CENTRAL SERVICE BULLETIN

WINTER, 1972

Sponsored by the National Council

Central Opera Service • Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council

Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 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 MEI.LEN Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Ham 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 California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington GEORGE SCHICK No. Texas State Univ. School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois

See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee.

The Central Opera Service Bulletin is published bi-monthly for its members by Central Opera Service. Permission to quote is not necessary but kindly note source.

We would appreciate receiving any information pertaining to opera and operatic production in your region; please address inquiries or material to:

Mrs. Maria F. Rich, Editor Central Opera Service Bulletin Lincoln Center Plaza New York, N.Y. 10023 Copies this issue: $1.00 CENTRAL OPERA SERVICE BULLETIN

Volume 14, Number 3 Winter, 1972

NEW AND PREMIERES AMERICAN OPERAS American "ragtime" wrote one opera, , which, at the time of its completion in 1911, received a partial reading in New York. The Texas-born composer died in New York in 1917 at the age of 49. His music is now being rediscovered and the first complete, staged performance of Treemonisha was presented on January 27, in cooperation with Morehouse College, at the Atlanta Arts Center. Robert Shaw conducted the Atlanta Symphony and Katherine Dunham staged and choreographed the work; the soloists included Alpha Floyd, Parker and . The N. Y. Public Library is in the process of publishing Joplin's complete works with Volume I devoted to his music and Volume II to vocal compositions. Performances of the works are licensed through ASCAP. Treemonisha is also on the summer schedule of the Wolf Trap Festival. THE ARTIST is a multi-media theatre piece with music by Paul Reif, libretto by Kenneth Koch and visual realization by Larry Rivers. A dramatization of the life of an artist, it features his story as expressed by , excerpts from his journal conveyed by a mezzo , and the actual creation of works of art on stage by The Artist, Larry Rivers. A Sprechchor will represent the public. Still and film projection will be part of the performance. Musical ac- companiment is scored for seven instruments. The performance will be on April 17 at the Whitney Museum of Art in New York presented by The Music at the Whitney in The ' Showcase Series. The Opera Theatre of the University of California in Santa Barbara will give the first performance of MIRRORS, a new "Theatre in Music" production, Composer Jeffrey Babcock collaborated with librettist Carl Zytowsky (director of the Opera Theatre) in creating the experimental piece which utilizes tapes and projection. A "total environment work" entitled A RAGE OVER THE LOST BEETHOVEN was performed by the Center of Creative and Performing Arts at the State Uni- versity of New York at Buffalo on February 19. The music for this satire is by Lejaren Hiller, the script by Frank Parman. A display of Beethoven artifacts pre- cedes the actual performance. The three-part story features personages around Beethoven and "exposes the cult of hero worship". JOSEPH AND HIS TECHNICOLOR DREAMCOAT is the latest of a number of "rock oratorio/operas" {Godspell, J. C. Superstar, Bernstein's Mass are some of the others). The 45-minute work, written by Andrew Lloyd Webber and Tim Rice of Superstar fame, was premiered by 's Overture to Opera in No- vember. 's MASS, which opened the John F. Kennedy Center last Fall, will be presented by Sol Hurok at the Metropolitan for four weeks beginning on June 26. Prior to its New York opening, it will be performed at the Cincinnati May Festival, followed by two weeks at the Kennedy Center in Wash- ington and one week at the Academy of Music in . It is scheduled for European premiere in in 1973. Chaucer's CANTERBURY TALES seems a natural subject for a rock opera. The premiere of just such a work will take place in November '72 during the opening week of a new Performing Arts Hall at the University of Akron. — 1 — Steinbeck's short story, THE PEARL, has been adapted by Dawn Crawford for a one-act opera of the same title. Miss Crawford, a member of the music faculty at Dominican College in Houston, where the opera will be premiered in April, wrote the libretto as well as the music. THE ROCKET'S RED BLARE is a one-act parody by James Yannatos, first per- formed in May 1971 at Harvard University. Performances are licensed by BMI. A new children's opera after Lewis Carroll's poem THE HUNTING OF THE SNARK was recently premiered at the Whitney Museum in New York by the Systems Theatre, Inc. It was subsequently performed at Mannes College. The music is by Edwin Roberts, the libretto by Bill Tchakirides. Three Canadian composers have recently completed one-act operas. Norman Symonds wrote THE SPIRIT OF FUNDY on a commission from the ; the work will be taken on COC's annual tour to schools. The opera's central figure, Charles de la Tour, is of historical interest. He founded what is now known as St. John in New Brunswick. The action takes place in 1623 at the Bay of Fundy — Murray Schafer's third opera, PATRIA II: REQUIEMS FOR A PARTY-GIRL, will be premiered at Stratford on August 23. It is a chamber work incorporating live and electronic music. Excerpts were performed at New York's Shakespeare Theatre in January. Of the composer's two earlier operas, one was premiered by CBC in 1966 (Toi, Loving), the other at Tanglewood in 1967 (Gita). — Hungarian-born Canadian, Tibor Polgar, completed two one-act operas both as yet unperformed. A EUROPEAN LOVER and THE TROUBLEMAKER are available from the Canadian Music Centre, 33 Edward St., Toronto. Mr. Polgar's first opera, Kerok, was performed by the State Opera in 1954.

AMERICAN PREMIERES

The Santa Fe Opera, which has been responsible for many important Ameri- can premieres, announced that it will give the first U. S. performance of 's MELUSINE this summer. The work was first heard last year at the Schwetzingen Festival, later produced by the Deutsche Oper which performed it in and in Edinburgh on tour. It will be produced in New Mexico on August 17 and 23. will conduct, Bodo Igesz will direct and M. Jampolis will design sets and costumes. The cast will include , , George Shirley and Michael Devlin. For its second summer season, the St. Paul Opera will again offer a premiere. This year it will be the first American performance of MASKARADE by Danish com- poser Carl A. Nielsen. The three-act comedy will be heard on June 23, 27 and 29 in an English translation by Dudley Glass; the original libretto is by Vilhelm Anderson. The opera had its world premiere in Copenhagen in 1906 and has enjoyed several European revivals. The first American premiere of the 1972-73 season will be offered by the San Francisco Opera on October 25. The work is 's DER BE- SUCH DER ALTEN DAME. Its world premiere at the Vienna Staatsoper last season was widely acclaimed with and later in the title role. In San Francisco, Resnik will sing the Old Lady in an English translation by Norman Tucker. DOWN BY THE GREENWOOD SIDE by British composer Harrison Birtwistle was presented last summer at Tanglewood. The American premiere date was August 11; the production was sponsored by the Fromm Foundation. The work has a libretto by Michael Nyman after an Elizabethan Mummer's Play; it was conducted by . Among the earliest operatic composers is Pier Francesco Cavalli, whose Ormindo had its American premiere at the Juilliard School in 1968. It was heard in an adaptation by Leppard who is also responsible for a new arrangement of Cavalli's

2 LA CALISTO premiered at Glyndebourne in 1970. It will be presented by the College-Conservatory of the University of Cincinnati on April 12. The per- formance will open the new Patricia Corbett Pavillion. Jules Massenet's two-act opera, THERESE, will be presented in its first American performance by the Peabody Institute of Music in Baltimore under the baton of Robert Lawrence. The dates are March 24 and 25. It will be on a double-bill with Malipiero's surrealistic one-act opera Sette Canzoni. Therese had its world premiere in Monte Carlo in 1907.

AMERICAN OPERAS ABROAD

Besides numerous productions of and some performances of earlier Menotti operas (, , etc.), we are noting an increase in American operas abroad. Just as in the U. S., Menotti's works are on the top of the list; both Lucerne and are offering his Help, Help, the Globolinks! coupled in Switzerland with The Old Maid and the Thief and in with Amahl and the Night Visitors. has recently been recorded on videotape for distribution by USIA throughout , the Mideast and South America, and the composer's latest opera, The Most Important Man, had its foreign premiere in on January 15. 's The Visitation, which was heard in Hamburg before it reached the composer's home shores, continues to be performed in various German cities and has recently been seen on the BBC television network. Elie Siegmeister's The Mermaid in Lock Number Seven was presented by the Flemish Chamber Opera in Antwerp in January, and a ballet suite from Harold Farberman's opera The Losers was heard over BBC on February 25 with the composer . Last summer, the American Opera Workshop in Vienna performed Hollingsworth's The Mother. Tennessee composer, Kenton Coe, received the second full production of his opera Sud, this one in Paris in February; the premiere took place in Marseille in 1965. by Argentinian composer was performed in its first European production in Braunschweig, Germany, this season. The composer's Bomarzo was featured at the Opernhaus in last season.

FOREIGN PREMIERES

Since the last COS publication was a Directory of Opera Companies, we seem to have fallen behind in reporting European premieres and new works. Thus, the listing is rather copious this time but we feel it important that we uphold our tradition of supplying our members with complete reference material. More details and copies of reviews are available from our office for many of the new works, both American and foreign. , one of Germany's most prolific and successful opera com- posers, witnessed the premiere of his one-act avant-garde opera with the unlikely title of DER LANGWIERIGE WEG ZUR WOHNUNG DER NATASCHA UNGEHEUER in West Berlin on September 28, 1971. His next opera to be premiered is DAS FLOSS DER MEDUSA in Nuremberg on April 15, 1972. — Veteran composer Carl Orff is finishing his latest opus, DAS SPIEL VOM ENDE ALLER ZEITEN (De temperum fine comoedia), for a first performance in Stutt- gart next season. The company has already announced that it will take this opera as well as Penderecki's Devils of Loudon to the Vienna Staatsoper. — After its world premiere this Spring in West Berlin, Wolfgang Former's ELISABETH TUDOR will be presented in , Kiel, and Zurich during the 1972-73 season. — The has set May 3, 1972, as the date for the first performance of Walter Steffens' UNDER MILKWOOD. — Conductor/

— 3 — composer Rafael Kubelik has completed his first opera. It is based on the life of Titian and entitled CORNELIA FAROLI. It will be premiered on August 15 in Augsburg coinciding with the nearby Olympics. — Heinrich Sutermeister was commissioned by German television (ZDF) to write an opera for video production. He chose Robert Louis Stevenson's Devil in the Bottle and it will be performed as DER FLASCHENTEUFEL this season. — DER FINDLING is a one-act opera by Klaus Hochmann, presented for the first time at the opera house in Ulm on September 18, 1971. The libretto, written by the composer, is based on a Mau- passant story. — During the Olympics '72, Munich's Theater am Gartnerplatz will offer the premiere of 's LEBENSREGELN; the libretto is by H. Hassencamp. — PIPPI LONGSTOCKING, Astrid Lindgren's popular chil- dren's book, will appear in operatic form at the Hamburg Opera on December 2, 1972. Swiss composer Constantin Regamy has been commissioned to write the music. — Two German opera companies have premiered the latest works by Italian composer Francesco Valdambrini. Bonn commissioned and performed his PENTHEUS on September 9, 1971; the libretto is by Virgilio Piicher after Euripides. The work employs a large cast and features much projection. The Municipal Opera offered Valdambrini's one-act work, CERA UNA VOLT A (Once Upon a Time) on November 25, 1971.

Meanwhile, Italy itself produced a number of operatic premieres. During the summer 1971, 's opera CONTRAPPUNTO DIALETTICO ALLE MENTE was heard in Rome on a triple-bill with Stockhausen's Kontakte and Poulenc's La Voix humaine. — Other triple-bills of contemporary new works offered are: Danide Zanettovich's CELINE with Marco Vavolo's IL CANTO DEL CIGNO and Luigi Manenti's LA GALLA in Bergamo in the Fall of 1971, and Salvatore Scirrino's AMORE E PSICHE with Paolo Renosto's LA CAMERA DEGLI SPOSI and Gian Franco Malipiero's UNA DEI DIECI at the Piccola Scala in Milan on May 18, 1972. The latter opera was first heard in Siena in September 1971 together with Malipiero's L'ISCARIOTA. — On November 19, 1971, Giulio Viozzi's sixth opera, ELISABETTA (after Maupassant's Boule de suif), was first produced in Trieste. — Two new operas by Sylvano Bussotti should be noted. One was premiered during the last season, RARAMENTE, in Florence on February 5, 1971, the other, LORENZACCIO, will be heard next season at the International Week of New Music in Palermo in November 1972. The composer's first opera, La Passion selon Sade, was performed in 1965.

British composer John Gardner, whose Moon and Sixpence was performed by Sadler's Wells in 1957, is collaborating with librettist Ormerod on a new three-act opera, THE VISITORS. It is based on a short story by Oliver Goldsmith and is scheduled for a premiere by the at the 1972 Aldeburgh Festival. — 's next opera is after Thomas Mann's DEATH IN . Myfawny Piper, who previously collaborated with the composer on , will again be responsible for the libretto. A first performance is tentatively planned for the 1973 Edinburgh Festival. — Last summer's Edin- burgh Festival featured a new work by Melanie Daiken, MAYAKOVSKY AND THE SUN. — THE STONE WALL is the latest of Malcolm Williamson's one-act operas. It was performed at London's Promenade Concerts on September 18, 1971, under Colin Davis' baton. Two of Mr. Williamson's one-act operas will be heard in New York City on April 7 for the first time. They are Dunstan and the Devil and The Happy Prince and will be performed together at the Cathedral of St. John the Divine for the benefit of the Music Therapy Center. — Two premieres at British universities last Fall featured Elaine Murdoch's TAMBURLAINE, libretto by John Murdoch (Liverpool University, September 9), and Stephen Oliver's THE DUCHESS OF MALFI (Oxford University Opera Club, November 23). — The University of Wellington in New Zealand offered two pieces by its own composer, Jenny McLeod. She is a pupil of Stockhausen and Messiaen and is professor of music at the university. The titles of her two new compositions are EARTH AND SKY and UNDER THE SUN. On December 3, 1971, the Opera Comique presented the first performance of Claude Prey's LE COEUR REVELATEUR. The one-act opera was heard on a double-bill with The Medium. M. Prey will also be represented on a triple-bill of premieres at the Opera Comique on April 12. His work is entitled LE JEU DE L'OIE (not Le feu de joie as erroneously listed in some publications); the other two operas are Maurice Ohana's SYLLABAIRE POUR PHEDRE and Luis de Pablo's PROTOCOLLO. — Summer 1972 will bring the first performance of Andre Casanova's LE BONHEUR DANS LE CRIME at the same opera house. — PASSION SELON NOS DOUTES is the title of a new opera by Jean Prodro- mides and Francois Billetdoux, first heard at the Lyons opera on November 5, 1971. The same company has scheduled AUTODAFE by Maurice Ohana (see also above) for May 19, 1972. This performance will be directed by Louis Erlo and conducted by Theodor Guschlbauer. — M. Erlo himself has written an opera, LES OISEAUX, in collaboration with Jacques Rapp, Serge Ouakine and Costas Ferris. This adaptation of the Aristophanes tale was produced in Lyons in Spring 1971. — The Bordeaux May Festival will feature a new work by Jean-Michel Damase, EURYDICE. This is the second of his works to be premiered in Bordeaux; the first was Colombe in 1961. In 1970, his Madame de . . . was performed in Monte Carlo. — On February 12, Bruzdowicz's LA COLON IE PENITENTIAIRE was premiered in Tours. Brussels Theatre de la Monnaie gave the first performance of N. Ford's THE LAST SWEET DAYS OF ISAAC in December 1971. — Swedish composer Leif Thybo wrote a two-act chamber opera, THE IMMORTAL STORY (Den ododliga historien), premiered at the 1971 International Festival of the Vadstena Music Academy. The libretto by Arnold Ostman is based on Karen Blixen's book of the same title. — ORPHEUS TURNS AND LOOKS AT EURYDICE is the latest one-act opera by Norway's composer Torje Rypdal; it will be premiered during the current season. — The Flemish Chamber Opera in Antwerp gave the first performance of THE DUMB WIFE on January 10. The composer is British-born Joseph Horovitz; the one-act work was presented on a double-bill with a one-act opera by Elie Siegmeister (see American Operas Abroad). Siegfried Matthus' third opera, MARRY, OLD ENGLAND (sic), will be pro- duced by East Berlin's Komische Oper on April 20, 1972. Peter Hack is responsible for the libretto and the original mystery story. Another first in East Berlin was the premiere of Giinter Kochan's KARIN LENZ on October 2, 1971. — The Dresden State Opera offered the first performance of Udo Zimmermann's LEVY'S MUEHLE by Johannes Brobowski.

