PERFORMING ARTS DOROTHY CHANDLER W PAVILION PERFORMING ARTS THE MUSIC CENTER MONTHLY MARCH 1968 / VOL. 2 NO. 3
contents
regional ballet —the gentle explosion 6 by Walter Terry
the program 21
stage & screen: kith or kin? 53 by Dore Schary Synchronous speed, previ ously available only in the highest priced record playing the center's current attractions 56 units, guarantees absolutely constant turntable speed for recording the drama — an art unto itself 60 unwavering pitch, faithful by Paul Kresh performance. Only Garrard could have brought it to you in a high-quality compact rossini observed 66 automatic turntable at this by Conrad L. Osborne price. The SL 55 also features cueing control, low mass tone arm for perfect tracking, stylus pressure adjustment, MICHAEL CLIFTON and all the other fine features publisher HERBERT GLASS you expect from a Garrard. editor The SL 55 is one of four BERNARD ROTONDO art director models in Garrard’s new Synchro-Lab Series™, each outstanding in its class. Prices GILMAN KRAFT range from $59.50 for the SL 55 president GEORGE KORSEN to $129.50 for the SL 95, the treasurer ultimate in automatic tran scription turntables. PERFORMING ARTS, published monthly for The Music Center Operating Company, is the Los Angeles edition of PLAYBILL, The Magazine for Theatregoers since 1884. PERFORMING ARTS also appears in San Fran cisco. Other editions of PLAYBILL appear in New York, Chicago, Phila delphia, Boston, Washington, D.C., Atlanta, Cleveland, St. Louis, Dallas, and in Great Britain. PERFORMING ARTS is printed by the Pacific Press British Industries Corp., a division of Avnet, Inc. Division of J. W. Clement Company. / All rights are reserved by the pub lisher, © 1968. Reproduction from this magazine in whole or part without For a complimentary Comparator Guide describing all the new Garrard models, write; written permission is prohibited. / PERFORMING ARTS, 1915 Beverly Garrard, Dept. AC-89, Westbury, N.Y. 11590. Boulevard, Los Angeles, California 90057. Telephone 386-8791. Tune in “Interlude in Stereo" on KFAC-AM (1300) and KFAC-FM (92.3). Monday thru Friday, 7:05 to 7:30 P.m. MONDAY EVENING, MARCH 11, 1968 AT 8:30 P.M.
Southern CaliforniaSymphony- Hollywood Bowl Association
S. HUROK presents ARTUR RUBINSTEIN
I SCHUBERT Two Impromptus, Op. 90
BRAHMS Sonata No. 3 in F minor, Op. 5 Allegro maestoso Andante In some of the earlier pianoforte works of Brahms, the composer was inspired by poetry. This appears to be so in the Andante. Inscribed above the score are the following lines by Sternau: "Day has gone and the moon has come; She sees two hearts in love made one That blissfully cling together." Scherzo Retrospect Allegro
INTERMISSION
II VILLA-LOBOS O Prole do Bebe (The Baby's Family) The Porcelain Doll (Branquinha) The Putty Doll (Moreninha) The Wooden Doll (Negrinha) The Rag Doll (Pobresinha) The Witch Doll (Bruxa) The Clown Doll (Polichinello)
CHOPIN Barcarolle, Op. 60 Two Etudes Scherzo in C sharp minor, Op. 39
STEINWAY PIANO RCA VICTOR RECORDS
Exclusive Management: HUROK CONCERTS INC. 730 Fifth Ave., New York, New York
Latecomers will not be seated until the first convenient pause in the performance. / Invited guests are welcome backstage after the performance; use performers’ entrances: Grand Ave. side of Plaza for Pavilion, corner of Temple & Grand for Ahmanson, and rear of theatre for Forum. I Use of tape recorders and/or cameras prohibited in auditorium. / Your use of a ticket constitutes acknowledgement of willingness to appear in photographs taken in public areas of The Music Center and releases The Music Center Operating Co., its lessees and all others from liability resulting from use of such photographs. / Program and artists subject to change. 