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Home , Anna Russell, Anthony Besch, Barry Morell, Betsy Norden, Bodo Igesz, Bruce Fowler (tenor)

AUTHORIZATION TO COPY

I authorize Kenneth S. Schmidt to scan the book I coauthored entitled, TULSA OPERA CHRONICLES, for the purpose of making a digital copy for use on the internet in the interest of preserving the history of the Tulsa Opera. Further copies may be made from this digital copy provided they are for educational, historical, personal enjoyment, or the promotion of fine art, and for non-profit use. For any other intentions, the copyright statement below applies.

Laven Sowell Jack Williams June 15, 2007

Library of Congress Catalog Number 92-96949

Website produced in appreciation of Mr. Laven Sowell by Ken Schmidt, student of Mr. Sowell since September 1964, Edison Jr. High School Boys Glee Club, Edison High School Mixed Chorus, and proud alumnus of the Edison High School Concert Chorus during the 1969 / 1970 school year in Tulsa, Oklahoma. Thank you for teaching me about great music.

To compensate for the page numbering difference between the original book and this PDF file, please add 10 to the page number when referencing the Table of Contents and the Index, and then search or scroll in your PDF viewer.

This book is dedicated to the loyal and talented chorus members, who have for many years given unselfishly of their time and talent to help make opera possible in the city of Tulsa.

ACKNOWLEDGEMENTS

For numerous courtesies and for invaluable assistance in assembling the materials for this book, we are indebted to many people.

We want especially to thank David R. Milsten, Robert S. Rizley, Ione Sassano Crowder, Isabel Simmons, Mary Helen Markham, Joseph Kestner, Bonnie Duncan, and Virginia Torres for providing much of the information included in the pre-1962 historical accounts of opera in Tulsa.

We are also grateful to Edward Purrington, who sent information and pictures from Washington, D.C.; to Dru Young, who spent many hours going through programs to prepare a list of chorus members; to Phil Hammond, who gave considerable editorial assistance.

Our appreciation is extended to Tulsa Opera, Inc. for permission to use their production pictures, and to former staff member Reva Anzaldua for her excellent cooperation in obtaining some of the pictures. We owe special debt to Mary D. Graham and Martha Ellsberry, who helped us collect some of the material used in this book.

To many others—friends and colleagues who sent pictures, letters, descriptions of personal encounters with artists and conductors—we extend cordial thanks which are no less sincere, although space unfortunately does not permit including all their names.

Jack A. Williams Laven Sowell

CONTENTS

Acknowledgments vii

History of Tulsa Opera, 1948-1992 1 Staff of Tulsa Opera, Inc. 77 Tulsa Opera Board Presidents 78 Tulsa Opera Boards of Directors 80 President’s Council 85 Tulsa Opera Annals, Complete Casts 1948-1992 86 Tulsa Opera Orchestra Personnel 113

People Behind the Scenes 117 Rehearsal Pianists and Musical Assistants Chorus Rehearsal Pianists Stage Managers Prop Committee Chairpersons Hospitality Committee Members The Opera Chorus and its Role 120 What the Critics Said About the Chorus 123 Remembering Moments of the Chorus 126 A View of Summer Chorus Rehearsals 140 Some Favorite Autographed Pictures 144 The Tulsa Opera Chorus, 1948-1992 162 About the Authors 171 Index of Operas 172

Index of Names and Organizations 173

Scanning note: Add 10 to the pages listed above

HISTORY OF TULSA OPERA by Jack A. Williams

The question is often asked: “How is it possible for a young city of only moderate size in the American heartland to develop one of the top regional opera companies in the United States?” The answer lies in some special attributes which Tulsa seems to have possessed since its earliest days, around the turn of the century. Those attributes include a rich cultural heritage, outstanding civic leaders who have been both interested in the arts and capable of successfully sustaining them, an abundance of artistic talent in the city, and perhaps most importantly, an almost fierce sense of pride in the community. If one were to list all those who have contributed greatly to the development of Tulsa Opera, it might easily be mistaken for a “Who’s Who in Tulsa History.” It hasn’t, of course, been an easy road to travel. There have been frequent roadblocks and disagreements over appropriate courses of action to take, but those involved have always seemed to rise to the occasion and do what has been necessary for the advancement of quality opera in the city. Opera in Tulsa actually goes back to the beginning of the century, when Tulsa was still a small town and had not yet experienced the oil boom which would later propel it to big-city status. Early opera productions in the city have been described in an article prepared in 1967 by Russell Gideon, a prominent local newspaperman. His article entitled “Opera Houses in Tulsa” appeared in the program for Tulsa Opera’s 1967 production of La Traviata, and has provided most of the information needed to describe the background from which arose the opera company Tulsa now proudly displays. The first record of opera being presented in the city tells of a production of Faust in December of 1904, only six years after the city became incorporated. The company which presented it is not known, but the performance occurred in the Epperson Opera House located at 108 South Main. It was an upstairs all-purpose room with a stage and movable seating, used alternately for civic meetings, parties and theatrical events. Manager

Epperson Opera House at 108 S. Main, about 1904. (Beryl D. Ford collection)

Bob Epperson expressed pride in his theater facility which even included a trap door in the stage, probably a most useful feature in a performance of Faust whereby the audience could “view the fires of Hell.” Slightly over a year later, in February of 1906 and still almost two years before Oklahoma statehood, the Grand Opera House opened on east Second Street with the presentation of a comic opera, The Grand Opera House at 115 E. 2nd Street, in 1906. (Beryl D Chaperons. Its location was very near Ford collection that of the present Performing Arts Center. During its relatively short existence, before being destroyed by fire in 1920, the Grand would boast of performances by some great names in opera and stage. On April 27, 1908, the Boston Ideal Opera Company put on Fra Diavolo. This was followed by International Grand Opera’s production of La Traviata on November2, 1909. Convention Hall, later to be known as Tulsa Municipal Theater, opened in 1914 on the corner of Brady and Boulder, and most subsequent opera presentations by touring companies were given there. Many all-time operatic greats appeared at Convention Hall during the next fifteen years. The Ellis Grand Opera performed Carmen (with Mary Garden) and Ii Trovatore on successive nights in October, 1916. The following year, Chicago Grand Opera presented Thais (again with Mary Garden) and La Traviata (with Frieda Hempel). Madame Butterfly with Temaki Miura in the title role was given in 1923. Noted basso Feodor Chaliapin appeared as Mephistophele in 1924 with The Chicago Civic Opera, and Mary Garden made a third Tulsa appearance the following night in Cleopatra. Other performances by Chicago Civic at Convention Hall included Aida (with Rosa Raisa) in March of 1927, and another La Traviata. These are only a few examples of operas presented during this period in the 1920s when opera was thriving in Tulsa and when, according to Gideon, “Tito Schipa became the favorite tenor of opera-goers.” Even the great Enrico Caruso once sang in Convention Hall, although it was a recital appearance rather than an opera performance. After the demise of the Grand Opera House in 1920, the Akdar Theater (later to become the Cimarron Ballroom) became prominent as a location for theatrical presentations. Its facilities made it a desirable place to perform operas, but it suffered severely from inadequate seating capacity. The Chicago Civic Opera agreed to perform there in 1925. Unfortunately, the opera they chose to present was Boris Godunov, a seemingly inappropriate choice for a small theater. The performance was a huge financial flop and was not particularly well received. Three years later, an important opera presentation at the Akdar met with more success. On January 30, 1928 a Tulsa audience was treated to a performance of a new American opera, The King’s Henchman. This work resulted from a collaboration by famous composer/critic Deems Taylor, and the

12 equally famous poet Edna St. Vincent Millay They were originally commissioned by the Metropolitan Opera to do the work, primarily as an attempt by the Met to counteract growing charges that no American was capable of writing a successful operatic work and that the English language was unsuitable for operatic singing. The King’s Henchman had premiered at the Met in early 1927, receiving high critical acclaim. For the 1927-1928 opera season, the Met and Royal Opera Company of London joined forces to arrange a transcontinental tour of the production, with performances scheduled in almost every major city across the United States. The tour was widely ballyhooed as “the first opportunity for American audiences to hear an American opera sung in their own language.” Several top-flight Metropolitan stars of that era, including Marie Sandelius, Rafaelo Diaz, and Richard Hale, were chosen to make the tour. The fact that Tulsa, then only thirty years old and with a population under 100,000, was chosen for a performance of this important work certainly underscores the outstanding cultural heritage of the city. As was the case with all other cities where The King’s Henchman was presented, the theater was packed and the audience was enthralled by what nearly everyone agreed was a magnificent work. Ironically, the only complaint heard from those in attendance was that the English words being sung could not be understood by the audience. As is still the case today, considerable financial backing was required for continuation of quality opera in the community, but by the time the 1920s came along, the oil boom had made Tulsa a much wealthier city, and underwriters were readily available. In May, 1927 the Chamber of Commerce got into the act, pledging $30,000 annually (no small sum of money for that time) to help assure a yearly grand opera season. Those early “glory years” of opera in Tulsa came to a rather abrupt halt at the start of the 1930s, with the onset of the Great Depression. Even the more prominent opera companies either severely curtailed their activity, as did Chicago Civic, or ceased operation entirely. Moreover, even in an oil- rich community like Tulsa, the depression caused a serious reduction in the availability of underwriters. Fortunately for the city, the depression did not completely eliminate opera from Tulsa’s cultural calendar. Albert Lukken, then dean of the School of Music at the University of Tulsa and a very prominent figure in Tulsa musical circles, made a valiant effort to provide the city with quality opera. He organized a mammoth production of Aida for presentation at Skelly Stadium on July 13 and 15, 1933. Tenor Forrest Lamont of Chicago Civic Opera was brought in to sing the role of Radames, while all other roles were filled by local singers. About six thousand people attended the first performance, representing what must still be the largest audience for any opera ever given in Tulsa. It was well-received by the audience as well as by reviewers. The crowd for the second performance was, however, much smaller. The following year, 1934, Dean Lukken and the University of Tulsa Music Department presented a series of three operas at Skelly Stadium. The high point of that series was the first presentation, a performance of I Pagliacci starring world-renowned tenor Joseph Bentonelli, better known locally as Joseph Benton, a farm boy from Sayre, Oklahoma. Bentonelli would later make an auspicious debut with the Metropolitan Opera as the first Oklahoman to sing there in a major role. During the later years of his career he taught at the University of Oklahoma, where he was the voice teacher

13 of several prominent Tulsa Opera figures, including Chorus Master Laven Sowell and long-time chorister Virginia Anderson Torres. Another Bentonelli student was Marilyn Strange, who has been Board Secretary the past five years and who is a past President of the Tulsa Opera Guild. The outdoor opera presentations apparently ended with the 1934 series. It was always Dean Lukken’s dream for Tulsa to have its own opera company. He undoubtedly hoped that the Aida and Pagliacci productions might lead to the formation of such an organization, but unfortunately the time was not right. From 1934 until the end of World War II, opera in Tulsa was practically non-existent, insofar as major productions were Joseph Benton (Joseph Bentonelli) concerned. as Faust, early in his career.

In the late 1940s, with the war ended and more prosperous times on the way, interest in having a local opera company began to pick up again, and became a major topic of conversation among prominent local musicians. Apparently, all that was needed was a catalyst to get things moving, and a lady named Bess Gowans proved to be that catalyst. Bess was a well-known and highly respected piano teacher and accompanist in Tulsa, and a recognized leader in local music organizations. Her husband Harry also was prominent in the community, serving at that time as Dean of the University of Tulsa Downtown Law School. In 1948, Bess was serving as Chairman of the Music Committee at Philbrook Art Museum, where concerts by invited professional singers often took place. In May of that year, she learned that Ralph and lone Sassano, both professional singers in New York, would be coming to Tulsa to visit lone’s parents. Bess invited them to give a concert at Philbrook while they were in town. Ralph Sassano was a native New Yorker who became a successful singer in opera and musicals and performed throughout the country. In addition to being an onstage performer, he frequently had a hand in the production phase, where he became familiar with the various aspects of stage management and direction as well as business matters. While performing at Radio City Music Hall, he met a young lady from Tulsa named Lone Sanger who had successfully launched a singing career in New York. Lone began studying voice with Ralph, and the two were later married. After that, the couple frequently toured together, giving concerts and performing in musical productions. The concert at Philbrook was enthusiastically received by the many prominent Tulsans in attendance. The applause had barely stopped when Bess Gowans, who had provided the accompaniment, began to mingle with some of the other well-known local musicians and enthusiastically discussed the desirability of having the Sassanos stay in Tulsa and start a local opera company. Given Ralph’s wide experience and lone’s local ties, it sounded like an excellent idea. Everyone was completely taken in by such a possibility, and during the next few days Ralph and lone received calls from some very persuasive people trying to convince them to remain permanently and get a new opera company going. Among them was Dean Lukken, who undoubtedly saw a golden

14 opportunity for his long-time dream to be realized. The Sassanos were persuaded to make their home in Tulsa, and formation of a local opera company was about to become a reality. Ralph and lone wasted no time in getting things under way. They first planned the formation of an opera study club, intended to give local singers the opportunity to learn operatic singing. Their initial objective was to present La Traviata some time later in the year. To contact those who might be interested, they ran ads in the newspapers and in the programs for musical events taking place in the summer of 1948. Also, the couple made frequent appearances at civic events and meetings of local music organizations to promote interest in their newly-formed opera Bess Gowans club. One of the first to respond to an ad was Mary Helen Markham, another professional opera singer who had spent several years with the San Francisco Opera Company, and who also was temporarily in Tulsa visiting her mother. Mary eagerly volunteered her services to help get the organization started. Also ready and willing to help out was Beryl Bliss, wife of hotel owner Charles Bliss. Beryl had done considerable professional operatic singing and still knew her way around in the opera world, as well as being an influential member of Ralph Sassano Ione Sassano the community. Bess Gowans, of course, was ready to add both her talent as an accompanist and her organizational ability to promote the success of the group she was so instrumental in getting started. These five people—Ralph Sassano, lone Sassano, Mary Helen Markham, Beryl Bliss, and Bess Gowans—provided the nucleus of the fledgling organization. Their efforts were rewarded when the

Beryl Bliss Mary Helen Markham Trustees of Tulsa Opera Club, Inc., when it was incorporated in 1948

organization was incorporated as Tulsa Opera Club on December 1,1948, with all five shown as Trustees having the responsibility of selecting a Board of Directors. Ralph assumed the title of Artistic Director and Mary Helen was named Secretary-Treasurer, with her apartment serving as the office. During October and November of 1948, however, the group had considerably more to do than just become a corporation. Over fifty new members, all interested in performing opera, had joined the club. Regular meetings were started in September, with each member contributing twenty-five cents per meeting to cover rental of a meeting place. Naturally, everyone was eager to 1948 La Traviata, Act I: Ione Sassano (Violetta), Ralph start working on La Traviata. Sassano (Alfredo)

Casting the leads for Traviata apparently did not present a serious problem. Ralph and lone Sassano had already performed Alfredo and Violetta on many occasions, so they could easily handle those roles. Mary Markham agreed to sing Flora. The part of Germont was taken by Burch Mayo, to whom the Sassanos had been introduced that summer by Beryl Bliss during a party at Southern Hills Country Club. Burch was the son of Mayo Hotel owner John Mayo. While attending college in New York. he had become a good friend of Lawrence Tibbett, one of the all-time great opera baritones, and had seriously considered becoming a professional opera singer. His father, however, was intent on keeping Burch in the hotel business. Wanting very much to sing Germont in the first Tulsa Opera Club performance, Burch reportedly made a deal with his father. If he could sing this role, he would stay in the hotel business and never again consider a career in opera. Burch apparently kept his part of the bargain. After a repeat Traviata performance the following spring, his name never appeared thereafter in the cast for a Tulsa Opera production, although he would later achieve prominence in the Tulsa music scene through his association with the Tulsa Philharmonic. Singing the role of Gaston in that original Traviata performance was a local high school senior named William Lewis. Bill was destined to become a world-class tenor and return to the Tulsa Opera stage twenty-seven years later as Cavaradossi in Tosca. In locating a conductor who could direct the opera on a volunteer basis. Sassano was the apparent recipient of some very good fortune. Bess Gowans introduced him to Gerald Whitney, who was then Director of Music in Tulsa Public Schools. Although he was an excellent musician, Whitney had not had appreciable experience in conducting opera.

1948 La Traviata, Act III: Burch Mayo (Germont), Ralph Sassano (Alfredo), William Lewis (Gaston).

He agreed to conduct Traviata, and as it turned out, he was a natural for the job. His conducting of Tulsa Opera productions would continue unbroken for nine years, and his work often drew praise from the opera stars who came to Tulsa to perform during the Fifties. For the first Traviata, Whitney also had the responsibility of organizing and rehearsing an orchestra, as well as preparing a chorus, all without being paid. The former job was undoubtedly a true challenge. It was necessary, given the obvious economic constraints and shortage of quality non-union musicians, to secure an orchestra which was partly union and partly non-union. Whitney received excellent cooperation from Paul Cumiskey, a well-known band director in the Tulsa area and at that time the local union head. A thirty-one-piece orchestra was subsequently assembled and prepared for the upcoming performance. A thirty-six-member chorus consisting almost entirely of Tulsa Opera Club members started regular rehearsals under Gerald Whitney’s direction in the basement of the old Unitarian Church, then located in downtown Tulsa on Boulder Avenue. In addition to organizing the Traviata production and singing the lead role, Ralph Sassano did the stage direction. June Runyon, a prominent dance teacher in Tulsa, volunteered some of her more accomplished pupils and provided the choreography. To help keep expenses down, the performance was given in modern dress, with each principal and chorus member responsible for providing his or her own formal attire. No scenery was used, and the furniture was provided by the Mayo Hotel. Ticket prices were set at $1.50, $1.00, and $0.50 for a performance in the Central High School auditorium. When the curtain rose at 8:30 on the evening of December 4, 1948 to a capacity house, a new era of opera in the city of Tulsa was ushered in.

The performance was a rousing success and well received by Tulsans eager for a more steady diet of opera than they had been allowed for almost fifteen years. After the curtain went down, many well-wishers went backstage to congratulate the performers. Among them were Eugene and Maud Lorton, owners of the Tulsa World, who were introduced to the Sassanos by Beryl Bliss. Maud was well-known in the community as a benefactress of the arts. Clearly impressed with what she had seen and heard that evening, she expressed her interest in helping the fledgling organization. Within a few weeks she met with Ralph and lone Sassano and offered to donate $1000 to the Tulsa Opera Club if she could become a Board member with the special title of Patron of Art. The Sassanos first reaction was one of mixed Maud Lorton Myers feelings. Such a sum of money would go a long way toward sustaining the company, and Maud’s influence in the city would undoubtedly bring in money down the road. On the other Imand. the Sassanos were concerned that, because of this same influence together with her known strong-willed character, Maud would ultimately want to assume complete control of the organization. After consulting with the other Board members, all agreed to following a pragmatic course, realizing that Maud Lorton’s ability to develop funding would ultimately be necessary for the survival of the opera company they had started. Maud Lorton was both a powerful and a controversial figure, and probably had more impact on the development of Tulsa Opera than any other individual during it's history. She was known to make surprise moves, often in opposition to her associates, but she always stood firm. Despite those attributes, she was always most gracious and congenial to everyone. After her husband Eugene Lorton died the next year. subsequently married Barton Myers, and was thereafter known publicly as Maud Lorton Myers. From the early days of her activity with Tulsa Opera, she was always referred to as “Lady Maud,” a title of which she apparently relished amid may have originated. She reportedly liked the comparison with “Lady Belmont” of Metropolitan Opera fame, whose husband August Belmont was a generous patron of the Met at that time. In addition to being an influential figure, Lady Maud was prone to indulging in some theatrics of her own. For many years, she would make a grand entrance to each opening night performance after the audience was seated, accompanied by a spotlight. Early in 1949, a Board of Directors was established, and Maud Lorton became a Board mnember with the title “Patron of Art” as she had requested. The Board consisted of twelve memnbers, including Ralph Sassano, lone Sassano, and Beryl Bliss from the original five Trustees. Neither Bess Gowans nor Mary Helen Markham joined the Board although they remained active in the organization as accompanist and SecretaryTreasurer respectively. Lady Maud’s personal attorney, Villard Martin, assumed the position of legal counsel and O.G. Roquemore, her personal accountant, became the accountant for Tulsa Opera Club.

First Tulsa Opera Headquarters building at 1610 S. Boulder

Shortly after she joined the Board, Lady Maud purchased a house at 1610 South Boulder, near downtown Tulsa, which she offered Ralph and lone Sassano as a place to live and give lessons if it could also be used as the Tulsa Opera office. She promised to include in her will that the place would become the property of Tulsa Opera upon her death. The address remains today as the location of Tulsa Opera Headquarters, although a new building has replaced the original house. Immediately after the success of the first Traviata, there had been numerous requests for a second performance, which was later scheduled to be given the following May. For this repeat performance, another important addition was made to the production stall. Richard Mansfield Dickinson became stage director, a post he would retain for the next five years. Dickinson, in addition to being a highly competent director, was expert at designing and producing sets. He had been the one responsible for developing the mammoth sets used in the 1933 Aida production at Skelly Stadium. The second Traviata performance also had a few cast changes from the original one, although Ralph Sassano, Ione Sassano, and Burch Mayo all repeated their original roles.

The success of the two Traviata performances and a resulting increase in ticket demand necessitated moving the 1949 fall production of The Red Mill to the more capacious Will Rogers High School Auditorium.

In addition, two performances were scheduled. After The Chocolate Soldier was given at Rogers High in the spring of 1950, Tulsa Opera began to make some significant changes. Ralph Talbot, a prominent local businessman, became the first President of the Board of Directors, and Ralph Sassano’s duties were enlarged to those of Managing Director. An

Administrative Committee, Tulsa Municipal Theater (originally Convention Hall) at separate from the Board, was Brady and Boulder. appointed to handle many of the details which were becoming too much for the production staff to handle. In October, outlying district chairmen were named for ten communities in the Tulsa area. This move was made to enhance the interest in Tulsa Opera that had already begun to develop in nearby towns. For the performances of New Moon in November, 1950 Tulsa Opera moved to Convention Hall (changed to Tulsa Municipal Theater the following year) on Brady Street just to the north of downtown Tulsa. The theater has long been affec- tionately called “The Old Lady on Brady,” and would remain the home for all opera productions for the next twenty- seven years. New Moon marked the first time that a top David Atkinson, first professional singer hired professional singer was hired for one of the leading roles. David by Tulsa Opera for a leading role, 1950 Th e Atkinson, then a noted Broadway performer, came to Tulsa to New Moon. appear as Robert. Another new development was that the production was the first for which Gerald Whitney was paid to conduct. The programs for all performances in 1950 and 1951 listed a name in the production staff that is familiar to most Tulsans. Ben Henneke, who would later serve as President of the University of Tulsa, was assistant stage director for those presentations. Early in 1951, the Directors were in agreement that the name “Tulsa Opera Club,” with its connotation of amateurism, was inappropriate for an organization striving to be recognized as a legitimate regional opera company. Consequently, on April 21 a new charter was obtained

naming the organization “Tulsa Opera, Inc.,” the title by which it is still officially known. In anticipation of increasing expenses for a growing opera company, Maud Lorton Myers personally obtained commitments from more than eighty individuals and companies to underwrite Tulsa Opera productions. As it turned out, they were never needed. The company continued to operate in the black, and has continued to do so since that time. The format of presenting light opera twice yearly with one or two paid professional singers was maintamed through the spring of 1953. An item of present interest to Tulsans is Irra Petina (Sonia), Richard Mansfield Dickinson (Stage Director), and that one of the dancers in Prince ballerina Yvonne Chouteau preparing for 1951 The Merry Widow of Pilsen was Rue McClanahan, at that time unknown but now a noted movie and television actress. By 1953 it was becoming evident that the practice of presenting only light operas and operettas would not be appropriate for an opera company wanting to grow in stature. Also, there was increasing agitation in the community for presentation of “Grand Opera.” Although musical talent was plentiful in Tulsa, Bess Gowans (at piano), Irra Petina, Clyde Clarkson, Gerald Whitney (Conductor) in preparation for 1951 The Merry Widow

21 there simply were not enough singers with sufficient operatic training to fill all the major roles in most operas and still have the performances meet the desired artistic standard. Productions of grand opera would require much more financial outlay for hiring professional singers than would be allowed by operating budgets at the time. Early in the year, Lady Maud took matters into her own hands and replaced practically the entire Board of Directors. In effect, she loaded the Board with prominent Tulsans who she felt could significantly boost financial support, either from their own resources or by using their influence to bring in new patrons. One of Lady Maud’s first moves after the new Board was established was to install a new President. David R. Milsten, a prominent and influential Tulsa attorney, was named to replace David Eugene Fields, who had served as President the previous year. Milsten had been acting as legal counsel for Tulsa Opera for a short time before being appointed President of the Board. In addition to being a well-known attorney in the city, he has achieved national recognition as a biographer, with Will Rogers and Thomas Gilcrease included among his subjects. Milsten soon made his presence felt. The year after becoming President, he was designated by Lady Maud to attend a meeting of opera executives in New York, held for the purpose of discussing the future of opera in the United States and acting on participants’ ideas deemed worthy of consideration. At this meeting, Milsten conceived and promoted the idea of establishing a “clearing house” by which regional opera companies could pool their information and technologies and save considerably in time and money. The idea won immediate acceptances and the Central Opera Service was formed. On another occasion, Milsten came to the rescue of Tulsa Opera when the union was pushing for a signed contract unionizing all performers, including the chorus, for each production. He met with union leaders in New York and convinced them of the inadvisability of such action, which would impose financial constraints so severe that Tulsa Opera would have to cease operating. Milsten was, in his own words, “in a precarious position,” because he himself had been a union member since his early days in show business, and had previously served as legal counsel for ASCAP. The new board formed by Lady Maud in 1953 included several prominent people who knew very little about opera, but were eager to do everything in their power to make Tulsa Opera a lasting success. Typical of this group was Sam Avey, a highly successful businessman and entrepreneur who contributed heavily in both time and financial support to the new opera company, but who, by his own admission, was anything but an opera buff. Avey’s attitude and his actions exemplify the primary reason for the ultimate success of Tulsa Opera, i.e. a strong civic pride by the city’s leaders who recognized the benefits to be derived from having thriving arts organizations. The plans were thus laid to present Madama Butterfly as the first offering of grand opera with imported professional singers in all principal roles. Metropolitan Opera stars Tomiko Kanazawa, Giulio Gari, and John Brownlee were engaged to sing Cio-CioSan, Pinkerton, and Sharpless, respectively. Brought in from the New York City Opera were Lydia Ibarrando as Suzuki and George Tallone as Goro. Minor roles were all filled by local singers.

22 .

Cast for 1953 Madama Butterfly: Giulio Gari (Pinkerton), Tomiko Kanazawa (Cio-Cio-San), John Brownlee (Sharpless), Lydia Ibarrando (Suzuki), George Tallone (Goro).

Also for the first time, a stage director was brought from New York. Anthony Sti- vanello, a veteran of opera staging, was contracted for what would be the first of many jobs for Tulsa Opera over the next twenty years. Stivanello was a master at putting together a very respectable performance with a minimum of staging time, and came to be known nationwide as “Mister Instant Opera.” He thus filled an important need for regional companies such as Tulsa Opera, which had to operate on limited budgets and therefore could not afford numerous staging rehearsals. Tony also provided the convenience of having his own costume company, so through package deals the costumes used in a production he directed could be obtained at much less cost than would have been possible from other costume rental companies. Stories are legion among chorus members about Tony’s uncanny ability to glance quickly at a chorister or super standing in line, dig into one of the trunks, and retrieve a costume which almost always fit. Within a matter of minutes, the entire company would have their costumes. Whether or not those costumes would have met today’s artistic standards for Tulsa Opera is debatable, but for that period in the company’s history they were a lifesaver. There was naturally much concern as to whether the upcoming Butterfly production would be a financial success. The company had continued to grow, with an ever-

23 . Marguerite Piazza as Violetta in 1954 la Traviata

Nadine Connor as Mimi, Brian Sullivan as Rodolfo in 1955 La Boheme

24 .

increasing list of patrons and more than double the number of outlying community chairmen, including representatives from some Kansas and Arkansas towns. Still, the sudden cost of so many highly-paid professionals could be too much to overcome. Nevertheless, the company plunged ahead, knowing the risk would be necessary if it were to enhance its national status as the Board had envisioned. On November 19 and 21, 1953, a major milestone was reached. With its presentation of Madama Butterfly, Tulsa Opera successfully completed the transition to grand opera, and made a giant step toward national prominence. Most importantly, no deficit was incurred, and the company maintained a position to which it still points with pride— that of never operating in the red. At the cast party following the final performance, it was announced that Ralph Sassano had resigned his position as Managing Director, and was returning to New York. He was given special recognition for his role in founding Tulsa Opera and for his accomplishments during the succeeding five years. Most of Sassano’s duties were turned over to John Brownlee as Valentine in 1955 Charles Ellis, who was named Production Coordinator. Faust. The financial success of Butterfly marked the beginning of a new phase in the growth of Tulsa Opera. It proved that securing star performers for all major roles was feasible, and there would be no turning back from that concept. In addition, the format of Thursday and Saturday evening performances of each production, with two productions each year, would continue unchanged for the next twenty- five years except for a brief experiment with Friday evening-Sunday afternoon performances during the mid- Sixties. The formation of an Opera Guild in 1955 represented another significant step forward in the company’s progress. Guilds had long been an important factor in the success of major opera companies, usually through both their educational and their fund-raising activities. With Mrs. Mark Terry named as their first President, the Tulsa Opera Guild quickly began to play an important role in the successful development of the opera company. One of

Eugene Conley in title role, 1955 Faust

25 . their early major contributions was the origination of a student matinee performance, given under Guild sponsorship on Friday between the regular Thursday and Saturday performances, and free to junior high school students in the area. It consisted of excerpts from the opera being presented that week, with the roles usually filled by local singers. The purpose of this special performauct was to better acquaint children of that age with opera so that they might become sufficiently interested to later become regular opera-goers or even take an active part in Tulsa Opera’s operation. The student matinee program has proved to be highly successful and, although it has not been in continuous use, it still is in effect today but with a somewhat different format. Also in 1955, another prominent Tulsan entered the scene. Robert S. Rizley, then a promising young attorney who Maud Lorton Myers welcoming arriving singer at the airport. had moved to the city only two years previously, was recruited by influential Board member George Harrison to serve as President. Rizlev had some rather large shoes to fill because he was succeeding David Milsten, who had certainly been a strong and effective President. Bob responded well to the challenge, keeping Tulsa Opera moving ahead through a four-year term as President, and again fifteen years later when he served another four-year term. He also served many additional years as a valuable Board member. In 1956, Rizley made what may have been his most important contribution to Tulsa Opera by bringing in William A. Baden, a highly successful Tulsa oilman, to serve as a Vice-President in charge of carrying out a large fund-raising campaign. Bill Baden was already known throughout the city for his ability to raise money for special projects. He organized a large group of more than fifty prominent Tulsans to raise $113,000, the amount estimated to be needed over a three-year period for sustaining Tulsa Opera at the planned level of operation. The campaign was completely successful, a result that probably was predictable given Baden’s special talent. Completion of the fund-raising campaign certainly did not mark the end of Bill Baden’s association with Tulsa Opera. He would later succeed Bob Rizley as President and hold the post for twelve years. During his tenure, he initiated some important fundraising activities while at the same time making large financial contributions himself,

26 . Charles Ellis (Production Coordinator) Gerald Whitney (Conductor), Anthony Stivanello (Stage Director) backstage during 1957 Carmen performance

1957 Tosca: Barry Morrell (Cavaradossi), Licia Albanese (Tosca), Walter Cassel (Scarpia)

27 .

1957 Carmen: Nell Rankin (Carmen), Eddy Ruhl (Don Jose).

becoming one of the major factors in Tulsa Opera’s success. He became widely known in the community as “Mr. Opera,” and after his term as President ended in 1973, the Board of Directors rewarded Bill with a much-deserved honor by naming him Lifetime Honorary Chairman of the Board. The spring production of Carmen in 1957 was the last one that Gerald Whitney conducted, although he maintained a tie with Tulsa Opera by serving on the Board for a few years. Taking the baton for the next three productions was Kenneth Schuller. Bill Baden’s successful fund-raising campaign culminated in the spring of 1959 with one of the truly memorable presentations in Tulsa Opera history. With the increased funding available, the company was able to assemble for Il Trovatore an all-star cast which may never again be matched anywhere. Singing the leads in that production were Jussi Bjoerling, Leonard Warren, Elinor Ross, Jean Madeira, and Nicola Moscona. Conducting the performances was Giuseppe Bamboschek, one of the most distinguished opera conductors in the country. Bjoerling and Warren were considered by many to be the greatest tenor and baritone, respectively, of their time; Madeira and Moscona were top-rated Metropolitan Opera stars with high name recognition. Ross would later make her mark as a leading soprano both in the United States and abroad. Although that Trovatore production may not have had the overall artistic level of more recent Tulsa Opera offerings, it remains a high point for those who attended it. It was unfortunately to be the last time that Jussi Bjoerling and Leonard Warren appeared on an opera stage together. Early the following year, Warren died suddenly during a performance at the Met, and Bjoerling died only a few months later.

28 . Cast for 1959 Il Trovatore: Nicola Moscona (Fernando). Giuseppe Bamboschek (Conductor). Jean Madeira (Azucena). Jussi Bjoerling (Manrico), Elinor Ross (Leonora), Leonard Warren (Count di Luna).

Jean Madeira and Maestro Giuseppe Bamboschek backstage during 1959 Il Travatore 29 .

Cast for 1958 Lucia di Lammermoor: Valfrido Patacchi (Raimondo), Giuseppe Campora (Edgardo), Roberta Peters (Lucia), Giuseppe Valdengo (Ashton), Dorothy McCormick (Alisa), Virginio Assandri (Arturo)

Roberta Peters and flutist Max Waits backstage during performance of 1958 Lucia di Lammermoor

30 . Anna Moffo, who appeared as Violetta in 1960 La Traviata

Roman Jasinski and Moscelyne Larkin, founders of Tulsa Ballet Theater, as principal dancers in 1958 Lucia di Lammermoor.

Maud Lorton Myers, backstage during student Dorothy Kirsten, who appeared as Cio-Cio- matinee performance of 1958 San in 1958 Madama Butterfly. Lucia di Lammermoor.

31 .

Also in 1959, an important change took place in the administrative area of Tulsa Opera. In what was considered one of Lady Maud’s surprise moves, she removed Charles Ellis from his position of Production Coordinator and named Mrs. John H. (Jeannette) Turner to be Manager of Tulsa Opera. Jeannette had served as Secretary for the Board of Directors for six years, but she had no background in either the administrative or artistic ends of the opera business, undoubtedly causing some eyebrows to be raised. As things turned out, it actually was Jeannette who did the surprising. Possessed with a knack for doing the right thing at the right time, she soon learned to meet all the many challenges encountered in managing an opera company. Before her tenure was finished, she became a highly-respected opera executive, both by her peers and by the many stars who came to sing in Tulsa Opera productions as a result of her negotiations. Jeannette Turner, Tulsa Opera Manager an d Executive Director, 1959-1974

There was actually a brief period during early 1959 when there was no official manager at Tulsa Opera, Inc. It was several months after Charles Ellis’ departure hefore Jeannette Turner could take over the reins. During that interval, Board member Robert Anderson, who served many years as Production Committee chairman, took charge and kept things moving during the famous Trovatore production. Jeannette Turner had barely taken over as Manager when the company was faced with one of those crises often encountered in the opera business. For the 1959 fall production of Un Ballo in Masehera, noted opera conductor Renato Cellini from the New Orleans Opera had been engaged. During an early rehearsal with the orchestra only a week before the first scheduled performance, Cellini walked out, saying the orchestra could not play the music to his satisfaction. A frantic search was undertaken to find a replacement who was not already committed and who could take over on such short notice. Carlo Moresco, a known capable conductor and expert on Italian opera, was found to be available, and he agreed to come to Tulsa immediately to take over the baton for Un Ballo. After his first rehearsal with the orchestra, Maestro Moresco won many friends among the Tulsa arts community by stating publicly that the orchestra was actually quite good and could handle Un Ballo in excellent fashion. This last-minute appearance of Carlo Moresco would certainly not be his last in Tulsa. His unscheduled debut was sufficiently impressive to earn him what was essentially a permanent position as conductor for Tulsa Opera. Except for the next production (La Boheme) the following spring, Moresco would remain at the podium for all productions during the next sixteen years. As was the case with stage director Tony Stivanello, Maestro Moresco provided a certain degree of stability to the operation of Tulsa Opera, who could rely on him to return regularly and maintain the high artistic standard that the company had set. This occurred during a period of Tulsa Opera history when such stability was needed to both consolidate the advances already made and keep the company moving ahead.

32 .

