CENTRAL SERVICE BULLETIN

MAY-JUNE, 1971

NATIONAL CONFERENCE - WASHINGTON, D.C. - NOVEMBER, 1971

INDEX

NEW AND PREMIERES 1 NEW OPERA COMPANIES & ARTS COOPERATIVES 3 ART AND ARTS CENTERS 4 GOVERNMENT AND THE ARTS 5 WHAT YOU MUST KNOW ABOUT TAX PROGRAMS 7 NEW TRANSLATIONS, NEW SETS 7 FOUNDATION RESEARCH AND GRANTS 8 PERFORMANCE STATISTICS 8 SINGERS AND ACTORS AS STAGE DIRECTORS 9 EDUCATION, incl. Summer & Arts Admin. Courses 10 ANNIVERSARIES 11 BOOK CORNER; COLLECTIONS 12 COMPETITIONS & WINNERS 14 APPOINTMENTS 15 ANNOUNCEMENTS FROM THE GUILD 17 NEW COS MEMBERS 17 PERFORMANCE LISTING, 1970-71 com. 18 PERFORMANCE LISTING, Summer 1971 19 FIRST PERFORMANCE LISTING, 1971-72 25

Sponsored by the National Council

Central Opera Service • Lincoln Center Plaia • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 CENTRAL OPERA SERVICE COMMITTEE

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

National Council Directors MRS. AUGUST BELMONT

MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN

Professional Committee JULIUS RUDEL, Chairman Opera

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

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

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

Copies this issue: $1.00 CENTRAL OPERA SERVICE ELEVENTH NATIONAL CONFERENCE sponsored by the Metropolitan Opera National Council

OPERA A CAPITAL IDEA

November 4, 5, 6, 1971

Hotel Sonesta Washington, D.C.

November 4, Thursday

a.m. OPENING ADDRESS THE NATIONAL ENDOWMENT FOR THE ARTS its opera programs; how to set up financial reports LUNCHEON (with speakers)

p.m. NATIONAL/REGIONAL OPERA major American producers discuss common problems

eve. National Symphony Orchestra, JOHN F. KENNEDY CENTER FOR THE PERFORMING ARTS Haydn's "Creation", C. Neblett, T. Paul, U. of Md. Chorus; cond: Antal Dorati

November 5, Friday

a.m. CONTEMPORARY PRODUCTION METHODS speakers and demonstrations LUNCHEON (with speakers)

p.m. NEW IDEAS IN PROMOTION, TICKETING, ACCOUNTING THE ROLE OF THE MUSIC CRITIC

eve. , JOHN F. KENNEDY CENTER FOR THE PERFORMING ARTS Bernstein's "Candide" November 6, Saturday

a.m. CONGRESS AND NATIONAL ARTS ORGANIZATIONS Congressmen and representatives of other leading arts organizations

LUNCHEON (with speaker and guest of honor)

p.m. TOURS

SPEAKERS PANELISTS

Prominent National Figures in the Arts

Foremost Experts in Each Field

two surprise social functions

REGISTRATION FORM please return to: Central Opera Service, Metropolitan Opera, Lincoln Center, New York, N.Y. 10023 NAME (please print) ORGANIZATION ADDITIONAL REGISTRANT (if any) ADDRESS CITY, STATE, ZIP . HOTEL SONESTA, Mass. Ave. at Thomas Circle, No. Total N.W., Washington, D.C. • Registration @ $10.00 $ Please reserve room(s) at special • Luncheon 11/4 @ 6.50 flat rate offered to Central Opera Service • Luncheon 11/5 @ 6.50 registrants only • Luncheon 11/6 @ 6.50 Single $20 per day • • Concert ticket @ 6.50 Double or Twin $26 per day • • Opera ticket $7 or $8.50 Hotel reservation is for arrival Nov. 3, *Totalend. $ departure Nov. 6. *(Make checks payable to Central Opera Service, no hotel deposit required.) TICKET AND HOTEL RESERVATIONS MUST BE RECEIVED BEFORE SEPTEMBER 30. CENTRAL OPERA SERVICE BULLETIN

Volume 13, Number 5 May-June, 1971

NEW OPERAS AND PREMIERES

AMERICAN OPERAS

HUCKLEBERRY FINN is Hall Overton's third opera. Based on Mark Twain's story, using some of his original text, the libretto by Judah Stampfler and the composer has been somewhat altered; Huck's age has been changed from 13 to 16 years, his friendship with Jim has been particularly emphasized and Jim's character has become a figure of black consciousness. The two-act opera was premiered by the Juilliard American Opera Center on May 20.

Besides his work on Black Widow for the Seattle Opera Company (see 1/71 Blltn.), Thomas Pasatieri has also been commissioned by the National Education Television to write an opera for NET Opera. It will be THE TRIAL OF MARY LINCOLN.

Stanley Silverman and Richard Foreman, who had collaborated on Elephant Steps (see 9/68 Blltn.), have now finished a second work called DREAM TANTRAS FOR WESTERN MASSACHUSETTS. Rather than calling it an opera, it is subtitled "A Musical Strategy for Twenty-eight Performers." It will be premiered at The Lenox Arts Center, a new music festival in the Berkshire mountains, on August 12, with 7 subsequent performances scheduled during August.

A new multi-media work by Meyer Kupferman entitled VISIONS AND GAMES was heard for the first time on May 24 at an all Kupferman concert in New York City. The performing group was the Sarah Lawrence Improvisation Ensemble.

Last year's tragedy at Kent State forms the basis of OPERA FLIES, a new work by Egyptian/American composer Halim El-Dabh. He is composer-in-residence at the University but wrote the work on commission from the Hawthorne School in Washington where it was premiered in early May. It will be performed by the same student cast when it comes to the Brooklyn Academy of Music on June 2, and 3 and to the Anderson Theatre in Manhattan the same week. The three-act opera features seven main characters, three choruses, and ten orchestra musicians. The composer explained the musical style as neither rock, pop or serial but rather "somewhat African"; traditional symphonic instruments are used. The story is conveyed in a universal manner and not as a literal reenactment of events.

Herbert Six has written his second jazz opera, ALL CATS TURN GRAY WHEN THE SUN GOES DOWN. It was performed for the first time by the opera work- shop of the Henry Street Settlement Music School on May 21. The composer's first opera, Without Memorial Banners, was premiered in Kansas City in 1966.

Forty-three-year-old American composer M. Witni wrote a one-act opera, THE DARK OF SUMMER. Scored for two-piano accompaniment, the 45-minute work features a cast of five. Musical material is available from the composer, c/o American Music Center. AMERICAN PREMIERES On March 28, the Academy of Vocal Arts in offered the American premiere of MARKHEIM, a one-act opera by Italian composer Luciano Chailly. It is based on the short story of the same name by Robert Louis Stevenson which also served American composer Carlisle Floyd as subject for his one-act opera Markheim. The latter was premiered in New Orleans in 1966, the Chailly opera in Spoleto, , in 1967. The composer is presently artistic director of 's ; he writes in an atonal style. Colorado College in Colorado Springs was the scene of the revival of IL CAVA- LIERE ERRANTE by Tommaso Traetta. The opera, premiered in Venice in 1778, received its last known performance in Germany in 1804. Dr. Albert Seay, who was responsible for the revival, also wrote the English translation for this American premiere. The New York premiere of Schoenberg's MOSES UND A RON is scheduled for November 1971 when the Chicago Symphony, under the baton of Georg Solti, will bring it to in a concert performance. Donald Gramm will repeat his successful portrayal of Moses; he sang the role in the American premiere in Boston. — It is interesting to note that the opera has never been performed in the composer's homeland and that the Austrian premiere will take place at the State Opera in May 1973 under Pierre Boulez. FOREIGN PREMIERES The Dutch entry for the television-opera competition in Salzburg 1971 is Ton de Leeuw's LITANY OF OUR TIME. The 40-minute opera uses as text various items selected from one issue of a London Times "read" against the background of an airport waiting room. — The Austrian entry is TRIP, a hippie-opera by jazz composer Fatty George; it is presently being filmed in Vienna. Andre Jolivet's Songe a nouveau rive was premiered at the Theatre de la Ville in Paris on April 30. — Czech composer Jiri Dvoracek's THE ISLE OF APHRO- DITE had its first performances simultaneously in Opava, Czechoslovakia, and in Dresden, East Germany, on February 13. The composer wrote the libretto based on a play by Parnis. THE PRISONER, by Finnish composer T. K. Pylkkanen, was performed at the Sibelius Academy in Helsinki in the Fall of 1970 for the first time. Next Fall the Academy will give the premiere of ESTHER, a one-act opera by Norwegian com- poser Ragner Soderlind, a joint commission by the Academy and the Scandinavian Scholarship Fund. Hans Werner Henze's latest work DAS FLOSS DER MEDUSA, an opera-oratorio, will receive its stage premiere in April 1972 in Nurnberg.— The Deutsche Oper in West plans the premiere of a Mayuzumi opera called TEMPELBRAND for the 1972-73 season. — A one-act opera, DEI A VU, by Hans Otte, was premiered this Spring in Bremen at the Theater am Goetheplatz. It is written for one singer, film projection and loudspeakers, and the one act consists of five scenes, each a variation on the original scene, hence the title Dijd. vu. It was performed on a triple-bill together with Nature morte for four women's voices and Noli me tangere for one . Antonio Tauriello's opera, LES GUERRES PICROCHOLINES, scheduled for a premiere by the Teatro Colon Chamber Opera in Washington, D. C, in May (see 3/71 Blltn.), was not completed in time for the company's U.S. tour. The Argentinian company did present the two baroque operas originally scheduled. EARLY OPERAS The oldest known German Singspiel, SEELEWIG, is by Sigmund Gottlieb Staden, published in 1644 in a literary work. It will be presented in next season in a new version, with Michael Leinert adapting the libretto and George W. Schmohe adapting the music. — Reinhard Keiser's PRINCE JODELET (1726) will be performed by the Bremen Radio and broadcast over the stations of the European Broadcasting Union this Spring.

— 2 — NEW OPERA COMPANIES

The first COLORADO OPERA FESTIVAL will be presented by the Colorado Springs Opera Company in collaboration with the Opera Workshop at Colorado College in Colorado Springs. The Festival will be held in June and July and will offer three professional operatic productions including an American premiere of an 18th century opera and an updated version of a 17th century work (yet another instance of Easy Rider replacing the original knight on horseback); all perform- ances will be in English. At the same time, the Festival will offer accredited opera courses for undergraduates and graduate students and an apprentice program for the beginning young professional. J. Julius Baird, founder and artistic director of the Colorado Springs Opera, and Donald P. Jenkins, opera director at Colorado College, are the co-directors of the Festival. Other artists doubling as performers and teachers are singer/stage director Herbert Beattie, stage director/choreographer Hanya Holm, and set and costume designer Klaus Holm. With the Central City Festival inactive this summer, the new Festival should be of particular interest.

Rafael de Acha has formed the NEW ENGLAND CHAMBER OPERA GROUP in Maiden, Mass. The new organization hopes to present young professional singers and some advanced students in operatic performances; the first production, a triple-bill of one-act operas, is planned for the Fall.

Edward J. Attarian, dentist, student of the Juilliard School, and former member of the Detroit Opera Society, last summer founded the BATTLE CREEK OPERA SOCIETY in . With much enthusiasm and elbow grease, the Society has offered four evenings of operatic excerpts, and one performance of at a local church. Performances of and Cost fan tutte are planned for the Fall, — if a financial sponsor can be found. Association with the music department of Kellogg College has also been under consideration.

NEW ARTS COOPERATIVES

Under the heading of "New Massive Grassroots Backing for the Arts and the Humanities", the Associated Councils for the Arts announces the formation of the CLEARINGHOUSE COMMITTEE FOR INFORMATION ON THE ARTS AND THE HUMANITIES. At present there are fifteen committee members, each representing a major national organization, and thus, bringing to this new organi- zation an indirect constituency of several million people. Labor unions, educational associations, religious groups, girl and boy scouts, and women's associations are represented. The committee members hope to foster interest in national and community cultural events through better understanding and more communication between its constituents and the artistic community. Representatives from the National Endowment have met with the Committee and they, too, look forward to a stimulating exchange of ideas and information.

