Bratt's A Season for Sorrowt prem.; Mettelli; S. Thompson; c: Stern; d: Cramer; ds: Buss/Beseman 4/5,7m/90 Les Contes d'Hoffmannt 8/13-19/90 La Fille du regiment Eng.; Die Zauberflote Eng.; La Serva padrona Eng. & The Telephone & The Face on the Barroom Floor Ash Lawn-Highland Opera prods. Idaho Falls Opera Theatre, D. Christopherson, Art.Dir., Idaho Falls 11/9,11,13/39 Le Nozze di Figaro Eng.

-89- 1989-90 SEASON ILLINOIS Chamber Opera Chicago, L. Rapchak, Adm.Dir., Chicago (see also Vol.29 #3) 9/8,9,10,15,16,17111/89 Menotti's The Hero Loverde, Hofflander; Jarvis, Watson; c: Rapchak; d: Ratner; ds: Biddle/Werch Chicago Opera Theater, A. Stone, Art.Dir., Chicago (see also Vol.29 #3) 11/1/89 Kowalsky's Commuter! <5c Aglinskas/Sutherland's Steel Grin wksp.pf. Court Theater, N. Rudall, Art.Dir., Chicago 3/9-5/27/90 The Beggar's Opera Du Page Chorale and Chamber Orchestra, L. Kesselman, Dir., Du Page 6/10/90 Cone. incl. Down in the Valley c: Kesselman Free Street Theater, C. McCarren, Gen.Mgr., Chicago 9/89-4/90 Project! national tour 3/8,10/90 Lofstrom/Day's Two Soldiers prem.; c: Lofstrom; d: Berkson; ds: Bowen; at University of Chicago Illinois Theatre Center, S. Billig, Art.Dir., Park Forest 12/1-17/89 Kismet 4/20-5/6/90 The Fantasticks Light Opera Works, B. McDonough, Mng.Dir., Evanston 12/28,29,30,31m,31/89 Lady in the Dark c: Zellnis; d: Amster; ds: Donahue/Kelly Lincoln Opera, N. Williams, Art.Dir., Chicago 12/3,9/89 1/27/90 Die ZauberflSte 11/7 4/4 in Rockford; 7/90 at Lincoln Park; 10 pfs. 2/25 3/3/90 Rigoletto 5/20,26/90 La Boheme Millikin University Opera Theatre, S. Fiol, Dir., Decatur Fall '89 Trouble in Tahiti <5c Scenes w.p. 12/1,2/89 Hansel and Gretel 5/4-6/90 Le Nozze di Figaro Eng. Martin National Jewish Theatre, S. Patinkin, Art.Dir., Skokie 1-2/90 Listen to My Song: Kurt Weill's Theater Music revue The Opera Factory, B. Lewis, Exec.Dir., Chicago 4/20-25/90 La Dama Duende zarzuela; Eng. Poppe; 4 pfs. Peoria Civic Opera, F. Contino, Art.Dir., Peoria 11/11/89 Die Fledermaus Shearer; c: Contino Southern Illinois University-Carbondale, Marjorie Lawrence Opera Theatre, R. Best, Art.Dir., Carbondale 10/89 Winokur's The Boy Who Invented Opera & The Princess Who Talked Backwards 12/89 Musgrave's A Christmas Carol University of Illinois Opera Theatre, R. Boldrey, Dir., Urbana 9/89 The Sound of Music 4 pfs. 11/89 La Rondinet 4 pfs. Spring '90 Cos"! fan tutte Eng.; 2 pfs. INDIANA Ball State University, Opera/Music Theatre Wksp., P. Ewart, Dir., Muncie 10/17-22/89 Cabaret 11/19/89 4/1/90 Scenes Butler University Opera Wksp., L. Goetzinger, Dir., Indianapolis 2/1-4/90 Trouble in Tahiti <5c Meiman's The Ring of the Fettuccines Indiana State University Opera Workshop, F. Holland, Dir., Terre Haute 1/26,27/90 Le Nozze di Figaro Eng. Martin 3/16,18/90 Sweet Betsy from Pike <5c Bucci's The Dress 4c Harnick's Frustration also tour Indiana University, Contemporary Vocal Ensemble, J. Harrington, Mus.Dir., Bloomington 11/12/89 Cone. incl. Henze's Orpheus Behind the Wire Indiana University, Theatre Dept., Bloomington 4/13,14,16-21/90 Chicago Indianapolis Civic Theatre, Indianapolis 9/89 Hello, Dolly! 3/90 1940s Radio Hour 12/89 Cinderella 5/90 The Pirates of Penzance Phoenix Theatre, B. Fonseca, Art.Dir., Indianapolis 2/90 The Rocky Horror Show Theater or the Square, Indianapolis 9-10/7/89 Chicago 11-12/89 Joseph and the Amazing Technicolor Dreamcoat 1/90 Blues in the Night revue 5-6/90 La Cage aux Folles

-90- 1989-90 SEASON IOWA Clarke College, Music Dept., B. Fox, Chmn., Dubuque 10/19-22/89 Die Dreigroschenoper Cornell College Opera Wksp., M. Lee, Dir., Mount Vernon 1/28,29/90 The Mikado Des Moines Metro Opera, R. Larsen, Art.Dir., Indianola 6/22,24 7/1,6,10,14/90 Boris Godunov Dworchak 6/23,29 7/3,7,15/90 Martha de la Rosa 6/30 7/5,8,11,13/90 La Traviata Cummings Old Creamery Theater, T.P. Johnson, Prod.Dir., Garrison 8-10/22/89 Pump Boys and Dinettes 1989-90 Billy Bishop Goes to War Simpson College, Music Dept., R. Larsen, Chmn., Indianola 9/29,30 10/1/89 Sweeney Todd 2/16,17,18/90 Albert Herring University of Iowa Opera Theater, B. Glass, Dir., Iowa City 10/15,16/89 Hagemann's A Shaw Trilogy 11/14,15/89 The Toy Shop 12/5/89 Nassif's Crooked Broadway Act 3 KANSAS Music Theatre of Wichita, W. Bryan, Prod.Dir., Wichita 6/13-17/90 They're Playing Our Song 7 pfs. 6/27-31/90 Sugar Babies 7 pfs. 7/11-15/90 Carousel 7 pfs. 7/25-29/90 Jesus Christ Superstar 7 pfs. 8/8-12/90 Mame 7 pfs. Wichita State University Opera Theatre, G. Gibson, Dir., Wichita 11/2-5/89 Die Fledermaus Eng. Martin 2/3,4/90 Hansel and Gretel Eng. Bache 4/19-22/90 Le Nozze di Figaro Eng. Martin KENTUCKY Actors Theatre of Louisville, J. Jory, Prod.Dir., Louisville 11/23-12/23/89 Ekstrom's The Gift of the Magi 1/31-3/3/90 Oil City Symphony Southern Baptist Theological Seminary Wksp. in Church Music & Drama, M. Sherman, Dir., Louisville 11/14,16/89 Caldwell's Night of the Star 5/8,10/90 Gianni Schicchi Eng. Grossman & Scenes University of Louisville Opera Theatre, R. Holden, Dir., Louisville 2/9,11/90 The Old Maid and the Thief & n Tabarro LOUISIANA Loyola University Opera, F. Tuft-Peterson, Dir., New Orleans 3/90 Cosi fan tutte Le Petit Theatre du Vieux Carr6, New Orleans 1/5-21/90 The Threepenny Opera Southeastern Louisiana University Opera, S. Schrock, Dir., Hammond 10/89 The Fantasticks 11/16-17/89 Thomas' The Music Theater Machine in New Orleans; 1/90 tour University of New Orleans Opera Theater, R. Cortina, Dir., New Orleans 4/20,21/90 Madama Butterfly University of Southwestern Louisiana Opera Theater, G. Beman Griffin, Dir., Lafayette 11/9,10/89 Bernard's The Band Inside Your Head prem. Spring '90 25th Anniversary Gala MARYLAND Prince George's Opera, M. von Villas, Riverdale ll/3,5m/89 Madama Butterfly Eng.; Stricklett, Cain; Mcllvaine, Killmeier; c: Roberts; d: Von Villas; ds: Staneari 6/15,17/90 II Barbiere di Siviglia Eng. Martin Theatre Project, P. Arnoult, Dir., Baltimore 11/8-26/89 Moran's The Jack Benny Program Towson State University Opera Wksp., P. Frankel & S. Thompson, Dirs., Towson 11/17,18/89 Scenes 3/30,31/90 The Mikado

-91- 1989-90 SEASON Washington Savoyards, A. Shipp, Dir., Bethesda 1/25-28/90 Utopia Limited 5/31-6/3/90 The Mikado MASSACHUSETTS Boston Academy of Music, A. Tessitore, Mng.Dir., Boston 9/89 11/29,30/89 Jacques Brel Revue 11/24,25,26/89 The Yeomen of the Guard 3/16/90 tour Boston Conservatory of Music, Kurt Weill Festival, Boston 2/9/90 Marie Galante eone.vers.; Reaux; c: Capilow 2/14-18/90 A Kurt Weill Cabaret 2/22-25/90 The Seven Deadly Sins chorg: Sokolow & Scenes 3/8-11/90 Lady in the Dark Boston Opera Ass'n., Symphony Hall, Boston 2/11/90 Opera Gala Benefit; Freni; Dvorsky; Boston Symphony Orchestra, c: Ozawa Longwood Opera, J.S. Brumit, Gen.Dir., Needham 10/89 The Mikado 12/89 Die Fledermaus 3/90 Rigoletto 9/89-6/90 Shadle/O'Keefe's Friends and Dinosaurs; Hansel and Gretel school tours Merrimack Repertory Theatre, D. Schay, Prod.Dir., Lowell 10/6-29/89 Wright/Forrest/Chodorov/Bolton's The Anastasia Game Opera Lab, C. Wich, Art.Dir., Suffolk University, Boston 11/16-19/89 The Tender Land (coprod. Walsh Theatre) 5/3-5/90 WeilFs Der Jasager & Das Berliner Requiem <5c Der Lindberghflug Worcester Foothills Theatre Co., M. Smith, Exec.Prod., Worcester 3/29-4/22/90 Little Shop of Horrors MICHIGAN Birmingham Theatre, Birmingham 1/90 Oh, Kay! new vers. by Siretta; d: Siretta (coprod. Goodspeed Opera House) 2/14-3/18/90 Romance, Romance 5/16-6/17/90 Jesus Christ Superstar Comic Opera Guild, T. Petiet, Mng.Dir., Ann Arbor 2/19,24/90 Die Fledermaus Eng. Morningstar/Swain; 3/2 in Battle Creek Midland Center for the Arts, Midland 2/90 Annie Get Your Gun Piccolo Opera Co., M. Gordon, Pres. & Gen.Dir., Detroit 10/28/89 Little Red Riding Hood 2/3/90 Hansel and Gretel Eng. Limbacher/Gordon University of Michigan, Musical Theatre Program, Ann Arbor 10/20-23/89 If My Friends Could See Me Now! Cy Coleman revue 10/26-28/89 Memories and Imagination (BasementArts prod., Theatre Dept.) 4/19-22/90 Die Dreigroschenoper University of Michigan, School of Music Opera Theatre, J. Lesenger, Dir., Ann Arbor 11/16-19/89 La Boheme 4/5-8/90 Don Pasquale MINNESOTA Children's Theatre Co., B. Conner, Exec.Dir., Minneapolis 9/8-11/12/89 The Adventures of Babar 11/24-12/30/89 Cinderella 1/12-3/31/90 Titus/Congdon's Mother Goose prem. 10/89-8/90 Raggedy Ann and Andy national tour College of Saint Catherine & College of Saint Thomas Opera Wksp., M. Gignac-Hedges, Dir., Saint Paul 3/17/90 Bialas' Belisa Guthrie Theater, G. Wright, Art.Dir., Minneapolis 1/28-2/25/90 Candide Minnesota Orchestra, Viennese Sommerfest, M. Steinberg, Interim Art.Dir., Minneapolis 8/4/90 Madama Butterfly conc.pf.; Hartliep; Rosenshein; c: de Waart University of Minnesota Opera Theatre, V. Sutton, Art.Dir., Minneapolis 11/17-19/89 Ariadne auf Naxos 2/22-25/90 Le Nozze di Figaro Eng. Martin 4/27-5/13/90 A Little Night Music 11 pfs.