21 United States in 1919. During this, and other visits in subsequent seasons, Rubinstein appeared with Damrosch, cfte finest Stokowski, Monteux, Mengelberg, and in all of the leading orchestra conductors Custom Hand Tailoring in the country. Though Rubinstein ap peared in the United States up to 1927, he did not visit this country again for a decade thereafter. During his return American season in 1937, Rubinstein was presented by S. Hurok in seven teen concerts in nine weeks, appear ing with seven major symphony or chestras. When war came, he moved his family to America and settled in Hollywood, where he was subse quently heard in many films, and in 1946, Rubinstein became a U.S. citizen. In the Fall of 1947, he returned to Europe to concertize for the first time since 1939 and in recent seasons, Rubinstein has often played more than 100 times on three continents. In June, 1958, Rubinstein returned to his native Poland after a 20-year absence and Custom Tailor & Shirtmaker won from an audience in Warsaw the PASADENA second standing ovation in Polish his 522 South Lake Avenue • 684-0233 tory. Mr. Rubinstein has received simi (Across from I. Magnins) lar response from audiences through SHERMAN OAKS out the world. In 1964, Rubinstein, 52 Fashion Square • 872-2227 after an absence of nearly 30 years, (Next to I. Magnins) returned to the Soviet Union to play in Moscow, Leningrad and Kiev, where he was received by the leading figures in Soviet musical and cultural circles. During that season he also played in If a better scotch Bucharest, Belgrade, Western Europe exists, it’s a and Australia. Currently on his thirtieth ARTUR RUBINSTEIN was born in 1889 tour of the U.S. and Canada, under the well-kept secret. in Lodz, Poland. At the age of five, he management of S. Hurok, Rubinstein gave a concert for charity in Warsaw has been seen on television in Festival and at eight started studying in that of Music and Small World, among city. Soon thereafter he was intro others. He has made over 50 record duced to Joseph Joachim, who sent ings covering the most important mu him to study piano technique with sic written for the piano. Among Mr. Professor Heinrich Barth and composi Rubinstein's most recent honors is the tion and harmony with Max Bruch and French Government's Order of Arts Robert Kahn. At eleven, he made his and Letters. He is also a Commander formal debut in Berlin, and by the of the Legion d'Honneur, a Com time he was fifteen, young Rubinstein mander of the Order of Chile, Grand had played in most of Germany and Officer of Alfonso XII of Spain, Bene- Poland, including a prolonged visit merenti of Roumania, Officer of Sant with Paderewski. Mr. Rubinstein first iago of Portugal, oldest military order came to America in January, 1906, ap on the continent, Officer of Pologna pearing with the Philadelphia Orches Restituta, Correspondent Member of tra and making his New York debut in Academy of Arts of Brazil, Honorary Carnegie Hall. During the first tour, Member of the Accademia di Santa which lasted three months, he gave Cecilia in Rome and possessor of Hon forty-four concerts. He concertized orary Doctorates from Northwestern, extensively throughout Europe during Yale, Brown and Rutgers Universities, the next half-dozen years. In 1916, he Bronze Medal of the City of New York, went to Spain, and though scheduled Honorary Citizen of Philadelphia, for four recitals, he remained to give Medal of the Royal Philharmonic Soci Bottled in Scotland 120. An extensive tour of South Amer ety and Honorary Member of Romani Old Rarity Scotch Whisky 86.8 Proof Imported by Jules Berman, Los Angeles, Calif. ica followed. He returned to the di Roma. 23 WEDNESDAY EVENING, MARCH 13, 1968 AT 8:30 P.M.
Southern CaliforniaSymphony- Hollywood Bowl Association
s. HUROK
presents ARTUR RUBINSTEIN
I SCHUMANN Fantasiestücke, Op. 12 DOROTHY CHANDLER PAVILION Des Abends Aufschwung Warum? Grillen In der Nacht Fabel Traumeswirren Ende vom Lied
CHOPIN Sonata in B minor, Op. 58
Allegro maestoso Scherzo: Molto vivace Largo Finale: Presto non tanto
INTERMISSION
II RAVEL Valses nobles et sentimentales
LISZT Mephisto Valse
STEINWAY PIANO RCA VICTOR RECORDS
Exclusive Management: HUROK CONCERTS INC. 730 Fifth Ave., New York , New York
Latecomers will not be seated until the first convenient pause in the performance. I Invited guests are welcome backstage after the performance; use performers' entrances: Grand Ave. side of Plaza for Pavilion, corner of Temple & Grand for Ahmanson, and rear of theatre for Forum. I Use of tape recorders and/or cameras prohibited in auditorium. / Your use of a ticket constitutes acknowledgement of willingness to appear in photographs taken in public areas of The Music Center and releases The Music Center Operating Co., its lessees and all others from liability resulting from use of such photographs. / Program and artists subject to change.