A similar group of executives, this time representing national arts organizations, has met and formed the loosely-structured COUNCIL OF NATIONAL ARTS ORGANIZATION EXECUTIVES. The main purpose of this group is to exchange information, plan cooperative programs and avoid duplication of efforts. Central Opera Service is represented in this group.

— 3 — ART AND ARTS CENTERS

Among the many gifts received from different nations by the John F. Kennedy Center for the Performing Arts are tapestries and sculptures from France and art works and furnishings for the concert hall lounge from Israel. The former consists of two 6Vi x lO'/i ft. tapestries by Henri Matisse, executed by La Manufacture Nationale des Gobelins, and two 1948 sculptures, Ocean Nymph and Autumn, by Henry Laurens; the latter includes a mural painting, a carved wood paneling to cover one wall and hand painted silk panels to cover the other three walls of the lounge. The art works will combine Biblical scenes with those of contemporary Israel. Israel's architect Raphael Blumenfeld is responsible for the overall design of the room.

Another Israeli artist, sculptor Yaacov Agam, designed the first outdoor sculpture for the new Juilliard School building at Lincoln Center. It was recently donated on behalf of the American-Israel Cultural Foundation by Mr. and Mrs. G. Jaffin and consists of three stainless steel branches. The artist calls it a "transformable sculpture" since the branches can be moved and thus create different patterns. New York City and Lincoln Center officials participated in the unveiling ceremonies.

Adjoining the Annenberg School of Communications at the University of Penn- sylvania is the recently opened Annenberg Center for Communication Arts and Sciences, a cultural center housing three theatres. The largest is the 900-seat Zellerbach Theatre; the other two auditoriums seat 400 and 120 respectively. The smallest was designed for film screening.

Officials of the Filene Center at Wolf Trap Farm Park have announced the good news that July 1, 1971, is still the date of the official opening, in spite of a bad fire on the construction site. Damages were estimated at $400,000.

In April, the University of Tennessee at Martin opened a new Fine Arts Building. The National Opera Company from Raleigh, N. C, participated in the opening week Festival.

ART ADS

The Business Committee for the Arts, in cooperation with the Advertising Council Inc., has produced a one-minute spot commercial, Art Is For Man's Sake. It is being distributed to 100 television stations throughout the country. Created by Edward H. Weiss Agency and designed as an animated cartoon, its message is "If you remove all that art and design contribute to the quality of man's life, man would find himself up a tree." The cartoon shows a man in his home reading a book, listening to music, with a painting, sculpture, and modern design furniture; one by one these items are removed until the room is bare, the man is naked up a tree. The commercial is also available in a shortened version where man is sent up the tree in 30 seconds! Time and space for the showing, estimated to total $20 million in air time, will be contributed by the media.

Similarly, the Public Relations Advisory Committee of the Music Educators National Conference has prepared short radio announcements promoting the importance of music education. The third series has just been distributed to 6000 AM and FM stations. The lightweight flexible disc is made of soundsheet and features four 60-second spots and four 30-second spots. Selections include operatic excerpts sung by and as well as light musical fare by Richard Rodgers and Clark Terry. The disc is called Music Belongs.

4 GOVERNMENT AND THE ARTS

FEDERAL PROGRAMS The first congressional committee hearings regarding the funding of the NA- TIONAL FOUNDATION FOR THE ARTS AND THE HUMANITIES for fiscal 1972 have begun. (For a preliminary report of the projected proceedings, please see the Minutes of the Central Opera Service meeting of April 2, which include a presentation by Miss Popper on the subject. Free copies were sent to all members; additional copies are available for 500.) Due to the very limited time available for the hearings and the many parties to be heard from, — the Sub- committee considered the complete bill of the Department of the Interior and Related Agencies, of which the NFAH is a part — only three individuals reported on the Arts. They were John MacFadyen, President of the Associated Councils of the Arts, Barnet Fain of the North American Assembly of State and Provincial Arts Agencies, and Jack Golodner for the Council of AFL-CIO Unions of Scien- tific, Professional and Cultural Employees. Together they represented most of the arts organizations in the country and spoke on their behalf. Miss Nancy Hanks, Chairman of the NEA, had made her report earlier before the Senate. Statements from AGMA and Actors' Equity were also read. All supported funding the authorized total of $60 million for the NFAH with an additional $3.5 million for the agency's administration. The total is to be shared equally between the Arts and the Humanities programs. President Nixon has also urged full funding of the bills (see 1/71 Blltn.), however, past records reveal that the highest appropriation amounted to 70 percent of the originally authorized amount.

At the Senate hearing, Miss Hanks explained the proposed distribution of the funds, based on the authorized $30 million for NEA: $10.4 million would go for "expanded cultural resources development", of which $6 million are earmarked for the performing arts. Opera would be included in this category and Miss Hanks said, "One of the Endowment's major hopes for the coming year will be to initiate an opera program. We had intended to do this last year but were unable to be- cause of the $1 million cut in our program monies." ($1.5 million is projected for opera for fiscal 1972.) "Guidelines for opera have already been established. For commissioning and producing new works, we will rely largely on the National Opera Institute which began operating this past year. Direct Endowment grants to opera companies will be primarily for administrative improvement and public service programs — particularly those aimed at audience development." About $10 million would be allocated for "the broad dissemination of the arts", $5 mil- lion of this amount would be for the support of State Arts Councils, the other $5 million for the expansion of residency touring programs for the visual and performing arts (exclusive of music). $5.6 million would go towards "the ad- vancement of our cultural legacy" to be dispensed in grants to individual artists, to the American Film Institute, and to various workshops in the performing arts.

The survey of major performing arts organizations, commissioned by the National Endowment for the Arts and conducted by the Economic and Social Development Council and Sureva Seligson, has been completed; the initial findings have been published by the NEA in a booklet, called The Economic Aspects of the Performing Arts: A Portrait in Figures, available from the Superintendent of Documents, U.S. Government Printing Office, Washington, D. C. 20402 for 300. (All com- panies listed will receive complimentary copies.) Of the 187 professional non-profit companies with budgets over $100,000 which were surveyed, thirty-five were opera producing organizations; the others were 101 orchestras, 31 theatre companies, and 20 dance companies. All figures are based on the 1969-70 season with projected estimates for the 1970-71 season included. Total dollar figures and percentages are indicated per category (theatre, opera, dance, symphony) in the following six areas: expenditure, earned income, gross deficit, other income, net deficit, and attendance. Within the 35 opera companies, the Metropolitan Opera is listed separately "since its expenditures, income, and attendance were almost equal to that of the other 34 major companies combined." The booklet

— 5 — has 24 pages and 15 charts. A more detailed report, also based on that survey but covering many more areas, is in preparation for the NEA. (For news of other surveys, see article on foundations.)

Another new book of great value to the National Endowment and to those con- sidering applying for grants is the ACA publication, Washington and the Arts, also prepared by Mrs. Seligson. For the first time, ongoing Endowment programs are listed by program category, thus offering a handy reference guide not only to the number of grants and the amounts involved, but also to the program commit- ment of the Endowment. Copies of this book are available from ACA for $6.50. They were distributed free to conference registrants in Washington.

Continuing its joint program with the Office of Education, the National Endow- ment for the Arts has awarded another $750,000 for teaching programs by pro- fessional artists in elementary and high schools. The program, which was begun in 1970 in 31 states (see 6/70 Blltn.), now encompasses 41 states. The largest slice of the recent grant went towards new dance programs and the Affiliate Artists Inc. received $25,000 under the new grants for music programs in local schools.

NEW YORK STATE AND CITY PROGRAMS

The concerted efforts of the Concerned Citizens for the Arts (see 1/71 Blltn.) and the people of New York State were able to stave off major cuts in the State appropriation of funds for the NEW YORK STATE COUNCIL ON THE ARTS. In spite of large cut-backs in many areas of the state budget, the total amount available for the arts for the next fiscal year will be $16.7 million, compared with $18 million the previous year. (The recommendation of the N.Y. State Com- mission on Cultural Resources was for $30 million.) The distribution of funds is slightly different than last year; a grant of $2.5 million was awarded directly to the New York Public Library rather than through the Arts Council and $1.4 mil- lion was specified for "State Purposes for the Council" (administrative funds). Thus the Council has $13 million available for assistance programs to arts organi- zations which have been sent the 1971-72 questionnaires. As in the previous year, no grants will be given towards "capital expenditure, major equipment purchases, and studies leading to construction".

Due to the latest N.Y. City budget crisis, the elimination of as many as 3000 jobs may be necessary, announced Mayor Lindsay. Among the first victims may be the complete Department of Cultural Affairs with Dore Schary at its head. Mr. Schary resigned from his position as Commissioner of Cultural Affairs shortly before the Mayor's announcement. A total of 23 people would be laid off and a skeleton crew transferred to the Office of Parks, Recreation and Cultural Affairs which, however, is also expected to undergo a trim in its budget.

Meanwhile the Cultural Council Foundation, jointly sponsored by the City and the State, has announced 123 individual grants to artists amounting to $240,000. The grants range from $2000 to $5000. An element of public service is required from each recipient as well as N.Y. State residency and commitment to a professional career in music composition, choreography, drama, film, painting, sculpture, etc.

Standard Oil of New Jersey has awarded $52,500 to six community arts councils in the New York City area. The grants will be distributed by the Arts and Business Cooperative Council of the New York Board of Trade which is an additional recipient of a $7,500 grant. In announcing the gift, Mr. C. C. Garvin Jr., executive vice president of Standard Oil, stated "The arts do not flourish alone in the concert halls, opera houses, galleries, and museums but in neighborhood meeting places, schools and auditoriums." The following community organizations were the benefi- ciaries: the Bronx Council on the Arts, the Brooklyn Arts and Culture Ass'n., the Chinatown Planning Council, the Culture Council, the Queens Council on the Arts and the Staten Island Council of the Arts.

— 6 — WHAT YOU MUST KNOW ABOUT TAX PROGRAMS

The effects of two 1969 Tax Reform Acts and their influence on the arts are presently under investigation. One act was aimed at tightening controls on founda- tions but it seems that it is also curtailing tax-free donations to non-profit arts organi- zations. Senator Charles Percy from Illinois suggested recently that the National Endowment for the Arts collect factual data on this subject and present it to Congress. COS suggests that pertinent information, such as letters or statements attesting to the fact that tax restrictions contained in the 1969 amendments were directly responsible for receiving fewer donations, be sent to the NEA. The second 1969 Tax Reform Act which is proving a hardship on artists, libraries, museums, and arts organizations, is that concerned with charitable material con- tributions to tax-exempt institutions. These institutions have built priceless col- lections through donations whose "fairly estimated value" was allowed as tax deduction for the donor. The new law allows collectors and dealers to continue this practice but limits the creator to a deduction of the value of the materials used, only. The impact of this bill's detrimental effect was in evidence when Igor Stravinsky, shortly before his death, decided to place some of his original manu- scripts on the open market for sale rather than donate them to a library or museum, as had been his intention. For tax deduction purposes, the invaluable manuscripts would have been reduced to the price of paper and ink. (Ironically, the full value of the manuscripts is restored by the Internal Revenue Service when evaluating the composer's estate.) In response to this, the Council of Creative Artists, Libraries and Museums was recently formed. It passed a resolution supporting changes in the 1969 Reform Act, and is supporting a new bill, S.1212, introduced by Idaho Senator Church, which would allow the artist to deduct 50 percent of the fair market value of his creation when donating it to a tax-exempt institution. The Council represents 28 national organizations with a total constituency of over 1 million people. Another new group with the same aim is the Conference of American Artists. The National Music Council has also passed a resolution sup- porting the Church bill, but hopes that it may be altered to allow full value deduction. A third tax law in need of change concerns the status of tax-exempt organizations. A new bill, S.I408, was introduced by Senator Edmund Muskie of Maine, and is aimed at clarifying the ambiguous statement that restricts tax-exempt groups from communicating "substantially" with Congress (501 C 3). With the exception of private foundations, which will remain restricted, the new law would allow non-profit organizations to be heard by Congress. Remaining restrictions will be specified with greater clarity in order to avoid the unwitting loss of a group's tax-exempt status. Letters regarding the above mentioned bills should be sent 1) to your own repre- sentative and senators, 2) to the senator who introduced the new bill, 3) to Wilbur Mills of the Senate's Appropriations Committee, 4) to President Nixon. (COS would appreciate hearing from you as to whether and to whom you have written.) It is important to let government know where you stand on these issues.