-92- 1989-90 SEASON MISSOURI Drury College Opera Wksp., R. Jackson, Dir., Springfield 4/90 Sunday Excursion Opera Theatre of Saint Louis, C. MacKay, Gen.Dir., Saint Louis (see also Vol.29 #3) 10/6,7/89 J. Meyer's Laclede's Landing prem.; Carman Trails School students; d: Stunkel; and tour Repertory Theatre of Saint Louis, S. Woolf, Art.Dir., Saint Louis 9-10/6/89 Wann/Haber's The Merry Wives of Windsor, TX The Red Clay Ramblers 10/25-11/12/89 Tomfoolery tour to MO & IL through 11/18 Saint Louis Black Repertory Co., R. Himes, Prod. Dir., Saint Louis 10/4-11/5/89 Shannon/Reeger's Stones Theatre Project Co., K.R. White, Mng.Dir., Saint Louis 10-11/19/89 Peaslee/Hall's Animal Farm Unicorn Theatre, C. Levin, Art.Dir., Kansas City 11/9-12/31/89 Houston's Six Women with Brain Death or Expiring Minds Want to Know William Jewell College Opera Wksp., R. Witzke, Dir., Liberty 1/19,20/90 Amelia Goes to the Ball & Adler's The Outcasts of Poker Flat MONTANA Montana Repertory Theatre, J. Bartruff, Dir., Missoula 1/31-2/13/90 Out West: Stories from the Big Sky 8-week tour of Western states NEBRASKA Emmy Gifford Children's Theatre, M. Hoeger, Exec.Dir., Omaha 9-11/89 Quilters national tour Omaha Magic Theatre, J. Schmidman, Art.Dir., Omaha 1989-90 Waites/Terry's Body Leaks; Waites/Owens' Discourse on Life and Death; Waites/Maraini's Dialogue Between a Prostitute and Her Client; Dow/Fong's Censor prem.; Fong et al./Terry's Headlights national tour University of Nebraska, Opera/Musical Theatre Dept., D. Bartholomew, Dir., Lincoln 11/17,18,19/89 The Consul 12/89-3/90 Hansel and Gretel tour 4/27,28,29/90 Die Fledermaus at Lied Center 12/89 5/90 Scenes NEW HAMPSHIRE Monadnock Music, J. Bolle, Exec.Dir., Palace Theater, Manchester 3/16/90 Un Ballo in maschera Burgess; Montana, Fu; c: Bolle; d: Lithgow NEW JERSEY Family Opera, J. Ruffino, Pres., North Bergen 10/8/89 Die Fledermaus 2/4/90 Tosca 11/19/89 Pagliacci 3/18/90 Don Pasquale 12/3/89 La Traviata 5/20/90 The Merry Widow 1/7 4/22/90 concerts George Street Playhouse, G. Hurst, Prod.Dir., New Brunswick 2/7-3/4/90 Courts/St. Germain's Johnny Pye and the Fool Killer prem. June Opera Festival of New Jersey, D. Sandier, Exec.Dir., Pennington 6/15-7/1/90 Don Giovanni Eng.; 5 pfs. 6/22-7/8/90 Die Fledermaus Eng.; 5 pfs. Lubo Opera, J. Lasky, Art.Dir., Guttenberg 10/89 Rigoletto l/21m/90 Fidelio conc.pf.; w. orig. instruments; at Alice Tully Hall, NYC New Jersey Public Theatre, Berkeley Heights Fall '89 Godspell 12/16-31/89 The Adventures of the Country Mouse Children's Theatre Opera/Music Theater International, J. Hines, Art.Dir., Symphony Hall, Newark 12/31/89 "A Night at the Opera" gala cone; Carter, Home, Yakes; Acosta, Colannti; c: Lewis/Vendice Paper Mill Playhouse, A. Del Rossi, Exec.Prod., Millburn 9/13-10/22/89 42nd Street 48 pfs. 11/1-12/10/89 Stark/Hackaday's Rhythm Ranch prem.; 48 pfs. 3/28-5/6/90 The Mikado, Inc.; prem.; 48 pfs. 5/16-6/24/90 Fanny Park Players, J. Kane, Dir., Union City 11/8-26/89 Tintypes 5/18-27/90 Man of La Mancha

-93- 1989-90 SEASON Red Oak Music Theatre, A. Pourmel, Art.Dir., Lakewood 10/20-28/89 The Pirates of Penzance 5 pfs. 1/19-27/90 The Rink 5 pfs. 3/2-11/90 The Sound of Music 5 pfs. 4/27-5/5/90 42nd Street 5 pfs. Rutgers, The State University, Opera at Rutgers, V. GoodaU, Dir., New Brunswick Fall '89 The Face on the Barroom Floor w.p. 12/2/89 8/4/90 Scenes 4/20-22/90 Ariadne auf Naxos NEW MEXICO Albuquerque Civic Light Opera, L. McVey, Exee.Dir., Albuquerque (see also Vol.29 #3) 3/23-4/1/90 Singin1 in the Rain 8 pfs. 6/8,9,10,15,16,17,22,23/90 The Mikado 7/20,21,22,27,28,29 8/3,4/90 Something's Afoot 8/31 9/1,2,7,8,9,14,15/90 Annie Get Your Gun Opera Southwest, Y. Takeda, Art.Dir., Albuquerque (revised schedule) ll/18,21,24,26m/89 Tosca Eng. Gutman; Sheil; Fiacco, Golesorkhi; c: Takeda; d: Lesenger; ds: Prouse 2/10,13,16,18/90 Le Nozze di Figaro Eng. 5/12,15,18,20/90 Carmen Eng. Harnick Santa Fe Concert Association, Santa Fe 11/25,28/89 Hagemann's Roman Fever prem.

-94- 1989-90 SEASON Glimmerglass Opera, P. Kellogg, Gen.Dir., Cooperstown 7/7,9111,11,13,15m,17,19,21/90 La Boheme Eng. Martin; La Belle, Terrell; Croft; c: Robertson 8/4,6m,8,12m,16,18/90 Strauss's Intermezzo Eng. Porter; Flannagan; Busterud, Huxs; c: Robertson 8/ll,13m,15,19m,21m,23/90 Albert Herring c: Robertson Greater Buffalo Opera Co., G. Burgess, Art.Dir., Buffalo 9/15,16/89 Carousel c: Pinto; d: Jacobs 11/11,12/89 Lucia di Lammermoort Craney; D. Smith, D. Arnold, F. Curtis; e: Harvey; d: Burgess; ds: Stone/Malabar 4/7,8/90 Cavalleria rusticanat <3c Pagliaccit Baird; Fiacco & Alsatti; O'Mara, Karel Heritage Artists Ltd., R. Tolan, Prod-Dir., Cohoes Music Hall, Cohoes 10/25-11/19/89 Kleinbort's Angelina prem. 11/29-12/24/89 Carlton/Liebman's Hoodwinked 1/10-2/4/90 They're Playing Our Song 2/14-3/11/90 Montgomery's The Amorous Flea 3/21-4/15/90 Alpert's Jinx prem. 4/25-5/20/90 Ain't Misbehavin' Island Lyric Opera, B. Ghilberti, Pres. & Art.Dir., Garden City 10/29,29m/89 Die Fledermaus ll/4,5m/89 Norma Spring '90 Madama Butterfly; Tosca; The Merry Widow; La Boheme; La Traviata tour Ithaca College Opera/Musical Theatre, R. Montgomery, Dir., Ithaca 11/11#,12# 12/15/89 5/2,3/90 Signor Deluso# & Scenes 2/13-17/90 Die Zauberflote Eng. Martin 4/24-29/90 Company Ithaca Opera, E. Murray, Mus.Dir., Ithaca 9/22,23m,23/89 The Fantasticks 12/8,9/89 Amahl and the Night Visitors on tour 5/90 Le Nozze di Figaro Long Island Opera Co., C. Bezinover, Art.Dir., West Hempstead 10/14,21/89 Die Fledermaus in Roslyn & Island Park 12/2/89 Tosca at Orens School, Island Park; 12/9 at Roslyn Middle School 12/16,17/89 Hansel and Gretel in Rockville Centre 3/90 Le Nozze di Figaro 5/90 Manon The Merry-Go-Round Playhouse, V. Telesco, Dir., Auburn 6/1-8/18/90 Side by Side by Sondheim; Annie Get Your Gun; My Fair Lady; Applause Music for Long Island, L. Halasz, Art.Dir., Long Island 11/15/89 Cone. incl. La Boheme Act 3; stgd.; c: Halasz 11/18/89 D Barbiere di Siviglia National Grand Opera, M. Scuderi, Chmn. & Gen.Mgr., Garden City 12/2/89 La Bohemet Luna; V. Scuderi 3/3/90 n Barbiere di Sivigliat Prata; Morales, Lormi; c: Nadler; 7/90 in Eisenhower Park 5/12/90 La Traviatat New Hyde Park Players, New Hyde Park 11/11,12,17,18/89 Oklahoma! North Shore Music Theatre, Long Island 10/5-28/89 My Fair Lady Oswego Opera Theatre, J. Soluri, Art.Dir., Oswego 11/3/89 Gala 12/14,15,16,17/89 Amahl and the Night Visitors 6 pfs. 3/1,3,4/90 Carmen Periwinkle National Theatre for Young Audiences, S. Rasch, Art.Dir., Monticello 9/89-5/90 K. Laufer/Rasch's Halfway There national tour 12/89 The Frog Prince national tour 1/18/90 The Fabulous Dream of Andrew H. Lupone 5-week tour Studio Arena Theatre, D. Frank, Art.Dir., Buffalo 12/1/89-1/7/90 J. Levenson/K. Levenson/Junge's Galileo prem. SUNY College at Fredonia, School of Music, F. Pullano, Opera Coord., Fredonia 11/9-12/89 La Boheme Eng. Martin 12/8,9/89 Pullano's Sarah's Gift prem.