MULTI-MEDIA AND EXPERIMENTAL THEATRE IN EUROPE

With the number of multi-media and experimental music theatre productions mul- tiplying rapidly both here and abroad, this art form may well become another "established form" of opera. In the age of electronics and computers, it seems a natural development to utilize these new techniques and to incorporate them into live performances. In this context, it is interesting to note that an opera written in 1929, the first one to rely heavily on the use of film and film technique, finally received its first stage performance last summer. It is Martinu's THE THREE WISHES, premiered in Brno, Czechoslovakia, on June 16, 1971. As part of the action during the first two acts, a film is made on stage and subsequently shown during the third act. The original libretto is by Georges Ribemont-Dessaignes. — On October 9, 1971, Dieter Schonbach and M. Wellersdorf's HYSTERIA-BLACK PARADISE was performed during Cologne's Arts Festival. It is described as "Theatre of Horror: a new language of noise, yells and lights". — Schonbach and G. Kieselbach have created three new music theatre pieces, THE STORY OF A FIRE, THE STORM and HYMNUS. The latter is conceived for audience par- ticipation. It was recently heard in Wuppertal. In order to accommodate the new art form, a number of European opera houses have added studio workshops or experimental stages, Experimentierbiihnen (see 4/71 Blltn.). Thus, Munich's Experimentierbiihne presented Dieter Gackstetter- Walter Haupt's Sumtome and more recently the team's second avant-garde work — 5 — DIE PUPPE, An Opera of the Absurd. The Doll, an inflatable vinyl mannequin, substitutes for a live woman. A quartet of musicians on stage supply the musical accompaniment and sound effects. •— Leipzig's Kellertheater is in the basement of the opera house allowing for a theatre-in-the-. Two No operas by Japanese- born Hideo Kanze were performed there earlier this season, KANT AN and THE MOONSHOW. — For June 11, the Hamburg Opera, in cooperation with the Nord- deutsche Rundfunk, plans an AUDIOVISUAL EXPERIMENT with audience participation. Pierre Henry will be responsible for the electronic music, Nicolas Schoffer for light and color sculptures. — Mauricio Kagel has been writing for the experimental theatre for some time. His Staatstheater was premiered last season in Hamburg and presented in a more improvisational style "without pro- fessional performers" as DIE PROBE (The Rehearsal) at the Avant-Garde Henie- Onstad Art Center in Oslo this season. Other new stage works by Kagel include EVANGELISTI GUENAUER, performed by the Kiel Opernstudio on November 1, 1971, and HIMMELSMECHANIK "a composition with scenery but no story" performed by 's Instrumental Theater. The same Wiesbaden group also produced Renato de Grandis' EDUARD UND KUNEGUNDE "a cynical treat- ment of classical styles" on a triple-bill with two multi-media pieces, TAUTO- LOGOS III, VERSION FUNEBRE by Luc Ferraris and RITEN by Volker David Kirchner. — PAL AST HOTEL THANATES by Dieter Einfeldt was performed by the Studio of the Municipal Opera while the Hanover Music Academy premiered Bernhard Krol/Friedrich Petzhold's mini-opera CONCOURS. — ANA- STASIS is the title of yet another experimental theatre piece, this one written by Anestis Logothetis and first performed in Selb, Germany, in March 1971.

Egon Seefehlner, future director of the Deutsche Oper, West Berlin, plans a Studio-Workshop for Contemporary Opera at the Academy of the Arts. The fol- lowing six composers have been commissioned to write short operas for the open- ing in October 1972: , Gottfried von Einem, Aribert Reimann, , Gyb'rgy Ligeti and . — The Experimental Stage of the Frankfurt Opera also hosted a guest engagement of the Audiovisual Live-Electronic Group and of Ann Arbor's (Mich.) Sonic Arts Group, Robert Ashley, director. — Multi-media theatre pieces by Jiirg Wittenbach were per- formed by the Basler (Swiss) Ensemble for New Music during the Wittener Week.

NEWS FROM OPERA COMPANIES

The last evening of the METROPOLITAN OPERA'S winter season at Lincoln Center will be a Gala Performance to honor the company's outgoing general man- ager, Sir . (His appointment as Distinguished Visiting Professor of Music at Brooklyn College of N. Y. City University, beginning Fall 1972, has just been announced.) The Gala on April 22 will be a benefit performance for the company's Benevolent and Retirement Funds and will feature forty-two international opera stars in arias and ensembles. — Two days later, the company will leave on its annual six-week tour and will return to Lincoln Center for a three-week Verdi Festival (see Performance Listing). This will coincide with the International Verdi Congress, hosted by the for the first time. (For details see Conferences, Meetings, etc.) — The Metropolitan Opera's final offerings for the 1971-72 season will be the free opera-in-concert performances at city parks in late June and early July. — In January, the company instituted a new price category of $12.50 to fill the gap between $16.50 for rear and rear grand tier and $10.75 for dress circle. The new price category is for seats in the

— 6 — last five rows of the orchestra and for grand tier boxes and is good for Tuesday, Wednesday and Thursday evenings as well as Saturday matinees. These tickets will also be available on a subscription basis for the next season. (For the 1972- 73 season's schedule, please see Forecast.) The MUSIC CENTER OPERA ASS'N in Los Angeles, which had engaged George London as Artistic Director in the summer and planned to present its own pro- ductions by 1973 (see Fall '71 Blltn.), announced the indefinite postponement of those plans. Financial considerations were cited for this decision. Opera perform- ances planned at the Music Center, at present, are limited to those scheduled for November during the previously announced fifth annual guest engagement of the . — Meanwhile, the Spring dates of the New York company's guest performances at the Kennedy Center in Washington have been announced as May 3-14 when five operas will be given in a total of fifteen per- formances. After one year of absence among opera producers (performances were limited to musical comedy last year), the CENTRAL CITY OPERA HOUSE ASS'N will resume its operatic activities this coming summer. As in previous seasons, plans include two productions, however, rather than the usual forty performances, there will be only about fifteen. Instead, the company has added an Opera Forum for Contemporary Opera and an Artists' Development Program. Under the newly- appointed artistic director, Nathaniel Merrill, a panel of judges, made up of com- posers, conductors and directors, will review works submitted by contemporary composers. Those chosen will be rehearsed over a five-week period and fully staged scenes will be presented in Showcase Performances during the last week of the summer season. At the same time, the company is working on a five-year plan to include special events for the 1976 Olympics and Colorado State Centennial with the ultimate goal of establishing a year-round opera repertory company. Following the example of many summer festivals, in High- land Park, summer home of the Chicago Symphony, has formed an affiliation with the School of Music of Northwestern University in Evanston. A number of per- forming artists will teach and lecture in conjunction with their appearance at Ravinia. The PITTSBURGH OPERA COMPANY and the Pittsburgh Symphony have agreed to a special arrangement whereby "graduate interns" enrolled in the Music Department of Carnegie-Mellon University will have performance opportunities with these two organizations. Graduate singers with Bachelor's degrees may audi- tion. Those accepted will receive tuition and living stipends and work towards a Master's degree. The CENTER OPERA OF MINNESOTA (formerly Center Opera Company) has accepted the first intern for college credit. Twenty-year-old voice major David Beatty from Luther College, Decorah, Iowa, has begun work under the company's musical director in January. The SUMMER OPERA THEATRE is a new non-professional company under the guidance of Richard Butler. In spite of its name, the company does not plan to limit its activities to the summer; it has so far offered two complete operas, and Britten's version of The Beggar's Opera at the Peabody School in Cambridge. The APPALACHIAN OPERA THEATER in Johnson City, Tenn., has been created by Dr. Lewis Songer "to promote and encourage operatic performers". The Suburban Opera Company in Chester, Pa., has changed its name to the PENNSYLVANIA OPERA COMPANY. James Parkinson is general manager of this nine-year-old organization. NEW ARTS CENTERS AND AUDITORIUMS Cincinnati will enjoy two auspicious openings this Spring. On April 11, the PATRICIA CORBETT PAVILLION will be dedicated at the University of Cin- cinnati. Opening week ceremonies will include the American premiere of Cavalli's chamber opera La Calisto. The new building's main hall, designed for chamber opera, dance, drama or recitals, seats 400. The building, which is part of the College-Conservatory of Music, also houses rehearsal facilities, some especially suited for dance. The Pavillion adjoins the larger Corbett Auditorium completed in 1967. On June 24, the ninety-three-year-old MUSIC HALL will be re-opened in new splendor by the fifty-two-year-old Cincinnati Summer Opera. The 3600-seat hall has been completely refurbished and modern technical stage equipment, including the latest electronic stage lighting system, has been installed. The Hall was air- conditioned and redecorated at a total cost of $6 million, borne jointly by the City of Cincinnati and by the Corbett Foundation. The building also houses rehearsal halls and shops for building and storing scenery and costumes. Other recently renovated halls now in successful use by opera companies include HEINZ HALL FOR THE PERFORMING ARTS in Pittsburgh's renovated Penn Theatre (see 3/71 Blltn.). Seating capacity of the auditorium is over 2700; it has a convertible orchestra pit and, thus, serves both the Symphony and the Opera Company. Principal architectural consultant was Heinrich Keilholz. — In cele- bration of its fiftieth anniversary, the Eastman School of Music's EASTMAN THEATER was renovated and modernized at a cost of $3.2 million. While mod- ern equipment and acoustical innovations were installed, the original Renaissance style decor was retained. The 3100-seat auditorium was cleaned and, where neces- sary, careful restoration was undertaken by experts. Last summer, the ROANOKE CIVIC CENTER in Virginia unveiled a new 2500-seat hall. A symphony concert was the opening event. A gala opening with a star-studded production of took place in February in California when the SAN JOSE COMMUNITY THEATER was inaugurated. Besides the previously announced new MUSICAL ARTS CENTER in Indiana opening in April (see 3/71 Blltn.), four other universities are planning new perform- ing arts buildings. The first to open will be the EDWIN J. THOMAS PERFORMING ARTS HALL at the University of Akron in Ohio. Designed by architects Caudill, Rowlett and Scott of Houston, the main auditorium will be adaptable to opera, ballet, symphony concerts, drama, recitals and film showings. The hall will have a capacity of 3000 seats, however, it will be possible to reduce this number to 2400 or 800. Ground was broken in July 1969 and the opening is now scheduled for November 14, 1972, with a concert by the Akron Symphony. Opening fes- tivities will also feature a rock musical, Canterbury Tales, produced by the University Theatre. Building costs are estimated at $12 million. — The GUS- MAN AUDITORIUM is scheduled to open at the University of Miami in January 1973. The $1 million concert hall will be used by the University's School of Music. — A complex of eleven buildings will make up the WESLEYAN UNI- VERSITY CENTER FOR THE ARTS in Middletown, Conn. Kevin Roche, John Dinkeloo and Associates are the architects of the Center which will offer the music department an auditorium, rehearsal halls and music studios. Estimates put the total cost at about $11 million. The opening is projected for early 1973. — The same architectural firm also designed and built the Arts Center at the University of Michigan in Ann Arbor, which opened last year. — Now the Michigan State University in East Lansing is planning to add a new PERFORMING ARTS CENTER. The $12-15 million Center will feature a 2500-seat concert hall/opera house, a smaller recital hall and a theatre.

The Sarnia Arts Foundation in Ontario is planning the 1200-1500 seat SARNIA OPERA HOUSE. T. Patterson, founder of the Stratford Festival, is the consultant, Robert Fairfield, Toronto architect who was also responsible for the Stratford design, is in charge of the new project. The opening is scheduled for summer 1973. — 8 — Latest word from the SIDNEY OPERA is that a performance of is planned for the opening in 1973. Work on the opera house was begun in 1965 but had to be interrupted various times due to design and financial difficulties.

An 11,000-seat ARENA in Goteborg, , featured its first opera performance last summer. It was, of course, Aida, utilizing the vast spaces for one of the operas with the biggest production possibilities. At other times, the Arena is used for sports events, pop concerts, etc. During the winter season, opera is performed at the 1 OOO-seat Goteborg opera house.

The EDINBURGH FESTIVAL, now in its 25th season, will finally receive a real opera house. Plans, still in the preliminary stages, call for an auditorium seating 1400, with rehearsal rooms, conference halls and a restaurant in the same build- ing. Cost of the project is estimated at $12 million and the government is willing to defray half of the expenses. An opening is sought for 1976.