25 TUESDAY EVENING, MARCH 12, 1968 AT 8:00 P.M.
THE LOS ANGELES JUNIOR COLLEGES
présent A CHORAL FESTIVAL AT THE MUSIC CENTER
GUEST CONDUCTOR and ADJUDICATOR DR. LARA HOGGARD
PARTICIPATING CHOIRS and CONDUCTORS
City College Pierce College DAVID L. GLISMANN MARION VREE
East Los Angeles College Southwest College WILLIAM PEARSON JO JANE MARSHALL
Harbor College Valley College ROBERT BILLINGS RICHARD A. KNOX
THE STAR SPANGLED BANNER Directed by Dominick A. DiSarro, City College
I. The Individual Choirs J. S. BACH Motet No. 6 (Lobet den Herrn) (1685-1750) Pierce College Choir MARION VREE, Conductor LOTTI Crucifixus (1667-1740) RANDALL THOMPSON Last Words of David (b. 1899) VERNON DUKE Taboo to Boot (b. 1903) East Los Angeles College Choir WILLIAM PEARSON, Conductor JANE SCHUH*, Accompanist TOCH Valse (1887-1963) JOSEPH WAGNER Ballad of Brotherhood (b. 1900) Southwest College Choir JO JANE MARSHALL, Conductor VICTORIA Jesus Dulcis Memoria (c. 1548-1611) KNUTNYSTEDT Cry Out and Shout RUTH ANDERSON** The Waking HOLST Let All Mortal Flesh Keep Silence (1874-1934) Harbor College Choir ROBERT BILLINGS, Conductor JUDY ROBERTS, Accompanist (continued) 26 FRIDAY EVENING, MARCH 15, 1968 AT 8:30 P.M.
COLUMBIA CELEBRITY SERIES
Columbia Artists Management Inc.
presents ANNA MOFFO Soprano, Metropolitan Opera Association
ROBERT JONES at the Piano
HANDEL Bel piacere, from Agrippina Ev'ry pleasure, in full measure, true love imparts...
A. SCARLATTI Caldo sangue, from // Sedecia Hot blood that flows over my breast, give testimony of my love and devotion to my father as I die. May I live once more as you flow through the arm of my avenger.
ROSSINI L'invito, from Serate Musicali Come, O Ruggiero, do not remain away from your Eloisa!
ROSSINI La Promessa, from Serate Musicali Do not believe that I shall ever cease to love you ...
MOZART Zeffiretti lusinghieri, from Idomeneo Gentle Zephyr! Swiftly bear this message to my only love, "Love is trustful, true and sure." Tell him that never did heaven smile upon a love more pure.
R. STRAUSS Heimkehr Softly the branches are swaying, homeward flies the dove. Now, with shadows descending, my heart comes home to you.
R. STRAUSS All mein Gedanken All my thoughts hurry to my beloved; no obstacle can bar their way. They find the right house, the right window, then they call: "Arise! or you'll miss sweet news from your lover, his greetings, his kiss."