For La Boheme in the spring of 1960, the audiences were treated to an appearance onstage as supers by two very prominent Board members. President Bill Baden and Treasurer Isabel Simmons ventured in front of the footlights to participate in the festive second act cafe scene. Both performers gave a good account of themselves. That Boheme production also Cast of 1960 La Boheme: Napoleon Bisson (Schaunard), Ercole included the first appearance of the Bertolino (Marcello), Dorothy Warenskjold (Mimi), Flaviano Tulsa Boy Singers with Tulsa Opera. Labo (Rodolfo), Nicola Moscona (Colline). Since that time, the group has taken part in all of Tulsa Opera’s offerings which require a children's chorus. Gene Roads, who directed the Boy Singers in 1960, is still in charge of the group after more than thirty years, and has always been most cooperative in preparing the boys for those Tulsa Opera productions whenever they have been needed. The 1960 fall production of La Traviata was highlighted by a huge chandelier, used in the third act Tulsa Opera Board members William A. Baden and Isabel party scene, that had been hand-made by Simmons as supers for 1960 La Boheme. three ladies who were all active in Tulsa Opera for many years. Board Treasurer Mrs. Larry D. (Isabel) Simmons, board member Mrs. C. Gilbert (Marge) Huffman, and Volunteer Service co-chairman Mrs. Sid (Flo) Steen contributed their time and talent, using 4000 prisms to construct the spectacular-looking chandelier, which drew much applause and expressions of amazement when the third act curtain opened. The chandelier later drew national attention when it was featured in a Life Magazine article. Two very important additions were made to the list of Tulsa Opera activities in 1961. The Opera Guild established a children’s opera workshop, through which elementary school children could see and actually participate, right in their own classroom, in scenes from upcoming productions. Virginia Anderson (Torres), a teacher at Eliot Elementary School as well as a chorister and comprimario role singer in Tulsa Opera performances, was named Workshop Director. 33 .

Party gathering during production of 1962 Barber of Seville: Stage Director Dino Yannopoulos, Salvatore Baccaloni, Mrs. Baccaloni, Maestro Carlo Moresco.

The Opera Ball, another of Bill Baden’s many contributions while serving as President, was also initiated in 1961. Today, it is still one of the major fund-raising activities for Tulsa Opera, Inc. Another truly memorable Tulsa Opera production was put together in the spring of 1962. With a prolonged strike then going on at the Metropolitan Opera, Tulsa was able to procure the services of five Met stars plus a top stage director for The Barber of Seville. Roberta Peters, Cesare Valletti, Frank Guarrera, Salvatore Baccaloni, William Wildermann, and stage director Dino Yannopolous combined their talents for a most entertaining performance. It was actually the second of four Tulsa Opera appearances made by Roberta Peters, then one of the most popular sopranos worldwide. Wildermann was always a favorite of Tulsa audiences, and made the third of his six appearances for Tulsa Opera over a period of thirty years. Valletti, Guarrera, and Yannopoulos made their local debuts in Barber, but all would return. Baccaloni, one of the most famous basso buffos of all time, was then nearing the end of his illustrious career, and his performance as Dr. Bartolo marked his only appearance on the Tulsa Opera stage. An additional point of interest was that the role of Fiorello was sung by Laven Sowell, later to become Chorus Master, making his Tulsa Opera debut. This production of Barber was marred by a near tragedy which occurred during the first dress rehearsal. The stairs which Baccaloni and Wildermann were ascending during a first-act repartee suddenly gave way, and both artists fell almost ten feet to the floor. Wildermann, although badly shaken, was not injured, but Baccaloni sustained a back injury which kept him hospitalized through the final dress rehearsal. Fortunately, he was able to return for opening night.

34 . Salvatore Baccaloni as Dr. Bartolo in 1962 The Barber of Seville.

1962 Barber of Seville: Roberta Peters (Rosina), William Wildermann (Don Basilio) Frank Guarrera (Figaro).

35 . Party gathering during production of 1963 The Marriage of Figaro: Maestro Carlo Moresco, Jeannette Turner (Manager of Tulsa Opera), Virginia Anderson (Children’s Workshop Director), Laven Sowell (Chorus Master).

Backstage during 1962 Carmen: Richard Tucker (Don Jose), Laven Sowell (Morales)

Mildred Miller as Cherubino in 1963 Tosca: Cesare Bardelli (Scarpia), Mario Volta (Sacristan), Luigi Vellucci 1963 The Marriage of Figaro. (Spoletta). . 36 Principals of 1964 Lucia di Lammermoor: Igor Gorin (Ashton), Gianna d’Angelo (Lucia), John Alexander (Edgardo)

1965 La Boheme, Act I: Barry Morrell (Rodolfo), Bonaldo Giaiotti (Colline), Laven Sowell (Benoit), Frank Guarrera (Marcello), Orlando Hernandez (Schaunard).

37 .

Cast for 1965 L’Elisir d’Amore: Italo Tajo (Dulcamara), Cesare Valletti (Nemorino), Roberta Peters (Adina), Giulio Fioravanti (Belcore).

Less than two weeks later, on March 26, Maud Lorton Myers died, marking the end of an important era in the history of Tulsa Opera. In her will, she gave the property at 1610 South Boulder to Tulsa Opera as she had promised when she first acquired it. On October 5, 1962 an amendment was made to the 1951 charter for Tulsa Opera, Inc. The purpose of the organization as stated in the original Certificate of Incorporation was expanded somewhat to include more emphasis on educational activities. By 1964, the small headquarters building was becoming quite crowded, and space for storing records, promotional materials, etc. was rapidly diminishing. To alleviate this immediate problem, and with an eye toward future expansion, Bill Baden purchased the house at 1614 South Boulder, just south of Opera Headquarters, for Tulsa Opera’s use. In addition to functioning as a repository, it became the home of the Opera Box, a resale shop operated by the Tulsa Opera Guild as a fund-raising activity. The building later came to be known as “Baden Annex.” In December of that same year, Tulsa Opera offered its first Hansel and Gretel. The entire production, including magnificent sets and costumes, was designed under the supervision of Nathaniel Merrill, a prominent stage director with the Metropolitan Opera. Tulsa Opera actually purchased the production outright through a special gift from the Martha Baird Rockefeller Fund for Music, Inc., and brought Merrill to Tulsa to stage the performance. Hansel and Gretel was originally intended to be a yearly Christmas gift to the city, much as Tulsa Ballet’s Nutcracker is now given. Although presented four times over the next five years, the problems of casting and contracting artists became too much of a problem both logistically and financially, and the production was mothballed. It was later sold to the Kansas City Philharmonic.

38 .

Cast for 1965 Hansel and Grete!: Kneeling, Dorothy Coulter (Gretel), Marija Kova (Hansel); Standing, Muriel Greenspon (Mother), Chester Ludgin (Father), Nathaniel Merrill (Stage Director), Carlo Moresco (Conductor), Norman Kelley (The Witch).

The production of Faust in the spring of 1966 was not exactly one of the high points in Tulsa Opera history. The great Norman Treigle gave his usual outstanding performance as Mephistopheles, but the rest of the cast were nowhere near his level of artistry. Perhaps the greatest distraction for the audience was caused by a giant raked wheel, covering much of the stage throughout the opera, which was supposed to be capable of slow rotation with cast members aboard. However, the rotation usually took place with sudden jerks, knocking principals and choristers alike off their feet and into awkward-appearing positions inconsistent with the intended staging. The fall Turandot must have removed any bad taste the audiences may have acquired from Faust. It was a spectacular production, and certainly one of the high points of Jeannette Turner’s regime. It thus relegated the Faust production to the cliched category of “you can’t win ‘em all,” and the 1966 Faust was thereafter considered as nothing more than a glitch in Tulsa Opera’s march to prominence. Turandot also marked another significant development for Tulsa Opera, as it was Laven Sowell’s first opera as permanent Chorus Master. Laven had already directed the chorus in the 1963 Marriage of Figaro and the 1965 Hansel and Gretel, but since 1966 has been Chorus Master for every production, except one, to the present time. During that period, Laven has developed a top-flight volunteer 39 . chorus which has become an instrumental factor in Tulsa Opera’s success. According to Ed Purrington, Tulsa Opera’s General Director from 1975-87, “Laven has an uncanny success in making a musical unity out of a widely divergent group of individuals of varying musical discipline.” The year also saw two more additions to the auxiliary groups supporting the opera company. Both a Junior Opera Guild and a Sunday Afternoon Opera Guild were formed. The Junior Guild was intended to be analogous to Tulsa’s Junior League, and would provide additional fund-raising support. The members named Mrs. James Lambert as their first President. The purpose of the Sunday Afternoon Guild was to provide those who worked at regular full-time jobs the opportunity to participate in Guild activities. Nettie Smith was elected as their first President. Both guilds have remained active and effective in their support of Tulsa’s opera company. The following spring, La Traviata was the vehicle for the Tulsa debut of one of the all-time great sopranos, Norman Treigle, who appeared as Mephistopheles Beverly Sills. Always called “Bubbles” by her associates, in 1966 Faust. Ms. Sills was immensely popular wherever she performed, not only because of her outstanding vocal capabilities, but also because of her friendly, down- to-earth approach to everyone she met. She had originally been booked to make her first Tulsa appearance in the ill-fated Faust the previous year, but had to back out due to the illness of one of her children. It was perhaps fortunate for Tulsa audiences that her debut was delayed, as Traviata was a much more pleasing production than was Faust, and Sills was outstanding as always. Another crisis of the type that is detrimental to an opera company manager’s health and disposition was faced in 1969’s Die Fledermaus. For whatever reason, illness seemed to be the order of the day among cast members, and the Saturday performance almost had to be called off. Tenor Walter Gullino, Laven Sowell (Chorus Master), and Beverly Sills, singing Eisenstein, was suffering from a very sore who appeared as Violetta, during production of throat and high fever, and 1967 La Traviata.

40 .

Nathaniel Merrill (Stage Director) and Beverly Sills (Violetta) in the dressing room during 1967 La Traviata pertormance.

could barely be heard. Frances Bible, as Orlofsky, had such severe laryngitis she could do nothing more than whisper. Other cast members were also ailing, but to a lesser degree. There unfortunately were no understudies for the roles in Fledermaus, and the performance went on as scheduled, with a prior announcement requesting the audience’s indulgence. The 1969 Aida is remembered more for an off-stage incident than for being still another outstanding Tulsa Opera presentation. Renowned Italian soprano Gabriella Tucci sang the role of Aida, and after the first performance she discovered there was no hot water left to wash off the pounds of body makeup required for the role. The hot water had already been depleted by supers and chorus members who had completed removal of their makeup by the end of the opera. Ms. Tucci was more than a little perturbed by the turn of events, and loudly proclaimed to everyone still in the theater that she was returning to Italy and would not sing again in Tulsa. After consulting with some of the Board members, Jeannette Turner took immediate action the next morning by contacting the union headquarters in New York to put a hold on Tucci’s check until her contract was satisfied. During later discussions with Ms. Tucci and her manager (who was also her husband), Jeannette reportedly reminded them that a failure to fulfill her contract would jeopardize the validity of her visa. All the while, Jeannette remained most diplomatic and managed to smooth things over. Meanwhile, the Board arranged for an additional hot water tank to be put in the theater. With the added hot water supply, everything went well after the Saturday performance, and both Ms. Tucci and her husband left Tulsa the next day in a congenial mood. 41 . Cast of 1967 Madama Butterfly: Laven Sowell (Yamadori), Robert Gregori (Sharpless), Margaret Roggero (Suzuki), John Alexander (Pinkerton), Renata Scotto (Cio-Cio-San), Carlo Moresco (Conductor), Ernesto Gasco (Goro), Dudley Stiles (The Bonze), Anthony Stivanello (Stage Director).

Alfredo Kraus, who appeared as The Duke in 1968 Rigoletto.

Renata Scotto as Cio-Cio-San in 1967 Madama Butterfly.

42 .

Cast of 1969 Aida: Front, Richard Tucker (Radames), Gabriella Tucci (Aida), Carlo Moresco (Conductor), Rosa Laghezza (Amneris); back, Irwin Densen (King of Egypt), Bonaldo Giaiotti (Ramfis), Marienka Michna (Musical Assistant), Ms. Tucci’s husband, Anthony Stivanello (Stage Director), John Deaver (Messenger)

Ezio Flagello (Don Basilio) and Italo Tajo (Bartolo) in 1970 Bar ber of Seville.

43 .

The newly-installed tank was thereafter jokingly referred to as the “Tucci Memorial Hot Water Tank.” The hot water incident seemed to overshadow the fact that another giant in the opera world appeared in that Aida production. Tenor Richard Tucker, as Radames, made his second and last appearance on the Tulsa Opera stage, having sung earlier in the 1962 Carmen, and he didn’t disappoint his many fans in the audience. Also appearing in that 1969 Aida were two more Tulsa Opera Board members. Wilbur Peter Glossop As Scarpia in 1970 Tosca Holleman and William Bickel were issued spears and did yeoman work as supers. Holleman, a prominent Tulsa attorney, was repeating the role he had done fifty years previously while a student at the University of Oklahoma. Wilbur’s wife Maxine, who also served on the Board, was another of the group of stalwarts who have contributed so greatly to the success of Tulsa Opera. She was an active member of the Production Committee for many years, much of the time as Chairman, and was ultimately rewarded with the title “Honorary Lifetime Chairman, Production Committee.” The Hollemans made generous donations to Tulsa Opera, a practice that Maxine continued after Wilbur’s death in 1970. The Board of Directors, in the summer of 1971, acquired the property on the southwest corner of 16th and Boulder, just north of Tulsa Opera Headquarters. Houses on the property were removed to provide much-needed parking area. With the fall of 1971 came another big opera not seen previously in Tulsa. Otello, with James McCracken and Jean Fenn in the starring roles, delighted the audience with its spectacular scenes. It is noteworthy that the Otello chorus included a native Tulsan who would later become a world-renowned operatic soprano. Linda Roark, then a student at the University of Tulsa and possessor of a powerful soprano voice, followed her debut as a chorus member with two comprimario roles in the 1972-73 season. She would later achieve fame as Linda Roark-Strummer, wife of bass Peter Strummer, and make a triumphant return to the Tulsa Opera stage in a starring role twenty years later. The year 1972 brought a flurry of activity directed toward getting Tulsa Opera a better place to perform. The Tucci incident in 1969 actually had helped to bring to public attention a fact long known by

44 .

Cast of 1 971 OteIlo: Orlando Montes de Oca (Cassio), David Howell (Roderigo), Jack Williams (Montano), Licinio Montefusco (lago), James McCracken (Otello), Godfrey Passaro (Lodovico), Marilyn Chapman (Emilia, Nov 4), Jean Fenn (Desdemona), Riccardo Moresco (Assistant Stage Director), Laven Sowell (Chorus Master), Anthony Stivanello (Stage Director), Betsy Beard (Emilia, Nov 6), Carlo Moresco (Conductor). both local and visiting performers: the backstage facilities at Municipal Theater were terribly inadequate, especially for musical productions requiring large casts. Moreover, being almost sixty years old, the “Old Lady on Brady” simply did not provide a comfort level that patrons might enjoy in a newer, more modern theater. Construction of a new theater had been one of the items in a 1969 omnibus bond issue that was voted down, so the theater situation was not looking good at that time. The Opera Board considered two possibilities for obtaining an improved facility, and initiated feasibility studies. One was to modernize and expand the backstage area of Municipal Theater. The other was a revival and modernization of the old Akdar Theater. Neither proposal evolved into a feasible plan. Necessary improvements of the Municipal Theater would not only have been prohibitively expensive but there was no room on the property for backstage expansion. Use of the Akdar would have put Tulsa Opera in the same straits of inadequate seating capacity that had been encountered by touring companies fifty years previously. Fortunately for Tulsa Opera, as well as for other local arts groups, the search for a better facility became a moot point the following year. As a result of generous gifts from Mrs. Leta Chapman and John Williams, plus contributions Lorenzo Alvary as Benoit in 1972 from many other Tulsans, a $7 million matching bond issue La Boheme. was approved by voters, and a new $14 million

45 . At the cast party following performance of 1972 Carmen: Jeannette Turner (Tulsa Opera Manager), Robert Nagy (Don Jose), Carlo Moresco (Conductor), Viorica Cortez (Carmen), Licinio Montefusco (Escamillo).

Prostitutes awaiting deportation in Act III of 1973 Manon Lescaut: Lois Watkins, (unidentified), Betty Bradstreet, Pat Defebaugh, (unidentified), Margie Hayes, Maralin Niska (Manon Lescaut), Julie Blakely, Isabel Simmons, Kathleen Carrington.

46 .

Performing Arts Center was on the way to becoming a reality. Tulsa’s first Manon Lescaut, given in the spring of 1973, may be best remembered for the appearance of some prominent Tulsa ladies as the “fallen women ready for deportation along with Manon in the third act. Included in that group were Isabel Simmons (her second time in the role of super), Betty Bradstreet, Maxine Holleman, and Catherine McReynolds, all active Board members, along with Julie Blakely, editor of the Tulsa World’s woman’s page for many years and very well known in the Tulsa area. Also in that group were chorus accompanist Lois Watkins and costume chairman Kathleen Carrington. Although there were a few admitted instances of stage fright, all performed their roles in good fashion and were singled out for applause by the audience. In the summer of that year, Jeannette Turner announced that she would be Cast members of 1973 Manon Lescaut: John Alexander (Des Grieux), Maralin Niska (Manon Lescaut), retiring as Manager at the end of the year. Linda Roark (Madrigal Singer). When the end of 1973 arrived, no permanent successor had been found, and Assistant Manager Mrs. Stafford (Su) Davis took over on an interim basis. Jeannette agreed to help out during the search for a new manager, and actually was eager to follow through on the upcoming Romeo et Juliette production, which she had done considerable work putting together. In looking for a new Manager, the Opera Board felt it would be desirable to hire someone with a strong background in both the administrative and artistic areas of producing operas, and possessing a dynamic quality sufficient to keep Tulsa Opera moving upward. It obviously would be a tall order, as the budget would not allow hiring anyone who was already a General Manager of any major opera company. During the early summer of 1974, Bill Baden indirectly heard of the person they might be looking for. At that time, the Chairman of the Department of Performing Arts in Santa Fe was a man named Ed Purrington, who had previously held a variety of positions with Santa Fe Opera between 1959 and 1972. His assignments included a lengthy list of high-level administrative jobs as well as frequent service as Stage Director and Production Coordinator.

47 . .

At the cast Party following performance of 1973 Manon Lescaut: Maurice de Vinna, Arts Editor and Music Critic for the Tulsa World; Maralin Niska (Manon Lescaut), Americo De Santis (Lescaut).

Gathering at the home of Tulsa Opera Board member Mrs. Herrick Babcock for a spaghetti dinner prepared by Maestro Carlo Moresco, between performances of 1973 Manon Lescaut: W.A. Baden (Honorary Board Chairman and Past President), Riccardo Moresco (Stage Director), Mrs. Marvin Millard, Maestro Moresco, Mrs. W.A. Baden, Marvin Millard (Board President).

48 . .

John Alexander (Des Grieux) conferring with Chorus Master Laven Sowell during rehearsal for 1973 Manon Lescaut.

Party at Southern Hills Country Club during production of 1974 Romeo et Juliette: seated; Joseph Galiano (Mercutio); Mrs J. Wood Glass, prominent Tulsa Opera Patron; W.A. Baden (Honorary Board Chairman); standing; Marvin Millard (Board President), James de Blasis (Stage Director), Carlo Moresco (Conductor), Kerry McDevitt (Capulet), Laven Sowell (Chorus Master), James Arnold.

49 . .

Backstage on opening night of 1973 Il Trovatore: Riccardo Moresco (Stage Director), Carlo Moresco (Conductor), Marienka Michna (Musical Assistant), Laven Sowell (Chorus Master).

Cornell MacNeil as Di Luna in 1973 Il Trovator.

Teresa Zylis-Gara (Leonora) and Patricia Breeden (Inez) in 1973 Il Trovatore.

50 .

Shortly thereafter, Bill Baden and Board President Bob Rizley led a small contingent of Tulsa Opera Board members to Santa Fe to talk to Purrington. They were quite impressed with him and he liked the possibilities that existed in Tulsa. After a brief period needed for Opera Board approval and some negotiation over salary and job title, Ed Purrington agreed to take the position of General Manager of Tulsa Opera, Inc., beginning January 1, 1975. Throughout 1974, Bill Baden, with able assistance from Board Treasurer Robert McDowell, had been conducting another fund-raising campaign, this time for construction of a new Tulsa Opera Headquarters. The building was expected to cost about $250,000, including landscaping and paving of the parking area, but Baden and McDowell refused to start construction until all funds were in hand. Edward Purrington, General Manager and Artistic Director, 1975-1987 On January 15, almost coinciding with Ed Purrington’s arrival in Tulsa, they announced that all funds were available and construction would begin as soon as the two buildings situated on the property could be cleared off. This precipitated an almost frantic flurry of activity in getting records, books, and office equipment moved to a temporary location in Liberty Tower across the street north of Headquarters. On February 4, demolition of the old Headquarters building and the Opera Box building began, and within only a few days, excavation and laying the foundation of the new building were started. Chorus rehearsals for Rigoletto, the upcoming spring producton, were moved to the First Christian Church. By late summer a handsome new Headquarters building was completed and ready for occupancy. It retained the same address, 1610 South Boulder, as was used for the old building. Included in the new structure were a rehearsal hall named for Bill Baden and his wife Sue, and a spacious, well-furnished library

Louis Quilico as Rigoletto, 1975.

51 . Production planning for 1975 Tosca: Arno Wald (Stage Manager) Bliss Hebert (Stage Director), Jane Reisman (Lighting Director).

William Lewis as Cavaradossi in 1975 Tosca.

52 . . named as a memorial to Wilbur Holleman by his wife Maxine, who had donated most generously to the building fund. It was in the 1975 fall Tosca that William Lewis, who had appeared in the first Tulsa Opera production in 1948 as a high school senior, returned to his native city to Old Tulsa Opera Headquarters, torn down in 1975 to allow sing the role of Cavaradossi. construction of new Headquarters building. A new front had been added to the original house purchased in 1949 by Maud Lorton During the intervening twenty- Myers. seven years he had become a star performer at most major opera houses in the country, including the Metropolitan. His performance did not disappoint the Tulsa audience which had been eagerly anticipating his return. For the 1976 spring opera, it had been decided well in advance that a work by an American composer should be presented to commemorate the American Bicentennial Celebration. Douglas Moore’s The Ballad of Baby Doe seemed to be a logical choice, for several reasons. Primary among those reasons was that the story is based on real people and events in American history. Perhaps equally important was the fact that several opera companies in the United States were also planning to present Baby Doe that year, providing an attractive prospect for purchas- ing or leasing a production already assembled and thus keeping expenses down. Tulsa Opera actually 1976 Ballad of Baby Doe, Act II; Jean Kraft (Augusta), John Reardon (Tabor), Costanza Cuccaro purchased a production of Baby Doe from the (Baby Doe). Omaha Opera Company and rebuilt some of the sets to accommodate their own staging plans. When Ed Purrington arrived in Tulsa the previous year, he had already formulated several plans to further increase the stature of Tulsa Opera as a major regional company. One such plan was to initiate a wider variety of artistic styles and interpretations into the productions. From his broad experience at Santa Fe, Ed was strongly

General Director Ed Purrington and Conductor Judith Somogi, backstage during performance of 1976 Ballad of Baby Doe.

53 . 1977 Macbeth: Marisa Galvany (Lady Macbeth) Ed Purrington (General Director) Louis Quilico (Macbeth) Bodo Igesz (Stage Director)

convinced that such variety would be essential to growth of the local company. Although Purrington had the greatest respect for Maestro Carlo Moresco, he decided it would be best to bring in other conductors for future productions, although Moresco was brought back for Macbeth the following season. Maestro Moresco’s role in providing stability and continuity for Tulsa Opera for the preceding sixteen years was, however, recognized and appreciated by many Tulsans. For Baby Doe, Purrington secured the services of Judith Somogi, a rising star among conductors, who immediately became a favorite in Tulsa and would return five more times to lead Tulsa Opera productions before her premature death in 1988. Only a few weeks after being presented in Tulsa, the same Baby Doe production was given by New York City Opera to a national television audience. Judith Somogi also conducted that presentation, and Patrick Bakman provided the stage direction as he had done in Tulsa. The following year, the Baby Doe production that Tulsa Opera had purchased and modified was sold to the opera company in Anchorage, Alaska. Another of Ed Purrington’s plans was to expand the Tulsa Opera repertoire to include lesser- known works not often presented by regional opera companies, but which are still pleasing to the average opera attendee. It was Purrington ‘s sincere belief that Tulsa Opera audiences needed to be weaned from their steady diet of works from the standard Italian and French repertoire. A major step in that direction was a gorgeous production of Massenet’s Manon in the fall of 1976, starring Metropolitan Opera soprano Judith Blegen: Purrington had originally wanted Blegen for the role of Baby Doe, but had been unable to complete the negotiation. Although it was a new opera for most in the Tulsa audience, Manon was well-received by audience and critics alike.

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Cast for 1976 Manon: William Parker (Lescaut), Kenneth Riegel (Des Grieux), Judith Blegen (Manon), James de Blasis (Stage Director), Ed Purrington (General Director), Antonio de Almeida (Conductor).

Planning discussion for 1976 Manon: Antonio de Almeida (Conductor), Laven Sowell (Chorus Master), James de Blasis (Stage Director).

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1977 Aida, Act II, Scene 1: Mignon Dunn (Amneris) and slave girls.

For Macbeth the following spring, Tulsa Opera developed its own production, designed by Neil Peter Jampolis, which was later leased to several other opera companies in the United States. Macbeth would be the last opera given in the old Municipal Theater, but few tears of nostalgia were shed by any of the performers who were eagerly awaiting the opportunity to make an appearance in the new theater just being completed. The new Performing Arts Center was opened in March, 1977, actually a few days before the opening of Macbeth, but not early enough to permit moving the production to the new facility. A large 2400-seat theater in the newly-completed building was named Chapman Music Hall in honor of Mrs. Leta Chapman, who did not live long enough to see the result of her magnificent gift. A smaller theater for plays and musicals requiring a more intimate setting was named for John Williams, the other major initial benefactor of the Performing Arts Center. The final product was a plush, modern facility in which Tulsans could take considerable pride. It was appropriate that the first opera presented in the new theater would be Aida, one of the most difficult works to put on in the old Municipal Theater because of its limited backstage area. The grand production of this popular opera, leased from the San Diego Opera Company, would have been Gilda Cruz-Romo in title role of 1977 Aida.

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impossible to perform in the “Old Lady on Brady.” The immense cast of chorus and supers arrived for the first onstage rehearsal to find spacious and functional backstage facilities with freshly-painted walls completely covered with paper to keep them from becoming soiled from the inevitable contact with performers in full body makeup. For the spring of 1978, Beverly Sills was slated to star in Anna Bolena, in what would be her farewell apearance in Tulsa before retiring from the opera stage. Only weeks before the performance dates, Ms. Sills called Ed Purrington and asked that, if it could possibly be done, the opera be changed to I Puritani, which would be more “congenial to her voice" and would “demand less of a change in vocal production” relative to the roles she would be singing just before and after her Tulsa appearance. Eager to accommodate someone with Sills’ lofty status, Ed quickly went into action to accomplish a task that first appeared to be impossible. New contracts had to be written for those Beverly Sills as Elvira in 1978 I Puritani. performers already signed for Anna Bolena but who could switch to a role in Puritani, while some roles required finding other available singers who could perform them on relatively short notice. Sets for Puritani had to be quickly located and shipment arranged. Those major changes plus dozens of smaller ones had to be accomplished within a matter of days. It may even be an understatement to say that Ed Purrington earned a full year’s pay in those few days of intense activity. Although Puritani may not have been the most popular opera ever given in Tulsa, it was still quite well received primarily because of the appearance by Beverly Sills, who publicly expressed her sincere gratitude for the change that was made at her request. With the constantly improving quality of productions and the move to a more comfortable environment in the new Performing Arts Center, ticket demand had reached the point where a third performance of each opera was necessary. Beginning with the 1978-79 season, each production was scheduled for presentation on Tuesday, Thursday, and Saturday evenings, with traditional opening night festivities taking place on Tuesday. This arrangement would continue for two seasons, after which it was

57 . deemed advantageous to change to a Saturday- Thursday-Saturday format. Although the change entailed further expense because of longer contract periods for principals and extended rental times for sets, costumes, etc., this additional expense was expected to be covered by increased ticket sales for the two Saturday performances. It was also desirable to have opening night on Saturday rather than on Tuesday. Board member Maxine Holleman and Beverly Sills during 1978 In October of 1978, production of I Puritani. incoming Board President R. Thomas Seymour initiated a fund-raising method which proved to be immediately successful, and which has become a major source of money needed to meet the ever-increasing expense of producing quality opera. Seymour created the President’s Council, for which the cost of membership was a $1,000 annual donation to Tulsa Opera. Benefits of membership were to include a black-tie dinner with the opera stars sharing in the dinner and providing entertainment afterward with individual vocal selections, and a between-acts gathering at the theater on performance nights to enjoy champagne. The following year, a lifetime membership in the Council was offered for a donation of $10,000. Membership requirements have since increased to $1,500 annual and $15,000 lifetime. As of mid-1992, sixty-nine annual and thirty-five lifetime memberships have been purchased. The following spring brought another superb production to Tulsa Opera audiences. The La Traviata of 1979 has been considered by many as another milestone in the company’s history, and was certainly the best during Ed Purrington’s reign as General Director up to that time. This Traviata displayed some of Purrington’s special talents which would come to be widely recognized. He had an almost uncanny ability to accurately evaluate the potential of rising young singers, cast them in roles which would display both their vocal and dramatic talents to best advantage, and at the same time obtain a blend of artistries among performers, conductor, and stage director which would provide the audience with a memorable experience. Soprano Diana Soviero, then just beginning her rise to stardom, was an immediate hit as Violetta, and would return to the Tulsa Opera stage four more times to give remarkable performances. John Brecknock and Michael Devlin complemented Ms. Soviero in excellent fashion, as did Judith Somogi’s ever-outstanding conducting and James de Blasis’ artistic stage direction.

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The 1979 Traviata was also the first Tulsa Opera production to be presented in another city. The Oklahoma City Symphony had negotiated for a performance of the opera to be given in Oklahoma City on Tuesday evening following the final Saturday performance in Tulsa. The entire cast, including chorus and ballet, and conductor were the same; the orchestra and stage hands were provided locally. A dress rehearsal on Monday evening was the only opportunity for the cast to run through the opera with the Oklahoma City orchestra and for the stage hands to accomplish scene changes under performance conditions. Although there were a disappointingly large number of empty seats for the Tuesday night performance, those who attended were enthusiastic in their response. The Karen Hunt as Zerlina and Sherrill Milnes in title role, 1978 Don Oklahoma City Symphony management Giovanni. had originally hoped to establish a precedent and “buy” future Tulsa Opera performances, but the poorer-than- expected turnout plus the hardship imposed on the many volunteer personnel involved rendered any such plan infeasible. For the 1979-80 season, Tulsa Opera began adding a third production, scheduled for performance in early May. This change seemed to offer several advantages. It would more easily allow presentation of unfamiliar works and still provide plenty of room for the standard repertoire which many Tulsans still wanted to hear. 1978 Don Giovanni: Joseph Shore (Masetto) and Karen Hunt (Zerlina).

59 . 1979 La Traviata, Act II: Michael Devlin (Germont) and Diana Soviero (Violetta).

1978 Don Giovanni: Paul Plishka (Leporello) and Sherrill Milnes (Don Giovanni).

60 . . although by that time more general interest was developing in the less familiar operas. Having three productions each season also put Tulsa Opera in a better position to obtain outside funding. The original intent was to present two big operas and one light opera or operetta each year. One of them would have light chorus work, because three large-chorus operas would demand too much from a group of volunteers, no matter how dedicated they might be. By 1979 the staging period for each production was two to three weeks, compared to a single week of staging only ten years previously. It had been another of Ed Purrington’s goals to sufficiently increase the amount of staging time to ensure a quality performance and have the company one- hundred-percent ready by opening night. He hoped to never again hear the frequently-made comment that opening night for Tulsa Opera was equivalent to a final dress rehearsal. The 1979-80 season was one of “firsts” for the company. In the fall of 1979, Massenet’s rarely- presented two-act opera La Navarraise was heard for the first time anywhere in the southwestern United States. Accompanying it on the program was the ever-popular I Louis Quilico as Tonio Pagliacci. The production coincided with a in 1979 I Pagliacci. Central Opera Service Regional Conference held in Tulsa, with the major topic of discussion being verismo opera. The rarity of “Navarraise” drew opera buffs from all parts of the country, and all were reportedly delighted with what they saw and heard. As far as the general audience was concerned, it was nice to attend an opera given that infrequently, but for sheer entertainment, Pagliacci was hard to top. The March, 1980 Die Walkure represented the first Wagner opera to be given in its entirety anywhere in Oklahoma. For the role of Wotan, Ed Purrington approached Nancy Shade (Anita) and Jacque Trussel (Araquil) in 1979 La Navarraise.

61 . Jayne Reed and Simon Estes

Simon Estes, who had done other Wagner roles but was reluctant to attempt Wotan. Purrington convinced him that he should try the part, and the rest is history. Although he was already recognized as a very capable bass-baritone, Estes’ career had never really reached the heights that his outstanding voice should have permitted. His performance of Wotan with Tulsa Opera led to an engagement for the same role at the Metropolitan Opera, an event which seemed to open the door to true stardom. Simon has often expressed his appreciation to Tulsa and to Ed Purrington for contributing so greatly to his success. His outstanding talent together with his most pleasant down-to-earth per- sonality instantly established him as a Tulsa favorite, and he would return for three more opera appearances plus several benefit recitals for the Simon Estes Educational Foundation which he co-founded with Tulsan Jayne Reed. The Foundation provides funding for promising high school seniors who are unable to pay for their college education, and has already benefited many worthy Tulsa students. Jeannine Altmeyer as Sieglinde in The fall of 1980 introduced another big opera which proved 1980 Die Walkure. to be an overwhelming success. Boris Godunov, with its magnificent sets and the largest number of people yet seen on a Tulsa Opera stage, left the audiences transfixed. Massive choral forces were created by joining the Tulsa Opera Chorus and University Chorale of the University of Tulsa School

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Ashley Putnam as Rosalinda in 1980 Stephen Dickson (Marcello) and Diana Soviero Die Fledermaus. (Mimi) in 1981 La Boheme, Act III.

1980 Die Fledermaus: William Parker as Dr. Falke and Dale Duesing as Eisenstein. 63 . .

James Morris in title role, 1980 Boris Godunov. (Photo by Don Sibley)

James Billings as Frosch in 1980 Die Fledermaus.

1981 Daughter of the Regiment: Erie Mills as Marie and Giorgio Tozzi as Sulpice. (Photo by Don Sibley) 64 . .

Emerson Buckley (conductor) in dressing room during performance of 1981 Andrea Chenier. Anna Russell (Duchess) and Giorgio Tozzi (Sulpice) in 1981 Daughter of the Regiment.

1982 Attila: Marisa Galvany (Odabella) and Simon Estes (Attila).

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Luciano Pavarotti arriving in Tulsa for May 1982 recital, met by General Director Ed Purrington. of Music, and the spectacular Coronation Scene will not soon be forgotten by those in the audience. Moussorgsky’s original version was presented, rather than the usual Rimsky-Korsakov orchestration. Many who attended still rate Boris as one of their favorite Tulsa Opera productions. An event of special importance to local opera fans occurred in May of 1981. Although Tulsa Opera would have dearly loved to get the great Luciano Pavarotti to appear in one of its productions, this was impossible to arrange because of the tenor’s large fee and limited availability. However, they did manage to engage the renowned tenor for a recital on May 26 in Chapman Music Hall, as a benefit for the Tulsa Opera Endowment Trust which had just been started. Pavarotti’s powerful voice, manipulation of his famous handkerchief, and his exceedingly popular rendition of the Turandot aria Nessun Dorma as an encore left a capacity crowd entirely satisfied that they had indeed attended something very special. Tulsa was treated to its second blockbuster opera in as many years in the fall of 1981. Andrea Chenier is not often considered for presentation by regional companies because it requires so many lead singers, but Tulsa Opera gave a stunning performance of Giordano’s masterpiece. It can be cited as another example of Ed Purrington’s ability to assemble a large cast of singers with compatible

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vocal and dramatic artistry. Gilda Cruz-Romo and Ermanno Mauro both returned to sing the lead roles, as they had done in the 1977 Aida, while Lotfi Mansouri, whose likeable nature is exceeded only by his outstanding talent for stage direction, tied the action together beautifully. Though seldom heard, Andrea Chenier is always a crowd-pleaser, especially when it is well-staged and well-performed. Verdi’s Attila, another relative rarity, came to the Tulsa stage in March of 1982. Simon Estes made his first return to Tulsa to team with highly-regarded Marisa Galvany in a production that was considered an William Johns (Manrico) and Leona Mitchell (Leonora) in artistic success, but one which was not 1982 II Trovatore. ranked by Tulsa opera-goers among their most memorable. Unlike other early Verdi operas, Attila does not contain the melodic passages that seem to stick in one’s mind sufficiently well to be later hummed or sung in the shower. In the fall of 1982, Tulsans were privileged to hear two native Oklahomans starring in Trovatore. Leona Mitchell and William Johns, both Oklahoma-born, have become world- renowned operatic singers, and they delighted the Tulsa audience with outstanding performances. Another attraction with this Trovatore production was the appearance of eminent opera conductor Kurt Herbert Adler, who was then nearing the end of an illustrious career. The Madama Butterfly in May of 1983 was notable in that it brought Diana Soviero back to star as Cio-Cio-San, but it was especially significant to Tulsans in that it marked the local debut of Tulsa native David Hamilton in the role of Yamadori. He actually had performed with the Tulsa Opera Chorus in the 1975 Rigoletto while still in high school, but the solo appearance in Butterfly was his first for Tulsa Opera. Hamilton is another locally-produced opera singer enjoying a rising career. Since performing in Butterfly, he has appeared regularly with the Metropolitan Opera, and has frequently been heard on the Met’s Saturday Matinee broadcasts. Beginning with the 1983-84 season, the Board of Directors of Tulsa Opera made a change in their structure by adding the position of Chairman of the Board. Although Bill Baden was earlier named Lifetime Honorary Chairman and Maud Lorton Myers had assumed the title of Chairman during one of her earlier years on the Board, the 1983 action made the Chairmanship of the Board a permanent, functional position. R. Thomas Seymour, the

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Richard Stilwell (Figaro) and Gunter von Kannen (Bartolo) in 1982 Barber of Seville. (Photo by Don Sibley)

Nicola Rescigno (Conductor), Laven Sowell (Chorus Master), and Cheryl Zrnic (Managing Director) at a party following the opening night performance of 1982 Barber of Seville.