ADDITIONAL TRANSLATIONS, ADDITIONAL SETS

Ravel's L'Heure espagnol was performed at the University of Cincinnati, College- Conservatory of Music, in a new English translation by Robert K. Evans. The new text is available from the translator, c/o the Conservatory. Mr. Evans' previously announced translation of Prince Igor is now available from Boosey and Hawkes. Peter Wolf, Inc., of Dallas, Texas, informs us that, in addition to the sets listed in the COS Directory, the company also has sets for and for available for rental.

7 FOUNDATION RESEARCH AND GRANTS

The FORD FOUNDATION is embarking on a computerized study of 200 non- profit, professional, performing arts organizations including forty opera companies. Other fields to be surveyed are symphony, theatre and dance. Detailed question- naires have been distributed in order to collect financial data covering the past five years. Since these questionnaires are quite lengthy and complicated, the Ford Foundation has offered $500 for each completed and returned questionnaire. The in-depth study will result in a national economic data bank, to be updated annu- ally. The Foundation estimates the cost of this survey will amount to $618,150 and hopes that it will benefit the performing arts organizations as well as the supporters of the arts. The first general computerized report is expected to be ready in 1972; it will be coded in such a manner that confidential budgetary information will not be identifiable with individual organizations. (For other surveys, see also article on Government and the Arts.)

Yet another survey of arts organizations has been commissioned by the Business Committee for the Arts. This one will be conducted by the accounting firm of TOUCHE ROSS & CO. for the purpose of establishing the present extent of business sponsorship and corporate contributions to arts organizations. This, in turn, should reveal guidelines and effective methods for soliciting contributions from corporations. General results, based on replies to questionnaires, will be made public without identification of donors or recipients. (A representative of Touche Ross will be among the speakers at the COS National Conference in November.)

PERFORMANCE STATISTICS

While computers facilitate the compilation of statistics, they foster the general survey-mania. Yet one must also recognize the help surveys offer in showing existing and future trends. Previous articles concentrate on finances, this one on repertory. The popularity of Verdi and Puccini in the has been well-documented by the annual surveys published in Opera News each November. The 1969-70 season's 10 most-performed operas featured four by Puccini, one by Verdi, three by Mozart, and one each by Rossini and J. Strauss. It is interesting to note in a recent survey, published by Opernwelt, that German tastes are much less Italian-oriented. The most performed Verdi opera, , places twenty- first among 64 works, which include operettas and musicals as well as operas. Puccini's leading opera, Boheme, is in the twenty-eighth spot. Lest it be presumed that Wagner is the German favorite son, it must be pointed out that his most- performed opera, Der fliegende Hollander, occupies the thirty-ninth place; fares better with Rosenkavalier in seventeenth place. Of the 64 works performed in German opera houses last season, 35 were operas, 29 operettas or musicals. The top ten were My Fair Lady (766), Merry Widow (300), Zauberflote (282), Nozze di Figaro (281), Fledermaus (262), Entfuhrung aus dem Serail (259), Hello Dolly (259), Land des Ldchelns (253), Zarewich (250), and Hoff- mann's Erzahlungen (242). Thus in Germany, as in the U.S., Mozart had three operas on the best seller list and J. Strauss, one.

Meanwhile, the current season's figures for the four major American opera houses have become available. The Metropolitan Opera offered 27 operas in 292 perform- ances including on-tour and summer performances in New York. Of these, 16 were by Italian composers (six by Verdi, three by Puccini), 6 by German and Austrian composers including two by R. Strauss and one by Mozart, and five operas by French composers. — Offering a total of eleven works, the included three operas by Verdi, (, Falstaff, Nabucco) — none among the most popular — and only one by Puccini, 3 German, 2 French and one each by Mozart and Stravinsky (English). — Chicago's Lyric Opera

— 8 — with nine operas in its repertoire featured three Puccini operas, one by Verdi, one Rossini, one Donizetti, one Richard Strauss and two in English by Britten and Bartok. — The in its combined Fall and Winter seasons included a total of nineteen different operas: three by Verdi, three by Puccini, two each by Donizetti and by Rossini, four French operas, two by Mozart, and one each by Janacek, Britten and Ginastera.

The following has been compiled in response to a number of requests for a listing of American operas performed at the Metropolitan Opera since its founding: The Pipe of Desire Frederick Converse 3/18/09 (1909-10 2 pfs.) Mono Horatio Parker 3/14/12 (1911-12 4 pfs.) Cyrano de Bergerac Walter Damrosch 2/27/13 (1913-14 5 pfs.) Madeleine 1/24/14 (1913-14 4 pfs.) The Canterbury Pilgrims Reginald De Koven 3/8/17 (1916-17 6 pfs.) Shanewis Charles Wakefield Cadman 3/23/18 (1917-18 5 pfs.; 1918-19 3 pfs.) The Legend Joseph Carl Brail 3/12/19 (1918-19 3pfs.) The Temple Dancer John Adams Hugo 3/12/19 (1918-19 3 pfs.) Cleopatra's Night Henry Hadley 1/31/20 (1919-20 4 pfs.; 1920-21 3 pfs.) The King's Henchman Deems Taylor 2/17/27 (1926-27 6 pfs.; 1927-28 5 pfs.; 1928-29 3 pfs.) Peter Ibbetson Deems Taylor 2/7/31 (1930-31 6 pfs.; 1931-32 6 pfs.; 1933-34 3 pfs.; 1934-35 1 pf.) The Emperor Jones Louis Gruenberg 1/7/33 (1932-33 7 pfs.; 1933-34 4 pfs.) Merry Mount 2/10/34 (1933-34 6 pfs.) In Pasha's Garden John Lawrence Seymour 1/24/35 (1934-35 3 pfs.) Caponsacchi Richard Hageman 2/4/37 (1936-37 2 pfs.) The Man Without a Country Walter Damrosch 5/12/37 (1936-37 4 pfs.; 1937-38 1 pf.) Amelia al ballo 3/3/38 (1937-38 3 pfs.; 1938-39 3 pfs.) The Island God Gian Carlo Menotti 2/20/42 (1941-42 3 pfs.) The Warrior Bernard Rogers 1/11/47 (1946-47 2 pfs.) The Rake's Progress Igor Stravinsky 2/14/53 (1952-53 5 pfs.; 1953-54 2 pfs.) Vanessa 1/15/58 (1957-58 6 pfs.; 1958-59 4 pfs.; 1964-65 5 pfs.) Gian Carlo Menotti 1/23/64 (1963-64 7 pfs.; 1964-65 3 pfs.) Anthony and Cleopatra Samuel Barber 9/16/66 (1966-67 8 pfs.) Mourning Becomes Electro Marvin David Levy 3/17/67 (1966-67 6 pfs.; 1967-68 3 pfs.)

SINGERS AND ACTORS AS STAGE DIRECTORS

An increasing number of singers have turned to directing opera, some partici- pating also as soloists in the productions. has directed in and Elektra in Venice, singing leading roles in each production. directed and sang in in Zurich and in Chicago, where he is also staging Barber of Seville and . In Linz, , Claude Heater directed and sang in Otdlo. Carmen was staged in Denver by who is presently working on Ariadne auf Naxos for the St. Paul Opera. Brenda Lewis directed Cosl fan tutte in New Haven and Adele Addison staged Mavra in Cleveland.

In Dallas last season, two actors made their debuts as operatic stage directors. Ellis Raab, founding director of New York's APA Repertory Theatre, directed and Jose Ferrer staged . The latter will also be appearing in Gianni Schicchi in Newark next season. Previous excursions by theatrical personalities into the operatic field bring to mind Alfred Lunt's staging of Cost fan tutte and Traviata, Tyrone Guthrie's Peter Grimes, and Cyril Ritchard's Perichole, all at the Metropolitan Opera.

— 9 — EDUCATION

After operating for seven years at the West End Presbyterian Church on West 105th Street in New York, the BLOOMINGDALE HOUSE OF MUSIC, a neighborhood-oriented music school, will move into its own quarters next fall. A $30,000 grant from the New York State Council on the Arts has facilitated the purchase of a building in the same area and this money as well as local contribu- tions and funds raised at a benefit concert will put the school on a financially sounder footing. Founder/director David Greer and his 22 unsalaried professional colleagues expect to continue and expand the school's activities to involve the neigh- borhood's adults as well as the children.

The GROUP FOR CONTEMPORARY MUSIC at will be disbanded, according to a statement made by Pulitzer Prize-winning composer, Charles Wuorinen, one of the founders of the avant-garde group, and a teacher at Columbia. Jack Beeson, composer and chairman of the University's music department, said that rising costs were responsible for the disassociation.

The first and only INSTITUTE FOR STUDIES OF AMERICAN MUSIC will be established at Brooklyn College. It will be headed by musicologist H. Wiley Hitchcock who plans to research 18th, 19th, and 20th century American music including hymns, songs, marches, piano music, dances, minstrel show tunes, spirituals, and jazz. The Institute will become a repository of American music; it will also publish monographs and anthologies, and prepare a regular newsletter. It is further hoped that it will become involved in the musical plans for the 1976 bicentennial celebration of the Declaration of Independence (see 10/70 BUtn.) since Mr. Hitchcock is also the head of the bicentennial committee.

More Summer Courses (see also 3/71 Blltn.)

The N.Y. STATE UNIVERSITY COLLEGE at Fredonia offers summer music workshops between July 6 and August 21. Each workshop is one week long and devoted to one particular aspect of music or music-making. Graduate credits are offered for participation. A clinic for high school students is scheduled for August 8-21. — COLBY COLLEGE at Waterville, Maine, is operating a Summer Music School under director Dorothy Reuman, July 12-August 21.— 1400 students of music, drama, and art will participate in the BLUE LAKES FINE ARTS CAMP in Michigan this summer. The camp is located 15 miles north of Muskegum.— COLORADO COLLEGE at Colorado Springs offers its first summer opera work- shop which may be taken for college credit. It is offered in conjunction with the new Colorado Springs Opera Festival which also includes an apprentice program (see this issue "New Opera Companies"). — August 8-20 is the length of the Summer Music Clinic at the UNIVERSITY OF REDLANDS in California. It is open to junior and senior high school musicians; Prof. James Jorgenson is the director. — MT. SAN JACINTO COLLEGE in Gilman Hot Springs, California, has scheduled summer courses in music. Mezzo-soprano is on the voice faculty. — EASTERN WASHINGTON STATE COLLEGE at Cheney, Washington, holds a one-week workshop and masterclass June 21-July 3 at which time the Spokane Symphony will also be in residence.

More Arts Administration Courses (see also 1/70, 9/70 BHtn.)

NEW YORK UNIVERSITY is initiating two new programs this Fall. The Enter- tainment Arts as Business will offer introductory courses within the school's Business and Management Division while a Master of Arts degree in Performing Arts Administration will be available from the Division of Music Education of N.Y.U.'s School of Education. Initially, the latter course will be limited to ten students with some previous experience in the operation of a performing arts organization. Internship at N.Y.U.'s Town Hall will be a part of the curriculum.

— 10 — A new bill to create a N.Y. STATE INSTITUTE ON THE MANAGEMENT OF THE ARTS, introduced by N.Y. State Senator S. Greenberg, is presently under consideration in Albany. The Institute should become part of the State University System and offer classes which may be taken for credit in the sciences of arts management, organize seminars with inter-disciplinary groups, and establish a library. An appropriation of $100,000 was requested for this purpose. A second bill suggests the addition of N.Y. State honors graduate fellowships in the fine and performing arts and in the arts management sciences.

With the aid of a grant from the Samuel Fels Fund, DREXEL UNIVERSITY in Philadelphia is developing a graduate program in arts administration. During the first year, 1971-72, workshops will be established to outline the new courses.