R. STRAUSS Standchen Arise, but softly, my child, lest envious sleepers awaken. With steps light as an elf's slip out into the moonlit night, to the garden where I am waiting. Rest here in the mysterious twilight under the lindens. The nightingale shall dream of our kisses and the rose shall blush when it wakes. , (continued) 41 III
DELIBES Bell Song, from Lakme In this most difficult coloratura aria, Lakme recounts the legend of the pariah maiden who saved Vishnu from the wild beasts in the jungle by frightening them away with her tinkling bell. The following is a free translation and condensation of the aria: A lovely pariah maiden roams in the woods amid the tender-leaved mimosa, spread in the pale moonlight. Over the forest moss she flies, past the gleaming laurels, dreaming of fairyland and laughing at the night. Within the deep and somber forest a youth has lost his way and from the shadows wild beasts spring out upon him. The maiden flies to the stricken youth. And on her wand, the silver bells resound and wield a charm. In wonder they look at each other and he whispers, "Be blest and calm, I am Vishnu, the son of Brahma." And since that day is sometimes heard, stirred by a light breeze, the sound of silver bells where once a maiden came amid the If you’re going tender-leaved mimosa with her charm. to Scandinavia, go with us. INTERMISSION
We were born there. IV
DEBUSSY C'est I'extase langoureuse We know Scandinavia like you know 'Tis the languorous ecstasy, the weariness of love; 'tis all the shivers of the forest in your own neighborhood. We fly to the embraces of the winds. 'Tis amid the branches a choir of small voices chirping Copenhagen, Oslo, Bergen, Stockholm and twittering. Is it not your soul and mine exhaling a humble anthem, very and Helsinki. We fly from New York, softly, in the warm night? Chicago, Los Angeles, Seattle, Montreal and Anchorage. Within Scandinavia we fly to more cities (and towns) than we DEBUSSY Green have room to list here. Here are fruit, flowers, leaves, and branches and here is my heart which beats only We know the other parts of Europe pretty well too. for you. Do not rend it with your white hands but let this humble present find favor in your eyes. Got time to see more of Europe? Stay with us. SAS serves more cities within Europe than any other transatlantic arr. CANTELOUBE Three Songs of the Auvergne or transpolar airline, Pastourelle Bailero (Shepherd's Song of Upper Auvergne) L'aio de rotso (Water from the Spring) Only a world of time can Auvergne, one of the oldest provinces of France, is situated in the south central section, well to the south of Paris. It is known for its bold, invigorating songs whose charm is enhanced when they are sung in the bring you the flavor of native dialect.
V
BARBER Must the Winter Come So Soon, from Vanessa
MENOTTI Laetitia's Lament: Steal Me, from The Old Maid and the Thief
VI BELLINI Mad Scene, from / Puritani Qui la voce Here his gentle voice called me, then vanished Here he swore to be faithful, then cruelly fled from me! Ah! together no more, lost in happiness! Ah! restore hope to me, or let me die. Vien diletto Come, beloved, the moon is in heaven All is silent around us Ah, make haste, my Arturo, Return to your Elvira, Return to your first love. 7 YEARS OLD tick-tock-tick-tock the Bourbon RCA VICTOR and ANGEL RECORDS that didn’t watch the clock. COLUMBIA ARTISTS MANAGEMENT Inc., Personal Direction: STRAIGHT BOURBON WHISKY • 86 PROOF ©OLD CHARTER DIST. CO., LOUISVILLE, KY. Judd, Ries & Dahlgren, 165 West 57th Street, New York, New York 10019 42 ANNA MOFFO was born in Wayne, Pennsylvania, and is of Italian descent. While in her teens, she won a schol arship to Philadelphia's Curtis Insti tute of Music where she studied with Mme. Gianini-Gregory. In 1955, she entered the Philadelphia Orchestra's Young Artist Award Competition and won with the only opera aria she then knew, Un bel di vedremo from Madama Butterfly. Upon Miss Moffo's graduation with honors from Curtis, she received a Fulbright Grant for vocal study in Italy. Following her first public appearance in Venice, she won the first experimental contest in Spoleto and made an operatic de but in Venice as Norina in Don Pas quale. During this time she was study ing at the Academy of St. Cecilia in Rome, as well as appearing on various radio programs. Miss Moffo then aud itioned for the opera producers of an Italian TV network and signed a con tract with them to appear in their projected full-length production of Madama Butterfly. This production not only proved to be an important step forward in Anna Moffo's career, making her well known throughout Europe (the opera was telecast by Eurovision), but was also the turning point in her private life. She mar ried the director of the production, Mario Lanfranchi. Miss Moffo has ap peared regularly with the Metropoli tan, La Scala, Rome, Vienna and San “Serving Proudly Francisco Opera companies, and at in the Tradition the Teatro Colon in Buenos Aires. In of the Man addition, she appears on her own tel Whose Name We Bear’’ evision program, broadcast thirty-five weeks each year from Rome, and con- certizes widely in solo recitals. Miss Moffo was recently awarded the cov eted Grand Prix du Disque for her Down with recording of Canteloube's Songs of the Auvergne, as well as the Orfee LINCOLN SAVINGS Cluny Scotch d'Or for her album entitled Verdi AND LOAN ASSOCIATION Heroines. Anna Moffo lives with her LOS ANGELES GRANADA HILLS TORRANCE .. .when you want to live it up ! husband in Rome, where they enjoy SANTA ANA SHERMAN OAKS HOLLYWOOD breeding trotting horses, collecting antiques and writing popular songs. 45 SATURDAY EVENING, MARCH 16, 1968 AT 8:30 P.M.