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Stage Director Bodo lgesz, backstage during Kurt Herbert Adler (Conductor) and Laven Sowell opening night of 1982 II Trovatore. (Chorus Master), opening night of 1982 II Trovatore.

immediate past President, was named as the first Chairman, and it has since been customary for each outgoing President to become Board Chairman. The Flying Dutchman, Tulsa Opera’s second venture into the world of Wagner, provided some memorable events in the fall of 1983. Simon Estes’ usual top-flight performance and the final appearance in Tulsa of long-time favorite William Wildermann highlighted the opera. Both of them, however, had to share much of the glory with the Tulsa Opera Chorus, which gave a spectacular and highly acclaimed performance, especially in the third act scene during which a pre-recorded ghost chorus was synchronized with the onstage choral singing to give an effect which brought many goose-bumps to the audience. The Lucia di Lammermoor given in March, 1984 was one of the more controversial Tulsa Opera productions because of the sets which were used. It was an unfortunate fact of life that the economic situation in Tulsa was worsening at that time because of a recession in the oil industry, causing some necessary belt-tightening in the opera company’s production budgets. As a result, the lavish sets traditionally used in Lucia could not be afforded. Instead, a much less expensive set high in symbolism but low in visual appeal was used. It consisted almost entirely of a group of rocks having variable sizes and shapes which remained on stage throughout the opera, including the “indoor” scenes. For most of the audience, it was a severe distraction from a highly satisfying musical performance of Lucia. Erie Mills and Jerry Hadley, two young stars with still- rising careers were superb, while highly respected conductor Anton Coppola made an auspicious Tulsa debut. The 1984 fall Carmen was generally considered a little below the standard of most recent Tulsa Opera offerings, and was one of those rare instances when a Purrington selected cast did not display their usual on-stage compatibility. It was obvious to practically everyone in the theater that the lead singers portraying Carmen and Don Jose were not on the best of terms, and

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1983 Der Rosenkavalier: Patricia Wise (Sophie), Marius Rintzler (Baron Ochs), Gwendolyn Jones (Octavian). (Photo by Don Sibley)

Erie Mills (Lucia) in Act III Mad Scene, 1984 Lucia di Lammermoor. Diana Soviero (Cio-Cio-San) and Joseph Frank (Goro) in 1983 (Photo by Don Sibley) Madama Butterfly. (Photo by Don Sibley)

William Wildermann (Daland) and Simon Estes (The Dutchman) in 1983 The Flying Dutchman.

70 . there was little dramatic impact. Another of the principals was clearly below par, causing additional distraction. These factors unfortunately overshadowed the artistic staging by Bernard Uzan, then making his first Tulsa appearance. There was a bright spot associated with the 1984 Carmen. It was the introduction of supertitles, an innovation by which English translations of foreign-language operas are projected on a screen above the stage. Funded by Sun Oil Company, these “SUNtitles” have become a popular feature. Fortunately, the below- Karen Hunt (Mabel) and David Britton (Frederic) in 1984 Pirates of standard Carmen production did Penzance. not set the tone for the rest of the 1984-85 season. Sylvia Sass gave a powerful performance in the title role of Tosca in March, 1985, highlighting an excellent all- around presentation of the traditional favorite. In May, the audience was treated to a delightful version of The Merry Widow, for which Lotfi Mansouri returned to display his artistic and compelling stage direction. For the fall of 1985, a new, revolutionary production of Aida was planned. The set was to have two large multilevel towers, one on

1984 Carmen, Act I: David Hamilton (Morales) and Mietta Sighele (Micaela).

71 . . each side of the stage, made of copper- colored pipe, on which most of the chorus and supers would stand during the big scenes. The center of the stage would be dominated by a “pyramid” formed by four large pipes meeting at the apex, with a suspended platform and seat on which Ramfis would sit throughout the opera. The entire stage was to be covered with sand to represent the Egyptian desert. Only a few days before staging began, the towers had to be eliminated from the set, because the excessive weight produced by the towers and sand together might damage the stage floor. This left only the pyramid on an entirely exposed stage complete with exit lights and the chorus seated on 1984 Carmen, Act IV: Fiorenza Cossotto (Carmen) and folding chairs along the side when Veriano Luchetti (Don Jose). not singing. Musically, however, the production was superb, with Judith Somogi conducting and Leona Mitchell singing the title role. The following March, Tulsa Opera hit the jackpot with a truly outstanding Faust. A cast including Diana Soviero, Neil Shicoff, Samuel Ramey, and Richard Stilwell blended their outstanding talents with Bernard Uzan’s deft and stylish stage direction to give a performance which many consider one of the best, if not the best in Tulsa Opera’s history. With its cast of top stars and some breath-taking sets, that 1986 Faust would easily have been a credit to any opera house in the world. The contrast in quality with the production of twenty years before was immediately evident to anyone who had seen both. Another recital appearance by an opera superstar took place on May 27, when Leontyne Price performed a benefit for the Tulsa Opera

Sylvia Sass in title role of 1985 Tosca, Act II.

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1986 Faust, Act III: Diana Soviero (Marguerite) and Neil Shicoff (Faust). Valerie Masterson (Anna) in 1985 The Merry Widow.

Rehearsal planning for 1985 The Merry Widow: Lotfi Mansouri (Stage Director), Laven Sowell (Chorus Master), and Ed Purrington (General Director)

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Stage Director Bernard Uzan, backstage during 1986 Faust.

1986 Manon Lescaut, Act II: Josephine Barstow as Manon and Matthew Bridwell, Principal Dancer of Tulsa Ballet Theater, as The Hairdresser.

1986 Manon Lescaut, Act I: Josephine Barstow (Manon) and Ermanno Mauro (Des Grieux)

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. Endowment Trust. Even though Ms. Price was nearing retirement from the opera stage, the clear, beautiful tones for which she had become famous were still there to enthrall her Tulsa audience. In the fall of 1986, Tulsa Opera presented another Oklahoma premiere. This time it was Gershwin’s Porgy and Bess, which for almost fifty years had struggled to be recognized as a true operatic work. From the time of its composition in the late Thirties, it was Ed Purrington receiving a Governor’s Proclamation as always seen in American music circles as Oklahoma Federation of Music Club’s “Musician of the Year” from Betty Price, Executive Director of Oklahoma State Arts a Broadway musical, and was never Council. performed in major opera houses in the United States. Only in 1985 was it “legitimized” as a true opera by its premiere at the Metropolitan Opera. It was actually about two years prior to this premiere that Ed Purrington and Simon Estes had begun collaborating to put the Tulsa Opera production together. This was a challenging undertaking, but Porgy was made ready for performance in November of 1986 with Estes starring as Porgy, as he had done in the Met 1986 Porgy and Bess: Sarah Reese (Bess), Ed Purrington premiere. With the excellent cast (General Director), and Joy Simpson (Serena) in dressing room prior to performance. that had been assembled, Porgy and Bess was applauded by audience and critics alike, and took another step toward recognition as a great opera work. Early in the following year, Tulsa Opera received a jolt when Ed Purrington announced his resignation as General Director, effective at the end of the 1986-87 season, to become Administrative Director with the Washington Opera in Washington, D.C. Although Ed had developed a genuine affection for the people of Tulsa during his twelve years as the local company’s General Director, it couldn’t have been a surprise to anyone that he seized the opportunity to move up to a prestigious operation which performed eight operas per season on five times the Tulsa Opera budget. The Board of Directors announced that they would do everything possible to have a successor named by the time Purrington made his departure in May.

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January of 1987 brought the appearance of still another opera legend. Dame Joan Sutherland, like Luciano Pavarotti and Leontyne Price, was always greatly desired for an operatic role on the Tulsa stage, but a satisfactory arrangement could never be made. Instead, Dame Joan was signed to give a benefit concert for the Tulsa Opera Endowment Trust, with her husband Richard Bonynge conducting the orchestra. Bruce Hubbard (Jake) and Sarah Reese (Bess) in 1986 Porgy and Bess. The audience was most enthusiastic about her performance, but a cloud looming on the horizon may have been in the back of everyone’s mind. Orchestra members of the Tulsa Philharmonic were threatening to strike after contract negotiations had remained deadlocked for many weeks, but they did agree to play for the Sutherland concert. The strike began the next day and, with considerable difficulty foreseen in making a settlement, the remainder of the opera season was in jeopardy. It was obvious that the strike would not be over in time for the March production of The Marriage of Figaro. A solution to this immediate problem was the use of two pianos in place of the orchestra. The arrangement worked very well, and performances were quite satisfying to the audience. The upcoming Don Carlo in May was a different Jerome Hines as The Grand Inquisitor in story, however. An opera of that magnitude could 1987 Don Carlo. not possibly succeed with only dual piano accompaniment. If the strike was not going to be settled, the opera would simply have to be cancelled. When the strike continued well into April, the anxious moments prevalent among Tulsa Opera management were magnified on a daily basis. It was during this period that Opera Board President Raymond L. Tullius demonstrated extraordinary leadership in preventing the situation from getting out of hand. With consummate skill, he dealt with the strike and the many problems arising from it, always in a calm and realistic manner. Due in large measure to Tullius’ efforts, an agreement was reached between the

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orchestra musicians and Philharmonic management only a few days before staging rehearsals were scheduled to begin for Don Carlo. Needless to say, the settlement was accompanied by a profound feeling of relief at 1610 South Boulder. Don Carlo was loaded with internationally renowned singers. A cast which included Rosalind Plowright, Tatiana Troyanos, Samuel Ramey, and Jerome Hines was considerable help to the box office. An article about this production in the Wall Street Journal called it “a cast that even La Scala would be envious of.” For Ramey, another on the list of Tulsa favorites, it was the fourth appearance with Tulsa Opera. The others were all making their Tulsa debut. Unfortunately, Italian tenor Giuliano Cianelli, one of the original cast members, was not able to appear, and was replaced at the last minute by compatriot Piero Visconti. Rosalind Plowright With such an outstanding group of principals, and with (Elizabeth) in 1987 Don Carlo. Plowright and Troyanos turning in dynamite performances, the Tulsa audiences were privileged to see and hear a truly spectacular presentation of this Verdi masterpiece. Ed Purrington thus left for Washington on a very high note. In the summer of 1987, Bernard Uzan was named the new General Manager to succeed Purrington. Having staged two Tulsa productions and scheduled for another in 1988, Bernard was no stranger to the city. His demonstrated artistry in stage direction, worldwide experience and recognition, 1987 Don Carlo: Samuel Ramey (Philip II) and Rosalind Plowright (Elizabeth). and an enthusiasm to move Tulsa Opera to still greater heights thoroughly impressed the Board of Directors, who wasted no time in signing him. In March of 1988, Tulsans were finally treated to Tulsa Opera’s first production of The Tales of Hoffmann. Hoffmann had been planned for presentation in the spring of 1984, but because of some scheduling problems encountered just prior to the 1983-84 season, it was replaced by The Pirates of Penzance. Hoffmann is always a crowd-pleaser, full of enchantment, lovely music, and fascinating special effects, and Tulsa Opera’s presentation lived up to the billing. A balanced cast of capable performers and Bernard Uzan’s exquisite staging provided an

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extraordinary evening of entertainment for the audience. At the end of the 1987-88 season, Tulsa Opera again found itself without a General Director. After a rather stormy relationship with the Board of Directors, Bernard Uzan resigned to take a similar position with L’Opera de Montreal after only one year in Tulsa. When considering a successor, the Board foresaw a need to separate the administrative and artistic directorial duties and to employ a specialist in each area if the company was to continue its growth. Shortly after Uzan’s departure, the Board named Myrna Smart Ruffner as General Manager to be in charge of administration and general operation of Tulsa Opera. Myrna was known to possess exceptional managerial abilities and she had previously served as Development Director for Tulsa Opera. She was thus well qualified to Bernard Uzan, named General take over the position, and in the relatively short time since Director of Tulsa Opera in 1987. then has demonstrated dynamic leadership of the organization. Myrna’s outstanding ability to work effectively with the Board of Directors is greatly appreciated by Board members, and she has kept the company operating in the black since taking over. As a highly productive General Manager, Myrna has played a vital role in further enhancing the stature of Tulsa Opera both in the community and the surrounding area. She is considered to be a truly positive asset for Tulsa Opera. Selection of an Artistic Director was not made immediately so that the Board would have time to consider all applicants and determine which one would best fit their plans for continued success and growth of the operation. Under Board President Charlotte Schuman’s skillful leadership, a special search committee carefully screened several applicants to ensure selection of the right person for the position. In Nicholas Muni they found a young, highly innovative and energetic individual who had already established himself as one of the top stage directors in the United States. Late in the year, Muni was named to the Artistic Director post, and in less than four years his imaginative approach to the production of opera has focused national and even worldwide attention on Tulsa Opera. In the fall of 1988 another Tulsa Opera development came to fruition. The Young Artists Program (at that time called the Apprentice Program) had been established to help promote interest in opera in Tulsa and the surrounding communities, and at the same time to Myrna Smart Ruffner, named General Manager of Tulsa Opera in 1988. 78 .

give some aspiring young singers the opportunity to gain the experience and exposure so important to their developing operatic careers. A forerunner of this program had been initiated in 1986, during Ed Purrington’s tenure, as Tulsa Opera Studio in conjunction with the Oklahoma City University School of Music. Under the direction of Cheryl Zrnic, Managing Director of Tulsa Opera, the Studio originally consisted of a group of four local singers and an accompanist. When Purrington and Zrnic both left after the 1986-87 season, the program temporarily became inactive. Dur- ing Bernard Uzan’s term as General Director it was revived and expanded to include a larger group of singers, mostly from other parts of the country, and a higher level of activity in Tulsa Opera productions as well as in the community. Beginning with the 1988-89 Nicholas Muni, named Artistic Director for season, participants in Tulsa Opera in 1988. the program joined the Tulsa Opera Chorus and sang most comprimario roles, while working on a production of their own to be presented during the season. The Young Artists program reached a milestone as a result of Nick Muni’s effort when, in early 1990, they performed The Juniper Thee, a contemporary opera by celebrated composer Philip Glass who attended the performance. Participation by the Young Artists has become a major component of an extensive education program developed by Tulsa Opera in recent years. Since a full-time Director of Education was added to the Administrative Staff in 1981, many new features have been added to a program which has become eminently successful. Scheduled by the Education Director, members of the Young Artists group make frequent appearances in Tulsa area schools to perform opera selections and discuss various aspects of producing an opera. During each Tulsa Opera production, a special program for students, representing a more educationally oriented version of the original student matinee performance, is presented to middle school students from Tulsa and surrounding communities. Tulsa Opera now reaches thousands of area school children each year through their program to develop 1988 Tales of Hoffmann, Act I: Eric Halfvarson (Dr. awareness and appreciation of opera. Coppelius) and Steven Raiford (Spalanzani). (Photo by Don Sibley) 79 .

Also the Master Lecture Series and the Opera Previews, held during the weeks preceding each production serve to heighten the enjoyment of the opera by those who attend them. Among the favorite lecturers for these series are Joseph Kestner and Edward Dumit. February of 1989 brought another important occurrence in the local opera company’s history. One of Bernard Uzan’s major contributions during his brief stay as General Director was a successful collaboration with The Tulsa Philharmonic to produce a concert version of Samson et Dalila, which turned out to be one of the most exciting 1988 Tales of Hoffmann, Prologue: Robert Grayson as Hoffmann and Cynthia Clarey as Nicklausse. (Photo by Don Sibley) musical events ever heard in the city. It was ably conducted by Bernard Rubenstein, conductor of The Tulsa Philharmonic, who was no stranger to Tulsa Opera, having successfully conducted Rigoletto in the fall of 1987. Florence Quivar as Dalila and William Johns as Samson gave electrifying performances, and they were superbly complemented by Richard Sutliff, a Tulsa resident who has been heard many times in Tulsa Opera productions and is a favorite among local opera-goers. In spite of the tremendous job by the lead singers and the orchestra, the chorus came close to stealing the show. A group of approximately seventy- five splendid voices, prepared by Chorus Master Laven Sowell, sang magnificently and were critically acclaimed for their performance. Maestro Rubenstein was so impressed 1987 Rigoletto: Timothy Noble in title role with the work of the chorus that he called Laven to discuss and Cheryl Woods as Gilda. the possibility of having them participate in an all-Wagner (Photo by Don Sibley) program with the Philharmonic the next year. Unfortunately, the program’s scheduled date was only five days after the final spring opera performance so there would not be sufficient time to prepare for the Philharmonic concert. Also, most of the university students, who constitute a significant part of the chorus, would be leaving town with the end of the school year. Thus the Opera Chorus had to decline the invitation to sing in the Wagner concert and another choral organization was selected. Those who attended the opening night performance of Susannah the following May were treated to something rarely seen by an opera audience. Carlisle Floyd, the opera’s composer, was a special guest of honor in the audience and took a curtain call at the end of the opera. May 6, the day of the performance, had been proclaimed by Tulsa Mayor Rodger Randle as Carlisle Floyd

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Day to honor one of the foremost contemporary American opera composers. Artistic Director Nicholas Muni created a stir on the opera scene with a controversial staging of La Traviata in March, 1990. Using sets and costumes created by the famous designer John Conklin, a contemporary production of the opera complete with disco bar, swimming pool, and modern hospital room was presented. It was not the tra- ditionalist’s cup of tea, but Muni’s bold staging attracted a considerable amount of national attention. Christopher Keene, General Director of New York City Opera, made the trip to Tulsa for the express purpose of attending a performance and was sufficiently impressed to engage Muni to stage the same version, also with Conklin’s sets, at New York City Opera. Anyone who was not favorably impressed with the modern version of Florence Quivar, who sang Dalila in 1989 concert Traviata probably enjoyed the entirely version of Samson et Dalila. traditional production of La Cenerentola (Cinderella) in May, 1990. Cenerentola featured a well-balanced cast headed by Judith Forst in the title role, and all gave distinguished performances. Providing the stage direction for Cenerentola was renowned mezzo-soprano Rosalind Elias, who only eighteen months previously had performed in Tulsa Opera’s SuorAngelica. Another rarely-performed work came to the Tulsa Opera stage in November of 1990. Le Trouvere, the French version of Il Trovatore was written by Giuseppe Verdi at the request of the Paris Opera for presentation Trouvere, Frances Ginsberg (Violetta) and John de Haan there. In Verdi essentially (Alfredo) in1990 La Traviata retained the story line of Trovatore and made only minor modifications to the music. He added a ballet, which was a requirement for any opera performed at the Paris Opera at that time. To prevent Le Trouvere from being viewed as simply a Trovatore sung in French, Artistic Director Nick Muni, who was the Stage Director for this

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production, successfully called on his innovative talent to develop an unconventional abstract staging, once again with Conklin- designed sets. Because of the rarity of its performance, the fact that it was the first presentation of a new critical edition, and Muni’s talent for staging, Tulsa’s Trouvere attracted the attention of many opera producers in the country. One of the performances was taped by National Public Radio for a complete broadcast in 1991. The Magic Flute, Tulsa Opera’s next offering the following March, offered a cheery, upbeat production which served as a contrast to the somber Trouvere. A talented and well- balanced cast and colorful sets delighted the audience with a superbly Barbara Conrad as Azucena in 1990 Le Trouvere. artistic version of what many choose as their favorite (Photo by Don Sibley) Mozart opera. November of 1991 brought the long-awaited return of Tulsa native Linda Roark-Strummer to star as Minnie in the Oklahoma premiere of The Girl of the Golden West (La Fanciulla del West). It was in this role that Ms. Roark-Strummer had previously made a highly acclaimed debut with New York City Opera, and she made it immediately evident to her home-town audience why she has achieved international fame. Her exciting voice and imposing stage presence combined with a sensitive dramatic ability make her a natural for the role. Although Minnie is clearly the dominant. character in this beautifully melodic Puccini work, Linda was ably supported by Craig Sirianni and Donnie Ray

Albert in the principal male roles plus a host of Donnie Ray Albert (Jack Rance) and Linda Roark-Strummer rather unclean, rough-and-ready gold miners in (Minnie) in 1991 Girl of the Golden West, Act II. a performance that was thoroughly enjoyed by her many Tulsa friends. For the March opera of the 1991-92 season, the local audience was privileged to attend another landmark production that attracted not only national but worldwide attention. It was the North American premiere of Armida, an almost-forgotten Rossini opera. Tulsa Opera staged something of a coup by having the opening night performance on February 29, 1992, the composer’s two-hundredth

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1992 Armida: Christine Weidinger in the title role, with her image projected on a 40’ screen at the back of the stage. Linda Roark-Strummer, who was Minnie in 1991 Girl of the Golden West, and Peter Strummer who appeared as Dr. Bartolo in 1987 The Marriage of Figaro.

birthday, an item which itself added to this production’s reception of worldwide attention. In staging Armida, Nick Muni again displayed his genius at innovation, even surpassing his previous efforts, with some daring high-tech features. One was a collaboration with designer John Boesche to develop a computer controlled group of twenty-seven slide projectors simultaneously projecting from behind on a 40’ x 70’ screen, providing seamless images which changed automatically to coordinate with stage action. Another innovation was the videotaping of a ballet sequence involving both Christine Weidinger in her role of Armida and Tulsa Ballet Theater’s prima ballerina Kimberly Smiley as Armida’s alter-ego, and 1991 Girl of the Golden West, Act Ill: Craig Sirianni (Dick coordinating the orchestral accompaniment Johnson), Linda Roark-Strummer (Minnie), Richard Sutliff (Sonora). while it was being projected during the performance. The sequence was filmed by local video producer Philip Radcliffe. Several features of Armida make it difficult to produce. Most notably, it has six major tenor roles, and getting that many leading tenors together for one production is quite a challenge. Also, the entire Tulsa cast would be performing roles for the first time, adding even more responsibilities to Stage Director Muni and Conductor Richard Bradshaw. Complex as it was, the opera went quite 83 .

Videotaping of ballet sequence for 1992 Armida: Bill Hoagland (Tulsa Cable Television), Nicholas Muni (Stage and Video Director), Kimberly Smiley (Prima Ballerina for Tulsa Ballet Theater), and Philip Radcliffe (Video Producer). (Photo by Mel Root, Tulsa World) smoothly, thanks to top-notch performances by everyone, and enthralled the audience. This historic presentation of Armida is best summed up in an “Opera Canada review by Joseph Kestner, who serves on the Tulsa Opera Board of Directors as Vice President, Production. “The North American celebration of the Rossini Bicentenary,” Kestner writes, “was launched on the composer’s birthday to stunning effect by Tulsa Opera.” This production’s significance in the opera world was underscored in July, 1992 by a feature item on the national cable television show “Arts Break,” and a complete broadcast on National Public Radio. The 1991-92 season maintained its established high artistic level with the May presentation of HMS. Pinafore. Broadway star Cris Groenendaal, who had appeared in Sweeney Todd and in the title role of Phantom of the Opera, was outstanding as Captain Corcoran, and all cast members gave skilled performances in this well-staged production. Christine Weidinger (Armida) and Thomas Young (Rinaldo) in 1992 Armida.

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It was generally agreed that Tulsa Opera’s delightful performance of Pinafore was by far its best Gilbert and Sullivan offering to date. This is how Tulsa Opera came into being and why it has continued to gain in stature among opera companies throughout the world. The city has been most fortunate to have had leaders with the foresight and ability to ensure Tulsa’s success in an area where many other cities have failed. Opera lovers should be comforted to know that the same pride in cultural advancement exhibited by yesterday’s leaders remains strong in those of today, and with the progressive and highly capable Tulsa Opera management they have provided there is no reason to believe there will ever be any turning back. It has often been said that a city without opera is underprivileged. That statement holds considerable truth. Any opera lover who might tend to take the local company for granted should pause to consider what cultural life in Tulsa would have been if Tulsa Opera had not been brought into existence. It is a sobering thought, and should elicit a genuine appreciation for those whose efforts have given the city a marvelous cultural institution.

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. Tulsa Opera, Inc.

MYRNA SMART RUFFNER Executive Director NICHOLAS MUNI Artistic Director

Administrative Staff MARY. GRAHAM Financial Manager JANET SMITH PORTISS Public Relations Marketing Manager PAMELA GOODWIN Development Manager MARY RENNECKER MATHIS Education Director LIZ MASTERS Administrative Secretary MARY CONWELL Box Office Manager

Production and Technical Staff MARTHA ELSBERRY Production Manager RON MURPHY Production Coordinator MITA SCOTT Wardrobe Coordinator PAT SHARP Technical Consultant JOHN JACK Sound Consultant JOHN RANEY Production Electrician LEE PUTNAM Production Carpenter CRAMOND WAKEFIELD Properties Master

Tulsa Opera Headquarters 1992

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. The Tulsa Opera Boards of Directors

1948-1992 Mrs. H.J. McNally (for approximately each fifth year) 1958 Officers

1948 Robert S. Rizley, President Original Trustees for Thisa Opera Club when William A. Baden, Vice President it Mrs. L.D. Simmons, Theasurer was incorporated on December 1, 1948, as Mrs. John H. Turner, Secretary their names appear on the charter Mrs. Maud Lorton Myers, Chairman of the Board Ralph Sassano lone Sassano Other Board Members Bess Gowans Mary Helen Markham Robert G. Anderson Beryl Bliss H. G. Barnard Jr. Mrs. Loring G. Bradstreet Gustav Brandborg 1949 Dr. Robert L. Briggs First Board of Directors Mrs. Frank E. Brown H.A. Eddins Mrs. Eugene Lorton, Patron ofArt Mrs. Rex W. Evans Mrs. Robert Boice Carson George Harrison Jr. Mrs. C.H. Lieb Mrs. C. Gilbert Huffman Mrs. Beryl Brown Bliss Anthony F. Keating Mrs. John Mayo Joseph G. Lambert Mrs. Frank McMillin Mrs. Thomas B. Lowary, Opera Guild President Ralph Talbot Mrs. J.M. McReynolds Mrs. Philip Harris Bohart David R. Milsten Roger K. Lane Dale M. Moody Mrs. Ralph Sassano 0. Gibson Roquemore Burch Mayo D.J. Thepker W.W. Michaels Gerald Whitney

1963 1953 Officers Officers William A. Baden, President Dale M. Moody, Vice President David R. Milsten, President Mrs. Thomas B. Lowary, Secretary John Heinzerling, Vice-President Edmond C. Breene, Theasurer Theasurer Mrs. J.F. Purdum, Mrs. John H. Turner, Secretary Maud Lorton Myers, Honorary Life President Other Board Members

Other Board Members Robert G. Anderson Sam E. Avey Mrs. Herrick Babcock Mrs. Elfred Beck H. G. Barnard Jr. David Eugene Fields Mrs. Loring G. Bradstreet Mrs. Joseph Goodpaster Gustav Brandborg George Harrison Jr. Dr. Robert L. Briggs

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Mrs. Frank E. Brown Mrs. A.G. Oliphant Mrs. Bonnie Duncan, Opera Chorus President Mrs. Kenneth A. Owen Mrs. Rex Evans Mrs. Eugene A. Pelizzoni, Opera Guild President Don R. Feagin Mrs. Fred J. Perry George Harrison Jr. Mrs. John L. Robertson J.M. Hewgley Jr. 0. Gibson Roquemore Mrs. Wilbur J. Holleman Edgar R. Sanditen Mrs. C. Gilbert Huffman Alex Singer Mrs. W.L. Kistler Jr. Mrs. Julia Davis Smith Mrs. Sam W. Lacy Edward A. Spilman Joseph G. Lambert Mrs. Charles E. Thornton Robert E. Lorton Mrs. Joe R. Thornton Marvin Millard Daniel R. Toll David R. Milsten Mrs. John Yates, Chorus President Mrs. Kenneth A. Owen Mrs. Randolph Yost Robert S. Rizley 0. Gibson Roquemore 1973 William N. Sheehan Officers Mrs. L.D. Simmons Mrs. Herbert B. Smith Marvin Millard, President Mrs. Cecil E. Stanfield, Opera Guild President Mrs. Wilbur J. Holleman, Vice President Mrs. Charles E. Thornton Robert McDowell, Treasurer Dan Toll Mrs. Thomas B. Lowary, Secretary Mrs. H. Robert Wood William A. Baden, Immediate Past President & Lifetime Honorary Chairman of Board Mrs. Randolph Yost

Other Board Members 1968 Lindsay L. Mexander Officers Robert G. Anderson

James A. Arnold William A. Baden, President John S. Athens Edmond C. Breene, Vice President Robert W. McDowell, Treasurer Mrs. Herrick Babcock H.G. Barnard Jr. Mrs. Thomas B. Lowary, Secretary Mrs. Loring G. Bradstreet Robert S. Rizley, Immediate Past President Edmond C. Breene Other Board Members Mrs. Stanley Breitweiser Robert C. Anderson Mrs. Rex W. Evans John S. Athens Don R. Feagin Mrs. Herrick Babcock Mrs. William S. Fears Jr. H.G. Barnard Jr. Mrs. Robert A. Huffman William C. Bickel Mrs. Joseph L. Hull Jr. Mrs. Loring G. Bradstreet Mrs. Don S. Kauffmann Mrs. Stanley Breitweiser Robert E. Lorton Dr. Robert L. Briggs Mrs. J.D. McBirney Mrs. Rex W. Evans Mrs. F.G. McClintock Donald Feagin Mrs. Joe McReynolds Mrs. Wilbur J. Holleman David R. Milsten Mrs. Robert A. Huffman Dale M. Moody Mrs. Joseph L. Hull Jr. Mrs. A.G. Oliphant Mrs. John B. Jared Jr. Mrs. Kenneth A. Owen Robert E. Lorton Mrs. Eugene A. Pelizzoni Mrs. J.D. McBirney Robert S. Rizley Mrs. F.G. McClintock 0. Gibson Roquemore Mrs. Joe McReynolds Edgar R. Sanditen Marvin Millard William Shambaugh, Chorus President David R. Milsten Alex Singer Dale M. Moody Edward A. Spilman 91 .

Robert J. Stanton Fred H. Ramseur Jr. Jay R. Thomas Robert S. Rizley Mrs. Charles E. Thornton Mrs. John E. Rooney Mrs. Joe R. Thornton 0. Gibson Roquemore Charles P. Williams Edgar R. Sanditen Mrs. Peter J. MeMahon Mrs. L.D. Simmons Alex Singer 1978 Earl Sneed Officers Mrs. J.R. Strange, Opera Guild President R. Thomas Seymour, President Jay R. Thomas Lindsay L. Alexander, Vice-President for Mrs. Charles E. Thornton Membership Mrs. Joe R. Thornton E.J. Hammond, Vice-President for Miss Jean Wallace, Chorus President Planning & Development Mrs. Milton E. Wallace Mrs. Wilbur J. Holleman, Vice-President for Mrs. John H. Williams Production Robert W. McDowell, Treasurer 1983 Mrs. Tony Loretti Jr., Secretary Officers William A. Baden, Lifetime Honorary R. Thomas Seymour, Chairman of the Board Chairman of the Board E. J. Hammond, President and Chief Executive Officer Other Board Members Edward C. Purrington, General Director and Chief E.R. Albert Jr. Operating Officer W.W. Allen Ivan J. Winfield, Executive Vice-President James A. Arnold Raymond L. Tullius Jr., Vice-President, John S. Athens Administration Mrs. Herrick Babcock Jerry Mallonee, Vice-President, Finance Sloan K. Childers Judith Loretti, Vice-President, Strategic Planning J. Roger Collins J. Steven Hope, Vice-President, Public Relations & Mrs. Norman L. Dunitz Marketing Mrs. Leonard J. Eaton Jr. Richard W. Peters Jr., Vice-President, Production Mrs. Rex W. Evans Mrs. Jerald M. Schuman, Vice-President, Sam Evans Education William F. Fisher Jr. Lindsay L. Alexander, Vice-President, Membership J.A. Frates W.W. Allen, Treasurer Mrs. John P. Hammond Verney Sellers, Secretary Mrs. J.A. Haus William A. Baden, Lifetime Honorary Chairman N.D. Henshaw of the Board Mrs. James M. Hewgley Jr. Mrs. Wilbur J. Holleman, Lifetime Honorary Chairman of the Production Committee Mrs. Robert A. Huffman Mrs. Joseph L. Hull Jr. Jack D. Jones Other Board Members

Mrs. Richard Kane E.R. Albert Jr. Mrs. Don S. Kauffmann James A. Arnold Mrs. Robert E. Lorton John S. Athens Mrs. Thomas B. Lowary Virginia Atwood William Maddux Mrs. Herrick Babcock Mrs. F.G. McClintock Keenan Barnard Mrs. W. Thomas McKee James E. Barnes Peter J. McMahon Larry Bianchi Dr. Theodore J. Brickner Jr. Mrs. Joe McReynolds Jimmy M. Burdett David R. Milsten Marilyn Bush Dale M. Moody James R. Dodd Mrs. A.G. Oliphant Mrs. Norman L. Dunitz Mrs. Eugene A. Pelizzoni Mary Michal Earl, Chorus President 92 .