Existing programs in Arts Administration include those at the School of Drama at , the Business School at HARVARD UNIVERSITY, the Graduate School of Business Administration in cooperation with the College of Fine Arts at the UNIVERSITY OF CALIFORNIA IN LOS ANGELES, and the School of Business at the UNIVERSITY OF WISCONSIN IN MADISON.

ANNIVERSARIES

Philadelphia is beginning its plans for sprucing up its historical landmarks as host city to the U. S. BICENTENNIAL in 1976. Although a number of cities will prepare celebrations, the original American capital will, no doubt, be the focal point of all festivities. It is fortunate that Philadelphia has the attractive and acoustically unre- proachable Academy of Music, built 113 years ago, to function as a music center for the celebration.

Observing the 500th Anniversary of ALBRECHT DURER, Niirnberg has scheduled special performances of Mathis der Maler and Die Meistersinger von Niirnberg to coin- cide with some extraordinary Diirer exhibits, all part of the general festivities.

The EASTMAN SCHOOL OF MUSIC in Rochester, N.Y., will celebrate its 50th Anniversary this coming season. A number of new American works have been com- missioned for the occasion and four major symposia will be held between November and April. The School has received a grant of $15,000 from the National Endowment for the Arts toward these special expenses. Concerts by internationally famous artists will be presented in the newly renovated Eastman Theatre.

The SAN FRANCISCO OPERA looks forward to its Golden Anniversary in 1972, while the FORT WORTH OPERA is currently celebrating its Silver Anniversary Season.

Performing artists celebrating major anniversaries include Maestro FAUSTO CLEVA who recently was honored on the occasion of his 50th Anniversary with the Metropolitan Opera, soprano on her 25th Anniversary with the San Francisco Opera, RICHARD TUCKER (last season) and (this season) on their Silver Anniversaries with the Metropolitan.

Special birthdays also offer opportunities for honors and celebrations. This year, they include EUGENE ORMANDY who was feted on his 70th birthday, — coinciding with the 70th Anniversary of the , — by President Nixon; GIAN CARLO MENOTTI who will celebrate his 60th birthday in Spoleto; AARON COPLAND who conducted special concerts of his music for his 70th birthday celebra- tion; and Austrian operetta composer ROBERT STOLZ who was honored by ASCAP on his 90th birthday.

— 11 — BOOK CORNER

THE DREAM KING, Ludwig II of Bavaria, by Wilfred Blunt, is a handsomely decorated, lightly written biography of Wagner's benefactor. Without his devotion and financial assistance, the composer may not have been able to continue during his most difficult time. It was with Ludwig's aid that the first performance of was produced; Meistersinger, Rheingold, and Walkure were also produced under the king's patronage. Later he lost interest in the composer and spent the rest of his short life in building monuments in stone rather than in music. Some of the most fantastic and costly castles were built for him. Exquisite photographs of those castles and their appointments make this 264-page volume particularly attractive. Originally published by George Rainbird Ltd., London, it is part of the Studio Book Series of Viking Press, New York. Its price is $14.95. A melodramatic novel of New York's musical world is FIFTY-SEVENTH STREET by George Selcamm, a rather transparent pseudonym easily seen through by phonetically spelling the name Selcamm backwards—Machlis. The characters in the book represent a conglomeration of famous musicians, the action includes so many dramatic situations that several old-fashioned operatic plots could be based on it. Yet, it is fun reading and the guessing game of who is who will certainly add to a connoisseur's entertainment. The price is $6.95 for the 344-page book published by W. W. Norton & Co., Inc. Another novel, — a fictitious musical whodunit — is MURDER AT THE MET, A Novel of Suspense, by Fred G. Jarvis, published by Coward-McCann, Inc., New York. Mixing true characters mentioned by name with imaginary ones, the author attempts to create a fantasy in an all too real setting and here, too, creates an obvious, operatic melodrama. Available for $5.95. Robert Lawrence, conductor and commentator, has written A RAGE FOR OPERA, Its Anatomy as Drawn from Life. The slight volume of 175 pages offers the reader glimpses into diverse operatic subjects, mostly described by the author from a highly personal viewpoint. Sixteen pages of photographs offer additional interest. The publisher is Dodd, Mead & Co., New York, the price $5.95. CRITICAL AFFAIRS, A Composer's Journal, is Ned Rorem's third book of essays. As in the preceding volumes, the composer offers us sections of Journal entries alternating with essays and aphorisms containing his very personal thoughts on diverse subjects ranging from his own and other composers' music and inter- pretation to his view of various personalities. It is also reminiscent of Rorem's two volumes of Diaries. This latest work is once again original and evocative. Priced at $5.95, it is published by George Braziller.

REFERENCE BOOKS THE NEW ENCYCLOPEDIA OF THE OPERA by David Ewen will be found to contain a vast store of operatic facts. Although based on the first edition of the author's Encyclopedia of the Opera published in 1955, the latest edition offers not only up-dated and additional information but presents it in a new and improved format. Both the print and the page size are larger and there is a more thorough cross-reference. In addition to the listing of operas, their brief history and synopses, entries include biographies of opera personalities, titles of famous arias, histories of famous opera houses and festivals, and definitions of operatic terms. A few subject matters are treated as special articles, thus the word opera sends the author into a 5-page discourse on the origin, history, and categories of opera. The 759-page Encyclopedia has over 5,000 entries and is well worth the price of $15. It is published by Hill and Wang and is announced as the prolific author's seventy- fifth book. A latecomer for the Beethoven bicentennial is the book THE RECORDINGS OF BEETHOVEN, published by Charles Scribner's Sons. However, the delay is justi- fied since the book includes reviews of the latest Beethoven recordings released during the Beethoven year. They are reprints from those published in High Fidelity, a magazine, during the last year when a special effort was made to evaluate all

— 12 — existing and new Beethoven records. The critics include well-known musical authorities. This 185-page book forms an excellent reference guide; it is arranged by category of composition (symphonies, concertos, etc.) and includes an Index of Performers. Its price: $6.95 in hard cover, $2.95 in paperback. The University of Oregon has published ARCHITECTURE FOR THE EDUCA- TIONAL THEATRE by Horace W. Robinson. This very handsomely designed 147-page volume is the result of a formal study begun at a conference in 1966 by the author and a panel of architects, educators and theatre consultants. The book presents basic principles of academic theatre building, a common vocabulary, educational objectives and the basic architectural requirements for housing a theatre program in a variety of schools. Detailed recommendations on program, space and equipment as well as numerous architectural drawings make it a most informative handbook. It is available for $7.50. The Business Committee for the Arts has published the third in a series of annual reports evaluating the art scene from a business point of view. The latest book, THE STATE OF THE ARTS AND CORPORATE SUPPORT, edited by Gideon Chagy and published for BCA by Paul S. Eriksson, Inc., advocates that the con- tinued success of arts organizations does not depend on more financial support alone but, to a great extent, on better business management. Articles by such authorities as Robert O. Anderson, Chairman of BCA, Granville Meader, Donald Engle, Hy Faine, and others are most enlightening, pointing out the dos and dont's in arts administration. The $10, 192-page book also includes photographs and complementing charts. See "Government and the Arts" for two other new books.

COLLECTIONS AND EXHIBITS Some seven hundred vocal scores and over sixty orchestral scores from the estate of the late conductor, Giuseppe Bamboschek, were left to the library of the Metropolitan Opera. The music collection of the Voice of Firestone, owned by the Firestone Tire and Rubber Company, was donated to the New England Conservatory of Music. The collection consists of printed music, 1600 original orchestrations and manuscripts, sound tapes, recordings, videotapes, and 485 half-hour kinescopes. The material will be used for educational purposes and for entertainment. Shortly before his death, Igor Stravinsky made it known that a collection of his manuscripts, valued at about $3.5 million, would be offered for sale. Included were drafts and manuscripts for Le Sacre du printemps, L'Histoire du soldat, The Rake's Progress, Oedipus Rex, Les Noces, and many others. Earlier, the composer had donated some fifty original manuscripts to the Library of Congress, but the 1969 tax reform law prevented him from deducting a realistic market value for any further donations (see article on "What You Must Know About Tax Programs" in this issue). The Metropolitan Opera installed two showcases on its parterre box floor where it exhibits costumes and memorabilia of famous singers of the past. The opening show focused on two of the Metropolitan Opera's most famous singers, Enrico Caruso and Kirsten Flagstad. The rotating display will honor many other singers of the past. A retrospective exhibition of theatre designs by Jo Mielziner will be on display at the Wright/Hepburn/Webster Gallery in New York. Included are designs for 284 major productions conceived over nearly fifty years. Many of these originals will be for sale. Summer visitors to London will be able to view "Covent Garden, Twenty-five Years of Opera and Ballet", an exhibit at the Victoria and Albert Museum. De- signed by Alan Tagg, the display encompasses front and back stage views, both in pictures and actual models, films, scenery and costumes, lighting, documents and programs. The exhibit will close October 10.

— 13 — COMPETITIONS The Dimitri Mitropoulos Competition for Conductors was deferred this season. It will be reinstated next winter marking its tenth anniversary. The Women's Committee of the Federation of Jewish Philanthropies will again be the sponsor, but, henceforth, only one prize will be awarded rather than the previous three. The "Queen Marie-Jose Prize" competition for chamber music is open to com- posers of all nationalities with no age restrictions. Compositions should be of 10-30 minutes duration, scored for 3-8 performers (some may double in instru- ments). Manuscripts and tapes must be submitted before May 31, 1972, to Queen Marie-Jose, Secretariat, 1249 Merlinge, Geneva, . The Philadelphia Lyric Opera, 1518 Walnut Street, has established an International Singing Competition. The first contest was held recently at the Academy of Music and four singers shared in the three awards. The first prize of $2000 and a contract with the company went to Philippine soprano Zenaida Luz; the second prize was won by soprano Ellen Shade; and the third prize was shared by Harry Dvorchak and Gwen Jones. WINNERS Radio station WGN and the Illinois Opera Guild have announced the winners of its joint Auditions of the Air competition. Soprano Jeannine Altmeyer received first prize — $2000 and a concert at Chicago's Grant Park. A soprano Ana Riera won the second prize of $1500. Both singers were previous winners at the Metropolitan Opera National Council Auditions. The American Opera Auditions announced the 1971 winners: soprano Karin Kimble from Tulsa, soprano Bess Arlene from Hamilton, Ohio, tenor Rafael LeBron from San Jan, P.R., baritone John Pflieger from Milwaukee, and Tom Fox from Cincinnati. The five young singers will go to Enghien-les-Bains, France, to perform in La Boheme this summer. The Minna Kaufmann Ruud Foundation awarded $1000 and $500 prizes to 8 young women: Janet Graham from Hudson Falls, N.Y., Irene Gubrud from Canby, Minn., Syble Young from Palmerton, Pa., Nelsie Walker from New York City, Jean Barnes from Kansas City, Kan., Jacklyn Schneider from Norwich, Conn., and mezzos Maria Ewing from Detroit and Lynn Beckstrom from Pitts- burgh. Among the six young musicians who won this year's Concert Artists Guild's awards was one vocalist, baritone Robert Christensen, former winner at the Metropolitan Opera National Council auditions. The fifth Emma Feldman Competition, this year open to singers, was held in Philadelphia last month. The first prize of $1000 and two concert appearances was won by 32-year old Alan Wagner, a baritone from West Chester, Pa., the second prize of $400 went to 3 3-year old Korean tenor, Philip Cho, and the third prize of $200 to 30-year old soprano Maria Jacobi of Chicago. Three additional $ 100 prizes were awarded to mezzo Mertine Johns of Phialdelphia, soprano Regina McConnell of Norfolk, Va., and Japanese baritone Tsutomu Masuko of Evanston, 111. In May 1971, the Amato Opera Circle named tenor Brian Donohue and tenor as first and second prize winners. They were awarded $200 and $100 respectively. Applications for the 1972 competition must be received before December 31, 1971 by the Amato Opera, 319 , New York. The National Capital Parks Service initiated a new program of Artists-in-Residence to assist with engagements for civic and educational organizations in and around Washington, D.C. The first singer contracted under this program is soprano Lauretta Darsey Young. The 17th International Singing Competition in Toulouse, France, gave second prize to American baritone William Parker. First and third prize in the men's division went to Romanian tenor Dan Serbac and Japanese tenor Kawase Ryushi. In the women's division, Romanian Eugenia Moldoveanu, British Susan Morris and Polish Bozena Betley were the winners.