-95- 1989-90 SEASON SUNY College at Fredonia & SONY College at Buffalo, Fredonia/Buffalo 6/90 Der Jasager & Down in the Valley at Campus Cantat, Dortmund, Germany (coprod. University of Dortmund) SUNY College at Geneseo, Geneseo 11/8-12/89 Die Dreigrosehenoper Eng. SUNY-Stony Brook Opera Ensemble, G. Glaze, Dir., Stony Brook 11/18/89 La Boheme excpts. 3/24/90 Le Nozze di Figaro Syracuse University Opera Wksp., P. Buechner, Dir., Syracuse 10/27-11/5/89 Die Dreigrosehenoper Eng. Westchester Opera, F. Gratale, Art.Dir., Music Hall Theatre, Tarrytown 11/18,19m/89 Mascagni's Le Maschere Am.prem.; LaGanke, Wells; Espaillat, Bosselman, Breeden; c: Larsen; d: Gratale; ds: Cappa 3/10,11,17,18/90 Show Boat I. Jones; e: Heller 5/5,6/90 Cavalleria rusticana & Leone's L'Oracolo e: Flint; d: Gratale Spring '90 Mascagni's Si! Am.prem. NEW YORK CITY After Dinner Opera, R. Flusser, Gen.Dir., CUNY, Bayside/#Lincoln Center ll/4,6m#/89 American Music Week cone. incl. Martin's Fables for Our Time & Barab's La Pizza con Funghi wksp.pfs. 12/18m#/89 Fair Means or Foul 2/llm,13m#/90 Still's Troubled Island Black. History Month Concert 3/30,31m#/90 Beach's The Cabildo Women's History Month Concert AMAS Musical Theatre, R. LeNoire, Art.Dir., East 102nd St. 10-11/89 Porter's Paris '31 adapted by Fearnley; prem.; at The Space 2/26-3/18/90 Waldo/Kline's Capitol Cakewalk (form. Backstage with Warren G.) prem.; d: O'Horgan American Chamber Opera Co., D. Anderson, Exec.Dir., Marymount Manhattan Theatre 10/6,7,13,14/89 The Mighty Casey c: Anderson; d: Joffe 2/16,17,23,24/90 Beeson/Harnick's Dr. Heidegger's Fountain of Youth & Lipkis/ Machaut/Spack's Peronelle prem.; c: Anderson; d: Sullivan/Joffe American Jewish Theatre, S. Brechner, Art.Dir., West 26th St. 9/1-10/28/89 Powich/McKenzie's Call Me Ethel 2/25-4/8/90 Bock/Harnick's The Rothschilds American Opera Projects, G. Holby, Art.Dir., Blue Door Studio, Broome St. 11/8/89 Tan Dun's The Silk Road exept. & Ortiz's Rican excpts. & Cabaniss1 Denmark Vesey Act 3 exept. & Beckley's The Score Keeper prem.; American Music Week prog. 11/15/89 J. Friedman/B. Friedman's A Vindictive Poem for a Hot Summer's Evening exept. & Yarmolinsky's Blanche Act 1 exept. & other works TBA Arts at St. Ann's, S. Feldman, Art.Dir., Brooklyn 12/9,10/89 The Seven Deadly Sins Faithfull; Saint Luke's Chamber Ensemble, c: Osborne Association of Reform Zionists of America, Central Synagogue 1/12/90 Kalmanoff's Victory at Masada conc.pf.; Hazzan; Botton; accomp: Kalmanoff BAM Opera, M. Epstein, Art.Dir., Majestic Theater, Brooklyn 3/15,17,19/90 La Finta Giardiniera Kozlowska, M. Major, Smytka; Benelli, Smyth; Thefltre Royal de la Monnaie, c: Cambreling; d/ds: K.E. Herrmann/U. Herrmann 6/20,21,22,23/90 Dido and Aeneas La Monnaie Dance Group; Philharmonia Baroque Ensemble; c: McGegan; ehorg.: Morris (replaces Seven Deadly Sins; Tannhauser) Belverni Opera, West 70th St. 11/26/89 La Boheme Bloom ingdale House of Music, P. Fran, Exec.Dir., Cathedral of Saint John the Divine 12/10m/89 Hansel and Gretel cone, excpts.; Refeld; narr: Winston; c: Briskin; ll/17m at Museum of Natural History Broadway Grand Opera 1/90 Oliver! in NYC & Brooklyn Bronx Opera Co., M. Spierman, Art.Dir., Lehman College, The Bronx/IHunter College 1/13,14m,19#,20#/90 La Belle Helene Eng.; d: Granger 5/ll,12,18#,19#/90 Le Nozze di Figaro Eng. Brooklyn College, Brooklyn 11/1-4/89 The Fantasticks 12/15-18/89 Ariadne auf Naxos Brooklyn College Opera Theater 2/1-4/90 The Tender Land Sidlin ed.; Brooklyn College Opera Theater

-96- 1989-90 SEASON Brooklyn Conservatory of Music Opera Program, S. Morton, Mus.Dir., Brooklyn 12/2,9/89 Le Nozze di Figaro Brooklyn Opera Theater; d: Green 12/14,15/89 Scenes; Spring '90 TBA Opera Ensemble; in Manhattan <5c Brooklyn Brooklyn Lyric Opera, Brooklyn 9/9,10m,16/89 II Barbiere di Siviglia Eng.; c: Albert; in Manhattan Children's Free Opera of New York, M. Lockwood, Exec.Dir. 10/89 Offenbach's Ba-ta-clan 10 pfs. Clarion Music Society, N. Jenkins, Cond., Merkin Hall 2/8/90 Cone. inel. Kraus's Proserpine exepts.; Am.prem. 4/26/90 A. Scarlatti's Santa Teodosia Baird, Bonazzi; Brown, Woodley Collegiate Chorale, R. Bass, Mus.Dir., Carnegie Hall 11/19/89 Strauss's Friedenstag conc.pf.; Marc; Cassilly, Shirley, Roloff, Cook, Wildermann; c: Bass Cooper OperaWorks, E. Clark & P. Stephan, Co-Dirs., Park Ave. 9/8-21/89 Cimarosa's L'ltaliana in Londra w.p.; 7 pfs. Downtown Music Productions, M. Stern-Wolfe, Art.Dir., Emanu-El Midtown Y 12/10m/89 Cone. incl. Tubby the Tuba <5c Mayer/Otto's The Greatest Sound Around 1/31/90 "Lost and Found: The Musical Legacy of Erwin Schulhoff and Kurt Weill" cone, at Merkin Hall 3/4,5/90 Composers of the Holocaust cone. 4/28/90 Wilson/Bly's Dead Seal at McClure Beach prem. 5/90 Kleinsinger/Tripp's Tommy Pitcher DUO Theatre/Teatro DUO, M. Alasa\ Art.Dir., East 4th St. 2/15-3/17/90 Sirken/Mufioz's The L.A. Scene prem. Ensemble for Early Music, F. Renz, Dir., Cathedral of Saint John the Divine 12/28,29,30m,30/89 Herod and the Innocents 12/1-12 West Coast tour 1/25,26/90 Le Roman de Fauvel in Atlanta 2/1-7/90 Daniel and the Lions at the Hong Kong Festival; 2/8-20 Taiwan <5c Japan tour Equity Library Theatre, J. Costello, Prod.Dir., Riverside Dr. 10/3-22/89 Wonderful Town Festival of Revolution, F. Newman, Dir., Castillo Center 10/14,26/89 Gumpert/Berg's The Kurz Opern Am.prem. 10/26-11/11/89 Bizet/Newman's Carmen's Community Folksbiene Playhouse, East 55th St. 10/27/89 Crystal/Kressyn's The Land of Dreams prem. Friends of Mozart, CUNY Graduate Center, West 42nd St. 1/24/90 Cosl fan tutte exepts. Giovanetti Opera, Theater of the Open Eye 10/8m/89 Ariadne auf Naxos Group Opera, Brooklyn 9/14,16,17m/89 Don Giovanni at Marymount Manhattan College 1/90 Carmen at Symphony Space, Manhattan Hong Hong Cantonese Opera Troupe, U.S. tour 1/8/90 Hong's The Princess as Unorthodox Bride at Brooklyn College; 1/6 exepts. at Alice Tully Hall INTAR Hispanic American Arts Center, J. DiPaolo, Mng.Dir., West 42nd St. 1989-90 Gonzalez/Carballido's Girl in the Picture; McDermot/Scott's City of Angels wksp.pfs. 5/2-6/3/90 Cabaret Bambu prem. Jewish Repertory Theatre, R. Avni, Art.Dir. 10/28-11/26//89 Goldfaden's The Witch Eng.; adapt. Zemaeh; d/chorg: Zemach 6/9-7/18/90 The JRT Song Book prem. Joseph Papp Yiddish Theater, R. Hoffman, Art.Dir., Astor Place Theater 11/3-12/89 Gerut/Hoffman/Borow's Songs of Paradise Korean-American Opera, G. Ortega, Mus.Dir. 10/14,15,22/89 La Traviata in Fresh Meadows, Queens La MaMa E.T.C., E. Stewart, Exec.Prod., East 4th St. 9/28-10/15/89 Moran's The Jack Benny Program prem.; (coprod. Ridge Theater Co.) 11/89 Edelstein's Positive Me 1/11-27/90 DeShield's Kiss Me When It's Over 2/15-3/4/90 Mullins/Goldbeck's Increase prem.; The Sticking Place