RESEARCH AND SURVEYS Last November the NATIONAL RESEARCH CENTER OF THE ARTS was established by Louis Harris and Associates with Joseph Farrell as president. The new organization will collect and analyze data on the arts 1) to identify the overall socio-economic contribution of cultural organizations to their communities, regions and states, 2) to provide arts organizations with basic data for a better under- standing of themselves and to be better understood by the public, and 3) to assist state councils to better understand the relative position of cultural organizations in the state, particularly as regards funding priorities. At present, the collection and evaluation of information is done on a commission basis, however, as the data bank grows, its resources will be available to more organizations. Market and audience analyses, manpower needs and financial studies of the arts versus the stream of American social and economic trends will ultimately assist the arts as well as guide the benefactors. Mr. Farrell, former vice president of the Associated Councils of the Arts, and Louis Harris, one of the country's leading pollsters, seem ideally matched for the job.

A similar but less comprehensive study is presently under way by THE FORD FOUNDATION (see 6/71 Blltn.).

Another organization doing research in the arts is THE ARTS INFORMATION INTERNATIONAL, based at the University of Pittsburgh. It is in essence a referral agency on all the creative and performing arts, with information on or- ganizations that can competently answer specific inquiries. Ned Bowman is the director; he can be contacted at G-21 Hillman Library at the University.

Another national organization entering the field of research in the performing arts is possibly the largest U. S. information collecting agency, namely, the BUR- EAU OF THE CENSUS operating under the U. S. Department of Commerce. Questionnaires for the 1972 Business Census will, for the first time, feature special forms for the performing arts.

A recent $3,000 grant from the NEA enabled Terry Wells of Penn State University to undertake a Survey of Performing Arts Facilities in Pennsylvania.

Publications

A number of recent surveys resulted in publications of more than routine interest; their contents can provide assistance in a variety of fields.

— 9 — A Survey of U. S. and Foreign Government Support for Cultural Activities was prepared by the Congressional Research Service of the Library of Congress for the use of the Special Subcommittee on the Arts and Humanities in its delibera- tions on recommendations to Congress for the federal support of the arts. This very comprehensive study, listing detailed support by federal agencies as well as by states, is available free of charge from the Special Subcommittee on the Arts and Humanities, 4230 New Senate Office Building, Washington, D. C. 20510. It is a paperback, 245-page publication. The Associated Councils of the Arts announced the forthcoming publication of the Directory of State Arts Councils. This year's listing will include information concerning the councils' structures and staffs, areas of interest and fund disburse- ments. A recently published compendium based on a pilot study yielded the fol- lowing figures: 27.7 percent was spent on drama, 24.7 on music, 14.6 on visual arts, 13.9 on dance, 7.0 on "various", 2.4 on public media, 2.4 on arts festivals, 2.1 on literature, 1.9 on architecture and 1.0 on crafts. — Another new ACA publication in preparation is a Directory of Community Arts Councils. The third annual book by the Business Committee for the Arts has been published by Paul S. Eriksson, Inc. The State of the Arts and Corporate Support is edited by Gideon Chagy, with a number of informed and interesting articles by businessmen and arts leaders. It is available for $10 from BCA, 1270 Avenue of the Americas, New York, N. Y. 10019. The Washington International Arts Letter has published the eleventh listing of Private Foundations Active in the Arts. The original publication of the same title is available for $17.50, lists 8, 9, and 10 for an additional $18. The latest list adds another 111 foundations. All may be ordered from W.I.A.L., 115 Fifth St., S. E., Washington, D. C. 20003. The latest edition of The Foundation Directory has been published, listing over 5,000 philanthropic foundations with assets over $500,000. The 664-page directory, published by the Foundation Library Center, 444 Madison Ave., New York, N. Y., is edited by Marianna O. Lewis; it is not limited to foundations active in the arts alone. A third publication listing American foundations is Where America's Large Foun- dations Make Their Grants. It is edited by Joseph Dermer and published by Public Service Material Center. It lists over 600 foundations indicating recipients and individual grants. The book may be ordered from P.S.M.C, 104 East 40th St., New York, N. Y. 10016, at a cost of $19.50.

FREE SERVICES The SHALLWAY FOUNDATION in Connellsville, Pa. 15425, has offered its unique free services to Central Opera Service members. Dedicated to helping Amer- ican Boychoirs, the Foundation will assist companies in procuring trained boy singers or dancers for opera or concert performances. The Foundation has copious listings of trained boys in all major cities, many of them with previous opera experience. For assistance, contact Mr. John B. Shallenberger, president of the foundation, at the above address. David Jeffreys, director of the NATIONAL CENTER FOR VOLUNTARY AC- TION, offers the resources of his organization to arts groups. The Center was, until recently, assisting in finding volunteers for welfare and community-oriented programs only. For further information, address your inquiries to 1735 Eye Street, N. W., Washington, D. C. 20006.

— 10-- THE FEDERAL ARTS DOLLAR, Other Subsidies

While the NATIONAL ENDOWMENT FOR THE ARTS AND HUMANITIES is busy evaluating applications and disbursing the 1972 funds, President Nixon has already announced his support of almost full funding of the 1973 arts and human- ities' appropriation. A three-year plan, begun in 1971, designated appropriations of $40, $60 and $80 million respectively, i.e., $80 million for the 1973 fiscal year. Of this amount, the President requested Congress to authorize $78 million plus an additional $5.1 million for the Endowment's administrative expenses. Con- gressional subcommittee hearings are scheduled for mid-March to consider recom- mendation of this amount as well as to deliberate over a new plan for appropria- tions for the next few years. This plan must be formulated no later than June '72. — Although the first bill for the establishment of a government agency to assist the arts was proposed in 1955, it did not find congressional approval until 1964. In 1966, the first money was made available to the arts and the humanities; the combined amount was $5 million. The current fiscal year saw an authorization of almost the complete amount appropriated by Congress (this is called full fund- ing), making $29 million available to the arts and an equal amount to the human- ities. Although the specific grants for 1972 have not yet been announced, a major program for opera has been launched and the Endowment will make direct grants to twenty-eight opera companies, all with budgets over $100,000. Two indirect gants will benefit opera companies on regional levels and a major grant, under the Treasury Fund Program, is earmarked for the National Opera Institute. With this type of funding, three times the amount given by NEA is generated from non- government sources. In addition to the above, five major music schools will receive grants specifically for the expansion of their professional training programs in opera. Thus, a total of $1,655,000 will be disbursed to opera involving a total of thirty-six different organizations. — The program for symphony has also been sharply increased and is expected to total $5.2 million for 1972; the museums program is budgeted for about $4 million. — If near full funding can be achieved for fiscal 1973, NEA plans to distribute $6.9 million to State Arts Coun- cils, representing an increase of $1.9 million over 1972. About $28.6 million would be disbursed to cultural organizations and individuals in the creative and perform- ing arts and an additional $3.5 million to institutions through the Treasury Fund Program. Out of this total of $32 million, a further growth in the Endowment's opera program is anticipated; monies for orchestras and museums are expected to remain constant due to the increased amounts spent this year. The $5.1 million for administrative expenses would be shared by the arts and the humanities. This would allow the agency a staff expansion since it constitutes an increase of $1.6 million over the current year for administrative expenditures.

A new group of grants recipients have been identified under NEA's recently established EXPANSION ARTS PROGRAM. The initial funding of $1 million is supposed to foster art in neighborhoods and in deprived rural areas. The stress will be on grass-roots organizations that have grown within the community to fill a local need rather than on groups imposed upon the community. They must have been in existence for at least one year and be professionally oriented. Vantile E. Whitfield from Los Angeles has been named director of the new program which, if successful, will certainly be allotted more funds in 1973.

A somewhat similar program, AMERICA THE BEAUTIFUL FUND, has re- ceived a $100,000 seed grant from NEA. The new Fund assists "art ventures in small isolated communities" through $500-5,000 grants sponsoring native arts and crafts, folk festivals, artists-in-residence, art workshops or other local pioneer- ing groups. In contrast to NEA's grants, money awarded by this Fund does not always carry the restrictions of a matching fund clause. Further information may be obtained from Bruce Dowling, ABF, 1501 H Street, N. W., Washington, D. C; New York State residents may apply to ABF of N. Y., Suite 7D, 145 E. 52nd St., New York, N. Y. 10022.

11 — Youth concerts with student tickets at reduced rates, special concerts for senior cit- izens and musicales in hospitals have been reported before. They are usually made possible by subsidies from foundations or other philanthropic organizations. New purposeful outlets for performing arts groups have been found through cooperation with labor unions. Thus, the N. Y. Philharmonic has given a number of concerts at union centers or brought large groups of union members to special concerts at Lincoln Center. Both the NEA and the N. Y. State Council on the Arts have given some financial aid towards these programs. Yet another civic-minded group of musicians went into prisons offering free concerts for inmates. Again state councils and foundations defrayed the cost. COS members who were present at the Central Opera Service National Conference in Washington, D. C, may remember that it was just such community-minded programs that Congressman John Brademas (Ind.) urged arts groups to incorporate into their regular schedule. Meanwhile, deliberation for support of the arts at the state level is also in the news. The N. Y. State Commission on Cultural Resources as well as the N. Y. STATE COUNCIL ON THE ARTS urges the State legislature to approve the $13 million authorized as "emergency assistance" for this fiscal year. This would be the same amount as last year although, at a later date, an additional $2.3 mil- lion was made available to save the N. Y. Public Library. It is hoped that this year funds for the Public Library will be included in the education budget but that another $2 million will be authorized for the Council's operational expenses. To substantiate the necessity for assistance to the arts in the State, the Commission's chairman stated that the arts and related businesses are a $1 billion industry in the State, that 25,000 people are employed by non-profit arts organizations at a total payroll of $104 million. The director of the State Council added that audi- ences have increased 20 percent in the last year and now total 70 million in N. Y. State. If $15 million is approved in Albany, it would still be short of the Council's funding two years ago when the Governor himself pressed for and received a record emergency budget of $18 million for the support of the arts. In December, the NEW YORK BOARD OF TRADE hosted the third annual Business and Arts Awards Luncheon, established by ARTS MANAGEMENT. Glynn Ross, General Manager of the Seattle Opera, was named Arts Adminis- trator of the Year and Robert C. Schnitzer of the Professional Theater Program at the University of Michigan received the Career Service Award. Corporate support of the arts was feted by giving 198 companies of varied sizes in 104 cities and 42 states awards and citations for their assistance to the arts within the last year. These were chosen from 1200 nominations submitted by the various beneficiaries. These "Business in the Arts Awards" are sponsored by Esquire Magazine and the Business Committee for the Arts. Nominations for next year's awards should be sent to Sheldon Stone, Administrator, Esquire/BCA Business in the Arts Awards, 221 E. 66th St., Room 4A, New York, N. Y. 10021. Nomi- nations for Arts Administrator of the Year and for the Career Service Award should be sent to Alvin H. Reiss, Editor, Arts Management, 408 W. 57th St., New York, N. Y. 10019, before April 30. The CANADA COUNCIL announced the disbursement of $6.5 million to thirty- seven Canadian arts groups. Among the recipients were the Canadian Opera Company with $343,000, L'Opera du Quebec with $150,000 as well as the Vancouver and Edmonton Opera Companies. A new venture, co-sponsored by the National Endowment for the Arts and the Canada Council, will start an exchange program between U. S. and Canadian music critics. The program is under the auspices of the MUSIC CRITICS ASSO- CIATION in cooperation with the American Symphony Orchestra League and features one to three month exchange visits by music critics working in cities of comparable size. Further information may be obtained from the Music Critics Ass'n, Irving Lowens, Pres., Washington Evening Star, Washington, D. C. The Imperial Tobacco Products Ltd. in Canada founded the Du MAURIER COUNCIL FOR THE PERFORMING ARTS. Over the next five years, this new organization will have funds of $1 million at its disposal. Its aims and functions are to encourage Canadian talent, to support already existing programs in the arts and to maintain popular prices for artistic events.

— 12 — An interesting note from LINCOLN CENTER: the results of Lincoln Center's first joint fund-raising campaign for corporate giving are in and are most encour- aging. The consolidated corporate drive netted $1,244,000 while the combined total of the individual constituents' campaigns the previous year amounted to $872,000; a 43 percent difference. Private sources, foundations and government agencies are still approached by each individual company. San Francisco's SPRING OPERA THEATER announced the receipt of a grant from the National Endowment for the Arts under the Federal agency's policy of assisting companies which produce new or rarely performed works. Thus, funds were made available towards a new production of Monteverdi's Orfeo in a new edition by Denis Stevens. The orchestration includes original old instruments. The NATIONAL OPERA INSTITUTE has awarded a grant of $18,000 to OPERA/SOUTH towards its forthcoming production of scheduled for May 6. This is the second season of the inter-collegiate opera company, sponsored by three black colleges and located in Jackson, Miss. Sister M. Elise, who retired from Xavier College in New Orleans two years ago, is the company's founder/ general director and the driving force behind the enterprising organization. Man- ager Dolores Ardoyno announced that, just as last year, Emma Goldman will sing the leading role and Walter Herbert will be the conductor. Thanks to four $100,000 grants from the GRAMMA FISHER FOUNDATION, four American opera companies will share new productions. The companies were chosen for diverse regional representation and special emphasis was placed on high artistic standards, good opportunities for American singers and on perform- ances in English. The recipients are the Opera Society of Washington (Delius' A Village Romeo and Juliet), the St. Paul Opera (Nielsen's Maskerade), and the Seattle and San Diego Opera Companies (productions to be announced). Boston's ASSOCIATE ARTISTS OPERA COMPANY received a grant from the Massachusetts Council on the Arts and Humanities and from the Association for the Performing Arts to facilitate a special student-ticket program. Hence, low- priced tickets are made available through universities and colleges to students in the Boston area; dress rehearsals will be open as Preview Matinees to grade and high school students. Similarly, the CENTER OPERA OF MINNESOTA is able to offer a limited number of free tickets to senior citizens and disadvantaged groups within the area. This was made possible through the cooperation of the Hennepin County Coordinator of Special Services. In 1967, the THEATER DEVELOPMENT FUND was founded in New York for the purpose of assuring the continuation of worthwhile plays in the commercial theater. Supported by the National Endowment for the Arts, the N. Y. State Coun- cil on the Arts, foundations and private individuals, the TDF buys blocks of tickets from the producers at the reduced rate of $5 and makes these tickets available at $2 and $2.50 to groups such as students, senior citizens, union members, members of minority groups and others who could not afford to pay full prices. The Fund has been so successful that it has expanded into other art forms and has, during the last season, begun successful work with non-commercial theater and dance companies. Hugh Southern, executive director, has found that some performing companies are even willing to sell a block of tickets at $2 or $2.50, thus, allowing TDF to expand audiences on a non-subsidy basis. While the Fund handled 14,000 tickets during the first year of operation, it expects to total 250,000 seats for the current season. Mr. Southern is presently exploring possibilities of expanding the operation to include 1) other performing arts, such as opera and film and 2) other Eastern cities, such as Philadelphia and Washington, D. C. The CORBETT FOUNDATION'S sponsorship of the production of Romeo and Juliet, first performed by the Cincinnati Summer Opera last year, has made it possible for cities, such as Palm Beach, Tampa, Birmingham, Omaha, Houston, San Diego, Hartford and Vienna, Va., to share in the production.