— 14 — APPOINTMENTS

Goran Gentele, future General Manager of the Metropolitan Opera, has announced his first major appointments. Internationally-renowned conductor RAFAEL KUBELIK will become Music Director of the Metropolitan and SCHUYLER G. CHAPIN, formerly of Lincoln Center, was named Assistant Manager.

Mo. Kubelik has been music director and conductor of the Bayerische Rundfunk for the last ten years, during which time he guest conducted other major orchestras and opera ensembles. Recently, he appeared at La Scala in Milan, Geneva's opera house, the , and Covent Garden where he was music director from 1955-58. He held the position of music director of the Chicago Symphony Orchestra from 1950-53 and has also led most major American symphony orches- tras. The Czech-born conductor, who is also a pianist and composer, will begin his three-year Metropolitan Opera contract in the Fall of 1973, but will be available as consultant prior to that time. The conductor will spend five months at the Metropolitan Opera and continue for three months each season at the Bayerische Rundfunk. Mr. Gentele and Mo. Kubelik will share artistic responsibility in planning repertory, new productions, casting, etc. This is the first time in the history of the Metropolitan Opera that a conductor has held this position and the title of Music Director.

Mr. Chapin, who is also a trained musician, gathered his administrative experience first as representative for Columbia Artists Management, then as artists and repertoire director for Columbia Records' classical and theatre catalogs. In 1964 he became Vice-President in charge of programming at Lincoln Center where he established the Film Festival and the Lincoln Center Summer Festival. Since 1970 he has been associated with as Executive Producer of Amberson Productions, makers of musical films for theatre, television, and video cassettes. Mr. Chapin will begin as Assistant Manager at the Metropolitan Opera in the Fall of 1972 concurrent with Mr. Gentele's assumption of his own position as General Manager.

The Metropolitan Opera Board of Directors has re-elected Chairman LOWELL WADMOND and President GEORGE S. MOORE. WILLIAM ROCKEFELLER was named Chairman of the Executive Committee, JAMES C. HEMPHILL Assistant Treasurer, PAUL HALLINGBY Secretary, and MRS. ALEXANDER M. LAUGHLIN a new Vice-President. All other officers of the Board of Directors and of the Members of the Association remained the same. Four new Board members were chosen: Mrs. Kenyon Boocock, Thomas G. Chamberlain, Frederic G. Donner, and Maurice F. Granville. The Metropolitan Opera National Council elected its president, Alexander Saundrson, and vice-president, Warde B. Ogden, as representatives to the MOA Board; the Guild's new representative is Laurence Lovett.

The Metropolitan Opera Guild has elected MICHAEL V. FORRESTAL Chairman of the Board and LAURENCE D. LOVETT President, the position Mr. Forrestal occupied for the last four years. Mr. Forrestal, in turn, succeeds Mr. Langdon Van Norden.

BERTIL BOKSTEDT has been named successor to Goran Gentele as General Director of the Royal Opera in Stockholm for the 1971-72 season. Mo. Bokstedt joined the company in 1954 as conductor, became Chief of Programming in 1966 and, in addition, was made Director of the summer opera at Drottningholm in 1969.

In the Fall of 1972, EGON SEEFEHLNER will become Intendant of the Deutsche Oper in West Berlin. He has announced the engagement of conductors Zubin Mehta for 1973-74 and Georg Solti for three seasons beginning 1974-75. The latter will lead fifteen performances each season.

— 15 — RICHARD M. CISEK, Managing Director of the Minnesota Orchestra (former Minneapolis Symphony), was appointed to the Advisory Music Panel of the National Endowment for the Arts. Others on the Music Panel are Donald Engle, A. Beverly Barksdale, Van Cliburn, Willis Conover, Roger Hall, R. Philip Hanes, Jr., Robert Mann, Gian Carlo Menotti, Benjamin Patterson, Peter Mennin, David Rockefeller, Jr., Max Rudolf, William Severns, Robert N. Sheets, Rise Stevens, Howard Taubman, William Thompson, and Alfred Wallenstein.

CORNELL MACNEIL has been nominated as President of the American Guild of Musical Artists (AGMA) to succeed current President George London. Mr. London, who is also artistic administrator at JFK Center, resigned from his AGMA position effective at the end of his term, due to "a conflict of interest". DONALD L. ENGLE, director of the Martha Baird Rockefeller Fund for Music since its beginnings, has accepted the post of President of the Minnesota Orchestral Association (former Minneapolis Symphony), effective September 1, 1971. This is the second orchestra to employ a president on a full-time paid basis; the first was the N.Y. Philharmonic where Carlos Moseley has been president for the last season. Prior to his position with the Rockefeller Fund, Mr. Engle was manager of the Philadelphia Orchestra.

New conductorial assignments include SKITCH HENDERSON as Music Director of the Tulsa Philharmonic Orchestra for 1971-73,— SAMUEL JONES as Chief Conductor of the Rochester (N.Y.) Philharmonic with as Music Advisor, — FREDERICK PRAUSNITZ (formerly New England Con- servatory) as Music Director of the Syracuse (N.Y.) Symphony, — RALPH R. GUENTHER as Acting Music Director of the Fort Worth (Tex.) Symphony.

ROBERT PAGE, Choral Director at Temple University in Philadelphia, was named Director of the Chorus, succeeding Margaret Hillis who will continue as Conductor/Director of the Chicago Symphony Chorus.

Some recent appointees to managerial positions: 30-year-old DENIS LANGE- LIER, who has been with the Toronto Symphony for the last three years, will suc- ceed Pierre Beique as General Manager of the Montreal Symphony Orchestra; JACQUES R. CHABRIER was appointed Managing Director of the music pub- lishing house Chappell & Co., Ltd., London, where he will be in charge of both the London and the New York offices; the appointment of LEO SULLIVAN as Associate to Michael Sean O'Shea, Director of Publicity and Promotion at the John F. Kennedy Center for the Performing Arts, has been announced by William McC. Blair, Jr., General Director of the Center.

The following appointments to academic positions have been announced: soprano EILEEN FARRELL as Professor to Indiana University's School of Music; — MICHEL LANGINIEUX, French actor and mime, has been named Director of the Opera Theatre at Stanford University in California; tenor GEORGE SHIRLEY was appointed to the music faculty of Staten Island Community College; CECIL B. WILSON has become Executive Assistant to Dean Kurzban to coordinate joint music programs of the Cleveland Institute of Music and the Case Western Reserve University; HOWARD R. RARIG will assume the new position of Director of the School of Music at the University of Southern California in Los Angeles; HAROLD BLUMENFELD will be Visiting Professor at Queens College of the City University of New York for 1971-72 while on leave of absence from St. Louis' Washington University; JENNIE TOUREL will take charge of Master Classes at the 1971 Summer Vocal Institute in Freiburg, Germany (see "Summer Workshops" in 3/71 Blltn.).

BRUCE FOOTE, voice teacher and former Chairman of the Voice Department at the University of Illinois, was named Professor of Music at Southern Methodist University in Dallas. Dr. Eugene Bonelli is Chairman of the Division of Music and tenor is head of the Opera Theatre there.

— 16 — The University of Cincinnati, College-Conservatory of Music, has signed DAME ALICIA MARKOVA, internationally known prima ballerina, as Professor of Ballet and the Performing Arts. She will also teach classes in stage movement and related subjects in the College Conservatory's Opera Department. She was Director of the Metropolitan Opera Ballet from 1965 to 1969.

ANNOUNCEMENTS FROM THE GUILD

The METROPOLITAN OPERA GUILD has established a new type of member- ship, Associate Membership. It is designed to offer Opera News to a group of fifty or more at the reduced annual price of $9 (instead of $10). To enroll Asso- ciate Members, one check should be made out to the Metropolitan Opera Guild and sent to its offices at 1865 Broadway, New York, 10023, together with the list of names and complete mailing addresses.

The 1972 Metropolitan Opera Guild Engagement Calendar is in preparation and may be ordered from the Guild (see above address) for $3.00. The 1972 edition has been redesigned to allow more space for notes and appointments, and includes, as always, attractive action and portrait photographs of Metropolitan Opera artists. It features over fifty pictures, twelve in full color.

NEW COS MEMBERS

Alicea, Miss Mercedes, New York, New York American Institute of Musical Studies, R. Owens, Dir., Dallas, Tex. Armacost Library, Univ. of Redlands, California Back, Robert, Performing Arts Research, West Hollywood, Calif. Battle Creek Opera Society, Dr. E. J. Attarian, Fndr./Dir., Mich. California State College at Hayward, Opera Workshop, Miss M. Heinmiller, Dir., Calif. College of the Desert, Opera Workshop, J. Kneebone, Dir., Palm Desert, Cal. Cooke, Maxwell E., Sarasota, Florida Cox, Mrs. J. B., Tulsa, Oklahoma Darling, Robert, San Francisco, California Doren, Richard E., New York, New York Foose, Thomas T., Brooklyn, New York Foreman, Edward, Milwaukee, Wisconsin Matinee Musical Club Opera Workshop, Mrs. F. H. Coughlin, Chmn., Alexandria, Louisiana McCall, Miss Myrtle E., WITF-TV, Channel 33, Hershey, Pa. New England Chamber Opera Group, R. de Acha, Dir., Maiden, Mass. Palm Springs Opera, S. Petroff, Gen. Dir., Palm Springs, Calif. Porter, John Stone, South Pasadena, California Samsel, John R., New York, New York University of Texas Library, Austin, Texas Wright, Miss Carole, Bloomington, Indiana