-97- 1989-90 SEASON Lamb's Theatre Co., C. Copeland, Prod.Dir., West 44th St. 12/7-31/89 Courts/St. Germain's The Gift of the Magi; 11/24-12/31 tour 4/24/90 Courts/St. Germain's Johnny Pye and the Fool Killer open run Lenin Komsomol Theater of the U.S.S.R., City Center, West 56th St. 1/5-2/4/90 Ribnikov/Voznesensky's Junon and Avos: The Hope Am.prem.; d: Zakharov; ds: Cheintsiss/Komolva Liederkranz Opera Theatre, J. Balme, Mus.Dir., New York 12/9/89 Giulio Cesare 1/6/90 Kalmdn's Grafin Mariza Eng. 2/22/90 Strauss's Daphne 4/13/90 Bach's Saint John Passion stgd. 5/19/90 Der FreischUtz Light Opera of Manhattan, R. Allen, Art.Dir., Playhouse 91 9/13-10/8/89 Naughty Marietta Lincoln Center, W. Lockwood, Exec.Prod., Avery Fisher Hall 4/18/90 Cone. inel. opera scenes & Show Boat exepts.; von Stade; Hadley, Ramey; Orchestra of Saint Luke's; c: Lewis Lincoln Center Theater, G. Mosher, Dir., Vivian Beaumont Theater 9-12/89 Anything Goes Little Orchestra Society of New York, D. Anagnost, Mus.Dir., Alice Tully Hall 12/2,6,7/89 Amahl and the Night Visitors d: Menotti; 6 pfs. Manhattan Opera Ensemble, Symphony Space 11/21/89 Carmen c: Bergman Manhattan School of Music, John Brownlee Opera Theatre (see also Vol.29 #3) 3/21,23,25/90 Krilmfin's Grafin Mariza Eng. Mannes College of Music, Mannes Camerata, P. Echols, Dir. 5/19,20,22,26,27/90 Cesti's La Dori Am.prem.; Eng. Morell/Echols; c: Shin; d: Echols Mannes College of Music, Mannes Opera Ensemble, P. Echols, Dir. 12/10/89 Mahagonny Songspiel c: Cordova; d: C. Alden; 2 pfs. 1/9,10 2/25/90 Scenes Medicine Show, B. Vann & J. Barbosa, Art.Dirs., Broadway 12/30/89-1/28/90 Offenbach/Harburg's The Happiest Girl in the World Merkin Hall, L. Kontos, Dir., West 67th St. 9/14/89 cone. incl. Johnny Johnson exepts.; Saint Luke's Chamber Orchestra, c: Kess 11/11/89 M. Cave Canto Valle <3c Renascence Senter; prems. 1/18/90 Ashley's My Brother Called prem. Metropolitan Opera in the Parks, H. Southern, Gen.Mgr. 6-7/90 Rigoletto cone. pfs. in city parks 6-7/90 La Traviata cone. pfs. in city parks Metropolitan Opera Guild, Education Department, J. Forman, Dir., Broadway 12/9m/89 Gianni Schicchi at Hunter College MidAmerica Productions, P. Tiboris, Gen. & Mus.Dir., Weill Recital Hall 12/9m/89 Cone. inel. Davies' Eight Songs for a Mad King University of Georgia Contemporary Chamber Ensemble, c: Nielson Musical Theatre Works, A. Stimac, Art.Dir., Saint Peter's Church 9/13-10/1/89 Kuhn/Leys' Midsummer Nights prem. 1/24-2/11/90 Frawley/Evans/Tichenor's Goose! Beyond the Nursery prem. 3/28-4/15/90 Zhurbin/Fox/Raeheff's Moldavanka Am.prem. National Music Theater Network, T. Jerome, A dm., Donnell Library 12/20/89 Mayer's One Christmas Long Ago Costa-Greenspon, Benham, Roffman; Bouss, Byrd, Harris, C. Walker, Yule; c: Hall; d: Znidartsic; at Saint Paul the Apostle Church 1/22/90 Nassif's Crooked Broadway wksp.pf. New Community Players, G. Fitzgerald, Pres., Pelham Parkway, The Bronx 11/4-17/89 The Fantasticks New Federal Theater, W. King, Prod., Riverside Church 9/13-10/1/89 Makhene/Manaka/Boroko/Khumalo's Goree Am.prem. 10/4/89 Carroll's God's Trombones rev.vers. New School for Social Research, New School Drama Wksp., B. Spiegel, Dir., West 12th St. 1/25-2/3/90 Ernest in Love 10 pfs. New York Chamber Ensemble, S.R. Radcliffe, Mus.Dir., Alice Tully Hall 6/1/90 Hin und zuriick & Milhaud's L'Enlevement d'Europe & Mahagonny Songspiel <5c Toch's The Princess and the Pea

-98- 1989-90 SEASON New York Chamber Orchestra, G. Sehwarz, Mus.Dir., 92nd St. YMHA 11/25/89 Acis and Galatea cone.pf.; Erickson; Ragin, Kazaras, Opalaeh New York City Opera, C. Keene, Gen.Dir., NY State Theater (see "Forecast" for Fall '90) 3/8-4/22/90 The Sound of Music D. Boone; d: J. Hammerstein (coprod. James M. Nederlander); 53 pfs.; 3/2-7 previews 7/31 8/4,11111,15,19111,23,31/90 Le Nozze di Figarot 8/2,5m/90 Madama Butterflyt 8/3,10,12m,16,25ni/90 A Little Night Music*t c: Gemignani; d: Ellis; ds: Anania/Davis 8/4m,8,ll,17,21,26m/90 Lucia di Lammermoort 8/9,18m,25,29 9/lm,4,9/90 Carment 8/18,24 9/1,8/90 Toscat 8/28 9/2m,5,8/90 JandSek's From the House of the Dead*t Am.stg.prem.; Eng.; Garrison, Absalom, Lankston, Perry, Cross; c: Keene; d: Levine; ds: Conklin 9/7/90 Street Scenet Cusack/Cummings; K. Anderson/Davis, Parcher/Karel; c: Nance; d: O'Brian/Lesenger; ds: Sylbert/McCown New York Festival of Song, M. Barrett & S. Blier, Art.Dirs., Greenwich House 2/24,25/90 Girl Crazy New York Gilbert and Sullivan Players, A. Bergeret, Gen.Mgr. & Art.Dir., Symphony Space (revised schedule) 12/21/89-1/7/90 The Gondoliers* 18 pfs. 1/10-14/90 The Pirates of Penzance 6 pfs. 3/29-4/15/90 Of Thee I Sing 16 pfs. New York Shakespeare Festival, G. Merrifield, Dir. of Musicals, Public Theatre 12/4/89 Rundgren/Ross's Up Against It prem.; in the LuEsther Theater 12/28/89 Finn's Romance in Hard Times prem.; in the Newman Theater New York University, Kurt P. Reimann Opera Studio, J. Gilbert, Dir. 1/25,26,27/90 Don Pasquale c: Wallace New York University, Musical Theater Program, Second Ave. 12/15-17/89 Here's Love new adapt.; c: Mahadeen; d: Wilson On Stage Productions, L. Frank, Art.Dir., Hartley House 10/7-11/19/89 J. Spencer's The Emperor's New Clothes prem. 12/15/89-1/14/90 Strouse/Robinette's Charlotte's Web 16 pfs. 3/31-5/13/90 Valcq/La Farge's The Pancake King 4/19-5/6/90 Pockriss/Crosswell's Ernest in Love The Open Eye: New Stagings, Amie Brockway, Art.Dir., West 89th St. 2/4-25/90 Asher's A Woman Called Truth prem. Opera Ebony, B. Matthews, Art.Dir. 10/18/89 2/2,4/90 Concerts 12/15,17/89 Capers' Sins About Love 6/90 Massenet's Le Jongleur de Notre Dame Eng. Chassagne Opera Ensemble of New York, J. Sheehan, Exec.Dir. 11/15,17,19,22,24,26/89 H Ritorno d'Ulisse in patria Eng. & ed. Echols; Lane; N. Watson, Romano; c: Echols; d: Sheehan; ds: Inglessi/Bromelmeier; w. baroque instruments 3/28,30 4/lm,4,6,8m/90 Weir's A Night at the Chinese Opera Opera Francaise de New York, Y. Abel, Mus.Dir., Florence Gould Hall 6/8,9,10/90 Cherubini's Les Deux Journe'es Opera Northeast, D. West wood, Art.Dir. Spring '90 Kismet; Madama Butterfly tour; 30 pfs. Opera on the Go, J. Rose, Art.Dir., Jamaica Estates 1989-90 Hemenway's The Twilight of Magic; Little Red Riding Hood; The Telephone; Chanticleer; Sweet Betsy from Pike tours Opera Production Group, Henry Street Settlement 2/10,llm, 17/90 Madama Butterfly Opera Showcase Theater, West 100th St. 11/25,26m/89 La Boheme ORRA, R. Currie, Art.Dir., Pace Downtown Theatre 10/16,23/89 Currie's Rimshot cone, exepts.; 5/10-13/90 Rimshot prem. Pan Asian Repertory Theatre, T. Chang, Art.Dir., Playhouse 46 11/14-12/2/89 Chang/Cranendonk's The Song of Shim Chung prem. PBS/WNET, Live from Lincoln Center, national telecast 2/28/90 "Pavarotti Plus!" cone. incl. Tosca exc. & Un Ballo in maschera exc; Blackwell, Mitchell, Vaness; Pavarotti, Nucci; c: Guadagno; at A very Fisher Hall