Mrs. Herbert Erskine Services Mrs. Rex W. Evans Graham Sudbury, Vice-President, Marketin William F. Fisher Jr. John C. Fischer, Vice-President, Personnel Dr. Marc A. Frazier Harry L. Scay III, Vice-President, Planning Scott L. Graham Hilary Kitz, Vice-President, Production Paul Gruhler Mrs. J.R. Strange, Secretary Margie Hayes Scott L. Graham, Treasurer Mrs. Ray Hembree John S. Athens, Legal Counsel N.D. Henshaw William A. Baden, Lifetime Honorary Chairman Mrs. James M. Hewgley Jr. of the Board Mrs.Wilbur J. Holleman, Honorary Lifetime Ernestine Broadhurst Howard Chairman, Production Committee Jack P. Jones Lindsay L. Alexander, Honorary Lifetime Joseph B. Kastenholz Chairman, Grand Prix Mrs. Don S. Kauffmann

George W. Krumme Karen Lieberman Other Board Members Dr. Thomas L. Asheraft Mrs. Robert E. Lorton William A. Bowen Mrs. B.P. Loughridge Mrs. David M. Bowman Sr. William Maddux Ms. Patty Boyer, Chorus President P. Thomas Mann Mrs. Robert E. Downing Marvin Millard Mrs. Norman L. Dunitz David R. Milsten Mrs. EL. Dunn Jr. Mrs. Eugene A. Pelizzoni William F. Fisher Jr. Mrs. A. Munson Fuller Mrs. Rod L. Reppe, Opera Guild President Julian W. Glass Jr. Robert S. Rizley Eric Grimshaw Mrs. John E. Rooncy Donald A. Hamilton Gerard J. Rothlein E.d. Hammond Edgar R. Sanditen Mrs. Charles Hatfield Mrs. W.H. Helmerich III Mrs. Dan Savage Jonathan David Helmerich David C. Sewell Mrs. Beverly Hembree Alex Singer N.D. Henshaw Mrs. L.H. Stanfield Mrs. James M. Hewgley Jr. Gertrude Sundgren Mrs. Ralph H. Howard Mrs. James Tatum Mrs. Paul Kantor Mrs. Charles E. Thornton Mrs. Don S. Kauffmann Joseph L. Kestner Richard D. Turley Mrs. Robert E. Lorton Morey J. Villareal Mrs. B.P. Loughridge Mrs. Milton E. Wallace Mrs. Graydon Luthey Bruce G. Weber Howard Maher Albert E. Whitehead John Major Mrs. John H. Williams James Malone Mrs. Ruth A. McAllister Mrs. John Steele Zink Mrs. Peter Meinig 1988 Charles G. Meckfessel Marvin Millard Officers David R. Milsten Raymond L. Tullius Jr., Chairman of the Board Mrs. Milton H. Parker Mrs. Jerald M. Schuman, President Mrs. Eugene A. Pelizzoni Michael H. Camp, Vice-President, Finance Richard W. Peters Jr. Mrs. Peter Prudden James R. Dodd, Senior Vice-President forFund Raising Charles H. Purdy Jerry L. Dodson, Vice-President,Corporate & Foundations Mrs. Robert M. Randolph, Opera Guild President Mrs. Mrs. Roger M. Atwood, Vice-President, Lawrence Reed Individuals & Presidents’ Council Robert S. Rizley Mrs. James E. Rainey, Vice-President, Special Projects Mrs. Rod L. Reppe, Vice-President, Education & Volunteer

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Other Board Members Mrs. John E. Rooney Edgar R. Sanditen Mrs. Roger M. Atwood R. Thomas Seymour William A. Bowen Mrs. Ray H. Siegfried II Mrs. David W. Bowman Sr. Mrs. L.H. Stanfield Mrs. Norman L. Dunitz John D. Strong Jr. Mrs. F.L. Dunn Jr. Richard P. Turley Frank Eby Kirk Van Valkenburgh William F. Fisher Jr. Mrs. Milton E. Wallace Dr. Marc A. Frazier Michael R. Wailer Julian W. Glass Jr. Mrs. Paul L. Welch Donald A. Hamilton Jr. Mrs. Gerald H. Westby E.J. Hammond Ivan J. Winfield Mrs. Charles Q. Hawkins Mrs. John Steele Zink Mrs. W.H. Helmerich III Bill Hoagland 1992 Mrs. Ralph H. Howard Officers Robert 0. Hunt Mrs. Lawrence Littlefield, Opera Guild President Mrs. Jerald M. Schuman, Chairman of the Board Howard Maher Scott L. Graham, President John Major Hilary Kitz, Executive Vice-President / President William H. Mattern Elect Mrs. J. Frederick McNeer Michael H. Camp, Vice-President, Finance Mrs. Peter Meinig James R. Dodd, Senior Vice-President for Fund Clarence R. Messick Raising Mrs. Jerry Nichols Eric Grimshaw, Vice-President, Corporate & Mrs. James C. Norton Foundations Richard W. Peters Jr. Mrs. Beverly Hembree, Vice-President, Individuals Dewitt L. Potter & President’s Council Mrs. James E. Rainey Mrs. Paul Kantor, Vice-President, Special Projects Mrs. Rod L. Reppe Mrs. Graydon Luthey, Vice-President, Education & Ron Roberson, Chorus President Volunteer Services R. Thomas Seymour Mauricio Salazar, Vice-President, Marketing Mrs. Jack E. Short John C. Fischer, Vice-President, Personnel Mrs. Ray H. Siegfried II Harry L. Seay III, Vice-President, Planning Dennis Smiley Joseph L. Kestner, Vice-President, Production Jonathan Helmerich N.D. Henshaw, Vice-President, Regional Outreach John D. Strong Jr. Edgar R. Sanditen, Treasurer Graham Sudbury Mrs. J.R. Strange, Secretary Ross Swimmer John S. Athens, Legal Counsel W.H. Thompson Jr. William A.Baden, Honorary Lifetime Chairman of Raymond L. Tullius Jr. the Board Michael R. Wailer Mrs. Wilbur J. Holleman, Honorary Lifetime Arthur Walsh Jr. Chairman of the Production Committee Burl S. Watson Lindsay L. Alexander, Honorary Lifetime Chairman Mrs. Paul L. Welch of the Grand Prix Mrs. Gerald H. Westby Richard Williford Mrs. John Steele Zink

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President’s Council Memberships as of August, 1992

LIFETIME PRESIDENT’ S Mr. & Mrs. John Lawhon MEMBERS COUNCIL Mr. & Mrs. David Leslie (Donation of $15,000) (Annual membership of Mr. & Mrs. Lawrence $1,500) Littlefield Mr. & Mrs. LindsayL. Mr. &Mrs. RobertE. Lorton Alexander Jean Pape Adams Mr. & Mrs. Graydon Luthey Dr. & Mrs. ThomasL. Ashc Dr. &Mrs. Mark Allison Mr. & Mrs. H. McEwen raft Mr. &Mrs. WA. Baden Maher Mr. & Mrs.John L. Athens Mr. &Mrs. KeithE. Bailey Mr. &Mrs.JohnMa]or Dr. &Mrs. Roger Atwood Mr. &Mrs.famesE. Barnes Dr. & Mrs. Nicholas D. Dr. &Mrs. Aj. Barthelmes Mr. & Mrs. Roman F. Mamalis Mrs. B.B. Blair Boruta Mr. & Mrs. Peter C. Meinig Dr. & Mrs. Theodoref. Mr. & Mrs. David W Mr. & Mrs. D. Berry Miller Brickner, Jr. Bowman, Sr. Mrs. Vincent S. Mulford, Jr. Mr. &Mrs. Rick P. Clinton Mr. & Mrs. L.G. Bradstreet, Mr. &Mrs. CharlesD. Mr. & Mrs. Stephen Jr. Ochinegro Duenner Mr. & Mrs. John Brock Mr. &Mrs. Eugene A. Dr. & Mrs. Norman Dunitz Mr. &Mrs. Michael H. Camp Pelizzoni Mr. & Mrs. Scott I. Graham Mr. & Mrs. Don L. Mr. & Mrs. Richard W Mr. &Mrs. Ej. Hammond Chalmers Peters, Jr. Dr. &Mrs. Donald P Dr. George Cohlmia & Ms. Mr. & Mrs. J. Ronald Helander Gayle Stein Petrikin Mr. & Mrs. Hans Helmerich Mrs. H.D. Collins Mr. &Mrs. Larry Phillips Mr. &Mrs. WH. Mr. & Mrs. Ollie B. Crosby Dr. &Mrs. Ralph Richter Helmerich,III Mr. & Mrs. Charles Mr. & Mrs. John E. Rooney Mr. &Mrs. ND. Henshaw Daubenberger Mrs. L.F Rooney, Jr. Mrs. WilburJ. Holleman Mr. &Mrs.JamesR. Dodd Mr. & Mrs. Jerry E. Ryan Ernestine Broadhurst Mr. &Mrs. FL. Dunn, Jr. Mr. & Mrs. Mauricio Howard Mrs. Donald R. Feagin Salazar Mr. &Dr. George W Mr. & Mrs. Scott H Filstrup Mr. & Mrs. Edgar R. Krumme Mr. &Mrs.John C. Fischer Sanditen Dr. & Mrs. Frank S. Letcher Dr. & Mrs. John R. Frame Mr. & Mrs. Dan Savage Dr. &Mrs. Simon A. Levit JeryL. Franks Mr. &Mrs. Harry W Mrs. Julius C. Livingston Julian W Glass, Jr. Schwartz Dr. &Mrs. B.P Lougbridge Clifton S. Goddin Mrs. Harry L. Seay, III Mr. & Mrs. Herbert J. Miller Mr. & Mrs. J.M. Graves Mr. &Mrs.JackE. Short Mr. & Mrs. Dewitt L. Potter Mr. &Mrs. RamezM. Hakim Mr. & Mrs.Alex Singer Robert S. Rizley, Sarkeys Mr. & Mrs. George Mr. & Mrs. Frederick Foundation Hamilton Slicker Mr. & Mrs. Virgil Reese Mr. & Mrs. Jonathan Mr. &Mrs. Dennis Smiley Mr. & Mrs. Jerald M. Helmerich Dr. & Mrs Jimmy R. Strange Schuman Mr. & Mrs. f.M. Hewgley, Raymond L. Tullius, Jr. Mr. & Mrs. R. Thomas Jr. Mr. & Mrs. GilJ. Van Seymour Mr. &Mrs. Robert G. Hunt Lunsen George Singer & Hilary Kitz Mr. &Mrs. Nathan Janco Mr. &Mrs. Burl S. Watson Mrs. Vincent Sundgren Mr. & Mrs. Vernon T. Jones Mark & Melissa Weiss Mr. & Mrs. John H. Mr. &Mrs. PaulKantor Mrs. Gerald S. Westhy Williams Mrs. Jean R. Kelley Mrs. Patricia Wheeler Mrs. FrancisJ. Wilson Joseph A. & Anna Norberg Mr. & Mrs. Joseph H. Mrs. John Steele Zink Kestner Williams Anonymous (one) Mr. & Mrs. John Kilpatrick Mr. &Mrs. Richard A. Mr. & Mrs. Raymond Kravis Williford Virginia K. Kulp Anonymous 95 .

Tulsa Opera Annals

1948 – 1992

1948 (Nov.2) Claudia Ford Jan VanVorkum Donald Meehan Bertha (Nov.1) Mary Helen Markham December 4, 1948 (Nov.2) Bula Swartz LA TRAVIATA Gretchen (Nov.1) Marilyn Breno GIUSEPPE VERDI (Nov.2) Louise O’Brien In Italian “Con” Kidder (Nov.1) Jerry Keith Violetta lone Sassano (Nov.2) Louis Ford Flora Mary Helen Markham “Kid” Conner (Nov.1) James Shea Doctor Grenvil Allen Cook (Nov.2) Roger Lane Marquis D’Obigny Donald Meehan Capt. Drees VanDamn Clyde Clarkson Baron Dauphol Lee Austin Countess de Ia Fere Winifred Steffens Gastone William Lewis Her sons Robert MacDowell, Alfredo Ralph Sassano Drennan Miller, R.F. Vandaveer, Annina Leona Wise and Frank Vitale Giorgio Germont Burch Mayo Joshua Pennyfeather Harold DeShane Conductor Gerald Whitney His daughters Barbara Botkin, Stage Director Ralph Sassano Virginia Hudson, Dorothy Choreographer June Runyon Johnson, and Evelyn Wandres The Governor of Zeeland Charles Dickerson Aides-de-camp Members of Webster High School Band 1949 Servant Don Guier Gendarmes Don Guier & Pete Cozzi May 7, 1949 Conductor Gerald Whitney LA TRAVIATA Stage Director Richard M. Dickinson GIUSEPPE VERDI Choreographer June Runyon In Italian Violetta lone Sassano Flora Leona Wise 1950 Doctor Grenvil Allen Cook Marquis D’Obigny Donald Meehan April 26, 27, and 28, 1950 Baron Dauphol Robert Anson THE CHOCOLATE SOLDIER Gastone John Bliss OSCAR STRAUSS Alfredo Ralph Sassano Annina Clara Sory Nadina Ione Sassano Giorgio Germont Burch Mayo Virginia Hudson Conductor Gerald Whitney Aurelia Charlotte Beck Stage Director Richard M. Dickinson Diderika Arps Choreographer June Runyon Maseha Margaret Young Smith Barbara Botkin Bumerli William Sheehan November 1 and 2, 1949 John Bliss THE RED MILL Massakroff Marvin Catron VICTOR HERBERT James Shea Willem Clyde Abel Kasimir Popoff James Carstarphen Franz John McCormick Robert MacDowell Tina (Nov.1) Dorothy McCormick 96 .

Akxius Spiridoff Robert Hampton “Madame Lucy” James Carstarphen Jack Harrison Mrs. Cheston Winifred Steffens Katinka and Stephan Geraldine Greider and Alan Hall Conductor Gerald Whitney Conductor Gerald Whitney Stage Director Richard M. Dickinson Stage Director Richard M. Dickinson Assistant Stage Director Ben Henneke Assistant Stage Director Ben Henneke Choreographer Marguerite Bailey Choreographer Mrs. Joseph Zaba May 11 and 12, 1951 November 9 and 10, 1950 THE MERRY WIDOW THE NEW MOON FRANZ LEHAR SIGMUND ROMBERG Monsieur de St. Prioche Robert Hampton Julie Adrienne McCracken Natalie Eleanor Bode Monsieur Beaunoir Oliver Keener Vicomte Camille de Jolidon Lee Miller Capt. Duval Jack Harrison General Novokovich Brice Venable Vicomte Ribaud Harold DeShane Olga Diderika Arps Monsieur Fouchette Hiram West Monsieur Khad]a Harold DeShane Robert David Atkinson Monsieur Nisch Jerry Keith Alexander Jerry Keith Marie Adrienne McCracken Besac Claude Evans Suzette Margaret Young Smith Jacques Henry William Meinert Jeanette Vivian Haas Marianne Beaunoir Nan Pearsley Antoinette Susanne Shelton Flower Girl Helen Beaty Praskovia Ruth Avery Spanish Dancers Tom Arrington, Baron Popoff James Carstarphen Anne Hesse, and Elaine Kaveler Sonia Irra Petina Phillips Frank Vitale Marquis de Cascada Robert MacDowell Clotilde Evelyn Porter Ranch Prince Danilo Clyde Clarkson Capt. DeJean Howard Gilliam Sylvaine Elaine Douvas Seamstress Ruby Hollenback Zozo Mberta McSoud A Girl June Arnold Lola Adrienne McCracken A Man J.V.E. Dodo Margaret Young Smith Alquist Jou-Jou Vivian Haas Conductor Gerald Whitney Frou-Frou Geraldine Greider Stage Director Richard M. Dickinson Clou-Clou Jean King Assistant Stage Director Ben Henneke Margot Virginia Hudson Choreographer Suzanne Scruggs Morrow Waiter at Maxims Ronald Pesha Head Waiters Donald Gold, Gordon Matthews, Donald Miller, and John Penn 1951 Prima Ballerina Yvonne Choteau Conductor Gerald Whitney February 9 and 10,1951 Stage Director Richard M. Dickinson IRENE Assistant Stage Director Ben Henneke Choreographer HARRY TIERNEY Marguerite Bailey

November 15, 16, and 17,1951 Mrs. Marshall Mabel Hotz Eleanore Worth Margaret Young Smith THE DESERT SONG Donald Marshall Charles Reilly SIGMUND ROMBERG Clarkson Arthur Grandi Robert Harrison James Shea Pierre Bira beau David Atkinson Irene O’Dare Marilyn Cotlow Sid El Kar Bill Nichols Lawrence Hadley Robert Hampton Hassi Gene Jackson Mrs. O’Dare Charlotte Beck Capt. Paul Fontaine John Holt Helen Cheston Janet Griese Azuri Jean Bleakley Jane Gilmour Doreen Anderson Wood Susan Dorothy McCormick James P Bowden Clyde Clarkson Edith Adrienne McCracken 97 .

Margot BonvaletMargot Bonvalet Ione Sassano Cook’s Courier Victor Salamy Gen. Bira beau Lewis Clark Jimmie Jim Wooden Sgt. La Vergne James Reynolds Mrs. Madison Crocker Adrienne Auerswald Nogi Charles Allison Edith Adams Barbara Bowers Ali Ben Ali Arthur Grandi Sidonie Susanne Shelton Clementine Edith Polan Nellie Wagner Mary Jane Connet Neri Carolyn Jeifreys Sergeant Brie Victor Salamy Old Man John McCormick A Girl Mary Ann Brandt Sentries Ronald Pesha and H.C. Snook Student Brice Venable Attendant in Harem Mary Nichols Cunductor Gerald Whitney “Cricket” Sicilian Mule Stage Director Richard M. Dickinson Conductor Gerald Whitney Choreographer Marguerite Bailey Stage Director Richard M. Dickinson Choreographer Marguerite Bailey April 30, May 1 and 2, 1953

NO, NO, NANETTE VINCENT YOUMANS 1952 Pauline Virginia Banfield Thompson April 24, 25, and 26, 1952 Sue Smith Esther Kimball Hibbard RIO RITA Billy Early Robert Smith HARRY TIERNEY Lucille Edna Griggs Welch Padrone H.C. Snook Nanette Jo Sullivan Sgt. McGinn Donald Jernigan Tom Thainor Robert Shackelton Sgt. Wilkins Brice Venable Jimmy Smith Billy House Waiter Paul Squitieri Betty Doris Jones Carmen Mary Jo McCullough Winnie Mary Zartaludes Ed Lovett John Dameron Mrs. Webster Wylie Bernice Obst Davalos Amos Belden Flora Georgia Noel Lolita Georganna Larkin Mrs. Townley Morgan Pennie Ruth Roberto Ferguson Jerry James Conductor Gerald Whitney Gen. Esteban Richard Cook Stage Director Richard M. Dickinson Rita Ferguson Ann Ayars Choreographer Marguerite Bailey Chick Bean Jerry Keith Dolly Bean Adrienne McCracken Capt. James Stewart John Tyers Ferdinand The Bull Katie Bean Helen Corlett November 19 and 21,1953 Conductor Gerald Whitney Stage Director Richard M. Dickinson MADAMA BUTTERFLY Choreographer Marguerite Bailey GIACOMO PUCCINI In Italian

Sharpless John Brownlee 1953 Benjamin Franklin Pinkerton Giulio Gari January 16 and 17, 1953 Goro George Tallone Suzuki Lydia Ibarrando THE PRINCE OF PILSEN Cio-Cio-San Tomiko Kanazawa GUSTAV LUDERS Imperial Commissioner Bill Parks The Bonze Denver Wathen Carl Otto, Prince of Pilsen Ralph Herbert Yamadori Ivan Perlman Hans Wagner Richard Cook Kate Pinkerton Jeane Johnston Trouble Lt. Wagner Denver Wathen Richard Franklin Conductor Gerald Whitney Arthur St. John Wilberforce James Carstarphen Stage Director Anthony Stivanello Francois Amos Belden

98 .

1954 Benoit John Penn Mimi Nadine Connor May 13, 14, and 15, 1954 Parpignol William Sheehan Musetta Joan Francis THE BARTERED BRIDE Alcindoro Jon Paul Jones BEDRICH SMETANA Customhouse Sergeants Arman Franklin In English Marie Eva Likova and Tom McGill Jenik Rudolf Petrak Conductor Gerald Whitney Kezal Lorenzo Alvary Stage Director Anthony Stivanello Kruschina James Carstarphen Kathinka Marjorie DiProflo Vashek George Tallone October 20 and 22, 1955 Mischa John Penn Agnes Rose Martin FAUST Springer W.I. Nichols CHARLES GOUNOD Esmeralda Virginia Whitaker In French The Indian Arman Franklin Conductor Gerald Whitney Faust Eugene Conley Stage Director Anthony Stivanello Mephistopheles William Wildermann Choreographer Marguerite Bailey Valentine John Browulee Wagner John Thomas McGill Siebel Dodee Brockhoff Marguerite Helen Greco Marthe November 4 and 6, 1954 Marjorie DiProflo Conductor Gerald Whitney LA TRAVIATA Stage Director Anthony Stivanello GIUSEPPE VERDI Choreographer Marguerite Bailey In Italian

Violetta Marguerite Piazza 1956 Flora Dorothy McCormick April 26 and 28, 1956 Doctor Grenvil James Shea Marquis D’Obigny Jon Paul Jones RIGOLETTO Baron Douphol Louis Clennan GIUSEPPE VERDI Gastone Gerald Whitney Jr. In Italian Alfredo David Poleri Annina Virginia Whitaker The Duke of Mantua Ruggero Schileo Giorgio Germont Grant Garnell Borsa (April 26) Lory Ice The Majordomo Arman Franklin (April 28) William Sheehan Conductor Gerald Whitney Countess Ceprano Dorothy McCormick Stage Director Anthony Stivanello Count Ceprano Ed McClelland Choreographer Marguerite Bailey Rigoletto Giuseppe Valdengo Marullo John Thomas McGill Monterone Marwood MeClelland Sparafucile Valfrido Patacchi 1955 Gilda Graciela Rivera Giovanna (April 26) Virginia Lee Anderson April 28 and 30, 1955 (April 28) Josephine Clark LA BOHEME A Page Pope Economou GIACOMO PUCCINI An Usher Arman Franklin In Italian Maddalena (April 26) Marjorie DiProflo Marcello Richard Torigi (April 28) Joan Draughon Rodolfo Brian Sullivan Conductor Gerald Whitney Colline William Wildermann Stage Director Anthony Stivanello Schaunard Arthur Newman Choreographer Marguerite Bailey

99 .

November 1 and 3, 1956

AIDA Mario Cavaradossi Barry Morell GIUSEPPE VERDI Floria Tosca Licia Albanese In Italian Baron Scarpia Walter Cassel Ramfis Valfrido Patacchi Spoletta George Tallone Radames Rudolf Petrak Sciarrone Michael Crowley Amneris Claramae Turner A Shepherd Mary Ellen Fox Aida Herva Nelli A Jailer Arman Franklin The King of Egypt Marwood McClelland Conductor Kenneth Schuller A Priestess Martha Roberts Stage Director Anthony Stivanello Amonasro Cesare Bardelli Conductor Gerald Whitney Stage Director Anthony Stivanello Choreographer Marguerite Bailey 1958 March 27 and 29, 1958 The Tulsa Opera Chorus was supplemented for this production by special groups from the University of Tulsa and the Central High School Opera Club. The LUCIA DI LAMMERMOOR stage band was from Central High School and the GAETANO DONIZETTI trumpeters were from Will Rogers High School. In Italian Normanno Robert Baker Lord Henry Ashton Giuseppe Valdengo Raymond Valfrido Patacchi Lucia Roberta Peters 1957 Alisa Dorothy McCormick April 11 and 13, 1957 Edgardo Giuseppe Campora CARMEN LordArthur Bucklaw Virginio Assandri

GEORGES BIZET In French Conductor Kenneth Schuller Morales Roy Urhausen Stage Director Anthony Stivanello Micaela Joan Marie Moynagh Choreographer Roman Jasinski Don Jose Eddy Ruhl Zuniga Robert Bird Carmen Nell Rankin Frasquita Marcelle Bolman November 20 and 22, 1958 Mercedes Ruth Thorson MADAMA BUTTERFLY Escamillo Cesare Bardelli GIACOMO PUCCINI Remendado George Tallone In Italian Dancairo Roy Urhausen Lt. B.F Pinkerton Giuseppe Campora Conductor Gerald Whitney Goro Virginio Assandri Stage Director Anthony Stivanello Suzuki Lillian Marchetto-Patacehi Chorus Master Kenneth Schuller Sharpless Walter Cassel Choreographer Marguerite Bailey Cio—Cio-San Dorothy Kirsten Imperial Commissioner Michael Crowley The Bonze Valfrido Patacchi Yamadori Robert Baker November 7 and 9, 1957 Sorrow Paul Sheehan TOSCA Kate Pinkerton Dorothy McCormick GIACOMO PUCCINI In Italian Conductor Kenneth Schuller Cesare Angelotti Thomas McGill Stage Director Anthony Stivanello The Sacristan Lawrence Davidson

100 .

1959 Colline Nicola Moscona Schaunard Napoleon Bisson Benoit Arthur Newman March 19 and 21,1959 Mimi Dorothy Warenskjold IL TROVATORE Parpignol Jerry Langenkamp Musetta Eva Likova GIUSEPPE VERDI Alcindoro Arthur Newman In Italian Customhouse Officer Gerald Jones Ferrando Nicola Moscona Customhouse Sergeant Wesley Johnson Leonora Elinor Ross Conductor Anton Guadagno Inez Dorothy McCormick Stage Director Anthony Stivanello Count di Luna Leonard Warren Chorus Master Robert Ruetz Manrico Jussi Bjoerling Children’s Chorus Director Gene Roads Azucena Jean Madeira A Gypsy Wesley Johnson A Messenger James Carstarphen Ruiz William Sheehan Prima Ballerina Mocelyn Larkin November 3 and 5, 1960 Premier Danseur Roman Jasinski Conductor Giuseppe Bamboschek LA TRAVIATA Stage Director Anthony Stivanello GIUSEPPE VERDI Chorus Master Robert Ruetz Choreographer Roman Jasinski In Italian

Violetta Anna Moffo November 5 and 7,1959 Flora Janet Duval UN BALLO IN MASCHERA Marquis D’Obigny Howard Kunsman GIUSEPPE VERDI Baron Dauphol Donald Highley In Italian Doctor Grenvil Valfrido Patacchi Samuele Valfrido Patacchi Gastone Robert Nicholas Bennett Tommaso Edward Doe Alfredo Walter Fredericks Oscar Peggy Bonini Annina (Nov. 3) Virginia Lee Anderson Riccardo Giuseppe Campora (Nov. 5) Mary Lou Atkinson Renato Giuseppe Valdengo Giuseppe Floyd Ausburn Judge Richard Smith Giorgio Germont Igor Gorin Ulrica Martha Lipton Flora’s Servant Dan Toll Silvano Michael Crowley Prima Ballerina Joan Ehemann Amelia Elinor Ross Conductor Carlo Moresco Amelia’s Servant Howard Kunsman Stage Director Anthony Stivanello Conductor Carlo Moresco Chorus Master Charles Featherston Stage Director Anthony Stivanello Choreographer Marguerite Bailey Reed Chorus Master Robert Ruetz Choreographer Marguerite Bailey Reed 1961

March 16 and 18, 1961 1960 CAVALLERIA RUSTICANA PIETRO MASCAGNI March 17 and 19, 1960 In Italian

LA BOHEME Santuzza Nell Rankin GIACOMO PUCCINI In Italian Mamma Lucia Nancy Holland Alfio Ercole Bertolino Marcello Ercole Bertolino Turiddu Enrico DiGiuseppe Rodolfo Flaviano Labo Lola Jean Sanders

and 101 .

I PAGLIACCI Don Basilio William Wildermann RUGGIERO LEONCAVALLO Berta Lorraine Calcagno In Italian A Sergeant William Sheehan Ambrogio Eldon Carrington Tonio Cesare Bardelli The Notary Edward Dumit Peppe Harold Orbach Conductor Carlo Moresco Canio Giovanni Consiglio Stage Director Dino Yannopoulos Nedda Sonia Stolin Chorus Master Robert Lansing Silvio Ercole Bertolino Set Designer Wolfgang Roth Villagers Carmen Graziano and Dan Toll Conductor Carlo Moresco Stage Director Anthony Stivanello November 1 and 3,1962 Chorus Master Charles Featherston CARMEN GEORGES BIZET Supplementary Chorus from: In French First Christian Church, Oklahoma City, Robert Lansing, Director; St. Andrews Presbyterian Church, Morales Laven Sowell Tulsa, Roger Greider, Director; Children’s Chorus, Micaela Karol Loraine Gene Roads, Director Don Jose Richard Tucker

Zuniga Irwin Densen Carmen Gloria Lane Frasquita Virginia Lee Anderson November 2 and 4,1961 Mercedes Marta Perez RIGOLETTO Escamillo Walter Cassel GIUSEPPE VERDI Remendado Luigi Vellucci In Italian Dancaire Gene Boucher Solo Dancers Yvonne Chouteau The Duke of Mantua Enrico DiGiuseppe Miguel Terekhov Borsa Bob Cortright Conductor Carlo More sco Countess Ceprano Virginia Lee Anderson Stage Director Anthony Stivanello Count Ceprano Howard Kunsman Chorus Masters Frances W. Anderson Rigoletto Cornell MacNeil Arthur Hestwood Marullo Tony Palmeri Choreographer Roman Jasinski Monterone Campbell Bunting Children’s Chorus Director Gene Roads Sparafucile Valfrido Patacchi Gilda Gianna D’Angelo Supplementary Chorus: Giovanna Nancy Holland University of Tulsa Modern Choir; Arthur Hestwood, Page Phylistice Hudson Usher Dick McCall Director Maddalena Harriet Senz 1963 Conductor Carlo Moresco Stage Director Anthony Stivanello March 14 and 16, 1963 Chorus Master Robert Lansing THE MARRIAGE OF FIGARO WOLFGANG AMADEUS MOZART 1962 In English

Translation by Ruth and Thomas Martin March 15 and 17, 1962 Figaro Donald Gramm IL BARBIERE DI SIVIGLIA Susannah Lee Venora GIOACCHINO ROSSINI Bartolo Herbert Beattie In Italian Marcellina Gladys Kriese Cherubino Mildred Miller Fiorello Laven Sowell Count Almaviva Chester Ludgin The Count of Almaviva Cesare Valletti Figaro Frank Guarrera Dr. Bartolo Salvatore Baccaloni Rosina Roberta Peters Basilio Luigi Vellucci 102 .

Countess Almaviva Marguerite Willauer Antonio Charles Camp AIDA Don Curzio Glen Ellsworth GIUSEPPE VERDI Barbarina Connie Barker In Italian Conductor Carlo Moresco Stage Director Dino Yannopoulos Ramfis William Wildermann Chorus Master Laven Sowell Radames Daniele Barioni Amneris Mignon Dunn Costumes from Goldstein and Company, San Aida Lucine Amara Francisco; Sets designed by Peter Wolf Associates, The King of Egypt (Nov. 6) Laven Sowell (Nov. 8) Denny Boyd Inc., Dallas A Messenger Reynaldo Fuentes A Priestess Janice Yoes November 7 and 9, 1963 Amonasro Mario Sereni TOSCA Conductor Carlo Moresco Stage Director Anthony Stivanello GIACOMO PUCCINI Chorus Master Daniel Scott In Italian Choreography Thomas Cannon Cesare Angelotti Valfrido Patacchi The Sacristan Mario Volta Corp de Ballet from the Philadelphia Grand Opera Mario Cavaradossi Barry Morell

Floria Tosca Dorothy Kirsten The Tulsa Opera Chorus was supplemented for this Baron Scarpia Cesare Bardelli production by special groups from the University of Spoletta Luigi Vellucci Tulsa and the University of Arkansas. Forty-four Sciarrone Laven Sowell supers, the stage band and the trumpeteers were all A Shepherd Boy (Nov. 7) Bob Treadgill from Oklahoma Military Academy, Claremore, (Nov. 9) Steve Coulter Oklahoma. Jailer Charles Camp

Conductor Carlo Moresco

Stage Director Anthony Stivanello

Chorus Master Daniel Scott December 18, 19, and 20, 1964 Children's Chorus Director Gene Roads HANSEL and GRETEL ENGELBERT HUMPERDINCK 1964 In English

March 12 and 14, 1964 Translation by Constance Bache LUCIA DI LAMMERMOOR GAETANO DONIZETTI Hansel Marija Kova In Italian Gretel Lee Venora Mother RosaliaMaresca Normanno Reynaldo Fuentes Father Chester Ludgin Lord Enrico Ashton Igor Gorin Sandman Janice Yoes Raimondo Irwin Densen The Witch Norman Kelley Lucia Gianna D’Angelo Dew Fairy Virginia Lee Anderson Alisa (March 12) Virginia Lee Anderson Conductor Carlo Moresco (March 14) Dorothy McNabb Stage Director Nathaniel Merrill Edgardo John Alexander Chorus Master Daniel Scott Lord Arturo Bucklaw Thomas O’Leary Children's Chorus Director Gene Roads Conductor Carlo Moresco Choreographer Roman Jasinski Stage Director Rexford Harrower Dancers Tulsa Civic Ballet Chorus Master Daniel Scott Scenery & Costume Design Peter Harvey Choreography Marguerite Reed Lighting Design V.C. Fuqua Jean Bleakley The sets and costumes for this production were a gift of the Martha Baird Rockefeller Fund for Music, Inc. November 6 and 8,1964 103 .

1965 Dew Fairy Shirley Murray

March 12 and 14, 1965 Chorus Edison High School Concert Chorus LA BOHEME Conductor Carlo Moresco GIACOMO PUCCINI Stage Director Nathaniel Merrill In Italian Chorus Master Laven Sowell Choreographer Roman Jasiuski Marcello Frank Guarrera Scenery Peter Wolf Associates Rodolfo Barry Morell Colline Bonaldo Giaiotti Schaunard Orlando Hernandez Benoit Laven Sowell Mimi Jean Fenn 1966 Parpignol Reynaldo Fuentes Musetta Arlene Hampe March 10 and 12, 1966 Alcindoro Charles Camp Customhouse Sergeant Randolph Morlan FAUST CHARLES GOUNOD Conductor Carlo Moresco In French Stage Director Glynn Ross Chorus Master Daniel Scott Faust Robert Moulson Children’s Chorus Director Gene Roads Mephistopheles Norman Treigle Wagner Laven Sowell Valentin Robert Gregori November 5 and 7,1965 Siebel (March 10) Karen Kribbs (March 12) Pamela Scholes Marguerite Lucine Amara L ‘ELISIR d ‘AMORE Marthe Lorraine Calcagno GAETANO DONIZETTI Conductor Carlo Moresco In Italian Stage Director Dino Yannopoulos Chorus Master Daniel Scott Giannetta (Nov. 5) Virginia Lee Anderson Choreographer Nelle Fisher (Nov. 7) Pamela Scholes Nemorino Cesare Valletti Adina Roberta Peters Sergeant Belcore Giulio Fioravanti November 3 and 5,1966 Dr. Dulcamara Italo Tajo TURANDOT Conductor Carlo Moresco GIACOMO PUCCINI, Stage Director Anthony Stivanello Completed by FRANCO ALFANO Chorus Master Daniel Scott In Italian Scenery Ercole Sormani of Milan, Italy A Mandarin Mercer Shaw Liu Jean Fenn Calaf Giuseppe Gismondo December 10,11, and 12, 1965 Timur Irwin Densen Ping Franco Iglesias HANSEL and GRETEL Pang Herbert Kraus ENGELBERT HUMPERDINCK Pong Ernesto Gasco In English Emperor Altoum William Sheehan Translation by Constance Bache Turandot Elinor Ross Conductor Carlo Moresco Hansel Marija Kova Stage Director Anthony Stivanello Gretel Dorothy Coulter Chorus Master Laven Sowell Mother Muriel Greenspon Children’s Chorus Director Gene Roads Father Chester Ludgin Sets Peter Wolf Associates, Dallas Sandman Karen Kribbs The Witch Norman Kelley 104 .

December 16, 17, and 18, 1966 HANSEL and GRETEL ENGELBERT HUMPERDINCK Consul Sharpless Robert Gregori In English Cio-Cio-San Renata Scotto English translation by Norman Kelley Imperial Commissioner Laven Sowell The Registrar Jack Williams Hansel Marija Kova The Bonze Dudley Stiles Gretel Joy Clements Prince Yamadori Laven Sowell Mother Muriel Greenspon Sorrow (Nov. 2) Jonathan Peck Father Chester Ludgin (Nov. 4) Danell Wright Sandman Marilyn Chapman Kate Pinkerton Marilyn Chapman The Witch Norman Kelley Conductor Carlo Moresco Dew Fairy Dodee Brockhoff Stage Director Anthony Stivanello Conductor Carlo Moresco Chorus Master Laven Sowell Production by Nathaniel Merrill Sets Peter Wolf Associates, Dallas Stage Director Anthony Stivanello Chorus Master Laven Sowell 1968 Choreographer Roman Jasinski Children’s Chorus Director Gene Roads March 21 and 23, 1968 Scenery and Costumes Designed by Peter Harvey DON PASQUALE GAETANO DONIZETTI

In Italian

Don Pasquale Italo Tajo 1967 Dr. Malatesta Franco Iglesias Ernesto Pierre Duval March 16 and 18, 1967 Norma Gianna D’Angelo LA TRAVIATA A Notary Bill Beckham GIUSEPPE VERDI Chorus Edison High School Concert Chorus In Italian Conductor Carlo Moresco Stage Director Jay Harnick Chorus Master Laven Sowell Violetta Beverly Sills Flora (March 16) Theresa Treadway November 7 and 9,1968 (March 18) Sharon Kay Edgemon Doctor Grenvil Irwin Densen RIGOLETTO Marquis D’Obigny Howard Kunsman GIUSEPPE VERDI Baron Douphol Dudley Stiles In Italian Gastone Ernesto Gasco Alfredo Walter Gullino The Duke of Mantua Alfredo Kraus Annina Marilyn Chapman Borsa Jeff Fredericks Giorgio Germont Giulio Fioravanti Countess Ceprano (Nov. 7) Kay Fulcher Cox Conductor Carlo Moresco (Nov. 9) Virginia Anderson Torres Stage Director Nathaniel Merrill Count Ceprano (Nov. 7) Howard Kunsman Chorus Master Laven Sowell (Nov. 9) Jack Williams Choreographer Roman Jasinski Rigoletto Sesto Bruscantini Marullo Laven Sowell Monterone Dudley Stiles November 2 and 4, 1967 Sparafucile Irwin Densen Gilda Roberta Peters MADAMA BUTTERFLY Giovanna Marilyn Chapman GIACOMO PUCCINI A Page Suzanne Tips In Italian Maddalena Marija Kova Conductor Carlo Moresco Lt. B.F Pinkerton John Alexander Stage Director Anthony Stivanello Goro Ernesto Gasco Chorus Master Laven Sowcll Suzuki Margaret Roggero 105 .