— 17 — PERFORMANCE LISTING, 1970-71 SEASON (cont.) All performances are staged with orchestra unless marked "cone, pf." or "w.p." (with piano). — Performances and news items once announced will not be relisted at the time of performance. — *denotes new production; m — denotes matinee. CALIFORNIA California State College at Hayward, Opera Workshop, Marilyn Heinmiller, Dir. Fall 70 Carmen Eng. Goldovsky Trouble in Tahiti & Opera Scenes Spring '71 The Impresario Eng. Previn Hansel and Gretel A Hand of Bridge & A Game of Chance CONNECTICUT New Haven Opera Society, H. Glaz, Dir. 5/15/71 & L'Histoire du soldat cond.: Wyner New London Symphony 3/71 Tosca cone, pf.; Galvany; Lambrinos DISTRICT OF COLUMBIA The Hawthorne School, Music Department, Washington May '71 El-Dabh's Opera Flies prem. 4 pfs. 6/2, 3/71 Opera Flies at Brooklyn Academy of Music, 6/4, 5 at Anderson Theatre, N. Y. Inter-American Festival, Chamber Opera of Teatro Colon, at Lisner Audit., Washington 5/24, 26/71 La Finta giardiniera cond.: J. E. Martini; dir.: M. Eisler; des.: R. Oswald 5/25, 27/71 Lo Frate inamorato INDIANA Fort Wayne Philharmonic Opera and Orchestra, W. Roberts, Mgr. 3/6, 7/71 The Coronation of Poppea Eng. Leppard; cond.: Queler; dir.: McGuire 5/27, 31/71 Pagliacciat Granke Park Outdoor Theatre; cond.: Briccetti; dir.: McGuire IOWA Davenport Symphony Orchestra, Davenport 4/24/71 Cavalleria rusticana cone, pf.; Niska, Baldwin; Stewart, Lambrinos MASSACHUSETTS Opera Co. of Boston, , Art. Dir., at Aquarius Theatre, Boston 6/11, 13/71 Sills, Wolff, Alberts; Alexander, Gramm; incl. special aria by R. Wagner NEW YORK Syracuse Symphony, Opera Ensemble, C. Custer, Dir. 2/16/71 Operatic Scenes, st. dir.: de Blasis NEW YORK CITY Association for the Furtherment of , S. Zucker, Dir. 4/7/71 Cafe La Mama Troupe 5/9-16/71 McDowell's A Dog's Life Celestial Choral Ensemble of the Blind, Hilda Murray, Dir., Town Hall 5/23/71 The Magic Flute Eng.; w.o., cone. pf. Clarion Concerts, N. Jenkins, Dir., Tully Hall 4/'22/71 A. Scarlatti's II Primo omicidio Sciutti, Bonazzi; Berberian, Best Collegiate Chorale, A. Kaplan, Dir., Carnegie Hall 5/8/71 Carmina burana & Beethoven Mass; Scovotti, Simon; Riegel, Patrick Henry Street Settlement Music School, Opera Workshop 5/21, 22, 23/71 Six's All Cats Turn Gray When the Sun Goes Down prem. Juilliard School, American Opera Center, Lincoln Center 5/20, 22/71 Overton's Huckleberry Finn prem. The Lighthouse Singers, Opera Workshop, R. Krause, Dir. 6/10, 11/71 Gallantry & Gilbert & Sullivan excerpts Little Orchestra Society, T. Scherman, Dir., Tully Hall 5/6/71 Janacek program incl. The Diary of One Who Vanished National Educational Television, PBS, Opera Theatre 5/16/71 Britten's Owen Wingrave prem. (BBC prod.) Baker, Harper; Luxon, Pears; cond.: Britten — 18 — 1970-71 Season New York Children's Theatre Center, Town Hall 5/7, 8/71 Carmen 5/26/71 , P. Boulez, Cond., Lincoln Center 4/22, 23, 24, 26/71 Beatrice et Benedict excerpts, cone, pf., Raskin, Veasey, Killebrew; Jennings Opera Festival 1971, Provincetown Playhouse 5/29/71 Carmen Sarah Lawrence Improvisation Ensemble, M. Kupferman, Dir., N.Y. Shake- speare Festival Public Theatre 5/24/71 Kupferman's Visions and Games prem.; with "Pandora", a multi-media conceit Stuyvesant Community Opera at Stuyvesant Adult Center 5/19/71 with the Monteverdi Singers Turnau Opera Workshop, W. Pinner, Dir., P.S. 87 5/5/71 Chanticleer & Scenes from French operas 5/9/71 Suor Angelica & The Old Maid and the Thief OHIO Cincinnati May Festival, J. Rudel, Dir. 5/14/71 La Forza del destino excerpts; Price; Alexander 5/21/71 Sills; Treigle 5/22/71 Britten's War Requiem Saunders; Reardon PENNSYLVANIA The Academy of Yocal Arts, V. Hammond, Dir., Philadelphia 3/28/71 Chailly's Markheim Am. prem., & Scenes from La Fille du regiment Curtis Institute of Music, Opera Department, M. Rudolf, Dir., Philadelphia 4/23, 24/71 Wolf-Ferrari's School for Fathers Eng.; St. dir.: Yannopoulos; des.: Roth Orchestra Pro Musica, at Academy of Music, Philadelphia 5/3/71 "An Evening of Opera" Kabaivanska; diGiuseppe; cond.: Fiore RHODE ISLAND Rhode Island Philharmonic, F. Madeira, Dir., Provincetown 4/3/71 cone, pf., Naghiu TEXAS Southern Methodist Univ., Opera Theatre, P. Vellucci, Art. Dir., T. Hayward, Prod. 4/1, 2/71 Eng. Martin; H. Crohn, mus. dir.

PERFORMANCE LISTING, SUMMER 1971 ALASKA Alaska Festival of Music, A.C. Roller, Dir., Anchorage 6/11-24/71 Concerts ARIZONA Summer Festival, Flagstaff 7/14-8/8/71 Symphony and chamber music concerts CALIFORNIA Carmel Bach Festival, S. Salgo, Mus. Dir. 7/16-25/71 Blow's Venus and Adonis, also symphony and choral concerts Cabrillo Music Festival, C. Chavez, Cond. & Mus. Dir., Aptos 8/13-29/71 Symphony concerts Claremont Music Festival & Institute, Pomona College, Claremont 6/21-7/31/71 Festival and Institute 6/21-8/1/71 Scripps College Opera Workshop, V. Stuart, Dir. (registr. at Pomona College) Hollywood Bowl, E. Fleischmann, Exec. Dir., Los Angeles 7/6-9/11/71 Los Angeles Philharmonic, Z. Mehta, Mus. Dir. La Traviata Sills; Domingo, Milnes; cond.: Mehta Die Fledermaus cond.: Leinsdorf Excerpts by Rossini; Home — 19 — Summer 1971 Lyric Opera Assn. of Orange County, Miss V. Sun, Dir., Laguna Beach 8/71 Opera in English; excerpts 9/10, 11, 17, 19/71 The Music Man Music Academy of the West, M. Abravanel, Dir., Santa Barbara 7/5-8/28/71 Student concerts and recitals; opera workshop; master classes Der Freischiitz Music at the Vineyards, Paul Masson Vineyards, Saratoga 6/26-8/29/71 Weekend concerts; opera by San Francisco Opera Merola Program Music from Bear Valley Festival, W. Westover, Gen. Mgr. 8/13-22/71 Music Festival; J. Gosling, mus. dir. Ojai Festival, G. Samuels, Dir. 5/28-30/71 Concerts with Los Angeles Philharmonic Redlands Bowl Music Festival, H. Farbman, Mus. Dir., C. Perlee, Coord. 7/30/71 DonPasquale (6/29-8/20/71) 8/20/71 San Francisco Western Opera at Windsor Vineyards 6/20/71 Opera excerpts, C. Lewis, Emoed-Wallace; Sullivan, Fleck Summer at Stanford, Encina Commons, Stanford University, Palo Alto 6-8/71 Concerts, opera, jazz, dance The Talent Bank of San Francisco, Mrs. A. Crapsey, Gen. Dir. 6/19, 26/71 The Jumping Frog of Calaveras County Rieschorfer; Andrews, Baker Clark; cond.: Griswold; dir.: Rose; w. 2 ps.; at Montalvo Music Festival, Saratoga; at De Young Museum, San Francisco respect. COLORADO Aspen Music Festival and Institute, J. Mester, Mus. Dir. 6/28-8/29/71 concerts, recitals Colorado Opera Festival & Opera Workshop, D. Jenkins, J. Baird, Co-Dirs., Colorado Springs 6/23, 25, 26/71 Traetta's // Cavaliere errante Amer. prem; Eng. Seay 7/7, 9, 10/71 // Combattimento di Tancredi e Clorinda & L'Histoire du soldat Eng. 7/21, 23, 24/71 Otello Eng. CONNECTICUT Yale School of Music Festival & Workshops, Music Shed, Norfolk (7/2-8/22/71) 7/7/71 // Re pastore 7/10/71 The Abduction from the Seraglio Silvermine Guild Chamber Music Festival, New Canaan 7/11-8/29/71 Concerts FLORIDA New College Summer Music Festival, P. Wolfe, Sarasota 6/6-26/71 Concerts & workshops ILLINOIS Grant Park Concerts, Chicago, cone. pfs. (6/26-8/29/71) 7/17, 18/71 Dido and Aeneas & L'Heure espagnol Wykoff; Riegel, Goodloe; & Cooper 7/24, 25/71 Der Freischiitz Smith-Meyer; Voketaitis 8/28, 29/71 Die Fledermaus Patrick River Festival, Univ. of Southern Illinois, Edwardsville 7/10-8/6/71 St. Louis Symphony, other groups Ravinia Festival, Chicago Symphony, Highland Park (6/24-9/5/71) 7/15, 17/71 Rigoletto Moffo; Milnes, Alexander; cone. pf. 8/5/71 "An Evening of Bel Canto" Sills 8/6/71 Jesus Christ Superstar American Rock Opera Company; cone. pf. 8/7/71 "Classical Viennese Concert" Sills INDIANA Indiana University, Opera Theatre, W. Bain, Dean, Bloomington 7/17, 21, 24/71 Fatstaff MAINE Bar Harbor Festival, F. Fortier, Art. Dir. (7/23-8/13/71) 7/23/71 Cos} fan tutte Metropolitan Opera Studio 8/6/71 "Festival Promenade" Altman; Rigg