— 13 — FORECAST Summer '72 In addition to the aforementioned American premiere of Reimann's Melusine, the SANTA FE OPERA will feature new productions of Pelleas et Melisande and . The latter will be given both in English and in Italian. Operas to be repeated from previous seasons are La Grande Duchesse de Gerolstein, and ; the Puccini opera will open the festival on July 8. The summer season of the SAINT PAUL OPERA will open on June 20 with Madama Butterfly and continue for more than three weeks. The company will present a total of four operas. These will include the American premiere of Nielsen's Maskarade on June 23, Hoiby's Summer and Smoke and . The CINCINNATI SUMMER OPERA is entering its fifty-second season and is, thus, the oldest summer opera company in the country. It will open in the newly- refurbished Music Hall on June 24 with a benefit performance of the N. Y. City Opera production of Mefistofele. The four-week season will offer two new pro- ductions, Le Nozze di Figaro and Turandot. Fledermaus (with Seattle Opera sets), Traviata (with Boston Opera sets), and Madama Butterfly round out the list of six productions. Each will be presented twice and one evening will be de- voted to an operatic concert. Colorado's ASPEN MUSIC FESTIVAL has reinstated an Opera Workshop and plans to give fully staged performances at the old Opera House. For news from Central City, please see News from Companies. Two summer festivals, which have been strictly instrumental until now, will in- clude concert performances of operas this summer. The BLOSSOM MUSIC FESTIVAL in Cuyahoga Falls, featuring the , will offer Kalman's Grdfin Maritza and the MEADOW BROOK FESTIVAL in Rochester, Mich., summer home of the Detroit Symphony, will give two performances of Aida.

1972-73 Season The 1972-73 METROPOLITAN OPERA season will be the first under the new management of Goran Gentele, although, of course, much planning was done before Mr. Gentele arrived in the Fall of 1971 to begin blocking out future seasons. As everyone knows, opera schedules must be made far in advance, especially when they involve international stars who book three and four years ahead. A new production of Carmen will open the season on September 19. It will feature the American debut of the famous Czech stage designer, Josef Svoboda, and that of Mr. Gentele as stage director. Leonard Bernstein will return to the Metropolitan Opera to conduct the Fall performances of the work; later, it will be led by the young American conductor Michael Tilson Thomas who will be making his operatic debut on this occasion. Major roles will be sung by Marilyn Home, , James McCracken and Tom Krause. The second new production will be Siegfried under the baton of who will also con- duct a revival of Die Walkiire. Set designs for both operas are by Giinther Schneider-Siemssen. The cast will feature , Lily Chookasian, , Jess Thomas, Thomas Stewart, Gerhard Stolze and the Metropolitan debut of Gustav Neidlinger. The Queen of Spades will return to the repertory, this time in the original Russian. It will be conducted by the young Polish con- ductor Kazimierz Kord, marking his American debut. Other conductors to appear at the Metropolitan Opera for the first time will be Roberto Benzi (), (, Sonnambula, , Trovatore), Sixten Ehrling (), Peter Maag (Don Giovanni, Zauberfldte) and Charles Mackerras (Orfeo ed Euridice). Returning to the company will be to lead // Barbiere

14 di Siviglia, Boheme and . He will begin in the newly-created position of principal conductor in the Fall of 1973. Besides the above mentioned operas, the repertoire will be completed by Aida, Ballo in maschera, Fille du regiment, Lucia, , Madama Butterfly, , Romeo et Juliette, Rosenkavalier, Salome and Traviata. Among the singers making their Metropolitan Opera debuts will be Gwyneth Jones, Elizabeth Vaughan, Yvonne Minton, Carlo Cossutta, Rag- nar Ulfung, Hans Sotin and Ingvar Wixell. Mr. Gentele also announced an added attraction in the educational program of the company. In addition to the custom- ary seven student performances, there will be several "Look-ins" especially con- ceived for young people. These will offer technical as well as artistic demonstrations and close with a fully produced performance of one scene from an opera. These "Look-ins" will be about one and a half hours long.

As previously mentioned, the SAN FRANCISCO OPERA will offer a complete Ring cycle as special celebration of its Golden Anniversary season. In addition, the company will give the American premiere of von Einem's Visit of the Old Lady in an English translation by Norman Tucker. Other operas in new produc- tions next Fall will be Meyerbeer's L'Africaine (first time on the Westcoast), Tosca, Nonna and . Repeated from previous years will be Nozze di Figaro and Aida. Nonna with has been chosen for the opening gala on September 16; the season will close on November 26.

For its '72 Fall season, the announced new pro- ductions of Die Walkiire, and of Verdi's rarely^heard / due Foscari. The twelve-week season will also include , Cost fan tutte, Pelleas et Melisande, La Traviata and La Boheme. A total of fifty-two performances are scheduled and, for the first time, there will be thirteen different subscription series. At the close of the current season, the company announced a record attendance of 99 percent.

Next season, the OPERA GUILD OF GREATER MIAMI will increase its num- ber of productions from three to four. It has scheduled The Daughter of the Regiment for January '73, Carmen for February, for March and // Tro- vatore for April. As always, performances will be given first in Miami and re- peated in Fort Lauderdale.

Joan Sutherland will be presented in a new role by the VANCOUVER (B. C.) OPERA during the 1972-73 season. The Donizetti opera will be Lucrezia Borgia rather than Roberto Devereux, as previously announced (see 2/71 Blltn.).

MEETINGS, CONFERENCES, EXHIBITS

The twelfth National Conference of the UNITED STATES INSTITUTE OF THEA- TRE TECHNOLOGY will be held in San Francisco, March 25-29. The theme of the conference is The Designer: Artist and Technician. Headquarters for the meeting will be at the Mark Hopkins Hotel. — Meanwhile various symposia and regional conferences have been held by US1TT, e.g. A Career Conference: Theatre Technology and Design in January in New York City and in Syracuse, Business and the Arts: A Collaboration, held in cooperation with BCA in February in Chicago, Neighborhood Arts Programs: What Are They? in Salem, Maine, and Spaces as Community Cultural Resources in January in New York City.

This year's Annual Conference of the ASSOCIATED COUNCILS OF THE ARTS is scheduled for May 17-20 at the Radisson Hotel in Minneapolis. Arts on Main Street/ New Cultural Crossroads for a Continent is the title. One half day will be devoted to a meeting of the North American Assembly of State and Provincial Arts Agencies.

— 15 — The Seattle Opera Guild will host the first INTERNATIONAL CONFERENCE FOR OPERA GUILDS scheduled for March 7-9. Among the subjects to be discussed are: Guilds' Educational and Volunteer Services, Youth Programs, Public Relations, Fund Raising and Study Programs. Conference delegates from the U. S. and Canada will also attend the premiere performance of Pasatieri's Black Widow by the Seattle Opera.

Twenty-five representatives from five countries will participate in a SEMINAR ON CULTURAL DECENTRALIZATION taking place in Dartington, England, on April 16-21. Delegates from the United States will include Michael Straight and Clark Mitze from the National Endowment for the Arts and Ralph Burgard, arts consultant and former director of ACA. France, The Netherlands, Sweden and England are the other countries participating in the seminar and observers from UNESCO will audit the meetings.

Rome has been chosen to host the WORLD CONFERENCE OF THE OPERATIC THEATRE during the coming summer, while, for the first time, the two-week VERDI CONGRESS will be hosted by the United States. An invitation was extended by the Metropolitan Opera to Mario Medici, director of the Institute of Verdi Studies in Parma, and, thus, the third International Verdi Congress will.be held in New York June 5-24 at the Lincoln Center Library for the Performing Arts. It will coincide with the Metro- politan Opera's Verdi Festival; John Gutman, assistant manager, will be in charge of all events at the Congress.

June 8 has been set for the the Annual Meeting of the in New York. The primary subject on the agenda is a discussion of methods by which the National Music Council and its constituent organizations can participate in and contribute to the American Bicentennial Celebration. One of the suggestions is the sponsorship of commemorative plaques at special historical music landmarks. COS has suggested that the former site of the Metropolitan Opera on Broadway and 39th Street be awarded this distinction.

The Friends of Music at the SMITHSONIAN INSTITUTION (National Museum of History and Technology) are sponsoring A Musical Weekend in Washington on April 28, 29 and 30. Scheduled events will include attendance at the American premiere of Delius' A Village Romeo and Juliet, performed by the Opera Society of Washington at the Kennedy Center on April 28 and at a special concert with soprano Carol Bogard, accompanied by old restored instruments, at the Museum on April 29. Various tours and social events are also on the calendar.

New York's Library for the Performing Arts is presently featuring an exhibition of stage and costume designs entitled DIAGHILEV AND THE RUSSIAN STAGE DE- SIGNERS, on loan from the collection of Mr. and Mrs. N. Lobanov-Rostovsky. The exhibit includes over one hundred items by thirty-six different artists. An attractive cata- logue is available from the Lincoln Center Library book store for $7.00.

A touring exhibit of FOUR HUNDRED YEARS OF STAGE DESIGN, on loan from the Theatrical Museum of Milan's , is circulated by the International Exhibition Foundation. It opened in Washington, D. C, at the National Gallery of Art and has been contracted by the Indianapolis Museum of Art for February and by the Museum of the University of Texas in Austin for March 18 - April 16. The show includes num- erous scenic designs, eighteenth century model stage sets, costume designs and opera posters.

— 16 — COS INSIDE INFORMATION

We are delighted to announce the appointments of Mr. ELIHU M. HYNDMAN as the new Central Opera Service National Chairman and of Mrs. NORRIS DARRELL as National Co-Chairman. Mr. Hyndman has been a Director of Central Opera Service for many years as well as Secretary of the Metropolitan Opera National Council for the last five years. He is an attorney, residing in St. Louis where he was president of the St. Louis Opera Theatre, and a member of the Board of Directors of the Community and Young Audiences Inc. He succeeds Robert L. B. Tobin who, following his resignation, was named Honorary National Chairman.

Mrs. Darrell was the first COS National Chairman when the organization was founded by Mrs. August Belmont in 1954. She has always remained affiliated with Central Opera Service as a director. For the last two years she has been National Chairman of the Metropolitan Opera National Council's public relations depart- ment. GEORGE HOWERTON will remain as her Co-Chairman.

The following opera producers have been named to the COS Professional Com- mittee: PETER HERMAN ADLER — Executive Producer/Artistic Director, NET Opera Theatre; GRANT BEGLARIAN — Dean, School of the Performing Arts, USC; — Artistic Director, The Boston Opera Com- pany; ROBERT J. COLLINGE — General Manager, Baltimore Opera Company; JOHN M. LUDWIG — General Manager, Center Opera of Minnesota; and GEORGE SCHAEFER — General Manager, St. Paul Opera Ass'n.

HOWARD J. HOOK Jr., who was National Chairman of the Metropolitan Opera National Council Auditions for ten years and who was succeeded by Carroll Harper in 1970, has been named Honorary National Chairman of the Auditions' program.

It may be of interest to Central Opera Service members that representatives of COS have actively participated in or audited the following meetings of other or- ganizations: National Opera Ass'n National Conference, New York, October 71, Business and the Arts (Arts Management/N. Y. Board of Trade sponsored), December '71, National Music Council meeting, January '72, USITT Symposium on Spaces for Community Cultural Resources, January '72 and the monthly meetings of the COUNCIL OF NATIONAL ARTS ORGANIZATIONS EXEC- UTIVES. The latter held a full day meeting in February at which time the aims and purposes were delineated and various representatives from non-member or- ganizations were invited to report on the activities of their organizations. This extremely interesting and useful exchange resulted in an increase in the member- ship as well as in a broadening of the sphere of interest and possible activities of CNAOE to better serve all arts organizations and their constituents.