SOUTHERN CALIFORNIA CHORAL MUSIC ASSOCIATION
LOS ANGELES MASTER CHORALE AND SINFONIA ENSEMBLE ROGER WAGNER, Music Director
VAUGHAN WILLIAMS Mass in G minor Kyrie Gloria Credo Sanctus Benedictus Agnus Dei Soloists: CAROL NEBLETT, Soprano NINA HINSON, Contralto LARRY JARVIS, Tenor LYLE JEWELL, Bass
STRAVINSKY The Wedding (Les Noces) The Bride's Chamber At the Bridegroom's The Bride's Departure The Wedding Feast Soloists: CAROL NEBLETT, Soprano NINA HINSON, Contra/to LARRY JARVIS, Tenor JOHN MACK OUSLEY, Bass INTERMISSION
ORFF Catulli Carmina Praelusio Actus I Actus II Actus III Exodium Soloists: ANNE MARIE BIGGS as Lesbia ROBERT MAZZARELLA as Catullus
The Musical presentations on this program are made possible, in part, through the sponsorship of the Los Angeles County Board of Supervisors and the Los Angeles County Music Association. The performing arts in Los Angeles reflect the city's commitment to the highest standard of artistic, scientific, educational and industrial achievement. We are pleased to contribute this 1967-1968 season of choral masterworks to the city's cultural resources.
Latecomers will not be seated until the first convenient pause in the performance. I Invited guests are welcome backstage after the performance; use performers' entrances: Crand Ave. side of Plaza for Pavilion, corner of Temple & Grand for Ahmanson, and rear of theatre for Forum. I Use of tape recorders and/or cameras prohibited in auditorium. / Your use of a ticket constitutes acknowledgement of willingness to appear in photographs taken in public areas of The Music Center and releases The Music Center Operating Co., its lessees and all others from liability resulting from use of such photographs. / Program and artists subject to change. 47 PROGRAM NOTES ond scene, however much their music months before the premiere, which by ARTHUR F. EDWARDS may suggest the actual reading of the was six years later. Annotator, Los Angeles Master Chorale marriage service, are not to be identi "When I first played Les Noces to fied with two priests. Even the proper Diaghilev—in 1915, at his home in names in the text, such as Palagy or Mass in G minor Bellerive, near Lausanne — he wept Ralph Vaughan Williams (1872-1958) Savelyouchka, belong to no one in and said it was the most beautiful particular. They were chosen for their and the most purely Russian creation The Mass in C minor was composed sound, their syllables and their Rus of our Ballet. I think he did love Les in 1922, when Vaughan Williams was sian typicality. Noces more than any other work of 50. In this work, he paid homage to "Les Noces is also — perhaps even mine. That is why it is dedicated to the modal polyphony of the early primarily—a product of the Russian him." (From Expositions and Develop Tudor composers, as he had earlier Church. Invocations to the Virgin and ments, by Igor Stravinsky and Robert in the orchestral Fantasia on a Theme the saints are heard throughout the Craft.) by Tallis (1910). In both works, he work. Among the latter, the names of utilized a musical vocabulary devel Cosmo and Damian occur more often oped by Ravel, with whom he had than any others. They were recognized Catulli Carmina studied in 1909; but in Vaughan Wil Carl Orff (b. 1895) as wedding saints in Russia, and they liams' hands, the result was as English were popularly worshiped as deities Catulli Carmina was begun in 1930 as Ravel's music was French. of a fertility cult. The binding of the when Carl Orff set to music a selec The Mass is scored for double cho bride's tresses with red and blue rib tion of poems from the works of the rus and solo quartet, a cappella. In bons was a religio-sexual custom, of Roman poet Gaius Valerius Catullus practice, however, the solo quartet is course, and so was the tying of the (87-54 B.C.). Then, in 1943, Orff added treated as a third chorus of lighter tresses around her head to signify the a prologue and brief epilogue, with a texture. The listener's attention should married state. In the period of Les Latin text written by himself, and his be drawn to three particularly magical Noces (early nineteenth century), how self-styled scenic cantata received its moments: in the middle of the Credo, ever, such customs were hardly more first performance in Leipzig on Nov when the choruses' Et homo factus est than ritual for ritual's sake. The bride ember 6, 1943. ("and was made man") is interrupted weeps in the first scene, not