— 20 — Summer 1971 MARYLAND Concerts Under the Stars, Baltimore (6/18-8/6/71) The Harford Theatre, S. LiUienstein, Art. Dir., Bel Air 6/25, 26, 27 7/2, 3, 4/71 The Marriage of Figaro Eng. 7/9, 10, 11, 16, 17, 18/71 La TraviataEng. 7/23, 24, 25, 30, 31 8/1/71 8/6, 7, 8, 13, 14, 15/71 Don Pasquale Eng. 8/20, 21, 22, 27, 28, 29/71 The Rake's Progress Merriweather Post Pavilion of Music, Columbia 6/7-9/12/71 Washington National Symphony, ballet, pop concerts MASSACHUSETTS Berkshire Music Festival, S. Ozawa & G. SchuIIer, Art. Dirs., Tanglewood, Lenox 7/2-8/22/71 Boston Symphony in residence 8/22/71 Damnation of Marshall; Alexander, Flagello; Tanglewood Festival Chorus College Light Opera Company, Falmouth 7-9/71 Program not available Lenox Arts Center, L. Austin, O. Smith, Co-Dirs., Berkshire Hills 7/1-9/6/71 Concerts, Workshops, Seminars, and Master Classes 8/12-15, 19-22/71 S. Silverman's and R. Foreman's Dream Tantras for Western Massachusetts prem. South Mountain Concerts, Pittsfield 7/5-10/15/71 Concerts & chamber opera to be announced MICHIGAN Ann Arbor May Festival, E. Ormandy, Mus. Dir., at Univ. of Michigan 4129-5 j 2171 Philadelphia Orchestra in residence Detroit Discovery — Festival of the Arts, Y. Poole, Ford Auditorium 8/71 Detroit Symphony Orchestra Meadowbrook Music Festival, S. Kallai, Mgr., Rochester 6/24-8/15/71 Detroit Symphony in residence, S. Ehrling, mus. dir., also dance companies National Music Camp, M. Utgaard, Art Dir., Interlochen 6/27-8/23/71 Concerts, Opera, Workshop; A. Addison, dir. MINNESOTA St Paul Opera Assn., I. Buketoff, Mus. Dir., G. Schaefer, Gen. Mgr. 6/19, 23, 26 7/5, 9/71 Summer and Smoke prem. Peil, Harnes, Williams; Reardon Titus; cond.: Buketoff; dir.: Corsaro; des.: Evans 6/21, 25, 30 7/3/71 Die Fledermaus Eng.; Curtin, Williams; Khanzadian; cond.: Me Arthur; dir.: Kuyber 6/28 7/2, 10, 14/71 Crader; McGray, Shinall; cond.: McArthur; dir.: Kuyber 7/7, 12, 16, 17/71 Ariadne auf Naxos Eng./Germ.; Curtin/Crader, Williams; Brock; cond.: Buketoff; dir.: A. Bishop MISSOURI Opera Theatre of America, Inc., E. Murphy, Art. Dir., St. Louis 6-9/71 at Forest Park & Goldenrod Showboat; to be announced 8/71 August Opera Festival NEW MEXICO Santa Fe Opera, J. Crosby, Gen. Dir. 7/9, 17 8/17, 21, 25/71 Don Carlo Barker, P. Johnson/Davidson; Bonhomme, Shaw, Gramm, Garrard; cond.: Crosby; dir.: Mansouri; des.: Darling 7/10, 16, 24 8/4, 13, 26/71 The Magic Flute Bruno, Shane/Lebrun; Wakefleld/S. Johnson, Uppman, Garrard; cond.: Baustian; dir.: Hebert; des.: Reehling/Kim 7/23, 28 8/14, 20, 28/71 La Grande Duchesse de Gerolstein* Bonazzi, Belling; Wakefield, Gramm; cond.: Crosby; dir.: Hebert; des.: Klein/Mess 7/30 8/7, 19, 27/71 The Marriage of Figaro teKanawa, Bruno, vonStade; Uppman/Shaw, Gramm/Devlin, R. Best, Perry; cond.: Baustian; dir.: Hebert; des.: Klein 7/31 8/6, 11/71 Der fiiegende Hollander* Barker; Bonhomme, Garrard, Shaw; cond.: de Waart; dir.: Igesz; des.: Jampolis/Mess 8/12, 18/71 Villa-Lobos' Yerma* prem.; Lacamba, von Stade, Bonazzi; Wakefield, Uppman; cond.: Keene; dir.: Langton; des.: de Chirico 21 Summer 1971 NEW HAMPSHIRE Congregation of the Arts, Hopkins Center, Dartmouth College, Hanover 7/6-9/4/71 Chamber Music New Hampshire Music Festival, T. Nee, Mus. Dir., Center Harbor 7/11-8/21/71 Semi-staged Opera pfs.; Orchestral and Chamber Music NEW JERSEY Garden State Arts Center, Telegraph Hill Park 6/9-9/2/71 Concerts and ballet (incl. N. J. Symphony, B. Sills soloist 7/27, 28/71) NEW YORK Adirondack-Champlain Festival, £. Michell, Art. Din, Lake Placid 7/3-9/4/71 Concerts in Lake Placid, Schroon Lake, Burlington, Blue Mountain Lake, SaranacLake, Old Forge, Plattsburgh (N.Y.) Caramoor Festival, J. Rudel, Art Dir., Katonah (6/19-7/18/71) 6/19 7/3/71 // Combattimento di Tancredi e Clorinda &Dido and Aneas* Forrester, Valente, Bonazzi; Velis, Stilwell; cond.: Rudel; dir.: Hebert; des.: Evans 7/9, llm/71 Curlew River Velis, Metcalf, Clatworthy, Berberian; cond.: Rudel; dir.: Hebert; des.: Evans 7/16/71 Henze's El Cimarron (Opera Oratorio) N.Y. prem.; Eastman Chatauqua Summer Festival & Institute, L. Treash, Gen. Dir., Opera Theatre 7/16, 17, 19/71 7/23, 26/71 Tosca 7/30, 31 8/2/71 The Italian Girl in Algiers 8/6, 9/71 Aida 8/13, 14, 16/71 Cavalleria rusticana & Angelique 8/20, 21, 23/71 Musical Lake George Opera Festival, D. Lloyd, Mus. Dir., Glens Falls 7/20, 21/71 The Mother of Us All Center Opera Company prod. 7/23, 24/71 Faust Counter Faust Center Opera Company prod. 7/29, 31 8/2m, 6, 14m, 20, 25, 28m/71 L'lnfedelta delusa Catani-Soviero/Barnes, Fling; Vrenios, Walker/Taylor; cond.: Callaway; dir.: Besch; des.: Dunham 8/5, 7, 9m, 11, 13, 17, 19, 21, 23m, 27/71 La Boheme Eng.; Brooks/Barnett, Christopher/Fling; Danner/Taylor, Gardner, Barker, Devlin; cond.: Callaway; dir.: Corsaro; des.: Dunham 8/12, 14, 16m, 18, 21m, 24, 26, 28/71 The Italian Girl in Algiers Williams/Lueders, Spacagna/ Barnes; Vrenios, Beni, Steele, Termine; cond.: Hegyi; dir.: Besch; des.: Dunham Saratoga Performing Arts Center, R.T. Leach, Exec. Dir., Saratoga Springs 7/6-8/28/71 New York City Ballet; Philadelphia Orchestra 8/14/71 Carmina burana Witkowska; Riegel, Metcalf; Saratoga-Potsdam Chorus 8/20/71 The Damnation of Faust Marshall; Alexander, Flagello; Tanglewood Festival Chorus 8/21/71 Opera excerpts Treigle; Saratoga-Potsdam Chorus & Berkshire Boy Choir 8/27/71 The Merry Widow Boky, Clements; Walker, Reardon; Capitol Hill Choral Soc. State University of New York at Albany, Opera Workshop (6/7-25/71) Schedule not available NEW YORK CITY Hunter College Opera Assn., Center Opera Company 7/31 8/1/71 Faust Counter Faust 8/3, 4/71 The Mother of Us All Metropolitan Opera Assn., R. Bing, Gen. Mgr., in N.Y.C. Parks 6/15, 18, 25, 30/71 Cavalleria rusticana Ross/DePaul, von Stade/Grillo; Tucker/Di Giuseppe, Manuguerra/Christopher/Polakoff; cond.: Adler 6/16, 19, 23, 29 7/3/71 Faust Kabaivanska/Witkowska/Boky, Forst/Myhal/Grillo; Alexander/DiGiuseppe/Shirley, Tozzi/Diaz/Macurdy, Walker/Cossa/ Christopher; cond.: Rich/Behr 6/22, 26 7/2/71 Fidelio Borkh, Boky/CIements; Spiess/Nagy, Meredith, Macurdy/Dobriansky, Karlsrud/Diaz; cond.: Strasfogel Mostly Mozart Festival, Philharmonic Hall, Lincoln Center 8/2-28/71 Program to be announced Naumburg Concerts, Central Park Mall 5/30-9/6/71 5 Concerts — 22 — Summer 1971 Tully Hall Sampler, Lincoln Center (6/5-20/71) 6/10/71 "An Evening of Vocal Chamber Music" Metropolitan Opera Studio 6/17/71 The Kathryn Long Singers of the Metropolitan Opera, Robinson; Shirley, Goeke; Chamber Orchestra; cond.: Strasfogel 6/20/71 "Vienna to Broadway" Metropolitan Opera Studio NORTH CAROLINA Eastern Music Festival at Guilford College (6/17-7/29/71) Brevard Music Center & Festival, H. Janiec, Dir. 7/2-8/15/71 Don Pasquale Pagliacci & The Unicorn in the Garden H.M.S. Pinafore 11 Trovatore Musical OHIO Blossom Music Center Festival & Kent State University, Kent 6/22-9/5/71 Cleveland Orchestra in residence, P. Boulez, mus. adv. Briar Knoll Festival Opera Company, L. Jones, Dir., Loveland 6/9, 12/71 Adams, McMannis; Marshall; cond.: Grimm 6/23, 26/71 La Boheme Adams, McMannis; Marshall, Jones; cond.: Blue 7/14, 17/71 Tosca Adams; Marshall, Hill; cond.: Grimm 7/27, 30/71 Faust Shockley; Marshall, Jones; cond.: Howard Cincinnati Summer Opera, S. Orwoll, Dir., at the Zoological Gardens 6/30 7/2/71 Lucia di Lammermoor Sills 7/1, 3/71 La Boheme Niska 7/7, 10/71 Rigoletto Scovotti; Buzea, Quilico 7/9, 11/71 Of Mice and Men* Cooper; Patrick, Moulson 7/14, 17/71 Romeo and Juliet* Shelle; W. Lewis 7/16, 18/71 Carmen Casei 7/21, 24/71 The Barber of Seville Peters; Patrick 7/22, 23, 25/71 Vienna Volksopern Ballet Oberlin College Music Theater, R. Lazarus, Dir., Oberlin 717-817171 Opera and Musical Comedy; Season re-instated; program to be announced PENNSYLVANIA Ambler Festival and Institute of Temple Univ., D. Stone, Art. Dir. (6/15-8/8/71) 7/18, 20/71 Jesus Christ Superstar cond.: Engel 7/23, 24/71 Death of the Bishop of Brindisi & 8/6, 7/71 The Mother of Us All, Faust Counter Faust Center Opera Co. prod. Also concerts by Pittsburgh Symphony in residence Ephrata Cloisters, Ephrata 6/26-9/4/71 Vorspiel der neuen Welt music drama Pennsylvania Opera Festival & Workshop, Inc., Mrs. A. Keister, Pittsburgh 7/25-8/21/71 Opera courses and production at Winchester-Thurston School; R. Woitach, mus. dir.; R. Flusser, st. dir. Robin Hood Dell, Philadelphia 6/21-7/29/71 Philadelphia Orchestra in residence The Merry Widow Boky (1 pf. at Saratoga Festival, N.Y.) RHODE ISLAND The Newport Music Festival, G. Sauls, Gen. Dir., R. I. Arts Foundation 7/29-8/7/71 Chamber music, recitals, films 7/29, 31/71 Cendrillon Metropolitan Opera Studio 8/7/71 Lattes' // etait une bergere text by Rivoire; chamber opera; Metropolitan Opera Studio TENNESSEE Sewanee Summer Music Center, Miss M. McCrory, Dir., Sewanee 6/20-7725/71 Classes and concerts, high school and college level TEXAS Houston Opera in the Park, free series 7/71 The Medium VERMONT Composers' Conference and Chamber Music Center, Bennington 8/15-29/71 Concerts

— 23 — Summer 1971 Marlboro Music Festival, R. Serkin, Art. Dir. 7/10-8/15/71 Chamber Music and Festival Concerts; P. Casals guest cond.; composers-in-residence: L. Kirchner, P. Chihara, T. Takemitsu St. Michael's College, Fine Arts Department, W. Tortolano, Chin., Winooski 7/7-21/71 Chamber Concerts Southern Vermont Arts Center, Manchester 7/3-8/29/71 Music events University of Vermont, Burlington 7/7'-26/71 Lane Summer Series VIRGINIA Wolf Trap Farm Park, Filene Center, Vienna (7/1-9/11II1) 7/20, 24/71 Faust Niska, Creed; DiGiuseppe, Darrenkamp, Treigle; cond.: Rudel; dir.: Corsaro; des.: Lee/Varona 7/21, 23, 25/71 Lucia di Lammermoor Sills; Molese, Fredericks, Hale; cond.: Wilson; dir.: Capobianco/Denda; des.: Eck/Varona 7/22, 24m/71 La Traviata Brooks; J. Stewart, Cossa; cond.: Keene; dir.: Corsaro; des.: Fletcher/Campbell 7/27, 28/71 The Mother of Us All Center Opera Company prod. 7/29/71 Faust Counter Faust Center Opera Company prod. 8/12-17/71 Cavalcade of Musical Theater WASHINGTON Tamarack Music Festival, Eastern Washington State College, Cheney 6/21-7/3/71 Spokane Symphony Orchestra, D. Thulean, mus. dir., also workshop and master classes WEST VIRGINIA Oglebay Institute, Opera Workshop, B. Goldovsky, Dir., Wheeling 8/1-21/71 Opera workshop; A. Schoep, F. Popper, assoc. dirs. 8/18/71 The Old Maid and the Thief & WISCONSIN Music Under the Stars, Milwaukee County Park Commission 7/10, 11/71 "A Night at the Met" Ross; Alexander, Meredith 8/6, 7/71, Madama Butterfly Niska; Stewart; cond.: Anello also 4 pairs of symphony concerts Peninsula Music Festival, Fish Creek 8/7-21/71 Symphony concerts Summer Arts Festival, Wisconsin U., A. A. Suppan, Dean, School of Fine Arts, Milwaukee 6/21-8/1/71 Chamber music concerts CANADA Banff School of Fine Arts, Opera Div'n., J. Craig, Dir., Alberta 7/5-8/14/71 Workshops The Center for Continuing Education, A. Schoep, Dir., Elliot Lake, Ontario 6/28-8/27/71 Opera Workshops Stratford Festival, Miss A. Gingras, Mus. Admin., Ontario 7/4-8/29/71 Chamber music and recitals 7/18/71 Concert, Vickers 7/25/71 Vocal recital, Souzay 8/10, 13, 14, 18, 21, 22/71 Hansel and Gretel The Montreal Marionettes PUERTO RICO Festival Casals, P. Casals, Mus. Dir., A. Schneider, Asst. Dir., San Juan 5/28-6/14/71 Symphony and chamber music concerts ITALY Spoleto Festival of Two Worlds, G. C. Menotti, Dir. 6/24/71 Boris Godunov