-99- 1989-90 SEASON PBS/WNET, Great Performances, national telecast 10/27/89 Show Boat Paper Mill Playhouse (taped Summer '89) 12/15/89 L'Africaine Swenson, Verrett; Domingo, D1az; San Francisco Opera; c: Arena; d: Mansouri; ds: W. & A. Skalicki (taped 9/88) 1/5/90 Die Entfiihrung aus dem Serail Nielsen, Watson; van der Walt, Zednik, Rydl; Vienna State Opera, c: Stein; d: Schaaf; ds: Reinhardt (taped Salzburg Festival 8/89) PBS/WNET, The Metropolitan Opera Presents, national telecast (see also Vol.29 #3) 12/27/89 Aida Millo, Zajick; Domingo, Milnes, Burchuladze; c: Levine; d: Frisell; ds: Quaranta/Saligeri (taped 10/7/89) Pepper Productions Inc., J. Sellers & R. Grossman, Prods., Rodeph Sholom Synagogue 12/2,3m,3,7,9,10m,10/89 Lippa/Greenwald/Feldbin's A Pound of Feathers prem. Playwrights Horizons, A. Bishop, Art.Dir., West 42nd St. 12/18/89 Sondheim/Weidman's Assassins rdg. 4/6-5/27/90 Flaherty/Ahrens' Once on this Island prem.; chorg: Daniele Queens Opera Assn., J. Messina, Gen.Dir., Brooklyn 9/9,14 11/18/89 4/7/90 Concerts 11/11,18/89 4/21,28/90 Madama Butterfly 6/1,2/90 Die Fledermaus 3 pfs. RAPP Space, R.J. Cohen, Art.Dir., East 4th St. 1/90 DeMarne's Jack the Ripper Am.prem.; at the Annex Regina Opera Co., M. Cantoni, Pres., Brooklyn 9/24/89 2/4 4/1 5/6/90 Concerts 11/5/89 cone. incl. The Merry Widow exepts.; Brooklyn Chamber Orchestra 12/2,3m,9,10m/89 Rigoletto 3/3,4m,10,llm/90 Gianni Schicchi & Recital 6/2,3m,9,10m/90 Carmen Repertorio Espaflol, R. Buch, Art.Dir., Gramercy Arts Theater/1 Equitable Center 9/10 10/9m 11/4#,12# 12/17/89 1/6,14m 2/3,llm,18 5/3,5,6m/90 Mexico Romantico! revue 9/24 ll/4,26m#/89 Vives1 La Generala zarzuela ll/5m/89 1/27,28m 5/12/90 Habana: Antologia Musical at Equitable Center ll/16m,19m# 12/3m/89 5/8/90 Puerto Rico: Encanto y Cancion 3/10,llm,13,18,25m 4/7,15m,28,29 5/13m#/90 The Merry Widow* Span. 4/16-5/10/90 Gonzalez/Quinones's Los Jibaros Progresistas* 8 pfs. Richard Tucker Foundation, K. Nelson, Exec.Dir., Avery Fisher Hall 1/7/90 Annual Gala Millo, Wray, Toczyska; Pavarotti, Milnes, Merrill, Morris Riverside Opera, N. Matthews, Art.Dir. 2/17-3/1/90 Kern/Wodehouse/Bolton's Oh, Boy! at Producer's Club Savory Singers, A. Kirschner, Mus.Dir. 3/31 4/6,7,8/90 Ruddigore in Cranford, NJ Schubertiade, H. Prey, Art.Consult., 92nd St. YMHA (1/7-21/90) l/7m/90 Schubert's Des Teufels Lustschloss Am.prem.; semi-stgd.; James, Saffer, Lerner; Nolan, Prey; narr: Klemperer; New York Chamber Orchestra; c: Weil; d: Hendel; at Hunter College Assembly Hall Staten Island Civic Theatre, Staten Island 1/90 Chicago Spring '90 The Wizard of Oz; 42nd Street Steve McGraw's Theater 1/11,12/90 Kalmanoff/Fletcher's Coda prem.; Hughes, Wormer; Edwards, Fletcher TADA!, J. Trevens Sc J. Learned, Art.Dirs. 12/15/89-1/21/90 Styne/Merrill's The Dangerous Christmas of Red Riding Hood 33 pfs. Ten Ten Players, N. Pedersen, Mus.Dir., Park Ave. 5/4-26/90 The Beggar's Opera Theater for the New City, G. Bartenieff & C. Field, Art.Dirs., Second Ave. 12/3-17/89 Bloolips' Get Her 12/89-1/90 Cherney/Camicia's Broken Bohemian Hearts in Alphabet City at GRIPS Theater, Berlin, Germany Theatreworks/USA, J. Harnick, Art.Dir., Promenade Theatre 11/11-26/89 Lunden/Pearlman's Footprints on the Moon 12/2,3/89 Mozart, Monsters and Matisse 12/23-30/89 Cohen/Toce's A Charles Dickens Christmas 1/13-28/90 Oler/Hubbard's The Secret Garden 2/3,4/90 Foster's Play to Win 2/10-3/4/90 Oler/Hubbard's Harriet, the Spy

-100- 1989-90 SEASON 20th Century Classics Ensemble, Alice Tully Hall 12/10/89 Cone. inel. Les Noces & Renard Gregg Smith Singers; c: Craft Village Light Opera Group, R. Noll, Mus.Dir., Haft Theater 12/2-10m/89 U.S.S. Pinafore adapt, by Asimov/Noll; c: Noll; d: Koch; ds: Hauser; 6 pfs. 4/28-5/6/90 Kismet 6 pfs. Vineyard Theatre, B. Krieger, Exec.Oir., 15th St. 11/26-12/17/89 D. & K. Jenkin's Feast Here Tonight 4/17-5/5/90 A Little Night Music 4/19-5/27/90 Merrill's Hannah—1939 prem. 1/27/90 The Snow Maiden abrdg., 2 pfs. for children Wagner Society of New York, Florence Gould Hall 3/2/90 Gala cone, for Lauritz Melchior's 100th birthday The Wooster Group, E. LeCompte, Art.Dir., Performing Garage 9/9/89 Frank Dell's The Temptation of Saint Anthony company-developed; open run Spring '90 Morris's Brace Up company-developed; wksp.pfs. WPA Theatre, K. Renick, Art.Dir. 1/7/90 Dansicker's Twenty Fingers, Twenty Toes prem.; 12/19/89 previews 5-6/90 Menken/Spencer's What If? prem. York Theatre Company, J. Walker, Prod. & Art.Dir. 9/14/89 Sweeney Todd Fowler; Gunton; open run; at Circle in the Square 10/6-29/89 Turrin/Nissenson/Abbott's Frankie prem. 3/23-4/11/90 Moross/Latouche's The Golden Apple NORTH CAROLINA An Appalachian Summer, R. Chumbley, Art.Dir., Boone 7/90 Floyd's Flower and Hawk Gardner-Webb College Opera Theatre, T. Fern, Dir., Boiling Springs 10/26,27,28/89 Cosl fan tutte Eng. Martin National Opera Company, D. Wilder, Art. & Mus.Dir., Raleigh 1989-90 Don Pasquale Eng.; La Cenerentola Eng.; The Chocolate Soldier; Hansel and Gretel Eng.; tours Piedmont Opera Theatre, N. Johnson, Gen.Dir., Winston-Salem (see also Vol.29 #3) 4/90 Chumbley/McDonough's Ordinary People exepts.; wksp. Triangle Music Theater, R. Ward, Pres. & Art.Dir., Durham 3/1,2,3/90 Music Theater Festival 6/90 Tosca Young Artists Opera Theatre, P. Russell, Art.Dir. & Gen.Mgr., Greensboro 9/10#,15#,16#,22,23/89 Die Fledermaus Eng. Martin; #excpts. only 1/90 4/90 Benefit Concerts NORTH DAKOTA Dickinson State University Opera Wksp., E. Brown, Dir., Dickinson 4/20,21,22/90 Le Nozze di Figaro Eng. Martin OHIO Capital University Conservatory of Music, Opera/Musical Theatre, W. Florescu, Dir., Columbus 10/12,13,14/89 Brigadoon 2/90 Becker's Satie prem. 3/30,31/90 Scenes Cincinnati May Festival, J. Conlon, Mus.Dir., Cincinnati 5/26/90 Fidelio conc.pf.; c: Conlon Cincinnati Opera Ass'n., J. de Blasis, Art.Dir., Cincinnati 6/21,23/90 Aidat Neblett; Dominguez 6/28,30/90 Lucia di Lammermoort* Weidinger 7/5,7/90 Don Giovannit* Friede, Page; Schexnayder, H. Perry; ds: Depenbroek 7/12,14/90 Faustt South; Davies, Morris Cincinnati Opera, ECCO! (touring co.), J. Bankston, A dm., Cincinnati 12/16-22/89 Amahl and the Night Visitors 12/89-5/90 Sid the Serpent Who Wanted to Sing; "Cincinnati Opera Sings Shakespeare" Cincinnati Playhouse in the Park, W. Gardner, Art.Dir., Cincinnati 11/2-26/89 Pump Boys and Dinettes 7/12-8/12/90 Romance, Romance Cincinnati Symphony Orchestra, J. Ldpez-Cobos, Mus.Dir., Cincinnati 1/26,27/90 La Damnation de Faust Quivar; Cheek; e: L6pez-Cobos

-101- 1989-90 SEASON Cleveland Institute of Music, Opera Dept., A. Foldi, Head, Cleveland 11/11,12m/89 Scenes; d: Foldi 4/18,20,21,22m/90 Le Kozze di Figaro c: Topilow; d: Foldi Dayton Opera, Muse Machine, Dayton (see also Vol.29 f 3) 2/4/90 Sweet Betsy from Pike 70 pfs. on school tour Findlay College, Music Dept., M. Anders, Dir. of Music Theatre, Findlay 2/21-25/90 Man of La Mancha 5 pfs. Fine Arts Association, C. Frank, Exec.Dir., Willoughby 10/20-11/5/89 The Mystery of Edwin Drood 11 pfs. 6/8-24/90 Barnum 11 pfs. Great Lakes Theater Festival, G. Freedman, Art.Dir., Cleveland (revised schedule) 9/9-23/89 Die Dreigroschenoper* d: Freedman 10/5/89 Weill/Werfel's The Eternal Road Eng. Lewisohn; excpts. 3/16,17/90 Lady in the Dark conc.pf.; c: Page (coprod. Robert Page Singers) Lyric Opera Cleveland, Al Fresco Festival, M. McConnell, Exec. & Art.Dir., Cleveland 6/21,23,26,28,30/90 La Cenerentola Eng. 7/12,14,17,19,21/90 She Loves Me 8/2,4,7,9,10,11/90 Die ZauberflSte* Eng. 8/8/90 Berlin to Broadway with Kurt Weill Apprentice Artists Oberlin College Conservatory of Music, Oberlin Opera Theater, J. Layng, Dir., Oberlin 11/89 La Perichole c: Spano 12/2/89 Der Jasager c: Montgomery; 1/2-31/90 school tour Spring '90 II Campanello &. Suor Angelica Ohio Light Opera, B. Havholm, Mgr. & Prod., Wooster 6/1,7,9,14,15,19m,23,27 7/7m, 19,29/90 H.M.S. Pinafore & Die sehSne Galatea Eng. 6/2,6,9m,10m,16,22 7/lm,10m,14m,18m,22,26 8/1,5/90 The Merry Widow Eng. 6/8,13,17m,23m,26m,29 7/12,18,29m 8/3/90 Heuberger's Der Opernball adapt. Johnson; Eng. McCann 6/12m,16m,21,29 7/7,15m,25m 8/4m/90 The Yeomen of the Guard 6/20m,24m,28,30m 7/6,21,25,27,31m 8/4/90 Das Land des Lachelns Eng. 7/3m,5,8m, 14,20,24m,28m 8/lm/90 Hahn's Ciboulette U.S.prem.; Eng. 7/llm,13,17m,21m,22m,28 8/2/90 Street Scene Ohio State University Opera/Music Theatre, R. Stephens, Dir., Columbus 12/2,3m/89 La Cenerentola Eng.; c: Haddock; in Dublin, OH 5/10,12,13m/90 L'Elisir d'amore Eng.; c: Haddock 2/2/90 Bunta's Through Ruby's Eyes 3/6/90 Scenes Ohio University Opera Theatre, E. Payne, Dir., Athens 2/23,24/90 H.MJS. Pinafore 5/24,25/90 L'Incoronazione di Poppea cone.pfs. Players Theatre Columbus, E. Graczyk, Prod.Dir., Columbus 10/31-11/19/89 Wann/Haber's The Merry Wives of Windsor, TX 4/24-5/13/90 Gallagher's Beehive revue University of Cincinnati, College-Conservatory of Music, Musical Theater Dept., A. Berg, Chmn., Cincinnati 11/15-19/89 My One and Only c: LaBolt; d: Berg; chorg.: Lala; ds: Umfrid/Sarofeen 11/28-30/89 A. . .My Name is Alice wksp.prod.; d: Berg 2/22-3/4/90 Chicago c: LaBolt; d: Berg; ds: Umfrid 3/18m/90 Kaleidoscope 1990 Mini-Mummers (Preparatory Dept.); 3 pfs. 5/3,4/90 new musical TBA; wksp.pfs. University of Cincinnati, College-Conservatory of Music, Opera Dept., M. Fraser, Dir., Cincinnati l/6,7m/90 Iphigenia in Tauris Eng.; computerized score adapt. Bianchi/D. Smith; c: Hales; d: Eaton; ds: F. Allen/Senske; videotaped 2/8,9,10m,10,llm/90 Tippett's The Knot Garden reduced orch.; c: Samuel; d: Fraser 2/12/90 Cone. incl. Janacek's The Diary of One Who Vanished (Faculty Artist Series) 5/10-13/90 The Cunning Little Vixen c: Murai; d: Eaton; 5 pfs. 10/25 11/4/89 2/24/90 "An Evening With. . ." Sherrill Milnes, Joachim Herz, Re~gine Crespin Youngstown State University Opera Wksp., D. Vogel, Dir., Youngstown 11/9,10,11,16,17,18/89 Hill/Hawkins/Coghill's Canterbury Tales 5/24,25,26/90 Suor Angelica Eng. & Gianni Schicchi Eng.