— 17 — BOOK CORNER One of the most beautiful music/art books in recent years is CHAGALL AT THE MET. It contains fifty-two full page color reproductions of the original sketches for The Magic Flute and studies and sketches of the famous murals the artist conceived for the front of the Metropolitan Opera House. The text is by art critic Emily Genauer; the introduction by Rudolf Bing. The book was printed and bound in Paris by Mourlot in collaboration with Leon Amiel of Tudor Publishing Company of New York. The 150-page book is lO'/i" x 14V4" in size. The price is $37.50 and it is available, among other sources, from the Metropolitan Opera gift shop. MUSIC AND THE THEATER, An Introduction to Opera, is written by Reinhard G. Pauly and published by Prentice-Hall Inc., Englewood, N. J. It traces operatic history from the "Ancient Greeks" to modern times, choosing two or three operas as representative of the style of each period. Although these choices may at times be rather arbitrary, the book offers a wealth of information to the uninitiated and might even succeed in making opera converts. The 460 pages contain numerous black and white production photographs as well as some musical examples. The book is available in a clothbound edition for $13.95, in paperback for $9.95. MORE STORIES OF THE GREAT OPERAS by Milton Cross, written in col- laboration with Karl Kohrs, is a sequel to his earlier publication, Complete Stories of the Great Operas. No other non-singing voice has achieved the fame in opera as has that of "Mr. Opera" himself through the Met/ broadcasts. In his latest book he describes forty-five operas — some lesser known, some contem- porary — all not included in his first volume. The new book also features short biographical sketches of some 600 famous singers. The 750-page volume, pub- lished by Doubleday & Co., is an excellent buy at $6.95. Rosemary Brown's UNFINISHED will raise some skeptic's brows but will find a willing audience among devotees of ESP. Mrs. Brown, a London housewife, retells the story of the visitations she experiences when famous com- posers (Schubert, Beethoven, etc.) "dictate" new manuscripts to her. Published by William Morrow & Co., New York, it sells for $5.95. For certain entertainment, we recommend Victor Borge's MY FAVORITE IN- TERMISSIONS, published by Doubleday & Co. This light and lightweight volume, which closes on page 189 with an "Underture", is full of amusing anecdotes. It offers a diverting evening for $4.95. A number of recently published books are devoted to lives of composers. Thus, SMETANA by Brian Large is a most welcome addition to music libraries, offering a vividly written and interesting account of the life and times of the Czech com- poser. The 472-page book is illustrated with photographs and musical manuscript pages, and contains a list of the composer's works and synopses of his operas. It is published by Praeger Publishers and is priced at $16.50. The English version of 's updated biographical sketch, STRAVINSKY, also includes a study of some of his music. (The first edition was published in 1960). It has been published in paperback by Oxford University Press in an English translation by Frederick and Ann Fuller. The 264-page volume includes musical examples and is available for $3.95. Another paperback published by Oxford is devoted to THE WORKS OF RALPH VAUGHAN WILLIAMS. It is a scholarly treatise written by Michael Kennedy and includes biographical information and letters. The 400-page soft-cover edition sells for $3.95. In 1968, Willi Reich, musicologist and expert on Schoenberg, Berg and Webern, wrote SCHOENBERG, A Critical Biography, considered one of the most im- portant books on the composer and his contemporaries. It has now been translated into English by Leo Black and is available for $12.50; the publisher is Praeger Publishers, Inc. The 260-page book is interspersed with photographs, drawings and musical examples. — 18 — Geoffrey Skelton, author of Wagner at Bayreuth: Experiment and Tradition, now offers us WIELAND WAGNER, The Positive Skeptic. The 220-page book is a knowledgeable and well-written biography of 's grandson as well as an analysis of his work in the operatic theater. The St. Martin's Press is the publisher; the price is $6.95. Charles Reid has written JOHN BARBIROLLI, A Biography, tracing the extra- ordinary career of the British conductor. Mr. Reid, himself a music critic, de- scribes in a fluent style the conductor's life on two continents, the development of his career and the personalities that surrounded him. The 445-page book, priced at $12.95, is published by Taplinger Publishing Company. Two books by highly respected music critics have recently been published. One is by Paul Henry Lang, CRITIC AT THE OPERA. However, contrary to the con- notation implied in the title, the book is not a collection of reviews but rather a musicologist's account and evaluation of many established operatic works. That the 336-page book still has something special to offer, is due to the great knowledge and taste of the writer, although, in principal, it is a history of opera in disguise. The publisher: W. W. Norton & Co.; the price: $7.95. The other book is accurately entitled COMPOSER AND CRITIC, Two Hundred Years of Music Criticism. It was written by Max Graf and appeared in a first edition in 1946. It has just been reissued by W. W. Norton & Co. in a paperback edition, available for $2.45 and should not be missed. It is fascinating reading and offers a wealth of interesting information on the art of music criticism and on the relationship of critics and composers and/or public. Last but not least, the book quotes from knowledgeable (and less knowledgeable) reviews. One of the largest undertakings in recent years, in research as well as in writing, is the three-volume reference study of ITALIAN MADRIGALS by Alfred Ein- stein. Any musicologist and student of the subject will be delighted at the wealth of information presented in Mr. Einstein's customary lucid style. Beautifully ex- ecuted by Princeton University Press, the three-volume boxed publication sells for $55.00. PATHS TO MODERN MUSIC by Laurence Davies deals with "The Aspects of Music from Wagner to the Present Day". Rather than presenting the musical problems, the author approaches the subject through the composers' personalities set against the social and cultural background of their times. Within chapters on individual composers, Mr. Davies does discuss specific works of special significance. The book, published by Charles Scribner's Sons, is available in hard-cover ($10.00) and in paperback ($3.95). Either edition contains 330 pages. Rollo Myers has chosen a similar theme, MODERN FRENCH MUSIC, From Faure to Boulez, but he has limited his subject matter considerably, both in time and in nationality. A well-informed and informative book, it has been published by Praeger Publishers and its price is $12.50. It contains 210 pages; the text is interspersed with photographs. Four guide books for singers have just reached us. Gladys Mathew, voice teacher and president of Community Opera, Inc., addresses herself mainly to the novice with THE OPERA SINGER ON STAGE AND OFF. The first part of her book is devoted to behavior and movement. Miss Mathew's description is extremely detailed and may prove helpful to the young singer. The second part is a short history of opera and the third gives a brief list of some contemporary operas. The 152-page book is published by Theo. Gaus' Son, Brooklyn, and may be purchased for $5.95. Lotte Lehmann, who needs no introduction, is sharing her knowledge and ex- perience in the book EIGHTEEN SONG CYCLES, Studies in Their Interpretation, published by Praeger Publishers. The songs chosen to demonstrate interpretive details are by Beethoven, Schubert, Schumann, Brahms, Wagner, Strauss, Berlioz, Faure and Debussy, thus, covering a wide variety of styles. This priceless infor- mation is available for $6.95. The introduction is by Neville Cardus. Mme. Lehmann has dedicated the book to the memory of . ENGLISH DICTION FOR THE SINGER by Lloyd Pfautsch (no phonetic key to the pronunciation of the author's name) and TO SING IN ENGLISH, A Guide to Improved Diction, by Dorothy Uris, are the results of the generally poor state — 19 — of affairs of English diction in singing. The first is a 149-page paperback, published by Lawson-Gould and available from G. Schirmer, Inc., for $2.00. It is copiously illustrated with drawings of the mouth, lips and oral cavity and the author attempts to make his point in this manner. The second book, published by Boosey and Hawkes, relies more on the written word and phonetic signs. It is a 316-page study of sounds, language and artistic expression and sells for $6.95. Two new dictionaries close this extensive list of new publications in musical books. HARPER'S DICTIONARY OF MUSIC by Christine Ammer offers 414 pages of general and diverse musical information for $10.00. Harper and Row is the publisher. The HARVARD DICTIONARY OF MUSIC, in its second, revised and enlarged edition, is a voluminous source of information. In 935 tightly packed pages, broken only by numerous illustrations, it is one of the best and most up-to-date music reference works of this size. Written by Willi Apel, it is published by The Belknap Press of Harvard University, Cambridge. Its price is $20.00. A number of new publications on finances, grants and related information are listed under Research and Surveys.

TRANSLATIONS AND ADAPTATIONS Mozart's 1L RE PASTORE was performed by the Yale University Music Summer School last July in an English translation by George Mully. The performance was the first American stage production of the opera. LA TRAVIATA was sung in a new English translation by Charles Kondek when it was presented by the Harford Theatre in Maryland last summer. Mr. Kondek may be con- tacted for all his translations at his new address: 789 West End Avenue, New York, N. Y. 10025. (Please make the necessary change in your copy of the COS Directory of English Translations on page 20.) After successfully translating Walkiire and Gotterdiimmerung for Sadler's Wells, Andrew Porter has now made an English translation of . It will be sung at Sadler's Wells this season. Commemorating the fiftieth anniversary of the death of Camille Saint-Saens, his LA PR1NCESSE JAUNE was given in concert performance at London's Wigmore Hall in January. It was heard in an English translation by Stella Wright. The University of California in Santa Barbara announces the completion of an adap- tation of Meyerbeer's LES HUGUENOTS. Professors Carl Zytowsky and Walter Burg, together with graduate student Michael Mitchell, revised and condensed the libretto and the score, anticipating greater interest in this rarely heard opera if a shorter version were available. Monteverdi's ORFEO was performed in English and Italian in February by San Fran- cisco's Spring Opera Theater in a new version by Denis Stevens. British musicologist Raymond Leppard, who is responsible for the revival of two Cavalli operas due to his adaptation and translation of these works (Ormindo and La Calisto), also has a new version of Monteverdi's L'INCORONAZIONE Dl POPPEA to his credit. On the occasion of its performance by Sadler's Wells this winter, the British magazine Opera quoted Mr. Leppard in an interview as stating that "there is no such thing as an Urtext for the work and that the two surviving manuscripts show wide divergencies". For additional translations see also American Premieres (Besuch der alien Dame, and Maskarade).

— 20 — APPOINTMENTS

In addition to the previously announced members of the new Metropolitan Opera ad- ministration (Mssrs. Gentele, Kubelik and Chapin), 28-year-old American conductor JAMES LEVINE was named principal conductor under Rafael Kubelik. Mo. Levine, who has conducted at the Metropolitan for the last two seasons, made his debut at the age of ten conducting the Cincinnati Symphony. He served his apprenticeship under in Cleveland where he became assistant conductor. More recently he conducted many major American symphony orchestras. He will return to the Met next season to conduct three operas and begin in his new post in September '73, at the same time as Mo. Kubelik. — Two members of the Metropolitan Opera staff have been pro- moted by Mr. Gentele. CHARLES RIECKER, who joined the company in 1959, will become Artistic Administrator, succeeding Robert Herman; MICHAEL BRONSON, who has been with the company for the last ten years was named Technical Administra- tor and will succeed Herman Krawitz. (Mr. Herman and Mr. Krawitz resigned as per July 72.) Both new appointees are in their thirties but have had extensive training and experience even before joining the Met. Mr. Riecker, who has been with the com- pany for thirteen years, studied music and is an accomplished pianist, Mr. Bronson collected his first practical experience in summer and off-Broadway theatres. Both will be responsible to Schuyler Chapin who will be an assistant manager. One of the present assistant managers to continue under the new regime is FRANCIS ROBINSON, head of the press department.

The City University of New York has announced the appointment of SIR RUDOLF BING as Distinguished Visiting Professor of Music at Brooklyn College. Sir Rudolf will begin in his new position next Fall. Two new members of the Metropolitan Opera Board of Directors are DONALD M. KENDALL, who is, among other positions, President of Pepsicola and Chairman of the National Alliance of Businessmen, and IRVING MITCHELL FELT, Chairman of the Madison Square Garden Corp., and of the Hotel Corporation of America. JOSEPH FARRELL, former executive vice-president of the Associated Councils of the Arts, founded the National Research Center for the Arts of which he is the President (see Research and Surveys). ROBERT MANN, founder of the Juilliard , was named President of the Naumburg Foundation, succeeding Peter Mennin. VINCENT PERSECHETTI, composer, and STUART POPE, managing director of Boosey and Hawkes, have been appointed to the Board of Directors of ASCAP. They fill the unexpired terms of Peter Mennin and Rudolph Tauhert respectively, who resigned recently. GERT VON GONTARD, producer and professor at the University of Vienna, was named to the Board of Directors of the of Music and Drama. The National Guild of Community Music Schools appointed DOROTHY MAYNOR, director of the Harlem School of the Arts, President Elect, and HARRIS DANZIGER, director of the Third Street Music School Settlement, as its new President. DR. DOLLY E M. E. ROBINSON, chairman of the Fine Arts Division at Jackson State College, was elected President of the Mississippi Inter-Collegiate Opera Guild which sponsors Opera/South. He succeeds Dean Estus Smith. — ROGER E. JACOBI is the new President of the National Music Camp at the Interlochen Center for the Arts in Michigan. New appointments to positions of Artistic and/or Musical Director of performing com- panies include those of NATHANIEL MERRILL (stage director Metropolitan Opera, San Francisco, Chicago, Vienna, etc.) to General Director of the Central City Opera House Ass'n, where he had been directing opera 1958-63; — RICHARD WOITACH, conductor and accompanist (asst. conductor, Metropolitan Opera 1959-68) to Musical Director of the Western Opera Theater, touring company of the San Francisco Opera, where he served in the same capacity from 1968-70; — MONROE KANOUSE, recipient of the first Kurt Herbert Adler Award, to Associate Conductor at the same company; — ROBERT M. HEUER to General Director of Detroit's Overture to Opera. 21 The newly created post of Director of Community Relations for Lincoln Center has been awarded to LEONARD DE PAUR. — RICHARD G. HOUDEK was named Public Relations Director by the San Francisco Opera; SUSAN HELLER ANDERSON is the new Assistant Director and also in charge of public relations for the Spring Opera and Western Opera Theater. — DAVID M. BABER is the first Executive Secretary of OPERA America which shares the offices with the Baltimore Opera.

Conductors Some long-awaited decisions regarding conductorial positions with major American orchestras have recently been announced. , child prodigy who made his debut when eight years old, was given a five-year contract with one of the choicest orchestras. Beginning next season he will be Music Director of the Cleveland Orchestra, succeeding the late George Szell. The 41-year old conductor is currently music director of the Berlin Radio Symphony Orchestra, conductor of London's New Philharmonia (together with Otto Klemperer) and was, until last season, director of the Deutsche Oper, West Berlin. — The venerable Boston Symphony has chosen as its next perma- nent conductor the young, Japanese-born . He will begin in his new position in the Fall of 1973 but will act as Musical Advisor during the coming season. He is at present Artistic Director of the Berkshire Music Festival and Music Director of the San Francisco Symphony, positions which he will keep even after assuming the directorship in Boston. Colin Davis and Michael Tilson Thomas will be principal guest conductors. — JORGE MESTER, music director of the Louisville Orchestra and of the Aspen Music Festival, was appointed Artistic Advisor of the Kansas City Phil- harmonic; JOHN COVELLI is the Resident Conductor. — THOMAS GRISWOLD, formerly with the Fresno Philharmonic, is the new conductor of the Des Moines Symphony. He was also appointed Professor at Drake University in Iowa. — Acting music director of the San Diego Symphony, MICHAEL ZEAROTT, was also named Musical Director of the 1972 Ojai Festival in California. — JAMES DE PREIST has become Associate Conductor of the National Symphony Orchestra, and Swiss-born MATTHIAS BAMERT is the first recipient of an award making him a George Szell Memorial Fund Conducting Assistant with the Cleveland Orchestra.

Academia Changes and promotions in leading positions in the academic music field include JAMES HUSTIS to Dean of the Peabody Conservatory of Music in Baltimore, JOHN BAILEY to Dean of the San Francisco Conservatory of Music, DONALD HARRIS to Vice President of the New England Conservatory of Music, Prof. DONALD B. GOODALL to Acting Dean of the College of Fine Arts at the University of Texas in Austin, suceed- ing E. W. Doty, DAVID LLOYD, former director of the Hunter College Opera Workshop, to Chairman of the Opera Department at the University of Illinois at Urbana (succeeding the late Ludwig Zirner) with R. ASLANIAN as Music Director, ARTHUR R. CORRA to Chairman of the Music Department at Illinois State University in Normal, OSCAR KOSARIN to Director of the Music Theatre Workshop at the University of Cincinnati College-Conservatory. The following personalities joined music faculties this season: DENNIS WAKELING, Stage Director, to the Opera Department at the University of Texas at Austin, GYOERGY LIGETI, Composer and Guest Lecturer, to California's Stanford University, BENJAMIN LEES, Composer-in-Residence to the Manhattan School of Music, MICHAEL POLLOCK to the Opera Department of Illinois State University in Normal, RUTH GORDON to the Voice Faculty of the Cleveland Institute of Music, and GEN IA DANOVA to the Voice Faculty at Chicago's American Conservatory of Music.