December 13, 14, and 15, 1968 HANSEL and GRETEL ENGELBERT HUMPERDINCK In English November 6 and 8, 1969 English translation by Norman Kelley AIDA GIUSEPPE VERDI Hansel Marija Kova In Italian Gretel Lee Venora Ramfis Bonaldo Giaiotti Gertrude Muriel Greenspon Radames Bichard Tucker Peter William Beck Amneris Rosa Laghezza Sandman Marilyn Chapman Aida Gabriella Tucci Bill Beckham The King of Egypt Irwin Densen The Witch Norman Kelley A Messenger John Deaver Dew Fairy Dodee Brockhoff A Priestess (Nov. 6) Marti Towry Kaye Fuicher Cox (Nov. 8) Marilyn Chapman Conductor Carlo Moresco Amonasro Carlo Meliciani Stage Director for Original 1964 and 1965 Tulsa Opera productions Nathaniel Merrill Conductor Carlo Moresco Stage Director, 1966 and Stage Director Anthony Stivanello 1968 productions Anthony Stivanello Chorus Master Laven Sowell Chorus Master Laven Sowell Choreographer Roman Jasinski Children’s Chorus Director Gene Roads Coreographer Roman Jasinski Supplementary chorus from University of Arkansas; Kenneth Ballenger, director. On-stage band from Oral Roberts University; Bill 1969 Shellenbarger, director. Trumpeteers from Oklahoma Military Academy; Ken Downing, March 13 and 15, 1969 director. DIE FLEDERMAUS JOHANN STRAUSS JR. 1970 In English English translation by Ruth and Thomas Martin March 12 and 14,1970

Dr. Falke Henry Lobel IL BARBIERE DI SIVIGLIA Alfred Orlando Montes de Oca GIOACCUINO ROSSINI Adele Tina Garfi In Italian Rosalinda Eileen Schauler Fiorello Arno Wald Gabriel Walter Gullino The Count ofAlmaviva Pierre Duval Dr. Blind Bill Beekham Figaro Enzo Sordello Ida Bonnie Duncan Dr. Bartolo Italo Tajo Prince Orlofsky Frances Bible Rosina Tina Garfi Frank Lee Cass Don Basilio Ezio Flagello Frosch Coley Worth Berta Martha Sharp A Sergeant Bill Weger Conductor Carlo Moresco Ambrogio Jack Harrold Stage Director Ralph Herbert The Notary Edward Dumit Chorus Master Laven Sowell Conductor Carlo Moresco

Stage Director Nathaniel Merrill

Chorus Master Jack Harrold

106 .

November 5 and 7, 1970 Lodovico Godfrey Passaro TOSCA Conductor Carlo Moresco GIACOMO PUCCINI Stage Director Anthony Stivanello In Italian Chorus Master Laven Sowell Children’s Chorus Director Gene Roads Cesare Angelotti Arno Wald The Sacristan Lorenzo Alvary 1972 Mario Cavaradossi Franco Tagliavini Floria Tosca Gianna Galli Baron Scarpia Peter Glossop March 16 and 18,1972 Spoletta Mariano Caruso LA BOHEME Sciarrone Jack Williams GIACOMO PUCCINI A Shepherd (Nov. 5) Steve Nolen In Italian (Nov. 7) John White Conductor Carlo Moresco Marcello Robert Trehy Stage Director Anthony Stivanello Rodolfo Gianfranco Pastine Chorus Master Laven Sowell Colline Luis Pichardo Children’s Chorus Director Gene Roads Schaunard Orlando Hernandez Benoit Lorenzo Alvary 1971 Mimi Adriana Maliponte Parpignol (March 16) William Wothke (March 18) David Howell March 18 and 20,1971 Musetta Renee Corenne LUCIA DI LAMMERMOOR Alcindoro Lorenzo Alvary GAETANO DONIZETTI Customhouse Officers Jack Williams In Italian and Arno Wald Normanno David Howell Street Urchin John Bodenstein Lord Enrico Ashton Seymour Schwartzman Conductor Carlo Moresco Raimondo Irwin Densen Stage Director Riccardo Moresco Lucia Beverly Sills Chorus Master Laven Sowell Alisa (March 18) Mary Michal Earl Children's Chorus Director Gene Roads (March 20) Kaye Fulcher Cox Edgardo John Alexander Sets Designed and Executed in the Ercole Lord Arturo Bucklaw Jae Woo Lee Sormani Studios, Milan, Italy Conductor Carlo Moresco Stage Director Nathaniel Merrill This production of La Boheme has been dedicated to Chorus Master Laven Sowell Mrs. J. Wood Glass, Nowata, Oklahoma, as an expression of appreciation for her generous and consistent support of Tulsa Opera. November 4 and 6, 1971 OTELLO GIUSEPPE VERDI November 2 and 4, 1972 In Italian CARMEN GEORGES BIZET Montano Jack Williams In French Cassio Orlando Montes de Oca Jago Licinio Montefusco Morales Orlando Hernandez Roderigo David Howell Micaela Mirna Lacambra Otello James McCracken Don Jose Robert Nagy Desdemona Jean Fenn Zuniga Fred Fox Carmen Viorica Cortez Emilia (Nov. 4) Marilyn Chapman Frasquita (Nov. 2) Linda Roark (Nov. 6) Betsy Beard (Nov. 4) Ineta Bebb Mercedes (Nov. 2) Sharon Babbitt (Nov. 4) Kay Montgomery

107 .

Remendado James Atherton Dancaire Orlando Hernandez Solo Dancers Peggy Moser, November 1 and 3,1973 Brennan Roberts, Jo Rowan IL TROVATORE Conductor Carlo Moresco GIUSEPPE VERDI Stage Director Anthony Stivanello In Italian Chorus Master Laven Sowell Ferrando Godfrey Passaro Children’s Chorus Director Gene Roads Leonora Teresa Zylis-Gara Inez Patricia Ann Breeden Sets Designed and Executed in the Ercole Count Di Luna Cornell MacNeil Sormani Studios, Milan, Italy Manrico Giorgio Castellato-Lamberti Azucena Leonore Lanzillotti A Gypsy Stan Lockhart TULSA OPERA PRESENTS A Messenger Arno Wald Ruiz Jack Williams A SCHOLARSHIP-BENEFIT Conductor Carlo Moresco GALA OPERATIC CONCERT Stage Directors Anthony Stivanello Riccardo Moresco featuring Chorus Master Laven Sowell

Sets Designed and Executed in the Ercole BEVERLY SILLS, Soprano Sormani Studios, Milan, ltaly 8:30 PM Saturday December 9, 1972

Tulsa Municipal Theater 1974 with the Tulsa Opera Chorus and Orchestra March 14 and 16, 1974

CARLO MORESCO, Conductor ROMEO et JULIETTE CHARLES GOUNOD LAVEN SOWELL, Chorus Master In French

Tybalt James Atherton 1973 Paris Dick Ruprecht Capulet Kerry McDevitt March 15 and 17, 1973 Juliette Eileen Shelle MANON LESCAUT Mercutio Joseph Galiano GIACOMO PUCCINI Romeo Enrico di Giuseppe In Italian Gertrude Sharon Babbitt Friar Laurence J.B. Davis Edmondo Ernesto Gasco Stephano Kay Creed Chevalier des Gricux John Alexander Benvolio (March 14) David Howell Lescaut Americo De Santis (March 16) Wayne Hardy The Innkeeper Bob Campi The Duke of Verona Jack Williams Geronte di Ravoir Orlando Hernandez Conductor Carlo Moresco Manon Lescaut Maralin Niska Stage Director James de Blasis A Singer Linda Roark Chorus Master Laven Sowell The Dancing Master Ernesto Gasco Lighting Designer Tom Mendenhall The Lamplighter Ernesto Gasco The Sergeant Jack Williams Scenery Designed by Henry Heymann and Ship Captain Bob Campi Executed by the Cincinnati Summer Opera Conductor Carlo Moresco Company Stage Director Riccardo Moresco Chorus Master Laven Sowell This production was made possible through a grant from the Corbett Foundation, Cincinnati Sets Designed and Executed in the Ercole Sormani Studios, Milan, Italy 108 .

November 7 and 9, 1974 November 6 and 8,1975 MADAMA BUTTERFLY GIACOMO PUCCINI TOSCA In Italian GIACOMO PUCCINI In Italian Lt. B.F Pinkerton Luciano Rampaso Goro Ernesto Gasco CesareAngelotti Lev Davis Suzuki Leonore Lanzillotti The Sacristan Gimi Beni Consul Sharpless Dominic Cossa Mario Cavaradossi William Lewis Cio-Cio-San Maralin Niska Floria Tosca Maralin Niska Imperial Commissioner Arno Wald Baron Scarpia William Dooley The Registrar Kerry Stonacek Spoletta Douglas Perry The Bonze Joseph Shore Sciarrone Stan Lockhart Prince Yamadori Stan Lockhart A Shepherd Debra Ann Porter Sorrow A Jailer Charles Camp Kate Sharon Babbitt Conductor Carlo Moresco Conductor Carlo Moresco Stage Director Bliss Hebert Stage Director Anthony Stivanello Chorus Master Laven Sowell Chorus Master Laven Sowell Children’s Chorus Director Gene Roads Scenery design Peter Hall Scenery Designed and Executed in Sormani Studios, Lighting design Neil Peter Jampolis Milan, Italy

1976 1975 March 11 and 13, 1976 THE BALLAD OF BABY DOE March 13 and 15, 1975 DOUGLAS MOORE RIGOLETTO Old Miner Carroll Freeman GIUSEPPE VERDI Bouncer Ralph Klapis In Italian Horace Tabor John Reardon The Duke of Mantua Kenneth Riegel Tabor’s Cronies: Borsa Natale de Lazzari Sam David Howell Countess Ceprano Ineta Bebb Bushy Phil Niles Count Ceprano Stan Lockhart Barney Stan Lockhart Rigoletto Louis Quilico Jacob Jack Williams Marullo Joseph Shore Kate Nancy Harrison Count Monterone Godfrey Passaro Meg Judy Viccellio Sparafucile Ezio Flagello Augusta Tabor Jean Kraft Gilda Patricia Wise Augusta’s Friends: Giovanna Sharon Babbitt Sarah Jane Sneed Page Andrea Hanson Mary Aileen Todd Maddalena Leonore Lanzillotti Emily Esther Walling Conductor Carlo Moresco Effie Blanche Lewis Stage Director Riccardo Moresco Mrs. Elizabeth (Baby) Doe Costanza Cuccaro Chorus Master Laven Sowell Samantha Jean Wallace Choreographer Roman Jasinski Hotel Clerk Wayne Hardy Bellboy Phil Whitney Sets Designed and Executed in the Sormani Studios, Mama McCourt Carolyne James Milan, Italy Papa McCourt Jack Williams Mrs. McCourt Bonnie Duncan Mr. MeCourt Wayne Hardy Miss McCourt Ellen Jane Sanditen

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Washington Dandies Edward Pierce, Macbeth Louis Quilico Dick Ruprecht, Banquo James Johnson Martin Bebb, Bill Stoskopf Lady Macbeth Marisa Galvany Father Chapelle Carroll Freeman King Duncan William Pappas Footman Ralph Klapis Macduff William Neill President Chester A. Arthur Michael Myers Malcolm David Howell Elizabeth (age 12) Kathy Atchley Lady-in-Attendance Aileen Todd Silver Dollar (age 7) Amy James Fleance Scott Griffin Mayor of Leadville Michael Myers Murderer John Roberson William Jennings Bryan J.B. Davis Apparitions: Stage Doorman Carroll Freeman A Warrior Dick Ruprecht Denver Politician Ralph Klapis Bloody Child Elizabeth Dodd Silver Dollar Andrea Baker Crowned Child Susan Baker Conductor Judith Somogi Physician Richard Sutliff Stage Director Patrick Bakman Conductor Carlo Moresco Chorus Master Laven Sowell Stage Director Bodo Igesz Choreographer Dorothy Danner Chorus Master Laven Sowell Production Design November 4 and 6,1976 and Lighting Neil Peter Jampolis

MANON November 3 and 5, 1977 JULES MASSENET In French AIDA Guillot Morfontaine Norman Paige GIUSEPPE VERDI De Bretigny Gimi Beni In Italian Pousette Ineta Bebb Radames Ermanno Mauro Javotte Aileen Todd Ramfis John Macurdy

Rosette - Andrea Baker Amneris Mignon Dunn Innkeeper Jack Williams Aida Gilda Cruz-Romo Lescaut William Parker The King Monte Jaffe Guardsmen Wayne Hardy & Thomas Collins Messenger David [lowell Manon Judith Blegen Priestess Esther Walling The Chevalier des Grieux Kenneth Riegel Amonasro Michael Devlin Chambermaid Patti Goble The Count des Gricux Peter Harrower Ballet performed by the Lar Lubovitch Dance Company Sergeant Pietro Pozzo Laura Gates, Solo Dancer Conductor Antonio de Almeida Conductor Emerson Buckley Stage Director James de Blasis Stage Director Bliss Hebert Chorus Master Laven Sowell Chorus Master Laven Sowell Scenery Design Allen Charles Klein Choreographer Lar Lubovitch Costume Design Suzanne Mess Costume Design Suzanne Mess Lighting Design Neil Peter Jampolis Lighting Design Neil Peter Jampolis

On-stage band from Edison High School; Edward Gibble, 1977 Director March 10 and 12, 1977 This production of AIDA was the first presentation by MACBETH Tulsa Opera in the new Performing Arts Center. GIUSEPPE VERDI In Italian

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Doctor Grenvil 1978 Daniel Sullivan Gastone Ronald Raines March 9 and 11, 1978 Alfredo John Brecknock Annina Elizabeth Dodd I PURITANI Giuseppe Wayne Hardy VINCENZO BELLINI In Italian Giorgio Germont Michael Devlin Bruno Robertson David Howell Commissioner Keith Jemison Riccardo Forth Guillermo Sarabia Servant James Weeks Elvira Beverly Sills Solo Dancers Gail Gregory Giorgio Walton Samuel Ramey and Michael Tipton Arturo Talbot Enrico di Giuseppe Conductor Judith Somogi Enrichetta Theresa Treadway Stage Director James de Blasis Gualtiero Walton Daniel Sullivan Chorus Master Laven Sowell Choreographer Roman Jasinski Conductor Charles Wendelken-Wilson Set Design Paul Shortt Stage Director Jack Eddleman Lighting Design Jane Reisman

Chorus Master Laven Sowell

Lighting Design Jane Reisman

Scenery Costume Design Carl Toms THE OKLAHOMA CITY SYMPHONY ORCHESTRA presents This production was made possible by a gift from Mrs. J. Wood Glass. TULSA OPERA INC.

in a production of October 31, November 2 and 4, 1978

LA TRAVIATA DON GIOVANNI GIUSEPPE VERDI WOLFGANG AMADEUS MOZART In Italian In Italian (The cast for this performance is the same as for Leporello Paul Plishka Donna Anna Rita Shane those given in Tulsa on March 6, 8 and 10) Don Giovanni Sherrill Milnes The Commendatore James Johnson March 13, 1979 Don Ottavio Jerold Norman Civic Center Music Hall Donna Elvira Heather Thompson Oklahoma City, Oklahoma Zerlina Karen Hunt Masetto Joseph Shore November 6, 8, and 10, 1979 Conductor Richard Woitach Stage Director Constance Fisher Chorus Master Laven Sowell LA NAVARRAISE JULES MASSENET Set Design John Wright Stevens In French Costume Design Suzanne Mess Garrido Louis Quilico Lighting Design Neil Peter Jampolis Anita, the Navarraise Nancy Shade Ramon Joseph Frank 1979 Araquil Jacque Trussel Remigio William Dansby March 6, 8, and 10, 1979 Bustamente Alex Montgomery and LA TRAVIATA GIUSEPPE VERDI In Italian I PAGLIACCI RUGGIERO LEONCAVALLO Violetta Diana Soviero In Italian Flora Fredda Rakusin Tonio Louis Quilico Marquis d’Obigny Alex Montgomery Canio Harry Theyard Baron Dauphol Tom Fox Beppe Joseph Frank 111 .

Nedda Josephine Barstow Conductor Judith Somogi Player’s Apprentice James Leatham Stage Director Lou Galterio Silvio Allan Monk Chorus Master Laven Sowell Villagers Chuck King and Jack Williams Choreographer Roman Jasinski Conductor Antonio de Almeida Set Design Robert O’Hearn Stage Director Bliss Hebert Costume Design Suzanne Mess Chorus Master Laven Sowell Lighting Design Jane Reisman Children’s Chorus Director Gene Roads Set Design Allen Charles Klein November 1, 6 and 8, 1980 Costume Design Suzanne Mess Lighting Design Neil Peter Jampolis BORIS GODUNOV 1980 MODESTE MOUSSORGSKY In English March 11, 13, and 15, 1980 English translation by David M Lloyd-Jones DIE WALKURE Nikitich Alex Montgomery RICHARD WAGNER Mitiukha Ronald Ross In German Schelkalov Richard Sutliff Prince Vassilylvanovich Shuisky George Shirley Siegmund Manfred Jung Boris Godunov James Morris Sieglinde Jeannine Altmeyer Pimen William Wildermann Hunding Malcolm Smith Grigory Harry Theyard Wotan Simon Estes Hostess of the Inn Judith Christin Brunnhilde Roberta Knie Missail Michael Myers Fricka Barbara Conrad Varlaam Spiro Malas The Valkyries A Border Officer Brian Steele Gerhilde Donna McRae Xenia Jaxie Abernathy Helmwige Mary Shearer Feodor Sunny Joy Langton Waltraute Barbara Conrad Nurse Regina Sarfaty Schwertleite Jennie Cavendish A Boyar in Attendance John Wilson Siegrune Alice Garrott Marina Mnishek Joy Davidson Grimgerde Jennifer Chase Rangoni William Dansby Rossweise Barbara McAlister A Simpleton Joseph Frank Conductor Berislav Klobucar Khrushchov James Weeks Stage Director Bodo Igesz Lavitsky Alex Montgomery Set & Lighting Design Neil Peter Jampolis Chernikovsky Brian Steele Costumes Design Suzanne Mess Conductor Emerson Buckley Stage Director Bliss Hebert May 6, 8, and 10, 1980 Chorus Master Laven Sowell Children’s Chorus Director Gene Roads DIE FLEDERMAUS Choreographer Roman Jasinski JOHANN STRAUSS Set Design Allen Charles Klein In English Lighting Design Neil Peter Jampolis English Version by Ruth and Thomas Martin Costume Design Suzanne Mess Alfred David Kuebler Adele Leigh Munro The Tulsa Opera Chorus was joined by the Rosalinda Ashley Putnam University of Tulsa Chorale (Laven Sowell, Eisenstein Dale Duesing Director) and the Tulsa Boy Singers (Gene Dr. Falke William Parker Roads, Director). Sally Julia Webb Prince Orlovsky Sheila Smith This production was made possible by a Frank Daniel Sullivan contribution from Mrs. Wilbur J. Holleman. Solo Dancers Melissa Hale and Roman L. Jasinski

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1981 TULSA OPERA PRESENTS

March 14,19 and 21 LUCIANO PAVAROTTI, Tenor LA BOHEME GIACOMO PUCCINI JOHN WUSTMAN, Accompanist In Italian in a recital to benefit Tulsa Opera Marcello Stephen Dickson Endowment Trust Rodolfo Raymond Gibbs Colline Joseph McKee May 26, 1981 Schaunard William Parker Chapman Music Hall Benoit Gimi Beni Tulsa Performing Arts Center Mimi Diana Soviero Parpignol Carl Siberts A Boy Paul Howard Musetta Rita Shane November 7, 12 and 14, 1981 Alcindoro Stephen Markuson Customhouse Sergeant Jack Williams Customhouse Officer Ronald Ross ANDREA CHENIER UMBERTO GIORDANO Conductor Judith Somogi Stage Director Adelaide Bishop In Italian Chorus Master Laven Sowell Major Domo Alex Montgomery Children’s Chorus Director Gene Roads Carlo Gerard William Justus Set Design Jose Varona Maddalena di Coigny Gilda Cruz-Romo Lighting Design Jane Reisman Countess di Coigny Gina Carelli Costume Design Suzanne Mess Bersi Sheila M. Smith Pietro Fleville Richard Sutliff The Abbe Melvin Lowery Andrea Chenier Ermanno Mauro May 2, 7 and 9,1981 Flando Florinelli Evans Haile Mathieu Pierre Charbonneau DAUGHTER OF THE L’Incredible Joseph Frank REGIMENT Roucher Thomas Jamerson GAETANO DONIZETTI Madelon Inci Bashar In English Dumas Alex Montgomery English translation by Ruth and Thomas Martin Fouquier-Tinville Stephen Markuson Schmidt Stephen Markuson Hortensius Stephen Markuson Solo Dancers Linda Brovsky and Stan Garner Marquise of Berkenfield Elaine Bonazzi Conductor Emerson Buckley A Peasant David Amann Stage Director Lotfi Mansouri Sulpice Giorgio Tozzi Chorus Master Laven Sowell Marie Erie Mills Choreographer Linda Brovsky Tonio Gerald Grahame Set Design Wolfram Skalicki A Corporal James Weeks Costume Design Amrei Skalicki Dancing Master Stan Garner Lighting Design Jane Reisman Duchess of Crakenthorp Anna Russell Duke of Crakenthorp Philip Morehead Notary Stan Garner 1982 Conductor Chris Nance Stage Director Lou Galterio March 6, 11 and 13, 1982 Chorus Master Laven Sowell ATTILA Production Design Beni Montresor GIUSEPPE VERDI Lighting Design Jane Reisman In Italian Attila Simon Estes Uldino Michael Ballam Odabella Marisa Galvany

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1983 Ezio Adib Fazah March 5, 10 and 12, 1983 Foresto Carlo Bergonzi Leone Alex Montgomery Conductor Eugene Kohn DER ROSENKAVALIER Stage Director Bodo Igesz RICHARD STRAUSS Chorus Master Laven Sowell In German Children’s Chorus Director Gene Roads Octavian Gwendolyn Jones Set Design Ming Cho Lee The Mars challin Mechthild Gessendorf Costume Design Hal George Mahomet Rodney Watkins Lighting Design Neil Peter Jampolis Baron Ochs Marius Rintzler The Marschallin's Footmen Chuck King, Rick Fortner, David Amann, James Weeks May 1, 6 and 8, 1982 The Marschallin’s Major-Domo Steven Raiford Three Noble Orphans Jane Sneed, THE BARBER OF SEVILLE Judith Nolan, Joanne Wilson GIOACCUINO ROSSINI A Milliner Bonnie Duncan In Italian An Animal Vendor David Reneau Valzacchi Douglas Perry Fiorello Richard Sutliff An Italian Singer Paul Spencer Adkins Count Almaviva James Hoback A Notary Rush Tully Figaro Richard Stilwell Annina Diane Curry Doctor Bartolo Gunter von Kannen A Hairdresser Gerd Mairandres Leopold Rosina Costanza Cuccaro Philip Whitney Herr von Faninal David Clatworthy Don Basilio Samuel Ramey (May 1,6) Sophie Patricia Wise William Dansby (May 8) Marianne Carolyn Staley Berta Jane Bunnell Faninal’s Major-Domo David Gordon Police Officer Herbert Rogers Innkeeper David Gordon Ambrogio Stan Garner Police Commissioner Rush Tully Notary Richard Sutliff The Waiters Robert Humble, Rick Fortner, Conductor Nicola Rescigno David Hoyt, Mark Sumner Stage Director Anthony Besch Hausknecht Mark Delavan Chorus Master Laven Sowell

Costume & Set Design John Stoddart Conductor Judith Somogi Lighting Design Jane Reisman Stage Director Sonja Frisell Chorus Master Laven Sowell Set Design Leni Bauer-Ecsy October 30, November 4 and 6, 1982 Costume Design Ernie Kniepert IL TROVATORE Lighting Design Neil Peter Jampolis GIUSEPPE VERDI In Italian Ferrando Harry Dworchak Inez Meredith Mizell April 30, May 5 and 7, 1983 Leonora Leona Mitchell MADAMA BUTTERFLY Count di Luna Brent Ellis GIACOMO PUCCINI Manrico William Johns In Italian Azucena Mariana Paunova B.F Pinkerton Franco Farina Ruiz Chuck King Goro Joseph Frank An old gypsy James Weeks Suzuki Shinja Klm A messenger Steven Raiford Sharpless Louis Otey Conductor Kurt Herbert Adler Cio-Cio-San Diana Soviero Stage Director Bodo Igesz Cio-Cio-San’s Mother Laura Hewitt Chorus Master Laven Sowell The Aunt Janice Griffin Set design Ming Cho Lee The Cousin Marilyn Carver Lighting design Neil Peter Jampolis Yakuside Jack Williams Costume design Lewis Killick 114

The Imperial Commissioner Rick Fortner The Official Registrar James Weeks The Bonze Rush Tully May 5, 10 and 12, 1984 Prince Yamadori David Hamilton THE PIRATES OF PENZANCE Trouble Richard Haas Book by W.S. GILBERT Kate Pinkerton Rose Benedetto Music by ARTHUR SULLIVAN Conductor Benton Hess

Stage Director Patrick Bakman Samuel John L. Atkins Chorus Master Laven Sowell Frederic David Britton Set Design Allen Charles Klein Ruth Judith Farris Costume Design Suzanne Mess The Pirate King John Stephens Lighting Design Jane Reisman Wards of Major-General Stanley: Edith Barbara Shallenberger

November 5,10 and 12,1983 Kate Sally Adams Isabel Linda Olson THE FLYING DUTCHMAN Mabel Karen Hunt RICHARD WAGNER Major-General Stanley James Billings In German Sergeant of Police Michael Riley Conductor Philip Morehead Mary Kerstin Meyer Stage Director David Gately The Dutchman Simon Estes Chorus Master Laven Sowell Daland William Wildermann Set Design William Pitkin A Steersman John Gilmore Lighting Design Jane Reisman Senta Marita Napier Erik William Neill Conductor Franz-Paul Decker November 3, 8 and 10, 1984 Stage Director Bodo Igesz Chorus Master Laven Sowell CARMEN Lighting Design Neil Peter Jampolis GEORGES BIZET In French Costume Design Suzanne Mess Morales David Hamilton

Micaela Mietta Sighele

Don Jose Veriano Luchetti

Zuniga Rush Tully 1984 Carmen Fiorenza Cossotto March 3, 8 and 10, 1984 Frasquita Kerry McCarthy Mercedes Stella Zambalis LUCIA DI LAMMERMOOR Escamillo David Arnold Remendado Joseph Frank GAETANO DONIZETTI In Italian Dancatro Richard Sutliff Normanno Leonard Eagleson Solo Dancer Maria Alba Enrico Ashton Frederick Burchinal Conductor David Stahl Raimondo Kevin Langan Stage Director Bernard Uzan Lucia Erie Mills Chorus Master Laven Sowell Alisa Shinja Kim Children’s Chorus Director Gene Roads Edgardo Jerry Hadley Set Design Gianni Quaranta Arturo Gualtiero Negrini Costume Design Peter J. Hall Conductor Anton Coppola Lighting Design Jane Reisman Stage Director Rhoda Levine Chorus Master Laven Sowell This production has been made possible by a gift from the Production Design Neil Peter Jampolis late Mrs. J. Wood Glass. Costume Design Peter J. Hall

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1985 Costume Design Suzanne Mess Lighting Design Jane Reisman March 2, 7 and 9, 1985 TOSCA The appearance of members of the Tulsa Ballet Theater GIACOMO PUCCINI was made possible by an anonymous donor. In Italian

Cesare Angelotti Ralph Klapis The Sacristan John Stephens November 2, 7 and 9, 1985 Mario Cavaradossi Kristian Johannsson Floria Tosca Sylvia Sass AIDA Baron Scarpia Julian Patrick GIUSEPPE VERDI Spoletta Douglas Perry In Italian Sciarrone Wayne Schroder Aida Leona Mitchell A Shepherd (March 2 & 9) Roddy Ellicot Radames Corneliu Murgu (March 7) John Johnson Ramfis Harry Dworchak A Jailer Stan Brazell Amneris Cleopatra Ciurca Conductor Alfredo Bonavera The King of Egypt Kenneth Cox Stage Director David Gately A Messenger Chuck King Chorus Master Laven Sowell High Priestess Miriam Delavan Children’s Chorus Director Gene Roads Amonasro Andrew Smith Set Design Allen Charles Klein Costume Design Suzanne Mess Ballet performed by the Clive Thompson Dance Lighting Design Neil Peter Jampolis Company

Conductor Judith Somogi Stage Director David Walsh April 27, May 2 and 4, 1985 Chorus Master Laven Sowell THE MERRY WIDOW Choreographer Clive Thompson Costume Design Neil Peter Jampolis FRANZ LEHAR In English and Julia Tribe English version by Christopher Hassall Lighting Design Neil Peter Jampolis

Baron Mirko Zeta John Del Carlo The Aida stage musicians were assembled through the Valencienne Susanne Mentzer joint efforts of faculty and students at the University of Camille de Rosillon John Brecknock Tulsa, Oral Roberts University and Northeastern State Vicomte Cascada Kirk Stuart University. Raoul de St. Brioche Greer Grimsley Kromow David Valla Olga Jane Sneed Pritschitsch Frederick Graves 1986 Praskowta Melanie Fry Bogdanowitsch Barry Craft March 1, 6 and 8,1986 Sylviane Catheryn Dowd FAUST Njegus Gerald Isaac CHARLES GOUNOD Anna Glawari Valerie Masterson In French Danilo Danilovitch Andre Jobin Faust Neil Shicoff Maitre d’Hotel Garry Kemp Mephistopheles Samuel Ramey Zozo Jeanne Haughn Marguerite Diana Soviero Solo Dancers Matthew Bridwell Valentin Richard Stilwell Laura Keller Siebel Gwendolyn Jones Conductor David Stahl Wagner Wayne Schroder Stage Director Lotfi Mansouri Marthe Geraldine Decker Chorus Master Laven Sowell Conductor Edoardo Muller Choreographer Michael Uthoff Stage Director Bernard Uzan Set Design Murray Laufer Chorus Master Laven Sowell

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Set & Costume Design Earl Staley Serena Joy Simpson Lighting Design Jane Reisman Robbins Vincent de Cordova Jim Keith Jemison Peter Mervin Wallace Lily Yvette Matthews May3,8 and 10, 1986 Maria Barbara Conrad MANON LESCAUT Porgy Simon Estes GIACOMO PUCCINI Crown Gregg Baker In Italian Bess Sarah Reese Detective Michael Christopher Edmondo Don Bernardini Policeman Wesley Johnson Des Grieux Ermanno Mauro Policeman Lance Lansford Lescaut Charles Long Scipio Shem Harris The Innkeeper Keith Jemison Undertaker Jerrold Pope Manon Lescaut Josephine Barstow Annie Geraldine McMillian Frazier Geronte Eric Halfvarson Edward R. White Jr. Strawberry Woman Charmaine T. Brandow The Hairdresser Matthew Bridwell Crabman Sylvester Graves A Singer Heidi Jones Conductor Chris Nance Madrigal Singers Miriam Delavan, Stage Director John Lehmeyer Becky Hildabrand, Chorus Master Laven Sowell Linda Lytle, Lorraine Ogilvie Choreographer Kimberly Mackin The Dancing Master Peter Cody Set Design Michael Hotopp Sergeant of Archers Wade Williams Lighting Design Evan Parker A Lamplighter Peter Cody A Naval Captain Wayne Schroder 1987 Conductor Anton Coppola Stage Director Bliss Hebert TULSA OPERA PRESENTS Chorus Master Laven Sowell Set Design Allen Charles Klein DAME JOAN SUTHERLAND Lighting Design Neil Peter Jampolis Soprano

RICHARD BONYNGE, Conductor

TULSA OPERA PRESENTS in a special concert to benefit the

soprano LEONTYNE PRICE, Tulsa Opera Foundation

With the Tulsa Philharmonic Orchestra DAVID GARVEY, Accompanist

This benefit concert was underwritten by a most in a special recital to benefit the generous and deeply appreciated gift from the Tulsa Opera Foundation John Steele Zink Foundation

May27, 1986 January 27, 1987 Chapman Music Hall Chapman Music Hall Tulsa Performing Arts Center Performing Arts Center

November 1, 6 and 8, 1986

PORGY AND BESS March 7,12 and 14, 1987 GEORGE GERSHWIN In English THE MARRIAGE OF FIGARO Jasbo Brown Michael Fardink Wolfgang Amadeus Mozart Clara Marquita Lister In English Jake Bruce Hubbard English version by Ruth and Thomas Martin Sportin’Life Damon Evans Figaro John Cheek Susanna Mingo Ronald T. Smith Sunny Joy Langton

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Dr. Bartolo Peter Strummer October 31, November 5 and 7, 1987 Marcellina Judith Christin Cherubino Cynthia Clarey RIGOLETTO Count Almaviva Lenus Carlson GIUSEPPE VERDI Basilio Douglas Perry In Italian Countess Rosina Almaviva Lorna Haywood Antonio Marc Mouchet Duke of Mantua Enrico di Giuseppe Don Curzio Steven Raiford Borsa Steven Raiford Barbarina Karen Lauer Countess Ceprano Melanie Morsman Peasant Girls Marilyn Catrett Count Ceprano Robert Paul Heimann Marcia Larsen Rigoletto Timothy Noble Conductor Kenneth Montgomery Marullo Joseph Phillippe Stage Director Bliss Hebert Monterone Marc Mouchet Chorus Master Laven Sowell Sparafucile Eric Johnson Set Design Peter J. Hall Gilda Sheryl Woods Costume Design Mary Kerr Giovanna Marcia Larsen Lighting Design Peter Kaczorowski A Page Loraine Sims A Herald Mark Watkins Due to an unresolved labor dispute with the musicians of Maddalena Deidra Palmour the Tulsa Philharmonic, the opera was performed with Conductor Bernard Rubenstein piano (Mark Ferrell and Gerald Steichen, pianists) and Stage Director David Gately with Maestro Kenneth Montgomery at the harpsichord. Chorus Master Laven Sowell Set Design Allen Charles Klein Costume Design Suzanne Mess Lighting Design Terry Wuthrich May9, 14 and 16, 1987

DON CARLO GIUSEPPE VERDI In Italian 1988 A Friar Stephen Dupont Don Carlo Piero Visconti March 5, 10 and 12, 1988 Rodrigo Marcel Vanaud Theobald Christina Andreou THE TALES OF HOFFMANN JACQUES OFFENBACH Princess of Eboli Tatiana Troyanos In French Countess ofAremberg Hope Theodoras Muse/Nicklausse Cynthia Clarey Elizabeth of Valois Rosalind Plowright Councilor Lindorf Eric Halfvarson Philip II Samuel Ramey Andres Douglas Perry Count of Lerma Joseph Phillippe Luther Gerard Edery A Royal Herald Chuck King Nathanael Mark Watkins A Celestial Voice Rebecca Moore Hermann Richard Sutliff The Grand Inquisisitor Jerome Hines Hoffmann Robert Grayson Conductor Edoardo Muller Spalanzani Steven Raiford Stage Director Sonja Frisell Cochenille Douglas Perry Chorus Master Laven Sowell Dr. Coppelius Eric Halfvarson Set Design Jargon Zerevski Olympia Cyndia Sieden Costume Design Suzanne Mess Antonia Kay Pasehal Lighting Design Joan Sullivan Crespel Gerard Edery Frantz Douglas Perry Dr. Miracle Eric Halfvarson Voice of Antonia’s Mother Barbara McAlister Giulietta Stella Zambalis Pitichinaccio Douglas Perry Schlemil Richard Sutliff Dappertutto Eric Halfvarson Stella Kay Paschal

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Conductor David Stahl Stage Director Bernard Uzan Chorus Master Laven Sowell I PAGLIACCI Set & Costume RUGGIERO LEONCAVALLO Design Gunther Schneider-Siemssen In Italian Lighting Design Peter Kaczorowski Tonio Carlos Serrano Canio George Gray Peppe Adolfo Llorca

May 7, 12 and 14, 1988 Nedda Diana Soviero First Villager Kenn Woodward THE MIKADO Second Villager George Ellis Book byW S. GILBERT Silvio James Busterud Music by ARTHUR SULLIVAN Conductor Anton Coppola Nanki Poo David Eisler Stage Director Bernard Uzan Pish Tush Richard Sutliff Chorus Master Laven Sowell Pooh Bah Jan Opalach Set Design George Tsypin Ko Ko James Billings Lighting Design David Gano Yum Yum Susan Powell Peep Bo Robyn Bauman 1989 Pitti Sing Rebekah Kirtley Katisha Judith Christin The Mikado John Stephens February 9,1989 Conductor Peter Mark Stage Director Thomson Smillie TULSA OPERA INC. and the Chorus Master Laven Sowell TULSA PHILHARMONIC Choreographer Lisa Slagle present Set Costume Design Shozo Sato Lighting Design Larry French SAMSON ET DALILA (in concert form) CAMILLE SAINT-SAENS In French November 5, 10 and 12,1988 Samson William Johns Dalila Florence Quivar SUOR ANGELICA High Priest Richard Sutliff GIACOMO PUCCINI In Italian First Philistine Bruce Fowler Sister Angelica Diana Soviero Old Hebrew Burr Cochran Phillips The Abbess Dora Koutelas Abimilech Burr Cochran Phillips The Monitor Barbara McAlister A Messenger Steven Raiford First Lay Sister Mary Neff Hurst Second Philistine Kenn Woodward Second Lay Sister Loraine Sims Conductor Bernard Rubenstein The Mistress of the Novices Suzanne Locrch Chorus Master Laven Sowell Sister Osmina Chieko Loy

Sister Genovieffa Betsy Norden March 4, 9 and 11, 1989 First Novice Marcia Larsen Second Novice Tracy Bush ROMEO ET JULIETTE Sister Dolcina Jean Wallace CHARLES GOUNOD The Nursing Sister Emily Bullock In French First Touriere Heidi Hayes Tybalt Kevin Skiles Second Touriere Jody Dall’Armi Paris Joseph Phillippe The Princess Rosalind Elias Capulet Richard Sutliff Juliette Gail Dobish and Mercutio Ralph Wells

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Romeo Tonio Di Paolo Musetta Karen Hunt Gertrude Marion Pratnicki Alcindoro Terry Hodges Gregorio Kenn Woodward Custom House Sergeant Eric Graber Friar Laurence Eric Halfvarson Conductor Vjekoslav Sutej Stephano Christine Meadows Stage Director Frank Gentilesca Benvolio James Lawbaugh Chorus Master Laven Sowell The Duke Burr Cochran Phillips Set Design David Gano Conductor Joseph Rescigno Lighting Design Greg Hirsch Stage Director Bernard Uzan Chorus Master Laven Sowell The military band in the second act was prepared by Choreographer Kay Walker Ron Predl of the University of Tulsa music faculty. Lighting Design Claude Girard

1990 May 6, 11 and 13, 1989 SUSANNAH March 3, 8 and 10, 1990 CARLISLE FLOYD LA TRAVIATA In English Giuseppe Verdi Susannah Polk Elizabeth Knighton In Italian Sam Polk Richard Brunner Olin Blitch Jeffrey Wells Violetta Frances Ginsberg Little Bat McLean William Livingston Anina Emily Bullock Elder McLean Joseph Phillippe Gastone David Ronis Elder Gleaton James Lawbaugh Flora Deborah Milsom Elder Hayes Bruce Fowler The Baron David Corman Elder Ott Kenn Woodward The Marquis Joseph Phillippe Mrs. McLean Emily Bullock The Doctor Eric Graber Mrs. Gleaton Heidi Hayes Alfredo John David De Haan Mrs. Hayes Tracy Bush Giuseppe Antonio Nagore Mrs. Ott Sally Hedgecock Entertainers Danni Kelly Church Members Jack Williams James Graber Ron Meadows Mr. Germont Robert Galbraith Conductor Willie Anthony Waters Conductor Laurence Gilgore Stage Director James de Blasis Stage Director Nicholas Muni Chorus Master Laven Sowell Chorus Master Laven Sowell Set Design Paul Shortt Set & Costume Design John Conklin Lighting Design Michael Baumgarten Lighting Design Michael Lincoln

Taking a curtain call with the cast on opening night was This production of La Traviata was an updated version, the composer, Carlisle Floyd. performed in modern dress.