-102- 1989-90 SEASON OKLAHOMA Central State University, Edraond Central Historical Opera, T. Long & K. Creed, Dirs., Edmond 10/12,13,14,15,19,20,21,22/89 Sweeney Todd 10/28,29/89 Scenes 2/1,2,3,4/90 Seven Brides for Seven Brothers 4/6,7,8/90 The Mikado Cimarron Circuit Opera Co., T. Carey, Exec. &. Art.Dir., Norman 1989-90 Barab's Snow White; Madama Butterfly Eng.; Little Red Riding Hood; Hansel und Gretel Eng.; La Boheme Eng.; The Mikado Gilbert and Sullivan Society, J. Carmichael-Everitt, Dir., Tulsa 4/90 Gianni Schicchi & Cox and Box University of Tulsa Opera Theater, J. Carmichael-Everitt, Dir., Tulsa 3/90 Die Zauberflote Eng. PENNSYLVANIA Academy of Vocal Arts, K.J. McDowell, Dir., Philadelphia 12/1,2,5,9/89 Cosl fan tutte 2/18,20,23,24/90 D. Barbiere di Siviglia 4/27 5/1,2,4/90 Die Fledermaus American Music Theater Festival, E. Salzman, Art.Dir., Philadelphia (see also Vol.29 #3) 11/11,12m/89 Partch's Revelation in the Courthouse Park conc.pfs.; c: Mitchell (coprod. New York Shakespeare Festival); at Alice Tully Hall, New York City 4/8-21/90 Bolcom/Weinstein's Casino Paradise prem. 4/29-5/12/90 Glass/Ginsberg's The Hydrogen Jukebox cone. prem. 6/10-24/90 Weill/Lerner's Love Life Berks Grand Opera, D. Fisher, Pres., Reading 11/3,5/89 Cavalleria rustieana & Pagliacci 4/27,29/90 n Barbiere di Siviglia Bloomsburg Theatre Ensemble, A. Dowd, Dir., Bloomsburg 10/12-29/89 Company Bristol Riverside Theater, S. Atkinson, Art.Dir., Bristol 9-10/14/89 Eberhard/Levy's Sally Blane: The World's Greatest Girt Detective 4/17-5/5/90 The Roar of the Greasepaint, the Smell of the Crowd Cheltenham Center for the Arts, Cheltenham 3/1-25/90 A. . .My Name is Alice Curtis Institute of Music, Opera Dept., M. Eliasen, Dir., Philadelphia 11/18-21/89 Ullmann's Der Kaiser von Atlantis 12/10/89 Opera Ensembles in Concert 2/17-19/90 "An Evening of American Music Theatre" Fulton Opera House, D. Jacobson, Exec.Dir., Lancaster 12/7-17/89 Hans Christian Andersen Lancaster Opera Co., D. Smith, Art.Dir., Lancaster 9/23,26,29,30/89 II Barbiere di Siviglia Eng. Martin 2/17,18/90 Aida Eng.; conc.pf.; at Millersville University 5/27,29,30 6/1,2/90 La Boheme Eng. Library Theatre, S. Pickover, Art.Dir., Warren Summer '90 Man of La Mancha; Oklahoma!; The Boy Friend Messiah College Music Theatre, E. Genzel, Art.Dir., Grantham 10/4,5,6,7/89 Jesus Christ Superstar 2/5,6,7,8,9/90 Pippin Muhlenberg College Opera Group, J. Slavin, Art. & Mus.Dir., Allentown 3/30,31 4/1,4,5,6,7/90 Street Scene d: Richter 1989-90 H.M.S. Pinafore; My Fair Lady Pennsylvania Opera Theater, B. Silverstein, Art.Dir., Philadelphia (see also Vol.29 #3) 12/8,9/89 Pliska/Ives1 The Secret Garden prem. Pennsylvania Stage Company, P. Wrenn-Meleck, Prod.Dir., Allentown 11/15-12/10/89 Oil City Symphony Philadelphia Orchestra, R. Muti, Mus.Dir., Philadelphia 4/19,20,21/90 Cone. incl. L'Enfant et les sortileges c: Dutoit; 4/24 at Carnegie Hall Pittsburgh Public Theater, W. Gardner, Prod.Dir., Pittsburgh 5/24-7/1/90 Tierney/Forster's Eleanor

-103- 1989-90 SEASON Pittsburgh Civic Light Opera, C. Gray, Exec.Dir. & Gen.Mgr., Pittsburgh 9/89 Simon/Shippy's Star Over Brooklyn stgd.rdg. 6/12-24/90 Oklahoma! 6/26-7/1/90 Cinderella 7/3-15/90 42nd Street 7/17-22/90 Sweeney Todd 7/24-29/90 The Student Prince 7/31-8/12/90 West Side Story 4/1-12/30/90 Fast Forward revue; Mini-Stars 1989-90 Young Mark Twain; Young Tom Jefferson; Young Ben Franklin; Freedom Train school tours Pittsburgh Opera Theater, M. Miller Posvar, Art.Dir., Pittsburgh 11/11,19/89 Cosi fan tutte T. Stewart, Hanslowe, Benaek; O'Neil, R. Lewis, Roy: c: Lano; d: Race; ds: Block/Markert 12/6,13/89 Hansel and Gretel Eng. Miller/Knox 1/17,18/90 Regina 2/17,24 5/19/90 Le Nozze di Figaro 5/1,3/90 Orfeo ed Euridice Pittsburgh Symphony Orchestra, L. Maazel, Mus.Dir., Pittsburgh 11/30 12/1,2,3/89 The Impresario Eng. Foss; conc.pfs.; Hinchman Playhouse Theatre Company, A. Forino, Mng.Prod., Pittsburgh 10/20-11/19/89 The Mystery of Edwin Drood 3/6-4/1/90 Dreamgirls Point Park College Theatre Company, Pittsburgh 1/31-2/18/90 The Threepenny Opera Eng. Blitzstein Shawnee Playhouse, B. Rous, Art.Dir., Shawnee-on-Delaware Summer '90 Pippin; Oklahoma; Into the Woods Temple University Opera Theater, O. McDonough, Prod.Dir., Philadelphia 11/10,11,17,18/89 Cavalli's L'Egisto Eng. Dunn; Leppard ed. 3/30,31 4/6,7/90 La Finta Giardiniera Eng. 4/30 5/1/90 Gianni Schicchi Eng. Grossman Walnut Street Theatre Co., L. Fitzpatriek, Gen.Mgr., Philadelphia 3/31-5/6/90 Goodall/Bragg's The Hired Man West Chester State University, West Chester 10/22/89 Handel's Imeneo ed. Ostendorf; Baird, Hoeh, Fortunato; Urrey, Ostendorf; c: Palmer PUERTO RICO Puerto Rico Symphony Orchestra, O. Alonso, Mus.Dir., Santurce 10/7/89 Cone. incl. Porgy and Bess exepts.; Williams; c: Pabon Teatro de la Opera, A. Barasorda, Art.Dir., San Juan 9/89 Rigoletto d: Galterio 3/90 La Gioconda RHODE ISLAND Theater by the Sea, Wakefield 5/8-27/90 Nunsense 5/29-6/24/90 Man of La Mancha 6/26-7/22/90 Guys and Dolls 7/24-8/19/90 Mame 8/21-9/9/90 Ain't Misbehavin' Trinity Repertory Co., A. Bogart, Art.Dir., Providence 5/4-6/17/90 On the Town SOUTH CAROLINA Bob Jones University Opera Ass'n., D. Gustafson, Dean, Greenville 3/13-15/90 Andrea Che'nier Charleston Symphony Orchestra, D. Stahl, Mus.Dir., Charleston 10/21/89 Tosca cone.pf. Fine Arts Council of Sumter, Sumter 2/1/90 I Do, I Do 3/6/90 Me and My Girl University of South Carolina, Columbia 1/31-2/11/90 Kiss Me, Kate 2/13/90 The Wiz