European Opera Houses Changes in Directors at Europeon opera houses feature MASSIMO BOGIANCKINO who became Artistic Director of Milan's La Scala beginning January 1972. Among the positions he previously occupied were those of manager of the Spoleto Festival and of Rome's Teatro dell'Opera. In Milan he is succeeding Luciano Chailly. Also new at La

— 22 — Scala will be PAOLO GRASSI as Managing Director, succeeding the retiring Antonio Ghiringhelli; CLAUDIO ABB ADO was named Music Director. — GERARDO AGOSTINI is the new General Administrator at the Teatro dell'Opera in Rome. He will be working together with Artistic Director .

Following the death of Bernhard Paumgartner, JOSEF KAUT was named President of the . — MARCEL PRAWY, producer/director of Vienna's Volksoper, was also named Chef Dramaturg and Head of Production for the Vienna Staatsoper. The appointment was announced by Rudolf Gamsjager, the Staatsoper's new director.

Beginning this season, GABOR OETVOES became Music Director of the Augsburg opera. He has guest conducted in New York, both at the City Opera and at the Metro- politan. — Among the new appointments made by August Everding, future director of the Hamburg Staatsoper, is that of HANS LUDWIG HIRSCH as head of the company's Studiobiihne (experimental theatre). — Composer GYOERGY LIGETI, presently resi- dent of West Berlin, will become Professor of Composition at the Hamburg Music Conservatory in 1973. — HEINZ FRICKE will be the successor to Otmar Suitner, Artistic and Managing Director of the Deutsche Oper in East Berlin. At the same institute, WOLFGANG RENNERT was signed for a five-year contract as conductor. Brother of Giinther Rennert, he had been first conductor at Munich's Theater am Gartnerplatz.

Composer RENZO ROSSELLINI will be the new Director of the Opera de Monte Carlo in Monaco. — Beginning next season, conductor REYNALD GIOVANINETTI will head the opera company at Marseilles as its General Director. For his first season he has announced the French premiere of The Devils of Loudon. — JOHN COX received a three-year contract as Director of Production at England's Glyndebourne Festival. — KAJ KAUHANEN, Head of the Music Division of UNESCO in Paris, has been appointed Director of the Finnish National Opera in Helsinki.

WINNERS AND NEW AWARDS The National Federation of Music Clubs named mezzo soprano CARLYNE JAMES and baritone STANLEY NORSWORTHY as the 1971 winners of the Young Artists Auditions in the voice category. Each received $1500 in cash and concert engagements.— The 1971 G. B. Dealey Award in voice given by the Dallas News was shared by EVELYN PETROS of Washington, D.C. and RICHARD M. BARRETT of Fort Worth, Texas. — First prize of the Emma Feldman Competition was won by baritone ALAN WAGNER, second prize by PHILIP CHO, and third prize by MARIA JACOBI. — The Concert Artists Guild Inc. of New York has chosen baritone ROBERT CHRIST- ESEN to be awarded the 1972 debut recital in the Young Performers Series. — Mezzo soprano CAROLE WALTERS is the recipient of the first prize of the 1971 National Arts Club Award. She will receive a cash award and a debut recital in New York in May.

While no first prize was awarded in Ihe International Music Competition in Munich in 1971, the second prize was shared by two American singers, 25-year-old mezzo soprano ANITA TERZIAN and soprano PATRICIA WELLS. Both are Juilliard School grad- uates. — The 1971 Vocal Competition in Toulouse, France, yielded only one winner from the Western Hemisphere. This was Canadian soprano EDITH TREMBLAY who received the third prize in the women's division. — At the Geneva International Singing Competition no first prizes were awarded in either the men's or women's division. Winners in the men's division were LEONARD MROZ (Poland), PETER LIKA (Ger- many) and KAREL SALABA (Czechoslovakia), — in the women's division EVELYN BRUNNER (Switzerland), ELIZABETH LANE (England), LYN VERNON (Canada) and HISA FUKUDA (Japan). — Holland's s'Hertogenbosch International Singing Contest announced awards of its prizes in the following order: Romanian soprano HORIANA BRANISTEANU, Japanese mezzo YUKO TSUJI, Dutch baritone ROBERT HOLL and East German baritone THOMAS TOMASCHKE. — The Canadian Opera Company's Jean Chalmers Award went to baritone PETER BARCZA. The 22-year-old Canadian singer received a cash prize of $1,000.

23 The Dimitri Mitropoulos International Conductors' Competition was won by French JACQUES DELACORTE (first prize), German WOLFGANG BALZER (second), and British TIMOTHY REYNISH (third). — Composer ANDREW IMBRIE was the first recipient of the Walter Hinrichsen Award for Composers. — GLYNN ROSS, General Director of the Seattle Opera, received the Arts Administrator of the Year Award from Arts Management at the New York Board of Trade luncheon. The cita- tion reads "in recognition of his innovations and adventurous programming".

New Award for Singers For the first time the Gesellschaft der Musikfreunde will sponsor an International Music Competition as part of the 1972 Vienna Festival. The competition is open to singers, violinists and pianists under thirty. The winners will receive cash prizes and concert appearances. April 15 is the deadline for applications. Address inquiries to Gesellschaft der Musikfreunde, Lothringerstrasse, Vienna, .

Composers' Competitions The Italian Society for Contemporary Music offers cash prizes and performances in six categories of composition: one-act opera or other form of musical theatre (3 million lire), orchestral work with soloist and/or chorus (1 million lire), instrumental and/or vocal composition for ensemble up to 36 performers (1 million lire), instrumental and/or vocal composition up to 11 performers (600,000 lire), religious composition within afore- mentioned categories (1 million lire), and electronic and computer music (1 million lire). Works published after 1969 are eligible. For further information write SIMC, Piazza 20, 00198 Rome, Italy. The Teatro La Fenice in Venice reserves the right to the first performance of the prize-winning opera.

The Queen Marie-Jose Prize Contest is limited to compositions of chamber music. It is open to composers of all nationalities and there is no age limit. Deadline for applications is May 31. Address all inquiries to Queen Marie-Jose Contest, 1249 Marlinge, Geneva, Switzerland.

The J. H. Beams Committee, 705 Dodge at Columbia University, New York 10027, has announced cash awards of $1200 for the best "large media" work, and of $900 for a "small media" work. American composers between the ages of 18-25 are eligible to compete.

The National Federation of Music Clubs offers a $100 grant for the best composition by a young (10-16 year-old) blind composer and $200 to the winner in the 16-30 year- old category. Applications should be submitted to the National Chairman of Music for the Blind, Mrs. F. Onion, 133 Dumbarton Rd., Baltimore, Md. 21212. All compo- sitions will be returned to the composers with the judges' comments.

Indiana State University at Terre Haute solicits new orchestral compositions for pos- sible reading and performance during its sixth annual Contemporary Music Festival. For information, write to Neal Fluegel, Chairman of the Festival at Terre Haute.

See also News from Opera Companies (Central City Opera House).