necessar These Songs of Catullus sketch the by the solo alto on the word Crucifixus ily because of real sorrow at her pros story of the poet's passion for the ("He was crucified");the angelic inter pective loss of virginity, but because, promiscuous Clodia, or Lesbia, as she weaving of the treble voices in the realistically, she must weep. is called in the poems. Orff frames triple Sanctus; and the closing Dona "A knowledge not only of the cul this story with his own caustic com nobis pacem ("grant us peace"), in tural customs, but also of the language mentary on the conflict of passion which the entire ensemble, spread of Les Noces is necessary to anyone versus wisdom, youth versus age. For over a range of more than three octaves, aspiring to a true appreciation of the his prologue, Orff constructed a text contracts to the final four-part chord. work. For example, the word 'red' in that is in the style of Catallus's poems: the last tableau is an exclamation for It is plain-spoken and explicit, espe The Wedding ("Les Noces") 'beautiful'; it does not refer purely to cially in its many sexual references. Igor Stravinsky (b. 1882) color. 'The table is red' and 'the table To begin this Catulli Carmina, Young "Les Noces is a suite of typical wed is beautiful' are one and the same Men and Women are heard pledging ding episodes told through quotations statement . . . But I wonder if Les eternal love. But the Old Men, weary of typical talk. The latter, whether the Noces can ever completely reveal it of their libidinous bleatings, try to bride's, the groom's, the parents' or self to a non-Russian. knock a little sense into the youngsters the guests', is always ritualistic. As a "The Wedding Feast tableau is made by relating the story of Catullus's ill- collection of clichés and quotations up largely of quotations and scraps of fated affair. So begins Orff's three part of typical wedding sayings, it might be conversation. The non-Russian listener play within a play. When the tale is compared to one of those scenes in should understand in this scene that, finished the young people instantly Ulysses in which the reader seems to first of all, the swan and the goose are resume their avowals of passion. be overhearing scraps of conversation folk characters and that the solo voices The poems of Catullus are divided without the connecting thread of dis who impersonate and quote them are into three acts of unequal length. The course. But Les Noces might also be enacting a traditional folk game. Swans first and third acts consist of five compared to Ulysses in the larger and geese both fly and swim and scenes, each beginning with the same sense that both works are trying to therefore, have fantastic stories to tell words; the second act consists of only present rather than to describe. about the skies and the waters, stories two scenes. The Catulli Carmina are "Individual roles do not exist in Les that are mirrors of peasant supersti sung without accompaniment, in con Noces, but only solo voices that im tions, incidentally . . . But 'swan' and trast to the Praelusio and Exodium, personate now one type of character 'goose' also refer to the bride and which are scored for four pianos and and now another. Thus the soprano in groom. They are popular terms of en a battery of percussion. The text is the first scene is not the bride, but dearment like 'my little dove' or 'my arbitrarily divided between the soloists merely a bride's voice; the same voice little mouse.' and the chorus for dramatic emphasis. is associated with the goose in the last "I began the composition of Les (Quotations are in part from the trans scene. Similarly, the fiance's words are Noces in 1914 (a year before Renard) lation by Horace Gregory.) sung by a tenor in the grooming scene, in Clarens. The music was composed As the first act begins, Catullus is but by a bass at the end; and the two in short score form by 1917, but it was seen standing by a column. "I hate and unaccompanied bass voices in the sec- not finished in full score until three love. And if you ask me why, I have 48 no answer, but I discern, can feel, my at the column. "I hate and love . . ." senses rooted in eternal torture." The beautiful young girl Ipsithilla Lesbia enters. "Come, Lesbia, let us appears at a window. Burning with de live and love, nor give a damn what sire, Catullus writes her a note, asking sour old men say . . . Give me a thou for