-104- 1989-90 SEASON Spoleto Festival U.S.A., G.C. Menotti, Art.Dir., Charleston (5/24-6/10/90) 1/29/90 Benefit concert at Alice Tully Hall, New York City 5/24-28/90 Dresher/Eckert's Pioneers prem. 5/26,28,30 6/1,3,5,7,9/90 Le Nozze di Figarot d: Menotti 5/26-6/1/90 Glass/Ginsberg's The Hydrogen Jukebox stg.prem. 5/30-6/4/90 Tristan et Iseult Boston Camarata 6/2,4/90 Parsifalt d: Menotti TENNESSEE Memphis State University Opera Wlcsp., T. Machen, Dir., Memphis 2/18/90 Hin und zurUck Nashville Opera Assn., K. Ridout, Gen.Dir., Nashville 4/19,21/90 Lucia di Lammermoor Carter; Hernandez, Nicolson, Velta; c: Buckley; d: Lucas; ds: O'Hearn (Greater Miami Opera prod.) Playhouse on the Square, J. Nichols, Exec.Prod., Memphis 11/17/89-1/7/90 Annie 1/19-2/25/90 Working 5/10-6/10/90 Jacques Brel is Alive and Well and Living in Paris Tennessee Repertory Theatre, M. Pirkle, Art.Dir., Nashville 9/7-23/89 Ain't Misbehavin' 3/15-31/90 My Fair Lady University of Tennessee at Chattanooga Opera Wksp., D. Pennebaker, Dir., Chattanooga 11/21/89 Lo Speziale Eng. TEXAS Abilene Opera Association, M. Pender, Prod., Abilene 7/90 La Boheme Amarillo Opera, M. Burkhard, Dir., Amarillo ll/17m/89 Balada's Hangman, Hangman at NOA Convention, Albuquerque Beaumont Civic Opera, L.R. Babin, Mus.Dir., Beaumont 10/13,14,15/89 El Capitan 3/2,3,4/90 Show Boat Casa Mafiana Theatre, B. Franks, Exec.Prod. <5c Gen.Mgr., Fort Worth 1/20,21m,21/90 Into the Woods national tour; at Tarrant County Convention Center 3/20-4/1/90 Quinn/Jans/Powers' Do Black Patent Leather Shoes Really Reflect Up? 5/15-27/90 Little Shop of Horrors Fort Worth Opera, J. M. Ramos, Gen.Dir., Fort Worth (see also Vol.29 #3) 11/17,19m/89 Hansel and Gretel Parker, Philobosian, Boggess; Fleck; e: Machado; d: Bamberger; ds: Barkla/Eaves-Brooks (replaces Holy Blood and Crescent Moon) Spring '90 Chanticleer tour Galveston Island Summer Musicals, Galveston 6/9-8/26/90 The Music Man; South Pacific in repertory Houston Baptist University Opera Wksp., R. Collins, Dir., Houston 12/8,9/89 Scenes 3/23,24/90 Die Fledermaus Eng. Lyric Opera of Dallas, J. Burrows, Art.Dir., Dallas 6/10,13,15,16/90 The Gondoliers 7/15,18,20,21/90 La Boheme 8/19,22,24,25/90 The Grand Duchess of Gerolstein San Antonio Festival, C. Cannon, Gen.Dir., San Antonio 6/90 Madama Butterfly Cho Stage West, J. Russell, Art. & Mng.Dir., Fort Worth 5/25-6/30/90 A. . .My Name is Alice Texas Tech University Music Theatre, J. Gillas, Dir., Lubbock 11/17,18/89 Gianni Schicchi Eng. Grossman & The Medium 4/6-8/90 Sweet Betsy from Pike & Barab's La Pizza con Funghi Theatre Under the Stars, F. Young, Exec.Dir., Houston 9/19-10/1/89 Mame 12/5-17/89 The King and I 1/23-2/4/90 Camelot 3/6-19/90 A Chorus Line 4/3-8/90 Jesus Chris* Superstar 5/15-27/90 The Best Little Whorehouse in Texas

-105- 1989-90 SEASON University of Houston, University Opera Theater, B. Ross, Dir., Houston 11/3,5/89 La Finta Giardiniera Eng. Ross; Neue Mozart-Ausgabe ed. 3/2,3,9,10/90 A Little Night Music 4/20,22/90 Postcard from Morocco University of North Texas Opera Theater, D. Wakeling, Dir., Denton 11/89 2/90 Scenes 11/89 The Rape of Lucretia 2 pfs. University of Texas El Paso Music Theater, L. Woodul, Dir., El Paso 11/10,12/89 Susannah 5/6,7,8,9/90 West Side Story Wayland Baptist University Opera/Music Theater, C. Moman, Dir., Plainview 11/30 12/1/89 Amahl and the Night Visitors West Texas State University, R. Hansen, Dir. Opera Wksp., Canyon 10/12-15/89 A Funny Thing Happened on the Way to the Forum 5 pfs. 1/18-21/90 Nunsense 4 pfs. 4/26-29/90 La Cenerentola Eng. Martin; 4 pfs. UTAH Brigham Young University Opera Theater, C. Robison, Art.Dir., Provo 9/5,6/89 Cos'i fan tutte Eng. Martin 10/28 11/1,3,4/89 The Tender Land 11/1,2,3,4/89 L'Ormindo Eng. Dunn 2/7,8,9,10/90 Nelson's Trio con Brio 6/15,16,19,20/90 Massenet's Therese Eng. Robison Pioneer Theatre Company, C. Morey, Art.Dir., Salt Lake City 9-10/7/89 West Side Story 5/1-19/90 Big River Salt Lake Acting Company, E. Gryska, Art.Dir., Salt Lake City 9-10/29/89 La Cage aux FoUes Utah Opera, G. Peterson, Gen.Dir., Salt Lake City (see also Vol.29 #3) 12/8,9m,9/89 Amahl and the Night Visitors & Hansel and Gretel Eng; abrgd.; at Capitol Theatre VERMONT Opera North, L. Burkot, Art.Dir., Norwich 12/8,9/89 Amahl and the Night Visitors 8/16,18,23,25/90 La Boheme 8/17,24/90 Opera Pops Vermont Opera Theater, M. Hull, Art.Dir., Barre 9/30 10/1,20/89 La Perichole Eng. Spring '90 3 one-act operas TBA VIRGINIA Ash Lawn-Highland Opera Co., J. Walker, Gen.Mgr., Charlottesville 6/23,24,30 7/1,27 8/3,11/90 La Fille du nlgiment Eng.; 8/13-19 in Boise 7/7,8,14,15,25,28 8/1,4,8,12/90 Die Zauberflote Eng.; 8/13-19 in Boise 7/21,22,29 8/5,10/90 La Serva padrona Eng. & The Telephone & The Face on the Barroom Floor; 8/13-19 in Boise, ID Mill Mountain Theatre, E. Zulia, Assoc.Prod., Roanoke 10/18-11/12/89 All Night Strut revue 12/8-31/89 My Fair Lady Opera Theater of Northern Virginia, J. Niles, Art.Dir., Arlington 12/2m/89 The Toy Shop 2 pfs. 3/2,4m/90 Mozart's Za'ide Eng. Kaye 4/20,22m/90 Beeson's Hello Out There & Gianni Schicchi Eng. Grossman Southwest Virginia Opera Society, V. Bond, Art.Dir., Roanoke (see also Vol.29 #3) 5/17,19,21/90 La Boheme c: Bond Springfield Community Theatre, Springfield 10/13-11/4/89 Die Dreigroschenoper Theater IV, B. Miller, Art.Dir., Richmond 10/19-29/89 Barnett/Jones' The Bremen Town Band 12/1-19/89 Giersch's Christmas 'Round the World 1/26-2/9/90 Giersch/Miller's Shumacher and the Elves 4/10-22/90 Barnett/Jones' The Tortoise and the Hare 5/1-6/90 Giersch's The Three Billy Goats Gruff

-106- 1989-90 SEASON TheatreVirginia, T. Burgler, Exec.Art.Dir., Richmond 10/13-11/11/89 Sweeney Todd 12/1-31/89 Guys and Dolls Virginia Opera, Education Program, P. Mark, Gen. & Art.Dir., Norfolk (see also Vol.29 #3) 9/25-10/13/89 4/23-5/18/90 One Pig Puppet Opera state tours 10/30-12/1/89 Buffa! state tours Virginia Stage Company, C. Towers, Art.Dir., Norfolk 10/10-28/89 Die Dreigroschenoper 12/89 Simon/Norman's The Secret Garden wksp.pfs. 4/17-5/5/90 A Little Night Music WASHINGTON The Empty Space Theatre, M.B. Walker, Art.Dir., Seattle 5/90 Lieber/Stoller/Walker's Searchin': Rhythm and Blues to Rock 'n1 Roll prem. 5th Avenue Theater Assn., F. Young, Art.Dir., Seattle 1989-90 Mame; Jesus Christ Superstar; The Unsinkable Molly Brown (Theatre Under the Stars prods.) Opera Northwest, J. Arsenault, Art.Dir., Seabeck 1/90 Die ZauberflSte Eng. Porter 5/90 student-developed opera Seattle Civic Light Opera, W. Saba, Pres., Seattle 10/89 Brigadoon 10 pfs. 2/90 My One and Only 10 pfs. 5/90 Guys and Dolls 10 pfs. Seattle Group Theatre, R. Sierra, Prod.Dir., Seattle 5/31-6/24/90 A. . .My Name is Alice Seattle Repertory Company, D. Sullivan, Art.Dir., Seattle 4/21-5/27/90 Sunday in the Park with George Spokane Symphony Orchestra, B. Ferden, Mus.Dir., Spokane 4/6/90 Lucia di Lammermoor conc.pf.; S. Wolf Tacoma Opera, H. Wolf, Art.Dir., Tacoma 3/17,21,23,25/90 II Barbiere di Siviglia Eng. Martin Whitman College Opera Wksp., J. Rambaldi, Dir., Walla Walla 1/90 Le Nozze di Figaro WEST VIRGINIA West Virginia Symphony Orchestra, S. Furry, Mgr., Charleston 3/24/90 La Bohemet conc.pf.; c: Conlin West Virginia University Opera Theatre, R. Thieme, Dir., Morgantown 2/90 A Little Night Music 11/89 Scenes 4 pfs. WISCONSIN Lawrence University Opera Theatre, J. Koopman, Dir., Appleton 4/90 La Finta Giardiniera Eng. (as Down the Primrose Path) Milwaukee Repertory Theatre, J. Dillon, Art.Dir., Stackner Cabaret, Milwaukee 9/89 A Gershwin Serenade 11/89 JukeJointJammin' 1/5-2/18/90 A Little Tomfoolery revue; 4-5/90 Tomfoolery mainstage prod. 2/23-4/8/90 Swann/Flanders' At the Drop of Another Hat revue University of Wisconsin-Madison Opera, K. Moser, Dir., Madison 10/27,28 11/4,5/89 The Crucible 12/7,8,9,10/89 She Loves Me 3/1,3/90 Rousseau's Le Devin du village & L'Enfant et les sortileges 4/27,29/90 Ariadne auf Naxos Eng. University of Wisconsin-Oshkosh Opera Theater, F. Boffmeister, Dir., Oshkosh 2/15,16,17,22,23,24/90 Happy End University of Wisconsin-Whitewater Opera Theatre, D. Wadsworth, Dir., Whitewater 2/90 The Mikado CANADA Banff Centre School of Fine Arts, Banff Music Theatre Wksp. & Ensemble, J. Metcalf, Art.Dir., Banff, AB (revised schedule) 9/22,23/89 Doolittle/Deverell's Boiler Room Suite prem.; 9/26-10/7 in Great Britain 12/1-3/89 Stokes/Gunderson's We're Not Robots, You Know 3/3,4/90 Metcalf/Wilson's Tornrak No.Am.prem.; 2/90 wksp.pfs. 3/29-31/90 Street Scene c: Stranger; d: Mawson (replaces La Trahison orale)