November 4, 9 and 11, 1989 LA BOHEME May 5,10 and 12, 1990 GIACOMO PUCCINI LA CENERENTOLA In Italian GIOACCHINO ROSSINI In Italian Rodolfo Robert Grayson Clorinda Kate Kulas Marcello Richard Sutliff Tisbe Rhonda McFee Colline Peter Volpe Cenerentola Judith Forst Schaunard James Rensink Alidoro Robert Honeysucker Benoit Stephen Eisenhard Don Magnifico Pierre Charbonneau Mimi Marquita Lister Don Ramiro Carroll Freeman Parpignol Brian Hunt Dandini Claude Corbeil

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Conductor Louis Salemno Sarastro Mark Munkittrick Stage Director Rosalind Elias First Priest Jeffrey Springer Chorus Master Laven Sowell Second Priest Paul Schmidt Set, Costume, and First Man in Armor Jeffrey Springer Lighting Design Claude Girard Second Man in Armor Paul Schmidt Papagena Nadine Vorenkamp Conductor Ransom Wilson Stage Director Keith Warner November 3, 8 and 10, 1990 Chorus Master Laven Sowell Set & Costume Design Zack Brown LE TROUVERE Lighting Design Peter Kaczorowski (Il Trovatore)

GIUSEPPE VERDI In French Le Comte de Luna Greer Grimsley May4, 9 and 11, 1991 Fernand Paul Schmidt MADAMA BUTTERFLY Leonore Margaret Jane Wray GIACOMO PUCCINI Ines Gena Jeffries In Italian Manrique Craig Sirianni Goro Charles Walker Ruiz Ian Jon Bourg B.F Pinkerton Peter Riberi Azucena Barbara Conrad Suzuki Jane Bunnell Sharpless Motti Kaston Ballet The Stephen Petronio Dance Company Cio-Cio-San Maryanne Telese Her Mother Marilyn Catrett Conductor David Lawton Her Aunt Judith Hastings Stage Director Nicholas Muni Her Cousin Beth Ann Swinson Chorus Master Laven Sowell Uncle Yakuside Jerome Hatley Choreographer Stephen Petronio The Imperial Commissioner Joseph Phillippe Set & Costume Design John Conklin The Official Registrar Shane Wise Lighting Design Peter Kaczorowski The Bonze Richard Sutliff Prince Yamadori Richard Lewis The opening night performance of Le Trouvere was the Sorrow Emma Frame, Brionna Barker world premiere of Maestro David Lawton’s Critical Kate Pinkerton Nadine Vorenkamp Edition. Conductor Carol Crawford Stage Director Linda Brovsky Chorus Master Laven Sowell 1991 Set Design John Scheffler Costume Design Roube Ter-Arutunian March 2, 7 and 9, 1991 Lighting Design Todd Hensley THE MAGIC FLUTE This production was dedicated to the memory of WOLFGANG AMADEUS MOZART Sung in German Roman Jasinski.

Spoken dialog in English

November 9, 14 and 16, 1991 Tamino Kip Wilborn First Lady Sara Vokes LA FANCIULLA DEL WEST Second Lady Mariann Cook GIACOMO PUCCINI Third Lady Sandra Hormozi In Italian Papageno Gordon Holleman Nick Jerome Hatley Queen of the Night Carmen Pelton Larkens Eric Johnson Pamina Jan Grissom Handsome Eric Graber Monostatos Charles Walker Harry Jozef McKesson Joseph Phillippe First Geni Kyle Reans/Ashley Webb Sid Joe Mark Watkins Second Geni David Hughes/Kevin Reans Happy Curtis Cook Third Geni Josh Lakey/Geoff Logan Sonora Richard Sutliff Speaker of the Temple Paul Schmidt

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Thin Brian Rosewell Astarotte Eric Johnson Jake Wallace Keith Jemison Dancer Kimberly Smiley Ashby Eric Johnson Jack Rance Donnie Ray Albert Conductor Richard Bradshaw Minnie Linda Roark-Strummer Stage & Video Director Nicholas Muni A Postilion John Clegg Chorus Master Laven Sowell Dick Johnson Craig Sirianni Choreographer Kimberly Smiley Jose Castro Charles Austin Set Design John Boesche Billy Jackrabbit Charles Austin Costume Design Catherine Zuber Wowkle Marcia Robbins Lighting Design Duane Schuler Conductor David Effron Stage Director Robert Tannenbaum This production was the North American premiere of Chorus Master Laven Sowell Armida, celebrating the 200th anniversary of Set Design Jeffrey Beecroft Rossini's birth. Costume Design Lewis Brown and John Conklin Lighting Design Peter Kaczorowski April 25, 30 and May 2,1992 H.M.S. PINAFORE This production was dedicated to the memory of Fred Book by W. S. GILBERT Myers. Music by ARTHUR SULLIVAN Ralph Rackstraw Michael Rees Davis Dick Deadeye Gordon Holleman Little Buttercup Janet Ellis 1992 Captain Corcoran Cris Groenendaal Bill Bobstay Travis Lewis Bob Beckett Curtis Cook February 29, March 5 and 7, 1992 Sir Joseph Porter Terry Hodges ARMIDA Cousin Hebe Camille Gifford GIOACCHINO ROSSINI Josephine Amy Burton In Italian Goffredo Walter MacNeil Conductor Stephen Lord Eustazio Jeffrey Francis Stage Director Johnathon Pape Rinaldo Thomas Young Chorus Master Laven Sowell Gernando Mark Marriott Set Design Peter Dean Beck Carlo Christopher Hux Costume Design Greg Barnes Ubaldo Ronald Naldi Lighting Design Michael Baumgarten Idraote Eric Johnson Armida Christine Weidinger

Scanning Note: You can find more cast lists in Mr. Sowell’s book, MY MUSIC NOTEBOOK, available at www.lavensowell.com

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The Tulsa Opera Orchestra Personnel The list includes orchestra members who participated in the 1948 La Traviata and in one opera approximately each fourth season from 1966-1992. Opera orchestra personnel lists were not available for 1949-1965.

1948 William Scobie LATRAVIATA Rubin Cohen Clarinet: First Production by Ruth Downing Dwight Dailey Tulsa Opera Club Norma Cohen Dan Oberlin George Giacobbe Bassoon: Violin I: Miles Rieger Ted Grimes Betty Grace Leon Benlah McConnell Shirley Hill Marian Grieves Violin II: French Horn: Bob Leeky Robert McNally Win. McKee Helen Whayne Randie Moline Don Kramer Violin II: Mary Ellen Whiteford George Mitchell Gloria Gram Janice James Don Thompson Betty Zink J.M. Collins Trumpet: Viola: Win. L. Daley Bill Shellenbarger Kenneth Collins Viola: Roger Fenn Jim Economou Tosca Berger Kramer David Edris Cello: Philip Lowry Trombone: Catherine Kerr Charles Hill George Brite George Gregory Marna Street John L. Jerome Bass: Cello: Ashley Alexander Charles Costello Don Moline Tuba: Flute: Elizabeth Hayes Gregory Posvistak Ann Moffett Richard McIntyre Clarinet: Jim Eaton 1971 David Westgate Bass: Ralph Jones OTELLO Oboe: Patti Cunningham Carol Carr Violin I: French Horn: John Bigney Robert McNally George Mitchell Ruth Downing Harp: Edith Ramsey Norma Cohen Beverly Jones Cornet: Gary Vian Roddy Fenn Tympani: Wilson Myers Bill Daniels Max Fox Patti Sterne Trombone: Percussion: Gloria Henson Lewis Mosberg Charles Westgate Willene MacMullin Tympani: Syd David Violin II: Harlow Stahl Flute: Rubin Cohen Drums: Marion McNally Mary Ellen Whiteford Charles Westgate Jan Coffey Raymond Johnson Piccolo: Vicki Scheerer 1966 Dorothy Ewing Ron Wheeler Oboe: Barbara Baker TURANDOT Walter Kessler Viola: Violin I: Phil Whitney Philip Lowry Francis E. Jones English Horn: Charles Hill

Margaret R. McKee Sharon Weible Steve Hickerson 123

Cello: Patricia Sterne 1980 Bob Deutsch Ronald Wheeler Margaret Deutsch Aldee Marquis BORIS Elizabeth Hayes Violin II: GODUNOV Richard McIntyre Mary Ellen Whiteford, Violin I: Bass: Principal Leonard P. Braus, Jim Bates Raymond Johnson Concertmaster Jim Reeves Renate Lewis Andrew Galos, Associate Virginia Bland Ruth Downing Concertmaster Harp: Marcia Bendo Lynn M. Braus, Assistant Tony Carson Cynthia Kinnard Concertmaster Flute: Viola: Margaret Chapman Jan Coffey PhilipLowry, Principal Linda Smith George Pope Charles Hill, Assistant Katherine Oechsli Piccolo: Principal Rosalyn Story Dorothy Ewing Brian Gum David Ragsdale Oboe: Cello: William Schmieding Walter Kessler Jean Douglass Martha Mattes Don Linde Wightman, Principal Aldee Marquis Clarinet: Mary Todd Snider, Ruth Downing Dwight Dailey Assistant Principal Violin II: Gene Eland Craig Hargesheimer Marilyn Kouba, Principal Bassoon: Bass: Mary Ellen Whiteford, Co-Principal Sally Miller Nathan Kahn, Principal Mary Haley Shirley Hill Gregory Moore, Assistant Jack Cluff French Horn: Principal Raymond Johnson Don Kramer Virginia Bland Tonya Ford J. Bruce Schultz Flute: Gretchen Marquis Allen Mitchell Jan Dailey, Principal Jeanne Schlesinger Jim Kirk Dorothy Ewing Jean Roberts Trumpet: Oboe: John Scott, Principal Wilson Myers Bill Shellenbarger Viola: Dan Farmer Clarinet: Dwight Dailey, Principal Philip Lowry, Principal Harley Lundy Charles Hill, Assistant Trombone: Gene Eland Bassoon: Principal Frank McPeters Holly Thomas Dale Barnett Jane Lowry, Principal Horn: Douglas Michael Gene Drummond Charles Salter Tuba: J. Bruce Schultz, Principal Thomas Moore William Thomas Dennis Dvorak Cello: Trumpet: Tympani: Kari Padgett, Principal Bill Shellenbarger, Gerald Epperson Lauren Green, Assistant Percussion: Principal Principal Charles Westgate Linda Matham Crais Hargesheimer Trombone: Judy Blystone Frank McPeters, Principal 1976 Barbara Cowles Dale Barnett Earl Peterson THE BALLAD OF Tuba: Bass: BABY DOE - Dennis Dvorak Nathan Kahn, Principal Tympani: Thomas A. Coleman, Violin I: Gerald Epperson Assistant Principal Robert McNally, Percussion: Virginia Bland Concertmaster Roy Smith, Principal Gregory Moore Donald Robinson, Harp: Bruce Jackson Associate Concertmaster Eleanore Schettler Flute: Adam Gersztenkorn, Keyboard: Jan Dailey, Principal Assistant Concertmaster Betty Moses Debbi Tamer Greg Lynch Dorothy McCrory Benita Phillips 124

Oboe: Mary Ellen WhitefordH, arp: Harp: John Scott, Principal Assistant Principal Eleanore Schultz, Janet Coberly Aldee Marquis Principal English Horn: Gretchen Marquis 1988 Janet Coberly William Schmieding Clarinet: Martha Mattes SUOR ANGELICA Dwight Dailey, Principal Viola: & IPAGLIACCI Gene Eland Philip Lowry, Principal Bassoon: Irene Cervantes, Associate Violin I: David McGill, Principal Principal Marc Gottlieb, Heather Boyd Nancy Kredel, Concertmaster Assistant Principal Horn: Nancy Hill, Associate Erik Ralske, Principal Philip Wachowski Concertmaster Justine Heinrichs Thomas Moore Candida Wiley, Assistant Mark Watson Holly Thomas Concertmaster

Allen Mitchell Carol Swift Trumpet: Cello: Gregory Lynch Grant Cooper, Principal Kari Caldwell, Principal Eric Samuelson Randel McKee Louis Lynch, Associate Patti Gaddis Margaret Lindsey Principal John Haggard Trombone: Craig Hargesheimer Derry Deane Frank Ryan, Principal Philip Ince Violin II: Vernon Howard Judy Blystone Graybert Beachem, Gene Drummond Bass: Principal Tuba: Dore Schupack, Principal Aldee Marquis, Associate Dennis Dvorak Thomas Doleman, Principal Timpani: Assistant Principal Stephen Hamm, Assistant Gerald Epperson Jeffrey Erb Principal Don Keipp Flute: Jonathan Prosser Percussion: Susan Klick, Principal David Witt Roy Smith, Principal Debbie Turner Raymond Johnson Lois Ahrend Piccolo: Martha Mattes Jack Smith Deborah Turner Viola: Wade Robertson Oboe: Philip Lowry, Principal Harp: Jennifer Sperry, Alison Eginton, Acting Eleanore S. Schultz Principal Terry Maskin Associate Principal English Horn: Philip Wachowski 1984 Terry Maskin Justine Heinrichs Clarinet: Julia Harris CARMEN Lola Weir, Principal Cello: Violin I: Karen Hill Kari Caldwell, Principal Marc Gottlieb, Bassoon: Louis Lynch, Assistant Concertmaster Principal Rodney Ackmann, Philip Ince Nancy Anderson, Principal Associate Concertmaster Judy Blystone Heather Graham Rebecca Cole, Bass: Matthew Ferris, Principal Horn: Assistant Concertmaster Jeffrey Erb, Assistant J. Bruce Schultz, Ann Cafferty Principal Principal Earl Salemink Linda Smith James Bates Trombone: Rosalyn Story Flute: L. Dale Barnett, Eric Scott Susan Klick Principal Principal Michael Sheldon Deborah Tamer Frank Ryan Gregory Lynch Cindy Hendricks Gene Drummond Violin II: Oboe: Timpani: Graybert Beacham, Debra Freedland, Principal Gerald Epperson Principal Dee Angel Linda Baker, Associate Percussion: Principal Roy Smith, Principal Lois Ahrend Larry Anderson 125

Clarinet: Philip Wachowski Shannon Scott, Principal Justine Heinrichs Karen Hill Cello: Bassoon: Kari Caidwell, Principal Rodney Ackmann, Diane Bucchianeri, Principal Associate Principal Susan Brown Louis Lynch, Assistant Horn: J. Bruce Schultz, Principal Principal Allen Mitchell Philip Ince Bass: D. Bruce Heim Matthew Ferris, Principal Mark Watson Trumpet: Marc Facci, Associate David Gauger, Principal Principal Earl Salemink Alison Gaines Trombone: Flute: Dale Barnett, Principal Susan Klick, Principal Frank Ryan Leonard Garrison Oboe: Gene Drummond Tuba: Lise Wagner, Principal Bernard Guzik, Principal Dee Angel Timpani: Clarinet: Gerald Epperson, Shannon Scott, Principal Principal Bradford Behn Harp: Bassoon: Eleanore Schultz, Rodney Ackmann, Principal Principal Percussion: Heather Graham Roy Smith, Principal Horn: Lois Ahrend J. Bruce Schultz, Principal D. Bruce Heim D. Wilson Ochoa 1992 Virginia Russell ARMIDA Trumpet David Gauger, Principal Violin I: Gareth Jones Marc Gottlieb, Trombone: Concertmaster Lynn Moestoller, Principal Brian Lee, Assistant Frank Ryan Concertmaster Gene Drummond Candida Wiley, Associate Tuba: Concertmaster Bernard Guzik, Principal Maureen O’Boyle Timpani: Gregory Lynch Gerald Epperson, Eric Samuelson Principal Gina Costanza Percussion: Kern Peterson Roy Smith, Principal Violin II: Lois Ahrend Aldee Marquis, Principal Harp: Gretchen Marquis, Eleanore Schultz, Associate Principal Principle Bin Lu, Assistant Principal Susan Loomis David Witt Paul Lundin Viola: Jeffrey Cowen, Principal Bruce Hunter, Associate Principal Philip Lowry, Assistant Principal

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People Behind The Scenes

REHEARSAL PIANISTS & Daniel Wright 1967-68 ArnoWald 1969-77 MUSICAL ASSISTANTS David Hatfield 1976 David Thomas Lloyd 1977-81 Marienka Michna 1964-77 Timothy Lloyd 1980-81 William Yanuzzi 1978 Sylvia Klein 1982 Philip Morehead 1978-83 Elizabeth V. Wilson 1982-85 Donald Meyers 1979 Stan Garner 1983-90 Evans Haile 1979-81 Sandra O’Neal 1984 Donna Brunsma 1980 Elizabeth Wallace 1985-86 Susan Woodruff 1982-86 Claudia Zahn 1986 Diane Richardson 1983 Tim Ocel 1986-92 Michael Fardink 1983 Peggy Imbrie 1987 Mark Ferrell 1983-89 David Bidinger 1987 Ruth Baker 1984-86 Paula Williams 1988 Gerald Steichen 1987 Blythe de Blasis 1989 Kathryn Lewis 1989 Caroline Moores 1989 Elizabeth Schaltenbrand 1990 Cheryl Home 1991 Glenn Morton 1990 Robert Waring 1991 Susan Wilson 1991 Ron Murphy 1992 Mark Graf 1991-92 Rebecca Edie 1990-92 (Musical Director, Young Artists Program) PROP COMMITTEE

CHAJRPERSONS for TULSA OPERA CHORUS TULSA OPERA PRODUCTIONS REHEARSAL PIANISTS Charles Colburn 1951 Bess Gowans 1948-53 Mrs. David E. Fields 1952 Frances Wellmon Anderson 1954-58 Mrs. Frances Coryell 1952 Rosalie Talbot 1959 Mr. W.O. Timberlake 1953 Betty Burgess 1959-61 Mrs. Foster Boggs 1953-54 Edward Flinn 196 1-62 Ruby Case 1954-77 Doris Scott 1963-65 Shelley Burkitt 1977-78 John Moore 1965-66 Cathy Crockett 1978-80 Lois Watkins 1966-68, 1973-77 Catheryn Dowd 1980-81 Walter Terry 1968 Hastings Foreman 1982-88 Betty Moses 1969-70, 1974, 1981-92 Douglas Click 1988 Ronald Morris 1970 Mark Nelson 1989-91 Fred Elder 1971 Penny Rowley 1989-92 David D’Ambrosio 1971 Dan Lambert 1972 Ron Pearson 1976-81 OTHER PROP COMMITTEE MEMBERS Joan Chapman 1987 WITH NOTABLE SERVICE

STAGE MANAGERS for Jean Binstock TULSA OPERA PRODUCTIONS Irene Bray Elizabeth Bruce John Black 1949-50 Bertalee Jayne Al Martin 1949-50 Vein Patrick William L. Shelton 195 1-52 Susan Rorschach G.W. Westfield 1953-55 Glenda Lansford JemDuffin 1959 Linda Birley

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COSTUME COMMITTEE Fran Crosby Corina Daniel CHAIRPERSONS for Martha Eidson TULSA OPERA PRODUCTIONS Sheri Farmer Marilyn Fowler Rose Martin 1949 Josephine Gould Mrs. J. Leighton Avery 1950 Joan Hastings, (Chair, 199 1-92) Betty Roy Hamman 1951 -53 Evelyn Hatfield, (Chair, 1989-90) Jessie Lou Stumph 1951 Allen Hocker Ruth Munn 1953-55 LouAnn Hoffman Pennie Ruth 1956 Arlene Johnson JoAnn Atkins 1956-63 Maralee Jones Kathleen Carrington 1963-77 Carol Kamp Nora Foreman 1970-88 Virginia Kingsley Mita Scott 1988-92 Kitch Laenger (Staff position with title of Wardrobe Coordinator) Billie McCants Retha McCutcheon

OTHER COSTUME COMMITTEE MEMBERS Margaret McShane WITH NOTABLE SERVICE Louise Maley Shara Mattern Greg Atkins Sandra Pease Joan Draughon Sally Pelizzoni Junia Grendahl Carolyn Polston Glenna Pribbenow Penelope Price Delores Quintana Pam Proctor Billie Raulston Dixie Reppe Donna Rozzell Susan Rizzo Dorothy Sauerwein Nadine Rogers Susan Snodgrass Marcella Rollins Marjorie Weber Laurie Saint Mary Williams Beverly Soli Marilyn Strange HOSPITALITY COMMITTEE Jinnie Thomas Pat Thomsen MEMBERS Madge Thrley 1989-1992 Dorothy Urmston Lucy Anderson Margaret Vandever Carole Ashcraft Mary Jane Vergin Mary Butler Betty Visher Edna Cheatham Doris Wellemeyer, (Chair, 1990-91) Margaret Wesner

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The Opera Chorus and its R ole

by Laven Sowell

When many people think of opera, they imagine a soprano or a tenor, in period costume, singing high notes to an admiring audience. But as Tulsa Opera audiences know very well, the “stars” are not the only singers on the operatic stage. Behind them, sometimes even under and around their voices, swell the music and ranks of the chorus. One of the challenges of maintaining a first-rate opera company is inevitably that of providing a chorus. Fortunately, Tulsa Opera has been blessed through the years with a supply of singers of the proper caliber, with good voices and the dedication to work long hours in a professional manner. That these singers, the overwhelming majority of whom have been local volunteers, have continued to provide service of outstanding quality is another measure of the support the Company has enjoyed from the Tulsa community. The opera chorus is quite a different type of choral organization from the symphonic chorus, church choir or college choir. Not only is the music sung from memory and for the most part in a foreign language, but the participants must also act out a characterization, both individually and collectively. A chorister must have ingenuity and the willingness to invest many hours of “personal” time in the arduous rehearsing which is essential to an effective performance. The singer who can put “body and soul” into this effort is generally the one who is happiest in the operatic environment. The work of the opera chorus begins many weeks or even months before the opening night of a production. The first few rehearsals are devoted to the mechanics of the part—learning the correct pitches, sounds, and rhythms from the musical score. This may involve simply speaking the words in rhythm, or singing the notes on a neutral syllable until the rhythms and pitches have been internalized. When the mechanics have been learned, the musical rehearsals begin in earnest. The chorus deepens its understanding of its dramatic role as it attains mastery over the musical passages. Special attention is paid to the true sonority of the language, whether it be French, Italian, German, or English, the mastery of which is a sine qua non of a convincing performance. The singers’ attention is turned to the meaning and subtleties of the text. A firm command of the musical and language aspects of the work is the bedrock from which interpretation and insight finally emerge. Once the staging rehearsals begin, three or four weeks before opening night, the chorus encounters a specimen of the new breed of stage director whose emphasis is on acting out the dramatic situation, as opposed to the old “stand and deliver” approach that positioned the chorus upstage and let them remain there. This is, of course, a most welcome development. It helps to

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inspire the talented individuals in the chorus by giving genuine motivation to their participation, and it serves to make the opera chorus a glorious musical ensemble. The presence of the conductor and the director on the scene is not, however, a signal that the chorus master’s work is over—as I have had to be reminded, to my chagrin, on one or two occasions! The conductor may decide to make changes in the score; or the director may, through action or spatial placement, destroy a musical balance which had been painstakingly achieved. At such times the “break” in a staging rehearsal may extend beyond the ten minutes usually granted for a brief rest! The stage director has only a few hours to teach the movement for an act, and the chorus learns quickly. But everyone is human, and occasionally the director makes a questionable choice in selecting, for instance, a small ensemble to appear in a scene in order to create a certain stage picture. The chorus master must protest if this involves leaving out key singers or parting singers who need each other for support, since these things can injure or even destroy a scene. The nature of the chorus’s role varies enormously, as a result both of historical developments and of the demands of the particular composer, librettist, or subject matter. The chorus may be used a great deal, to sing a lot of music and perform important dramatic services, or it may be allocated minor, fragmented parts. In Boris Godunov, the zenith of all operatic choral conception, Mussorgsky went so far as to make the chorus his protagonist. The people versus tyranny: this is the story of Boris, and accordingly the chorus in this opera has a major obligation to fulfill. Like every component of opera, the chorus has had its ups and downs through musical history. The early operatic composers, enamored of the Greeks and desiring to emulate their glory, set choruses in strict four-part homophonic fashion. These settings remained the standard for two centuries. Finally, the reformer Gluck created a new choral style through the use of ingenious dramatic and musical effects. His choral scenes, while still basically homophonic, nevertheless established mood and motivation for the ensuing action. Mozart, whether writing in the opera seria or the opera buffa style, rarely reached any choral heights until his remarkable last dramatic composition, The Magic Flute. In this opera Mozart went far beyond the conventions of his time, forging a unity out of many apparently contradictory dramatic ideas and musical factors. In a sense the modern German opera had its birth with The Magic Flute. The path was open to Beethoven’s Fidelio, with its high purpose and painstaking craftsmanship, and beyond. Weber and Beethoven, by expressing the whole gamut of emotion in their writing for chorus, inspired Wagner to create his “complete music drama.” Wagner’s own originality became apparent in The Flying Dutchman. With his mastery over polyphonic writing, he achieved a magnificent ordered chaos and created yet another choral innovation by heaping big blocks of sound on one another. This enabled him to increase the sound gradually to towering climaxes. At about the same time Bizet, in Carmen, employed sensitive shades of choral color in his composition of the “cigarette” and “fight” choruses, the latter a masterpiece of planned confusion. Meanwhile in opera’s lifeblood, the Italian style, Bellini and Donizetti developed the bel canto chorus with its long, arching lines. Rossini, too, was kind to the opera chorus, giving it a

131 generous quantity of highly vocal material to sing, as was shown most recently in Tulsa Opera’s American premiere production of Armida. Another Tulsa favorite, The Barber of Seville, illustrates perfectly Rossini’s gift for making the music and its Italian text seem inseparable. This development in choral writing presented new performance problems, however: delicate blending of voices, careful attention to phrasing, and staggered breathing were required in order to interrupt as little as possible the flow of the musical line. Verdi, a composer capable of expressing every emotion in music, was a master of choral counterpoint. This is exemplified by the climax of the Triumphal scene in Aida, where three themes are sung simultaneously, and by the opening scene of Otello, one of the great moments in all choral writing. But Verdi also knew that the dramatic impact of a chorus could be increased through unison singing. He used this technique frequently, a prominent example being the colorful “anvil chorus” of Il Trovatore. Puccini maintained the Italian tradition to some extent but used large choral forces only once, in his last opera Turandot. The opening scene in this exciting work is a stirring choral effect and illustrates beautifully the traditional kaleidoscopic role of the chorus: the representation of capricious crowds, a demanding populace, Norwegian sailors, students, priests, bridesmaids, soldiers and on and on. Over its rather long history, the chorus of Tulsa Opera, Inc. has remained a group of dedicated, talented, and civic-minded singers who give their time and energy freely. The chorus sometimes overwhelm me because they give so much. To look into their eager and hopeful faces as they rehearse is to experience a feeling of success and fulfilment. Because they have hearts full of expectancy and unspoiled enthusiasm, their power as a group is sensational. A perfunctory or insipid chorus could spell doom even for the most promising operatic production. The discipline and musical challenges are considerable, and so are the rewards. It is not only a question of beautiful choral sounds and impressive stage pictures, but of an attitude of mind. The choristers rehearse together, work together, create together, perform together, then break up and disappear, never again to meet as exactly the same team. When a production is over it is over for good, and each chorister walks away from it towards another beginning. When one looks back over the wide range of choral music that composers of every era have written for the opera chorus, it is small wonder that so many fine singers are happy to have given so much to have their operatic career and musical life within its ranks.

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What the Critics Said About the Chorus

‘But sing this chorus did .... [it] deserves applause for the best rehearsed and the best performing ensemble singing we have ever seen in a local production." Bill Donaldson The Tulsa Tribune November 4, 1966 Turandot

‘Although Tulsa Opera imports internationally famous artists for its productions, it is essentially a local project, utilizing the many fine voices of the area. The volunteer chorus ... is one of the finest opera choruses in the country Maurice de Vinna Tulsa World November 2,1973 il Trovatore

“The principals and the chorus worked as if they had been in repertory for years, creating a total ensemble.” Joseph Kestner Opera Canada Summer 1979 La Traviata

“The chorus was equally good. Attacks, releases, exclamations were accomplished with utmost precision .... Opera choruses have performed well on previous occasions, but this one topped all others.” John Toms The Tulsa Tribune November 3, 1980 Boris Godunov

“The Tulsa Opera volunteer chorus ... again distinguished itself In Attila it was called on to do a great deal of singing, and — without exception —it met all the demands with flying colors whether as a unit or divided.” John Toms The Tulsa Tribune March 8, 1982 Attila

“The chorus ... came close to stealing the show Not only did it provide convincing sounds, ... it also supplied significant and exhilarating action.... By means of prerecorded singing, the chorus of ghosts, the crew of the Flying Dutchman ... enveloped and confounded the audience. It was a stunning effect.” John Toms The Tulsa Tribune November 7, 1983 The Flying Dutchman

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"... chorus and direction that sparkle like champagne.... The chorus ... has never been so forceful, so omnipresent or so witty” David C. MacKenzie Tulsa World May 7, 1984 The Pirates of Penzance

‘As Tulsa audiences have come to expect, the Tulsa Opera chorus ... again turned in a superlative job. No amount of activity on stage — which they carry out convincingly — deters them from singing on the beat and smack on pitch.” John Toms The Tulsa Tribune November 5, 1984 Carmen

“Under the exact and steady direction of the conductor ... the orchestra and the principals stayed well in line, but on stage, it was the chorus that gave the best account of itself’ John Toms The Tulsa Tribune May 5, 1986 Manon Lescaut

“A chorus assembled in Oklahoma ... adds immeasurably to the event [its] singers have created a community here, a Greek chorus, if you will: the chorus is the mortar that holds the bricks together” David C. Mackenzie Tulsa World November 3, 1986 Porgy and Bess

“If the chorus ... was ever less than excellent, regular opera patrons would be surprised and disappointed. Theip could have been neither on Saturday for the chorus again carried out its role in top form” John Toms The Tulsa Tribune March 7,1988 The Tales of Hoffmann

“I’d suggest that, if it’s possible, you try to ignore Gilbert’s lyrics, even though this cast makes them into tasty morsels.... Soak up the radiant singing from the chorus David C. MacKenzie Tulsa World May 9, 1988 The Mikado

"... glorious singing from the Tulsa Opera chorus .... Along with its thrilling musical execution, the chorus never faltered in its emotional conviction.” Ellis Widner The Tulsa Tribune February 10, 1989 Samson and Delilah

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“The Tulsa Opera chorus ... distinguished itself with fine acting and superb singing. Chorus members make up most of the congregation and they were as effective dramatically ... as they were musically” Ellis Widner The Tulsa Tribune May 8, 1989 Susannah

“The chorus was exceptional…” Joseph Kestner Opera Canada Summer 1990 La Traviata

“The opera chorus ... exerted a dominating influence in several scenes. The thrilling Anvil Chorus, one of opera’s most familiar pieces, was a rousing show-stopper The chorus presented a robust tone, firm grasp and unmistakable confidence.” Ellis Widner The Tulsa Tribune November 5,1990 Le Trouvere

“The chorus again sang extremely well…” Joseph Kestner Opera Canada Winter 1990 La Cenerentola

“Gilbert and Sullivan always served their chorus well, and the Tulsa ensemble rose to the occasion with the same admirable success displayed in last fall’s ‘Girl of the Golden West.”’

James Vance Tulsa World April 27, 1992 HMS. Pinafore

“The Tulsa Opera Chorus ... covered itself in glory” Joseph Kestner Opera Canada Summer 1992 Armida

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R emembering M oments Of the Chorus

Turandot Chorus after dress rehearsal, 1966

Chorus rehearsal with Maestro Moresco for 1971 Otello

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Rehearsing for 1966 Turandot: Mary Markham, Dodee Brockhoff, Lois Watkins (rehearsal pianist), Laven Sowell (Chorus Master).

Chorus rehearsal in old Tulsa Opera Headquarters for 1971 Otello.

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1971 Otello: Chorus Master Laven Sowell with Maestro Moresco looking on and David D’Ambrosio (rehearsal pianist).

LouAnn Ridley, Arno Wald, Marienka Michna (Musical Assistant), Jan Gaddis, Virginia Torres, Frankie James; 1974 Romeo et Juliette.

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1975 Rigoletto, (Act I: Joseph Shore (Marullo) and Natale de Lazzri (Borsa) with chorus members.

1975 Rigoletto, Act III: Andrea Hanson (Page) and chorus.

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John Reardon (Horace Tabor) and chorus members in 1976 Ballad of Baby Doe.

1979 Pagliacci: Josephine Barstow (Nedda), Harry Theyard (Canio), Joseph Frank (Beppe), and chorus

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1977 Aida, Act II Triumphal Scene: Ermanno Mauro (Radames), John Macurdy (Ramfis, far right), and chorus.

1979 La Traviata, Act III: John Brecknock (Alfredo) and chorus.

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Wayne Hardy and Mary Michal Earl vocalizing backstage during 1981 Daughter of the Regiment.

Virginia Torres and Bill Shambaugh in the green room during performance of 1981 Andrea Chenier.

Chorister James Weeks (Corporal) and Giorgio Tozzi Jane Sneed (center) conversing with fellow singers Wayne (Sulpice) in 1981 Hardy and Mary Michal Earl backstage during 1981 Daughter of the Regiment. Andrea Chenier.

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Mike McUsic, Wayne Hardy, Bill Shambaugh, Bill Ozbun, and Curtis Bailey (front): Between acts in the dressing room during the 1983 Flying Dutchman. Ron Meadows and Miriam Delavan in 1983 Der Rosenkavalier.

Chorus scene in 1984 Carmen.

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Chorus scene in 1984 Pirates of Penzance.

Jane Sneed and Jean Wallace in the green room during 1985 The Merry Widow.

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Chorus scene in 1984 Pirates of Penzance.

Chorus tenors Steve Raiford and Chuck King joke with Metropolitan Opera tenor Ermanno Mauro about his cowboy hat during the cast Greg Barnard and Bonnie Duncan in party after 1986 Manon Lescaut. the wings during 1985 The Merry Widow.

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Valerie Masterson (Anna) and men’s chorus in 1985 The Merry Widow.