a rendezvous. sand kisses!" The whore Ameana accosts Catul Catullus and Lesbia sit by the col lus. He taunts her as the crowd laughs. umn. "He is changed to a god he who "See that girl, Ameana, the one with looks on her, godlike he shines when the big nostrils? She is suing me for he's seated beside her..." The chorus a full ten thousand — personal serv continues as Catullus falls asleep in ices, of course. Someone call a physi Lesbia's lap. "This languid madness cian. The poor creature's crazy. O what destroys you, Catullus . . ." a face and what hallucinations!" Lesbia leaves Catullus and enters the tavern. There she dances for her Catullus, free of Ameana, searches many admirers. Catullus awakens as the crowd for Lesbia. "Poor damned his friend Caelius enters. "Caelius, my Catullus, here's no time for nonsense, Lesbia, that Lesbia whom Catullus open your eyes, O idiot, innocent boy, loved more than himself, now gives look at what has happened: once there herself on the highroads and in the were sunlit days . . . Then you took alleyways to the noble sons of Remus." your pleasure and the girl was not un Catullus despairs. "My woman says willing. Those days are now gone; that she would rather wear the wed you must be more like a man! not ding veil for me than anyone; but running after her, your mind all tears; when a woman talks to a hungry, rav stand firm, insensitive, say with a smile, enous lover, her words should be writ voice steady, 'Co, my girl!' Catullus ten upon the wind and engraved in strong and manly no longer follows rapid waters." The Old Men applaud. you . . . you whore! Where's your man Act Two. It is night. Catullus sleeps to cling to? Who will praise your in the street before Lesbia's house. He beauty? Who now will love you? Who dreams he is with her. "My life, my will call you his? But always, your Cat love, you say our love will last forever; ullus will be as firm as rock is." O gods, remember her pledge . . ." Lesbia enters with Caelius. She calls "Sleep; go back to sleep," murmers to Catullus, but he rejects her. "No ‘@e£Tfestedc5?ppr&ac4 Lesbia. woman, if she is honest, can say that Catullus dreams that his place has she's been blessed with greater love, to Spring by' been taken by Caelius. He awakens my Lesbia, than I have given you . . . with a cry. The house is dark. "Look You are the cause of this destruction, Stuart “18” for no gratitude, tolerance, or respect Lesbia, that has fallen upon my mind anywhere on earth nor place your — this mind that has ruined itself by For over seventy-five years, the hopes in man, for everything is lost... fatal constancy. And now it cannot vested suit has been the ultimate in there is nothing in life so bitter as the rise from its own misery to wish that good taste in fine natural shoulder betrayal of friendship by someone you become best of women, nor can clothing... why should it be any who yesterday was my one and only it fail to love you even though all is different this Spring? You will find friend." Again, the Old Men applaud. lost and you destroy all hope." Lesbia a comprehensive selection of Act Three. It is day. Catullus stands flees into her house, and the play ends. plaids, stripes, and solids from SOUTHERN CALIFORNIA CHORAL MUSIC ASSOCIATION $100, at ... ROGER WAGNER, Music Director
BOARD OF DIRECTORS OFFICERS LOUIS D. STATHAM, Chairman of the Board HARRISON A. PRICE, Vice President Z. WAYNE GRIFFIN, President MARSHALL A. RUTTER, Vice President DONALD J. NORES, Executive Vice President DALE VAN NATTA, Vice President DR. RICHARD CALL, Vice President CURTIS S. TAMKIN, Secretary MRS. GILES W. MEAD, Vice President JOSEPH L. FAHEY, Treasurer The gentlemen's clothing establish DIRECTORS ment big enough to offer deep and THOMAS P. CASSIDY WILLIAM HOWELL MRS. JOHN A. RICHARDS varied selections of the finest yet BENJAMIN H.DORMAN,JR. DR. VERN O. KNUDSEN MRS. J. B. SASS small enough for superb person JAMES E.GILLERAN D. LORING MARLETT MRS. FRANK ROGER SEAVER alized service. Easy to get to, too: STAFFORD GRADY CLIFFORD A. MILLER DR. HOWARD S. SWAN MRS. HERBERT HILMER MRS. JOHN K. PIKE JOHNTeGROEN In Los Angeles, 5550 Wilshire Boulevard MRS. BOB HOPE MRS. HARRISON A. PRICE DR. A. M. ZAREM In Westwood, 10924 Weyburn Avenue PETER D. HOUSER MORTON RIBLE In Sherman Oaks, #76 Fashion Square In Pasadena, 422 South Lake Avenue STAFF DALE VAN NATTA, Genera/ Manager PHILIP GOLDBERG, Personnel Manager, Orchestra 49 