— 24 — PERFORMANCE LISTING, 1971-72 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 re- listed at the time of performance. — * denotes new production; in — denotes matinee. ALABAMA Mobile Opera Guild, J. Yestadt, Mus. Dir., Mobile 3/15, 17/72 Carmen Casei, Stokes; cond.: Yestadt; dir.: R. Herbert Samford Univ. Opera Theater, R. Veazey, Dir., Birmingham 3/13-15/72 Slow Dusk for Birmingham Civic Opera 4/28, 29, 30/72 // Tabarro Troy State University, Opera Workshop, P. Kelley, Dir., Troy 11/16, 17/71 Musical 3/3, 4/72 Carmen ARKANSAS Arkansas State U., Opera Workshop, D. Niederbach, Dir., State University 2/17, 18/72 & The Jumping Frog of Calaveras County CALIFORNIA College of the Desert, Opera Workshop, J. Kneebone, Dir., Palm Desert 11/12, 13/71 Orpheus and Euridice Eng. Ducloux Fresno Opera Ass'n., N. Iacovetti, Art. Dir., Fresno 11/5, 6/71 La Boheme Eng. Martin 2/25, 26/72 Elixir of Love Eng. 5/19, 20/72 Carmen 12/71 Amahl and the Night Visitors 5 pfs. in schools Immaculate Heart College, Theresa di Rocco, IHM, Los Angeles 5/20, 21/72 Riders to the Sea The Lamplighters — Opera West Foundation, San Francisco 10/9-11/6/71 lolanthe w.o. 11/3/71 Trial by Jury w.p. 12/5/71 Annual Opera Gala (G&S excerpts) w.o. 3/11-4/15/72 H.M.S. Pinafore 10 pfs., w.o. 7/8/72 Crosswell & Pockriss' Earnest in Love (adapt, of The Importance of Being Earnest) San Jose Community Theater, Opening Performance 2/17/72 Aida Galvany, Bumbry; McCracken, Flagello Spring Opera Theater, prod, by San Francisco Opera, K. H. Adler, Gen. Dir., at Curran Theater 2/11, 13, 19, 23/72 Eng. Martin; Matsumoto; Walker, Titus, Booth; cond.: Woitach; dir.: Pearlman; des.: Loquasto 2/12, 20, 25/72 Monteverdi's Orfeo Denis Stevens' edition; Eng. & Ital.; C. Lewis, Blackett; Ferrante, Justus; cond.: Ryan; dir.: Freedman; des.: Conklin 2/18, 24, 26, 27/72 Weill's Mahagonny Eng.; Bybee, Neway; Kness, Mosley; cond.: Schneider; dir.: Francisco; des.: Darling Univ. of California at Los Angeles, Opera Workshop, J. Popper, N. Limonick, Dirs. 12/7, 9, 12/71 Amahl and the Night Visitors 5/21, 22, 28, 29/72 Cesti's Orontea COLORADO Pueblo Civic Symphony Ass'n., Mozart Festival, G. Track, Mus. Dir. 1/27/72 The Magic Flute cone, pf.; Valente, Roche; Johnson Hartt Opera Theater, T. Capobianco, Art. Adv., University of Hartford 2/16-19/72 Metcalf; cond.: Paranov; dir.: Karpo; des.: Mitchell New Haven Opera Society, Herta Glaz Redlich, Dir., on tour (see Fall '71 Blltn.) 12/15, 16/71 Hansel and Gretel N.Y.'s Town Hall 1/8/72 Cinderella Ridgewood, N.J. Simsbury Light Opera Co., W. K. Erhart, Art. Din, Simsbury 4/28, 29 5/4, 5, 6/72 lolanthe Univ. of Bridgeport, Music Department, Bridgeport 1/14, 15/72 Four Saints in Three Acts — 25 — DISTRICT OF COLUMBIA National Symphony Orchestra, A. Dorati, Dir., Kennedy Center, Washington 4/25, 26, 27/72 Borkh, Resnik, Schauler; Ludgin, Nagy; cone. pf. FLORIDA Florida State Univ. Opera, School of Music, A. R. Thomas, Tallahassee 10/71 Musical 7 pfs. 11/13/71 & Secret of Susanna 12/3, 4/71 Madama Butterfly Eng. Martin 2/18, 20/72 The Good Soldier Schweik 31'20/72 Abstrakte Oper No. 1 4/12, 13, 14, 15, 19, 20/72 The Three Penny Opera Lenya; Chase 5/20/72 An Evening of Opera Scenes Miami Beach Symphony, B. Breeskin, Mus. Dir., Miami Beach 11/17/71 Carmen Eng.; cone, pf.; Merrige, Cavendish; Bartolf, Matthews Miami Philharmonic Orchestra, A. Lombard, Mus. Dir. 3/72 Bluebeard's Castle Lear; Stewart; cone. pf. GEORGIA Atlanta Memorial Arts Center, R. Shaw, Mus. Dir., Atlanta 2/1/72 Joplin's Treemonisha (1911) prem.; Floyd, Parker; Estes; dir.: K. Dunham IDAHO College of Idaho, Music Dept, R. Skryin, Dir. Opera, CaldwcII 12/71 Amahl and the Night Visitors 2 additional productions to be announced ILLINOIS Marjorie Lawrence Opera Theater, Southern 111. Univ., Carbondale 11/19/71 Opera Americana (Scenes from Am. contemporary operas) 3/3, 4, 5/72 Eng. Ducloux; cond.: Stroud; dir.: Mary Wallace; des.: Payne 5/14/72 Opera/Alternative '72: From Bach to Rock Midland Repertory Players, L. Leritz, Gen. Mgr., at Varble Hall, Alton 9/18/71 Opera Scenes w.p.; dir.: Shanahan Northwestern University Chamber Orchestra, B. Rubenstein, Dir., Evanston 12/1, 2/71 Weill's Mahagonny dir.: Schneideman Northwestern College Chamber Opera Workshop, V. Tarrell, Dir., Orange City 1971-72 Trial by Jury 1971-72 Bastien and Bastienne & La Serva padrona IOWA St. Ambrose College, Music Dept., J. E. Greene, Dir., Davenport 12/11, 12/71 La Perichole Eng. Valency KANSAS Kansas State Teachers College Opera Workshop, R. B. Anderson, Dir., Em- poria 4/13, 15/72 d'Albert's Tiefland LOUISIANA Louisiana State University Opera Theater, P. P. Fuchs, Dir., Baton Rouge 12/3, 4/71 Der Bettelstudent Eng. Martin MARYLAND Peabody Conservatory of Music, Opera Theatre, R. Lawrence, Dir., Baltimore 3/24, 25/72 Massenet's Therese Am. prem. & Malipiero's Sette canzo/ii cond.: Lawrence; dir.: H. Vincent MASSACHUSETTS New England Conservatory of Music, Opera Dept., I. Strasfogel, Dir., Boston 11/12/71 Opera Scenes 2/13, 14, 16, 17/72 The Magic Flute preview 2/12; Eng. Martin; cond.: Schuller; dir.: Strasfogel; des.: Colavecchia , Sarah Caldwell, Art. Dir., Boston 2/3 & 4/72 2/6m & 6/72 Part I & II Amer. prem. of complete vers.; Niska, Crespin; Alberts, Dowd, Tozzi, Quilico, Beni; cond./dir.: Caldwell; des.: Pond/Senn/Mess 4/5, 9/72 Tosca Niska; Gedda, Gramm 5/12, 14/72 La Traviata Sills; Burrows, Glossop — 26 — Southeastern Mass. Univ. Opera Dept., Jacqueline Cobert, Art. Dir., N. Dartmouth 12/10, 11, 12/71 Ainahl and the Night Visitors & Help, Help, the Globolinks! 3/17, 18, 19/72 Cosi fan tutte Eng. Martin 4/22, 23, 24/72 Operatic Scenes MICHIGAN Overture to Opera, D. di Chiera, Dir., at Music Hall Theatre, Detroit and Oakland U., Rochester 11/5/71 Webber/Rice's Joseph and His Technicolor Dreamcoat prem. rock opera 11/19/71 La Rondine Shade; Hall-Sundquist; cond.: Byrd; dir.: Lockwood 2/26/72 Hoist's The Perfect Fool Piccolo Opera Co., Marjorie Gordon, Mng. Dir., Detroit 1971-72 Fledermaus (Limbacher adapt.); Music Master & Quiet Game of Cribble touring, pfs. w.p. or local orchestra. Other operas in repertory: The Impresario, Abu Hassan, The Old Maid and the Thief, Victory at Masada, Cost fan tutte, , Angelique, Hansel and Gretel (Limbacher adapt.); Little Red Riding Hood, Rumpelstiltskin. MINNESOTA Center Opera of Minnesota, J. Ludwig, Gen. Dir., Minneapolis (see Fall '71 Blltn.) 3/5/72 Four Saints in Three Acts cone. pf. at O'Shaughnessy Audit, (replacing prev. announced Vox populous, Vox crapulous postponed for next season) MISSISSIPPI University of Mississippi, Opera Theatre, L. Fox, Dir., University 11/18, 19, 20/71 The Marriage of Figaro cond./dir.: Fox NEVADA Nevada Opera Co. & Univ. Opera Theatre, T. Puffer, Dir., Reno 11/26, 27/71 The Marriage of Figaro Eng. Puffer NEW JERSEY The Hoboken Opera Association, Hoboken 1971 La Boheme w.p. 4/7, 8/72 Romeo and Juliet w.p. Opera Society of Northern N. J., L. Newland, Art. Dir., Ridgewood 4/28/72 La Boheme Eng. 4/30/72 The Barber of Seville Eng. NEW YORK CITY Association for the Furtherment of Bel Canto, S. Zucker, Dir. (253 W. 72nd St.) 9/5 10/10/71 (in orig. key) at Amalgamated Housing Corp. 11/3, 9, 22/71 / Puritani (Pacini edition) at Spencer Memorial Church; Community Center; N. Y. U. 5/7/72 La Scala di seta at WBAI Free Music Store Blue Hill Troupe, Ltd., C. D. Walker, Mus. Dir., at Hunter Coll. Playhouse 3/29, 30, 31 4/1/72 G & S Bronx Opera Co., M. Spierman, Mus. Dir., at Bronx H. S. of Science 1/7, 8, 14/72 The Barber of Seville Martin; Rigg, Carlson; dir.: C. Kastendieck Brooklyn College Opera Theatre, K. Kdpe, Dir. 12/4, 5/71 The Marriage of Figaro 3/ lm, 1/72 Gallantry & (excerpts) workshop prod. Brooklyn College Theatre Department, S. Silver, Dir. 2/17, 18, 19, 20, 22/72 Brooklyn Lyric Opera Ass'n, V. La Selva, Mus. Dir. 12/4/71 La Traviata cond.: La Selva Cathedral of St. John the Divine, A. Whiten, Music Dir. 4/7/72 Williamson's Dunstan and the Devil & The Happy Prince benefit for Music Therapy Center Century Opera, Mater Christi Auditorium, Astoria 2/20/72 Madama Butterfly Community Opera Inc. of New York, Gladys Mathew, Pres. 11/7/71 La Boheme at Brooklyn Museum; 1/31/72 at Lincoln Center Library 12/4, 5, 11, 14, 16, 19/71 Barthelson's The Gift of the Magi 2/6, 19/72 Opera Concert 3/5, 27/72 Romeo et Juliette at Brooklyn Museum; at Donnell Library 4/21, 22, 23/72 Noye's Fludde at All Angel's Church — 27 — L'Ensemble du Sacre Coeur, Duquesne Ballroom, Convent of the Sacred Heart 2/27/72 The Handel Society of N.Y., S. Simon, Mus. Din, 1/21/72 Athalia Ross, Forrester, Wise; Stewart, Berberian; cone. pf. 3/6/72 Judas Maccabaeus Blegen, Steffan; Morell, Estes; cone. pf. 3/27/72 Rinaldo Marshall, Wolff, Bible, Shane; Dickie, Michalski; cone. pf. Interstate Opera Association, Inc., E. Papay, Mus. Dir. 11/8/71 Opera Classics, at Donnell Library Center 1 / 30/72 La Forza del destino at Brooklyn Museum Inwood Chamber Opera Players, Susanne Edelman, Dir., at Brooklyn Museum 1/16/72 Bastien and Bastienne Eng. 3/21/72 The Secret of Suzanne at Baruch College 5/ 20/ 72 The Deluded Bridegroom & The Secret of Suzanne at L.I. Univ. Judson Memorial Church Fall '71 Carmines' The Journey of Snow White prem. 11/21, 22, 23, 26, 27, 28, 29, 30/71 Carmines' Joan prem. The Light Opera of Manhattan, W. Mount-Burke, Dir., at Jan Hus Playhouse 12/5,8-12, 15-18,26,29-31/71 1/1, 12-16 2/16-20 3/1-5 4/5-9/72 lolanthe 12/19, 22-25/71 1/19-23 2/2-6, 23-27 3/15-19, 29-31 4/1, 2, 19-23 5/17-21/72 1/2, 5-9, 26-30 3/8-12, 22-26 5/3-7, 21-28/72 H.M.S. Pinafore 4/12-16, 26-30 5/10-14/72 The Lighthouse Music School and Lighthouse Singers, 111 E. 59 St. 6/7, 8, 9/72 Barab's The Rajah's Ruby (for free tickets write to above) Manhattan School of Music, Preparatory Division, 120 Claremont Ave. 4/8, 9/72 Kodaly's Hary Jdnos cond./dir.: Cynthia Auerbach (for other pfs. see Fall '71 Blltn.) Mannes College of Music, Opera Workshop, P. Berl, Dir. 10/30, 31 11/6, 7, 21, 22, 26, 27, 28/71 E. Roberts' The Hunting of the Snark 11/30 12/1/71 Orff's Carmina burana Mannes Chorus; dir.: H. Aks 12/7, 10/71 Scenes from Mozart operas at Finch College 3/22, 23/72 Abu Hassan & The Old Maid and the Thief at Kaufman Audit. Metropolitan Opera Ass'n, R. Bing, Gen'I Mgr., tour 4/24-6/3/72 BOSTON, AT HYNES CIVIC AUDITORIUM 4/24, 25, 26, 27, 28, 29m, 29/72 La Fille du regiment, La Traviata, Otello, Faust, Fidelio, La Boheme, Le Nozze di Figaro CLEVELAND, AT PUBLIC AUDITORIUM 5/1, 2, 3, 4, 5, 6m, 6/72 La Traviata, La Fille du regiment, Fidelio, Faust, Otello, La Boheme, Le Nozze di Figaro ATLANTA, AT CIVIC CENTER 5/8, 9, 10, 11, 12, 13m, 13/72 Otello, Faust, La Traviata, La Fille du regiment, Fidelio, Le Nozze di Figaro, La Boheme MEMPHIS, AT MUNICIPAL AUDITORIUM 5/15, 16, 17/72 Otello, La Boheme, La Fille du regiment NEW ORLEANS, AT MUNICIPAL AUDITORIUM 5/18, 19, 20m, 20/72 Otello, Faust, La Traviata, La Fille du regiment MINNEAPOLIS, AT NORTHRUP MEMORIAL AUDITORIUM 5/22m, 23, 24, 25, 26, 27m, 27/72 Otello, La Fille du regiment, La Traviata, Faust, Fidelio, La Boheme, Le Nozze di Figaro DETROIT, AT MASONIC TEMPLE 5/29, 30, 31 6/1, 2, 3m, 3/72 Otello, Le Nozze di Figaro, Faust, Fidelio, La Travi- ata, La Boheme, La Fille du regiment Metropolitan Opera Verdi Festival, Lincoln Center 6/5, 10, 16/72 Otello Tebaldi/Amara; McCracken, Gobbi; cond.: Molinari-Pradelli 6/6, 15, 21/72 Don Carlo Tucci/Ross, Cossotto/Bumbry; Corelli, Merrill, Ghiau- rov; cond.: Molinari-Pradelli 6/7, 17, 24/72 La Traviata Moffo; Tucker/DiGiuseppe, Sereni/Milnes/Merrill; cond. Bonynge 6/8, 13/72 Falstaff Tebaldi, Peters, Barbieri; Alva, Gobbi; cond.: von Dohnanyi 6/9, 23/72 La Forza del destino Tucci; Corelli/Tucker, Merrill/Sereni, Ghiaurov; cond.: Veltri 6/10m, 14, 19, 22/72 Rigoletto Sutherland; Pavarotti, Milnes; cond.: Bonynge 6/12, 17, 20, 24/72 Aida Arroyo, Cossotto/Bumbry; Tucker/Corelli, Colzani/Sereni; cond.: Molinari-Pradelli — 28 — National Orchestral Ass'n, J. Serebrier, Cond., Carnegie Hall 1/11/72 Tchaikovsky's cone, pf., in Russian; Farley; Goeke, Dobriansky, Ellis; chorus C. W. Post Coll. The New School Community Chorus, D. Labovitz, Mus. Dir., W. 12 St. 1/28/72 Handel's Samson New York City Opera Co., New York State Theatre, J. Rudel, Gen. Dir., J. S. White, Mng. Dir. Lincoln Center 2/23, 27 3/2/72 Roberto Devereux 2/24, 26, 29 3/5, llm, 17, 26, 30 4/4, 30m/72 Carmen 2/25 3/4, 12m, 18 4/15/72 La Traviata 2/26m 3/5m, 9/72 The Marriage of Figaro Eng. 2/27m 3/3, 11, 15 4/8m, 29/72 Madama Butterfly Eng. 3/1, 4m, 8, 25, 29 4/6, 9/72 Mefistofele 311, 14, 16, 21/72 Maria Stuarda* Sills, Tinsley; J. Stewart; cond.: Wilson; dir.: Capobianco; des.: Lee/Varona 3/10, 25m 4/15, 20, 30/72 Cost fan tutte Eng. 3/12, 31 4/5, 19/72 Rigoletto 3/18m, 26m 4/2, 8/72 Tosca 3/ 19m, 22 4/1/72 Susannah 3/19, 23 4/16/72 Summer and Smoke" Peil; Reardon, Titus; cond.: Rudel; dir.: Corsaro; des.: Evans 3/24, 28 4/lm, 12, 14/72 Giulio Cesare 4/2m, 7, 27/72 The Turn of the Screw 4/9, 11, 13, 22/72 & 4/16m, 18, 28/72 The Makropoulos Affair 4/21, 23m, 26/72 4/22m, 23, 25, 29m/72 La Boheme sop.: Anthony, Bayard, Brooks, Ciraulo, Clements, Craig, Cruz-Romo, Darling, Faull, Galvany, Meier, Neblett, Niska, Peil, Sauler, Schauler, Shade, Shuttleworth, Sills, Tinsley, Wells, Welting, Wise, Young; mezzos & contra.: Bible, Creed, Davidson, Evans, Gerber, Greenspon, Guilet, Hirschl, Kieffer, Killebrew, Lueders, Marsee; ten.: Carreras, Di Giuseppe, Fitch, Glaze, Grayson, Hall, Hirst, Jennings, Johnson, Lankston, Malamood, Molese, Montane, Novoa, Romaguera, Stamford, Stewart, Theyard; bar. & basses: Bittner, Chapman, Clatworthy, Cossa, Darren- kamp, Davis, Densen, Devlin, Fredricks, Gill, Hale, Jamerson, Ledbetter, Ludgin, Malas, Pierson, Quilico, Reardon, Schwartzman, Smith, Stilwell, Titus, Treigle, Yule. New York Opera Theater & Workshop, Flushing YMHA 12/19/71 1/9/72 Madama Butterfly 1/24/72 Bloomingdale House of Music, 1/29/72 Isidor Straus Theater New York State Opera Society, Inc., C. Yost, Dir. 10/2/71 Norma at High School of Fashion Industries 2/6/72 // Trovatore at Community Center Opera Ensemble of New York, Miss C. Buehre, Dir., at N. Y. Libraries 9/12/71 The Abduction from the Seraglio cone. pf. 11/4/71 Opera Scenes by Donizetti Spring '72 Rita & // Campanello Opera Festival Productions (formerly Ruffino Opera), C. Ruffino 9/13, 20/71 Provincetown Playhouse 9/27/71 The Barber of Seville Provincetown Playhouse; 4/5, 12/72 Temple Theater 10/13 11/3, 10/71 Cost fan tutte Temple Theater 10/16/71 Carmen Kittay House 11/12/71 Cooper Union Forum 11/13/71 // Trovatore Kittay House 11/14/71 2/7, 13/72 Madama Butterfly Provincetown Playhouse 2/6/72 Temple Theater 11/17, 24/71 The Tales of Hoffmann Temple Theater 11/29 12/6/71 Rigoletto Provincetown Playhouse 12/1, 8/71 Temple Theater 12/18/71 Kittay House 12/13/71 1/17/72 La Boheme Provincetown Playhouse 12/19, 22, 29/71 Temple Theater 1/5/72 L'Amico Fritz Provincetown Playhouse 1/24, 31/72 Temple Theater 1/16/72 Lucia di Lammermoor Temple Theater 1/22/72 P. S. 180 2/21/72 Norma Provincetown Playhouse 2/28/72 Excerpts — 29 — 3/22, 29/ 72 Werther Temple Theater 4/19, 25/72 Un Ballo in maschera Temple Theater 5/10, 17/72 Fidelio Temple Theater 5/24, 31/72 Macbeth Temple Theater 6/21, 28/72 Temple Theater Opera Workshop, Inc., Miss J. La Puma, Dir., Community Center 10/17 12/22/71 LaBoheme 10/24/71 3/1/72 Le Nozze di Figaro 10/27 11/10/71 2/2/72 La Gioconda 10/31 12/8/71 1/19 2/16/72 Un Ballo in maschera 11/19/71 Carmen 11/24/71 Faust 12/1/71 Tosca 12/16/71 1/26 2/23/72 Don Carlo 12/19/71 Cavalleria rusticana & Pagliacci \l5l72Aida 2/5 3/8/72 La Traviata 2/9/72 Rigoletto Queens Opera Assn., Inc., pfs. at Francis Lewis Auditorium, Flushing 4/8/72 Madama Butterfly Mirasola 4/22/72 Die Fledermaus Eng. (free student pf. 4/22m) 5/27772 Rigoletto R. Paul St. Peter's Church, 340 W. 20th St. 11/25, 26, 27/71 Thomson's The Mother of Us All Savoy Players, Fashion Institute Theater 1/28, 29, 30/72 Staten Island Opera Co., T. LoMonaco, Art. Dir., S. I. Community College 1/20/72 Cavalleria rusticana & Pagliacci Stuyvesant Community Opera, Stuyvesant Auditorium 11/12, 19 12/10, 12/71 1/7/72 The Tales of Hoffmann The Systems Theater, Inc., at Whitney Museum of American Art 9/9, 10, 11, 12, 16, 17, 18, 19/71 E. Roberts' The Hunting of the Snark prem. 12/5/71 at Trinity School Audit. Vienna Choir Boys, Philharmonic Hall and U.S. tour 12/28, 29, 30/71 1/1, 2/72 Lortzing's Opernprobe spec, short vers.; dir.: U. Theimer Village Light Opera Group, Ltd., R. F. Sabacek, Pres., at Fashion Institute (see also Fall '71 Blltn.) 4/21, 22, 23m, 23, 28, 29m, 29/72 German's Tom Jones (1st pf. since Am. prem. 1907) cond.: Noll; dir.: Koch; des.: Mikulewicz/Munday/Sabel Wagner Renaissance Opera Co. at Cathedral of St. John the Divine 12/5/71 The Legend of the Holy Rood (Medieval Cornish miracle play) NEW YORK Eastman School of Music Opera Theatre, L. Treash, E. McArthur, Dirs., Rochester 1/21, 22/72 A Midsummer Night's Dream 2/25, 26/72 Argento's Christopher Sly 4/28, 29/72 Falstaff Eng. Lyric Opera Co. of L.I., M. Signorelli, Exec. Dir., Bayport, pfs. at C.W. Post College, Brookville, L.I. 12/11/71 Carmen Rankin, La Bianca; Campora, Cossa; cond.: dell'Orefice; dir.: Stivanello 1/22/72 Madama Butterfly 3/18/72 Tosca 4/8/72 Cavalleria rusticana & Pagliacci State Univ. of New York at Buffalo, Music Dept, Muriel Wolf, Dir., Buffalo 12/17/71 L'Histoire du soldat Univ. Chamber Choir Concert 2/19/72 The Rage Over The Lost Beethoven prem.; Creative & Pref. Arts Center State Univ. of New York at Fredonia, Opera Theatre, R. Bunting, Dir. 11/18-20/71 The Coronation of Poppea 2/25, 26, 27 3/1, 2, 3/72 Susannah — 30 — OHIO Cleveland Institute of Music, Opera Theatre, A. Addison, Dir. 11/17/71 Le Pauvre maieloi cond.: Sadin; dir.: Addison; Milhaud Festival Concert Cleveland Symphony Orchestra, Severance Hall, B. Barksdale, Mgr. 3/72 Bluebeard's Castle cone, pf.; Troyanos; cond.: Boulez Kent State Univ., Opera Workshop, D. Pegors & J. Stuart, Co-Dirs., Kent 11/19, 20/71 Opera Scenes 1/19, 20, 21, 22/72 The Pirates of Penzance 3/9, 10, 11/72 Chanticleer & Les Mamelles de Tiresias 5/18, 19, 20, 21/72 // Tabarro & Gianni Schicchi Toledo Opera Ass'n, L. Freedman, Gen'l Dir., Toledo 10/2, 3/71 Faust Fenn, DeCarlo; Duval, Justus, Ludgin; cond.: Woitach 1/22/72 La Traviata Costa; Di Virgilio, Sordello; cond.: Coppola 4/72 Aida University of Cincinnati College-Conservatory (see also Fall '71 Blltn.) 4/12, 15, 16/72 Cavalli's La Calisto Am. prem.; opening Patricia Corbett Pavillion Univ. of Toledo, Opera Workshop, T. East, Dir., Toledo 12/71 Amahl and the Night Visitors 4172 Gallantry & // Tabarro OKLAHOMA Oklahoma City University Opera Theater, Inez Silbert, Dir. 9/24, 25/71 Opera Scenes 2/11, 12/72 PENNSYLVANIA Curtis Institute of Music, Opera Dept., M. Rudolf, Mus. Dir., Philadelphia 12/5, 6, 9/71 Handel's Rodelinda pfs. at Annenberg Audit., U. of Penna.; cond.: Effron; dir.: Yannopoulos Pennsylvania Opera Co. (form. Suburban Opera Co.), J. Parkinson, Gen. Mgr., Chester 3/4/72 La Traviata Bouleyn; Hindsley, Mazmanian; at Immaculata College Audit, cond./dir.: Macatsoris; des.: Rubino 4/15/7277ie Tales of Hoffmann Eng. w. dialogue; Davis, Magaziner, Rakusin; Hinds- ley, Shapp; cond.: Macatsoria; dir.: M. Lewis; at PMC Colleges Audit. Philadelphia Musical Academy, J. Castaldo, Pres. 11/71 Opera Scenes, at Walnut Street Theatre 2/10/72 Opera Scenes, at "Plays and Players", st. dir.: Capobianco Pittsburgh Symphony, W. Steinberg, Mus. Dir., in Pittsburgh and NY's Carnegie Hall 1/7, 9, 19/72 Die Walkure Act I, cone, pf.; Home; Cochran, Berberian RHODE ISLAND R.I. Civic Chorale and Orchestra, L. Pichierri, Mus. Dir., Providence 11/6/71 Carmina burana & Poulenc's Gloria Altman; Meredith 3/25/72 Aida Long, Alberts; Fernandi, Shinall TENNESSEE Memphis Opera Theater, G. Osborne, Dir., Memphis State University 10/71 Turandot Nilsson, Welting; Siess; 2 pfs. 12/11/71 Don Giovanni Overton, Lansford, Savell; Diaz, Gramm; 12/15/71 stud, cast 2/26/72 La Sonnambula Robinson; Naldi, Carter; 2/29/72 stud, cast 4/SI72 Samson et Dalila Dunn; Doussant; 4/12/72 stud, cast 1971-72 school tour: The Barber of Seville, Little Red Riding Hood, The Em- peror's New Clothes (co-sponsored by Tenn. Arts Commission) Tennessee Tech, Cumberland Repertory Opera Workshop, K. Breen, Dir., Cookeville 12/71 Cosi fan tutte w. Cookeville Community Symphony TEXAS Corpus Christi Symphony, M. Peress, Mus. Dir. 1/22/72 Beatrice and Benedict W. Lewis Dominican College, Music Dept., Opera Workshop, Houston 4/21, 22, 28, 29/72 Crawford's The Pearl prem.; w. chamber orch. 32 San Antonio Festival, V. Alessandro, Mus. Dir. 3/4/72 Rigoletto Robinson; Domingo, Quilico; dir.: Stivanello; des.: Wolf 3/5/72 Carmen Cortez, Stokes; Tucker, Yarnell; dir.: Stivanello; des.: Wolf 3/11/72 Curry, Greenspon; Treigle, Berberian, Khanzadian; dir.: Thompson; des.: Wolf; 3/13/72 in Austin 3/12/72 La Fille du regiment Sills, Greenspon; Hirst, Gramm/Beattie; dir.: Thomp- son; des.: Sormani; 2/19/72 in McAllen, 3/18/72 in Shreveport Southern Methodist University Opera Theater, T. Hayward, Prod., Dallas 1/27, 28/72 Trial by Jury & Rigoletto (Act IV) cond.: Crohn; dir.: Ayers 4/19, 20, 21, 22/72 Susannah cond.: Crohn dir.: Ayers Texas A & I University, Opera Workshop, R. C. Scott, Dir., Kingsville 4/28, 29/72 The Good Soldier Schweik at Jones Audit.; first Tex. pf. University of Texas Opera Theatre, W. Ducloux, Dir., Austin (see also Fall '71 Blltn.) 11/18, 19, 20/71 Albert Herring cond.: Hale; dir./des.: Wakeling 3/11, 14, 16, 18/72 La Boheme Eng. Martin; cond.: Ducloux; dir.: Wakeling; des.: Rothgeb/Burton VIRGINIA Norfolk State College Opera Workshop, Gloria Amos, Dir., Norfolk 5/5, 7/72 Tosca WASHINGTON Seattle Symphony Orchestra, M. Katims, Mus. Dir., Seattle 1/72 Janacek's The Diary of One Who Vanished cone, pf., Berendson-Bloch; Alex- ander Western Washington State College, Opera Workshop, M. Terey-Smith, Dir., Bellingham 12/9/71 3/15/72 Opera Scenes w.p. 4/18/72 Opera Scenes w.o. WEST VIRGINIA West Virginia Opera Theater, Inc., C. Schiff, Art. Dir., Charleston 3/21, 24, 26 4/5, 8/72 La Boheme w.o. (3/6, 7, 8, 9, 10, 29, 30/72 w.p.) West Virginia Univ. Opera Theatre, J. Golz, Dir., Morgantown 11/1,2/71 Scenes w.p. 11/17, 18, 19, 20/71 w.o. 4/19, 20, 21, 22/72 The Magic Flute Eng.; w.o. WISCONSIN Florentine Opera Co., J. Anello, Mus. Dir., Milwaukee 10/15, 17/71 Turandot Lippert; Montalvo, Molese; cond.: Scbermerhorn; dir.: Lucas 11/18, 20/71 Cost fan tutle Craig, Kleinman, Wilcox; Glaze, Edwards, Beattie; cond.: Anello 3/16, mil Faust 5/11, 13/72 La Boheme Costa Wisconsin State Univ., Music & Drama Depts., R. Combs, Dir., Stevens Point 12/8,9, 10, 11/71 Otello excerpts 3/72 // Tabarro & Gianni Schicchi