Soprano Kim Mooney embraces baritone Jean Wallace and Wade Williams, backstage. colleague Eric Graber, backstage during 1990 La Traviata.

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Joe Phillippe, Ron Roberson, Jack Williams, and David Curry in the green room before a 1990 La Cenerentola performance.

Mary Neff Hurst and Patty Boyer in the dressing room putting on make-up before a performance.

Sopranos Kim Mooney and Mary Neff Hurst getting in the mood for Act III of 1990 La Traviata.

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Kathleen Hensley, Todd Walters, Dan McDaniel, and Marilyn Catrett in the green room, ready to perform in 1991 Madama Butterfly.

Four miners preparing to go on stage in 1991 Girl of the Golden West: Ken Miles, Shawn Young, Luis Pena, Disk Risk.

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Gathering at the State Capitol in Oklahoma City, December 1991, on the occasion of Chorus Master Laven Sowell receiving the Governor’s Arts Award for Community Service: Opera Board President Scott Graham, chorus member Dick Ruprecht, Board Chairman Charlotte Schuman, General Manager Myrna Ruffner, Laven Sowell, Board member Joseph Kestner, Vaughndean Fuller, chorus member Wes Johnson, Production Coordinator Ron Murphy, Former Oklahoma Governor Georgee Nigh.

Janet Ellis (Buttercup) and men’s chorus in 1992 H.M.S. Pinafore. (Courtesy: Tulsa Tribune)

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A View of S ummer Chorus R ehearsals 1992

Meredith Harrison and Meli Bly Wes Johnson, Mike McDaniel, and Ken Miles

David Birley and Keith Jemison. David Curry and Lance Lansford

Dick Ruprecht, who joined the chorus in Patti Goble Duncan (chorus member since 1962 as a high school senior; Tom Peterson 1972) and Sally Grotpeter.

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Sally Grotpeter and Lucy Anderson George O’Dell and Dan McDaniel

Karen Parker, Ophelia Hodge, Dru Young, Mary Neff Hurst, and Lynn Phillips. and Meredith Harrison.

Wes Johnson, a chorus member of long Betty Moses, a rehearsal pianist of the standing. His first opera was in 1958, highest caliber. when he was a high school student.

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Ron Roberson, visiting with guest Betsy Beard. Chatting during rehearsal break are: Tom Peterson, Sally Grotpeter, Mike McDaniel, and David Curry.

Mezzo Soprano Charlotte Miller points out historical item to tenors Chuck King and Jerry Hatley.

Bonnie Duncan, regular chorus member since 1959 and Virginia Torres, a regular with the chorus since 1956 Judy Hastings and Elizabeth Kragas.

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Long-time (since 1962) chorus member Jack Williams discusses Carmen score with younger chorus members Todd Walters, Clint Weber, and Randy Chandler.

Joette Berry and New chorus members in conversation before rehearsal begins: Elizabeth Sjoberg. Jane Bass, Diane Palencia, and Mark Wright.

Checking the notes during a rehearsal break: John Akey, Keith Jemison at the piano, Debra Jewell, and Althea Haefner.

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S ome Favorite A utographed P ictures

I have included some of my favorite autographed pictures because I feel that they belong as much to the chorus as they do to me. Without the chorus I would never have had these pictures. —LS.

In alphabetical order:

Lorenzo Alvary Walter Cassel Anton Coppola Fiorenza Cossotto Frances Ginsberg Jerome Hines Ermanno Mauro Sherrill Mimes Carlo Moresco Maralin Niska Roberta Peters Samuel Ramey Renata Scotto Beverly Sills Judith Somogi Diana Soviero Richard Tucker

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The Tulsa Opera Chorus 1948 – 1992

A Sally Bailey David Birley Shirley Abbott Andrea Baker Thomas Bishop Jaxie Abernathy Bob Baker Wayne Bland Anthony Abernethy Dixie Baker John Bliss Dale Abra hams Earl Baker Meli Bly Charles Adams Garrett Baker Eleanor Bode Connie Adams Jim Baker Clarence Boles Lynda Adams Marilyn Baker Lynette Boles Sally Adams Susan Baker Judith Boling Wyatt Adams Jeanne Bales Richard Bond John Akey Louis Ballard Anisa Boomer Michael Alden Michael Ballard Rosemary Bossert Ebby Allen Dale Bankston Barbara Botkin Gene Allen Janet Banta Ernest Botkin Jack Allen Kent Banton Frank Bottom Janet Allen Bernice Barber Lynne Bourscheidt Sam Allen Connie Barker Barry Bowen Charles Allison JoAnn Barker Barbara Bowers Thomas Allsup Emily Barnard Robert Bowers Joe Alquist Greg Barnard Brad Bowker David Amann Bob Barnes Denny Boyd Louise Amelon Norman Barnum Margaret Boydston Alexis Anderson Bruce Barr Patty Boyer, (Pres, 1988- Arthur Anderson Joanie Batchelor 90) Doreen Anderson Dorothy Bates Judith Bozarth Erin Anderson Ardis Baumann Mary Lou Bozarth Marilyn Anderson Karen Baumann Esther Bra cksieck Wrginia Anderson Betsy Beard Joan Bradford Jan Andrews Ken Beard David Bradley Robert Anson Helen Beaty Kay Bradley Alice Armstrong Ineta Bebb Jim Braley Kalyn Arndt Martin Bebb Lenora Brandenberg Diderika Arps Bill Beckham Charmaine Brandow Dante Artadi Amos Belden Mary Anne Brandt Jo Ann Atkins James Bell Stephanie Branson John Atkins Adele Bennet Michelle Brazell fake Atkinson Jolene Bennett Stan Brazell Mary Lou Atkinson Myron Bennett Margaret Bresser Floyd Ausburn Lothar Ber-Geest David Brewer Jo Ann Austin Bob Berg Marcelyn Bridal Lee Austin D’Wanna Berg Carlyss Brigance Monty Avery Sharon Berg Harry Brighton Ruth Avery Anita Berger Carolyn Brock Spencer Berry Dodee Brockhoff Carol Berton David Brown B Wayne Bickers Sharon Brown Sharon Babbitt Joe Bicking Wilder Brown Betty Bailey Eileen Bielanski Michael Browne Curtis Bailey, (Pres, 1982-83) Vickie Bird

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Howard Bruce Gilbert Chancey Josephine Coyne Carissa Bryant Harriet Chancey Wanda Cracken Lori Bryant Marilyn Chapman Camilla Crane Elmer Bryden Mary Lil Chappell Bridget Crawford Ernest Buck Bonny Chartrand Jim Crawford Fleta Buckles Richard Chauncey Carolyn Crawley Marilyn Buland Sherry Chew PA. Crechton Karen Bullard Robert Chism Suzanne Cresap Emily Bullock Josephine Clark Carolyn Crew C. E. Bunkley Karin Clark Philip Crichton Deborah Burnham Norma Clark Earl Criswell Gladys Burns Clyde Clarkson Linda Crombie Lynna Burt Jeanne Clarkson Tom Crouch John Bush M C Clarkson Ann Crowder Tracy Bush Debra Clegg John Crowder Grace Bushner John Clegg Michael Crowley Debra Butler Manais Clements Frank Crown Sue Ellen Butler George Clulow Mary Grace Crussell John Butts Howard Clute Larry Crutcher Judy Byram Russell Coates Lillie Cummings Joyce Byrne Marsha Coburn Cameron Cunningham Jim Cockrell Carol Cupps C Peg Cockrell Dorothy Currie Frank Caldwell John Coe, (Pres, 1967) Charlotte Curry Yvonne Caldwell David Curry Charles Camp, (Pres, 1970) Isaac Coleman Grace Curry Michael Camp Delbert Collins Janette Curry Linda Campbell Thomas Collins Virginia Curry Chester Care Richard Combs Gail Curtis Carol Carlson Jean Cone David Carnahan Lee Conger D Gayl Carpenter Mary Jane Connet Jody Dall’Armi Peggy Carpenter Allan Cook Ivy Dameron Eldon Carrington, (Pres, Catharine Cook Ken Damon 1964) Dorothy Cook Vera Damon Kathleen Carrington Mrs. E. A. Cook Margaret Daniel Ed Carris Adeline Cooke Marcia Daugherty James Carstarphen Dorothy Coolidge LaVonne Davis Jayne Carter John Coons Laquita Davis Kathey Carter Lynda Cooper Linda Davis Richard Carter Dorothy Cope Paula Davis Emily Carver Nancy Cope Pinkney Davis Marilyn Carver Robert Cope Rita Davis Newt Carver John Copher Sabrina Davis Rene Carver Helen Corlett Sadie Davis Sheila Case David Corman Eric DeGraff Wendell Casey Robb Correll Robert DeHaven Marilyn Catrett Bob Cortwright Harold DeShane Marvin Catron Carol Cotten John Dean Carl Caughron Judy Cotteral Clydia Deaton Denise Caves Malleck Coury Vincent Decordova Sandra Center Bettye Cowart Pat Defebaugh Patricia Chalfant John Cox Miriam Delavan Irvin Chancellor Kaye Cox John Demakeas Casey Chancey Bernice Coyle

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Roberta Dennie Robert Emery Pauline Funk Hazel Desjardins Preston Engle Barbara Fusselman Mar]orie DiProflo Virginia Erbert Jack Fusselman Jerry Dillon Arthur Erwin Carolyn Disnew Stan Erwin Dorothy Dittus Claude Evans G Kenton Dobbins Ruby Evans Jan Gaddis Wanda Dobbs Pauline Galbraith James Dockens Kenneth Gandall Elizabeth Dodd F Cherie Garland Carol Dohm Don Falletti Stan Garner Charlotte Donnell Nancy Farmer Anya Garrison Franklin Donnell Vicky Farnum Deena Garrison Dixie Dooley Susan Fasig Alberta Garroutte Patricia Doty Timothy Feerer Jerry Gay Elaine Douvas Helen Fero Kerry Geffert Larry Downey John Field Gloria Gentry Joan Draughon Harriet Fielding Vicky Georges Charles Dreger Theresa Finck Mabel Gerstenberger Rosemary Dreger Jean Finlayson Myra Geurkink Connie Dremissi Karen Finley Gertrude Gilbert Jane Dressler Richard Firmin Virginia Gilbertson Sandy Dryden Salvatore Firrito William Gilinsky Mary Anne Duesler Carol Fisher Karen Gingrich Richard Duesler Nancy Fisher Nancy Ginnings Bonnie Duncan, (Pres, 1963) Harriet Fleer Lois Glendening David Duncan Matthew Foerschler Patti Goble Patti Duncan Margaret Forbes Val Goff Douglas Durasoff Nora Foreman William Goffe, (Pres, 1966) Agnes Dyer James Forsman Karol Goins Buddy Dyer Rick Fortner Shirley Goodman Rosemary Dyer Venita Fosberg Dorcal Goodwin Marianne Foster Marshall Gordon Philip Foti Julie Gore F Bruce Fowler Mary Alice Gorman Hugh Earl, (Pres, 1972) Carolyn Fox Patti Gorman Fred Fox Darothy Gourley John Earl Mary Ellen Fox Diane Graalman Mary Michal Earl (Pres, Rich Fraley Eric Graber 1983-85) Jeff Francis Clyde Graeber Diana Locke Edwards Kelly Frankiewicz Gloria Gram Marilynn Eaves Arman Franklin Arthur Grandi Alice Echo-Hawk Evelyn Franklin Allan Graupman Pope Economou Ed Franks Denise Graves Joi Eddington Dan Frederick Glenda Graves Marilyn Edwards Bruce Freeman Sylvester Graves Eldon Eisenach Roy Freeman Jon Gray Stephen Eisenhard Seth Freeman Carmen Graziano Fred Elder Susan Frewin Edward Greaves Edwin Ellinghausen Mark Frie Geraldine Greider D.O. Elliot Charles Friend Jerry Greider George Ellis Guy Friend Louis Gribin Patricia Ellis Rosemarie Friend Janice Griffin William Ellis Reynaldo Fuentes Sally Grotpeter Bonnieray Elsey Simma Rae Fuhrman Bill Embry Kaye Fulcher

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Mary Gubser Charles Helmick Deborah Hunt Myra Guerkink Dolores Henderlong Denise Hunter Mary Gunn Bill Henrici Terry Hurley Nancy Gunning Kathleen Hensley Mary Neff Hurst Sue Ellen Henson Candace Hutson Barbara Herring Gerry Hyatt H Sandra Herring Janet Hyatt Vivian Haas Patricia Heumann Joanne Hackler Laura Hewitt Althea Haefner Carol Hickerson I April Haines Dorothy Hickerson Anita Ianieri Alan Hall Janey Hickerson Lory Ice Charles Hall Harriet Hickman Kenneth Ihrig Venita Hall Becky Hildabrand Belinda Ingram Mildred Halvorsen Jerome Hirschhorn Clinton Ingram David Hamilton Marilyn Hitch Karin Irons Jeanne Hamilton Ophelia Hodge Linda Irwin Phil Hammond Diane Hodges Marianne Ives Robert Hampton Amy Hoffman Carilyn Handy Dana Hofstrom Helen Haney Beverly Hogan Betty Hanks Daniel Hogan J Joyce Hannaford Thomas Holbert Caro lyn Jackson Maggi Hanson Danette Holden Gene Jackson Bonnie Hanssen Joanne Holland Joyce Jackson John Hardie Nancy Holland Delores Jacobs Evelyn Hardman Ruby Hollenback Ruth Jacobsen Gail Hardy Harriet Holsapple Frankie James Wayne Hardy Marti Homan Jerry James Billy Hargis II Kathey Lynn Hope Karen James Keith Harmon Orlin Horgen VerniceJarrett Talmadge Harper Denise Horn Phyllis Jarvis Tom Harper Margretta Horn KristiJeffers Ray Harrell Amy Horst Carolyn Jeffreys Sonia Harris Gerald Housh Keith Jemison Tommy Harris Florence Howard Stan Jensen Luvada Harrison Jim Howard JanetteJeppesen Meridith Harrison Joe Howard Donald Jernigan Nancy Harrison Marie Howard BettyeJewell Steve Haskin David Howell Debra Jewell Tim Hast Harriet Howell Jim Jewell Judy Hastings Karen Howell SoohyunJin Jerry Hatley David Hoyt Arthur Johnson, (Pres, 1971) Martha Havlick David Hubbard Carmella Johnson Doyle Hawkins Marlene Hubbard Helania Johnson Jack Hawn Ida Huber Ima Johnson Charlene Hayes Larry Huddleston Kenneth Johnson Heidi Hayes Claudette Hudelson Laurissia Johnson Steve Heath Lauri Hudgins Lawrence Johnson, (Pres, Irene Heatley Mrs. E. L. Hudson 1962) Richard Hedgecock Virginia Hudson Mark Johnson Sally Hedgecock Gary Hudspeth Peg Johnson Donita Hedlund Jerry Huff Trudy Johnson Karl Hedlund Robert Humble Wesley Johnson Richard Hedlund Brian Hunt Leo Heerwagen Carol Hunt

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Benjamin Johnston Philip LaPointe June Lower Jeane Johnston Don LaViolette Chieko Loy Cecelia Jones Teddy Lachterman Terry Lundy Cindi Jones Regina Lacovara Dawn Jones Nanon Lustig Doris Jones Fern Ladas Carol Lynch Evelyn Jones Michael Ladd Linda Lytle Gerald Jones Margaret Laird Gloria Jones Joshua Lakey Helen Jones Lynelle Lancaster M Jon Paul Jones Jerry Langenkamp Doris MacDonald Katie Jones Robert MacDowell Robert Langholz Philip Lankford Maurice Magee K Laura Lanphere Ed Major Paul Kastendieck Roberta Lanphere Mike Major Stewart Katz Lance Lansford Marcus Manawa Rebecca Kaufman Betty Larkin Jack Maples Jan Keene Marti Larkin Mary Markham Bess Keener Marcia Larsen Paula Marshall Oliver Keener Roger Marshall Mary Louise Kehler Sam Larsen Becky Martin Jerry Keith Twila Larssen Brad Martin Alan Kelley Dan Lassley Rose Martin Charlotte Kelley Karen Lauer Steve Martin Dave Kelley Tom Martin James Kelley Lois Laughlin Suzanne Law Joyce Marvel Nancy Kelley Tyler Mathews Jim Kennedy VeDon Law Margaret Mathis John Keown Jimmy Lawbaugh Betty Matthews M E Kerpan Linda Lawson James Kerr Yvette Matthews Anita Layton Ted Kim Hunter Mauldin Theresa Learn Tim Kimberling Todd Maxwell Chuck King Collen Leehan Jason May Melinda King Robert Leich Marion Mayes Wanda King Barbara Lester Pope Kingsley Jaquelyn McA dams Bill Lewis Mary Kinsack Barbara McAlister Blanche Lewis Hilary Kitz Lydia McAlister Skip Klingman Dale Lewis Jim McAllister Kenneth Knepper Don Lewis Kelli McBride Jean Knight Kelly Lewis David Knighten Zepha McCan Mitchell Lillywhite Suzanne Knock Bruce McCarty Joanne Lindenberg Rosemary Koberling Harriett McCay Joanne Koor Don Lintvet Anita McClain Valorie Kopp Lynn Lintvet Marwood McClelland Dora Koutelas Terry Lippmann Elizabeth Kragas Cliff McClung, (Pres, 1975-76) Martin Kral Linda Little]ohn Betti Kramer Stan Lockhart Carol McClure Angela Krempl Suzanne Loerch Marilyn McClure Karen Kribbs Phyllis Logsdon Eva McConahy Joanne Krieger Linda Long Jinx Kroeger Jessica McConnell Blanca Loraine Miriam McConnell Howard Kunsman, (Pres, 1961) Pauline Lord Dorothy McCormick Betty Kuzilik Wally Love John McCormick Sam Loveall L Dorothy Low 176

Adrienne McCracken Susie Monger Louise Nolan May Novak Dan McDaniel Irene Monnet Michael McDaniel Donna Montgomery 0 H G. McDonnell Kay Montgomery Jerry O’Brien Scott Montgomery Dorothy McFadden Terry O’Brien Phyllis Moomaw David Qates Beverly McFarland Melinda Moon Delores McGill Bernice Obst Kim Mooney Richard Oden Harrison McGill Alec Moore Lorraine Ogilvie Sue McGill Frederick Moore Colleen Oglesbee Tom McGill J D. Moore Don Okeson Mike McGoffin Ray Moore Linda Olson Bill McGowan Rick Moore Virginia Olson Joseph McGowan Brian Morain Steven Osborn Elizabeth Mcflvain Diane Moretti Gregory Owen Harriett McKay Brad Morgan Pat Owen Argus McKenzie Sandra Morgan Bill Ozbun Roberta McKinney Randy Morlan Charies McLain Ann Morris P Cecilia McLaurin Maxine Morrison Nancy Paget Sandra McLeod Diane Morrow Rick Palazzo Sharilyn McMahan Karen Morse Geraldine McMillian Diane Palencia Melanie Morsman Elaine Paredes Dorothy McNabb Tom Mosher Marion McNicol Louis Paredes Cynthia Mounts Betty Lou Parker Geraldine McQueen Sharon Mullins Margaret McShane Sharilyn Munroe Jean Parker Alberta McSoud Cameron Murchison Marvin Parker Andrea McUsic Helen Murdock Paul Parker Mike McUsic Jean Murray Sharon Parker Ron Meadows Shirley Murray William Parks Donald Meehan Michale Myers Pollyanna Parrett Winifred Meehan Molly Mylar Billye Parrish Mildred Mehling Phyllis Parrish William Meinert Albert Pason Rolly Meinholtz N Wncent Patrick Jerry Melichar Antonio Nagore Vince Paul Sallye Messer Malcolm Pavey Christine Middleton Christy Narwold Lucy Nave Gordon Payne Kenneth Miles David Peake Margaret Milks Albert Neal Jean Pearson Charlotte Miller Neal Nease June Pearson Dave Neighbors Ron Pearson Drennan Miller Rolf Neilson James Miller Charles Nelson David Pease Janice Miller Hazel Nelson Donald Peck Josephine Miller Mark Nelson Novella Peck Josh Miller Gerry Ness Joy Peddycoart Lee Miller Bertha Newton Luis Pena Michon Miller Laurie Nicholls John Penn Lynn Mills Bill Nichols Dale Pennington Anthony Mirra Jack Nicholson Mary Ellen Pennington Esther Mitchell Sula Nickerson Patrice Penny Cosette Moeller Philip Niles Maria Perez Jeremy Moeller Nancy Noble Ivan Periman Shirley Money Judith Nolan

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Ronald Pesha Jo Anne Rice William Sanders Laurence Pete Martha Richards Jane Sanditen Janet Pharr Ralph Richter Nicholas Sapora John Ricketts Joseph Philippe Gary Ridley Debbie Sawtelle Adrienne Phillips Louann Ridley Teresa Sawyer DeLanie Phillips Verda Riehart Betty Scargall Lynn Phillips Dick Risk Jay Schale Carolyn Piley Norma Risner Marilynn Scheer Ryan Pina Frances Ritter Kathy Scherler Paul Pinkosky Linda Roark Ida Schicke Joyce Pinson Michael Roark Stephen Schmorr Sandra Pisias Alison Robb Pamela Scholes Virginia Pittman Cyrus Robbins Jim Schopp Paula Plumer David Robbins Marilyn Schramek Edith Polan Marcia Robbins Sherrie Schroder Tricia Pollard Christine Roberson Wayne Schroder Mark Polumbus Ron Roberson Barbara Schultz Jerrold Pope (Pres, 1990-92) Beth Schweikhard Debra Ann Porter Trula Roberson Jake Schweikhard Howe Porterfield Fern Scott Bonnie Roberts Sharon Potter Hank Roberts JO.Scott Pietro Pozzo Martha Roberts Lynne Scott Alex Prayson Mrs. R. H Roberts Kay Seames Ann Prayson Amy Robertson Lloyd Sedlacek Artie Prayson Gayle Robertson Latricia See Patricia Sellers Don Price James Robinson Ellen Selman Norma Prophet William Robison Dona Jeanne Pugh Gina Rodman Margaret Sewell Barbara Shallenberger Gwynne Purcell Mary Ellen Rogers Bill Shambaugh, (Pres, 1973-75) Cathy Purkiss Michael Rogers Mae Sharp David Purrington Roy Rogers David Rob Andrew Shaub Jeffrey Purtell Norma Shaver Mary Ann Putman Sam Rose Mark Ross James Shea

Ron Ross Frank Shearn R Steve Ross William Sheehan Chris Raglin Lori Roth Susanne Shelton Steve Raiford Gary Royse Ellen Shepherd Elizabeth Ralph James Rubba Linc Shepherd Evelyn Rauch Marlene Runnels Lynn Shepherd Roy Raulston Dick Ruprecht, (Pres, 197678) R. T Shields John Raveill Charles Rush Sydney Shields Peggy Razak Pennie Ruth Sheri Shupack Lillie Realrider Jean Rutledge Carl Siberts, (Pres, 1980-81) Norma Jean Reardon Joe Ryan Robin Sick Leta Rector Susan Ryan Lois Siegfried Jean Reed James Sigmann Philip Reed Tom Simpson Frank Reidy S Chris Reiter Ben St. John Loraine Sims, (Pres, 1987-88 David Reneau Bernice St. John Steven Sims Donna Reneau Becky Sallee Elizabeth Sjoberg John Sample Jimmy Reynolds Brenda Skaggs Ruby Samples Theresa Rheuark Lou Ann Skinner Ruth Ann Sanders 178

Mary Skonezny Bill Stoskopf Jane Trotter Mary Slattery Jerry Stowell Sue Truelove Marthan Sloan Elizabeth Strance Bob Tucker Alma Lou Smith Jim Streck Joanne Turley Del Smith Kirk Stuart Sandra Turnbow Gary Smith John Sullivan Betty Turner Harriet Smith Hardy Summers Ronnie Turner Jane Smith Mark Sumner John Tyer Jo Ellen Smith Lavena Supernaw Loyce Tyrrell Kay Smith Richard Sutliff Joyce Tyson Marcee Smith Ruth Suffer Margaret Smith Mary Sutterfield V Nadine Smith Bula Swartz Kristin Van Valin Philip Smith Susan Swatek Ellen Vance Richard Smith Eleanor Swetnam Laura Vance Ronald Smith Berle Swift R. F Vandaveer £ Lanier Smith Shirley Swift Willa Vandaveer Vicki Smith Beth Swinson William Vandaveer Jane Sneed Ed Vanlandlngham H C Snook T Robyne Vaughn Paul Snyder Charles Tackett Brice Venable Janis Sodeman Shaun Talley Ted Vestal Elton Somers Jason Taylor Judy Viccellio Mimi Somers Kathleen Taylor Pamela Vickers Mary Ann Sontag Thomas Taylor Frank Vitale Clara Sory Walter Terry Sara Vokes Martha Sory Carolynne Thomas Jeny VonGonten Laven Sowell Gordon Thomas Emmanuel Sozonov Jo Thomas Katie Spears Martha Thomas w Anne Spencer Sharon Thomas Arno Wald Paul Squltieri Sue Thomas Shirley Walker Fred Squyres Afranda Thomason Norma Wall Linda Staley Dan Thompson Thomas Wall Jack Stallings Donald Thompson David Wallace Les Starnes Margaret Thompson Jean Wallace, (Pres, 1978- Winnie Steffens Sue Tibbs 80) Linda Stevens Lisa Tibey Maybelle Wallace Jim Stevenson Mark Tibey Mervin Wallace Ruth Steward Robert Tidwell Doug Waller Virginia Steward Stephen Tindle Esther Walling Carol Stewart Suzanne Tips David Wallis Suzanne Stewart Billy Tobey David Walters Vanessa Stewart Aileen Todd Todd Walters Julia Stickle Billy Tolbert Wendy Walters Shirley Stiger Daniel Toll, (Pres, 1960) Evelyn Wandres Daisy Still Magdalena Torres Carolyn Ward Lois Stiff Virginia Torres, (Pres, 1965) George Ward Richard Stiff Martha Towry Denver Wathen David Stokes Mrs. C. R. Traband James Watkins Janice Stokes Brenda Trammell Mark Watkins Laurie Stokes Lynn Trepel Michele Watkins Richard Stone Marianne Trippet Lois Watkins Mark Storey Nancy Trippett Buddy Watson Freddie Storm Gretchen Watson 179

Marilou Watson Don Whitsett Doreen Wood Vicky Weaver Jill Wicks Helen Wood Virginia Weaver Patricia Wiehe Jeana Woods James Webb Jack Wightman Janice Woodward Julia Webb Carolyn Wiley Kenn Woodward Jim Weeks Marsha Wilks Lee Woodward Bill Weger Barbara Willfong Wardell Woodward Kay Weger Cathlene Williams Sy Woolbert Margie Weidner Celeste Williams D. J Woolsey James Weikel Clint Williams Patricia Workman Wta Weir William Wothke Joey Welch George Williams Elizabeth Wright Tom Welch Jack Williams, (Pres, 1969) Mary Louise Williams Marianne Wright Margaret Wellman Michael Williams Evelyn Wells Mark Wright Sonya Williams Julia Wendt Regina Wright Wade Williams Bruce Wyatt Annetta West Chris Willoughby Alma Lou Wylie Cathy West Donna Wilson Hiram West Jeanne Wilson Y Mimi West Joanne Wilson Cecilia Yager Eleanor Westgate John Wilson Gloria Yager Walton Westlake Linda Wilson Charles Yarrington Pat Weston Rebecca Wilson June Yates, (Pres, 1968) Cathy Wetmore Dolores Winders Mary Weynand Janice Yoes Mary Wheeler Shiriey Windle Diane Yomtov Virginia Whitaker Eloise Winfrey Donna Young David White Donn Wisdom Leona Wise Dru Young, (Pres, 1981-82) Edward White Shane Wise Janice White Harriet Young Jennifer Wiseman Robert White Shawn Young Shirl White Louann Wisher Steven Young Don Whited Janice Witt Bob Whiteley Donna Wittenauer Benjamin Whitney Albert Wittrin Gerald Whitney Chariotte Wolfe z Marsha Whitney Harry Wolohon Mary Zachritz Philip Whitney Mark Womack Mary Zartaludes

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About The Authors by Phil Hammond

JACK A. WILLIAMS, a professional geochemist, has long enjoyed music as an avocation. He was born and raised in Bentley, Kansas, to a family of modest musical accomplishments. The interest of Dr. Williams in opera developed early, expressing itself in a passion for cylinder recordings and for Texaco’s Saturday-afternoon radio broadcasts from the Metropolitan. With this standard of performance present to him, it is perhaps understandable that he withheld his vocal talent from the public until well past the age of thirty. At last he started doing some church-choir singing (St. Andrew’s Presbyterian), and in 1961 he made his Tulsa Opera debut as a member of the backstage chorus of Cavalleria Rusticana. He advanced to the stage proper in the 1962 production of The Barber of Seville, subsequently undertaking serious vocal study under Laven Sowell. Dr. Williams has now performed thirteen different comprimario roles and participated as a chorister in nearly sixty productions, so that not more than a handful of persons, alive or dead, could boast of having spent as many hours or sung as many notes on the Tulsa Opera stage. He has also performed as a soloist on many occasions with the First Presbyterian Church choir. Dr. Williams received the Bachelor’s and the Ph.D. in organic chemistry from the University of Kansas. In 1958 he switched to geochemistry, and in 1989 he retired after more than thirty years as a Staff Research Scientist with Amoco Production Company. In retirement he enjoys travelling and pursuing his lifelong musical interests.

Laven Sowell has been teaching voice and directing choral ensembles in the Tulsa community for more than thirty years. Mr. Sowell was born in Wewoka and raised in Oklahoma City, where he began the study of voice with Clark E. Snell while still in high school. As an undergraduate at the University of Oklahoma he studied with Joseph Benton and, for three summer sessions, with Martial Singher at the Aspen Institute in Colorado. A first-place prize in an audition with the opera impresario Charles L. Wagner resulted in Mr. Sowell’s spending a season singing the role of Marcello (La Boheme) on tour in the United States and Canada with the Charles L. Wagner Opera Company, which included conductor/translator Thomas Martin and Metropolitan Opera Stage Director Desire Defrere. Moving to New York City, Mr. Sowell continued his training with some of that city’s leading voice teachers including John Brownlee, at the Manhattan School of Music and Samuel Margolis. Later he earned the degree of Master of Arts in Music from Columbia University and traveled to Fontainebleau, France for advanced study at the Conservatoire de Musique Americain under the legendary Nadia Boulanger. Mr. Sowell taught at Edison High School for nine years, served as Choirmaster of First Presbyterian Church in Tulsa for seventeen years, was Director of Choral Activities at the University of Tulsa for twenty years, and has performed numerous comprimario roles with Tulsa Opera. He has received many awards including, most recently, the 1991 Governor’s Arts Award for Community Service. He continues to teach voice privately in Tulsa. At the time of this publication Mr. Sowell is in his thirty-second season with Tulsa Opera, which he has served in nearly eighty productions either as performer or as Chorus Master.

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Opera Index

Aida— 2,3,4,9,31,34,46,61,90,93,96, 100, Macbeth — 44, 46, 100 107, 122 Madama Butterfly —2, 12, 13, 15, 57, 88, 90, Andrea Chenier — 56, 57, 103 95, 99, 105,112 Anna Bolena —47 The Magic Flute—72, 112,121 Armida — 72, 73, 74, 113, 122, 125 Manon—44, 100 Attila — 57, 104, 123 Manon Lescaut — 37, 98, 107, 124 The Marriage of Figaro — 66, 92, 108 The Ballad of Baby Doe -43,99 Mephistophele -2 Un Ballo in Masehera — 22, 91 The Merry Widow — 61, 87, 106 The Barber of Seville — 24, 92, 96, 104, 122 The Mikado — 109, 124 The Bartered Bride -89 La Boheme — 23, 89, 91, 94, 97, 103, 111 La Navarraise - 51, 101 Boris Godunov —2, 52, 56, 102, 121, 123 The New Moon — 10, 87 No, No, Nanette —88 Carmen —2, 34, 59, 61, 90, 92, 97, 106, 121, 124 Otello — 34, 97, 122 Cavalleria Rusticana -91 La Cenerentola — 71, 111, 125 Pagliacci — 3, 4, 51, 92, 102, 110 The Chaperons —2 Phantom of the Opera -74 The Chocolate Soldier — 10, 86 The Pirates of Penzance — 67, 106, 124 Cleopatra —2 Porgy and Bess—65, 108,124 The Prince of Pilsen — 11, 88 The Daughter of the Regiment - 103 IPuritani—47, 101 The Desert Song -87 Don Carlo — 66, 67, 108 The Red Mill — 9, 86 Don Giovanni — 101 Rigoletto — 57, 70, 89, 92, 95, 99, 109 Don Pasquale -95 Rio Rita —88 Romeo et Juliette — 37, 98, 110 L’Elisir dAmore —94 Der Rosenkavalier — 104

La Fanciulla del West — 72, 112, 125 Samson etDalila —70, 110, 124 Faust— 1,2,29, 62,89, 94, 107 SuorAngelica — 71, 110 Fidelio — 121 Susannah — 70, 110, 125 Die Fledermaus — 30, 31, 96, 102 Sweeney Todd -74 The Flying Dutchman—59, 105, 121,123 Fra Diavolo —2 The Tales of Hoffmann — 67, 109, 124 Thais -2 Hansel and Gretel — 28, 93-96 Tosca — 6, 61, 90, 93, 97, 99, 106 HMS. Pinafore — 74, 75, 113, 125 La Traviata — 1, 2, 5, 6, 7, 9, 23, 30, 48, 49, 71, 86, 89, 91, 95, 101, 111, 123 Irene —87 Le Trouvere — 71, 72, 111, 125 II Trovatore —2, 18, 22, 57, 71, 91, 98, 104, The Juniper Thee -69 122, 123 Turandot — 29, 56, 944, 122, 123 The King’s Henchman -2,3 Die Walkure — 51, 102 Lucia diLammermoor— 59, 90, 93, 97, 105 182

Index of Names and Organizations (page numbers in italics refer to pictures)

Abel, Clyde 86 Baker, Gregg 107 Bliss, John 86 Abernathy, Jaxie 102 Baker, Robert 90 Bly, Meli 140Bode, Eleanor 87 Adams, Sally (see Hedgecock) Baker, Susan 100 Bodenstein, John 97 Adkins, Paul Spencer 104 Bakman, Patrick 44, 100, 105 Boesche, John 112 Adler, Kurt Herbert 57, 59,104 Ballam, Michael 103 Bolman, Marcelle 90 Akdar Theater 2, 35 Ballenger, Kenneth 96 Bonavera, Alfredo 106 Akey, John 143 Bamboschek, Giuseppe 18, 19, 91 Bonazzi, Elaine 103 Alba, Maria 105 Baner-Ecsy, Leni 104 Bonini, Peggy 91 Albanese, Licia 17, 90 Bardelli, Cesare 26, 90, 92, 93 Bonynge, Richard 66, 107 Albert, Donnie Ray 72, 72, 112 Barioni, Daniele 93 Boston Ideal Opera Company 2 Alexander, John 27, 32, 37, 39, 93, 95, Barker, Brionna 111 Botkin, Barbara 86 97, 98 Barker, Connie 93 Boucher, Gene 92 Allison, Charles 88 Barnard, Greg 135 Bourg, Ian Jon 111 Alquist, J.V.E. 87 Barnes, Greg 112 Bowers, Barbara 88 Altmeyer, Jeannine 52,102 Barstow, Josephine 64, 102, 107, 130 Boyd, Denny 93 Alvary, Lorenzo 35, 89, 97, 145 Bashar, Inci 103 Boyer, Patty 137 Amann, David 103, 104 Bass, Jane 143 Bradshaw, Richard 74, 112 Amara, Lueme 93, 94 Bauman, Robyn 109 Bradstreet, Betty 36, 37 Anderson, Frances Wellmon 92 Baumgarten, Michael 110, 112 Brandow, Charmaine T. 107 Anderson, Lucy 141 Beard, Betsy 35, 97, 142 Brandt, Mary Ann 88 Anderson, Robert 22 Beattie, Herbert 92 Brazell, Stan 106 Brecknock, John 48, 101,106, 131 Anderson, Virginia (see Torres) Beaty, Helen 87 Breeden, Patricia 40, 98 Andreou, Christina 108 Bebb, Ineta 97, 99, 100 Breno, Marilyn 86 Anson, Robert 86 Bebb, Martin 100 Bridwell, Matthew 64, 106, 107 Beck, Charlotte 86, 87 Arnold, David 105 Britton, David 61, 105 Beck, Peter Dean 112 Arnold, James 39 Brockhoff, Dodee 89, 95, 96, 127 Arnold, June 87 Beck, William 96 Brovsky, Linda 103, 111 Arps, Diderika 86,87 Beckham, Bill 95, 96 Brown, Lewis 112 Arrington, Tom 87 Beecroft, Jeffrey 112 Brown, Zack 111 Arts Break 74 Belden, Amos 88 Brownlee, John 12, 13, 15, 88, 89 Assandri, Virginio 20, 90 Belmont, August 8 Brunner, Richard 110 AtchLey, Kathy 100 Belmont, Mrs. August “Lady” 8 Bruscantini, Sesto 95 Atherton, James 98 Benedetto, Rose 105 Buckley, Emerson 55, 100, 102, 103 Atkins, John L. 105 Beni, Gimi 99, 100, 103 Bullock, Emily 109, 110 Bunnell, Jane 104, 111 Atkinson, David 10, 10, 87 Bennett, Robert N. 91 Bunting, Campbell 92 Atkinson, Mary Lou 91 Bentonelli, Joseph 3, 4, 4 Burchinal, Frederick 105 Auerswald, Adrienne 88 Bergonzi, Carlo 104 Burton, Amy 112 Ausburn, Floyd 91 Bernardini, Don 107 Bush, Tracy 110 Austin, Charles 112 Berry, Joette 143 Busterud, James 109 Austin, Lee 86 Bertolino, Ercole 23, 91, 92 Avery, Ruth 87 Besch, Anthony 104 Calcagno, Lorraine 92, 94 Avey, Sam 12 Bible, Frances 31, 96 Camp, Charles 93, 94, 99 Ayars, Ann 88 Bickel, William 34 Campi, Bob 98 Billings, James 54, 102, 105, 109 Campora, Giuseppe 20, 90, 91 Cannon, Thomas 93 Babbitt, Sharon 97, 98, 99 Bird, Robert 90 Carelli, Gina 103 Babcock, Mrs. Herrick 38 Birley, David 140 Carlson, Lenus 108 Baccaloni, Salvatore 24,24, 25, 92 Bishop, Adelaide 103 Carrington, Eldon 92 Baccaloni, Mrs. Salvatore 24 Bisson, Napoleon 23, 91 Carrington, Kathleen 36, 37 Baden, Sue (Mrs. W.A.) 38,41 Bjoerling, Jussi 18, 19, 91 Carstarphen, James 86-89, 91 Baden, William A. 16, 18, 23, 23, 24, Blakely, Julie 36, 37 Caruso, Enrico 2 28, 37, 38, 39, 41, 57, 78 Bleakley, Jean 87, 93 Caruso, Mariano 97 Bailey, Curtis 133 Blegen, Judith 44,45, 100 Carver, Marilyn 35, 95-97, 104 Bailey, Marguerite 87-91, 93 Bliss, Beryl 5, 5, 6, 8 Cass, Lee 96 Baker, Andrea 100 Bliss, Charles 5 Cassel, Walter 17, 90, 92, 146 Castellato-Lamberti, Giorgio 98 18 3

