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CENTRAL OPERA SERVICE BULLETIN Sponsored by the Metropolitan Opera National Council • 147 West 39Th Street • New York, N.Y

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CENTRAL OPERA SERVICE BULLETIN Sponsored by the Metropolitan Opera National Council • 147 West 39Th Street • New York, N.Y CENTRAL OPERA SERVICE BULLETIN Sponsored by the Metropolitan Opera National Council • 147 West 39th Street • New York, N.Y. 10018 • PE 6-1200 September - October, 1965 NEW OPERAS AND PREMIERES Premieres of the following operas by American composers have taken place in Spring 1965: (see also Spring issue of the Bulletin) -WING OF EXPECTATION with music and libretto by Kenneth Wright, at the Opera Theatre of the University of Kentucky in Lexington on April 7. The title is a quotation from a letter by Mary Todd Lincoln who is the central character of the three-act opera. The production employed three guest artists and 21 soloists, chorus and dancers from the University. -REFUGE by composer Lutz Mayer, at the New York State University in . Cortland, where Mr. Mayer is professor of music, on July 20. Edward Devany adapted the libretto from his play by the same name. The drama is con- ceived in one act, playing time about one hour; the cast of five is made up of sopt», mezzo., bar., 2 children. -THE EMPEROR CLOTHED ANEW by Donald Jenni, another children's opera adapted from Hans Christian Anderson's fairy tale (Douglas Moore used the same subject), premiered at De Paul University, Chicago,on April 2. -THE WASPS by Truman R, Fisher at the Occidental College in Los Angeles on May 21. *•**•***•*• Recent operatic commissions include: -Dr. Waiter Kaufmann, protessor at Indiana University in Bloomington, commissioned by the Indiana Historical Society and by Miss Elsie Sweeney, member of the Metropolitan Opera National Council and resident of Columbus, Ind., to write an opera for next year's Sesquicentennial Celebration of the State of Indiana. Mr. Kaufmann is writing his own libretto for "A HOOSIER TALE" which will be based on true historical events. Planned for a grand presentation by Indiana University in summer 1966, the work will employ a large cast, 3 choruses and a large orchestra. -$12,500 given by the Floyd S. Chalmers Foundation of Canada to the Canadian Opera Co. for the commission and production of a Canadian opera to be pre- miered during Canada's CentemialCelebration. ***•*•*•*•* First U.S. performance of foreign operas during 1965-66 season - Rossini's LA PIETRA DEL PARAGONE in the Gunther Rennert version and new English translation by Walter Ducloux under the title LOVE ON TRIAL at the University of Southern California, Los Angeles^on December 3, 1965. INDEX - - - PAGEV -2- -Dittersdorf's ARCIFANFARO, KING OF FOOLS in the English version by Auden and Kallman in concert form at New York's Town Hall on November 11, 1965, produced by Clarion Concerts. -Werner Egk's PEER GYNT at Hartt College of Music, Hartford, Conn, on February 23, 1966, in an English translation by Walter Ducloux specially commissioned by Elemer Nagy for Hartford University. ******* Recent and forthcoming European premieres: -ALISSA by Ra±±aello de Bantield, libretto by Richard Miller, in Geneva, on May 15, 1965. This one-hour, fantasy-love story featured Virginia Zeani and Kostas Paskalis in leading roles. -SOUTH by American composer Kenton Coe after the play by Julien Green in Marseille on October 14, 1965. -THE HAPPY PRINCE after Oscar Wilde by British composer Malcolm Williamson in Farnham, Surrey, to be performed by a children's cast and recorded by Decca this Fall. -THE MAN WHO NEVER DIED by Alan Bush based on a play by American playwright Barrie Stavies, and HERR PUNTILA UND SEIN KNECHT MATTI by Paul Dessau based on a play by Brecht; both at the East Berlin State Opera during the current season. -Hans Werner Henze's DIE BASSARIDEN with a book by Auden and Kallman, Haubenstock-Ramati's AMERIKA after the Kafka novel, Dallapiccola's ULYSSES, and South Korean composer Isang Yun's THE DREAM OF LIU-TUNG,all during the 1966 Festival Weeks at the Deutsche Oper, West Berlin. -THE LABYRINTH by Dutch composer Peter Schat, pupil of Pierre Boulez, at the 1966 Holland Festival. THE WAYS TO AID THE ARTS ARE MANY Federal With the President's signing into law the new Federal AID-TO-THE ARTS BILL, authorizing the government to spend $21 million annually for the next three years on grants and subsidies, the recently created National Endowment and National Foundation for the Arts and Humanitites has received its working capital. (For details of the functions of both organizations, see page 6 in the March 1965 Bulletin). The President mentioned the various groups that will benefit by the Federal aid; e.g. opera, repertory theatre, ballet companies, symphony orchestras, film institutes, as well as indi- vidual artists through commissions,and college and universities through residence grants. Another confirmation of the President's and the First Lady's interest in the support of the Arts was the all-day ARTS FESTIVAL held at the WHITE HOUSE in June. Not only did it serve to bring together some 500 leaders representing all phases of