— 24 — FIRST PERFORMANCE LISTING, 1971-72 SEASON CALIFORNIA Sao Francisco Opera Assn., K. H. Adler, Gen Dir., War Memorial Opera House 9/10, 19m, 25, 29 10/3m, 8/71 Marion* Sills; Gedda, Ulfung, Monk, Berberian; cond.: Perisson; dir.: Capobianco; des.: Mitchell 9/11, 14, 17, 22, 26m/71 Jurinac, Ludwig, Donath; Jungwirth, Burrows; cond.: Varviso; dir.: P. Hager; des.: Bauer-Ecsy 9/12m, 15, 18, 21, 24 10/2, 24m/71 Madama Butterfly Kubiak, Vanni; Burrows, Yarnell; cond.: Levine; dir.: Farruggio; des.: Businger 10/1, 6, 9, 12, 17m/71 Die Meistersinger von Nurnberg* Saunders; Adams, King, Evans, Flagello; cond.: Suitner; dir.: Hager; des.: Oswald 10/5, 10m, 15/71 A Midsummer Night's Dream Vyvyan, Cantelo; Tear, Brannigan; cond.: Bedford; dir.: Graham: des.: Luzzati (English Opera Group prod.) 10/13, 16, 19, 22, 31m/71 Eugene Onegin Lear, Garabedian; Stewart, Burrows, Berberian; cond.: Mackerras; dir.: Hager; des.: Walter 10/23, 26, 29 11/3, 13, 28m/71 II Trovatore Price, Lilova; King, Wolansky; cond.: Cillario; dir.: Hager; des.: Skalicki 10/27, 30 11/2, 5, 7m/71 Un Ballo in tnaschera Arroyo, Dalis, Donath; Pavarotti, Wixell; cond.: Mackerras; dir.: Faggioni; des.: Burlingame 11/6, 9, 14m, 19/71 Silja, Cervena; Ulfung, Reardon; cond.: Von Dohnanyi; dir.: Hager; des.: Bauer-Ecsy 11/12, 16, 21m, 24, 27/71 Maria Stuarda* Sutherland, Tourangeau; Burrows, Opthof; cond.: Bonynge; dir.: Capobianco; des.: Pizzi 11/17, 20, 23, 26/71 // Tabarro & Carmina Burana Price; Bacquier; cond.: Sanzogno; dir.: Faggioni; & Matsumoto; Wixell: cond.: Sanzogno; dir.: G. Hager; des.: Ponnelle DISTRICT OF COLUMBIA John F. Kennedy Center for the Performing Arts, G. London, Art. Adm. Washington 9/10/71 Ginastera's Beatrix Cenci prem. Diaz 9/14/71 Ariodante Verrett; dir.: Capobianco FLORIDA Family Opera of Miami, P. Csonka, Mus. Dir., Dade County Audit. 12/5m/71 Cinderella 4/30m/72 The Mikado Opera Guild of Greater Miami, A. diFilippi, Art. Dir. & Gen. Mgr., E. Buckley, Cond. 1/24, 29/72 La Boheme at Dade County Audit.: 1/26/72 at Miami Beach Audit.; Scotto, Sena; Pavarotti, Sardinero, Smith, Darrenkamp 2/14, 19/72 Lescaut at Dade County Audit., 2/16/72 at Miami Beach Audit.; Kubiak; Tucker, Sordello, Michalski 3/13, 18, 21/72 Aida at Dade County Audit., 3/15/72 at Miami Beach Audit.; Arroyo, Cossotto; Domingo, Paskalis, Vinco 4/5, 6/72 The Merry Widow at Dade County Audit., 4/8/72 at Miami Beach Audit.; Eng.; Fenn, Christensen; Reardon, Blanc, Harrold, Billings; cond.: McArthur; Benefit Prod. ILLINOIS , Carol Fox, Gen. Mgr. 9/24, 27, 29 10/2, 8, 11/71 Semiramide* Sutherland, Home, Cooper; Bottazzo, Malas, Ferrin, Estes; cond.: Bonynge; dir.: Sequi; des.: Samaritani/Hall 10/4, 6, 9, 15, 20/71 Rigoletto Rinaldi; Kraus, Cappuccilli, Vinco; cond.: Bartoletti; dir.: Sequi; des.: Pizzi 10/13, 16, 18, 22, 30/71 Tosca* Martin/Kubiak; Bergonzi, Gobbi; cond.: Sanzogno; dir.: Gobbi; des.: Pizzi 10/23, 27, 29 11/5, 8/71 Werther* Troyanos, Miranda; Kraus, Enrissie; cond.: Fournet; dir.: Mansouri; des.: Ghiglia 11/3, 6, 10, 12, 15, 20/71 Don Carlo Jones, Cossotto; Cossutta, Mimes, Ghiaurov; cond.: Bartoletti; dir.: Mansouri 11/13, 17, 19, 22, 27, 29/71 Das Rheingold* Hoffmann, Altmeyer, Boese, Rebman; Hofmann, Neidlinger, Holm, Paskuda; cond.: Leitner; dir.: Lehmann: des.: Griibler — 25 — 1971-72 Season 11/26 12/4, 8, 11, 13, 17/71 // Barbiere di Siviglia Home; Garaventa, Prey, Malas; cond.: Bartoletti; dir.: Gobbi; des.: Hall 12/3, 6, 10, 15, 18/71 Silja, Cervena; Ulfung, Nienstedt, Little, Meredith; cond.: von Dohnanyi; dir.: Lehmann; des.: Wagner/Darling LOUISIANA New Orleans Opera House Assn., A. Cosenza, Gen. Dir., K. Anderson, Mus. Dir. 9/30 10/2/71 La Boheme Tucci; Buzea, Patrick, C. Corbeil 11/4, 6/71 The Pearl Fishers Robinson; Duval, Cossa, Corbeil 12/2, 4/71 Lucia di Lammermoor Sills; Alexander, Torigi, Berberian 2/24, 26/72 Aida Ross, Berini; Vickers, Shinall, Plishka 3/23, 25/72 Don Giovanni Schauler, Thomson; Diaz, Beni, Vrenios, Roy 4/13, 15/72 Samson et Dalila Dunn; King, Schwartzman MARYLAND The Baltimore Opera Co., Inc., R. Ponselle, Art Dir., R. J. CoIIinge, Gen. Mgr. 10/28, 30 11/1/71 Manon Maliponte; Campora; cond.: Commissiona 2/17, 19, 21/72 L'Elisir d'amore Clements; DiGiuseppe, Malas, Darrenkamp; cond.: Guadagno 4/13, 15, 17/72 Vn Ballo in maschera Lippert, Nadler; Fredricks; cond.: Buckley NEW JERSEY Opera Theatre of New Jersey, A. Silipigni, Art Dir., Newark 11/12/71 Fedora Olivero; Campora, BardeJli; 11/14/71 at War Memorial Auditorium, Trenton 1/11/72 Norma Sills; Kissopoulos, DiAmorim; 1/13/72 at War Memorial Auditorium, Trenton 3/5/72 La Boheme Evangelista; Di Stefano, Plishka 4/30/72 Gianni Schicchi & Pagliacci Ferrer & Heimall NEW YORK CITY Clarion Concerts, N. Jenkins, Mus. Dir., Tully Hall 2/8/72 Opera excerpts from unpublished mss. by Rossini, Verdi, Donizetti, von Weber, Raimondi; Brooks; White; Chorus Little Orchestra Society, T. Scherman, Mus. Dir., Tully Hall 11/2/71 La Voix Humaine & Italian arias Olivero 3/7/72 Schumann's Manfred New York City Opera Co., New York State Theatre, J. Rudel, Gen. Dir., J. White, Mng. Dir. 9/2, 5m, 9, 12, 18 10/9/71 The Makropoulos Affair Niska; Theyard, Clatworthy; cond.: Susskind 9/3, 5, 7, 10, 23/71 91 Am, 12m, 17, 22/71 La Traviata 91 A, 11, 16, 19, 24/71 La Boheme 9/8, 25 10/10, 16/71 The Marriage of Figaro 9/llm, 14, 18m, 20 10/3/71 Vn Ballo in maschera 9/15, 26 10/1, 8/71 Albert Herring* Faull, Creed; Stewart, Cossa; cond.: Bernardi; dir.: Besch; des.: Evans 9/19m, 21, 25m 10/2m/71 Madama Butterfly 9/26m, 28 10/2, 6, 10m/71 Tosca 9/30 10/3m, 5, 23 ll/6m, 14/71 Cost fan tutte Eng.: R. & T. Martin; dir.: Ball 10/7, 9m, 14, 16, 20, 23m, 27, 29/71 Carmen* Davidson; Molese, Hale; cond.: Rudel dir.: Capobianco; des.: Varona 10/12, 17, 21, 24m, 26 11/7, 10, 13m/71 Mefistofele 10/13, 15, 17m ll/7m, 11/71 Roberto Devereux 10/19, 31m 11/3, 5, 9/71 Le Coq d'or Neblett; Malas; cond.: Susskind 10/22, 24, 28, 30m 11/4/71 Giulio Cesare Sills; Hale; cond.: Rudel 10/30 11/12/71 II Barbiere di Siviglia 10/31 11/2, 14m/71 Susannah* Niska; Treigle NORTH CAROLINA The Charlotte Opera Association, J. R. McRae, Gen. Dir. 10/25/71 La Boheme Eng. 2/7/72 The Barber of Seville Eng. 4/24/72 Eng.

— 26 — 1971-72 Season PENNSYLVANIA Philadelphia Grand Opera Co., A. Terracciano, Gen. Mgr. 10/22/71/4taa Ross, Dunn; Tucker, Meliciani, Moscona 11/19/71 La Traviata Peters; Campora, Schwartzman 12/3/71 The Merry Widow Costa; Campora 2/18/72 Madama Butterfly Sato, Lanzilotti; Pastine 3/10/72 Carmen Cortez; Barrena, Guarrera 4/28/72 Tosca Fenn; Tucker, Guarrera TEXAS Dallas Civic Opera, L. Kelly, Gen. Mgr. 11/5, 7, 13m/71 La Favorita* Verrett; Merighi, Raimondi; cond.: Rescigno; dir. Dalla Corte; des.: Hall Two other productions to be announced Assn., Walter Herbert, Gen. Dir. 10/5, 8, 10/71 Carmen Baltsa; Bonhomme, Shinall 11/9, 12, 14/71 Tosca Kubiak; Quilico, Spiess 1/18, 21, 23/72 Boris Godunov Casei; Treigle 2/22, 25, 27/72 Help! Help! the Globolinks & The Medium 4/11, 14, 16/72 Tannhduser Barlow; Anheisser, Thomas CANADA Vancouver Opera Assn., I. Guttman, Art Dir., B. Hanson, Adm. Dir. 9/30 10/2, 6, 9/71 // Trovatore 2/17, 19, 22m, 24, 26/72 Cavalleria rusticana & Pagliacci 4/27, 29 5/3, 6/72

— 27 — CENTRAL OPERA SERVICE BULLETIN Lincoln Center Plaza • Metropolitan Opera New York. N.Y. 10023

MEMBERSHIP INFORMATION SERVICES Central Opera Service will either supply specific information requested or will suggest sources where information may be acquired. This is a cooperative information exchange service on: Repertory, Translations, Performances, Musical Materials, Scenery, Costumes, Props, Publicity, and General Organizational Counseling. PUBLICATIONS, SURVEYS AND SPECIAL LISTINGS Bulletin. Lists of: Opera Producing Companies in the U.S. and Canada. Annual Per- formances; Premieres in the U.S.; Available English Translations; Awards for Singers; Directories of American Contemporary Operas and Foreign Contemporary Operas MEETINGS Central Opera Service National Conference Central Opera Service Regional Conferences CLASS OF MEMBERSHIP INDIVIDUAL MEMBERSHIP $ 5.00 Bulletin, Announcements of Publications, Conferences SPECIAL LIBRARY MEMBERSHIP $ 5.00 Bulletin GROUP MEMBERSHIP $10.00 Bulletin, Publications. Conferences, Information Service INSTITUTIONAL MEMBERSHIP $50.00 Bulletins, Publications, Conferences, Information and Full Research Service

ENROLLMENT BLANK

Name of Organization or Individual Name and Title of Officer Address City. State, Zip Code Check enclosed $5 Q $10 • $50 D Please make checks payable to Central Opera Service Date 19