Announcing beautiful fingertips for busy hands. You do it with a coat of Faberge Ceramic Glaze over or under your regular nail polish. Anne Marie Biggs Ceramic Glaze is so tough it prevents nails from breaking and ROGER WAGNER, director of the Los tours throughout North America, the polish from chipping and peeling. Middle East, the Far East, and Eastern With such beautiful gloss, many Angeles Master Chorale, is the man women wear it alone. As a whose name is synonymous with and Western Europe. Carol Neblett is shining coat of armor. choral music. The ensemble that bears scheduled for appearances here and his name has appeared in each of our abroad for recordings, recitals, and fifty states, as well as in the Middle leading roles in opera. East, Eastern and Western Europe, South America, Central America, Mex ANNE MARIE BIGGS has a background ico, Canada and, most recently, Japan. of extensive professional activity in the Many figures in the world of music, United States and abroad. She has per among them Eugene Ormandy, formed on the operatic, concert, and Leopold Stokowski, Bruno Walter and Broadway stages, as well as in motion Otto Klemperer, have hailed the ar pictures, radio and television. She re tistry of Roger Wagner in the field of cently appeared in The Ballad of choral music. Today Dr. Wagner holds Robert Burns productions in the the position of Music Director of the Beverly Hills Performing Arts Series Southern California Choral Music As and San Diego Globe Theatre. Miss sociation, sponsor of the Los Angeles Biggs has sung the leading roles in such Master Chorale and Sinfonia Orches operas as The Barber of Seville, Hansel tra. As a member of the Performing and Cretel, Faust, and La Traviata, Arts Council, the Association is one among others. Her folk songs from of the resident companies of The European concerts were broadcast Music Center. Dr. Wagner conducts throughout France last season. In Los the 100-voice Master Chorale and the Angeles, Miss Biggs has appeared with Sinfonia Orchestra in an annual season the Valley Symphony, Hollywood and of great choral masterworks at The Beverly Hills organizations. She re Music Center. He holds a doctorate cently sang Debussy's La Damoiselle After the cum laude in musicology and, in addi elue, with the American Youth Sym tion to his many other musical activ phony at Royce Hall, under the direc theatre... ities, is Director of Choral Activities tion of Mehli Mehta. enjoy another at the University of California at Los Angeles. Perhaps most meaningful of NINA HINSON is a native of Dallas, brilliant all the honors that have come to Roger Texas. She is a graduate of Oklahoma Wagner is the knighthood that was University and University of Southern performance bestowed upon him by Pope Paul VI California and recipient of an Institute for his contributions to sacred music of International Education grant to throughout the world. represent the U.S.A, at the 1966 I.W. HARPER CAROL NEBLETT, soprano soloist of Munich Festival. In 1966, she attended THE GOLD MEDAL KENTUCKY BOURBON the Roger Wagner Chorale, began the Wagner Master Classes at Bay studying music at the age of five. Orig reuth, Germany, and in 1967 was a inally a pianist and then more seriously winner of the San Francisco Opera Au a violinist, her interests eventually ditions. She subsequently appeared as turned to voice, ultimately studying Carmen in the San Francisco Opera with Pierre Bernac of the Paris Con production that season. Miss Hinson servatoire, William Vennard and has appeared with the Dallas Civic Gwendolyn Koldofsky of the Univer Opera, Oklahoma City Symphony, and sity of Southern California and Esther the Los Angeles Philharmonic, and is Andreas of California State College at currently a member of the San Fran Los Angeles. While attending the Uni cisco Western Opera Theater. She ap versity of Southern California, Miss peared last fall as Marie in the produc Neblett had the opportunity to sing tion of Wozzeck at U.S.C., where she
i PROOF, 100 PROOF BOTTLED IN BOND • STRAIGHT WHISKY for Roger Wagner, who immediately has studied with William Vennard, © I.W. HARPER DIST. CO., LOUISVILLE, KY. invited her to join his Chorale as a Gwendolyn Koldofsky and Walter soloist. This association has resulted in Ducloux. 50 DOROTHY CHANDLER
MARCHI PAVILION AWARD WINNING PERFORMANCES IN THEATRE DINING PAVIblON
CURTAÌN CALL
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