the arts from all over the country, but through its extensive press coverage, also brought a renewed awareness of the COS BULLETIN 9-10/65 -3- the interest and enthusiasm of the country's cultural leaders to all its citizens. ******* National Following close on the heels of this distinguished marathon, the National Conference of the ARTS COUNCILS OF AMERICA was held in Washington. (Details on the ACA can be found on page 5 of the March 1965 Bulletin). Major discussion concentrated on the ways and means of forming a State Council and of obtaining legislative approval. -The ACA has established national headquarters in New York, 1290 Avenue of the Americas, Room 4100, and has appointed Mr. Ralph Burgard, formerly executive director of the St. Paul Council of the Arts and director of the American Symphony Orchestra League, to the newly created post of executive director. The ACA offers its members a news bulletin incorporated into the American Symphony Orchestra League's Newsletter. It also prepares special reports on governmental programs, e.g. National Endowment of the Arts, Elementary and Secondary Education Acts of the Office of Education, etc. and interprets their significance to arts councils and performing groups. Minimum membership dues for the Council are $25 and vary according to individual councils f budgets; non-profit organizations other than arts Councils pay $25 annually. ******* State THE MISSOURI COUNCIL ON THE ARTS, signed into law by Governor Warren Hearnes in June, held its first meeting in September. The 15 Council members , appointed by the Govanor, heard reports on operational plans from its working committees on 1. Education, 2. Music, 3. Opera, 4. Theatre, 5. Visual Arts; the formation of advisory committees on Architecture and on the Art of Film was also discussed. The next day Howard Adams, Chairman, announced the Council's first sponsorship, a guest performance by the Kansas City Lyric Opera Company of "Madama Butterfly" in Chillicothe. THE NEW YORK STATE ARTS COUNCIL is branching out further in its artistic programs and has added "instructional performances" in music, dance and the theatre. Especially designed for assistance to those areas in N.Y. State that have few professional performances, lecture-demonstrations by professional performing artists will be presented at schools, colleges, community groups and workshops. As in most other Council-sponsored pro- grams, support will be partial, supplementing locally raised funds. Other programs include a part-sponsorship of operatic tour-performances and a special grant for "technical assistance". This assistance provides the presence of the stage designer for those opera groups who-exchange sets and costumes. The designer instructs local stagehands in setting up the scenery, refitting the costumes, etc. The New York State Council has also assisted in the formation of the NEW YORK STATE OPERA LEAGUE, an organization which is successfully promoting cooperation and exchange programs among its members. Within the last year it was decided that the League had come "of age" and the Council is no longer part of the League's board. Advice and aid from the State Council is still available to individual groups; applications are judged on the merits of each request. ******* COS BULLETIN 9-10/65 -4- Local The Los Angeles Music Center has a new patron in the form of the recently established PERFORMING ARTS COUNCIL. Mrs. Dorothy Chandler, president of the Council, announced that the organization will finance the center's resident companies, -the Los Angeles Opera Company, Los Angeles Civic Light Opera Company, Los Angeles Philharmonic Orchestra and the Los Angeles Master Chorale. The Council will also select resident companies in the fields of theatre, ballet and chamber music, and hopes to commission new works, initiate training programs, expand educational programs and add a theatre for children. - The Pavilion, the Center's first building which opened last season, will be complemented by two more structures, the Mark Taper Forum and the Center Theatre, to be completed in 1967. New York's "music street", West 57th Street, boasts a new CULTURAL INFOR- MATION CENTER. Believed to be the first of its kind on a permanent basis, the Center was opened by Mayor Wagner and New York's Cultural Executive, Robert Dowling, in June. The office at 148 West 57th Street (phone JUdson 2-5555), has schedules and programs of cultural activities and entertain- ment in New York City for the visitor as well as for the native. Attention performing companies. Do not fail to inform the Center of your productions, and if possible, supply programs and ticket information. NEW3 FROM OPERA COMPANIES In addition to the Metropolitan Opera debuts previously reported in the May Bulletin, Mr. Bing has announced the additional signing of the following new artists for the current season: Montserrat Caballe, Ludmila Dvorakova, Reri Grist, Pilar Lorengar, Felicia Weathers, sopranos; Grace Bumbry, mezzo; Gaetano Bardini, Alfred Kraus, Dan Marek, Robert Schmorr, tenors; Gene Boucher, John Dunlap, Sherrill Milnes, John Reardon, baritones; Raymond Michalski, bass.
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