-107- 1989-90 SEASON Banff Centre School of Fine Arts, Summer Program, Opera Dept., C. Graham, Dir., Banff, AB (6/28-8/10/90) 8/90 Le Nozze dl Figaro Calgary Philharmonic Orchestra, M. Bernardi, Mus.Dir., Calgary, AB 9/14,15,17/89 La Damnation de Faust Wallis; Drews, Cheek; c: Bernardi Canadian Children's Opera Chorus, J. Tuttle, Mus.Dir., Toronto 12/9,10m/89 Cone. incl. The Play of Herod 12/15/89 Britten's Saint Nicholas 3/25/90 Britten's The Golden Vanity at Markham Theatre 5/27,28/90 Holman/Davies' Dr. Cannon's Cure exept., "Harlequin and Columbine"; 4 pfs. Conservatoire de Musique Ope>a Atelier, Quebec, PQ 2/17,19/90 Mozart's La Finta Semplice Dalhousie University Opera Workshop, J. Morris & E. Gonnella, Dirs., Halifax, NS 11/29,30 12/1-3/89 Happy End 1/25,26,27/90 L'Elisir d'amore Debut Opera, Calgary, AB 1989-90 H.MJ5. Pinafore; Orfeo ed Euridice Festival International d'Ope>a, G. Raffa, Mus.Dir., Montreal, PQ 9/21,23/89 Aida Bumbry; e: Raffa; in Seattle, WA; 10/26,28 in SkyDome, Toronto; 6/1,2/90 in Giants Stadium, Rutherford, NJ 6/15,16/90 Carmen abrgd./adapt. by Raffa; in SkyDome, Toronto; 9/90 in Vancouver; 10/90 in Montreal Kitchener-Waterloo Symphony Orchestra, R. Armenian, Mus.Dir., Kitchener, ON 11/89 Oedipus Rex Swedish Orpheus Chorus 1/90 Dido and Aeneas cone.pfs. Manitoba Chamber Orchestra, S. Streatfeild, Mus.Dir., Winnipeg, MB 10/24/89 Respighi's Lucrezia conc.pf.; J. Stilwell; c: Streatfeild McGill Symphony, Montreal 12/89 Die Walkllre exepts.; conc.pf.; Jeans National Arts Centre Orchestra, G. Chmura, Mus.Dir., Ottawa, ON 7/19,21,24,25,28/90 Cosft fan tuttet Margison Opera Atelier, M. Pynkoski & J. Zingg, Co-Dirs., Toronto, ON 10/12,13,14/89 Dido and Aeneas Robbin, Saunders, Beaupre'; c: Fallis 5/24,25,26/90 Rameau's Pygmalion Maguire, Saunders, Forget; J. Thomas; c: Fallis L'Ope>a de Montreal, B. Uzan, Gen.Dir., Place des Arts, Montreal, PQ (see also Vol.29 #3) 2/24,25,26/90 Gagnon/TremWay's Nelligan prem.; at Grand Theatre, Quebec; 3/1,2,3,4,6,7,8,9,10,11 in Montreal; 3/30,31 at National Arts Centre, Ottawa L'Ope'ra de Montreal, Atelier lyrique, B. Uzan, Dir., at Festival International de Musique 9/13/89 Donizetti's Elvida conc.pf.; No.Am.prem.; at the Chapelle Historique de Bon- Pasteur, Montreal 9/18/89 Scenes cone. Opera East, M. Hughes, Dir., Wolfville, NS 7/2-17/90 Ariadne auf Naxos; n Barbiere di Siviglia; Carmen w.p. Opera in Concert, S. Hamilton, Prod., Jane Mallett Theatre, Toronto, ON ll/4,5m/89 I Lombardi Kastellitz/M. Browne; Strano/Whiting, Clouthier/Rideout, Mclntosh/Katz 12/15,17m/89 Samson et Dalila Sandra Graham; Frey, Barcza; c: R. Cooper; at MacMillan Theatre 2/17,18m/90 Vanessa Bogle/Blaser, Maguire/Prata, MacPhail; Cameron/Grenier, Silva- Marin/Fiacco 3/24,25m/90 Mireille Trifunovich/Balkan, Yu/Hirst; Milne/Sketris, Schade/Boutet Opera Ora*Now, J. Iacono, Art.Dir., Toronto, ON 3/23-25/90 Trouble in Tahiti & Kohn/White's Rite of Passage c: Iacono L'Orchestre Mgtropolitain, Montreal, PQ 11/11/89 Vallerand's Magicien conc.pf.; Riel; Oland, Belanger L'Orchestre symphonique de Montreal, C. Dutoit, Mus.Dir., Montreal, PQ 5/14,16/90 Pelle'as et Melisande cone.pfs.; Leroux, Alliot-Lugaz; Cachemaille, Thau; c: Dutoit 5/22,23/90 Carmina Burana L'Orchestre symphonique de Quebec, S. Streatfeild, Mus.Dir., Quebec, PQ 9/19/89 Gala Concert; Scotto 12/12,13/89 L'Enfance du Christ L. Fortin; Lichti, McMillan

-108- 1989-90 SEASON Saskatoon Opera, M. Harrison, Gen.Mgr., Saskatoon, SK (see also Vol.29 #3) 1/90 The Mikado Symphony Nova Scotia, G. Tintner, Mus.Dir., Halifax, NS 5/11/90 The Gypsy Baron conc.pf.; e: Tintner Theatre d'art lyrique de Laval, G. Patenaude, Pres. & Art.Dir., Laval, PQ 11/89 Les Pgcheurs de perles conc.pf.; Pelletier; Simard, Bergeron; c: Patenaude Toronto Operetta Theatre, G. Silva-Marin, Art.Dir., Toronto, ON 10/4,6,8/89 The Student Prince c: Armenian; d: Rintoul; 10/12,13 in Kitchener 12/27,29,30/89 Das Land des Lachelns Eng.; c: Bennett; d: Hamilton University de Montreal, Atelier de jeu scgnique, M. Forget, Dir., Montreal, PQ 3/13,14,16,16/90 Let's Make an Opera Fr. <5c Johnson's The Four Note Opera University Laval Opera Atelier, Quebec, PQ 3/18,20,22,24/90 Suor Angelica

Winners (continued from page 65) Conductors FABIO MECHETTI, now residing in the U.S. Three finalists were chosen from the 264 young Second prize went to ARI RASILINEN of Fin- conductors participating in the International land, third to DORIAN WILSON of the U.S. Kiril Kondrashin Competition held in Amster- dam. First prize was awarded to MARK WIG- The 1989 conducting competition in Besancon GLESWORTH of Great Britain, second and third turned up dual winners, British CHRISTOPHER to Russian ANDREY BOREYKOV and Japanese GAYFORD and Japanese YUTAKA SADO, who AKIHITO MIHARA respectively. shared the first prize of 40,000 French francs and several conducting engagements. The Thelma Robinson Scholarship in Conducting, established jointly by the National Federation Administrators of Music Clubs and the Conductors' Guild, was Three young opera administrators-to-be have awarded for the first time last summer. been accepted by OPERA America in its Admin- MIRIAM BURNS was the winner of the cash istrative Intern Program. Each is to work for prize of $1,000, which is to be used for further twelve months at three different companies of studies or career-related expenses. various sizes and will be assigned various different tasks. The 1989-90 interns are JILL First prize in the Nikolai Malko International E. ANDERSON, NIVEEN-TAMMY FAREED, and Competition for Young Conductors, held in PETER J. SOMOGYI. The deadline for the Denmark, was won by the 31-year-old Brazilian next internship period is March 31. []

-109- FORECAST Forecast (continued from page 36) Barenboim/Harry Kupfer Ring. Barenboim and Patrice Ch^reau will return to the Green Hill in 1993 for a new Tristan und Isolde, and the following summer Wolfgang Wagner, director of the festival, will stage his third Ring cycle there. The WIENER STAATSOPER is planning its own new production of Der Ring des Nibelungen for 1992-93 and has secured the services of conductor Christoph von Dohnanyi and director Adolf Dresen. — The ROYAL OPERA COVENT GARDEN, too, expects to complete its new Ring cycle in 1992- 93, with Music Director Bernard Haitink and stage director Gotz Friedrich in charge. And still more Wagner is on the way, with a new Tristan und Isolde scheduled for July '93. Earlier in the season will come a revival of Die Frau ohne Schatten.

LATE NEWS With expanded seasons soon to come, OPERA COLORADO has announced USA 1990-91 its plans for the next four years. The schedule for 1990-91 will follow the current pattern, with two major operas, Don Carlo and L'Elisir d'amore, in four performances each during April and May, and one of Britten's church operas, The Prodigal Son, in February at St. Paul's Lutheran Church. The occasion of Opera Colorado's tenth anniversary in 1991-92 will be celebrated by adding a full-length opera, Otello with Pldcido Domingo, in November at the New Auditorium-Arena Theater, and a mini- festival of Britten's church parables, The Burning Fiery Furnace, Curlew River, and The Prodigal Son, in three performances each in February at St. Paul's. In May the company returns to Boettcher Hall with Die Meistersinger von Niirnberg and La Boheme] preceded by a tenth anniversary gala concert on April 4. The expanded schedule of four productions will continue in the following seasons, with two operas at the Arena Theater in November and February, and the other two at Boettcher Hall in April and May, each work being performed four times. In 1992-93 the operas will be Rigoletto, Cavalleria rusticana & Pagliacci, Macbeth, and he Nozze dt Figaro, and in 1993-94 Madama Butterfly, II Barbiere di Siviglia, Der Rosenkavalier, and La Traviata. The company's lecture series, student performances, and Children's Opera Workshops will increase in accordance with its expanded season.

A varied program of light and dramatic fare is offered by the SKYLIGHT OPERA THEATRE in Milwaukee for the 1990-91 season. Thea Musgrave's Harriet, the Woman Called Moses, the story of Harriet Tubman and her role on the Underground Railroad, will be seen in its third American production in October and November, followed by Carmen in January and Die Entfuhrung aus dem Serail in March. These will be complemented by The Gondoliers, Girl Crazy, and Man of La Mancha, the latter closing the company's season in May. []

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