CANADA Brandon University, Opera Dept, L. Mayoh, Manitoba 2/72 Opera Scenes; cond.: MacPherson Canadian Broadcasting Co., Television Opera 1/12/72 La Rondine Stratas, Shuttleworth; Vrenios, J. Walker, Opthof; cond.: Priestman; dir.: Campbell; des.: Lawrence/Mess (90min.) 1/26/72 Romeo et Juliette Lebrun, Lavigne; Duval, Letourneau, Laplante; dir.: Gauvin (2 hrs.) 2/72 The House of the Dead (NET prod.) 2/16/72 The Secret of Suzanne dir.: Gauvin (1 hr.) Canadian Opera Company, H. Geiger-Torel, Dir., Toronto, Ont. (see also Fall '71 Blltn.) 1971-72 tour Orpheus in the Underworld Protero; Crofoot 1971-72 tour to schools: Symonds' The Spirit of Fundy prem.; comm. by COC Dalhousie University, Music Dept., Halifax, N.S. 11/13, 14/71 The Beggar's Opera cond.: Halloway; dir.: Scott-Savage; des.: Cripton 3/25, 26/72 The Magic Flute cond.: Mizerit; dir.: P. May — 32 — Hamilton Philharmonic Orchestra, B. Brott, Mus. Dir., Hamilton, Ont. 11/27/71 Babar the Elephant Montreal Symphony Orchestra, P. Decker, Mus. Dir., Place des Arts 2/72 Carmina burana Christopher New Brunswick Opera Co./Arts Council of St. John, N.B. 11/29 12/1, 3, 4/71 The Tales of Hoffmann Oxner, Melangon, Foster; Gordon, Reevell; cond.: Edwards; dir.: Garrod; des.: Fry Toronto Opera Society, G. Macina, Dir. 12/8, 9, 10, 11/71 Rigoletto cond.: Ingwersen; dir./des.: Macina 2/3, 4, 5/72 Opera Scenes 3/15, 16, 17, 18/72 La Boheme University of Calgary, Opera Workshop, Alberta 3/10, 11, 12/72 The cond.: Cole; dir.: Murrell University of Manitoba, Opera Workshop, Edmonton, Manitoba 12/10, 12, 13/71 Dido and Aeneas cond.: Letkemann; dir.: R. Irwin University of Toronto, Opera Dept., E. Barbini, Mus. Dir., G. Philip, Dir., E. Schabas, Chmn. 12/2, 3, 4, 5/71 The Rake's Progress cond.: Craig; dir.: Philip; des.: Schlogl/Mess 3/16, 17, 18, 19/72 The Marriage of Figaro Eng. Martin; cond.: Feldbrill; dir.: Geiger-Torel 12/15, 16/71 2/9, 10 4/12, 13/72 Opera Scenes Waterloo Lutheran University, Music Dept., Waterloo, Ont. 12/71 Hansel and Gretel cond.: Kemp; dir.: Carrol Curry

NEW COS MEMBERS Arioso Productions, Inc., Miss Nanette Clark, Pres., New York, N. Y. Berryman, Mrs. Marie, New York, New York Buketoff, Igor, New York, N. Y. (Mus. Dir., St. Paul Opera) Carthage College, R. D. Sjoerdsma, Chmn., Dept. of Music, Kenosha, Wis. Drummond, Andrew H., New York, New York Eke, Verne M., Los Angeles, California Gadsden Cameo Opera, Mrs. W. A. Harris, Jr., Dir., Gadsden, Ala. Harrisburg Civic Opera, K. L. Landis, Dir., Camp Hill, Pa. Henderson, Mrs. Gail, Sarasota, Florida Hertzmann, Mrs. Evelyn, New York, New York Hudson Valley Opera Theater, Mrs. J. W. Jessup, Exec. Dir., Hyde Park, N. Y. Khoury, Miss Adele, Los Angeles, California Lopez, Anthony M., New York, N. Y. Magnello, Miss Edda, Girard, Ohio 'National Research Center for the Arts, J. Farrell, Pres., New York, N. Y. Otten, Miss Judith J., New York, New York Purrington, Edward C, Santa Fe, New Mexico Ram Island Arts Center, Mrs. Millicent S. Monks, Portland, Me. Shallway Foundation, J. B. Shallenberger, Pres., Connellsville, Pa. Stanford University Libraries, Stanford, California Stewart, Miss Una, Seattle, Washington Texas A & I University, R. C. Scott, Dir., Opera Workshop, Kingsville, Tex. Thornton, Miss Barbara, Amsterdam, Holland Truckenbrod, Phillip, Newark, New Jersey Valentine, Miss Nancy D., Chicago, Illinois Wahrer, Nicholas, Dix Hills, New York Young, Mrs. Eileen, Princeton, New Jersey

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