Catrett, Marilyn 108, 111, 138 Craft, Barry 106 Dupont, Stephen 108 Catron, Marvin 86 Crawford, Carol 111 Duval, Janet 91 Duval, Pierre 95, 96 Cavendish, Jennie 102 Creed, Kay 98 Cellini, Renato 22 Dworchak, Harry 104,106 Crowley, Michael 90, 91 Central High School 7, 90 Cruz-Romo, Gilda 46, 57, 100, 103 Central Opera Service 12, 51 Eagleson, Leonard 105 Cuccaro, Costanza 43, 99, 104 Earl, Mary Michal 97, 132 Chaliapin, Feodor 2 Cumiskey, Paul 7 Economou, Pope 89 Chandler, Randy 143 Curry, David 137, 140, 142 Eddleman, Jack 101 Chapman Music Hall 56, 103, 107 Curry, Diane 104 Edery, Gerard 108 Chapman, Marilyn (see Carver) Edgemon, Sharon Kay 95 Chapman, Mrs. Leta 35, 46 d’Ambrosio, David 128 Edison High School Band 100 Charbonneau, Pierre 103, 110 d’Angelo, Gianna 27, 92, 93, 95 Edison High School Concert Chase, Jennifer 102 Dall’Armi, Jody 109 Chorus 94, 95 Cheek, John 107 Dameron, John 88 Effron, David 112 Chicago Civic Opera 2, 3 Danner, Dorothy 100 Eheman, Joan 91 Chicago Grand Opera 2 Dansby, William 101, 102 Eisenhard, Stephen 110 Children’s Workshop 23 Davidson, Joy 102 Eisler, David 109 Chouteau, Yvonne 11, 87, 92 Davidson, Lawrence 90 Elias, Rosalind 71, 109, 111 Christin, Judith 102, 108, 109 Davis, J.B. 98, 100 Ellicot, Roddy 106 Christopher, Michael 107 Davis, Lev 99 Ellis, Brent 104 Cianelli, Giuliano 67 Davis, Michael Rees 112 Ellis, Charles 15, 17, 22 Cincinnati Summer Opera Davis, Mrs. Stafford (Sn) 37 Ellis, George 109 Company 98 de Almeida, Antonio 45, 100, 102 Ellis Grand Opera 2 Ciurca, Cleopatra 106 de Cordova, Vincent 107 Ellis, Janet 112, 139 Clarey, Cynthia 70, 108 De Haan, John 71, 110 Ellsworth, Glen 93 Clark, Josephine 89 de Lazzari, Natale 99, 129 Epperson Opera House 1, 1 Clark, Lewis 88 De Santis, Americo 38, 98 Epperson, Bob I Clarkson, Clyde 11, 86, 87 De Vinna, Maurice 38, 123 Estes, Simon 52, 52, 55, 57, 59, 60, 65, 102, 103, 105, 107 Clatworthy, David 104 de Blasis, James 39, 45, 48, 98, 100, Estes, Simon Educational Foundation Clegg, John 112 101, 110 52 Clements, Joy 95 Deaver, John 33,96 Evans, Claude 87 Clennan, Louis 89 Decker, Franz-Paul 105 Evans, Damon 107 Clive Thompson Dance Company 106 Decker, Geraldine 106 Defebaugh, Pat 36 Cody, Peter 107 Fardink, Michael 107 Collins, Thomas 100 Del Carlo, John 106 Delavan, Mark 104 Farina, Franco 104 Conklin, John 71, 72, 110, 111 Farris, Judith 105 Delavan, Miriam 106, 133 Conley, Eugene 15, 89 Fazah, Adib 104 Connet, Mary Jane 88 Densen, Irwin 33, 92-97 Featherston, Charles 91, 92 Connor, Nadine 14, 89 DeShane, Harold 86, 87 Fenn, Jean 34, 35, 94, 97 Conrad, Barbara 72, 102, 107, 111 Devlin, Michael 48,50, 100, 101 Ferrell, Mark 108 Consiglio, Giovanni 92 DiPaolo,Tonio 110 Fields, David Eugene 12, 78 Convention Hall 2,10 di Giuseppe, Enrico 91, 92, 98, 101, 108 Fioravanti, Giulio 28, 94, 95 Cook, Allen 86 Diaz, Rafaelo 3 Fisher, Constance 101 Cook, Curtis 111, 112 Dickerson, Charles 86 Fisher, Nelle 94 Cook, Mariann 111 Dickinson, Richard Mansfield 9, 11, 86- Flagello, Ezio 33, 96, 99 Cook, Richard 88 88 Floyd, Carlisle 70, 71, 110 Coppola, Anton 59, 105, 107, 109, 147 Dickson, Steve 53, 103 Ford, Claudia 86 Corbeil, Claude 110 DiProfio, Marjorie 89 Ford, Louis 86 Corbett Foundation 98 Dobish, Gail 109 Forst, Judith 71, 110 Corenne, Renee 97 Dodd, Elizabeth 100, 101 Fortner, Rick 104, 105 Corlett, Helen 88 Doe, Edward 91 Fowler, Bruce 110 Corman, David 110 Donaldson, Bill 123 Fox, Fred 97 Cortez, Viorica 36, 97 Dooley, William 99 Fox, Mary Ellen 90 Cortright, Bob 92 Douvas, Elaine 87 Fox, Tom 101 Cossa, Dominic 99 Dowd, Catheryn 106 Frame, Emma 111 Cossotto, Fiorenza 62, 105, 148 Downing, Ken 96 Francis, Jeffrey 112 Cotlow, Marilyn 87 Draughon, Joan 89 Francis, Joan 89 Coulter, Dorothy 29, 94 Duesing, Dale 53, 102 Frank, Joseph 60, 101-105, 130 Coulter, Steve 93 Dumit, Edward 70, 92, 96 Franklin, Arman 89,90 Cox, Kaye Fulcher 95-97 Duncan, Bonnie 96, 99, 104, 135, 142 Franklin, Richard 88 Cox, Kenneth 106 Duncan, Patti 100, 140 Fredericks, Jeff 95 Cozzi, Pete 86 Dunn, Mignon 46, 93, 100 Fredericks, Walter 91 18 4

Freeman, Carroll 99, 100, 110 French, Larry 109 Gregory, Gail 101 Hibbard, Esther Kimball 88 Frisell, Sonja 105, 108 Greider, Geraldine 87 Highley, Donald 91 Fry, Melanie 106 Greider, Roger 92 Hildabrand, Becky 107 Fuentes, Reynaldo 93, 94 Griese, Janet 87 Hines, Jerome 66, 67, 108, 150 Fuller, Vaughndean 139 Griffin, Janice 104 Hirsch, Greg 110 Fuqua, V.C. 93 Griffin, Scott 100 Hoagland, Bill 74 Grimsley, Greer 106, 111 Hoback, James 104 Gaddis, Jan 128 Grissom, Jan 111 Hodge, Ophelia 141 Galbraith, Robert 110 Groenendaal, Cris 74, 112 Hodges, Terry 110,112 Galiano, Joseph 39, 98 Grotpeter, Sally 140, 141, 142 Holland, Nancy 91, 92 Galli, Gianna 97 Guadagno, Anton 91 Holleman, Gordon 111, 112 Galterio, Lou 102, 103 Guarrera, Frank 24, 25, 27, 92, 94 Holleman, Maxine 34, 37, 43, 48, Galvany, Marisa 44, 55, 57, 100, 103 Guier, Don 86 102 Gano,David 109,110 Gullino, Walter 30, 95, 96 Holleman, Wilbur 34, 43 Garden, Mary 2 Hollenback, Ruby 87 Garfi,Tina 96 Haas, Richard 105 Holt, John 87 Gari, Giulio 12, 13, 88 Haas, Vivian 87 Honeysucker, Robert 110 Garnell, Grant 89 Hadley, Jerry 59, 105 Hormozi, Sandra 111 Garner, Stan 103, 104 Haefner, Althea 143 Hotopp, Michael 107 Garrott, Alice 102 Haile, Evans 103 Hotz, Mabel 87 Garvey, David 107 Hale, Melissa 102 House, Billy 88 Gasco, Ernesto 32, 94, 95, 98, 99 Hale, Richard 3 Howard, Paul 103 Gately, David 106, 108 Halfvarson, Eric 69, 107, 108, 110 Howell, David 35, 97-101 Gentilesca, Frank 110 Hall, Alan 87 Hoyt, David 104 George, Hal 104 Hall, Peter J. 99, 105, 108 Hubbard, Bruce 66, 107 Gessendorf, Mechtild 104 Hamilton, David 57, 61, 105, 106 Hudson, Phyllistice 92 Giaiotti, Bonaldo 27, 33, 94, 96 Hammond, E.J. 79 Hudson, Virginia 86, 87 Gibble, Edward 100 Hammond, Phil 171 Huffman, Mrs. C.G. 23 Gibbs, Raymond 103 Hampe, Arlene 94 Hughes, David 111 Gideon, Russell 1, 2 Hampton, Robert 87 Humble, Robert 104 Gifford, Camille 112 Hanson, Andrea 99, 129 Hunt, Brian 110 Gilcrease, Thomas 12 Hardy, Wayne 98-101, 132, 133 Hunt, Karen 49, 61, 101,105,110 Gilgore, Laurence 110 Harnick, Jay 95 Hurst, Mary Neff 109, 137, 141 Gilliam, Howard 87 Harris, Shem 107 Hux, Christopher 112 Gilmore, John 105 Harrison, George 16 Ginsberg, Frances 71, 110, 149 Harrison, Jack 87 Ibarrando, Lydia 12, 13, 88 Girard, Claude 110,111 Harrison, Meredith 140, 141 Ice, Lory 89 Gismondo, Giuseppe 94 Harrison, Nancy 99 Igesz, Bodo 44, 59, 100, 102, 104, Glass, Mrs. J. Wood 39, 97, 101, Harrold, Jack 96 105 105 Harrower, Peter 100 Iglesias, Franco 94, 95 Glass, Philip 69 Harrower, Rexford 93 International Grand Opera 2 Glossop, Peter 97 Harvey, Peter 93, 95 Isaac, Gerald 106 Goble, Patti (see Duncan) Hastings, Judith 111, 142 Gold, Donald 87 Hatley, Jerome 111, 142 Jackson, Gene 87 Gordon, David 104 Haughn,Jeanne 106 Jaffe, Monte 100 Gorin, Igor 27, 91, 93 Hayes, Heidi 110 Jamerson, Thomas 103 Gowans, Bess 4, 5, 5, 6, 11 Hayes, Margie 36 James, Amy 100 Gowans, Harry 4 Haywood, Lorna 108 James, Carolyne 99 Graber, Eric 110, 111, 136 Hebert, Bliss 42, 99, 100, 102, 107, James, Frankie 128 Graber, James 110 108 James, Jerry 88 Graham, Scott 79, 139 Hedgecock, Sally 105, 110 Jampolis, Neil Peter 46, 99-107 Grahame, Gerald 103 Heiman, Robert Paul 108 Jasinski, Roman 21, 90-96, 99, 101, Gramm, Donald 92 Hempel, Frieda 2 102, 111 Grand Opera House 2,2 Henneke, Ben 10,87 Jasinski, Roman L. 102 Grandi, Arthur 87, 88 Hensley, Kathleen 138 Jeffreys, Carolyn 88 Graves, Frederick 106 Hensley, Todd 111 Jeffries, Gena 111 Graves, Sylvester 107 Herbert, Ralph 88, 96 Jemison, Keith 101, 107, 112, 140, Gray, George 109 Hernandez, Orlando 27, 94, 97, 98 143 Grayson, Robert 70, 108, 110 Hess, Benton 105 Jernigan, Donald 88 Graziano, Carmen 92 Hesse, Anne 87 Jewell, Debra 143 Greco, Helen 89 Hestwood, Arthur 92 Jobin, Andre 106 Greenspon, Muriel 29, 94-96 Hewitt, Laura 105 Johansson, Kristian 106 Gregori, Robert 32, 94, 95 Hcymann, Henry 98 18 5

Johns, William 57, 57, 70, 104, 110 Lakey, Josh 111 Maresca, Rosalia 93 Johnson, Dorothy 86 Lambert, Mrs. James 30 Mark, Peter 109 Johnson, Eric 108, 111, 112 Lamont, Forrest 3 Markham, Mary Helen 5,5, 6, 8, 86,127 Johnson, James 100, 101 Lane, Gloria 92 Markuson, Stephen 103, 104 Johnson, John 106 Lane, Roger 86 Marriott, Mark 112 Johnson, Wesley 91, 107, 139, 140, Langan, Kevin 105 Martin, Rose 89 141 Langenkamp, Jerry 91 Martin, Villard 8 Johnston, Jeane 88 Langlon, Sunny Joy 102, 107 Masterson, Valerie 63, 106, 136 Jones, Doris 88 Lansford, Lance 107, 140 Matthews, Gordon 87 Jones, Gerald 91 Lansing, Robert 92 Matthews, Yvette 107 Jones, Gwendolyn 60, 104, 106 Lauzillotti, Leonore 98, 99 Mauro, Ermanno 57, 64, 100,103, Jones, Heidi 107 Larkin, Georganna 88 107, 131, 135, 151 Jones, Jon Paul 89 Larkin, Mocelyn 21, 91 Mayo Hotel 6, 7 Jung, Manfred 102 Larsen, Marcia 108, 109, 112 Mayo, Burch 6, 7, 9, 86 Junior Opera Guild 30 Laner, Karen 108 Mayo, John 6 Justus, William 103 Laufer, Murray 106 McAlister, Barbara 102, 108, 109 Lawbaugh, James 110 McCall, Dick 92 Kaczorowski, Peter 108, 109, 111 Lawlon, David 111 McCarthy, Kerry 105 Kanazawa, Tomiko 12, 13, 88 Leatham, James 102 McClanahan, Rue 11 Kansas City Philharmonic 28 Lee, Jae Woo 97 McClelland, Ed 89 Kaston, Motti 111 Lee, Ming Cho 104 McClelland, Marwood 89, 90 Kaveler, Elaine 87 Lehmeyer, John 107 McCormick, Dorothy 20, 86, 87, Keene, Christopher 71 Levine, Rhoda 105 89-91 Keener, Oliver 87 Lewis, Blanche 99 McCormick, John 86, 88 Keith, Jerry 86-88 Lewis, Richard 111 McCracken, Adrienne 87, 88 Keller, Laura 106 Lewis, Travis 112 McCracken, James 34, 35, 97 Kelley, Norman 29, 93-96 Lewis, William 6, 7, 42, 43, 86, 99 McCullough, Mary Jo 88 Kelly, Danni 110 Life Magazine 23 McDaniel, Dan 138, 141 Kemp, Garry 106 Likova, Eva 89, 91 McDaniel, Mike 140, 142 Kerr, Mary 108 Lincoln, Michael 110 McDevitt, Kerry 39, 98 Kestner, Joseph 70, 139 Lipton, Martha 91 McDowell, Robert 41, 86, 87 Killick, Lewis 104 Lister, Marquita 107, 110 McFee,Rhonda 110 Kim, Shinja 105 Livingston, William 110 McGill, Tom 89, 90 King, Chuck 102, 104, 106, 108, 135, Llorca, Adolfo 109 McKee, Joseph 103 142 Lobel, Henry 96 McKesson, Josef 111 King, Jean 87 Lockhart, Stan 98, 99 McMillian, Geraldine 107 Kirsten, Dorothy 21, 90, 93 Loerch, Suzanne 109 McNabb, Dorothy 93 Kirtley, Rebekah 109 Logan, Geoff 111 McRae, Donna 102 Kitz, Hilary 79 Long, Charles 107 McReynolds, Catherine 37 Kiapis, Ralph 99, 100, 106 Loraine, Karol 92 McSoud, Alberta 87 Kiein, Allen Charles 100,102, Lord, Stephen 112 McUsic, Mike 133 105-108 Lorton, Eugene 8 Meadows, Christine 110 Kiobucar, Berislav 102 Lowery, Melvin 103 Meadows, Ron 110, 133 Knie, Roberta 102 Loy, Chieko 109 Meehan, Donald 86 Kniepert, Ernie 104 Lubovitch, Lar Dance Company Meinert, Henry William 87 Knighton, Elizabeth 110 100 Meliciani, Carlo 96 Kohn, Eugene 104 Luchetti, Veriano 62, 105 Mendenhall, Tom 98 Koutelas, Dora 109 Ludgin, Chester 29, 92, 94, 95 Mentzer, Susanne 106 Kova, Marija 29, 93-96 Lukken, Albert 3, 4, 5 Merrill, Nathaniel 28, 29, 31, 93-97 Kraft, Jean 43, 99 Lytle, Linda 107 Mess, Suzanne 100-103, 105, 106, 108 Kragas, Elizabeth 142 Metropolitan Opera 3, 8,12, 18, 24, Kraus, Alfredo 32, 95 MacKenzie, David C. 124 28, 44, 52, 57, 65 Kraus, Herbert 94 Mackin, Kimberly 107 Meyer, Kerstin 105 Kribbs, Karen 94 MacNeil, Cornell 40, 92, 98 Michna, Marienka 33, 40, 128 Kriese, Gladys 92 MacNeil, Walter 112 Miles, Ken 1.38, 140 Kuebler, David 102 Macurdy, John 100, 131 Millard, Marvin 38, 39, 78 Kulas, Kate 110 Madeira, Jean 18, 19, 91 Millard, Mrs. Marvin 38 Kunsman, Howard 91, 92, 95 Mairandres, Gerd 104 Millay, Edna St. Vincent 3 Malas, Spiro 102 Miller, Charlotte 142 Labo, Flaviano 23, 91 Maliponte, Adriana 97 Miller, Donald 87 Lacambra, Mirna 97 Mansouri, Lotfi 57, 61, 63, 103, 106 Miller, Drennan 86 Laghezza, Rosa 33, 96 Marchetto-Patacchi, Lillian 90 Miller, Lee 87 18 6

Miller, Mildred 26, 92 Niska, Maralin 36-38, 98, 99, 154 Philadelphia Grand Opera Corps Mills, Erie 54, 59, 60, 103, 105 Noble, Timothy 70, 108 de Ballet 93 Milnes, Sherrill 49, 50, 101, 152 Noel, Georgia 88 Philbrook Art Museum 4 Milsom, Deborah 110 Nolan, Judith 104 Phillippe, Joseph 108-111, 137 Milsten, David R. 12, 16, 78 Nolen, Steve 97 Phillips, Burr Cochran 110 Mitchell, Leona 57, 57, 62, 104, 106 Norden, Betsy 109 Phillips, Lynn 141 Miura, Temaki 2 Norman, Jerold 101 Piazza, Marguerite 14, 89 Mizell, Meredith 104 Northeastern State University 106 Pichardo, Luis 97 Moffo, Anna 21,91 Pierce, Edward 100 Monk, Allan 102 O’Brien, Louise 86 Pitkin, William 105 Montefusco, Licinio 35, 36, 97 O’Dell, George 141 Plishka, Paul 50, 101 Montes de Oca, Orlando 35, 96, 97 O’Hearn, Robert 102 Plowright, Rosalind 67, 67,108 Montgomery, Alex 101-104 O’Leary, Thomas 93 Polan, Edith 88 Montgomery, Kay 97 Obst, Bernice 88 Poleri, David 89 Montgomery, Kenneth 108 Ogilvie, Lorraine 107 Pope, Jerrold 107 Montresor, Beni 103 Oklahoma City Symphony 49, 101 Porter, Debra Ann 99 Mooney, Kim 136, 137 Oklahoma City University Powell, Susan 109 Moore, Rebecca 108 School of Music 69 Pozzo, Pietro 100 Morehead, Philip 103, 105 Oklahoma Military Academy 93, 96 Pratnicki, Marion 110 Moresco, Carlo 22, 24, 26, 32, 33, 35, 36, Olson, Linda 105 Predl, Ron 110 38-40, 44, 91-100, 128, 153 Omaha Opera Company 43 President’s Council 47 Moresco, Riccardo 35, 38, 40, 97-99 Opalach, Jan 109 Price, Betty 65 Morlan, Randolph 94 Opera Ball 23 Price, Leontyne 62, 65, 66, 107 Morrell, Barry 17,27,90,93,94 Opera Box 28 Purrington, Ed 30, 37, 41, 41, 43, Morris, James 54,102 Oral Roberts University 96, 106 43-45, 44, 47, 48, 51, 52, 56, 56, 63, Morrow, Suzanne 5. 87 Orbach, Harold 92 65, 65, 67, 69 Morsman, Melanie 108 Otey, Louis 104 Putnam, Ashley 53, 102 Moscona, Nicola 18, 19, 23, 91 Ozbun, Bill 133 Moser, Peggy 98 Quaranta, Gianni 105 Moses, Betty 141 Paige, Norman 100 Quilico, Louis 41, 44, 51, 99-102 Mouchet, Marc 108 Palencia, Diane 143 Quivar, Florence 70, 71, 109 Moulson, Robert 94 Palmeri, Dorothy 92 Moynagh, Joan Marie 90 Palmour, Deidra 108 Radcliffe, Philip 73, 74 Muller, Edouardo 106, 108 Pape, Johnathan 112 Raiford, Steven 69, 104, 108, 109 Muni, Nicholas 68, 69, 69, 71-73, 74, 110-112 Pappas, William 100 135 Munkittrick, Mark 111 Paris Opera 71 Raines, Ronald 101 Munro, Leigh 102 Parker, Evan 107 Raisa, Rosa 2 Murgu, Cornelin 106 Parker, Karen 141 Rakusin,Fredda 101 Murphy, Ron 139 Parker, William 45, 53, 100, 102, 103 Ramey, Samuel 62, 67, 67, 101, 104, 106, Murray, Shirley 94 Parks, Bill 88 108, 156 Myers, Barton 8 Paschal, Kay 108 Rampaso, Luciano 99 Myers, Fred 112 Passaro, Godfrey 35, 97-99 Randle, Rodger 71 Myers, Maud Lorton 8, 8, 9, 11, 12, 16, Pastine, Gianfranco 97 Rankin, Nell 18, 90, 91 21,22, 24, 28,43, 57 Patacchi, Valfrido 20, 89-93 Ranch, Evelyn Porter 87 Myers, Michael 100, 102 Patrick, Julian 106 Reans, Kevin 111 Paunova, Mariana 104 Reans, Kyle 111 Nagore, Antonio 110 Pavarotti, Luciano 56, 56, 66, 103 Reardon, John 43, 99, 130 Nagy, Robert 36, 97 Pearsley, Nan 87 Reed, Jayne 52,52 Naldi, Ronald 112 Peck, Jonathan 95 Reed, Marguerite (see Bailey) Nance, Chris 103, 107 Pelton, Carmen 111 Reese, Sarah 65, 66, 107 Napier, Marita 105 Pena, Luis 138 Reilly, Charles 87 National Public Radio 72, 74 Penn, John 87, 89 Reisman, Jane 42, 101-107 Negrini, Gualtiero 105 Perez, Marta 92 Reneau, David 104 Neill, William 100, 105 Perlman, Ivan 88 Rensink, James 110 Nelli, Herva 90 Perry, Douglas 99, 104, 106, 108 Rescigno, Joseph 110 New Orleans Opera 22 Pesha, Ronald 87, 88 Rescigno, Nicola 58, 104 New York City Opera 12, 44, 71, 72 Peters, Roberta 20, 24, 25, 28, 90, 92, 94, 95, 155 Reynolds, James 88 Newman, Arthur 89, 91 Peterson, Tom 140, 142 Riberi, Peter 111 Nichols, Bill 87 Petina,Irra 11,87 Ridley, LonAnn 128 Nichols, Mary 88 Petrak, Rudolf 89, 90 Riegel, Kenneth 45, 99, 100 Nichols, W.I. 89 Petronio, Stephen 111 Riley, Michael 105 Nigh, George 139 Rintzler, Marius 60, 104 Niles, Phil 99

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Risk, Dick 138 Sereni, Mario 93 Steen, Mrs. Sid 23 Rivera, Graciela 89 Serrano, Carlos 109 Steffens, Winifred 86, 87 Rizley, Robert 5. 16, 41, 78 Seymour, R. Thomas 48, 59, 79 Steichen, Gerald 108 Roads, Gene 23, 91-99, 102-106 Shackelton, Robert 88 Stephens, John 105, 109 Roark-Strummer, Linda 34, 37, 72, 72, Shade, Nancy 51, 101 Stevens, John Wright 101 73, 97, 98, 112 Shallenberger, Barbara 105 Stiles, Dudley 32, 95 Robbins, Marcia (see Larsen) Shambaugh, Bill 132, 133 Stilwell, Richard 58, 62, 104, 106 Roberson, Ron 100, 137, 142 Shane,Rita 101,103 Stivanello, Anthony 13, 17,22, 32, Roberts, Brennan 98 Sharp, Martha 96 33, 35, 88-99 Roberts, Martha 90 Shaw, Mercer 94 Stoddart, John 104 Rockefeller, Martha Baird Shea, James 86, 87, 89 Stolin, Sonia 92 Foundation 28, 93 Shearer, Mary 102 Stonacek, Kerry 99 Rogers, Herbert 104 Sheehan, Paul 90 Stoskopf, Bill 100 Rogers, Will 12 Sheehan, William 86, 89-92, 94 Strummer, Peter 34, 72, 108 Roggero, Margaret 32, 95 Shelle, Eileen 98 Stuart, Kirk 106 Ronis, David 110 Shellenbarger, Bill 96 Sullivan, Brian 14, 89 Roquemore, O.G. 8 Shelton, Susanne 87, 88 Sullivan, Daniel 101, 102 Rosewell, Brian 112 Shicoff, Neil 62, 63, 106 Sullivan, Jo 88 Ross, Elinor 18, 19, 91, 94 Shirley, George 102 Sullivan, Joan 108 Ross, Glynn 94 Shore, Joseph 49, 99, 101, 129 Sumner, Mark 104 Ross, Ronald 102, 103 Shortt, Paul 101, 110 Sunday Afternoon Opera Guild 30 Roth, Wolfgang 92 Siberts, Carl 103 Sun Oil Company 61 Rowan, Jo 98 Sieden, Cyndia 108 SUNtitles 61 Royal Opera Company 3 Sighele, Mietta 61, 105 Sutej, Vjekoslav 110 Rubenstein, Bernard 70, 108, 109 Sills, Beverly 30, 30, 31, 47, 47, 48, 95, Sutherland, Dame Joan 66, 107 Ruetz, Robert 91 97, 98, 101, 158 Sutliff, Richard 70, 73, 100, 102 Simmons, Isabel (Mrs. Larry D.) Ruffuer, Myrna Smart 68, 68, 139 103-lOS, 108-111 23, 23, 36, 38 Ruhl, Eddy 18,90 Swartz, Bula 86 Simpson, Joy 65, 107 Runyon, June 7,86 Swinson, Beth Ann 111 Sims, Loraine 108, 109 Ruprecht, Dick 98, 100, 139, 140 Sirianni, Craig 72, 73, 111, 112 Russell, Anna 55,103 Tagliavini, Franco 97 Sjoberg, Elizabeth 143 Tajo, Italo 28, 35, 94-96 Ruth, Pennie 88 Skalicki, Amrei 103 Talbot, Ralph 10, 78 Skalicki, Wolfram 103 Tallone, George 12, 13, 88-90 Salamy, Victor 88 Skelly Stadium 3, 9 Tannenbaum, Robert 112 Salemno, Louis 111 Skiles, Kevin 109 Taylor, Deems 3 San Diego Opera 47 Slagle, Lisa 109 Telese, Maryanne 111 San Francisco Opera 5 Smiley, Kimberly 73, 74, 112 Ter-Artunian, Roube 111 Sandelius, Marie 3 Smillie, Thomson 109 Terekhov, Miguel 92 Sanders, Jean 91 Smith, Andrew 106 Terry, Mrs. Mark 15 Sanditen, Ellen Jane 99 Smith, Malcolm 102 Theodoras, Hope 108 Santa Fe Opera 37 Smith, Margaret Young 86, 87 Theyard, Harry 101, 102, 130 Sarabia, Guillermo 101 Smith, Nettie 30 Thompson, Clive 106 Sarfaty, Regina 102 Smith, Richard 91 Thompson, Virginia B. 88 Sass, Sylvia 61, 62, 106 Smith, Robert 88 Thorson, Ruth 90 Sassano, lone 4-6,5, 6, 8, 9, 86, 88 Smith, Ronald T. 107 Tibbett, Lawrence S Sassano, Ralph 4-10, 5-7, 15, 86 Smith, Sheila 102, 103 Tips, Suzanne 9S Sato, Shozo 109 Sneed, Jane 99, 104, 106, 132, 134 Tipton, Michael 101 Schauler, Eileen 96 Snook, H.C. 88 Todd, Aileen 99, 100 Scheffler, John 111 Somogi, Judith 43, 44, 48, 62, 100- Toll, Dan 91, 92 Schileo, Ruggero 89 104, 106, 159 Toms, Carl 101 Schipa, Tito 2 Sordello, Enzo 96 Toms, John 123, 124 Schmidt, Paul 111 Sormani, Ercole 94, 97-99 Torigi, Richard 89 Schneider-Siemssen, Gunther 109 Sory, Clara 86 Torres, Virginia 4, 23, 26, 89, 91-95, Scholes, Pamela 94 Soviero, Diana 48, 50, 53, 57, 60, 62, 128, 132, 142 Schroder, Wayne 106, 107 63, 101, 103, 104, 106, 109, 160 Towry, Marti (see Sharp, Martha) Schuler, Duane 112 Sowell, Laven 4, 24, 26, 27, 29, 30, 30, Tozzi, Giorgio 54, 55, 103, 132 Schuller, Kenneth 18, 90 32, 35, 40, 45, 59, 63, 70, 92-112 Treadgill, Bob 93 Schuman, Charlotte (Mrs. Jerald M.) Springer, Jeffrey 111 Treadway, Theresa 9S, 101 68, 79, 139 Squitieri, Paul 88 Trehy, Robert 97 Schwartzman, Seymour 97 Stahl, David 105, 106, 109 Treigle, Norman 29, 30, 94 Scott, Daniel 93, 94 Staley, Carolyn 104 Tribe, Julia 106 Scotto, Renata 32, 95, 157 Staley, Earl 107 Senz, Harriet 92 Steele, Brian 102 18 8

Troyanos, Tatiana 67, 108 Viccellio, Judy 99 Wilborn,Kip 112 Trussel, Jacque 51, 101 Visconti, Piero 67, 108 Wildermann, William 24,25, S9, 60, Tsypin, George 109 Vitale, Frank 86, 87 89, 92, 93, 102, lOS Tucci, Gabriella 31, 33, 34, 96 Vokes, Sara 111 Will Rogers High School 10, 90 Tucker, Richard 26, 31, 33, 92, 96, Volpe, Peter 110 Willaner, Marguerite 93 161 Volta, Mario 26, 93 Williams, Jack 35, 95, 97, 98-100, Tullius, Raymond 66, 79 von Kannen, Gunter 58,104 102, 103, 104, 110, 137, 143 Tully, Rush 104, lOS Vorenkamp, Nadine 111 Williams, John 3S, 46 Tulsa Ballet Theater 28, 93 Williams, Wade 107, 136 Tulsa Boy Singers 23, 102 Waits, Max 20 Wilson, Joanne 104 Tulsa Municipal Theater 2, 10, 10, 35 Wald, Arno 42, 96-99, 128 Wilson, John 102 Tulsa Opera Educational Programs Walker, Charles 111 Wilson, Ransom 111 iS, 16, 23, 68-70 Walker, Kay 110 Winfield, Ivan 79 Tulsa Opera Endowment Trust 56, Wall Street Journal 67 Wise, Leona 86 62, 66, 103, 107 Wallace, Jean 99, 109, 134, 136 Wise, Patricia 60, 99, 105 Tulsa Opera Guild 4, iS, 23, 28 Wallace, Mervin 107 Wise, Shane 111 Tulsa Performing Arts Center 22, 46, Walling, Esther 99,100 Woitach, Richard 101 47 Walters, Todd 138, 143 Wolf, Peter Associates 94, 9S Tulsa Philharmonic 6, 66, 70, Wanders, Evelyn 86 Wood, Doreen Anderson 87 107-109 Warensjold, Dorothy 23, 91 Wooden, Jim 88 Turner, Claramae 90 Warner, Keith 111 Woods, Cheryl 70, 108 Turner, Jeannette 22, 22, 26, 29, 31, Warren, Leonard 18, 19 Woodward, Kenn 109, 110 36, 37 Waters, Willie Anthony 110 Worth, Coley 96 Tyers, John 88 Wathen, Denver 88 Wothke, William 97 Watkins, Lois 36, 37, 127 Wray, Margaret Jane 111 University of Arkansas 93, 96 Watkins, Mark 108, 111 Wright, Danell 95 University of Oklahoma 4, 34 Watkins, Rodney 104 Wright, Mark 143 University of Tulsa 10, 34, 90, 106, Webb, Ashley 111 Wustman, John 103 110; Chorale 102; Downtown Webb, Julia 102 Wuthrich, Terry 108 Law School 4; School of Music Weber, Clint 143 3,56 Weeks, James 101-105, 132 Yannopoulos, Dino 24,24, 92-94 Urhausen, Roy 90 Weger, Bill 96 Yoes, Janice 93 Uthoff, Michael 106 Weidinger, Christine 73, 73, 112 Young Artists Program 68 Uzan, Bernard 61, 62, 64, 67-70, 68, Welch, Edna Griggs 88 Young, Din 141 105, 106, 109, 110 Wells, Jeffrey 110 Young, Shawn 138 Wells, Ralph 109 Young, Thomas 74, 112 Valdengo, Giuseppe 20, 89-91 Wendelken-Wilson, Charles Valla, David 106 West, Hiram 87 Zaba, Mrs. Joseph 87 Valletti, Cesare 24, 28, 92, 94 Whitaker, Virginia 89 Zambalis, Stella 106,108 Vanaud, Marcel 108 White, Edward R. Jr. 107 Zartaludes, Mary 88 Vance, James 125 White, John 97 Zerevskl, Jargon 108 Vandaveer, R.F. 86 Whitney, Gerald 6, 7, 10, 11, 17, 18, Zink, John Steele Foundation 107 Varona, Jose 103 86-90 Zrnic, Cheryl 58, 69 Vellucci, Luigi 26, 92, 93 Whitney, Gerald Jr. 89 Zuber, Catherine 112 Venable, Brice 87, 88 Whitney, Philip 99, 104 Zylis-Gara, Teresa 40, 98 Venora, Lee 92, 93, 96 Widner, Ellis 124, 12S

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